Precedence: bulk
Subject: Chalkhills Digest #4-54

          Chalkhills Digest, Volume 4, Number 54

                Tuesday, 10 February 1998

Today's Topics:

      the band, money gifts, paying for bootlegs etc
                        Cash cows
                   Harrison's "source"
                BUY THE NEW CD "FIREWORK"
                Re: Another Satellite MIDI
                Re: XTC Charity (and more)
                     Re: I'm In Love
                    Spare A Penny (?)
                   Breaking the silence
                     Selling demo CDs
                     Public apology.
                       Detroit XTC
                  #4-51: The Drunk Issue
              The Making of Snowman Revealed
                       None. Such.
                    Various responses
                  My $0.02 Contribution
                   Buffalo, NY XTC Fan
                      The Gift IDEA
                      a little help
                        Ego? Pah!
                    XTC Web Site Idea


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Note from the Moderator:

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She's in love with a MKII deluxe.


Message-ID: <B9B4268C8F87D11195DC0000F840FABE114B73@DUB-MSG-02>
From: Peter Fitzpatrick <>
Subject: the band, money gifts, paying for bootlegs etc
Date: Mon, 9 Feb 1998 03:12:21 -0800

This is how I understand it :

Paying for bootleg/unreleased material :
anything that was created while the band were under contract to Virgin is
owned by Virgin. This includes any and all demos. So when Andy says they
won't get any money if it's sent to the band he means it. Virgin will get it
- every penny.
He's happy for us to trade them and swap them. Pressing them up on CD and
selling them is not a nice thing to do.

Money Gifts :
I can see how it would be nice to give the band some money to help fund a
specific project.
I'm split on this one though.
I'll be there ready to give them the cash but please remember that Andy,
Colin & Dave are not idiots - they know exactly how to raise capital for a

I suggest that the Bootleg Album be fan-funded. We could do it in many ways
1. cash to pay for mastering
2. cash to fund the initial CD duplication run
3. buy the thing

which is all very well - but anyone can do that right ?

Why don't we offer something unique and something that will genuinely help
the band.

1. domain name registration
2. webspace and server setup for the band
3. CD sales setup (so they can sell their material direct) on the website
4. graphics, design, audiofile preparation for the site

all that techhie stuff that we can offer the band.

just my 2pence worth....



Date: Mon, 9 Feb 1998 03:41:29 -0800
Message-Id: <v01510102b104a28fb6b4@[]>
From: (Mark Fisher)
Subject: Cash cows

>Sending cash to the band seems silly when there's so much more we can
>Ed Miller

I'm with Ed on this one. Pop groups make records, people buy them, pop
groups earn their living. That's the deal. We may be very grateful for the
pleasure they have brought us, but we don't owe them anything.

It would be different if XTC really couldn't operate without some form of
subsidy, but as far as I know that isn't the case, is it?


Message-Id: <l03020902b104b0b3bfde@[]>
Date: Mon, 9 Feb 1998 08:38:29 -0500
From: aka Louise <>
Subject: Harrison's "source"

Chalk Park -

well, well, well. so now we know where Harrison's eloquent flights of fancy
come from, eh? obviously it's from his trusty bong. rock on, Harrison! (we
are not worthy!)

i've been trying to keep my trap shut regarding the vile, bad, wicked and
naughty Chris Difford, but really he seems to be an awful knave in this
whole affair, doesn't he? i mean, it's one thing to promise the use of an
expensive studio free and then reneg, but to get petty about it and do
things like snatch tapes out of people's hands is really a bit uncalled
for. not to mention the fact that poor XTC have yet another roadblock to
overcome - their stubbornness and determination in the face of insanely bad
odds is impressive as always. Rah, rah to Red Rockinghorse, indeed.

random music recommendation - American Music Club's _San Francisco_. i
first liked it for the single "Hello Amsterdam", but it's misleading
because the rest of the album is nowhere near that rocked-up and silly -
it's actually much better. some of the songs sound strangely like U2 circa
_Rattle and Hum_, but most of them are either more folky or more poppy,
especially the *great* song "I Broke My Promise", and they even do a cover
of "California Dreaming" that doesn't make you want to claw your own eyes
out with a handy ball-peen like the original tends to do. i've also heard
that Mark Eitzer (songwriter/lead singer) has a new album out that's quite
good - i'll have to check it out & see.

