Precedence: bulk
Subject: Chalkhills Digest #2-102

         Chalkhills Digest, Volume 2, Number 102

                 Wednesday, 17 April 1996

Today's Topics:

                    XTC in Smithsonion
                       Smart music
                  #XTC and an apology...
           RE: 1992 120 Minutes Andy interview
                  Another damn-fool idea
                Black music Technicality.
                     David B. is a...
           White Jerks and assorted yadda's...
                       Terry Lives!
               Re: Chalkhills Digest #2-100
               Re: Chalkhills Digest #2-101
                    La Musique Blanche
                   book recommendation
                  MUSIC KNOWS NO COLOR!!
                      My two Dinars
                diverse this!
        Political Correctness and the Music Shelf
A boring mis-hearing and a Fab Four in Philly playing question
                 In defense of the boots
                  Heads: Talking no More


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The views expressed herein are those of the individual authors.

Ain't nothing in the world like a black skinned girl.


Message-Id: <v01530502ad989aea68ee@[]>
Date: Tue, 16 Apr 1996 01:35:09 +0100
From: (Michael)
Subject: XTC in Smithsonion

Hey All,

I was flipping through the April issue of Smithsonion magazine and got a
small, yet pleasant, surprise.

One of the articles is about the packaging of consumer products.  One of
the accompanying photographs features interesting CD covers.  Included was
the XTC King For A Day crown CD.



Date: Mon, 15 Apr 1996 23:13:57 -0700
From: Miles or Gigi Coleman <>
Subject: Smart music
Message-id: <>

Todd Bernhardt said:
>XTC is SMART music;
>it's got depth, durability and it delivers what it promises. It's the
>kind of music that people who ACTIVELY listen to music (as opposed to
>using it as background noise or filler) prefer.

This, I think, is an excellent statement.  Personally, when I listen to XTC
I am *into* whatever album I happen to be playing.  I am actively listening
to the riffs, the cool hooks, the lyrics or whatever.  Background music?
Not really.  Also, refering to the depth, I found that a friend of mine who
is an English major and into literature and all made a perfect candidate
for a XTC convert.  I knew the clever lyrics would appeal to him and
hopefully he would be swayed by the great musical talent of the boys.
SMART Music!

Miles Coleman


Date: Tue, 16 Apr 1996 02:49:42 -0400 (EDT)
From: Mike <>
Subject: #XTC and an apology...
Message-ID: <Pine.SOL.3.91.960416024219.5220B-100000@gusun>

First of, I believe Richard Manfredi suggested an IRC that I
happen to often create to (attempt, unsuccessfully, to) lure other XTC
fans on.  So far, over the past two or three months, I have managed to
attract a few confused chemically-interested clubbers and one(I forget
who) Chalkhillian.  If there is interest in this, feel free to e-mail me
about it(we wouldn't want to discuss it over the listing...I mean,
REALLY, how many XTC fans could use the internet?)

Also, I want to apologize to (whoever) for my mocking, meant-in-jest
commentary on the white/black thing that was taken at face value(not that
Rick Astley isn't swanky!).  btw, I have only driven through Vermont, it
just seemed like a white enough state.
				But enough about me...more about XTC!
					Mike Kooris


Date: Tue, 16 Apr 1996 02:31:14 -0500 (EST)
From: Matt Mondlock <>
Subject: "Music"
Message-ID: <>

There are a lot of us out there...

Therefore I believe that even though a decent amount respond to the "White
Music" thread with responses filled with "Black Music", a decent amount of
us fall into the category Luc originally put us in.  Perhaps I'm wrong,
but I can't help but think that a (maybe underwhelming) majority of us
prefer similar pop music to that of XTC.

I have no problem with some of the "black" music that occupies airwaves
these days but it simply does not appeal to me that much.  This isn't a
rip on the r&b, rap, jazz, blues, etc. genres at all.  I simply don't
identify with these groups or artists.  But some of them (e.g. R. Kelly),
I can't help but laugh at.  Then again, I have a very similar reaction to
Oasis and Bush videos so go figure.

