Precedence: bulk
Subject: Chalkhills Digest #3-66

          Chalkhills Digest, Volume 3, Number 66

                 Friday, 10 January 1997

Today's Topics:

                   Fossil Fuel Bargain
                         Re: Re:
                 Re: The new stuff sucks
                       Tubes Speak
                       Canned XTC ?
                   All This And No XTC
                More XTC in Swedish press
                Fossillized Love Theorized
                   Creative vocabulary?
                 DOUG POWELL is your man!
     Chemistry, and "That sucks" (unrelated, please)
                 Andy Partridge interview
                Producers Who Get The Boot
                   Christmas In Georgia
             Back in the high (oops!) life...
                   XTC-Christmas thread
               Another Satellite's metaphor
              Sucky new stuff. Au contraire!
                 John/"The Devil Glitch"
         She's a laughing, giggling, whirly bird!
                       XTC Sighting
                        The Return
               The Partridge Report: 1-9-97
                 The Planets & The Vapors


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Message-Id: <v02130500aef6a3d5a65e@[]>
Date: Mon, 6 Jan 1997 12:46:05 +0000
From: (Stephen Varga)
Subject: Fossil Fuel Bargain

In the HMV January Sale, I've seen the regular edition of Fossils priced at
11 pounds and 99 pence (roughly 18 dollars)

Not bad for a double CD released only 4 months ago.


Message-Id: <v01540b0baef70b4b6785@[]>
Date: Mon, 6 Jan 1997 13:26:16 -0700
From: (E.B.)
Subject: Re: Re:

>In 1996, Chris Butler (best known as a member of the Waitresses) released a
>maddeningly catchy 70-minute pop song with 550 amusing verses called "The
>Devil Glitch".

FYI, I read that the lead singer of the Waitresses (whose name I
forget...Patty...?) just died of cancer.



Message-Id: <v01510102aef71b43dcd7@[]>
Date: Mon, 6 Jan 1997 11:32:47 -1000
From: (Jim Smart)
Subject: Re: The new stuff sucks

>Does anyone have any theories why the latest
>albums are always the ones we accuse in this way? Is it because we just
>assume that artists only have so long they can create original work before
>they peter out? Is it that we compare the new work to the older and, finding
>it different, also somehow find it lacking? Or is it just that the band
>really does start to suck after a certain period of time?

Josh: Good question. I think you are right when you say 'Give me any band
with at least six albums, who have been around for at least ten years, and
I'll find you people who will say "Their new stuff sucks."'

This could be because certain artists get a grip on the squirming essential
movements of a certain time, feeling, idea, or whim, and wrestle musically
with it in such a pleasing way that they acquire some real fans. Then,
those fans associate those sounds with other events in their lives, like a
great summer, or a sexual encounter, and they develop a place in their
brain for what this band is supposed to be like. Then, years later, the
band has the audacity to produce something new. Now, the fan is in a new
space, with a less charming job or whatever, and this new music sounds
different than the old album, and they declare it to be inferior. In fact,
they say "It sucks, man. The old stuff was so much better." Then some new
fan hears the new stuff, loves it, rushes out to buy it, joins the internet
list, and has a flame out with the older fan. This is the circle of life,
of which we are all a part, and the sooner we all realize our place in it,
the better off we will all be.

Either that, or I'm completely full of shit, and the sooner XTC releases a
new album the better off we will all be. Except for Josh, since he's
already hearing the demos of the new stuff, and knows beyond the shadow of
a doubt whether or not it sucks.

*          DAILY HOWL                                   *
* "a thousand Cheshire cats grin inside of me"          *
*                         --XTC                         *


Message-Id: <>
From: "J. D. SMX" <>
Organization: Access Tucson
Date: Mon, 6 Jan 1997 16:33:31 -0700
Subject: Tubes Speak

Hello Swind-a-billys,

Lesson # 1.   Never press the PRINT icon while reading Chalkhills
Digest.  (Is that Lurch I hear moaning? uuu-uuu-uuuh)

Warning: Tubes Speak ahead.

>I read Fee Waybill commenting  (on Remote Control)
>at the time that the vocals were swamped and the whole
>production sucked a bit. (paraphrased in US)

I consider myself to be very fortunate to have seen the Tubes 9 times
in one carnation or another.  Including every tour supporting every
album and more.  As I sat on a picnic table outside the venue,
(Pine Knob Performance Theatre, MI) I spoke with a friend who had
seen the Remote Control Tour on an earlier leg and he promised me
that I would be VERY impressed.  He was right.  To this day, that is
one of my alltime favorite shows.

