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Subject: Chalkhills Digest #2-141


         Chalkhills Digest, Volume 2, Number 141

                  Tuesday, 30 July 1996

Today's Topics:

                The most obvious drummer!
                   Cherry in Your Tree
                     female producers
                   re: producer babble
                  Do you want to trade?
                         Re: Spot
          Virgin ES CD better than Geffen ES CD?
                Mummer, plus some B-sides
                   Re: bludgeon...not!
                    Nonsuch VINYL LPs
                   It's Snowing Angels
              Hey, man, watch the threads...
                         Producer
                     couple quick q's
                      bag production
                    Andy's productions
                     The Unthinkable
              Dreams/Screams (Paul & Simon)
                       Monkey bait
              SPOT??? and DRUMS and WIRELESS
            ...a brief note on Urban Verbs...
                     Change of heart

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Ends up with a full house if you play your cards out right.

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

Date: Fri, 26 Jul 1996 11:23:40 -0500 (EST)
From: Matt Mondlock <mmondloc@indiana.edu>
Subject: The most obvious drummer!
Message-ID: <Pine.HPP.3.91.960726112133.13793D-100000@ophelia.ucs.indiana.edu>

Is is me or is there one drummer out there that is so perfect for the
group and so AVAILABLE?  Indeed there is and he could add incredible
harmonies as well! (Not something you often get from a drummer, eh?)  I
speak of Andy Sturmer! (jellyfish)  I slap myself in the forehead for not
thinking of it sooner...who's w/me?

		Matt Mondlock		mmondloc@indiana.edu
"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

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

Date: Fri, 26 Jul 1996 14:10:32 -0400
From: nmcgrath@world.std.com (Nancy McGrath)
Message-Id: <199607261810.AA04656@world.std.com>
Subject: Cherry in Your Tree

In Chalkhills #2-140, David Criddle(David.Criddle@cinsycfs.rcc.org)
responded to Mark Fisher's (fisher@easynet.co.uk) query:

>> someone tell me what exactly Carmen Sandiego is and how it comes to have
>> such a groovy soundtrack?
>
>	It was a computer game-cum-kids TV show, a mystery-type thing
>	wherein kids (or adults, let's be fair) have to go from city
>	to city based on specific geographical clues and try to hunt
>	down Carmen, who has for some odd reason gone missing and is
>	wanted by many many many people.

The tie to the kids' TV quiz show is via the rock a capella group
Rockapella which has been (for its five seasons, drawing to a close this
fall) the "house band," providing many musical clues, all the incidental
music and "crook" themes as well as the famous theme song, and throwing in
wacky antics for good measure.  Sean Altman, one of the lead singers of the
group, is a long-time friend of our own David Yazbek; the two co-wrote the
theme song. Yazbek and Altman (along with their friend
songwriter-producer-musician Billy Straus) produced both "Carmen" albums,
including the one on which "Cherry in Your Tree."  Yazbek knows Andy
Partridge.  Ergo...

As for the subject of "Cherry in Your Tree," it has multiple layers.  Kids
interpret it as a song about cherries and pies.  Adults, meanwhile,
appreciate it all the more for its double meaning.

Nancy McGrath
nmcgrath@world.std.com

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

Date: Fri, 26 Jul 1996 14:51:05 -0400 (EDT)
From: "Christopher R. Coolidge" <ccoolidg@moose.uvm.edu>
Subject: female producers
Message-ID: <Pine.A32.3.91.960726144431.73544D-100000@moose.uvm.edu>

  That's a subject, female producers. I can't think of too many, but one
who might be a good match for the guy who wrote "Down In The Cockpit" would
be Roma Baran, who's mostly known for producing most of Laurie Anderson's
early material.(Big Science, United States I-IV, etc.)This male-dominated
industry being what it is, I don't think she's done much lately, so I'm
sure she'd be affordable for the boys who just got out of expensive
litigation. The most recent thing I can think she's done is an unreleased
album for the defunct Montreal band The Bliminals(featuring former Richard
Thompson sideman Pat Donaldson and former Kate & Anna McGarrigle sideman
Joel Zifkin)back in '90.

