Precedence: bulk
Subject: Chalkhills Digest #3-14

          Chalkhills Digest, Volume 3, Number 14

                 Tuesday, 29 October 1996

Today's Topics:

                   Re: Byrne vs. Heads
                     We're official!!
          Weird XTC sighting, and other stories
          Re: Todd, Skylarking, here we go again
                   Re: 'Ten Feet Tall'
            I tried to lose myself in labor...
       Where does life begin? The eternal query...
                    Unlikely Convert!
            Dear God, Where Are The XTC Women?
                        Head start
           Oh, throw him a biscuit somebody...
        Another lil Chalkhillian survey..........
          Re:  XTC Music And Friends Convention?
               Re: back in the saddle again
                    Shakespearean XTC


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The views expressed herein are those of the individual authors.

And in the meantime if we all stand up / And cheer him up here.


Date: Sun, 27 Oct 1996 00:49:34 -0700 (PDT)
Message-Id: <v01540b00ae985f504196@[]>
From: (E.B.)
Subject: Re: Byrne vs. Heads

> #> From: Gene <>
> #> Someone told me [David Byrne's] suing the others in the band for
> #> doing this album.
>I heard a couple of weeks ago that he dropped the lawsuit.  Probably
>because there's nothing he can sue for.

From what I gather, what Byrne was REALLY after was control over the T.
Heads' back catalog, as far as reissues, box sets, etc. And this lawsuit
was a way to get the other band members to cave on that issue, in return
for giving them rights to "The Heads."



Date: Sun, 27 Oct 1996 21:55:28 -0500
Message-ID: <>
Subject: We're official!!

FANTASTIC!!  It's nice to be made official.  Does this mean the
digest will expand three hundred fold when the digest's email
address is published in the next album?

 #> From: Keith Hanlon <>
 #> Well, I think it's a great idea and maybe one that we should try.
 #> XTC has enough songs that we can do this for a while.

Awesome idea.  Only thing is, who will arbitrate the weekly song?
Should it be Father John Relph?  [massive congrats implied there]  :)

 #> From: Joshua Hall-Bachner <>
 #> IMHO, XTC Vs. Adam Ant falls a bit short of muster

I quite like it.  Lots.  The string bridge is impressive and the
'Nigel' fadeout is just ace.

 #> If you like TMBG, you *must* own a copy of this album.

I agree.  I got it Friday [thanks to CDnow] and I'm listening to it
almost constantly already, which is an achievement for me.  That
secret track's a pain to go back to though, especially when you do
it every time you play the album...

 #> From:
 #> would this indicate that Geffen has plans to phase out American
 #> distribution of XTC product?

Given that their biggest fan base is in the US, they'd be silly to
drop their catalogue unless they had to forfeit it for legal reasons.

 #> I think "Toys" could well have
 #> stayed in the box, but that's mainly because of the lyrics. The
 #> same fate could befall Funk-Pop-A-Roll for the same reasons.

I based a 2,500 word popular culture essay on the lyrics to 'Funk
Pop A Roll'.  The lecturer thought I made a typo when I included
the line 'keep you pegs in your holes'.


On the music box:  TMBG's Showroom


Date: Sun, 27 Oct 1996 10:01:43 -0500 (EST)
From: Natalie Jane Jacobs <>
Subject: Weird XTC sighting, and other stories
Message-ID: <>

The women's toilets in University of Michigan buildings tend to sport a
lot of heated and inarticulate graffitti on subjects ranging from
menstruation to bulimia.  While in a stall yesterday, I saw a long,
multi-participant argument about the morality of homosexuality... and
written in heavy black marker, over all the other scribbling, was the

"Any kind of love is alright!" - XTC

To which I could only say, "Yeah!" - both to the sentiment and to the
person who had the taste to use that quote.

Speaking of Michigan, I believe it was a fellow person who
expressed her distaste for "Life Begins at the Hop" and "Jump."  The
latter was one of my Desert Island songs, and IMO is simply gorgeous.
"Hop" may not be serious or brimming with substance, but it's fun, catchy,
and upbeat, and I like that.  So if you want to dispute the matter with
me, we can meet at the Cube at midnight and duke it out, mano a mano...
whaddya say?  :)

and now I'm going away again now,

Natalie Jacobs
Visit the Land of Do-As-You-Please!


