Precedence: bulk
Subject: Chalkhills Digest #2-104

         Chalkhills Digest, Volume 2, Number 104

                  Monday, 22 April 1996

Today's Topics:

                       Who is Anna?
            Beach Boys on XTC, XTC on Beatles
                      Pierce Turner
             Geffen Goldline Reissues, etc...
               Youre the wish you are I had
                       Diverse favs
             More on James & the Giant Peach
               Frayed end of the b/w thread
           XTC RPG, broken arms, shameless plug
                  SemiSonic/Paul Fox/XTC
                   XTC soundalike alert
                     XTC nail polish?
                         Demos 8
                 Is Erik Anderson alive?
                    Re: diverse faves
                  The results are in...


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The views expressed herein are those of the individual authors.

I saw your writing on paper landing.


Date: Fri, 19 Apr 96 16:26:23 CDT
From: "Bernhardt, Todd" <>
Message-Id: <>
Subject: Who is Anna?

     Okay, so, like, I'm listening to a live version of Roads Girdle the
     Globe this morning and I'm, like, thinking about the misheard lyrics
     thread, right? And I start thinking, like, who the hell is Anna and
     why should she steer Andy?

     So I got to work and dutifully checked the FAQ list, but I still find
     no mention of this mystery woman, so I put the question to the list:
     Who the hell is Anna??  (and why should SHE steer Andy??  :^)



Message-ID: <>
From: William Blakely <>
Subject: Beach Boys on XTC, XTC on Beatles
Date: Fri, 19 Apr 1996 14:28:29 -0700

Reading the various postings of people comparing XTC to the Beach Boys and
to the Beatles finally prompts me to dig up and share my journal entries
from 1991 and 1992, when I had the pleasure to (separately) meet both Brian
Wilson and Andy Partridge. This may be a little long-winded, Chalkhillians,
so bear with me. All dialogue is 100% accurate, by the way.

In December 1990, I attended a party for Garry Trudeau of "Doonesbury."
He'd donated all of his cartoons with Andy Lippincott, character with AIDS,
to the Names Project. Brian Wilson was there partially because Trudeau had
chosen to have Lippincott die while listening to "Wouldn't It Be Nice."
Trina Robbins and I were invited because we had edited a benefit book
called "Strip AIDS U.S.A." to which Trudeau had contributed "Doonesbury"

Naturally I was keeping an eagle-eye out for Brian Wilson, because the
Beach Boys had been very popular in Salt Lake City when I was growing up.
He came in late and was hard to recognize at first because he has such a
recessive character. Also, he'd gotten very thin, and most people still
thought of him as an overinflated beach ball. But I recognized him, and
Trina and I had him to ourselves for maybe ten minutes. I felt rather sorry
for him and felt that fame had ruined his life. He seemed like a lost
child; a "handler" was hovering nearby at all times. He was exceedingly
wrinkled, had a full head of hair, wore makeup, and seemed childish. It was
just like meeting Ronald Reagan.

I asked him to autograph my CD of "Pet Sounds," then asked if he were
acquainted with XTC's pastiches of the Beach Boys sound.

"XTC?" he asked. "How do you spell that?"

"You know, X-T-C," I said.

"Yeah, how do you spell that?" he reiterated.

"X-T-C..." I began, then realized his joke. "Oh, ha ha ha." Wilson wasn't
as damaged as he'd first seemed, and he perked up while I waxed rhapsodic
about Colin Moulding's melodic, "lead" bass playing. Wilson said his
favorite bass player was still Paul McCartney. (And for those of you who
view "surf music" with disdain, Brian Wilson was responsible for some of
the most innovative bass playing in the '60s. But you can argue about THAT
among yourselves.)

Then someone yelled, "Oh, look, it's Brian Wilson!" He gave away only one
other autograph, then became withdrawn and acted weird the rest of the
evening, slurring, staring into space, pulling faces into cameras. So much
for that.

Quite some time later--June 11, 1992, to be exact--Andy Partridge made a
personal appearance to promote "Nonsvch" at Tower Records in San Francisco.
I told my boss I had a dental appointment and ran off to meet him. I wanted
to tell Andy all about Brian Wilson's "how do you spell XTC" joke.

The store was playing "Go 2," the first time I'd ever heard XTC played in
any music store. The place was not packed; there were about 50 people in
all, only half of whom were standing in line. I joined the line and
observed that almost all the other XTC heads all wore round, wire-rimmed
glasses (me, too). I guessed that they all would have said that John Lennon
had been their favorite Beatle.