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

Message-Id: <v02130522ae1ed0c9e3c8@[128.89.11.23]>
Date: Fri, 26 Jul 1996 14:59:23 -0500
From: abissaro@bbn.com (Andrew Bissaro)
Subject: re: producer babble

hi

in the last edition, Dave Gershman asserted:

> I actually do have better things
>to do than sit around intentionally listening for what sort of "sound"
>albums have, but one usually can't help noticing it, I'm afraid.

Amen, brother!  Unfortunately, one can't help noticing it on one too many
xTc albums...

A bit later, Kevin Mathews gushed:

>. O&L was for me the album
>that epitomised the best that XTC can be. It's strong, psychedelic and
>ultimately even handed.

Spot-on, pal.  Is it me, or is the closing 10  minutes of O&L the most
F***ing Perfect Musical Bliss Imaginable!!!  MY GOD maybe English
settlement comes close, but the boys have never sounded more with-it.

> No surprise that Robyn Hiotchcock's
>brilliant Perspex Island was similarly produced by Fox.

Yes, Kevin: yes.  Perspex Island is a masterpiece, in many ways inspired by
O&L.  The album is a chimy, rockin', potent call to arms.

Now, the more I read all this producer babble, the stronger the feeling
becomes that it has to be Froom.  He's paid his dues, recorded a LOT of
pop, and matured pretty well.  His wife (S. Vega) is a HUGE XTC fan and
would undoubtedly have some interesting contributions to taking the
proceedings on some level...and then they could get Richard Thompson to
play some guitar, and Jim Keltner to play drums (he would do a NICE job
with xTc), maybe Elvis would show up for some BVs...I guarantee if this
happened, the good vibes would spread and produce a real Work of Fine
Musical Art.   Yes, this is what it must be; I'm glad we're all in
agreement.

Now a question: what do y'all think of Cast?  I haven't heard anything but
the single, but any band with former La's in it has to be interesting...

love,
ab

Andrew Bissaro
BBN on the World Wide Web
http://www.bbn.com
abissaro@bbn.com
(617) 873-3024
"I do everything from the heart, from personal conviction. If you try to
find love by charting a course, you'll never find it."  --Van Cliburn

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

Message-Id: <v01510102ae1ec9459f8f@[130.244.120.62]>
Date: Fri, 26 Jul 1996 21:29:28 +0200
From: per@aron.pp.se (Per Aronsson)
Subject: Do you want to trade?

I have a lot of of doublets that I am willing to trade. Here is some of them:

7-singles: Love At first Sight, Canada. Earn Enough For Us, Australia promo.
To Many Cooks in The Kithcen (The Colonel). Thanks For Christmas (Three
Wise Men). Bags Of Fun With Buster (Johnny Jap hand His Jesticles).

12-single: Great Fire, US Promo. LP: Live And More, Japan. Cassettes: Jules
Vernes Sketchbook and The Bull With The Golden Guts. (Yes, the originals.)

Please e-mail if you have any rare items that you dont need... I am amongst
others looking for Science Friction, Austraila, Rip van Reuben, flexi and
Andys christmas greetings om a Geffen-CD.

Greetings from Sweden - where an XTC-album sells lousy 2000 copies.

Per Aronsson.

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

Message-Id: <199607262038.PAA25698@mailhost.onramp.net>
Date: Fri, 26 Jul 1996 15:41:33 -0600
From: gimarc@onramp.net (gimarc@onramp.net)
Subject: Re: Spot

>      Anyone ever like or hear of Spot? They sound sort of like a cross
>      between Nirvana and XTC. Interesting to listen to while waiting
>      (seemingly forever) for the next drop of previously-unheard XTC...