Message-Id: <>
Date: Sun, 27 Oct 96 14:38:21 EST
From: (Don Lindbergh)
Subject: Re: Todd, Skylarking, here we go again

On Sat, 26 Oct 1996 20:34:00 -0700 (Peter McCulloch) wrote:

>Subject: X is for XTC
>FOR MASOCHISTS ONLY: I was listening to Skylarking on my walkman the other
>day, and while the song "Big Day" was playing my right earphone died. I
>won't tell you what I heard, but I will say that if you have any rhythmic
>sense you might be shocked. Try this little experiment on your stereo if
>you dare: Cue up "Big Day" and either pan the music all the way to the left
>or turn off the right channel completely. WARNING: this experiment has been
>known to invoke spontaneous convulsions and other nervous conditions.

That is pretty funny.  Guess it's been there all along though eh?
Another little Todd trick sprinkled throughout the record.  Which gets
me to my next point....

>From: Eric Adcock <>
>Subject: OffTopic: Another slap-dash DG
>Part of a review of the "Dear God" movie from Yahoo's Reuters New Media:
>    Dear God's strength is characterization more than plot, while its sin
>    is haste. The latter is apparent in the picture's slap-dash look,
>    particularly its uniform bright sitcom veneer. It's also obvious that
>    more time in developing a better conclusion was necessary.
>This reminded me of descriptions of Rundgren's production of "Skylarking"...

Um, isn't this topic in some doc somewhere (or shouldn't it be) saying
no god please don't start this shit again, 'cause there will always be
someone to rebut in the following fashion (which I'm gonna, 'cause
you're/they're wrong of course):

Andy admitted long ago that Todd kicked ass on the album,
Todd *did* in fact kick ass on the album and made XTC's best record
EVER, hands DOWN, period; one they could have made with NOBODY ELSE.
Yes, Todd has a funky old school-totally-unique-seat-of-your-pants,
whacked out-31-band-graphic-eq-on-every-channel-engineering approach
but by god we love him so shut up!

Look, they made the record, it's history, it's wax, love it or leave
it but don't diss Todd without mentioning Andy too.  He's the one who
insisted the god damned song not be released as a single! (that's FACT
look it up.)


Don A.B. Lindbergh II         | Why can't you make a living
                              | like the rest of the boys             | Instead of filling your head
not a spokesperson for nlm    | with all that synthesized noise? -
Todd R.


Message-ID: <>
From: Paul Haines <>
Subject: Re: 'Ten Feet Tall'
Date: Mon, 28 Oct 1996 11:08:35 +1000

Chalkhill People,

I do actually prefer the single version of 'Ten Feet Tall' (ie if it is
the American version on 'Rag and Bone Buffet'). To tell the truth I
think it's a hell of a lot better than the Drums & Wires version ,which
was the only version I knew for about 7 years). The big draw for me is
Andy's backing vocals, Oh Oh Oh Ohhhhh or however the hell you'd spell

I'm quite suprised that more people don't like this version.

But then what would I know, I'm a Kiwi living in Oz.



Date: Sun, 27 Oct 1996 22:09:55 -0500 (EST)
Message-Id: <>
From: Joshua Hall-Bachner <>
Subject: I tried to lose myself in labor...

Hi again, y'all.

>I still love 'Cockpit Dance Mixture'.  It's got a very 'Melt The
>Guns' feel to it.

Sorry. In my book, that's not a plus. (Maybe I would like MtG more if it
weren't twice as long as it should be...) But CDM is at least funny in the
"ha ha" way, at least the first few times you hear it. I haven't tried to
actually dance to it -- has anyone else?

>And 'The Smartest Monkeys' [IMHO] has a pretty
>bollocky message really, as though Colin had run out of stuff to
>think about.