Funny thing is I have both Remote Control and Love Bomb but never put
2 and 2 together.  Thanks Drum.

I just saw the Tubes again about a-year-and-a-half ago in a club here
in Tucson called the Outback.  They were still funny and talented but
there was no Bill Sputnik Spooner and no Michael Cotton and no Vince
Welnick.  They've got a new key/guitar guy and drummer.  Now for a
warning.....The new LP Genius of America ain't that hot.  The
production is just too slick which means bland. I could hardly make
it through one listen.  But I will see them again, live, if they play.

The Love Bomb Tour had no Michael Cotton and no Fee Waybill, (gasp).


Thanks for the info about the Psychedilic Rock Book, Chris.  I
collect that kind of stuff.  I have this really cool book called
RockandRoll Babylon.  It explains the reasons behind the deaths and
tragidies in the Music Biz.  With the loss of Kurt Colbain and Johnny
Thunders and all the others, I expect a sequel to R&R B in the
future.  I think I'll check w/the Publisher tomorrow.

Until Next Time,  SMX

P.S.  XTC never worked w/Mark Farner.  (hohoho)

Video Engineer
Access Tucson


Message-Id: <>
From: "Mark Strijbos" <>
Date: Tue, 7 Jan 1997 00:31:08 +0000
Subject: Canned XTC ?

Dear Chalkers,

First of all: a Happy New Year to you all !
( and a Jingly Jangly New Ear to the extraordinary A. )

This week I discovered something really weird:
a "power drink" with lots of caffeine and guarana called XTC.
The cans look very neat: black with XTC in big yellow letters.
If anyone wants 1 or 2 cans; email me privately...


Mark Strijbos at The Little Lighthouse

===> Mark's Random XTC Quote <==
Is it the aliens at the foot of my bed or is it the ale inside my head?


Date: Mon, 6 Jan 1997 18:38:02 -0600
Message-Id: <v01530501aef6f30a59cc@[]>
From: (John Yuelkenbeck)
Subject: All This And No XTC

I have a cut-out vinyl copy of "All This And World War II" which I
purchased for .79 and don't believe I have ever even played. Being a
Beatles completist, however, I just couldn't pass it up for that price. I
probably bought it about six months to a year after its initial release in

Yes, it does have a thick lyric book enclosed along with a separate insert
advertising T-shirts. 20th Century Fox released a documentary film of World
War II footage using these Beatles songs as its soundtrack. Leonard Maltin
lists it in his video guide book, but I'm not sure about its availability.

The track list is as follows:

"Magical Mystery Tour" - Ambrosia
"Lucy in the Sky with Diamonds" - Elton John
"Golden Slumbers/Carry That Weight" - Bee Gees
"I Am The Walrus" - Leo Sayer
"She's Leaving Home" - Billy Bragg (just kidding! it's Bryan Ferry)
"Lovely Rita" - Roy Wood
"When I'm Sixty-Four" - Keith Moon (hope it's better than his cover of "In
My Life" from his solo album)
"Get Back" - Rod Stewart
"Let It Be" - Leo Sayer
"Yesterday" - David Essex
"With A Little Help From My Friends/Nowhere Man" - Jeff Lynne
"Because" - Lynsey DePaul
"She Came In Through The Bathroom Window" - Bee Gees
"Michelle" - Richard Cocciante
"We Can Work It Out" - Four Seasons
"The Fool On The Hill" - Helen Reddy (yes, Helen Reddy!)
"Maxwell's Silver Hammer" - Frankie Laine
"Hey Jude" - Brothers Johnson
"Polythene Pam" - Roy Wood
"Sun King" - Bee Gees
"Getting Better" - Status Quo
"The Long And Winding Road" - Leo Sayer
"Help" - Henry Gross
"Strawberry Fields Forever" - Peter Gabriel
"A Day In The Life" - Frankie Valli
"Come Together" - Tina Turner
"You Never Give Me Your Money" - Wil Malone & Lou Reizner
"The End" - The London Symphony Orchestra

There you have it. Ouch. I probably STILL wouldn't play it, but for a
fellow Chalkhillian I'll make this offer--Daniel Ray Phipps: if you want
it, here it is come and get it. Or at least a tape of it.


