Precedence: bulk
Subject: Chalkhills Digest #2-108

         Chalkhills Digest, Volume 2, Number 108

                  Tuesday, 30 April 1996

Today's Topics:

                 a tiny Residents mention
                       Sad sad day
                   Andy's (copy)rights
                 Re: chocolate fingers...
                      Mitch's report
                   High-schoolers & XTC
                        The irony
               Re: Chalkhills Digest #2-107
                 Bootlegs and the New LP
                      post-Sky ToDD
        re: Mystery Virgins and Snowballs' Chances
                    I'm a Toddler too!
                 xtc influenced music....
    Re: When You're New To Me I Have Difficulty: Why?
     When You're New To Me I Have Difficulty: Part 3
     When You're New To Me I Have Difficulty: Part 2
     When You're New To Me I Have Difficulty: Part 4
               "XTC" used in advertisement
                  Q Magazine's Surf's Up
              Re: Andy on Gabriel 3 (#2-107)
             Chains, Damn Bands, Under Stress


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The cozy caress of lust and beer.


Date: Mon, 29 Apr 1996 13:44:03 -0400 (EDT)
From: "Tom X. Chao" <>
Subject: a tiny Residents mention
Message-Id: <>

I just bought a copy of The Residents "Commercial Album" (ESD) when the
AP/Residents thread turned up here.  Weird!  The "Commercial Album," by
the way, consists of 40 one-minute songs.  The ESD reissue adds 10 (!)
bonus tracks, making it a 50-song disc!  I highly recommend it.

P.S. What happened to the David Byrne flame war?


From: Ricky Kreitman <>
Subject: Sad sad day
Date: Mon, 29 Apr 96 11:03:00 PDT
Message-Id: <>

I was in Sam Goody (at Universal City Walk) yesterday and saw Oranges and
Lemons on the bargain rack (for $5.99) next to Whitesnake, Cher, Def
Leopard, and Gordon Lightfoot.


Message-Id: <v01540b00adaab4153bc2@[]>
Date: Mon, 29 Apr 1996 13:04:57 -0500
From: (David Carson Berry)
Subject: Andy's (copy)rights (Mitch Friedman) writes:
>Virgin owns the rights to
>everything they've ever done and Andy never will. In fact, the closest
>he'll get to owning his catalogue is that 70 years after he dies, his
>relatives will inherit the rights to the songs.

Not in this country (nor any other that I know of).  Currently, for
post-1977 works, U.S. copyright is good for the life of the author plus 50
years.  After that period, it's *public domain*.  For pre-1978 works, by
the way, copyright is good for 75 years from publication (or copyright
registration, if unpublished).  Thus, we are already seeing music written
1920 and before go into public domain (copyright expires Dec. 31 of the
anniversary year).  Whether by Igor Stravinsky or Irving Berlin, there is
now a lot of music that is legally free to use.  (Though, many early works
were later "revised" in some way, and so the copyright has been essentially
"extended" in many cases.)  If Andy's heirs can somehow claim rights to a
song 70 years after his death, I, as a composer, would certainly like to
know how.

--David Carson Berry
                  _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
                /                                           \
               |  =========================================  |
               |  =           David Carson Berry          =  |
               |  =       Music Theory & Composition      =  |
               |  =      Yale University [Fall 1996]      =  |
               |  =     Internet:     =  |
               |  =========================================  |
                \ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ /
                 \ _ _ _    "A dry, sardonic verb."  _ _ _ /
                         \ - - - - - - - - - - - - /


Date: Mon, 29 Apr 1996 13:02:09 -0500
Message-Id: <>
From: (Christopher Kasic)
Subject: Re: chocolate fingers...

     in Chalkhills 2-102, Martin Monkman said:

      >  And the replies of Simon ("an instrument of the devil ... must be
      >  eaten in multiples of six") and JP ("As loved by generations of
      >  English grannies") had me ROTFL!  You two hit it spot on.  BTW,
      >  they are readily available here in Canada.

     A pox on the U.S. candy market!  ;)

     Seriously, I just drove to Canada with my fiancee [listening to XTC]
     and, among other things, picked up a dozen or so of those good
     honeycomb, coffee flavored chocolate bars from Cadbury. The clerk's
     response: "American, right?" Next time, it's chocolate fingers!