That's what I've always thought. Most of the time, our lads do pretty well
with refraining from bludgeoning us with their messages, but ones like TSM
and DitC cross the line and become merely annoying.

> #> 3) People are greedy and suck;
>This quote has to go on my wall as well.  Bloody brilliant.

Why thank you. :)

>Again I'm sorry to be a stick in the mud [what does that phrase
>mean?!] but I can't see any major label letting them do more than
>one album every twelve months.  Maybe they'll get lucky and be
>allowed to release twin albums [in Guns & Roses / Bruce Springsteen
>style] but they're really not commercially successful enough to get
>that sort of treatment.

Aaaaahhh, but who says they have to go to a major label? As many people have
been suggesting, a label like Rykodisc would be great for XTC, *especially*
if they buy up the back catalog. If they were on Ryko or a similar "big
minor," they would have some of the advantages of a major (promotion,
distribution, etc.) while still having the "specialness" you get at a minor,
and of course the unique advantages of Ryko in particular (for example,
really well done re-releases.) If our lads were on Ryko, they could probably
do whatever the heck they wanted. None of this stuff like with the Dukes,
where the label doesn't want to let them do it...until it sells, that is.

>It's as if it's very cool and pretentious now to write
>something that's unhummable (Damned if I can remember the melody to REM's
>latest hit after the first 500 listens)

Which one, the *new* new one ("Bittersweet Me")? It may not be the most
melodic song in the world, but I certainly don't think using that as an
example of the current "Why bother singing? Why not just talk over the music
instead?" trend works. There are some much more hummable songs on the album
("Electrolite," for one) and some not so hummable ones. IMHO, I like both; I
am a staunch defender of the pop music form and the catchy song, but I don't
feel any need for music to *have* to be like that. There is a lot of
"catchy" music out there still; it's just that the currently "popular" music
likes to be less so.

>I won't tell you what I heard, but I will say that if you have any rhythmic
>sense you might be shocked. Try this little experiment on your stereo if
>you dare: Cue up "Big Day" and either pan the music all the way to the left
>or turn off the right channel completely.

Eeeeeeeew! That is *so* nasty. I understand why they did it, of course, but
it doesn't make it any easier to listen to.

(For those who are wondering, all the guitar parts are delayed half a second
in the left channel to provide a "fuller" sound. When you listen to just the
left side, it sounds really weird because all the guitar parts are out of

> The "ooh-ooh" part I thinks is a real distinct part of XTC's
>overall sound that was still in it developing phase at that time.

Yeah, up till around "Black Sea" every other song had to have a wordless
vocal "ooooh oooh ooooh" part. (The most prominent being the long one in the
US version of "Ten Feet Tall.") Practically every song on D&W has one of these.

>That's right, I received a note from XTC's management
>saying that XTC recognize Chalkhills as the official XTC fans internet
>mailing list.

Wow. How interesting that we're also the *only* XTC mailing list, eh? :)

>Actually, now that you ask, I do have a soft spot in my heart for the
>single version of "Ten Feet Tall".  I like the understated guitar
>solo and the more acoustic feel.  However, the album version is better
>in the context of the album.  The single version would be very out of
>place on _Drums and Wires_.

Waitaminit...isn't the "acoustic" one with the "understated guitar solo" the
*album* version? Isn't the single version the keyboard driven,
synthetic-sounding, electric, strangely hyper version? Am I confused?
Anyway, assuming that Mr. Relph is indeed referring to the same single
version I am above, I agree with what he's saying...the main reason I still
love the single version is for the little wordless vocal line that comes
after each "From strength to strength, I'm ten feet lo-ho-hong..." (See

Josh, we kill the beast

/---------------------------Joshua Hall-Bachner---------------------------\
|   |
| "The few surviving samurai survey the battlefield. They count the arms, |
\--the legs, the heads, and then divide by five." - They Might Be Giants--/


Message-Id: <v01540b00ae99e29c2109@[]>
Date: Sun, 27 Oct 1996 22:17:37 -0600
From: (Spiritual Generation, Etc.)
Subject: Where does life begin? The eternal query...