The Spot he's speaking of is the group with one CD on Ardent Records.
They're based here in Dallas and used to go under the name Mildred (who
also released a very XTC-ish CD). I agree- if you go for the Swindon lads,
you'll probably go for spot. Rather complex little pop band. Accept no left
coast immitations.

All the best!

George Gimarc

http://www.onramp.net/RGP/

home to:
Punk Diary 1970-79  (St. Martin's Press)
Hollywood Hi Fi  (St. Martin's Press)
Elisabeth Fairchild (Signet Regency Romance author)
Reel George Productions, Inc (Record company)

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

Message-Id: <v01510105ae1f08fbae9d@[169.132.99.120]>
Date: Fri, 26 Jul 1996 20:10:50 -0400
From: mnaran@village.ios.com (Matt Naranjo)
Subject: Virgin ES CD better than Geffen ES CD?

The ES UK vinyl release still reigns supreme in terms of total
dynamics--clean highs, and ball-buster punchy bass.   On the digital side,
I'm afraid that, unless there was a UK CD release made over the last few
years, the US Geffen CD is as good as you can get right now.  This version
came out sometime in 1988 and was mastered by Sony's DADC division,(which
also mastered O&L and Nonsuch worldwide). This version was notable in being
COMPLETE, compared to the initial Virgin CD, which was originally produced
by the French MPO facility sometime earlier, and was abridged by a few
tracks to meet what was then a lower CD program capacity.  No one minded in
Europe, since vinyl versions also were cropped in various ways to adapt the
album into a single disk format.  "Yacht Dance", "Knuckle Down", & "Fly on
the Wall" were common omissions.

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

Date: Fri, 26 Jul 1996 17:30:28 -0700
From: relph (John Relph)
Message-Id: <199607270030.RAA14509@mando.engr.sgi.com>
Subject: Mummer, plus some B-sides

Kevin Brunkhorst <KB305@aol.com> is working non-stop!  He has been
slaving over a hot guitar, and has sent in the chords for the
following songs from _Mummer_:

    Me and the Wind
    Funk Pop a Roll
    In Loving Memory of a Name
    Ladybird
    Human Alchemy
    Toys
    Jump
    Deliver Us From the Elements
    Great Fire
    Wonderland
    Beating of Hearts

Kevin has this to say to all of us:

    Get your guitar, cue up the CD.
    Proud to be on the website, looks good there.
    What's next?

So check out the charts and chords archive today!

	-- John

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

Date: Fri, 26 Jul 1996 23:37:39 -0400 (EDT)
Message-Id: <199607270337.XAA04142@cyber1.servtech.com>
From: Joshua Hall-Bachner <particle@servtech.com>
Subject: Re: bludgeon...not!

>	"The Disappointed": Didn't someone point out the resemblance
>	to Tears For Fears at one point?

Okay. Three albums of pretty blatant 60's psychedelia is okay. One song that
sounds *vaguely* like Tears For Fears is bad. And besides, Gus didn't write
the songs, did he?

>	"Crocodile": "That "boink-boink-boink" guitar noise and the
>	awful cowbell idea.

You mean the R-to-L thing? I like that! And I don't hear a cowbell. (I do
hear one of those Mexican "fish" that you scrape, but I don't see the
problem there either.)

>	"That Wave": Dreadful multitracked octave vocals at the
>	beginning -still- remind me of an awful The The B-side.
>	Some of the song segues don't work. (Why are people always
>	compelled to make songs fade into each other on XTC albums?
>	It isn't necessary, folks!!)

I think the weird vocals add something to the song, personally. While some
of the song crossfades do kinda suck (Disappointed to HuoP, for example),
(a) They've been that way forever (e.g. NTiOH to YD on English Settlement)
and (b) The fade from TW to TSA is one of the most natural (and one of the
best) segues on any of XTC's albums. (I do agree they should dump the song
medleys, but I assume that's the boys, not the producers, doing that.)