I finally got to talk to Andy, who was clever and gracious and certainly
put up with a lot of foolishness from his fans that afternoon. I handed him
the CD cover of "Skylarking" and said, "I was wondering if you wouldn't
mind finishing this drawing for me." The result was hilarious: he extended
the legs of the nymph lying on her back so that she has tank treads for
feet! Then I asked the same old dumb questions.

"Have you ever considered approaching any of the Fabs or George Martin to
work on your recordings?"

"We did ask George Martin about producing this latest album," he said, "but
we got an answer saying that he's no longer interested in producing pop

"What about McCartney?" I insisted. "He produces other people."

"Well, yes, but he's rather lost it, hasn't he?"

I had to agree with that. "I was thinking of it being more for his benefit
than for yours." Partridge laughed at that. "Maybe you should ask Ringo the
next time you're looking for a drummer. I hear he's looking for work."

Andy laughed some more at that. "The problem is tracking him down on the
road," he said, as if Ringo were some hobo would could get a decent job if
only he'd just stay put in one place. I laughed, and he laughed, and I
decided it was time to be on my way. I'd always hated seeing those fans who
just want to hang around their idol's neck and suck out all his personality
like blood.

"Thanks, Andy, you're the tops," I said. After I got out the door, I
realized I'd forgotten to tell him my Brian Wilson story. But it was too
late. Oh, well.

So if Mr. Partridge is lurking (or someone else can relay this anecdote to
him) then my work here is finished.

If any of you XTC lovers would really like to see the drawing Andy did on
my "Skylarking" cover, let me know, and I'll try to put it on my web page.


Message-Id: <>
Date: Fri, 19 Apr 96 20:16 MDT
From: (Phil Corless)
Subject: Pierce Turner

This discussion of eclectic music collections caused me
to consider what I've been listening to the past week.....
Nat King Cole, Crowded House, The Chieftains, Matthew
Sweet, Oingo Boingo, Carly Simon, Don Henley, k.d. lang,
and of course XTC.

But what I'm really writing about is that yesterday I
discovered a 7-year-old tape of an Irish singer named
Pierce Turner.... This tape had songs such as "Sky and
the Ground" and "Surface in Heaven."  If anyone can
provide me with more info about this guy, I would really
appreciate it.  His voice and writing are wonderful!  I
want to get this on CD, but can't find anything on the Web
other than a recently released CD of his.

* --------------------------------
Phil Corless
Boise, Idaho
* --------------------------------


Date: Fri, 19 Apr 1996 21:26:19 -0500 (CDT)
Message-Id: <>
From: Scott Taylor <>
Subject: Geffen Goldline Reissues, etc...

>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?
>Sean Robison

When I first bought O&L five or six years ago, I found it in, of all places,
a cutout bin for $3.99.  I thought it was a mistake on the part of the music
shop.  Yesterday I was at one of the mall music stores and found O&L, again,
in the cutout bin, for $5.99.  (I bought six copies, and I plan to go pass
them around to potential converts like a Jehovah's Witness with a stack of
Watchtowers.)  It was the Geffen Goldline series, as well, which seems odd
to me, as I thought that the record companies' policies on dooming a release
to the cutout bin was a function of its sales over a particular period of
time.  If that's the case, why would Geffen go to the effort to pull a
release, re-package, re-design, and re-release it, then let it go right to
the cut-outs again within weeks?  Strange....  Maybe the kids who manage
Musicland are to blame.

For the record, there seem to be no differences between the Geffen Goldline
O&L disc and the original Geffen CD I bought way back when, other than:

1. There's a different logo in place of the standard Geffen globe icon
wherever it appeared before.
2. The lettering on the disc itself is less "stylized," looking more like a
standard sans-serif, plain, font that I could have generated with my old IBM
Proprinter.  Not even as attractive as the original Geffen labels.
3. Colin does, indeed, sing "strange trip" on this version of "The Loving"
(OBLIGATORY DISCLAIMER -- For those of you who don't get it, I'M KIDDING!!!!)

The indexing of the tracks is no different than before, either.  By this,
I'm referring to the sloppy cueing that makes the last 10 milliseconds of
"Poor Skeleton Steps Out" play when I try to cue to the beginning of "Merely
a Man" (and other places, as well, such as "Hold Me My Daddy/Pink Thing").
I had hoped this, at least, would be improved, but it still sounds the same
on this new pressing.  That's one of the advantages of the Mobile Fidelity
release of "Skylarking" over Geffen/Virgin's, anyway ... you can play
"Grass" cleanly without picking up that little segued bit from "Summer's

Of course, this miscuing could be the fault of all of my CD players as well,
but I'll bet it sounds the same on everyone else's equipment.  Hmmm?