		- brookes
		  aka louise
R. Brookes McKenzie                             aka Louise B. Minetti
 "His appearance and manner were those of a short-tempered whale
  which has just received a harpoon in a tender spot."
                - P. G. Wodehouse, _The Butler Did It_ (1956)


Message-ID: <>
From: (Steve M Ransom)
Date: Mon, 09 Feb 1998 11:18:04 EST

A way we might help the band..............

When you actually buy the new XTC CD, Make sure that you buy it at a
retailer that has SoundScanTM. Collectively we may be able to give the
album a good "kick" in Radio & Records and Billboard magazines. If your
retailer of choice is an indie, pass them up on this purchase and head to
the big chains (Tower, Media Play etc.) where they most certainly report
to SoundScanTM. A good initial showing in the charts may get the band
some notice with programmers and other industry professionals that use
these trade publications.

		----Steve rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr


Message-ID: <>
Date: Mon, 09 Feb 1998 12:39:24 +0000
Subject: Re: Another Satellite MIDI


I used the "Another Satellite" MIDI (see the Chalkhills site) that
I created in a gig I did down in the Florida Keys a couple of weekends
ago. Every year down there they have the Winter Star Party, a
get-together of amateur astronomers, and, after a 5- or 6-year hiatus I
returned with a vengeance. I put together a collection of tunes that had
some kind of astronomical significance that I performed before the
Friday afternoon door prize drawing (among others, I did a TMBG tune -
"See The Constellation" from Apollo 18). Except for a circuit breaker
trip during "Another Satellite", the show was very well received, and I
guess they want me back next year with a new selection of tunes. Anybody
got any ideas for other XTC tunes with astronomical significance? I can
think of "I Remember The Sun" and "Miniature Sun" right off the bat.



Date: Mon, 9 Feb 1998 10:09:55 -0800 (PST)
From: relph (John Relph)
Message-Id: <>
Subject: Re: XTC Charity (and more)

John.J.Pinto@Hitchcock.ORG (John J. Pinto) writes:
>It would seem to me that the idea of sending money to XTC to help with the
>current project is a noble idea but foolish.

I have to agree with John here (not just because we have the same name).

>in reality the ONLY way to generate revenue is
>to have something to sell.

Which is what I basically said to Mitch.  We can support XTC best by
buying their product.  By turning our friends on to XTC.  By spreading
the word and raising the interest level.

>How many people sent $45.00 to TMBG to get the Andy disc?

At least two, I think.  I know I did.

>Andy has never really connected with
>the fact that there is a very lucrative income stream here that has not been
>tapped. It is very difficult to be sympathetic.

I don't know if I can agree with this statement.  I believe that Andy
knows full well there is an untapped income stream.  He wanted to
release a companion disk to _Nonsvch_ because he knew there was a fan
base that would be interested in the demos.  He released _Jules
Verne's Sketchbook_ and _The Bull With the Golden Guts_.  What stood
in his way was Virgin Records.

>So what do we get... Mitch Friedman telling us about his special
>relationship with the "source" and all the fabulous music that he and his
>small circle of friends get to hear and tell us about and remind us that we
>the little people of the Chalkhills world will sadly never ever get to hear.

Jealous much?

	. . .

murkie <> replies:
>to burn one cd at a time (which i'm sure whomever you contacted is doing)
>would actually cost about that much.  one blank cd-r can cost upto $15,
>plus there's the cost of insert card copying and labels, not to mention the
>trouble of taking the time to do it.  $16 is actually quite reasonable.

The CD of demos that I obtained is definitely a CD-R.  And Murkie's
points were all very well stated and, as far as I know, correct.

So stop whining.

	-- John


From: Matt_Kaden/CAM/
Message-ID: <>
Date: Mon, 9 Feb 1998 13:07:50 -0500
Subject: Re: Re: I'm In Love

On Planet Earth "David vanWert" <> wrote:
> You know "I'm In Love"? The Beatles
> never recorded that one, and the demo is still pleasant to the ears. Wonder
> how that happened. (Slowed-down laugh track)

?That track is only pleasant because it's by the Beatles. Put a different
?name on it and nobody cares.

Let me start again.
The Beatles never recorded that one.


Message-Id: <>
Date: Mon, 09 Feb 1998 18:58:16 +0000
From: Simon Sleightholm <>
Subject: Spare A Penny (?)

John.J.Pinto@Hitchcock.ORG (John J. Pinto) made an interesting point:

> Andy has never really connected with
> the fact that there is a very lucrative income stream here that has not been
> tapped. It is very difficult to be sympathetic.