And, even if all the above is "bad", it's still not much. If that's the
extent of it, I really don't see anything to complain (or, in many cases,
whine) about. Come on, post a complete list!
/----------------------------Joshua Hall-Bachner----------------------------\
|      particle@servtech.com    http://www.servtech.com/public/particle/    |
| "Life is like a jigsaw. You get the straight bits, but there's something  |
\------missing in the middle."--XTC, "All Of A Sudden (It's Too Late)"------/

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

Message-Id: <199607271416.KAA13276@mime4.prodigy.com>
From: Moonsilver@prodigy.com (MR NOBLE K THOMAS)
Date: Sat, 27 Jul 1996 10:16:39, -0500
Subject: Nonsuch VINYL LPs

If anyone is interested in acquiring UK LP pressing of Nonsuch then
please privately e-mail me at Moonsilver@Prodigy.com. I can get them
at a very reasonable cost. Also have 1 extra copy of the Yazbek CD
(UK Import) available. As for producers, I mentioned Don Was about a
month ago which elicited not a single response, so perhaps just a
creative engineer and let it flow all by itself in the studio.

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

Message-Id: <199607271507.AAA01070@mita1.cc.mita.keio.ac.jp>
Subject: It's Snowing Angels
Date: Sun, 28 Jul 1996 00:07:13 +0900
From: NAOYUKI ISOGAI <b9400863@mita1.cc.mita.keio.ac.jp>

Hello There!!!

The other day an incredible way of listening to some songs
suddenly occurred to me, and I'll let you all know how it goes...

I believe most Chalkhillians have "It's Snowing Angels," and I'm
AFRAID that you like to listen to it in as-good-as-possible sound
quality, especially those who have _HELLO_ CD.  But here's a way of
listening that lies opposite your view.  I suggest you should make
a dub of dub of dub of ... dub of that song so that it will sound
pretty low-fi, and listen to it.  I like this low-fi version much
better than _HELLO_ version.

Go ahead, take a tape and try!!!

Peace,

---- NaoyuKing, the department           "Fine art never moved my soul
     of Economics in KEIO Univ.           No vintage wine designer clothes
                                          But my world shakes for me
  E-mail : b9400863@cc.mita.keio.ac.jp    My bird sings sweetly..."

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

Message-Id: <199607271654.RAA00495@aoife.indigo.ie>
From: "Daniel Prendiville" <modjp@indigo.ie>
Date: Sat, 27 Jul 1996 15:36:15 +0000
Subject: Hey, man, watch the threads...

The bould myke <jerk@earth.execpc.com> said in reaction to my question
"what's wrong with Mr. Dudgeon's production of NONSUCH?

> 	I really do hate to make a list and submit it to Chalkhills
> 	(don't ream me!) but I must react.
>
> 	"The Disappointed": Didn't someone point out the resemblance
> 	to Tears For Fears at one point?

	Who wrote the music, Andy Partridge or Gus Dudgeon? And if it does
	sound like TFF, isn't it time someone gave Andy a curt reproach?

> 	"Crocodile": "That "boink-boink-boink" guitar noise and the
> 	awful cowbell idea.

	That guitar noise (love the technical jargon, BTW) is not too
	dissimilar from the opening of POOR SKELETON. So that's Paul Fox's
	fault in reality, isn't it? And how about that "awful" iron pipe
	sound (or whatever) in TOWERS OF LONDON?  Steve Lillywhite, drop
	your kecks and prepare for a spanking

> 	"That Wave": Dreadful multitracked octave vocals at the
> 	beginning -still- remind me of an awful The The B-side.

	The production on that track is a paragon of subtlety when compared
	to the production/arrangement/performance of TRAIN RUNNING LOW, a
	track which everybody seems to love, for some reason.

> 	Some of the song segues don't work. (Why are people always
> 	compelled to make songs fade into each other on XTC albums?
> 	It isn't necessary, folks!!)

	Like, f'r instance?