Re: Who has the most diversity in their CD collection?
<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?

>ok, pete, let me give it a shot.  looking through my collection, might i offer
>a similar dichotomy response??  owning recordings by...

>sepultura and barbara streisand??
>nusrat fateh ali khan and the B-52's??
>jefferson airplane and tom jones??

You want dichotomy?  I've got recordings by the skinny Elvis AND the fat
Elvis.  Top that.


|       Scott M. Taylor       |
|       |
| |


From: michael wilson <>
Subject: Youre the wish you are I had
Message-Id: <>
Date: Fri, 19 Apr 96 21:37:01 -0500

Hello peoples,

Does anyone have a clue as to how to play Youre the wish... on the guitar?
Or Toys?  Please send me the chords!! I'm in a rut and can't figure them out.


*                                                *
*     I'm a pilot fish on the shark of life      *
*                        -M.F. Wilson II         *
*                                                *


Date: Fri, 19 Apr 1996 23:24:38 -0400
Message-Id: <>
From: "J. D. Mack" <>
Subject: Diverse favs

I think the ultimate diversity in favorite bands has to come from Andy
Partridge himself, who was equally partial to The Monkees and Captain
Beefhart!  In fact, in some ways, XTC is an attempt to bring the two
together (sez Andy).


I don't belive in tag lines


Message-Id: <m0uATFJ-0000YkC@stimpy.PCC.COM>
From: (Troy Peters)
Subject: More on James & the Giant Peach
Date: Fri, 19 Apr 1996 23:22:01 -0400 (EDT)

A couple of notes on James & the Giant Peach, Chalkhillbillies...

First of all, I am a *huge* Randy Newman fan (most of you would love "Sail
Away" from 1972).  Smart lyrics that can be read on several levels, complex
tunes.  Not unlike a West Coast U.S. version of the lads from Swindon.

That said, I too find the Peach songs pretty mundane.

Two comments:

Entertainment Weekly, April 26, 1996 (the new one) says:

'There was also some push and pull over the songs.  Reluctant to follow in
_Toy Story_'s footsteps, Selick [the director] "wanted to go a different
route - Elvis Costello."  But Disney's executive producer of feature
animation music, Chris Montan, pushed him to hire Randy Newman; after being
"knocked out" when Montan played him _Toy Story_'s "I Will Go Sailing No
More," Selick agreed.'

So where was Andy involved?  Does anybody out there know whether he was
doing his Peach tunes as a result of a commission from Disney, or if they
were on spec, or what?

Elvis Costello?  That would've been cool, too.

So who has Andy Partridge's _James and the Giant Peach_ demos?  E-mail me
privately and I will delineate my limited trading goods.  My fingers are

But, please don't blame Randy Newman for Disney dumping Andy - or whatever
happened.  Check out _Sail Away_.

Troy Peters

P.S.  Just moved to Vermont last summer from Philadelphia.  Yes, everybody
here is white.


From: 7IHd <>
Message-Id: <>
Subject: stuff
Date: Sat, 20 Apr 1996 04:58:21 +0100 (BST)

Lots of misc stuff:

# From: Ted Harms <>
# Subject: Drums & Wireless
# So I'm wondering what's the orgin of the Drums and Wireless tracks.  I know
# they're from the John Peel Radio show but I'm wondering if the tracks are
# performed live and on the air or if they're pre-recorded and then just
# played back on the same programme as John Peel interviews Andy, Dave, or
# Colin.

If you were to, um, read the inlay card, you would find that they were
recorded 2-3 weeks in advance of transmission. I believe they are done
reasonably 'live' though, as Radio 1 session bands only get a day in the
studio, so they don't get many takes.

Re: David Byrne. Surely Talking Heads made their name on "jerky" music? :-)

The whole black/white thing seems to have ruffled a few more feathers
than was strictly necessary. It's (to some) a sensitive issue, and maybe
some of the posts weren't a carefully thought out as they might have been,
but I don't think anyone's disgraced themselves.