I don't agree that it's hard to be sympathetic (this is a band who have been
screwed by labels for many years; until recently releasing more music just
meant providing more opportunities to be ripped off, not more opportunities
to make money), and I don't particularly agree that the income stream is
potentially that lucrative either. We pay massive prices for shoddily
packaged bootlegs precisely because they are generally unavailable, but if
they were released "officially" we'd be wanting sleeve notes, neat inserts,
etc. and we certainly wouldn't want to pay "bootleg" prices for recordings
with an official status.  We've just had a whole raft of postings from
people who don't ever want to hear demo material - even if it's supplied for
next to nothing on a tape-trade basis - I can't see them _paying_ for the
stuff.  Remember, there are people on the list (and you can check back over
months of lists for this) who don't have, indeed don't _want_, the full
back-catalogue as it stands even now.

I do agree that the "gift" or "donation" notion has flaws - there will
always be those for whom the nature of "donation" will remain a mystery and
who will be convinced that they have purchased some kind of stake in the
band.  I also agree with the sheer frustration of laying out wads of cash
for XTC material knowing that - at most - the proportion of the outlay that
actually reached the band could buy them not much more than a reasonable
quality meat pie (between them).  When I think how little I paid for my Big
Express CD - 11 pounds (though I have two vinyl copies too, circlular sleeve
and regular) - which is a year's work for the band that I will get to keep
and marvel at for the rest of my life, the price seems ridiculously low.

I suppose some kind of pay per listen scheme would be the answer (and maybe
one future day some seamless and workable system would come into operation)
- it's galling that, in theory, the same cash cut reached Shonen Knife for
the "Let's Knife" album I never ever listen to these days as reached XTC for
"The Big Express" which I just can't get enough of.

> So what do we get... Mitch Friedman telling us about his special
> relationship with the "source" and all the fabulous music that he and his
> small circle of friends get to hear and tell us about and remind us that we
> the little people of the Chalkhills world will sadly never ever get to hear.

And that was just downright _unpleasant_.  You might as well write off
listening to XTC because they make all this great music that we "little
people" will sadly never get to make.


-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-  (
An XTC resource - "Saving it all up for you..."


Date: Mon, 09 Feb 1998 12:19 -0700 (MST)
From: Dewitt Henderson <>
Subject: Breaking the silence
Message-Id: <19980209191851.MVMG13559@[]>


After all these weeks-apart Chalkhills, what happens?  I don't
look for a few days, and there's a mountain of words...

* Nonsuch is great, yessss, even the 2 songs that you mentioned,
  Mike V.  :^)  (and Phil properly defended...)  So Mitch, please
  add me to the list that doesn't mind if Andy uses any orchestral
  bits... and as to the idea of contributing money, sure!  (Lighten
  up, John Pinto).
* And what's this?  That if it wasn't for the demos, we might've
  had 'waning interest?'.  From THIS group?  That's a laugh.
* 5 degrees of separation:
  Andy --> James and the Giant Peach songs --> animated and/or
  puppet stuff --> Barney --> 666 (I've got an email that 'proves'
  the Barney connection to the Devil.  :^)  THIS IS A JOKE.  :^)
* And speaking of degrees of separation - Todd, whoah, man, I'm
  impressed.  :^)  And yer a loony - yeah, OK, so I'm *technically*
  an 'exhibited artiste', but it's a meager beginning...
* Mandy Taylor - I totally agree with you

* And last but not least, farewell to Carl Wilson.  RIP, man.
  Laugh if you want, but the man had a great voice, was a decent
  guitarist, and was an important member of a band that was
  important in its time.


Message-Id: <72EDB966944AD1118DC90080D82074882BC3CA@ex-campus2>
From: "Pedretti-Allen, Richard" <>
Subject: Selling demo CDs
Date: Mon, 9 Feb 1998 11:46:39 -0800

Just to give a point of reference, I bought a 10 pack of writable CDs
for $30 and it came with a $20 mail-in rebate.  So the price for a CD
should have been between $1 and $3 with another $1.50 or $2 for mailing
(within the US).

That's $5, MAX!   Whoever is attempting to charge $15 for a CD of demos
should look elsewhere to recover the cost of their CD burner.

Cheers, Richard


Message-ID: <>
Date: Mon, 9 Feb 1998 15:28:59 EST
Subject: Public apology.