Message-ID: <>
Date: Tue, 07 Jan 1997 12:59:47 +0000
From: Jonas Lind <>
Organization: Skurups Folkhogskola
Subject: More XTC in Swedish press

Hello fellow XTC-addicts.

I thought I might bring you yet another poorly translated XTC piece from
the Swedish press. This time it's from an article written by Hakan
Engstrom and published in the Swedish morning paper Sydsvenska Dagbladet
(October 3rd). The article is quite a long one, so I have only
translated some especially interesting bits. (I can't even begin to
imagine all the errors that might have occurred in the translation
process from English into Swedish and then back into English again.)

Andy Partridge on "Fossil Fuel":
"- This compilation promotes an amazingly biased image of what XTC
really is. A person who has never heard us before won't understand
anything when he gets this album. To take this route to XTC is like
going into a candy store to buy dinner. It's all dessert. Sweet and
easily chewed. I prefer more meaty things, food that is harder to chew.
   If Andy Partridge had the chance to put his own retrospective
compilation together, the image of his band would be rather different.
   - With a singles compilation, you're fixed. The decisions were made a
long time ago, with each single release at hand. Many of the songs are
good, but for a compilation of these songs to be interesting and having
something to add, you need some sort of a new interpretation. We could
record everything all over again, with a marching band or something.
Yes, I'm serious - lately I've wondered what some of these songs would
have sounded like if we had recorded them with brass instruments and
made them all into jug band music.
   Some of Partridges more devoted fans would probably consider such a
venture to be blasphemous. Partridge himself says he's not that
overwhelmingly fond of the singles tracks in particular.
   - My personal favourites are usually quite different songs. The
choices for the singles were all made by the record company. One
exception was "Wrapped In Grey" from our last album, but that single was
murdered as a baby. 2 000 copies were made, only to be retracted again
almost immediately."

Andy Partridge on XTC's decision to stop touring:
"- That decision was necessary for XTC to keep developing. We lacked
that gang mentality which is typical for a rock'n'roll band. Getting all
the babes and upsetting all the parents wasn't intriguing enough. But
it still seems to be the driving force of many rock bands. And the
lyrics reflect it, they're based on a reality that is strange to any
sane human being. Wanting to live a life like that requires a
pathological need to be flattered and adored."

And finally, Andy Partridge tells us about an embarrasing situation
recently, when he was attacked in public by XTC's first album.
"- I went into a restaurant, and somebody on the staff must have
recognized me. After only a few minutes the music was turned off, and
White Music was put on, much too loud. It was awful. I had to ask the
waitress to turn the rubbish off."

Hard-to-chew food for thought there.

Jonas Lind (Lund, Sweden)


From: McGREGOC <>
Date: Tue, 7 Jan 1997 14:26:47 +00
Subject: Fossillized Love Theorized
Message-ID: <>

Happy New Year to all chalkhillers!

I think it was digest 3-64 where Parrish asked :

>>Does anyone have one that hasn't broke?  Refering to Fossil Fuel.

I amazingly have one that is not broken......Yet!  It sticks when I
try to open it so, I LOVINGLY, gently pry the case open hoping it won't
break.  There you go.

Joshua Hall-Bachner caught my interest in the last digest.

>>Does anyone have any theories why the latest albums are always the
ones we accuse in this way?  Meaning new material sucks compared to
earlier material. Also: >> Is it we just assume that artist only have
so long they can create original work before they peter out?

That is an interesting thought of a limited amount of creative talent
that evenually ends.  Does it fade with age?  My thoughts on this
whole thing is maybe it depends on the artist themself.  If they
begin to think (I'm theorizing here) that they are getting to old for
this sort of thing,( ex.pop music, acting, whatever) maybe the
creative force that was within disappears.

Looking specifically at music, I think it has alot to do with the
changing opinions of the public.  Pop music is quite a different
thing now than 30 years ago.  It changes and evolves.  I get a lot of
looks and comments about what I used to listen to and how "that band sucks,
 have you heard their new album?"  They are just not popular now.

What about chemistry between artists?  After the Beatles broke up
sure each has obtained fame in their own right but I don't think that
any of them have gained the amount of respect(?)for their sole
efforts and have lost popularity, which people assume that their work
is not as good.