I've kept quiet until now on this but I thought I'd comment. Personally,
being a white middle class emglish male, I find that a lot of my music
collection comes from a similar background. But not all of it. I think
it's fair to say that anyone is likely to own mostly the stuff that the
society they've grown up in has exposed them to, and I don't think
there's any reason to be shameful of this. How far you are prepared to
experiment with other genres is a personal thing, but getting into a
completely different style of music doesn't happen overnight, and if the
corner of the world you find yourself living in doesn't expose you to
it, you're unlikely to discover it. Even if you do instinctively 'like'
something you hear, it's a very big jump to go out and buy the stuff,
especially when you don't know who's any good within your newly chosen
style of music.

I think that's about all I wanted to say on the subject.

Anyway, the world would be a very scary place if we were all the same
colour as Michael Jackson. :-)

Someone called Dave G whose email address I accidently deleted (maybe a
good thing) wrote:
# I also got a hold of Andy's Thru the Hill album and I thought that it could
# dkdfe adsfie .....ZZZzzZZZzz....  Oh sorry, I just fell asleep again while
# listening to it.  Sorry Andy, but it's definetly not going to stay in my
# listening collection.

Maybe ambient's not for you, but I wouldn't dismiss it on one hearing...

The way to listen to it is not to listen to it. Put it on as background.
See if, by the end, you have stopped what you were doing and subconsciously
started listening. If you are, it's working.

Through The Hill is one of the most interesting things Andy's ever done
IMHO. And it's not on Virgin, maybe that's why. :-)

That's it.
 |_)|_ *|
 |  | )||


Date: Sat, 20 Apr 1996 01:12:12 -0700 (PDT)
From: Charles <>
Subject: Frayed end of the b/w thread
Message-Id: <>

Greetings all!

I have read all the "Why don't XTC fans have more 'black music' in their
record collections" messages, and the oligatory "I DO, I DO have a lot of
'black music' in my record collection!" responses.  My question is this:

Do you suppose that the denizens of the Tupac Shakur and Snoop Doggy Dogg
fan clubs go through similar paroxysms of politically correct hand
wringing concerning a deficit of 'white music' in their record collections?
Should they be concerned?  Should we be concerned?

I have several black friends in my circle of intimates, and I am somewhat
familiar with the tapes/CD's they have in their cars, home, and/or
office.  Bad news guys -- no XTC material as far as I can recall.  In
fact, as I diligently review my recollections, I find no memory
whatsoever of any 'white music' in their possession.  I have never before
held their relative disinterest in 'white music' against them -- Do you
think I should start?  (a rhetorical question, of course).

Thanks to whomever recommended the High Llamas in this newsletter.  I
picked up "Gideon Gaye" yesterday and I dig it.  As a big Brian
Wilson/Beach Boy fan, it really hits the spot.  Looking forward to their
next release, "Hawaii."

By the way (and as a means of augmenting the XTC content of this post),
the best Beach Boy "tribute/imitation" I have ever heard is "Pale and
Precious" by the Dukes of Stratosphear; my wife always laughs out loud
when she hears this song (I just "Smile").  Two children appear to be
whispering something just before the start of this song...anyone know
what it is they are saying (I think I lost that portion of my hearing at
a Kinks concert around 1982)?





Date: Sat, 20 Apr 1996 11:58:02 -0400 (EDT)
From: Natalie Jane Jacobs <>
Subject: XTC RPG, broken arms, shameless plug
Message-ID: <>

I really like the idea of an XTC role-playing game.  "You try to hit the
slimy record executive over the head with your guitar.  He retaliates by
making fun of your bald spot, breaking your glasses, and sueing you."

Obligatory misheard lyrics story: When I first heard "The Disappointed,"
on a local radio station before the album came out, I thought Andy was
singing about "the tribe with broken arms."  Cool! I thought.  It's about
the Mafia!  Little did I know...

Shameless plug: Please do visit my new home-page at  It's got some nice links, and you
can count the XTC references in my original fiction.

Happy spring -

Natalie Jacobs
"There ain't no devil, there's just God
when he's drunk." - Tom Waits


Message-Id: <v03006602ad9ed2052025@[]>
Date: Sat, 20 Apr 1996 13:47:11 -0400
From: arthur james virgin <>
Subject: SemiSonic/Paul Fox/XTC

	If anyone like(d) Trip Shakespeare I would suggest not missing the
album "Great Divide" by SemiSonic...It was produced by Paul Fox/Ed Thacker
(O&L).  Fantastic catchy pop tunes!!  So far in 96...the best.  The guys
sent me some mail recently...enjoy!

