Precedence: bulk
Subject: Chalkhills Digest #2-125

         Chalkhills Digest, Volume 2, Number 125

                  Tuesday, 25 June 1996

Today's Topics:

                  Re: Singapore surprise
                      Re: Go 2 Cover
                   Go 2 Cover, Casanova
                Re: Go2 album missing text
                      sailing in xTc
           Squeezing Paul, Tony, Chris and Bob
             Re: Giles Smith - Lost in Music
                     Sloppy Snipping
                   Producers, drummers
                 Drummers and Discipline
              Theater Majors; Yazbek; Belew
                      Beatnik Beach
                  frozen categorization
                     Strange XTC link
               A blast from the past... ???
                      missing words
              from the Elvis Costello list.
                   rhymes with egg bad


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Y'see me shuffle in the dirt.


Message-ID: <>
Date: Mon, 24 Jun 96 12:08:00 -0500
From: dgershmn <>
Organization: AMS
Subject: Re: Singapore surprise

Matthew E Lewis mused:

>Why is it that hearing familiar music by surprise is often more powerful
>than when we play the same stuff by choice at home?

I often wonder the very same thing myself. I frequently find this
phenomenon to be the case when I'm at a club to see some live music and
they'll play recorded music between sets. A song will come on that I have
at home that I normally already like, but oh how great it sounds in that
random context! I usually end up having to put on the album (whichever it
may be) as soon as I get home. I used to think that maybe it was just the
fact that these songs were being played at a much higher volume on the
club's sound system than I'd be playing them at home -- though that may be
a factor, I don't really think that's it. To get a little more analytical
about it, I think it has to do with the song standing on its own, apart
from the album...played along with the rest of the album it may be great,
but it's part of a larger whole that becomes the usual context in which you
hear it. Separated from that usual context, it stands out on its own as a
unique work much more. I use this thinking sometimes when putting together
mixed tapes for friends.  Secondly, there may also be something of a
feeling of validation of the song's quality that someone would single it
out to play it (I'm thinking more of songs that you wouldn't necessarily be
hearing on the radio all the time already, by the way). I often find myself
thinking in these cases, "Damn! That IS a great song, isn't it!!" Anyway, I
wish I'd find myself being "surprised" by XTC songs much more
frequently. I'll settle for loving them in any context, I guess. :)

Dave Gershman
"Don't lose your temper, 'cause I'd hate you to grow mild"


Date: Mon, 24 Jun 96 09:30:03 PST
From: "Sean Robison" <>
Message-Id: <>
Subject: Re: Go 2 Cover

-From: (Alan Glenn)
-I'm sure others have noticed that on the back of the Go 2 CD there is a
-large, angled rectangle of text missing. It looks like someone set the edge
-of another piece of paper over the track listing when the back sheet was
-printed. The same thing happens on the US CD and also on the UK picture
-disc CD. Anyone know what this is about?

At first, I was taken by this, thinking that some horrible error had
occured at the printing facilities. HOWEVER, take out the booklet and open
it up. You'll find a small triangular block of text running off the edge of
"page 2". Line that up with the missing chunk on the back cover. PRESTO!
There's the entire block of text.

And add my voice to the group of people who think "Nonsuch" is a wonderful
album. While it's a bit more 'straightforward' (if such a word can actually
be applied to something by XTC) than their earlier efforts, it still
contains some wonderful songs - "The Smartest Monkeys" is my particular
fave, mostly due to the fluidity of the music and the wonderfully sarcastic

See ya's

Sean Robison


Date: Mon, 24 Jun 1996 10:09:32 +0100
Message-Id: <>
From: Simon Sleightholm <>
Subject: Go 2 Cover, Casanova

Alan Glenn wrote:

>I'm sure others have noticed that on the back of the Go 2 CD there is a
>large, angled rectangle of text missing.