The reason I am an XTC fan is because of their lyrical and instrumental
precision.  Maybe the fact that I am caucasian has made me more easily
exposed to other "white music".

But the fact is, I have heard more different kinds of music than most of
my peers around here (granted, I'm 19 years old).  I just haven't been
able to derive pleasure out of artists that aren't (coincidentally?)
white.  Some people can, obviously, but I think a good amount can't.  My
favorites in my CD collection include Jellyfish, Toy Matinee (Kevin
Gilbert, also), XTC, Aimee Mann, Adrian Belew, Blur, Greenberry Woods, and
They Might Be Giants.  I didn't go out and buy these because of their
race; I bought these albums because I liked them and identified with the
lyrics.  Coincidentally (or not), none of them are black.

Maybe I'm not cultured enough, but I'm satisfied with what I like and
things similar to them.  I'm not blind to other music, I just don't
identify with it or like it.


		Matt Mondlock
"Goodness Gracious, we came in at the end; no sex that isn't dangerous,
no money left to spend, we're the cleanup crew for parties we were too
young to attend, goodness gracious, me."
					-Kevin Gilbert


Message-Id: <>
From: "Greg O'Rear" <>
Subject: RE: 1992 120 Minutes Andy interview
Date: Tue, 16 Apr 1996 07:54:34 -0400


> ... I've found a transcript (or most of one) of the interview buried deep
> in the Chalkhills archives, for anyone else who would be interested
> it's in Chalkhills no. 227, carefully transcribed by Greg O'Rear.

Gosh, has it been that long?  Play-pause-rewind-play-pause-rewind.  I just
remember Andy making a lot of not-very-gracious jokes at other musicians'
expense (not that I liked the bands, either, but still...).  He said things
like, "I'd give my right arm to be in Def Leppard."  (Remember way back
when, when their drummer was in an accident and lost a limb?)

I think that interview was with "Dive" Kendall, right?  Poor old Kevin Seal
is reduced to non-speaking parts in car commercials these days.
I thought he was quite the entertaining host; what happened?

Greg O'Rear

[Attachment omitted, unknown MIME type or encoding (application/ms-tnef)]


Date: Tue, 16 Apr 1996 10:10:45 -0400 (EDT)
From: Nancy B LaMotta <>
Subject: videos
Message-Id: <>

I've had the XTC "Look, Look" video compilation for a number of years
(had to send to London for it, then get it converted to NTSC, but it was
worth it!), and I've always found the things highly entertaining--the
lads look like they're having a good time hamming it up!  A couple of the
older videos, such as "This is Pop" and "Are You Receiving Me" are a tad
on the low budget production side, but, at the least, it's amazing to see
how Young Andy Was!!!  Those pink cheeks!  ... My favorite videos on that
tape are "This is Pop" and "Respectable Street" (I'm a pushover for the
lads in tuxes!).  Gee, I never really paid attention to Terry, I do hope
he was really having fun, too!

Although I'm glad XTC have a couple appearances on the "Urggh--A Music
War" tape, my favorite appearance has to be that of Klaus Nomi!  What a
performer!  Whenever I would armtwist my friends into watching XTC do
"Respectable Street," they'd always want to stop and watch Klaus first.

Where do you all get these NEW XTC videos, anyway (my days of ordering
>from Tower in London and paying to have them converted to NTSC are
over).... :)

For people who like that sort of thing... that is the sort of thing they


Message-Id: <>
From: "Burgess, Christopher (msx)" <>
Subject: Another damn-fool idea
Date: Tue, 16 Apr 1996 08:06:19 -0400

Hi y'all,

Well, as far as I can see, the tribute tape is rolling along and by fall
should be able to hear the dirty laundry of a few intrepid folk.  Maybe
Geffen will sign us!  :-)

Anyway, if this experiment works, what about another tribute tape, but
THIS time, the contributors will cover a song from ANOTHER band (or
individual) who that contributor feels might appeal to the Chalkholios.
There are so many names bandied about, but only so much money
and time in the day, that maybe this K-Tel wannabe might be a good
way of spreading the knowledge.