>Dear Arthur,
>Thanks for the note.  We'd never seen the great quote from Andy Partridge,
>but we're all big Skylarking/XTC fans, and of course  Paul & Ed fans too
>(natch).  Here's to hoping "Great Divide" can be someone's Summer theme

Do yourself a favor and buy this fantastic album,

(Netscape 2.0 or later ONLY)
"Skylarking is like a summer's day
  baked into one cake" - Andy Partridge


Message-Id: <v01530504ad9f044b7032@[]>
Date: Sat, 20 Apr 1996 14:42:39 -0700
From: (E.B.)
Subject: XTC soundalike alert

Any XTC fan ought to check out the upcoming album by The Sugarplastic, a
Los Angeles-area band now on (guess who!!!) DGC Records. If you long for
XTC's "simpler" days circa Drums And Wires, you'll probably dig this disc,
titled Bang, The Earth Is Round. Some songs sound so much like XTC that
Partridge could sue.  Another apt band comparison might be Possum Dixon,
who's also from L.A., sounds "nervous" and echoes early-'80s New Wave.
Unfortunately, the Sugarplastic's lyrics are just so-so. It's not a great
album, but definitely worth some listens. The Sugarplastic have one
previous record, but it's on a small independent L.A. label that probably
isn't distributed very widely.

Unless you're boycotting Geffen (!), take a listen and see what you think.
Whether the Chalkhillians enjoy the band or not, I have a feeling that this
post will be only the first of many discussing this group. Or maybe the
Sugarplastic has been mentioned before, and I just missed seeing it.

Of course, the irony of Geffen signing an inferior XTC soundalike is truly


PS  There's nothing more tedious or pointless than people bragging about
how varied their musical tastes are. However diverse you think you are (I
have Richard Harris filed next to Half Japanese...shrug), there's ALWAYS
someone else who can make you seem like a narrow-minded twit. So let's drop
the oneupping, OK?


Date: Sat, 20 Apr 1996 14:55:00 -0700
From: Christie Byun <cbyun@ocf.Berkeley.EDU>
Message-Id: <199604202155.OAA17058@locusts.Berkeley.EDU>
Subject: XTC nail polish?

I just read in my May issue of Vogue that a cosmetics company named M.A.C.
is putting out a nail polish color entitled XTC.  I wonder if they're
going to pay royalties.

I had an XTC dream last night--Andy was in my area, working in a recording
studio.  Word got out and I (and many other fans) went down to plague him
and get his autograph.  When I finally met The Man, I was so darn overwhelmed
that I couldn't even get a word out!  Anyway, he was very nice and gave
me a ticket to a solo acoustic show he was giving that night.  So I go to
the show (and the auditorium is pleasantly packed), which is very good--
he performs some "new" XTC songs, then after a while, Colin shows up to
perform with him.  Too bad I woke up in the middle of the show.



From: Ben Gott <>
Subject: Fields
Date: Sat, 20 Apr 96 19:17:00 edt
Message-ID: <>

Here's my review of Fields album, "Crooked Castles on Mountains of Want."
If you're interested, e-mail me or the album's producer, Colin Wright:

I love this album more each time I listen to it. "Crooked Castles" is in
some fine company, along with:

                              XTC - The Big Express
                       Mike Oldfield - The Songs of Distant Earth
                              Sting - The Soul Cages

Fields ends up (for American comparison) being a cross between Pearl Jam
and Dave Matthews Band, but better. Even from track one, I was amazed at
what this band (with the help of fully capable producer Colin Wright) had
put together.

The disc starts off with what ends up ultimately being one of my favorite
tracks, the electric guitar and saxphone twinged "Steel Can of Reason."
Anthony Polson's incredible sax melodies pervade this album, but are
especially evident on this track.

The album moves along quite nicely, alternating between electric, heavier
tunes, and light acoustic ones. Probably the most interesting songs on the
album are "Echinacea" and "Harm." While "Echinacea" is a more powerful
electric guitar driven song (with some exceptional bass playing by Matt
Johnson), "Harm" is a haunting ballad that focuses on Field's exceptional
music and poignant lyrics.

Possibly the most accessible song on the album is "Peacetime". Again, it
contains a great sax solo by Polson, and allows Rod Cockle to show off his
wonderful voice. The next song, "Winds Change," demonstrates Brian Cachia's
incredible drumming skills, which are certainly evident on all of the
tracks of the album.

A word must also be said about Colin Wright's production and mixing of this
album. Many times, a bad producer ruins an album; Wright seems to add his
"pop sensibility" to " Castles ", making it run very smoothly. Nothing is
too far out in the mix; none of the instruments crowd each other or compete
for center stage. (I listened to this album in surround sound, which makes
this even more evident.) Wright seems to have taken Fields musical ability
and turned it into something everyone can enjoy.