> Think of
>some of the great pop songs such as the Beatles "She Loves You" or the
>Kinks "You Really Got Me", nothing really lyrically to them, but put a
>good beat behind them and, wow, there is a great song.

This isn't really XTC related, but I just had to take issue with this.
Has anyone else ever thought of The Beatles "She Loves You"
as having a somewhat melancholy subtext?  I mean the narrator's
going on and on to this guy about some girl, how he should be
glad she's with him, but with the implication that the narrator
himself has nobody.  I don't know, I could just be reading too
much into this, but it's always been a pretty emotional song for

"Life Begins at The Hop", on the other hand, hasn't ever hit me that
way, but that insistent guitar riff is really fun to play along with!



Date: 28 OCT 96 15:46:44 DST
Subject: Unlikely Convert!
Message-ID: <>

Just thought I'd share this weirdity with you. Unless anybody wants to
challenge this, I think I can safely lay claim to knowing the oldest XtC fan.
My 78-year-old by VERY hip Mum was visiting me yesterday and I made a firm and
genuine convert of her.  We watched "Look Look" video right through, and also
scanned bits of O&L and Sarah McLaughlin's version of "Dear God".  Mum was
rapt and particularly liked the lyrics.  Her favourites were "Towers of
London", "All Of A Sudden", "Generals & Majors" (the whistling bit
particularly) and "Senses" just floored her.  She now wants me to make up an
XtC mixture tape for her to listen to while walking on her exercise treadmill.

Howsabout that??!!!



Message-Id: <>
Date: Sun, 27 Oct 1996 22:38:28 -0700
From: Jeff Langr <>
Organization: MCI
Subject: XTC/Kinks

Claudia said...

>P.S.  Oh yeah, for the person who just picked up a copy of an early Kinks
>LP.  Basically, any Kinks record from 1965 to 1971 (Kink Kinkdom to
>Muswell Hillibillies) are great records.  The LPs that came after this
>time period are spotty in quality, but in the late '60's Ray Davies was at
>his best.  I don't even think Andy Partridge has come to match the quality
>in writing that Ray Davies did in that short period of time.  Heck, if it
>wasn't for my love of the Kinks I most likely never would have given XTC
>the time of day.  Briefly, Black Sea is release and critics are saying it
>has a real Kink sound to it (think "Respectable Street") so I decide to
>give it a try and now XTC and the Kinks are my two favorite bands.

Thanks for that, Claudia.  Given the hermitism of XTC, I've fallen back on
the Kinks to be my #1 band, especially with two great autobiographies out
by Ray & Dave Davies, and a cool double CD To The Bone just out.  Someone
looking for similarities to XTC ought to seek out Village Green
Preservation Society or Something Else.



Message-ID: <>
Date: Sun, 27 Oct 1996 12:08:52 -0800
From: Bob Bennett <>
Organization: Bright Avenue Songs
Subject: Dear God, Where Are The XTC Women?

In Chalkhills Digest #3-13, Dave Gold quoted Peter Dresslar's #3-10

> I would be thrilled to just *date* a woman who doesn't *detest* XTC.
> Everyone I date, I try to ease them into a little Oranges & Lemons,
> maybe some Skylarking, and then I get major resistance. Okay, clearly
> I'm seeing the wrong kind of woman, granted. If I ever meet a female who
> is at all interested in the Lads, I'll try to hold on to her.

Then commented:

> I myself have recently re-entered the dating scene (getting divorced!
> <sniff>) I can relate to what you're saying.  Most gals say "XTC? who?"...
> ...
> I did actually meet a girl in a chat on Compuserve that HAS O&L and
> actually knew "don't they not tour because someone in the group has stage
> fright?".  She gets 10 points for that.  But she is actively involved in
> her church (a Presbytirian <sp?> elder!  Dear God!) so she loses 6 points
> at least for that.

And I, a new and three-month-lurking, but long-time XTC fan, weigh in
with my first post...

I'm fortunate enough to be seriously dating (and hoping to marry) a
woman who absolutely loves XTC ... I was pleasantly surprised when this
came up fairly early in our relationship. Reading Peter and Dave's posts
brought a smile to my face (and, of course, a hope that they find
similar reason to celebrate ... if and when Miss I-Love-That-Band!
finally arrives)!