On the other hand (there's a fist...), that bluff cove of a Northumbrian,
Sir Simon of Sleightholm, is giving out socks about recent threads, in
particular, the ongoing producer thread.

I know we've discussed this problem frequently over a late night cocoa and
a digestive biccie, and while I'm in agreement with you generally, the
thought has struck me that if it weren't for idle (some of it very idle)
musings about producers, album titles, the *proper* running order of
albums, songs referring to monkeys (nobody copped MONKEY CHOP by DAN I,
circa 1979) etc. etc., we'd have bugger all to talk about really. There's
only so much archive information to unearth, so much hot poop (FOSSIL FUEL)
to digest, so many T-shirts to sell and so many plugs for Dave feckin'
Yazbek playing in one's basement.  So what's to do, Simon??

And as for "listening to production", you should try listening to
SKYLARKING *without* the production. It's all over the album like a dog in
heat...

Finally, and in conclusion, my thanks to Terry Chambers via Paul Culhane (a
son of a son of a son of Erin, yes?) for coming up with the perfect title
for any future tribute release:- "SUCK MORE PISS"

There, I've said a mouthful already.

Be Seeing You

djp

P.S. Hooray for Michelle Smith!!!!

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

From: SDynamo@aol.com
Date: Sat, 27 Jul 1996 17:31:08 -0400
Message-ID: <960727173106_247075861@emout18.mail.aol.com>
Subject: Producer

Howdy, folks!  First time contributor, here.  I've been listening to XTC
since English Settlement, so I have some historical perspective, though
perhaps not as much as some.  Since the producer/drummer vein has yet to be
tapped, I will submit my own entry.  To those of you who reacted viscerally
to the earlier discussions of Rush, I ask you please to keep an open mind to
my suggestions.

A number of people here, and in the AOL forum I also haunt, have noted that
in some of the more recent albums, the choice of producer has led to a
muddying of the sound, specifically in the drum attacks and the bite of the
guitar sound.  As an antidote to these concerns, I would suggest Ted
Templeman as producer and Alex Van Halen as drummer.  Templeman has given the
Van Halen recordings, particularly those of the David Lee Roth, pre-"1984"
era, a very live sound.  Guitar attacks and overall drum sounds are very
clean, though not in the current sense, where the idea is to make it sound
like you are five feet away in the band's basement.  I mean clean like you
are 30 yards away at the arena.

Alex Van Halen admittedly is not the most clever drummer in the world, but
neither was Terry Chambers.  I never felt that XTC's compositions demanded
much of the drummer.  With Templeman's production, he would definitely give
them as big a drum sound as they have had in a long time, maybe ever.

I should note that I am not a big Van Halen fan.  I have never seen them
live, and I own just one album of theirs (Diver Down), which I bought for one
song.  I do like the production, however.

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

From: Saints3Den@aol.com
Date: Sat, 27 Jul 1996 17:45:31 -0400
Message-ID: <960727174530_586268412@emout15.mail.aol.com>
Subject: couple quick q's

hello there , a couple of burning questions which may at one time have been
asked...
   1   Who is/was Hans de Vent,
   2   In chalkhills proper, "eartime", i think its called , why is there
nothing for Nonsuch...Beeswax... 25 O'Clock ?

    Regarding Vinyl English Settlement... In my search ,years ago for a copy
with lyrics, I too noticed a much higher sound quality in the UK version ,
and it took me buying at least five different copies until I found one with
lyric sheets. So, how do you get a copy? THen it wasn't easy,(trial and
error,) now it may be impossible to find..

                                                            eddie

           By the way, was that a real small flying monkey , or just a big
asshole?