     King [of the off-topic, but short, postings] for a Day...



Date: Mon, 29 Apr 1996 11:55:01 -0700 (PDT)
Subject: Mitch's report
Message-id: <9603298308.AA830804189@FINSMTP1.FIN.GOV.BC.CA>

  I came away from reading Mitch Friedmans's post (Chalkhills #2-107)
  very disheartened.  It seems less likely than ever that we'll get a
  new album this year (although the proposed "Somesuch" album and
  other compilations are something to look forward to).  I can't
  imagine that the legal dispute could be settled, a new contract
  negotiated, and a new album recorded, mixed, pressed, packaged,
  hyped, and shipped in the 8 remaining months.  So here's to '97 ...

  I'm saddened that bootleggers have made artists (Andy is but one)
  more possessive of their creations.  It's bad enough to hear that
  the "legitimate" recording companies are ripping off the artists.
  But as evidenced by the "Somesuch" proposal, authorized releases of
  the demos (a "Basement Tapes" approach) may be a way for XTC to
  fulfill their obligation (the four albums still owing) while at the
  same time making the boots redundant.  It's my understanding that
  XTC won't be able to release the demos under any other label anyway
  (i.e. Virgin owns the demos as well as the song publishing rights).

  And there's the new songs to consider ... please don't let these
  fall into the wrong hands!

  song choice:  "Cynical Days"


From: Ben Gott <>
Subject: High-schoolers & XTC
Date: Mon, 29 Apr 96 15:07:00 edt
Message-ID: <>

Hi, Chalkies:

Good news! My roommate just bought "White Music"! He loves XTC, and wants
to buy many more CDs. See? My generation is not lost (yet...)


XTC SONG OF THE DAY: Tissue Tigers


Date: Mon, 29 Apr 1996 14:13:51 -500 (CDT)
From: Lars Schubert <>
Subject: The irony
Message-ID: <>

He scolds you (and himself):

We are all a bunch of satellites gumming up the atmosphere, rabid for our
musical feed, which we really do not need.

Am I the last one to find hypocrisy in our postings about "the
intellectual superiority" of XTC's lyrics and fans, or irony in that fact
(along with the fact that Andy doesn't want anything to do with this list
of his greatest fans)?

Would it be unrealistic to consider that to an outsider, we may look like
a pathetic group of snobby gits who concert far too much of our spare
time being generally unproductive?  Or that to an outsider, we may simply
look like a big bunch of wankers from time to time?

Then again, it would be really unsound to be even seen talking to someone
like that...

Wow.  This post is heavy, yet shallow.  This is a great list, and XTC is
my favorite band (ummmm... they are just a band, aren't they?), but
sometimes I just wanna scream...

You're all (aaaaaaaaaiiiiiiiiihhhh!!!!!!!)..., well, almost all, great.
I mean, I'm not so great, and maybe there are a couple other people out
there who... naaaah.  I'll crawl back under my simple, out-of-orbit shell
and continue lurking.  Please look in the mirror before you start flaming
me.  I know I'm a little out of order here, but I can anticipate the
tenor of your fiery fingers... otherwise I wouldn't be on this list, and
I wouldn't have addressed this reflexively... hell, I would have made it
instrumental.  Wow, I guess I really DO need that new album...

-Another Pseudo-intellectual, Smart-ass, Rabbit Mayor of P.C.-ton

P.S.  I'm not Andy and I do like at least 10 recording artists, some of
whom INCLUDE members who are non-white, non-males. Now, I must bound off to
hear my brand new, lunch-money ransomed "Pellets, Lettuce, and Saltlick" CD.


Date: Mon, 29 Apr 1996 16:05:13 -0400 (EDT)
Message-Id: <>
Subject: Re: Chalkhills Digest #2-107
From: Julian Weiss <>

>Another friend had trouble
>grasping them: "When did this record come out?" he asked, bewildered,
>when I played him "Go 2," and his response to seeing XTC in "Urgh!" was
>"Who *are* these guys?"  But he's never insulted them or said he dislikes
>them.  He just doesn't get them.

As we fans of Mystery Science Theatre 3000 say, "The Right People Will
Get It".