BTW (and I, truthfully, only mention it because of Dave's comment), my
girlfriend regularly attends and is involved with a Nazarene church
where she lives (we live four hours apart until work circumstances can
change) and I am a Christian as well. So, I guess all of our points are
on the positive side, for each other at least <g>!

As far as "Dear God" (knowing that phrase was used in good humor and not
about the song ... still I just can't resist), I have always thought:
"If _I_ thought God was truly as portrayed in that song, I wouldn't
believe in Him either!" So, whoever the people were who gave Andy
Partridge grief (as memorialized in "Pink Thing", if I am interpreting
correctly), I would not consider myself in that camp! Suffice to say, I
have always respected and admired XTC (even their lesser work is more
interesting than most artists' best) and the band is about so much more
than one song.

One final note: I belong to a e-mail discussion group called
"orphans-of-god" which is dedicated to the music of the late Mark Heard.
(Although known only by a few, no less a formidable a songwriter than
Bruce Cockburn cites Mark as one of _his_ favorite songwriters.)
Anyway, because of the spiritual nature of some of Mark's songs, the
group is populated by a wide variety of both religious and non-religious
folk. A couple months back, I had the pleasure of introducing an XTC
thread there and found many not only knew of the band, but were very
enthusiastic as well.

I suppose an unlikely band (and, of course, I mean that in the most
positive sense) draws unlikely fans. Anyway, I trust that I may be
interepreted as NOT wishing to start a religious discussion (ah-h-h,
come on, trust me!), but just to comment on my love for the band ... and
my love's love for the band!

Happy hunting Peter and David!

Best regards, Bob.
Bob Bennett
"To be held in the heart of a friend is to be a king." -- Bruce Cockburn


Date: Mon, 28 Oct 1996 14:09:40 GMT
Message-Id: <v01510104ae9a76a77d81@[]>
From: (Mark Fisher)
Subject: Head start

Does anyone know of plans to release The Heads album in the UK? I saw it in
HMV, Birmingham, at the weekend as an import, selling for 18 pounds, and
wasn't inclined to buy it at that price after so many Chalkies have said
how bland it is.

They must be taking David Byrne's threats to sue them very seriously,
because there was a sticker on the cover explicitly saying, "This is not by
the Talking Heads".

Imagine the confusion if every album had to say which groups had *not*
recorded it.

Thanks to Ian Stewart for the smartly-packaged Atmosphere to Ocean
collection (not recorded by XTC, for the litigious amongst you) which I've
just received. I'll post something more when I've had a proper listent to

- Mark


Date: Mon, 28 Oct 1996 14:05:51 GMT
Message-Id: <>
From: (Simon)
Subject: Oh, throw him a biscuit somebody...

From JHB

>Andy has commented many times on how much Britain hates the band. He says
>it's probably because the band is so undeniably British, and that's why all
>their success has been in the US, rather than the UK.

With special apologies to Tim Gower (who has already read this) I must post
this lengthy rant:-

I don't know why they aren't more popular in general - they are a truly
mindblowing act - I've heard a few theories: my throughly XTC-retardent
friend Barry says he just cannot stand Andy's voice (mind you, he says that
when I force him to listen to Colin's songs too), whereas some of the more
annoying fans would have you believe that XTC fans are some sort of
intellectual elite and only this select few are able to "get" XTC.