I was thinking about Van Halen the other day( don't ask why, I don't
know myself).  They have continued to be successful after David Lee
Roth left, got booted, whatever and he went by the way side.  Did it
have to do with the fact that perhaps it was the talent of the
musicians and not the addition of the lyrics that made they
successful?  Are they still successful today now that Sammy Hagar has
left too?  I probably have wandered far away from your original
intent Mr. Josh but it got me thinking.

Would XTC be considered trash say if Mr. P left?  Would it still be
XTC?  Would it still be good?  Would the chemistry be lost?
In my opinion,  I think XTC would lose alot of appeal for me if Mr. P
were replaced by someone else or the same with Colin M. or Dave.  It
just would not be the same magic for me.  And I would probably hold
the opinion that the music was bad.  Because it did not appeal to me.
Ofcourse this is all just pondering.  Hard to say what reality would

Josh, do you think this losing of creativity is mainly of the pop
music or do you think it can happen in any art field or say classical
music.  Did Bethoven lose his creativity in the end there?

I know I've thrown out more questions but its worth pondering, in my

Thanks for letting me indulge here.

Oh!  For the longest time I have been wondering,  What the hell is
Andy muttering in the middle of Mehcanic Dancing ( I know I spelled
that wrong but I don't have the CD in the lab here with me so I have
to rely on my feeble memory, please forgive me!). He sings" I'm
standing in front of this girl and then ,and then, and then....What?!
I have given myself a headache trying to figure it out.  Anyone
willing to help the clueless?



Message-ID: <c=US%a=_%p=KPS_Group._Inc.%l=KPSINF-NT040-970107143634Z-14@kpsinf-nt040.KPSGROUP.COM>
From: "Purnell, Vernon" <>
Subject: Creative vocabulary?
Date: Tue, 7 Jan 1997 08:36:34 -0600

Regarding Philip Adamek's recent posts:  "Metaphoricity"?  Excuse me?
What's that, an outtake from THE LURE OF SALVAGE?  It's sure not in my

Critical Guy


Message-Id: <>
Date: Tue,  7 Jan 1997 12:38:18, -0500
Subject: DOUG POWELL is your man!

A recent chalkhillian post mentioned a CD seen at a store recently
that had a sticker reading -- if you like Matthew Sweet, Gin Blossoms,
 XTC or Todd... -- the artist in question is DOUG POWELL, the title
Ballad Of The Tin Man. Doug is actually a protoge of Jules Shear more
or less but definitely is reverent towards Todd and XTC. The record
itself is very poppish yet not as demanding as your typical XTC
offering. Another recent post inquired into the availability of
FOSSIL FUEL... I have a few copies left if still in need. Contact me


Message-ID: <c=US%a=_%p=AETNA%l=AETNA/AETNA/>
From: "Witter, Karl F" <>
Subject: Chemistry, and "That sucks" (unrelated, please)
Date: Tue, 7 Jan 1997 16:11:00 -0500

>(Trent Turner)I see art as a catalyst (my chem metaphor will be
>shattered here I'm sure!), it causes the reaction...

Here you go: I had thought a catalyst speeds up a reaction, but
doesn't *cause* one that wouldn't have occurred otherwise. Maybe
the speeding up is even a better metaphor: Doesn't art bring to your
conscious self feelings you already have deep down somewhere? If I'm
wrong, I'll fall back to "I don't know art, but I know what I like".

>(Josh) Does anyone have any theories why [an act's] latest albums
>are always the ones we accuse [of sucking]? Is it because we just
>assume that artists only have so long they can create original work
>before they peter out?

Let's take three hypothetical cases:

1) Act A. They're decent at the outset & don't immediately disband.
They have enough casual fans for a couple albums, or a smaller group of
regular fans, or an even smaller, rabid cult, or critical raves. One of
these is needed to keep a label interested in you, right?

Familiarity breeds acceptance: Toss in a big breakout hit early on,
the one that everyone remembers them for. More people will like it
than loathe it, even if it's overplayed.

But who wants to do the same thing for five years, let along ten? In
good circumstances they grow, so their later music is different.
This may thrill critics--how many reviews of 2nd and 3rd albums point
up the maturing of the creators?--but may not capture the fans.

So the "regulars", if typical, expect something sort of the same from
a group. Also, if it's human nature to want something "Just like--but
different--but not very", and they get it, the repetition can be
disappointing. And the "casuals" who only have that very popular album
from early on don't have an opinion. The critical mass is with the
regulars, and their opinion is "their later stuff sucks".