From: Benjamin Woll <>
Message-Id: <>
Subject: Bootlegs and the New LP
Date: Mon, 29 Apr 1996 16:53:25 -0400 (EDT)

Since it seems that XTC will not be making a studio LP within the next
year (at least), I think that Andy's Demos provide XTC's fans with a bit
of a treat - and what is wrong with that?  If Andy is worried that the
demos are not showcasing his best material - that is OK - we all, as
reasonabely intelligent people understand that everything he touches is
not genius, and that one of the big decisions the band has to make while
recording a record is which songs are fit and which don't.  (This is an
area XTC has had problems with in the past, the best parts of Mummer are
not the bonus tracks on the CD, Wait Till Your Boat Goes Down only on
Waxworks, and some of Colin's tunes like The World is Full of Angry Young
Men and Down A Peg have become castoffs, unheard by some of XTC's biggest
fans).  So, let us decide.

If Andy is concerned about the money, he should release a solo LP, and the
same goes for Colin.  Yes, it might hearken the breakup of a great band,
but the music must live on past these legal squabbles.

I know that the rantings of a frustrated fan might not be interesting

A thought on XTC's lack of popularity:  I agree that their songs are
lyrically and musically complex and clever, but REM and U2 have some
equally difficult, but still popular material. The lack of touring does
not help, but Steely Dan became huge without the benefit of performing
live for years at a time.  Nat Jacobs hit one big nail on the head about
the "happiness" so much of XTC's material effuses.  My sister complains
that the "singalongability" and "bounciness" of tunes like "You're a Good
Man Albert Brown" and "Mayor of Simpletion" does nothing but annoy her.  I
think that many modern rock fans have something against melody - and XTC
reeks of melody, especially when compared to the likes of Pearl Jam,
Nirvana, Live, and even REM.

I believe that another important contributor to XTC's modest commercial
success is Andy's voice.  It took me a few years to fully appreciate
Andy's range and tone because, quite frankly, his timbre is not
immedaitely appealing.  I hear complaints about his voice from friends all
the time, and I can only respond by saying that it  grows on you.  I
think XTC would be more successful (notice I didn't say better) if Colin
sang everything.

So, screw Virgin, keep trooping onwards Andy, Colin, and Dave, and give me
some new XTC.  My trigger finger is itchy.

Cheers, Ben


Message-Id: <>
From: JoE Silva <>
Subject: post-Sky ToDD
Date: Mon, 29 Apr 96 15:22:02 EDT

I'm fairly certain that I read Todd saying something to the effect that
Geffen paid him good money to do what he thought was
best with the material, and as the on paper producer
he wasn't going to subjugate himself to Andy's will/eGo.
But both of them have had a decent time to mull over the
experience now, and I'm sure they're both none too
sensitive about the issue. I think Andy told countless
interviewers that he felt like he had to put "Todd's kicking
JoE Silva
Senior Contributor
Consumable Online


Date: 30 APR 96 10:26:35 EST
Subject: re: Mystery Virgins and Snowballs' Chances
Message-ID: <>

Keith Hanlon asked in #107 whether Virgin's changing hands may "affect our
boys' contract disputes". This question apparently arose from a news item he
saw on CNN.  The former head of Virgin records was Richard Branson. He sold it
to EMI in, what, '92? '93?  He went on to concentrate on other ventures,
including his airline, Virgin Airways.  That this news item moved from
discussing record companies to airlines would seem to confirm that they were
indeed discussing Mr Branson.  You can see him dressed as a General in the
"Generals & Majors" promo video.

Richard Branson was well out of the picture before the current contact
disputes between XTC and Virgin escalated.  But the guys copped a fair
rogering from Virgin throughout their career by all accounts.

So no, Keith, I don't expect this "news" will have a bearing on the dispute.
Hope this helps.
Paul Culnane. Canberra. Australia.


Date: 30 APR 96 11:38:08 EST
Subject: I'm a Toddler too!
Message-ID: <>

Paul Brantley was discussing Todd Rundgren, playing XTC on his radio show,
in Chalkhills #107.  Who's seen the March edition of "Goldmine" (US
collectors' mag)?  It has a big, long feature interview with Todd. He
briefly alludes to XTC/Skylarking 2 or 3 times but doesn't really add
anything new to the saga.  What is interesting though, is the whole
feature. Fascinating insight into the creative process, at least from
Todd's point of view. Check it out.  (Or e-mail me with your fax number for
a copy).  And while on the subject of Todd, Skylarking and Stratosphear
fans might enjoy these TR albums which I've selected from his vast & varied
"Something/Anything", "A Wizard, A True Star", "Todd", "Faithful", "Deface
The Music". You won't be disappointed.