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

Date: Sat, 27 Jul 1996 19:27:42 -0400 (EDT)
Message-Id: <v01510100ae20161026ab@[128.230.1.73]>
From: pebrantl@mailbox.syr.edu (Paul Brantley)
Subject: bag production

Producers do a variety of things in a variety of ways; sometimes they do
next to nothing. One should not assume that everything that winds up on an
XTC album, in the way of arrangements, engineering sounds, etc., is the
result of the producer's decision. Even in the Skylarking sessions, the
infamous tension arose as a result of Andy and Todd butting heads. What
seems fairly clear from interviews and such I've read over the years is
that Andy has needed "that other person" around to butt heads with, to
bounce ideas off of; it seems to be in his nature. In the case of Paul Fox
and David Lord, Andy apparently did what he wanted and it was fine with
them. With Gus Dudgeon, Andy did what he wanted and it wasn't fine with
Gus. With Todd, Andy got a much flatter head.

If you listen to the demos from the last 3 or 4 albums, the "basic"
arrangements of Andy's tunes are replicated pretty directly on the actual
albums, the BIG exception being Skylarking, where grooves are re-thought,
chord structures and bass lines are clarified, and even song structures are
modified, etc. Andy's eventual appreciation of that album suggests that he
really learned something in the process. Todd, of course, finally found a
peer.

Concerning the new album, there seems to be one crucial criterion worth
considering: having a producer/engineer team around that knows how to deal
with recording, scoring, transcribing, understanding orchestral
instruments, because as the new demos bear out, the music is full of Andy's
promised orchestrations. Let's wish them Pepperland.

Paul

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

From: Heccubus@aol.com
Date: Sat, 27 Jul 1996 20:41:52 -0400
Message-ID: <960727204151_247149747@emout15.mail.aol.com>
Subject: Andy's productions

Hello all,
This production thing is quite funny. Colin & Dave do not want themselves to
produce because they feel that Andy will not let them participate in
production decisions. Someone else will help keep him under control. And as
for Andy's production, Having heard both Martin Newell's "Englishman" and
Andy's Hello CD Club EP there is much to be desired in his production
abilities. He is really my most favorite performer/songwriter but I feel the
production is best left to others. And most every album has sounded great and
represented growth for the band in every way. The only exception is Todd
Rundgren's production of Skylarking, the guy needs to put down the bowl, all
of his drug taking has ruined his ability to HEAR music. Utopia albums (early
to mid-eighties ones) are so damn muddy and Skylarking is the most
deafeningly bright professional album I've ever heard. The mobile fidelty CD
sounds better, I think they must have really remixed the master. And as for
Mr. Yazbek's production of XTC, I'm truly thankful for his efforts to bring
new XTC music out during this incredibly long dry spell, but his production
too leaves much to be desired. Mitchell Froom could be an excellent choice as
he is one of my favorite producers of late. The last two Los Lobos albums
have been astounding, as were the Froom produced Elvis Costello and Crowded
House albums.

Here's looking forward to the possibility of an entire new XTC in the next
year or so.  Thanks for listening (figuratively of course).

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

Date: Mon, 29 Jul 1996 01:10:52 -0700
Message-Id: <199607290810.BAA02465@dfw-ix6.ix.netcom.com>
From: mikem9@ix.netcom.com (Mike Martis)
Subject: The Unthinkable

I don't mean to be the guy throwing a wet towel on all the speculation
regarding the new album (especially so soon after breaking free from
Virgin's death grip), but I've got to bring it up: What if Mssrs.
Partridge, Moulding and Gregory can't get a record deal?

Now, I KNOW that most of us on this list consider our lads to be
popular music's most important trio since Frank, Dean and Sammy. But
let's play Mr. Record Company Executive for a moment. Here's a band
that has received critical acclaim many times over and has a fiercely
loyal (if not massive) following. And beyond that...what? Here's what:

--Their "signature" tune (Senses Working Overtime) came out 16 years
  ago
--They've never sold a ton of records
--They're not the type of band that appeals to today's mainstream
  music-buying demographic, in large part because (see next item)
--Their sound does not lend itself to a major radio format
--They don't tour
--They're coming out of an ugly relationship with their former label,
  which could leave some big-desk types to consider the guys
"difficult" to work with, and
--Umm, well...they're getting on in years a bit.