The attitude of the publicity machine to the band is, in the UK at least,
odd. I have a recent review of Fossil Fuel from one of the weekly music
papers, which, if you read it, doesn't really tell you anything about the
music. It tells you about Andy's breakdown, the lack of touring, etc. but
the one musical reference it includes is inaccurate. The review just doesn't
tell you anything about the contents of the CD.  When Nonsuch was being
pushed by Virgin, they obviously didn't know what to do with the band, so
the ad campaign revolved around press clippings of the band's past glories
(always a bad sign). It was like the label was saying, "Well, we really
haven't a clue what they're about now, but look! You *used* to quite like

The one pervading (and utterly frustrating) impression that the UK music
press foster is the idea of the band as hermit-like quaint rustic craftsmen,
creating finely wrought wordsmithery and intricate intrumentation, good-ol'
XTC, we'd miss them if they weren't there, practioners of the noble British
tradition of pop, blah, blah, blah. In the Virgin campaign I mentioned, the
tag line was "Part of your musical heritage," Whoa! Steady on there! Stand
back as the teenagers rush forward to grab a peice of that! I mean, is
anything *less* likely to provoke a stampede? They might as well have used
the slogan, "They're old, and you won't like them."

The band still command enormous respect among other artists; people queue
up to work with them, and Andy is often called in to shake his magic pop
dust over other people's work. It's ludicrious to look at the most recent
collaborations and see how acts who are after some serious chart busting
action have called in Andy (Mr Commerciality, I think not) to help them get
there. And Dave Gregory is apprently laying down some guitar for a
loose-end member of Take That (I'm not sure if they ever made any
impression in the US, but they were a archetypal "Boy-band" - a sort of
NKOTB thing) who has a solo album on the way.

Frankly, given their age and style of music, I think it's unlikely they'll
ever storm the charts and dominate the airwaves, but I - and I suspect they
- would be happy if they could get themselves into the same kind of niche
as Richard Thompson and Christy Moore - heaps of respect and praise, enough
sales to support a comfortable life and the opportunity to make whatever
records you want for as long as you like, knowing they have a ready
audience eager to hear what they have to say. I think they may get there
when they get their new deal sorted out. The lag between albums has always
been a record company thing; the band could have released one, maybe two,
albums a year with the material they had but Virgin kept turning down the
material.  When Julian Cope was dropped from Island in 1992, many UK
observers thought that was the end of him. Since then he's released three
"proper" albums, a dance album and a couple of outtake compilations. All on
a small independent. Moving to a supportive little label, a label who lets
Andy design the album sleeve with some coloured pencils on his table, or
record the majority of tracks in the ambience of his garden shed, instead
of hiring "image consultants" to "target" the album market, and dragging in
a "name" producer to swallow up a third of the budget, could be the
remaking of the band. The label would be happy as long as money was coming
in - and it would. I've only been on-line for 9 months and before this I
thought I was the only XTC fan in the world. Now I know there are huge
numbers of us out there, and if the overheads were kept down, each album
could turn a fair profit. As long as the band are bringing in money they
will be allowed to do what they love most, make records.

The problem with finding a "niche" though, is that your profile tends to
drop - side-margin promo ads in the back pages of Q magazine, if you're
lucky. Whether XTC would get many more new fans if they settled into the
respectable middle-age of their career is debateable. But from the mail I
get sent to me through Bungalow, and the posts in Chalkhills, it seems
there are new fans coming up all the time - I even managed to enlist a
couple of US friends Via Oranges and Lemons over the summer.

>BTW: On the back of /Rag and Bone Buffet/, obviously the middle one (with
>the glasses, natch) is Andy. But my question: which is Colin, and which is

Good question. I'd love to know the answer to this myself.

Power to the peep-hole,


* ---------------------------------------------------
* ---------------------------------------------------
An English Settlement...


Date: Mon, 28 Oct 1996 23:49:38 +0900
Message-Id: <>
From: Tetsuya Shimizu <>
Subject: Misc.

Regarding "Terry and The Lovemen" issue, several people sent e-mail and
answered me. Thanks everyone!

From: (Simon)

>I find usually it's the lyrics that turn me off an XTC song, rather
>than the music. FPAR lyrics really jar with me, though I love the bits
>where Andy vents his spleen and goes "Ahoooooooo-oooooooo". The most
>obvious choice for the rewind/erase treatment, in my opinion (and I'm
>not trying to rasp off any old scabs here) is that incredibly annoying
>one about intelligent apes.

Hmm...  FPAR is my favorite one. I like their sound of "rhyme".
I'm Japanese and cannot catch whole meanings of lyrics by hearing.
So that sound of lyrics is more important for me rather than contents.
(Of course contents is good!)