Paul of Oz


Message-ID: <>
Date: Mon, 29 Apr 1996 10:15:33 -0500
From: Ted Lee <>
Subject: xtc influenced music....

Hello. I'd like to let you Chalkhillians' in on an XTCish treat called Clay
Henry.  While your sitting around waiting for the lads to produce another
gem, you can get your hands on genuinely Andy/Colin/Dave influenced tuneage
from the Atlanta combo Clay Henry. Sort of what you'd get if you crossed
Andy Partridge with Elvis Costello and made him play through Weezer's
amps. Clay Henry has produced two albums of sonic bliss ready for your

1994's No Taang For Ted was a "demo" album of 18 tracks recorded in 3 days
on makeshift 8 track equipment. 1995's Supersize is a scaled down, more
agressive album of sorts (heavily influenced by the Black Sea ideology)
with 13 tracks of pop pinache.

Check us out at

And don't be shy to drop us some email !

Clay Henry and the Anti Matter Quartet


Date: Mon, 29 Apr 1996 23:42:07 -0400
Message-ID: <>
Subject: Re: When You're New To Me I Have Difficulty: Why?

Just got Mummer CD with 6 bonus tracks and became acquainted with it in the
car over the course of a weekend of driving (along with Procol Harum's "The
Long Goodbye".)  As the music gradually grows on me I think of the
Chalkhills thread regarding the lack of more wide-spread acceptance (much
less love) of XTC.  Natalie Jacobs has referred to the emotional brightness
of their music and how out-of-sorts that is with the relative blandness of
the musical tastes of many, and even of those trusted few who have a marked
variety and expansiveness of tastes.  I agree: much of what passes for
interesting these days is quite bland to my taste too; and while some
people may enjoy more substantial things (like Beethoven), that does not
guarantee that they will "get" XTC.

to be continued...


Date: Mon, 29 Apr 1996 23:52:38 -0400
Message-ID: <>
Subject: When You're New To Me I Have Difficulty: Part 3


I think trust and commitment is the key: if a new Kinks or Elvis Costello
CD comes out and I don't get it -- I expect that in time I will, because I
trust that there is something there, and am committed to the task of
finding it.  In the case of XTC, some trusted friends of mine gave me some
XTC stuff to check out.  They didn't come up to me the next day to say
"What did you think of it?"... I came up to them a few weeks later and said

Still, I don't know what it takes to "convert" people to this music. I
don't think I have ever done so successfully (probably because I haven't
spent enough time, or spent it with the right people, trying). I've given
away five O&L cassettes -- no response.  Maybe I should give away CDs or
LPs -- it's easier to skip around on these media -- then things start to


Date: Mon, 29 Apr 1996 23:52:43 -0400
Message-ID: <>
Subject: When You're New To Me I Have Difficulty: Part 2

I would like to add to this my theory of "larger musical forms".  XTC,
Elvis Costello and Ray Davies are three masters that come to mind in the
rock genre some of who come off as merely 'facile' (probably that quality
to which those people who say they 'appreciate' but don't _like_ XTC are
referring) -- i.e., able to shift meters isometrically, modulate to remote
keys and modes, and do things melodically that are almost unthinkable. Such
is often my first impression of the music... that is -- until a piece
starts to become... how shall I say -- 'hummable'!  One problem is that
they are thinking in larger, more expansively developed themes. I do not
think that in each song there are several songs trying to get out... I just
think some songs take a longer time to seep into the average attention span
(I don't mean to insult anyone who holds fast to the opinion I am rebutting
- I consider my own attention span to be far below average).



Date: Mon, 29 Apr 1996 23:52:46 -0400
Message-ID: <>
Subject: When You're New To Me I Have Difficulty: Part 4

I will close with a passage from the chapter in Leonard Bernstein's "The
Joy of Music" entitled "Why Don't You Run Upstairs and Write a Nice
Gershwin Tune" -- an imaginary dialogue between LB and PM. ("Professional
Manager"): PM: "... Your songs are simply too arty, that's all.  You try
too hard to make them what you would call "interesting". That's not for the
public, you know. A special little dissonant effect in the bass may make
_you_ happy, and maybe some of your highbrow friends, but it doesn't help
to make a hit... You just have to learn how to be simple, my boy..." L.B.
"You think it's so simple to be simple?"