The missing piece of the Go2 cover should be printed over one corner of the
inside of the CD insert, allowing you to line the two up and read it. The
text on the insert, when postitioned, actually spills quite a way over the
edge of the CD case. I haven't a clue why this was done, except maybe as
some ironic twist to the packaging - it's covered with words, but the only
words of functional use, the track listing, are partially obscured. wrote:

>It's by kindred soul Neil Hannon, a.k.a. The Divine Comedy.  It's called
>"Casanova", and it's intelligent, urbane, witty, grooving, melodic,
>symphonic, harmonic, and spellbinding.

It IS wonderful isn't it? What a voice the man has. Plus, it has to be
said, all due worship must be afforded to the man who wrote the theme music
for Father Ted.

(Becoming MORE like Alfie)
* ---------------------------------------------------
* ---------------------------------------------------
No Thugs In Our House, only XTC.


Message-ID: <>
Subject: Re: Go2 album missing text
Date: Mon, 24 Jun 96 08:18:58 -0500
From: Rednoise <>

Some one asked about the Go2 album and it's missing text.
When Go2 was released on vinyl, the missing 'angled rectangle' of text was
printed on an insert inside the cover itself. You had to pull it out and
line it up
to read it. The insert also folded out(if memory serves) and had head shots
of the band on the back. I think i still have it stashed away somewhere.
The 'trick' never passed on to the CD age.
Alan Page


Date: Mon, 24 Jun 1996 10:29:33 -0700 (PDT)
From: Thomas Long <>
Subject: sailing in xTc
Message-ID: <>

Re fire/work/weather imagery... what about all the boat/sailing/sea
imagery?!  I remember buying the Grass 12" when it came out, dying to hear
what direction xTc would in '86...  and when I heard the word "boats", I
fell about laughing... it seemed to have no connection whatsoever with
anything, and yet given all the other nautical references in their back
catalogue I should have seen it coming... thomas

ps on a non-xTc related note, the Byrds' reissues are terrific... if you
   were hesitating, don't!!!


Date: Mon, 24 Jun 96 13:35:26 CDT
From: "Bernhardt, Todd" <>
Message-Id: <>
Subject: Squeezing Paul, Tony, Chris and Bob

Hey, Chalkaholix!

From: (Stuart McDow):
>take a closer listen to Colin's bass on "What in the World?". Again
>bass creates second melody, and Colin's line is much more interesting.
>Not only that but it's got a real _groove_. IT ROCKS!!

Ah, but Stuart, consider the source. You gotta give Pauly credit for being
a great player in his day. He's a bit of a pud now, of course.  :^)

>  And I'm not sure about your claim that they believe the claims that
>  they are/were the next John/Paul -- at least, they've always come
>  across as humble in any interview I've read.

Sorry, Martin -- should have put an "IMHO" disclaimer in fronta that one.

>  And I'm sorry to hear that you had a bad time at the Squeeze show.
>  I've never seen them, but know some folks who saw them play a great
>  show in Vancouver in the late '80s.

I didn't have that bad a TIME. They just sounded bad, and gave a less-than-
inspired performance (actually, I was pretty impressed with Glenn Tilbrook).
Actually, I was with someone I quite liked, and we had fun watching the
teeny-bopper gurlz in the bleachers all dancing to different tempos (all,
of course, different from the tempo of the song the band was playing...)

From: (Don Lindbergh)
>Exactly.  A great engineer does not necessarily a good producer

Hmmm. I wonder what Hugh Padgham would say to that one...

Dave, from: studio 17 productions <104151.1063@CompuServe.COM>, sez:
>speaking of COLIN, I never put my three cents in about his bass playing.
>there have been several interesting comments, but i'd like to present a
>general thought: musicians can't necessarily be compared "apples to apples"
>shall we say.  the comparison that sparked this in my mind was to Tony
>Levin.  Tony is probably (TECHNICALLY) the most amazing bassist living;
>however, people like COLIN (and early McCartney, Bruce Thomas, etc.) are
>MELODIC PLAYERS.  their skill level is nearly as good, but it doesn't
>really need to be. they have a knack for counterpointing the melodic
>elements of the song, and underpinning with a great melodic feel.

Agreed. But the thing that blows me away about Tony Levin is that he can
do both -- he's obviously comfortable in any musical situation.