Despite this rather elementary "race" discussion currently worming its
way around, this group appears to be VERY diverse in its tastes and I
suspect that there will be an odd and wonderful mix of stuff.

Any thoughts?


* -------------------------------------------------------------------------

Phone:(216) 266-8625     Fax: (216) 266-2313


Date: Tue, 16 Apr 1996 10:59:40 -0400 (EDT)
Message-Id: <>
From: (Mike P. Moffatt <Asmodeus the Evil>)
Subject: Black music Technicality.

        I know this is a small technicality, but one of my choices, Thin
Lizzy, has a black lead singer and bass player by the name of Phil Lynott.
I imagine you'd all be aware of that, but I thought I'd point it out,
because no one mentioned him in the few black artists listed.  I believe I
also put Jimi Hendrix on my list, who was also black.


Date: Tue, 16 Apr 1996 08:18:21 -0400 (EDT)
From: "John E. Daley" <>
Subject: David B. is a...
Message-id: <>


1. I think David Byrne is

  a. a jerk,
  b. not a jerk.
  c. a Bismarck herring in a large white suit.

I vote for "c".


Date: Tue, 16 Apr 96 08:54:49 PST
From: "Sean Robison" <>
Message-Id: <>
Subject: White Jerks and assorted yadda's...

Just a whole big melange of topics:
1. The whole white/black music topic: When I put Albert Collins' "Cold
Snap" as one of my faves, I did it without any thoughts of "Gee... I need
to include a 'black album' in there...". It's just a killer electric blues
album (in my opinion, of course). Music is music. Regardless of what color
the artist's skin is. When you pop a tape into the deck or a CD into the
player, the interacting is totally between the machine and your ears, heart
and mind.... not your eyes.  Music, at least to me, speaks above any levels
of segregation or ethnicity.
2. David Byrne: Jerk or not, the Talking Heads catalog is STILL awesome
(NOT as awesome as XTC... but still some good stuff).
3. Geffen vs. Virgin: I don't know if this is the case for the entire
world, but here in the U.S., I've seen that all of XTC's albums are on TWO
labels - Geffen and Virgin. Now, I know my info is shaky, but isn't XTC's
contract problems solely with Virgin? If so, why hasn't the band just
entertained the idea of going with Geffen completely? Frankly, I wanna see
them do SOMETHING 'cause I, like everyone else, is itchin' BADLY for a new
album!! (and while I'd love to get my hands on the demo's that some of you
have, I'm gonna be a good boy and wait patiently... *grumble grumble
4. Reissues: Which leads to my last question. I noticed that Big Express,
Nonsuch and O&L have reappeared in the stores - bearing a new logo from the
Geffen end ("Geffen Goldline"... which, according to an add, is their
'midline' label). What I want to know is: Have these discs been changed
any? Improved sonics? Larger booklets? Or did Geffen just slap on a fancier
label and put the same discs back out on the market?
Okay, that's it!
Sean Robison


Message-ID: <>
Date: Tue, 16 Apr 1996 18:09:10 -0700
From: Mark Mello <>
Subject: Terry Lives!


I have to disagree with Ira Lieman ( Digest 2-101 )
He wrote:

> Anyone notice that everyone seems to be having fun in the videos except
> for Terry? He's a great drummer but it seemed to me he had the
> personality/sense of humor of a shriveled pickle.

Terry may not seem (!) to be having fun appearing in videos, anyone who's
ever read the press stories about XTC's travels in Australia or Venezuela
knows he was in fact the "fun guy" of the band. Always in for a drink and
a joke, he kept the whole thing together; on and off stage!

I'm currently trancribing a Melody Maker story about their 1979 Oz tour
and believe me, once you've read that you will agree there's nothing
wrong with TC's sense of humor. A shriveled pickle? NO WAY!