I do not make the XTC/Bernstein comparison lightly.  Genius is genius.

Thank you, and good night.


Message-Id: <v01530503adac6215874a@[]>
Date: Tue, 30 Apr 1996 16:34:54 -0800
From: (James Dignan)
Subject: "XTC" used in advertisement

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.

while on the subject of the three sacred letters being used to advertise...
anyone noticed the ads for the movie Exotica (I take it the same ads are
being used worldwide). The word "Exotica" appears on the screen, with every
second letter (that's "XTC", for the numerically challenged) brightly
highlighted and slowly drawing back into the rest of the word.


James Dignan, Department of Psychology, University of Otago.

Ya zhivu v' 50 Norfolk St., St. Clair, Dunedin, New Zealand
pixelphone / steam megaphone NZ 03-455-7807

   * You talk to me as if from a distance
   * and I reply with impressions chosen from another time, time, time,
   * from another time                     (Brian Eno)


Date: Tue, 30 Apr 1996 02:46:38 -0500 (EST)
From: Brookes McKenzie <>
Subject: paper/iron/DAT?
Message-id: <01I44WL59DC2B3X3BA@SMITH>

wow. in the same issue of chalkhills, we saw how andy's demos are money,
property (the currency of record companies and the impoverished artist's
only coin), and treasure/booty (to the fans, some of whom in the right
circumstances might themselves be record-label execs, as in the doug
powell/polygram parable; but who also in their more-or-less innocent desire
for the songs as _art_ provide the water in which bootleggers swim
sharkily), whereas what has always struck me the most about demos as an
object of debate and/or desire is how utterly _temporary_ they are - it
seems lunatic to base a system of economics on a currency that perpetually
decreases in value. No artist can remain invested in a song for ten years,
unless it happens to be the best one she ever wrote. And nine times out of
ten almost all of the demos floating around in circulation immediately
become next to worthless as soon as the full versions come out on the
album.  This is especially true for andy's demos as they are (or would seem
to be) so close to how he wanted the song to be in the first place that the
only changes are in the quality of the production and the energy and input
that DG and CM contribute, by the very fact of their playing if not by
actually changing (bass lines, etc.) the songs. and the songs that don't
get the lucky kiss of an A&R guy's fairy wand of approval take on a sad
ghostlike quality when you know they'll never see daylight as full-fleshed
beings (c.f. "everything" and "living in a haunted heart" - although one
could argue that in a way these particular songs work better in this
plaintive form only, due to their wistfulness that maybe wouldn't be able
to withstand AP's full-speed-ahead studio approach - i think "rook" would
be better that way, certainly), whereas before you knew their fate they had
the cheeky nerve to think that they could be judged on their own merit
rather than some inscrutable (or, horribly, all-too-scrutable) standard,
some hidden expectation that the most promising ones even apparently failed
to meet. this is brought home to me by the recent (last week's i think)
chalkhills listing all the new demos being considered by record co.'s, in
which "prince of orange" and "some lovely (my brown guitar)" are included,
when i think the ONLY reason they are in there is that someone with sense
actually got to _hear_ them - if any comparable person had heard "work" or
"goosey goosey" or any of those songs, s/he would have put them up for
fleshing-out in a heartbeat (i think both "prince of orange" and "some
lovely", while quite nice [particularly the latter], should really be on
the next dukes album rather than the next release of XTC). my point being
that why on earth is virgin so concerned with snatching up all of andy's
demos when we all know that they're going to fuck up royally in letting
them be produced? what good is the currency that, after being fought for
tooth and nail, gets thrown away upon receipt?

		- brookes

"Love is to me that you are the knife which I turn within myself."