In Japan, almost all lyrics sound poor because of the lack of "rhyme"
and content. I wish the band like XTC were in Japan.........

Tetsuya Shimizu


Date: Mon, 28 Oct 1996 09:11:16 -0600 (CST)
Subject: Another lil Chalkhillian survey..........
Message-id: <>

Alright, this might have been done already, but since I haven't been on
here forthat long, I'll just...go ahead and ask anyways..........


Here's my vote....
This World Over
Mayor of Simpleton
The Mole From the Ministry.

I'm not tallying, I'm just curious. Well, I might tally if enough people
respon (oops.) respond. (To me, please, not to the list itself.)

If you wish, you might add the bands that you think should have convered
said songs.


"Dearly beloved, we are gathered here to administer the Sacred Chainsaw of
Thoth across the puddends of Ningwap. Come on on your knees there, this is
Church of the Air. This is Church of Saint Ricky, patron saint of interesting
trousers."-Andy during a California radio interview.


Message-ID: <>
Date: Mon, 28 Oct 1996 10:45:22 -0500
From: Peter Dresslar <>
Subject: Re:  XTC Music And Friends Convention?

From the esteemed Mr. Relph:

> Peter Dresslar <> says:
> >
> >On the other hand, I would LOVE to meet some of you, as I assume would
> >happen on a tour.
> When's the next XTC Music And Friends Convention?

I dunno. When is it? How about February in Chicago?


Date: Mon, 28 Oct 1996 12:23:15 -0500 (EST)
From: Irene Trudel <>
Subject: Re: back in the saddle again
Message-ID: <>

On Sat, 26 Oct 1996 William Ham <> wrote:
> 2. i keep seeing people discussing musical projects they're working on
> and what not and i have a proposition if anyone's interested. i do a
> radio show in astoria oregon (near where i live) and would love to get
> some stuff from people to broadcast on my show. i figure it might help
> get you guys some exposure (i will definitely let people know, if you'd
> like, how they can get a hold of your stuff)

Ditto for me. I host a show on WFMU (E.Orange, NJ), and I'm a big supporter
of locals (especialy good jangle)-- I play any format and also
engineer live performances. (I hope to have Yazbek down to play live,
whenever we can arrange it-- I'll keep you posted). We hope to broadcast
over the internet sometime this autumn, but probably not in time for his

Please send private e-mail to my NEW address-- the old
one won't apply after this week. (However continues to
be in effect and is easier to remember).



Date: 28 Oct 1996 17:04:22 -0000
Message-ID: <>
From: "G.M. Quinn" <>
Subject: Shakespearean XTC

Children from the Hills of Chalk,

If there are any literature scholars out there, peruse this

Andy Partridge in Shakespeare.

Apart from the obvious choices of roles in the comedies
(such as Malvolio in 'Twelfth Night' or even Benedick in 'Much Ado')
I would dearly love to see the bespectacled Swindonian grace the
meaty role of Mercutio in 'Romes and Jules'.  Not only would we
hear him utter the lines:

The pox of of such antic, lisping, affecting
fantasticoes;  these new tuners of accents!-
'By Jesu, a very good blade!-a very tall man!
-a very good whore!'-Why, is not this a
lamentable thing, grandsire, that we should be
thus afflicted with these strange flies, these
fashion-mongers, these pardonnez-mois, who
stand so much on the new form that they cannot
sit at ease on the old bench?

But the glorious nonsense and sexual innuendo of the Queen Mab
speech would fall like silver from his lips!  Besides, who would
pass up the opportunity to see Andy with a sword on his hip?  Tybalt,
beware, you firey King of Cats...

On a less introspective note, a song I would like to here our dear
A.P. sing is 'Wired for Sound'.  Ah, to replace the knighted strains
of Sir Cliff with Andy's winning vocals...sometimes I just have too
much time on my hands...

GM Quinn

T.E. Lawrence - "All right!  I'm extraordinary.  What of it?

'Lawrence of Arabia'
Screenplay by Robert Bolt

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