I'd urge every lover of good music to go out and buy this album. Buy two:
one for home, one for work. Buy 'em as gifts. Get the word out. "Crooked
Castles" is exceptional!


"A lie for a lie, but the truth for the truth..." (Partridge)


Date: Sat, 20 Apr 1996 22:25:39 -0500
Message-Id: <>
From: JH3 <>
Subject: Demos 8

Chalkies:, who may just be the ultimate XTC collector in the entire
world, beat me to the punch on the tracklisting of the latest Japanese demos
bootleg. But I thought I'd add a few minor details for anyone considering
shelling out big-time cash for this CD:

1. The song listed as "Now We Are Dead" on the CD is actually a song called
"Jacob's Ladder." Actually it *might* be called "Now We Are Dead" or "Now
We're All Dead" for all I know, but I don't think so.

2. The version of "Monkeys in Human Skin Suits" is still just Andy by
himself with a guitar in his bedroom, not a miraculously-unearthed full-band
version. (And where's "Pearl"?)

3. The version of "Bags of Fun With Buster" is a demo, not the
fully-produced ultra-rare ultra-overpriced-if-you-can-even-find-it
Viz/Fulchester 45 version. And it has John Otway singing on it, just like
the single.

4. "Us Being Us" is a Barry Andrews tune; I wish there more of them!

5. There are some relatively humorous, though non-essential, "found" spoken
bits by Andy at the beginning and end, and a couple of places in the middle.
Mostly from old studio tapes. Not interesting enough to transcribe right
now, at least...

-John H.


Message-Id: <>
Date: Sun, 21 Apr 1996 23:22:13 +0900
From: (Ted Mills)
Subject: disparate...yes

Alizarene sez:

>Disparate albums?... Hah... you are so quick with fear you tiny fools (to
>quote Dr. F.N. Furter)
>I have in my backpack currently --
[snip snip]
>Eno - All 4 rock albums

But of course!

>Bauhaus - Mask
>Complete Robert Johnson, volume 3

Volume 3?  I thought all he made, alternative versions and all fit on those
two CD's put out a few years back?

If you want disparate, ask me to make you a mix tape.  Public Enemy edits
to bluegrass to Rolling Stones to Japanese Pop to tape loops.


Ted Mills                                   "Money doesn't talk,
Crystal Mansion 201                                it swears..."
Shimotakatsu 2-3-21                                         - Bob Dylan
Tsuchiura-shi, Ibaraki-ken
Japan 300                         


Message-Id: <>
Date: Sun, 21 Apr 1996 13:47:13 -0400
From: Bill Godby <>
Subject: Is Erik Anderson alive?

>Subject: remember the video tape tree?
>Remember the video tape tree from last fall?  I know that Erik
>posted the list a while back explaining the delay(s) - but it has
>been 6 months now.  Not to annoy anybody, but have folks been
>receiving tapes lately, or at all??

I am inclined to believe either Erik is demised or I've been duped. I have
written him several times, being quite polite and inquiring as to his state
of health or non-health and haven't heard a single word. Are you out there
Erik? Did you buy anything good with my $12?
Bill Godby
University of Michigan


Date: Sun, 21 Apr 1996 23:51:33 -0400 (EDT)
From: "Jennifer L. Geese" <>
Subject: Re: diverse faves
Message-Id: <>

My collection includes not only XTC (of course) but Jimmy Buffet, Andrew
Lloyd Webber, the Bangles and Weezer.



Date: Mon, 22 Apr 1996 10:30:32 GMT
Subject: The results are in...
Message-ID: <>

Hello all.

(Read in a funny nasally voice)
And here are the results for the Tribute Tape.......
Living Through Another Tribute, seven thousand votes.
I Need Production, seven thousand votes.
Is This Pop?, eight thousand votes.
Chalkhills' Children, nine thousand votes!

It was very close and very exciting to count the results.  So the
winner is CHALKHILLS' (apostrophe very important) CHILDREN.

Thanks for everyone who voted,

Dames TWD

Ps.  The number of votes are out by a few orders of magnitude!!!!
Pps.  Congrats everyone, it look like we are all getting the hang of
using proper subject lines rather than just 'Chalkhills #2-#103'.

(Life is good in the greenhouse:XTC)


End of Chalkhills Digest #2-104

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