Again, I'm playing devil's advocate here -  I'd buy five copies of a
new xTc record if it'd help assure some semblance of commercial success
and in turn guarantee more records. But as a business prospect, what
record company is going to invest in an entity with that type of
portfolio? In these bottom-line times, is there anybody out there
willing to take on a truly great artist despite the fact that it's got
a decent chance of being a commercial bust?

On the flip side, maybe the new label would pump money into their new
signee and promote them properly, and Prince of Orange will be a smash
hit among Alternative, AOR and Adult Contemporary formats alike, and
the new album will sell millions. Andy will suddenly crave touring, and
the band will entertain hundreds of thousands of new and old xTc fans
alike in arenas across the globe...

I don't know. I may be caught up in a bit of needless worrying, but
I've heard that some members of the band have expressed similar
concerns. Of course, after all they've been through, they're certainly
to be forgiven for being a tad skeptical about matters pertaining to
contracts and the like.

But one thing appears fairly certain - the signing probably won't be
the slam-dunk we (at least I) initially thought it would be. That in
itself is a damn shame. It would be a travesty of immense proportion
should something happen and the three don't ink a deal and are forced
to go their separate ways.

Please, somebody tell me I'm hallucinating...

--Mike
aka "Concerned in California"

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

Message-ID: <31FCE45B.6085@bright.net>
Date: Mon, 29 Jul 1996 11:18:35 -0500
From: R+K Carvey <carveys@bright.net>
Subject: Dreams/Screams (Paul & Simon)

Paul in Australia wrote:
"... So, with some guile and gall, I approached somebody who looked "in
charge" and requested entry to the inner sanctum. Entry duly gained, I
headed in and met all four Swindonians, just like that!..."
Thank you!  These are the stories we all want to hear, but we are just too
shy to ask for.  Paul, your story was a jem, a gas, a laugh!  It should be
viewed by other subscribers as a challenge to lay down your thoughts of
"dream producers" and relate some very real XTC stories to the group.  The
First Time Thread would be much more recreational than the next dead
monkey song.  I'm going to compose mine right now (but it won't be as
exciting as Paul's!).  Excellent story!

Simon Sleightholm sez:
"... There may be a few deluded souls who've made
"suggestions" with the hope that - in true B-movie style - Andy will be
browsing Chalkhills, see a name and snap his fingers - "That's it!"...
Amen, my brother, amen.  There has to be more
information/news/gossip/tales regarding the band out there somewhere,
instead of resorting to "what ifs" and the like.  Next, we'll all be reading
threads regarding the possibilities of sounds if George Martin had produced
Go2 and if Andy had been replaced by Tiny Tim.  Let's move on.  Thanks,
Simon.

Boy, we need that new album badly, don't we?
Sincerely to my Chalkhills pals,
Roger Carvey

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

Message-ID: <FB0ED72F01291300@ametsoc.org>
Date: Mon, 29 Jul 96 14:14:00 -0500
From: dgershmn <dgershmn@ametsoc.org>
Organization: AMS
Subject: Monkey bait

TikaMasala@aol.com said:
>Gee, Dave, need a little counseling or something?  It was a joke.  A
>simple little joke.  And you killed it dead -- just like my little monkey.

>Are you happy now, oh mighty Lenny Bruce of webland?

And Garbarek@aol.com followed up:
>Subject: RE:  Attacking the poor guy with the monkey.

>To whoever it was that jumped all over the guy with the monkey joke  -- why
>don't you take a chill-pill, man.

"Counseling"? "Chill-pill"? Please. Okay, okay, I'll admit, MAYBE I could
have eased up a bit or just let it slide. OF COURSE I understand it was a
joke...honest, comrades. It just sounded like a pretty mean-spirited one to
me, and I felt the need, however unnecessarily, to put in a word on behalf
of those you were "humorously" trouncing on. But I beg your forgiveness.
Heck, my "monkeys with typewriters" response wasn't terribly original or all
that funny itself. Hardly worth your vehement reproaches any more than the
original joke was worth mine, in any case.