2) Act B. Like Josh's theory, they only have 20 songs to write in their
whole lives, and do each of them twice, over 3 albums. Then they still
have some records to deliver, and "their later stuff sucks".

3) Act C starts off slowly, perhaps taking several years to hit stride
& make the breakthrough album, then becoming big or at least steady
*stars* whose records return a certain consistency of fans to the store.
(Years and years ago, people like Billy Joel started this way; nowadays
in the mainstream world, would they only feel the door hit their butt?)

Again, like Josh's ideas of factions, when an artist gets to this stage,
you'll have those who don't want to give up the idea of having "known
them when" (implied: "When they were *special*") and that commercial
success = sellout. But you can't be a sellout without millions to
sellout to, so there are your 2 sides. This seems more the alternative
/modern/acts who still are in the time zone of hip. Sound like REM fans,
anyone? (The antithesis would be bad corp rock--can you fake having
integrity in order to sellout for success?)

XTC, as usual, fits into no category. Their US successes weren't their
English successes, so that gives them rabid fans attached to many
However, the records are so dissimilar that new fans (like me) picked up
a couple and were prepared, that way, to expect the unexpected. So maybe
can take each album on its quality and own merits, not its similarity to
the others. That might make us less hardheaded, giving us the reputation
for being polite. And sometimes we are. (But other times we sound like
"Certs is a candy mint"/"Certs is a breath mint".)

Looking for my future in British still,

PS The only new thing acquired in '96 is Semisonic's "Great Divide".
"Brand New Baby" is my fave; snappy, fuzzy, and lyrically reminiscent of
John Lennon's penchant for emotional dementia from the early days.


From: Stephen Hughes <>
Subject: Andy Partridge interview
Date: Tue, 7 Jan 1997 21:02:40 -0700
Message-ID: <>

In case anyone is interested, there is an interview with Andy Partridge in
the January edition of the Record Collector magazine (this ios a UK mag).


Date: Tue, 7 Jan 1997 16:42:44 -0500 (EST)
Message-Id: <>
From: jes <>
Subject: Producers Who Get The Boot

All this talk about Todd working with bands more than once has led me to
think about other producers, especially those who worked with XTC, who have
only done one or two albums with an artist or band.  And, that leads to my
Trivia Question Of The Day....

Steve Lillywhite was a much-sought-after producer during those happy, grassy
days of the PneuWave.  However, to my memory, he has only worked with one
band on three albums.  (Although, there is always a chance that the next
Dave Matthews Band album could screw this question up, but that's Trivia Of
The Future, which doesn't count unless you can tell me next weekend's
lottery numbers.)  Which band worked with Lillywhite three times?

And that begs an even more philosophical question.  Lillywhite's productions
have always been sterling and unique.  I daresay that those who love XTC
grew that love from his work on D&W and Black Sea.  He shaped Great Albums
by bands that sucked (like Penetration, The Brains, early Siouxie & Those
Banshees, Ultravox!).  He created masterpieces by bands that didn't suck
(Joan Armatrading, Peter Gabriel).  So.... why do bands sack him after two

Of course, it could be working the other way around.... perhaps Lillywhite
grows bored of these bands and wants to move on.  After all, while he may
have been a sought-after producer, he may have been tired of starving.
Anyone remember how many copies of Ultravox! were sold?  Maybe that's why he
decided to work with those has-been hacks, the Rolling Stones.



Date: Tue, 7 Jan 1997 16:42:47 -0500 (EST)
Message-Id: <>
From: jes <>
Subject: Christmas In Georgia

Oooh, to that Aussie who wanted to nyeh nyeh about a HOT Christmas, let me
just nyeh nyeh that ours, in Georgia, in God's Country, was a comfortable,
pleasant, non-burning 75 degrees.  A little foggy in the morning, but such a
trip to open the windows on Christmas Morning and not freeze the rest of my
balls off.

still at


Date: 7 Jan 1997 23:41:24 -0000
Message-ID: <>
From: "Ben Gott" <>
Subject: Back in the high (oops!) life...


It's good to be Bach!

Just a short note to set you on your way into dreams of XTCland: I took my
Nonsuch promo poster to Frames on Wheels (Great Barrington, MA) to get it in a
proper frame. After the salesman printed out my bill of sale, he looked more
closely at the poster. "XTC?" he asked. "Is that the band that did that
'Pumpkinhead' song?"