>Tony Levin (and Chris Squire for another example) CAN play like this, but tend
>towards sheer excessive technique instead (actuall C. Squire spans both
>fields, and Tony does in some isolated instances, ergo the bass solo in
>VROOOM).  this is leaning more towards the jazz/improv side, while the
>Colin/Paul/Bruce school are the pop melodists.

Actually, though Chris Squire holds a special place in my heart (Close to
the Edge is STILL one of my favorite albums and he and Bruford were a rather
fantastic rhythm section), I prefer Colin and Tony to him -- they're more
versatile musically, IMHO. And check out Tony's prodigious studio resume for
evidence of his melodic side -- VROOOM probably isn't the best example since
the middle part is a line that Fripp undoubtedly wrote. But the rest of his
playing on THRAK is VERY melodic and is one of the high points of the

>final note on the Adrian Belew producing XTC thread: Joe said Adrian
>laughed and said he didn't think he'd have a problem [working with Andy]
>with it at all.
>then Todd said in reply "The man works with Robert Fripp on a daily basis".
>I assume this is meant to indicate that after working with Robert Fripp you
>could work with anyone.  Fripp continues to carry this stigma of being
>unapproachable and difficult to work with.  I'd suggest that Todd should
>ask Adrian what kind of person Robert is and what it's like to work with
>him.  I think he'd be surprised by the reply.
>perhaps I should start a BE NICE TO FRIPP society!

Hey, you left out the little smiley-face-thang I put next to that statement!
Don't worry -- I was referring more to the rep than to the man himself --
eccentric, moody little genius that he is...

Besides, anyone who hires Barry Andrews to play keyboards can't be ALL bad!

Glad to have Chalkhills in my mailbox again! Hope you had a good
vacation, Relph-san. Here's to the brilliance of Nonsuch, and hey, KB305,
as one cynical ex-musician to another (am I right?), nice synopsis of
the recording industry!  FunkPopARoll beats up my soul ...



Date: Mon, 24 Jun 96 11:08:58 PST
From: "Sean Robison" <>
Message-Id: <>
Subject: Producers

My suggestion for the next producer: How about Rick Rubin? So far, he's
managed to produce (in my always less than humble opinion) the best albums
in both Mick Jagger's and Tom Petty's careers ("Wandering Spirit" and
"Wildflowers" respectively).

His production style is powerful, yet clean and it seems that he allows the
artists a good amount of artistic freedom.

That's my two cents into the change bucket.

Sean Robison


Date: Mon, 24 Jun 1996 21:16:57 +0300 (EET DST)
From: Tommi P Uschanov <>
Subject: Re: Giles Smith - Lost in Music
Message-ID: <Pine.OSF.3.91.960624211330.30819A-100000@vesuri.Helsinki.FI>

On Tue, 18 Jun 1996 Giancarlo Cairella wrote:

> I've just finished a very entertaining book, "Lost in Music - a pop
> odissey" by Giles Smith. He's one of Q magazine's staff writers and former
> member of Martin Newell's band "The Cleaners from Venus".
> Best and funniest music book of the year, or of the decade, for me!

I second that emotion -- I cannot praise this book enough! (In fact the
only reason I haven't mentioned it before was that I don't read every
line in every digest, and thought that it might already have been
discussed to death...)

T P Uschanov (Mr), University of Helsinki, Finland, European Union ###
      "Omnia praeclara tam difficilia, quam rara sunt."
                 (Baruch Spinoza, 1632-1677)


Message-Id: <>
Date: Mon, 24 Jun 1996 11:46:47 -0700
From: Bob Estus <>
Subject: Sloppy Snipping

Alan Glenn lettered:
>I'm sure others have noticed that on the back of the Go 2 CD there is a
>large, angled rectangle of text missing.

   Being late to come to senses I started collecting XTC when their music
had been transferred to CD's. When I bought Go2 It was obvious that the text
had been altered from the 1978 pressing, "This is a COMPACT DISC COVER".
With that I felt a bit sad that I had a forgery of the original. But what
else was I missing from the original? Look here, text missing, a printers
mishap, or nobody bothered to proof the master carefully? And the inside,
clipped text and yearbook quality layout. I must be missing something.