Before lots of people begin to mail me with Sherwood-backing criticism, I
would like to formally apologise for my recent nasty and vindictive reaction
to what I now realise to be a harmless parody from Harrison Sherwood.
    It was wrong and very pig-headed of me to think that anyone would bother
to direct anything at me in particular at me.  Tut, tut... vanity, eh?
    I won't waste any more precious reading time with my brown-tonguing.


Scurrying Away With His Tail Between His Legs, Suffolk.


Message-Id: <72EDB966944AD1118DC90080D82074882BC3CD@ex-campus2>
From: "Pedretti-Allen, Richard" <>
Subject: Detroit XTC
Date: Mon, 9 Feb 1998 13:16:58 -0800

To: Wesley Hanks

It was WDET, Public Radio in Detroit.  I left Detroit in 1982.  I think
Mike Haloran left Detroit shortly after that but he ran a show entitled
Radios In Motion (obviously the XTC influence was factored into his
show).  This show covered the new music (punk and new wave) that was not
getting airplay elsewhere.  It turned me on to so much stuff that I
doubt I would have ever heard!  I owe Mike (and Judy Adams for the
Morphogenesis show) a great debt.  I heard Dave Dixon a few times on
other WDET shows but I never heard the shows to which you refer.

To parade my ingorance, I have a song that I taped off the show that I
really enjoy.  It is this wacky sing-a-long thing with a ska beat and
all different types of vocals called "Too Many Cooks In The Kitchen" by
The Colonel or The Kernal (Haloran stated the name of the artist but
didn't go into detail of who it REALLY is).

It wasn't until I logged onto the Chalkhills website a few years ago
that I found out that it was Colin!  What fun!!  A goofball song I would
have never linked to XTC was actually from one of it's members!

Cheers, Richard

p.s. I never would have bet the Brian would be the last remaining Wilson


Message-ID: <>
From: "Sherwood, Harrison" <>
Subject: #4-51: The Drunk Issue
Date: Mon, 9 Feb 1998 17:57:26 -0500

>From: Matt_Kaden/CAM/
>Message-ID: <>
>As Sherwood Anderson recently suggested:


Sherwood Anderson (1876--1941): Am. Writer, author of _Winesburg, Ohio_
(1919); _Poor White_ (1920); _The Triumph of the Egg_ (1921); and the
novels _Many Marriages_ (1923) and _Dark Laughter_ (1925). (Source:

Harrison Sherwood (1960-): Just some asshole. (Source: his wife)

>I hereby challenge this statement, though I see where you're going. I like
>listening to Lennon's demos because I like John Lennon. I like his voice,
>his vision, his personality and it's simply intriguing to overhear him
>trying out different styles. The "He Said/She Said" demos are lucid and
>mercurial and they're totally different from the final structure of the
>released version.

Yes, absolutely! I have a fairly high regard for Whistling Jock Lennon
myself. And it's utterly fascinating, hearing him actually in the
process of composing, piecing the melody together, different time
signatures, different chord progressions, different words...and there's
a certain take where you can actually _hear_ the lightbulb go on over
his head: "No, it's not about Peter Fonda on acid, it's about a _girl_!
No, it's not a jaunty folk song, it's a heavy rock number! No, I think I
need to mention my trousers!"

> I'm sorry but they just sound good and I would enjoy them
>just as much as if I had never heard the 'official' version. If I hadn't
>heard the song before - even better.

Ah, well, here is where we part ways. In some alternate universe where
Brian Epstein was killed in a horrible 1962 kitchen accident and
Kingsize Taylor and the Dominoes rather than the Beagles went on to
heights of fame and adulation, we wouldn't give those truncated, noisy
homemade recordings the time of day. Notice we don't speak in hushed and
reverent tones about demos made by the also-rans of the rock world--many
of whom are just as talented, passionate and committed as Lennon but who
just never got the big break they deserved. We collect the demos of
songs that we know.

Circling back toward of topicality... I always resisted listening to the
Firework demos because I just don't want to hear unfinished, unformed
sketches for songs until I've heard the finished versions. I'd like to
take the moral high ground and harrumph about Andy & Co.'s rights as
artists, but the truth is much more selfish than that. As soon as I've
absorbed the new record, truss me, folks, I'll be rooting around for
Bootleg Truffles just like all the other little piggies.

>From: Gary Minns <>
>Subject: Tax
>Date: Fri, 6 Feb 1998 16:33:15 -0000
>>I remember the last time passing the hat for the band was discussed,
>someone said that a gift like that would be a tax nightmare for the guys<
>As long as the tax isn't 100% or over then surely they must end up
>better off than before, albeit not to the tune of the full sums given...