The Boys' influence reaches farther than we may think...


* -------------------------------------------
Ben Gott
The Hotchkiss School
"It frightens me when you come to mind..." XTC


Message-ID: <>
Date: Tue, 07 Jan 1997 08:02:48 -0800
From: Keith Hanlon <>
Subject: XTC-Christmas thread

It's nice to see so many Ohio-based XTC fans posting! Three in one
digest . Yow!

XTC-Christmas thread:

Now that Ian let the cat out of the bag, my band is on the Skylacking
tape (Norton's Orchestraville - and you were wondering why I wanted
everyone to post their reviews/opinions!). So when my girlfriend said,
"I forgot to put XTC on my Christmas CD list," I knew what to do. I got
Skylarking for her, and she loves it (although she thinks "Dear God" can
be a little cheesy). I think she was touched because I told her it was
my favorite XTC album of all time, and because my band covered "1000
Umbrellas." Nothing like relation-bonus-points on Christmas!


Keith Hanlon



Date: 07 Jan 97 20:47:21 EST
From: "K. Forster" <103124.351@CompuServe.COM>
Subject: Another Satellite's metaphor
Message-ID: <970108014721_103124.351_JHG101-2@CompuServe.COM>

> "Another Satellite" combines lyrics and music
>to create an otherworldly whole that encapsulates the relationship and
>perfectly accentuates the narrator's desire not to get "caught up"

Boy, did that sock me with a brick. I have to admit I'd never even
considered "Another Satellite" on that particular somehow
insinuated itself into my consciousness as some sort of anti-space trash
song. Obviously I haven't listened to it nearly as closely as I should have.

To me, that kind of sudden "AHA!" from a long familiar
song/book/painting/movie/whatever is true proof that there's somethin' good
goin' on here...



Date: 07 Jan 97 20:54:22 EST
From: "K. Forster" <103124.351@CompuServe.COM>
Subject: Sucky new stuff. Au contraire!
Message-ID: <970108015422_103124.351_JHG101-3@CompuServe.COM>

>Or is it just that the band
>really does start to suck after a certain period of time?

Frankly, I have a *lot* more difficulty with XTC's older took
me *ages* to start to like English Settlement after having been soooo in
love with "Oranges and Lemons" and "Skylarking" et al. The (pre-studio
only?) work seems so much rawer on the ear...of course, my fiance loves it,
and I'm having to cajole him into really listening to "Nonesuch" more. Go

Such a big lovely world of people and tastes; I have to say it delights me
every time I think about it.



Date: Wed, 8 Jan 1997 07:16:19 -0500 (EST)
Message-ID: <>
Subject: John/"The Devil Glitch"

yo John

-you wrote:

<In 1996, Chris Butler (best known as a member of the Waitresses) released a
maddeningly catchy 70-minute pop song with 550 amusing verses called "The
Devil Glitch".  About 60 minutes into the song the following verse appears:

"Sometimes you can fix something by just being the best,
 XTC's the greatest pop band.
 Sometimes you can fix something by being the best,
 XTC's still stuck in Swindon."


actually, the couplet goes:

"Sometimes you can fix something by just being the best,
 XTC's the greatest pop band.

 Sometimes you CAN'T fix something by being the best,
 XTC's still stuck in Swindon."

although i have nothing against Swindon, i was trying to make the point that
i love this this band, and wished them a better hand than they've been dealt.

cheers, regards, etc.

chris butler


From: McGREGOC <>
Date: Wed, 8 Jan 1997 13:08:51 +00
Subject: She's a laughing, giggling, whirly bird!
Message-ID: <>

Hey there!

I was listening to one of my "Just Can't Get Enough of the 80's"
thingys and the song "88 Lines About 44 Women" came on, right after
the line "Brenda's obsession was for certain vegetables and fruit"
the singer says" Are You Receiving Me?".  Just wondered if there could
be a possible link.  Women=Sex=XTC.  Hmmmmmm.

Then, "I Want a New Toy" came on and I started thinking Lena Lovitch,
Thomas Dolby(I had heard he worked with her as her
keyboardist).....XTC.  Crazy thought went through my head of what if
Andy Partridge and Lena Lovitch did a duet?!  Theres an interesting pair.
Could you just hear it?!  All those twists and stretches of the vocal
cords between the two.  Probably be like an acid trip gone bad.  I
shouldn't think so much at 2am.