I'm sorry but you know; there's a whole bunch of older Chalkies out there
who've never gotten over the fact that Terry left...
So please be gentle :)

bye, Mark

Decorate the inside of your heads <XTC>


Date: Tue, 16 Apr 1996 12:48:37 -0400 (EDT)
From: "Christopher R. Coolidge" <>
Subject: Re: Chalkhills Digest #2-100
Message-ID: <>

  I think most of us, when we come up with top 10 lists right off the bat,
we don't think about the skin color of the musicians or what they've got
between their legs, for that matter. We just think of what we like, and
anything else is an afterthought. My main criteria for a top 10 list is
those few albums I can listen through from beginning to end without a
single track that makes me tune out, feel indifferent, skip over it, or
in any other way is less than great. I can't think of too many that fit
that criteria. Here's ten that do:
1. Trout Mask Replica- Captain Beefheart
2. English Settlement- XTC
3. There's A Riot Goin' On- Sly And The Family Stone*
4. Sign O' The Times- Prince*
5. Symphony Or Damn- Terence Trent D'Arby*
6. Forever Changes- Love*
7. Together Alone- Crowded House
8. Loose- Victoria Williams*
9. Shoot Out The Lights- Richard & Linda Thompson*
10. The Modern Lovers

* Non- White Male content

  Personally, I like anyone who marches to the beat of his/her own
drummer. There are many other albums I might have included on the list
some other day, and most of my favorite musicians have released very uneven
albums that have at least one track that either makes little impression
or I even actively dislike. This is rarely true of XTC; at most there'll
be a few tracks that leave me cold by comparison but might seem brilliant
coming from, say, Rick Astley("Books Are Burning," for example might be a
good example of this)


Date: Tue, 16 Apr 1996 13:41:14 -0400 (EDT)
From: "Christopher R. Coolidge" <>
Subject: Re: Chalkhills Digest #2-101
Message-ID: <>

  My advisor in college back in the early 80's was a noted jazz session
pianist(Roland Wiggins; played with the likes of Dizzy Gillespie, Donald
Byrd, and Roberta Flack)who referred to modern jazz as "black classical
music." I find that's a very good term; when you think of it there isn't
a whole lot of stretching to considering Duke Ellington as important a
composer as George Gershwin. Most "black classical music" shares with "white
classical music" a serious intent; art first, entertainment second, if at
all. I challenge anyone to try to dance to John Coltrane, especially his
later, more "out" material. The big difference is, "black classical music"
is primarily improvisational, while "white classical music" is almost
always written out, and you're expected to play the score as written.


Date: Tue, 16 Apr 1996 12:43:04 -0500 (CDT)
Subject: La Musique Blanche
Message-ID: <>

Apparently the person who brought up the "black thing" miscounted. My
list included Keith Jarrett and Prince (not counting the session


Date: Tue, 16 Apr 1996 14:53:44 -0800 (PST)
Subject: book recommendation
Message-id: <9603168296.AA829691631@FINSMTP1.FIN.GOV.BC.CA>

  Since nobody on this list likes or has an interest in black music,
  I'm recommending a very interesting book that I just finished reading:
  Gerald Early, "One Nation Under A Groove:  Motown and American Culture",
  The Ecco Press, 1995.

  Although the title says it all, here's a bit from the Introduction:
     "This book is ... a miniepic meditation on two ideas.  The first is
  that Motown was important because it helped to crystallize the formation,
  not of a black audience (that had existed before), but of a black public
  and a black public taste that was taken seriously as an expression of a
  general aesthetic among a broad class of Americans.  The creation of a
  black public -- a body of black folk who have no connection with each
  other or commitment to each other except the idea that they are consumers
  whose consumption is given meaning because of their race -- is, I think,
  a very different abstraction from the idea of a black community.  Second,
  Motown, an extraordinary success in the realm of mass culture or popular
  culture, actually helped to bring into clear definition the taste and
  urges of a middle-brow black audience whose existence helped to create
  such middle-brow black conceptions as Afrocentrism, the name
  African-American, and the mythology of the black community."