		- F. Kafka, letter to Milena


Date: Tue, 30 Apr 1996 11:24:56 +0100
Message-Id: <>
From: (Simon Sleightholm)
Subject: Q Magazine's Surf's Up

Readers of Q magazine may have noticed that the June issues Surf's Up
internet column of Stuart Maconie has a couple of XTC references. I have an
occasional correspondece with Stuart, and some weeks ago I sent him details
of Chalkhills, Beatown, Nonsuch Colouring book and my own page for
inclusion in the column. Stuart being Stuart, he appears to have lost
it. At least he managed to get the Nonsuch Colouring Book a mention. As he
requested in the magazine I have sent him on the details of the other pages

Q are planning a quide to the best band/artist sites on the web. If any
fellow Chalkhillians have any particular favourites they should mail them


* ---------------------------------------------------
* ---------------------------------------------------
It's just a little place, but it's all XTC...


Date: Tue, 30 Apr 1996 11:30:32 -0400
Message-Id: <v01510102adaba697c54d@[]>
From: (Chris Van Valen)
Subject: Re: Andy on Gabriel 3 (#2-107)

Ted Mills wrote:

>At that time, circa 1980, Andy was everywhere.  I guess he was having his
>15 [minutes].  He turned up on albums by Peter Gabriel (III) Thomas Dolby
>(Europa and the Pirate Twins) Ryuichi Sakamoto (B-2 Unit) as well as
>aforementioned Commercial Album.  What happened?

Andy wasn't on PG3, but Dave Gregory played rhythm guitar on one track
only(I don't remember if it was "Family Snapshot" or "And Through the

Someone posted about Andy doodling at signings. I had a similar memory of
this. I offered my copy of Nonsvuch for him to sign. In addition to the
signature he drew a little stick figure on one of the castle's parapets
yelling "Hey Chris!!!". My girlfriend gave him our copy of Skylarking and
he signed and drew musical notes coming out of the flute with the words
""Ooooh Jackie!"


If you have an unpleasant nature and dislike people
this is no obstacle to work.
                                --J.G. Bennett

Catch "Forever Knight" on the Sci-Fi Channel every Monday at 8PM and
midnight, EDT.
                                --Lucien LaCroix


From: Bob Thomas <>
Subject: Chains, Damn Bands, Under Stress
Date: Tue, 30 Apr 96 11:44:00 CDT
Message-ID: <>

I'm awaiting vol 2 #108 to read the reaction to my mostly Eric Matthews
post, but I wanted to discuss a couple ideas from #107.  First,

Natalie Jacobs writes:
>the perplexing question of XTC's lack of popularity, there's a common
>reaction I get in my attempts to convert others to XTC's music.

I know that reaction and I have written about it in this digest.  When I
wrote about it before, posing the same sort of question -- what is it about
XTC and their music that makes people say "huh?" -- someone wrote an
excellent thought about how their music is imbued with "quality" of a the
kind written about in Zen And The Art Of Motorcycle Maintenance.  (Sorry I
don't remember who that was, and if I were less of a lazy slog, I'd look it
up in the archives.)  That quality comment rang true for me.  The fact is,
many people don't care about music (or cars, or motorcycles, or gardening)
enough to hear and see those attributes.  We can only hope they care enough
about other things.

Then there's the question of taste based on experience or lack thereof.  My
old friends still listen to Bob Dylan from the 1960s and the Grateful Dead
>from whenever.  I love Bob Dylan but I wish he were making records like
Peter Blegvad's latest.  I don't like  the Grateful Dead, never have, never
will.  There must be something wrong with me.

I realize, though, that these friends don't listen to music the same way I
do. They don't listen as carefully, anyway, and as a result, they don't have
a need for well crafted music like XTC.  They'll say to me "That Hootie guy
is pretty good."  "OK," I say.

I can't explain why Natalie's sophisticated friends don't get XTC.  My
theory is not complex enough, but I think she's right to suggest that the
emotion in the music plays a part.  And emotion in the listener.  Van
Morrison's fans can listen to him sing doo-doo-doo and dip-dip-dip all day
long and feel good about it.  I'm one of them, so I should know.  XTC
reaches deeper and wider.  Listen to Andy sing "High climbs the summer sun.
. .", then listen to that Billy Idle imitation at the end of Outside World,
"You can keep your animals".  I love music. I need more of it.  Other people

Ah well, that's this thread over.  Second,

Adam J. Osterman, thanks for your Eric Matthews comments.  I don't think you
should have implied that he sounds like XTC, though.   I will look into this
SUGARPLASTIC stuff.  And Third,

Sorry, Melissa, for the lack of XTC content in my last post.  Hope your work
is going well.

Hasta Luego


End of Chalkhills Digest #2-108

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