I'm not done yet!

I'm going to join Adam on the thread of misheard lyrics!

In "That is the Way" that first line I hear " Go and
your Knees"  I think its supposed to be Niece but......

And listening to" Outside World" I always hear " she has 11 lions
laping at her legs, siiiiigh".  No, I don't have a secret desire to have
my legs licked.  Well,...perhaps I should consult my knees on this matter!

Merely a Man- the whole daffy duck line baffled me.  Before I bought
 the CD, I
had Oranges and Lemons taped and so I had no cover to consult on the
matter.  I've always heard, "Got daffy duck propelled from
 Jimmy Swagarts tummy gut!"  It Confused and Astounded me all at once.

Is it just me or is the Oranges and Lemons CD louder than the other
CDs of theirs?  I always have my head split open at the start of the
CD if I forget to check the volume after listening to one of the

And thus ends another confusing post from yours truly,



Message-Id: <v02130501aef96dadddb8@[]>
Date: Wed, 8 Jan 1997 15:34:46 +0000
From: (Stephen Varga)
Subject: XTC Sighting

Well, sort of.

TV Viewers in the Meridian Area (South & South East England) who are
regulars of Meridian Tonight showed a Christmas Special (funny moments
during the year, bloopers etc) on Christmas Eve.

Before and after the commercial break, the intro to Thanks for Christmas
could be clearly heard.

Nice to know there is an XTC fan among the production crew! Did anyone else
see this?


Message-Id: <>
Date: Wed, 08 Jan 1997 09:40:22 -0700
From: DeWitt Henderson <>
Subject: The Return

Just a quick notice - if anyone wants to hear the CD by "The
Return", the band of our list-mate Randall Watson, let me know,
and I'll mail it to you absolutely free.

Re: JHB (and others') comments about bands longevity, and how
long-time fans often like the earlier and mid-period output of
an artist/band more than the latest... that's often true, but
not always.  I don't think Van Morrison or John Hiatt, just to
name a couple, would be judged by their fans as having done all
their best work early or in the middle of their careers.  And
XTC is a shining example of a band that only gets better, or
at least maintains their standard.
* ----------------------------------
| DeWitt Henderson               |
| Los Alamos National Laboratory |
| CIC-13   MS P223               |
| Los Alamos, NM 87544           |
| 505/665-0720                   |
* ----------------------------------


Date: Thu, 9 Jan 1997 08:53:19 -0500 (EST)
Message-ID: <>
Subject: pluck

happy new year!

 1) I saw an ad in the new york post for a store called  "The  Cockpit "...
advertising DOWN jackets... (I think their specialty is bomber jackets)

 2) My newspaper carries the puzzle called  JUMBLE  where you unscramble
words , then use circled letters, and rearrange them into a riddles answer.

 Question;   What it took for the shy guitarist to perform in person.

 Answer; Lots of pluck.

 Thanks for Christmas---

 1) My wife doesn't like XTC.  For Christmas , we bought our first cd system
, and our first cd's.  We bought a few christmas ones , including new wave
christmas , which she also doesn't like (though she did listen to it) But,
she loves the first song (thanks for christmas) after many playings , I told
her who does it,( her first xtc song she ever said she liked!) Its a start.

 2) Isn't the real meaning of Thanks for Christmas... more or less---- good
thing we have something called christmas ... otherwise there are an awful
lot of folks who would never have an excuse to be in a good mood---- its
such a shame its only 1 day of the year - etc. ytou've been saving all your
love up - etc.

 thats how I always heard it
                                          Xternally- eddie st. martin


Date: Thu, 9 Jan 1997 11:56:21 -0800 (PST)
Message-Id: <v01510100aefa7e39304a@[]>
From: (Mitch Friedman)
Subject: The Partridge Report: 1-9-97

And now the news . . .

I just spoke with Andy and he provided me with some juicy tidbits of
info. Not quite as juicey as you'd like and also maybe not the kind of juice
you're looking forward to drinking but news nonetheless.