I've been using this line of argument with my supply-side/tax-revolting
acquaintances for years, Gary, but for some reason it fails to impress

>From: "Pedretti-Allen, Richard" <>
>Subject: Demo bootlegger / brainburn

>What is brain eno?  Is that some kind of LSD neutralizer that you get
>from Boots?

I happen to have a package of it right here: "Brain Eno: Fruit Salts for
the Discriminating Vegetable! Instructions: Open-open-open the
package-ackage-ackage carefully-arefully-arefully. Don't
bother-other-other with a glass of water-ater-ater, juuuuuust
oooooooooopen your moooooooouth and poooooooour it in. Grok-ok-ok-ok-ok
the bubbles-ubbles-ubbles exploding in your head like huge orange
fireballs of Universal Giggling Love Everlasting.... If after ten
minutes your sex partner hasn't stopped turning into a lizard, repeat
dose. If in another ten minutes s/he _still_ looks like a lizard, get a
new sex partner; it's not the drugs."

>From: "." <>
>Subject: spoiling "Firework"

>	firstly,I apologise for any spelling/grammar mistakes,but as
>there's nothing much else to do here in East  Anglia,I'm slowly getting
>mangled on cheap lager as I write this.


The East Anglia Board of Tourism will be by shortly with the genital
cuff. I strongly suggest you _don't_ resist them.

Harrison "Uh-oh! Nothing there THIS time!" Sherwood


Message-Id: <>
Date: Mon, 09 Feb 1998 15:15:06 -0800
From: "MARK G. CUEVAS" <>
Subject: The Making of Snowman Revealed

So you want the story of how Look Number 9 came to remake XTC's
Snowman, huh?  Well, if truth be told, it goes like this:

In The Beginning
Here we were, a group of guys whose fanaticism with XTC had
reached manic proportions.  We had just decided to come up with
something for CC '97 when out of the blue we get a call from one of the
highest profile agents in L.A.  On that fateful day we were informed that
Bear the cat, world-class musician and the rage of Hollywood had not
only heard of us but that he would be performing with us on this
endeavor.  We stared at each other in disbelief for some time -- failing to
understand how a talent like this could even be aware of us -- let alone
decide to perform.

Needless to say this was the highest honor.

Choosing The Song
We met with Bear at his oceanfront estate armed with every XTC album
in our arsenal.  We needed to find just the right XTC song to cover.  [In
his inimitable ultra-cool-musician style, Bear essentially ignored the
selection process for CC '97.  For most of the time he sat there licking his
left paw as we threw out title after title of some of our favorites, hoping
(praying really) for some sign that he agreed with our collective thought
process.  After exhausting four albums worth of favorites, he stopped
licking himself long enough to glance in Jeff's general direction.  (We had
just finished proposing Snowman).  Aaah, we said to ourselves, he
wants to do Snowman -- a story of hearbreak, of unrequited love, of
yearning.  Bear is so cool, we agreed, nodding at each other in mutual

In The Studio
Having decided on our course of action, we booked four days at
ChippyHacky studios to give Bear time to feel things out musically.  We
wanted everything to be just right and worked very hard to give the
place that homelike feel we thought he might appreciate.  We consulted
with two of the finest interior decorators in Beverly Hills.  We had the
ceiling remolding with gold leaf pawprint inserts.  We had all the doors
replaced with feline-friendly entry ways to allow for ease of access.
We constructed signs reading "No Dogs Allowed" and placed them
prominently throughout.  Additionally, all of Bear's toys were spread
around to give it that lived-in look -- his favorite toy mouse near the kick
drum, his string hung from the boom mic, litter boxes in every corner, and
no less than seven scratchers strategically placed (the sonic qualities of
the carpet helping to deaden the slightly live acoustics).  [We were really
proud of ourselves on that last one].

When Bear finally arrived (two hours late), with five kitties of the other
persuasion in tow, and more than a bit of catnip on his breath, we
realized that we needn't have bothered.  From the moment he arrived, he
made us acutely aware that the environment was all wrong.  Ignoring the
scratchers, he went right for the grill of my 4x15 vintage Ampeg bass
cabinet.  He scratched the living hell out of it -- then smuggly walked
across the floor, all but ignoring the string dangling from the boom mic.  I
was devastated.