And now for something completely unrelated...
 It was mentioned here recently that George Martin has suffered a loss of
some portion of his hearing in the years since the Beatles -- a very
unfortunate occurrence, to say the least. This knowledge now renders the
title of Martin's autobiography terribly ironic: "All You Need is Ears."

And finally, on a lighter note, here's my Eloquent Thought of the Day:

 XTC Rules!!

Yeah.

Dave "Lenny" Gershman

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

Date: Mon, 29 Jul 1996 12:11:42 -0400
Message-ID: <1FCF87C0.@messaging.tfn.com>
From: barkerw@messaging.tfn.com (Welton Barker)
Subject: SPOT??? and DRUMS and WIRELESS

>There is a band here in L.A. called Spot...is THIS that band you're
>referring to?  I saw them play at the Roxy a few times, only because one
>of my friends was an acquaintance of someone in the band...I don't know,
>I wouldn't relate them to XTC

I really don't know if this is the same band or not. The band I'm talking
about is managed by a company in Georgia, so it might not be the same
band. They have an album out on Ardent records. Admittedly though, this
group is not at all and "XTC-type" group. They just remind me of XTC at
times in that they use changes that are somewhat more sophisticated than
the average run-of-the-mill pop or rock groups. Other bands I would place
in the same area of "some XTC relatability" are TOO MUCH JOY, BLUR, and
even EGGSTONE. SPOT are much harder than the previous three though.

Long story short (although it's really too late for that), they're a good
band, and might be worth a listen.

On to XTC STUFF!!!!!!

I just got a copy of DRUMS AND WIRELESS and am absolutely delighted at the
quality of the cuts. I was afraid that it would be a bunch of reissues of
other BBC recordings of XTC, but this is not so. It includes cuts from 1977
up to 1989, and is really a great addition to any collection. I highly
recommend it to anyone who is at all fanatical about XTC.

Welton

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

From: jrsnipp@interserv.com
Date: Mon, 29 Jul 1996 14:56:43 -0700
Message-Id: <199607292156.OAA15069@m1.interserv.com>
Subject: ...a brief note on Urban Verbs...

When Patte Zumbrun <pzumbrun@goucher.edu> mentioned:

>  Lastly, I saw XTC in Baltimore Maryland, USA when Black Sea came out. The
>  warm up group was Urban Verbs from Washington DC.

I had a major 80's flashback.  Briefly stated, IMHO, Urban Verbs album
"Urban Verbs" was one of the best albums to come from a band never to be
heard from again.  After their album "Early Damage," I never heard anything
from them again.  (Being in Omaha, NE though, this is not surprising.)
Anyone know "where are they now?"  Please e-mail me privately, so as to not
incure the flaming wrath of XTC police....

Joe

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

Message-ID: <31FD5432.5AA6@cyberhighway.net>
Date: Mon, 29 Jul 1996 19:15:46 -0500
From: ross <ross@cyberhighway.net>
Subject: Change of heart

Okay, I'll admit it. You guys convinced me to take the time to listen to
NONSUCH, thanks, it worked. I never got around to listening to it in the
proper manner, ie. laying down with lyrics in hand, loud volume. I was
kinda turned off by the mellowness and frequently used it as, brace
yourself, background music (please don't hurt me). Well, today I was
once again impressed by the allusions, metaphors and references used by
A.P. The lyrics gave me that same old feeling that English Settlement
and Skylarking did way back when. I'm tearing up. WHAT FUN!

P.S. if you haven't ever listened to all your XTC cd's cronologically in
one sitting, try it sometime (harder for some than others). It's was a
learning experience for me.

Thanks for listening,

Laura,
aka- gutierrezross@library.edu.uta

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

End of Chalkhills Digest #2-141
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