  Aside to John the Arbiter -- I hope this isn't too far astray!


Date: Tue, 16 Apr 1996 15:03:46 -0700
Message-Id: <>



     Pink Floyd
     Green Day
     Red 7
     Black Flag
     White Zombie
     Blues Magoos
     Agent Orange
     Deep Purple
     Savoy Brown

     Favorite genre: the blues!

     hee, hee, hee


	[ Okay, folks, enough lists for their own sakes.  Let's have
	  some discussion.    -- John ]


From: (SJA Claims CPT Stauffer)
Message-ID: <>
Date: Wed, 17 Apr 1996 02:24:22 +0100
Subject: My two Dinars

The following is a general stream of drivel:

1.  I like Talking Heads.  If Mr. Byrne ever asks me to go out for a beer,
I'll peruse all of your comments prior to reaching a decision on whether to

2.  It never sounded like anything BUT  "straight to ya"

3.  Now here this...David Yazbek is not, I repeat, not the embodiment of the
second coming.  It was only a rumor.  (although I do look forward to hearing
his music.)

4.  Shilling for the fellow who sings the geek in "I'm like a rock and roll
barber shop feak"  It took guts to come out of the closet with that one.

5.  The quiet creaking you hear in Sacrificial Bonfire is the inevitable
consequence of listening to "Burn up the old" at 30,000 decibels.

6.  If Andy wants to post, he will.  If he doesn't, he won't.  Don't let's

7.  Ben Gott is the man.  Shrine building beats cow tipping every time.

8.  Disney stepped on it.  Randy Neuman?  Please.

9.  When I read about all the great trading stuff you all have, I go green.
 All I've got is a 1985 Drums and Wires T-shirt with four holes in it.
  Where do you guys get this stuff?  Is there some secret Chalkhills flea
market somewhere?

10.. "Peter Pumpkinhead" is about JFK?  "Humble Daisy" is about Eleanor
Roosevelt.  "All You Pretty Girls"  satirizes the promiscuity of Bill
Clinton.  The "Mole From The Ministry" is obviously Margaret Thatcher.
 "Albert Brown" is an ode to Mikail Gorbachev.   "The Man who Sailed Around
His Soul" grapples with the enigma of Richard Nixon, (this is fun)  and "Ten
Feet Tall"  alludes to the terrible ridicule suffered by Abraham Lincoln.

Apologies for the acrimonious tone of this post.  Gloomy day in the Balkans.

XTC Song for Today:  Deliver Us From The Elements



Date: Tue, 16 Apr 1996 21:06:57 -0400
Message-Id: <>
From: Da GrooveMeister <>
Subject: diverse this!

I betcha I'm the only one on the Chalkhills list that owns recordings by both
Miles Davis and Ministry. Anyone care to top that?


	[ John Coltrane and Foetus?  Maybe Barry Adamson and Jerry Jeff
	  Walker are better choices?  -- John ]


Date: Tue, 16 Apr 1996 22:26:46 -0400
Message-ID: <>
Subject: Political Correctness and the Music Shelf

Luc Haasnoot has been chastised by a number of Chalkhillians for allegedly
asserting that XTC fans do not like "black music."  Luc is right to feel
hurt!  What he offered our forum was not some crazy rant but rather an
observation culled from a statistical analysis of our own Top-10 lists, and
an innocent question: "Why are black artists so underrepresented?"  We
mustn't be so politically correct as to dismiss his question out of hand.
So far, every response to his question has been in this vein: "there are
only good music and bad music, not white music and black."