   It was months later when investigating the song order that the pieces
came together (HINT). Only to reveal the mistyped "Battery Bridges" instead
of "Battery Brides". Which led to a self indulgent smirk "you see, they were
a bunch of sloppy dogs". Or are they playing with me?

mind the gap,


Message-Id: <>
Date: Mon, 24 Jun 1996 21:32:12 -0500
From: johanb <>
Subject: Producers, drummers

OK, this is my first posting, so I guess I have to introduce
My name is Johan Bengtsson, I live in Sweden in a place called
Partille which is close to Gothenburg. I'm 26 years old. I study
media and communication at the university in Gothenburg. I like
XTC because of their weirdness, orginality and their roots in
60's music. I'm also a fan of Jimi Hendrix, Spirit, Kinks,
Steely Dan and The Eagles(*hehehe*).

Charles wrote:

>I wonder how Andy and Walter Becker would get along? Or perhaps
>Walter isn't dreamy enough for the boys. I know he did a great job on
>Rickie Lee Jones' "Flying Cowboys", although it was recorded a bit low.
>Guess that is the engineers fault, however. Just a thought! Or how about,
>this may sound left field, Steve Winwood? All things considered, Steve
>has made some really good music in his career; especially with Traffic. I
>think a collaboration between he and Andy would be very interesting

Becker and Winwood-that's really inspired choices IMO.
Especially Becker would be excellent.

I have my own candidate for the producers chair though:

Why? Because a) he's a genius b)he was the man behind the greatest
psychedelic rock lp of all time-"Twelve dreams of Dr. Sardonicus"
by Spirit.

Behind the drumkit I want ED CASSIDY.
Why? Because a) He's the words oldest rockdrummer (73) and has
more than 25 years experience of playing psychedelic rock.
b) Since he used to be a jazz drummer he could add some more
jazz influence to XTC's sound-that would would be great.

Maybe the album should be co-produced by Randy California and
Walter Becker-they would probably get along well since Randy
once taught Walter how to play blues-guitar!

All the best

* ---------------------------------------------------------------------
"TENT OF MIRACLES                       "Life has just begun"
-the unofficial SPIRIT homepage"               -Randy California.
* ---------------------------------------------------------------------


Date: Mon, 24 Jun 96 15:35:19 CDT
From: "Bernhardt, Todd" <>
Message-Id: <>
Subject: Drummers and Discipline

Hi, Chalkholios:

>But I was wondering about drummers.  Who do you think would be suitable?

Three suggestions:
1) Pete Thomas
2) Pete Thomas
3) Pete Thomas

I'd also love to hear a Terry/XTC reunion, but I fear Terry doesn't have
the subtlety or technique to play with XTC's most recent stylings, which
cover a lot of ground musically. Did I mention that Pete Thomas would be

From: Ted Harms <>
>The collection of stories is called 'Die Struwwelpeter' and contains
>other wonderful stories - the basic moral of all of them is 'Obey your
>parents or DIE'.

Ooh! Where can I get a collection for my four-month-old son?  :^)



Message-Id: <>
Date: Mon, 24 Jun 96 18:12:50 EDT
From: Melissa Reaves <MREAVES@KENTVM.KENT.EDU>
Subject: Theater Majors; Yazbek; Belew

Chalk, chalk, it's oooonly chalk!

I apologize in advance for the lenght, but then I haven't posted for a
while so tough luck.

A while back I was lucky enough to win a prize on Cleveland's local
"alternative" radio station by answering a (very easy) XTC question,
namely, "Who is XTC's main songwriting team?"  Well duh!  I refrained
>from pointing out to the obviously very well-intentioned fellow that
Partridge and Moulding are hardly a "team" in that sense, they just
both happen to write songs.

Anyway, in the course of the conversation, the guy told me that when
he was in college, all the XTC fans he knew were theater majors and
didn't I find that to be the case as well.  Well, I don't find that
to be the case, so I want to ask you all whether a preponderance of
Chalkaholics are theater majors (not that I think you are) or if you
know theater majors who are XTC fans, 'cause I imagine them to be
among the least likely group of people to be computer jocks.

