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Subject: Chalkhills Digest #12-48


         Chalkhills Digest, Volume 12, Number 48

                  Friday, 6 October 2006

Topics:

          A Bullz-eye chat with Robyn Hitchcock
             the Beatles, reproduction, etc.
                  I Win, One to Nothin'!
           Andy's stamp album vs. iTunes 7.0.0
                      XTC, the brand
          Mailman bring me no more blues indeed!
                        Brown Dirt
                   Umaway-a-umaway....
                        CDDB bliss

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Scribbled on the shelter walls.

----------------------------------------------------------------------

Date: Tue, 3 Oct 2006 18:58:34 EDT
From: Joleson@aol.com
Subject: A Bullz-eye chat with Robyn Hitchcock
Message-ID: <554.7ac48b2.3254451a@aol.com>

Robyn talks about Andy, etc.:
http://www.bullz-eye.com/music/interviews/2006/robyn_hitchcock.htm

------------------------------

Date: Tue, 3 Oct 2006 17:43:51 -0300
From: "Brunkhorst" <brunkhorstk@hotmail.com>
Subject: the Beatles, reproduction, etc.
Message-ID: <BAY117-DAV6443BC5F21DA3F9634057B61C0@phx.gbl>

Simon says:  I find it funny that EMI whips out the lawsuits to punish
people for doing much the same thing the Beatles frequently did.

You do?
Yes, the Beatles borrowed, songs, licks, chord changes, styles, vocal
mannerisms, etc., etc., from others' work (most notably American R&B
records/singers), and made money from it.  Now the Beatles' work falls under
the protective umbrella of EMI; if you borrow some Beatles content, use it
to make money, and don't ask or pay them first, you're stealing from them,
and they have lawyers galore.  EMI is a corporation, and corporations have
all the behavioral advantages of people, without any of the consequences or
accountability.  See the film 'The Corporation' (it's available on DVD)
and/or read Noam Chomsky.   Many countries also apply such standards in
rationalising stuff, especially America.  This is normal Earth behavior.

(Was the BBC compensated for their useage of 'King Lear' in 'I Am The
Walrus'?

No.  If they had asked for it, it could conceivably have caused the song to
be scrapped, since the addition of the 'Lear' broadcast was done in
real-time during the mixing process by a probably baked John Lennon.  It's
what happened to be on the radio then, and it can't be changed or erased
now, I don't think.  Just think if it had been something other than the
Bard.

What about the brass band record used on 'Yellow Submarine'?  The audience
recording on 'Sgt Pepper'?

At least the second (and probably the first) of those came from the Abbey
Road sound effects library, to which the copyright was owned by the studio
(and hence, EMI).  Anyone can buy licensed material for use - samples of
drum sounds, rhythm beds, cheesy theme music for commericals, etc.  Was the
band paid?  Probably once when it was recorded.  Maybe it was a field
recording, in which case, maybe not.

The classical records used on 'Revolution 9'?).

Probably not.  There were dozens used.  The composers of course would not
have been entitled to residuals or mechanicals, but the performers may have
been.  They probably didn't find out until long after, if ever.  In those
days, there was no legal exploration of sampling or mechanical reproduction
of a composer's or performer's work.

Check out Ian McDonald's 'Revolution In The Head'.  It has a lot to say
about the Beatles and their songs.  For me, it's the best subjective book on
them.

Kevin

------------------------------

Date: Tue, 3 Oct 2006 18:44:09 -0700 (PDT)
From: Al LaCarte <allacarte@yahoo.com>
Subject: I Win, One to Nothin'!
Message-ID: <20061004014409.46996.qmail@web58310.mail.re3.yahoo.com>

All:

>>Air Supply<<

:Al

"Next song!"

------------------------------

Date: Wed, 4 Oct 2006 23:14:46 -0700 (PDT)
From: Ryan Anthony <hamsterranch@yahoo.com>
Subject: Andy's stamp album vs. iTunes 7.0.0
Message-ID: <20061005061446.26200.qmail@web51110.mail.yahoo.com>

Okay to talk about iTunes here? I promise to pepper my
post with lots of fresh-ground, shade-grown,
free-trade, organic XTC.

I'm Importing Andy's nine-wheel stamp album into my
iTunes library, a disc a day, while reading his pithy,
pissy comments in the accompanying booklet. Has anyone
else noticed that iTunes 7.0.0 is full of swamp gas
and hiccuppy? (You can tell I'm a computer genius by
my total command of Geekese.) Two-thirds through the
import process with both Fuzzy Warbles Vols. I & II,
iTunes mysteriously crashed. I brought it back up and
resumed importation after un-ticking the songs which
had already made it in, and both times it worked --
but that was a surprise, especially since all the
previous 6.x, 5.x, and 4.x versions were in my
experience completely stable and dependable.

The next time I had access to WiFi (it's still Dialup
City here at home, folks), I downloaded 7.0.1. Just
now, using 7.0.1, I imported F.W. III, and everything
worked smoothly.

Well, except for one thing.

One of the new features of iTunes 7 is an automatic
album cover art search-and-import function. Before, I
copied album covers from Amazon or CD Baby or, in the
case of a musician so obscure his mother hasn't heard
of him, said busker's own website, and pasted the
graphic into my iTunes library. Version 7 does it for
you. That's mighy keen, if it gets the right art. For
F.W. I, it did. But for F.W. II and now (using 7.0.1)
F.W. III, what popped up was the cover of F.W. I.