Jeff was shaking with fear at the thought that Bear would be displeased
with his choice of guitars for the session.  Before even reaching that
point, Bear, in a cunning move designed to solidify his leadership role,
decided to check the tuning on Jeff's Ibanez.  Jeff looked in horror at the
roadie.  The roadie, now pale with the realization that the guitars hadn't
yet been tuned to the exacting standards of this feline phenom, buried
his head in his hands.  In less than a strum, Bear knew that the B string
was a half semitone flat.  Apparently Bear had had enough.  He looked
around the studio in disgust, stared at the red-faced Jeff, then slowly
strutted away from all of us -- and into the booth.  Although we, the band
members, were shielded from hearing his tirade, we could see the
engineer wincing at the tongue-lashing being administered.  With a hiss
and a devastating glance from Bear, the engineer leaped out of his seat
and Bear positioned himself at the helm.  In less than 4 minutes, Bear
rerouted just about every rig setup the engineer had painstakingly
crafted over the week long soundcheck.  Finally content with the setup,
Bear got on his cell phone (during studio time mind you).  He first
badgered his publicist for greater personal exposure, he then reduced
three potential agents to tears, and finally, through shrewd negotiation,
he obtained an unprecedented percentage of the domestic *and* foreign
markets for himself -- in addition to a generous cash advance.

Meanwhile, his entourage was getting restless.  Bear decided to call it a
day and we were left scrambling to get things right.

When the day finally came for Bear to record, he arrived (late again) with
his chimes in a gold-encased container.  Snubbing the AKG C3000 (we
suspect it was an odor problem, but he declined to elaborate), he had the
engineer scrambling to set up a Neumann U-38.  He had the studio
cleared and recorded his part in one take.  One take!  What a talent.  Ever
the consummate pro, Bear waited for the thumbs up from the engineer
(now drenched in sweat), then climbed effortlessly into Dave's bass
drum for a much deserved catnap.

End Product
In retrospect, his seeming ambivalence at the outset belied a keen focus.
He was testing us.  We don't know if he's heard the product.  All phone
calls to his agent have gone unanswered.  So Bear, if you're reading
this, it was a great honor, man.  Thanks.


Message-Id: <>
Date: Mon, 09 Feb 1998 20:37:24 -0500
From: Loquacious <>
Organization: Loquacious Music -
Subject: None. Such.


I'm sorry.

> But, um, I guess you're alone in your opinion of "SM" and "WD",
>except that I like the SOUND of "WD",...

These are two of my favorite songs on Nonsuch..."My Bird Performs" is my
fave, followed by "Disappointed," "Omnibus," "...Monkeys," and "The Ugly
Underneath." I've got to stand up for those two, though. "The Smartest
Monkeys" was the song that got me hooked on XTC.

I paid $14.49 for my CD copy of the demos. The remastering was superb --
and my cassette was a second generation copy! 'Twas worth it.


* -------------------------------------- *
B e n   G o t t   ::       Bowdoin College
(207) 721-5142    ::   Brunswick, ME 04011
Own Yazbek's new album!
* -------------------------------------- *


Message-Id: <>
Date: Mon, 09 Feb 1998 21:10:08 -0500
From: Adam Tyner <ctyner@CLEMSON.EDU>
Subject: Various responses

A bunch of comments...

Although the demo CD may seem a bit pricey, the beautiful transfer makes
it, at least IMO, worth the money.  I do think the person responsible for
them (or at least the person who burned mine) could've come up with a more
flattering picture of Andy for the cover, though.  ;)

As for Mitch's message about sending money to the band - I agree, and the
last thing I want to do is make them feel uncomfortable.  Perhaps the best
thing we can do is buy the album for ourselves, force friends, enemies,
relatives, whomever to buy it as well, and for those hold-outs, buy them
"Firework" for Christmas.  :)

	In response to this:

If people do want to get extra money to the band I would postulate this
is *not* the best way because most of the money from the sale of the
album goes to the record company. You're just lining the pockets of some
already rich fat cat!

I could be wrong, but wasn't the motivation behind Idea Records that the
band would make much more money for each album sold?

The home of He-Man, "Weird Al", Yoo-hoo, Killer Tomatoes, and more!
   Demented music list admin           O-         MiSTie #67,326


Message-Id: <>
Date: Tue, 10 Feb 1998 13:21:13 +1100
From: Jeff Cotter <>
Subject: My $0.02 Contribution


	Instead of collecting up money and sending it to the band (may as well
send them fruit cakes, IMHO), I suggest collecting up money, then hiring
the band to play an acoustic set or two at a small party of people who
pitched in.  Of course I'm ignoring about a dozen logistical problems, but
what the hey?