Moving along, I've been waiting quite a while to post this, but the
stars are finally in place, and I hereby offer my review of The Laughing
Man by our very own David Yazbek.

When the official release date came and went and no local record stores
had heard of the album, I sat and waited.  I had read in the ICE or
somewhere that this date was not a nationwide one and that it would
reach the rest of the States later.

One day I was innocently listening at work to my local tiny little
public alternative radio station when a song began to impinge itself
on my consciousness.  Wow! I said to myself, this is really good!  I
wonder what the hell it is?  It sounds almost like XTC!  I had even
narrowed it down to a Colin song.

Of course it was none other than Welcome to my World by, the announcer
announced, the group Yazbek.  I listened the next day and sure enough
they played it again.  It got stuck in my head and evoked along with it
Joe Jackson's It's Different for Girls, Missing Persons' Walking in LA
and XTC's Ten Feet Tall.  I think it was the rhythms. I still haven't
figured it out.

I called my record store and told them WAPS was playing it and asked
them if they would try once again to order it and this time they found

As is often the case, it took a couple-few listens for the album to
really grow on me, but as many Chalkhillians have expressed, it is

Come to think of it, I don't believe I've heard a negative word about
it from any of you.  Is this because we all actually agree on something
(un-bloody-likely) or because we don't want to hurt our fellow listie's
feelings?  I certainly couldn't blame anyone for feeling compassionat, but
I'm curious to know whether Dave (can I call you that?) has done what
no one but XTC has been able to do, and that is to get us all to agree.
Where Alanis, Ben, Freddy, Blur, Jelly, Eric etc etc etc have failed,
Yazbek appears to have succeeded.  Anyone have a negative opinion they're
trying to keep quiet?  E-mail me privately.  Enquiring minds want to

Another question, this one to the man himself.  How did you and Andy meet
and end up working together?  I can trace it back in my mind to "Cherry
in Your Tree" when XTC appeared on Carmen Sandiego Out of this World.
Give us the scoop.

I'll spare you all my song-by-song although I'm dying to give it.  The
whole thing's just intelligent, interesting and thoughtful while
remaining catchy, bouncy and listenable.
And of course it features Andy himself on guitar on two tracks and
producing one.

One thing I find interesting is that I have no idea what a lot of the
songs are about.  With XTC, usually you have a pretty good idea what
Andy or Colin are talking about even if you miss some nuances.  These
songs are more like Neil Finn's (a moment of silence in memory of the
dear departed Crowded House) in that they just seem to be words strung
together that sound good but if the author has any big picture behind
them, I can't discern what it might be.

But enough about Yazbek.  Adrian Belew is currently being bandied about
these pages as a possible producer (no relation to Possible Productions)
for XTC.  I remember it being mentioned a long time ago and at the time
I thought Cool!  Great idea!  But now I'm thinking What has the man ever
produced?  OK, I guess his own solo stuff, which I recommend to any and
all of you out there, but other than that I know of only two things, both
Christian musicians.  Jars of Clay's Flood is a great song and
discernably better than their own self-produced stuff on the album
Then there's some Irish-ish Christian group about which I know absolutely
nothing.  I just wonder if we're jumping on him 'cause he's just a
generaly cool musician without knowing anything about his possible
production qualifications.  Thoughts?

And lastly, I feel very sorry for the Sugarplastic.  The radio guys keep
saying, "no that's not XTC, it just sounds like them" every time they
play TransWorldModalOperator and when I found the CD (used already!)
at the store, there was a Post-It note saying "if you like XTC, check
this out".  I bought it.  Anyway, the similarities are definitely there
but they also sound like a lot of 80's punk-new wave.  These poor guys
are just doomed to be THE BAND THAT SOUNDS LIKE XTC for the rest of
their lives and I don't think that'll boost sales or airplay one little

Anyway, I've gone long enough.  See ya on the new album!!