Hear, hear!  But I have to admit that I have some nagging thoughts.  You
see, I enjoy dubbing "mix" tapes for friends, and am occasionally
embarrassed by the paucity of black recording artists on my record shelf.
Let's see, there's Kid Creole and, well... two of Bela's Flecktones are
black, and I think one of the guys in the Royal Crescent Mob is, and well,
Timbuk 3 have some new members....  But wait a minute, Latin Americans are
even worse off - there's Los Lobos (but what a magnificent band they are).
Women musicians are represented at a level of 10% or less (thanks in part
to Jane Siberry).  If I weren't so lazy, I would actually calculate exact

I "appreciate" jazz and 70's soul -- when I hear them on the radio, gee
whiz, I even enjoy them.  However, these genres, traditionally associated
with black musicians, have never tugged at my heartstrings the way that
melodic, literate, quirky, bouncy, pure pop does. I guess they don't make
me jump up and say "I've got to have this record," and then run out and get
it.  It also seems that the overwhelming majority of musicians recording
the type of pop I've so circumlocuitously defined above are white.  Am I
wrong?  If so, could you name some counterexamples?  If I'm not wrong, is
it important that I'm not?

I had a friend once (she moved away and married) who liked some of the
music I liked, but never failed to criticize -- sometimes playfully,
sometimes less so -- its lack of "soul". I asked her to define "soul."  She
laughed, so I guess it was kind of like asking her to define "God."  She
just pointed out that anyone who would prefer the Ordinaires' version of
"Kashmir" to Led Zeppelin's was clueless in regards to soul.

What is soul?  Is it directness in regards to emotion, rather than the
emotional distancing so common in quirky pop music, especially as played by
XTC?  And is my record shelf segregated because I have no soul?  So you
don't have to worry about sparing mine when you reply....

P.S.  Two more bands for the Canadian Hall of Fame: Jane Siberry, Martha
and the Muffins


Date: Wed, 17 Apr 96 11:31:34 +0200
Message-Id: <9604170931.AA04729@hvsag01>
Subject: A boring mis-hearing and a Fab Four in Philly playing question

Before I bothered to look up the lyrics, I thought Andy sang
'Work for the Union called a lier' instead of the Unicorn and Lion.
I told you it was boring.

Last weekend I bought the 'Fab Four in Philly' bootleg at a record fair
(by the way: fancy packaging for a bootleg) and it sounds decent and all
that. BUT: I have problems playing the last 30 seconds of 'Generals and
Majors'. Both my portable and 'normal' CD-player jump back a few seconds
just before the end of the song. Ha ha! you'll probably say: that'll
teach you to sponsor those bootleggers! (and you're probably right).
Anyway I really don't mind this so much, but I was wondering if other
owners have the same experience with this disc. I think I see a few tiny
uneven places on the surface, and I wanted to make sure if it is not a
common problem before I take out the toothpaste and car-wax...

Andre (still very happy with it) de Koning


Date: Wed, 17 Apr 1996 08:55:08 -0400
Message-Id: <>
From: Nick Mitchell <>
Subject: In defense of the boots

Although it is true that trading 'ill gotten booty' tapes usually nets the
group no compensation, I think as an XTC lover I can safely assume that
most of the people who could manage to get a hold of Andy's new material
(which is AMAZING) have probably purchased every 'legit' item anyway, and
can't WAIT for the band's next album.  I don't think there will be any
heavy trading outside of true XTC fans who certainly purchase the new CDs
as they come out.

The problem is with the damn record companies!  If XTC finally manages to
get out from under Virgin and get control of their own publishing and just
contract with distributors, then we could all happily purchase every little
song snippett from them English genius' directly from their own company.
Until then, the donation idea isn't bad.  Just tell us where to send, and
verify that's where it's going.

Until then, people who REALLY WANT Andy and XTC's music will continue to
hear everything they can get their ears on, just like I do with the other
greatest group in da world, the Beatles.

Ben Gott has done nothing wrong, in fact he spread a little sunshine!

"Help me get through these cynical days"


Date: Wed, 17 Apr 1996 12:23:05 -0500 (CDT)
Subject: Heads: Talking no More
Message-ID: <>

I thought it was interesting, the idea that Talking Heads would still be
making records were Byrne not a jerk. 'cause I think that DB's last solo
record was excellent, his best in years. The 'Heads, however, seemed to
hit a dead end as their years together came to an end. So perhaps Byrne's
jerkiness is somewhat useful.


End of Chalkhills Digest #2-102

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