Jeff Cotter
Photovoltaic Special Research Centre
Univesity of New South Wales
Sydney, Australia
when you get to a sea of rubble...


Message-ID: <>
Date: Mon, 9 Feb 1998 22:57:31 EST
Subject: Buffalo, NY XTC Fan


My name is Molly, and I'm new to Chalkhills.  I've been a fan of XTC's for
about nine years.  I can't believe how many fans of XTC there are in the
world.  It's so great.  I've been looking for something dedicated to my
favorite music group.  I started liking them after I heard the song, "Mayor
of Simpleton."  My favorite album is, "Skylarking," and my favorite song is,
"Jump" off the album, MUMMER.

I can't believe that they are having money problems.  I don't think it's a
good idea sending money to them.  As other people have mentioned the record
company can take care of it.  Why should we worry about their money
problems?  Instead of giving them money, we should buy their albums, and
tell other people about them.

I have a question to ask.  Does anybody know if there will be any new XTC
vidotapes coming out.  I know there's one called, "Looky, Looky," but it's
out of print.  I would love to see some of their videos.

Well, I hope I'll keep reading the Chalkhills digest.  Bye



Message-ID: <>
Date: Mon, 09 Feb 1998 22:04:59 -0800
From: Eric Rosen <>
Subject: The Gift IDEA

Hi all,

I can't blame you Mitch for wanting to hold off on this idea no matter
how good its intentions (er, Heaven is Paved with Broken Glass,

As has been mentioned on this list several times, the issue of taxes and
other legal entanglements loom large for Swindon's finest -- and not
without due justification.

Nevertheless, one idea worth considering is the creation of a non-profit

As I understand US non-profit organizations, all of their collected
monies must be put towards their mission.  If there are any remaining
monies (ie, "profits") at the end of the fiscal year, those monies must
be plowed back into operations for the succeeding fiscal year.

Perhaps, a "Society for the Promulgation and continued Production of XTC
Music" could be chartered with the monies collected aiding or assisting
the aforementioned mission.

I don't want this to sound like a "pat" or over-simplified answer to
what is a complex legal question.  Afterall, if the organization were
contributing to the cost of studio time and IDEA profited from it, there
could be legal problems for both the non-profit organization and IDEA.

Still, I think this is an avenue well worth looking into provided it is
done in a rational manner.

When the time comes, count me in for any assistance I can give...


Message-Id: <>
From: "-" <>
Subject: a little help
Date: Tue, 10 Feb 1998 09:27:32 +0100

Hi everyone,

This is my first letter to Chalkhills. I am a big fan of XTC since 1984 and
since then, I've tried to get all of their records, and also other kinds of
recordings (Eps, live recordings,.....)
However, I know there are many other songs out there in singles and in
special editions. Because of this, I'd like to ask you guys for help so as
to be able to listen to them . Also I would like to ask you if anybody of
you has the songs written below so as to have the chance to record them on
a tape.
No need to say I would give a reward in return (money, other
Here's my E-mail in case anyone would like to contact me:

Thanks a lot


Here are the lost songs:

Traffic light Rock ; Chain of Command; Limelight; Day In,Day Out; Homo
Safari ; Bushman President; Goodnight Sucker; Egyptian Solution; Cut it
out; Blue Overall; Mantis on Parole;
Terrorism; Let's Make a Den; Find the Fox; The Troubles ;Living in a
Haunted Heart; My Paint Heroes ; Rip Van Ruben ; It's Snowing Angels;
Always Winter but never Christmas; Down a Peg ;


Message-ID: <>
From: Wood Robert MMUk <>
Subject: Ego? Pah!
Date: Tue, 10 Feb 1998 08:50:28 -0000

John ? wrote in 4-53...

>> I've not heard any of the "Skylarking" demos, but I would suspect that
the famous tug-of-war between Andy and Mr. Rundgren lead to a final mix that
was substantially different than the original demos.  It's too bad that
Andy's ego doesn't allow for stronger involvement by a producer. <<

And then...

>> Granted, the final product is uniformly glorious (thanks to Andy's
unique genius and craftsmanship), but I can't help but feel that
"Firework" will deliver yet another comfortable "XTC sounding" album in
the vein of every XTC album since "The Big Express" instead of a
creative departure.   <<

Hello? Now let's see, Skylarking wierd, almost strangled production
sounds just the same as Nonsuch's very English production which sounds
just the same as Oranges and Lemons' LA production which sounds just the
same as The Big Express' really earthy production. Come *on*.