Message-ID: <>
Date: Tue, 25 Jun 1996 00:02:19 -0700
From: "Charles Lee Lovingood, Jr." <>
Subject: Beatnik Beach

Chances are you will never find the Beatnik Beach record, unless you
discover it in a dusty used record bin. I have a promo copy from its
initial release. We played the title track at a radio station I used to
work at. I must tell you, it is a perfectly awful album. The title track
is okay, but the rest of it? Let's just say that the only reason I still
have it is because it is vinyl, and one of the last vinyl releases I saw.
If you really must find it and hear it, don't say I didn't warn ya!
	Man! It is really storming here on the beach! I love it!

Life begins at the hop!
Lee Lovingood


Message-Id: <s1cf36ea.090@CHEMETALS.COM>
Date: Tue, 25 Jun 1996 00:43:28 -0400
From: Pat McCoach <pmccoach@CHEMETALS.COM>
Subject: frozen categorization

In Digest #2-124 Adam Osterman wrote:

Both Squeeze and XTC (and Elvis Costello, really) are having trouble
with modern record store buyers because, and this is strictly IMO, that
the public still connatates it with their popular new-wave period. Said
problem being the artists have matured, and are now making far more
adult-oriented stuff. The problem with THAT is that the critics (and
seemingly the public, too) expect them to mimic their old ways, and scoff
the band when they don't.
I'd like to add my two cents by adding Joe Jackson to this list of
incredibly talented, maturing songwriters/composers who also has been
dealt the cruel hand of a late 70's/early 80's "frozen categorization."  His
work has grown and evolved so much over the past two decades, that I
anxiously await each new release!


Date: Mon, 24 Jun 1996 22:19:28 -0400
Message-Id: <>
From: "J. D. Mack" <>
Subject: Strange XTC link

>From: Simon Sleightholm <>
>Subject: VH-1

>Noticed briefly and bleary eyed while watching a pub TV screen after a wee
>drinkie; VH-1 (a sat. TV channel usually devoted to the works of such
>Uber-noise-terrorists as the Eagles, Tina Turner, Celine f***ing Dion,

Actually, there is a link between Celine Dion and XTC.  One of the
orchestral arrangements on Celine's latest album was done by Andrew Pryce
Jackman, who did the orchestral arrangements on "Fish Out Of Water" by Chris
Squire, which had Bill Bruford on drums, who now drums in King Crimson along
side Pat Mastelotto, who drummed on "Oranges and Lemons."  So don't be so
quick to dis Celine!

"Quiet is the absence of sound.  Silence is the presence of silence" -
Robert Fripp


Date: Tue, 25 Jun 1996 02:30:28 -0400
Message-ID: <>
Subject: A blast from the past... ???

-Is the Lee Lovingood who posts here regularly the same guy who was a DJ on
whatever that radio station in Blacksburg Va was called. I seem to remember
that this was the morning DJs name.

I ask, as he was the guy who (via this little magazine the station
distributed to all the freshmen at Virginia Tech (including me ) back in
1990) introduced me to the hip sounds of XTC. Oh sure i'd heard Dear God,
but his little write-up on why English Settlement was the greatest album of
all time ( er sumthing) persuaded me to march down to Book Strings & Things
and buy it, and the rest, as they say, is history. Just a little tip of the
"tricolor and phrygian cap"* to him...

other bits...

producer choice - Ric Ocasek (yes of the Cars), due to his work on Black
47's and Nada Surfs new album...Put a little rock back into XTC...

drummer choice - a drum machine... why not let Andy's fingers do it, it's
not like: a) they need a touring drummer, and b) they already use one some
of the time anyway. I say cut out the middle man, save the drummer's
salary, your tax dollars at work, thank you please drive through!


* from Then She Appeared, definetely my choice as next new album title...


Date: Tue, 25 Jun 1996 11:24:06 +0100
Message-Id: <v01510101adf52e745d07@[]>
From: (Mark Fisher)
Subject: missing words

>I'm sure others have noticed that on the back of the Go 2 CD there is a
>large, angled rectangle of text missing. It looks like someone set the edge
>of another piece of paper over the track listing when the back sheet was
>printed. The same thing happens on the US CD and also on the UK picture
>disc CD. Anyone know what this is about?