The rumor about XTC looking for a permanent drummer and keyboard player is
not true. Andy likes to see Dave's fingers twittling away on the ivories
and/or plastics and it makes no sense to hire a drummer who will sit around
in between albums and get paid to drink tea and watch television while on
the payrole.  So you may think that this implies XTC playing live is yet
another remote pos- sibility but in fact you would be wrong. Yup, you heard
me right, Andy says that when the new album or albums come out, he really
wants to try out the idea of having the band play live on the back of a
truck outside of radio stations or in their parking lots, probably in the
USA and doing their new noisy electric songs. He doesn't want to do the
acoustic thing anymore because everyone else is doing it now.

Geffen's 'Upsy Daisy' is going to be a greatest hits type CD which will be a
combination of some singles (from Nigel on) and some album tracks like 'Earn
Enough For Us' and 'Chalkhills and Children' (as Andy insisted they include
it). It won't have any new material on it. The box set was Virgin's idea but
it probably won't happen as everyone is still on unpleasant terms.

Andy still wants to do the Bootleg Album but Colin still doesn't and Dave
isn't sure. Either way, he says it won't happen until after the next new
albums. He did say that if he had to start on it himself then he would.

There are a bunch of newer songs ready to be added to the ever-growing list.
Andy's compositions include 'Playground', 'The Wheel & The Maypole',
'Harvest Festival', 'The Ship Trapped in the Ice', 'We're All Light',
'Wounded Horse', 'I Don't Want to Be Here' (written 2 years ago for Cathy
Dennis but she didn't use it), and 'Stupidly Happy'. Colin has demoed
'Frivolous Tonight' (which apparently is inspired by his reading too many
Noel Coward books), 'Standing in For Joe' (a bubblegum album outtake that
Dave thinks sounds way too much like Steely Dan's 'Barrytown'), and 'In
Another Life'.

Channel Four's gameshow called 'Never Mind the Buzzcocks' phoned up Nick
Lowe and asked him to write a little theme instrumental but he couldn't do
it so they called Colin and asked him. He immediately phoned Andy and they
decided to grab Dave and take the chord changes from 'It Didn't Hurt a Bit'
and whip up a 30 second long variation on it with a country flavor which
they recorded and then sent in. It was rejected.

Around the time of the recording of 'Spy in Space' and 'Jump the Gap' (both
dubs of Cuba and Nihilon respectively) another number called 'Walking to
Work' was done. This is not a dub of anything but is in fact an original
instrumental.  Andy and Marianne were toying with the idea of writing a soap
opera about supermarkets at the time called 'Prices' and 'Walking to Work'
was originally recorded as the theme song to 'Prices'.

While the Setanta rumor was false, recently Andy met with someone from a
small label called Cooking Vinyl and he was very excited about what he
offered. The band would most probably sign to a major label in the US for
distribution and promotion purposes, and an indie for Europe and the rest of
the world. Paul Bailey is going to New York in ten days to meet with several
new possible suitors.

Andy is going to produce Stephen Duffy's new single but he doesn't really
like the song and although Babybird wanted him to produce an album of his
home demos, he ended up doing it himself.

Things were pretty black last week in the mental state because he is just
going crazy from waiting to make a new album. He sounded better today and is
hopeful of some activity soon. The plan is to make 2 albums, each one with
about 10 songs; one electric, one orchestral.

And now the weather . . .



Message-ID: <>
Date: Thu, 09 Jan 1997 22:10:53 +0000
From: Jonas Lind <>
Organization: Skurups Folkhogskola
Subject: The Planets & The Vapors

Fellow chalksters,

I wonder if any of you ever heard of a British band called The Planets?
They had a hit in 1980 called "Don't look down", which so far is the
only song I have heard by The Planets. "Don't look down" is a very
catchy little pop song with a recurrent honky-reggae groove, which
reminds me of early XTC, The Police and Elvis Costello. My kind of
music! I'd be more than happy if somebody could tell me something about
this band. I'd really like to get hold of their album, and I don't even
know which label they were on.
Another band from that "golden era of early XTC" were The Vapors,
supposedly discovered by Bruce Foxton of The Jam. I'm sure most of you
have heard "Turning Japanese"? Again, this song reminds me of XTC in the
days when they, in my opinion, were at their very best (somewhere around
"Drums & Wires" and "Black Sea"), although the bass guitar sounds a lot
like The Jam (for obvious reasons?). I'm really curious about this band
also; I want to find as many XTC-soundalikes as possible from that
period in time. So, if any of you know anything about The Vapors, or The
Planets, please let me know.


Jonas Lind


End of Chalkhills Digest #3-66

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