Aargh! I wanted to sever the head of a whore's son of
an unbeliever. No, wait, I'm a degenerate pansy
Westerner. I meant to say, I wanted to express my
miffitude and flummoxidation by composing a dignified
letter, in India ink upon foolscap, to the Apple
Computer Company, Cupertino, California, U.S.A. But
instead I raided Amazon for the cover of F.W. III and
put it where it needed to go.

Mountain Dew-stoked ubergeeks are at this very moment
tweaking iTunes 7.0.2 to fix the problem.

Ryan Anthony
An Independent Internet content provider

Now Playing: "No One Here Avail --" Whoops, too late!
It's no longer playing.

------------------------------

Date: Thu, 5 Oct 2006 10:36:38 -0700 (PDT)
From: Michael Myers <mmyers1446@yahoo.com>
Subject: XTC, the brand
Message-ID: <20061005173638.52695.qmail@web61324.mail.yahoo.com>

Hi folks;

Since all has been quiet on the "new CD' front and we in the general
fan base don't know exactly what's going on behind the scenes, I might
as well throw an idea or two out for discussion.  Years ago, I posted
my concept of XTC, the brand name.  I said that a typical XTC release
would contain 9-11 songs by Andy and 2-3 by Colin (this has been the
general model for many years now).  As we all know, the "band" is down
to the 2 core members, Andy and Colin.  I believe that most of us like
the counterpoint and tension that results from their different writing
styles.

Well, suppose Colin either has severe writer's block (I've talked
about this as well) or just isn't interested anymore.  This puts Andy
in a fix because the majority of folks who leave a band to go solo
don't fair as well as when they were in the band.  I know there are
exceptions (Van Morrison, Todd Rundgren, Joe Walsh, etc), but lots of
failures.  Anybody still play any of those solo Kiss records?  I'm
sure we've all seen solo Daryl Hall CDs in the dollar bin.

So here's my idea for discussion: suppose Colin has told Andy that
he's had it and wants to retire.  Andy's essentially all out of
Warbles and while he does write with others on occasion, what are his
choices?  He can either go solo or release something under the name
XTC (didn't Tears for Fears end up as just one member for a while?),
and there's an interesting tweak I haven't heard anybody mention yet.

Suppose Andy asks Dave to rejoin and the two of them soldier on as
XTC?  That would mean that Andy would be the sole songwriter, but he'd
gain Dave's musical genius and skills as an arranger back in the fold.

So, what do you think?

Mike

------------------------------

Date: Thu, 05 Oct 2006 16:25:30 -0700
From: "Wayne Klein" <wtdk123@msn.com>
Subject: Mailman bring me no more blues indeed!
Message-ID: <BAY108-F302751673400916C00D3A9F9120@phx.gbl>

Wow. You know we all complain about lousy customer service but when its
outstanding it's rare that anyone says anything. So kudos to Steve Young the
head of Andy's Ape for outstanding customer service. Why? Well I ordered
Volumes 7, 8 and 9 (with the stamp box of course) and was pleasantly
surprised that I had it by October 5--and that's to the US from the UK in
less than a week!

The box as many have mentioned before looks terrific--very sturdy, great
design and packaging!

Haven't had a chance to listen to the bonus disc yet but am happy to have
these final volumes.

Well done guys!

------------------------------

Date: Fri, 6 Oct 2006 08:27:29 +0100 (BST)
From: Paul Culnane <paulculnane@yahoo.co.uk>
Subject: Brown Dirt
Message-ID: <20061006072729.66231.qmail@web86901.mail.ukl.yahoo.com>

Not trying to stir anything up this time, and we all know that Gus
Dudgeon produced "Nonsuch" anyway.  But I've been revisiting Reggie
Dwight and his Captain Fantastic record.  IMO, it is indeed fantastic.
So good that it pales his new sequel "The Captain & the Kid" which is
surely the best thing he's done since his heady heyday.  Recommend the
new one for fans.

"Someone saved my life tonight (sugar bear)".

PAUL

------------------------------

Date: Fri, 6 Oct 2006 19:15:07 +1300
From: "Neil Sheppard" <shepster247@gmail.com>
Subject: Umaway-a-umaway....
Message-ID: <3d42c8180610052315s287e26eeq6062faca51db7563@mail.gmail.com>

In the midst of all this talk of "Inspirations"... I played my 5 year old
daughter "Vanishing Girl" today at teatime, and her eyes lit up. "I know
this song daddy", she said, "The Lion Sleeps Tonight!"

Shep.

------------------------------

Date: Fri, 06 Oct 2006 00:05:03 +0100
From: Jon Holden-Dye <jon@jhd-designs.demon.co.uk>
Subject: CDDB bliss
Message-ID: <45258F9F.1080401@jhd-designs.demon.co.uk>

Just a small 'thank you' to whoever has been posting the CDDB entries
for the FW series - immaculate, accurate, and consistent. I'm assuming
it's a 'hiller who's responsible...

Sod Lynne, howzabout Stock, Aitken & Waterman, for a 'perfect fit'?
Couple of other dream tickets (oldest to youngest):
- (Temps/'Masterpiece'-era) Norman Whitfield
- Alex Paterson (think 27-minute remixes...)
- TM Juke (fonky, honky - in a white-boy stylee)
- My 9-year old, Tom (I'd make the tea, natch)

--
JHD - aka Conan the BarbarbarBarbarbarAnn. (Not really.)

------------------------------

End of Chalkhills Digest #12-48
*******************************

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