On the original poster insert that came with the vinyl version of Go2 the
missing words were printed diagonally across one corner, so you could
position it on the album sleeve for continuous reading pleasure. Same
tedious nonsense of course, but nice idea.

Mark Fisher (,uk)


Message-Id: <>
From: "Peter Fitzpatrick" <>
Subject: from the Elvis Costello list.
Date: Tue, 25 Jun 1996 12:26:48 +0100


    Date:    Mon, 24 Jun 1996 22:41:47 -0700
    From:    Dean Martucci <martucci@SURF.COM>
    Subject: Re: NY Area Listers (NO EC/NO TIX INFO)

    My good friend's brother-in-law, Brian Stevens (sp?) is playing at
    Sin-e this Sat. night. He played in Aimee Mann's band (tangential
    EC) for a while (I don't know how long, actually.) He was in the

    His e-mail:
    His record: "Prettier Than You", on QDivision. Both Jon Brion (another
    Aimee connection) and Dave Gregory (Dukes of S) play on it.

    Aimee and Andy get tenk u's on the liner notes.

    It would be interesting to find out who is in the band that evening, and
    who is in the audience as well...
    One last thing I like about this record:

    the CD disc is labeled "360 rpm"


funny that : Dave is referred to as a Duke rather than an XTCr....



Date: Tue, 25 Jun 1996 13:53:03 +0100
Message-Id: <v01510101adf4ec085516@DialupEudora>
From: (Mark Fisher)
Subject: rhymes with egg bad

Damn! I've just read a review that says that Peter Blegvad played live last
night in Glasgow, Scotland (about an hour from where I live) supporting Tom
Robinson. That's the first time I remember hearing of Blegvad playing live.
Could this mean that his last album is being released in the UK? As far as
I know it's only available in the States, unless anyone can tell me better.

While I'm on the subject of XTC-related artists, does anyone hate Yazbek's
*Pinocchio's Nose* as much as I do? The rest of the album is enjoyable, but
that track reminds me too much of tapes that would occasionally come my way
when I was editing Limelight, sent in by bands that wanted to sound like
XTC but somehow missed the magic ingredient that makes them special. Kind
of heavy-handed and ugly-sounding without the melodic gift (which Yazbek
demonstrates ably elsewhere) to lift the song above its plodding structure.
What's more, it's misspelt in very big letters on the CD.

And still on the subject of XTC-relatives, I've never been able to bring
myself to buy an album by The Mission. Does Andy do anything with *Hands
Across the Ocean* that would justify breaking the habit of a lifetime and
actually buying the thing?

In the past, XTC's extra-curicular work brought some great records into my
collection, but some of the more recent collaborations have been a lot less
satisfying. The King-L album did nothing for me and, were it not for Andy's
fine song, the Voice of the Beehive album would be a complete waste of time
(and I quite liked some of their 1980s stuff).

On an unrelated note, there was a thread a while back about Canadian bands
and I don't think anyone mentioned the Crash Vegas. I know nothing of this
band except on a holiday in Canada in 1990 I saw them on MTV (or somesuch)
and bought their excellent *Red Earth* album on the strength of it. I
haven't given their more recent *Aurura* much of a chance to grow on me
yet, so I can't say if it's as good. But it does seem like I'm the only
person in the world (certainly Britain) who's heard of them. Anybody out

Someone mentioned that they'd like to hear Dave Gregory doing a lead vocal
and, without wishing to revive one of the sillier Chalkhills threads, I'm
pretty sure that's him (not Colin) doing the lead on *I Am the Walrus* on
the attractively packaged Without the Beatles CD (thank you to the Chalkie
who alerted us to this German rarity). A friend of mine is a former music
therapist and she says you find out loads about a person's character when
you hear them sing - the freedom of singing is a release that gives a truer
expression of yourself. To hear Dave doing *I am the Walrus* makes you feel
closer to him.

Mark Fisher (,uk)


End of Chalkhills Digest #2-125

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