On Andy's ego, two points.

1. Try making some music of your own and *then* see how easy it is to
let someone come in and change *your* songs to something that wasn't
your original vision... Then come back and complain about his ego.

2. Anyway the fact that all these post Mummer albums sound so different
show that's bollocks anyway!

Personally, Skylarking is my least favourite production of all the XTC
albums. Songs are still great though! <g>

All IMHO, obv...


Message-ID: <>
Date: Tue, 10 Feb 1998 22:07:12 +1100
From: Joseph Ierano <>
Organization: Chiropractic Ierano
Subject: $$

I will definitely contribute money to the XTC fund,
in the form of $30 for a new CD.



Date: Tue, 10 Feb 1998 08:31:19 -0500 (EST)
Message-Id: <l03110701b1052058eb1a@[]>
Subject: XTC Web Site Idea

I read about the suggestion to donate money, which would be fine with me,
but seeing that so many of us have our own Web sites, how about pooling our
resources to help design and develop a great XTC Web site in support of the
new album. For maximum impact, it should be linked and/or originate from
their record company. How about taking orders over the Web so the boys
don't have to split all profits with resellers? I would be willing to work
on it...Love Spit Love had a pretty cool site with lots of rollovers and
JavaScript. They even had a chat area, where Richard Butler would respond
(though not too frequently) to fans questions and requests...

Harold Grey


Message-ID: <>
From: "Sherwood, Harrison" <>
Subject: Steamings
Date: Tue, 10 Feb 1998 10:20:55 -0500

>From: Loquacious <>

>P.S. Rho, don't get steamed at Harrison.

Like good listies--and the gentlemen our mommas raised us both to
be--Rho and I have settled our differences privately, through the
miraculous medium of email. We are now the breast of friends, and we
shall go no more a-flaming where the tigerlilies grow. With a
hey-nonny-nonny etc.

>He just missed his Lithium.
>Monica Lewinsky was supposed to fill the prescription after typing those
>documents, but she got sidetracked.

Ah, is that what you youngsters are calling it these days:
"sidetracked"? "Say, Spud, where's Angelo?" "He snuck back into the
pantry with Nadine; judging from the noises coming out of there, he's
sidetracking her silly."

Listened carefully to Nonsuch through headphones a few times this
weekend, and Nope, Sorry Andy. Just as good as I remembered it to be,
with the orchestral stuff leading the way in the Incandescent Beauty
department. While there is a cliche or two in "Rook" (the strings
repeating the sung phrase a measure behind, canon-style--as in "Who
murders who..."--has got to date back about to Josquin Des Pres or
thereabouts) on the whole that and "Wrapped in Grey" are just peachy.
And don't get me started on the Brian Wilson-fest that is "Humble

(That echoed-phrase thingy is one of Andy's favorite devices. It's most
evident on "Another Satellite," where he uses a delay to sing a round
with himself. The horns in "Omnibus" do the same thing. That Andy!
Honestly, I think there's a whole term paper in XTC's use of this
technique. Can any music students out there supply me with a name for
it? ["Arthur!" "Shut up!"])

>From: Wood Robert MMUk <>
>Subject: Preference and the ageing process!
>Date: Mon, 9 Feb 1998 09:11:54 -0000
>In Chalkhills 4-51, Steven Graff asked:
>>> My point of note is, did any of you prefer a more manic Andy


>I wonder whether people's points of view differ if they have "grown up"
>with XTC. [snip] As Andy, Colin and Dave have changed, their music has
>changed with them, it's almost inevitable I would have thought that it's
>going to mellow out.

All quite true, and let's remember that (as much as some of us would
like to think differently) it's no longer 1979 and the New Wave has
kinda played out a little bit, and, ska re-re-re-re-revival
notwithstanding, Manic hasn't been particularly hip for some time--at
least here in the Yoo Ess for the last 20 years we've been musically
oscillating between Sullen and Petulant, mostly, with the occasional
stop at Glum and Sulky. (Talk about somebody needing their Lithium!)

Seeing as how we seem to recycle styles at an ever-increasing pace, one
expects any day to see skinny-tie power pop making a second (third?
fourth?) appearance--I imagine Nick Lowe somewhere, rubbing his hands
together gleefully. _Then_ we'll be in for some Manic. Practice those
hiccups, boys!

Harrison "I don't sidetrack much with the past, but I sidetrack plenty
with the future" Sherwood


End of Chalkhills Digest #4-54

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