Precedence: bulk
Subject: Chalkhills Digest #5-225

         Chalkhills Digest, Volume 5, Number 225

                 Wednesday, 16 June 1999

Today's Topics:

                      Imagine Radio
"Place of General Happiness"-Ernest Noyes Brookings Volume 2 CD
                        Pop music
    The end of Chalkhills' Children and KING FOR A DAY
                  If you haven't yet...
                    English Settlement
                    Greenman on stage
                     As time goes by
                     Round and round
               The Dream We All Wish We Had
             Re: Thickening Around the Middle
    YAZBEK sampled by techno group! end of world nigh
              'Black Sea' on Virgin Atlantic
                     Anyone? Anyone?
                    Re: First Time XTC
              Ballet for a River of Orchids
            those annoying acid flashbacks...
                      I'd Like That
an exhaustive laundry list of unrelated ideas emerging from the depths of my


Unmoderated?  Hah.  I'll be on vacation next week, so no Chalkhills.

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    The views expressed herein are those of the individual authors.

    Chalkhills is compiled with Digest 3.7 (John Relph <>).

Catherine wheeled and senses frazzled.


Message-Id: <l03130300b388ced64a85@[]>
Date: Sat, 12 Jun 1999 23:09:31 -0400
From: MinerWerks <>
Subject: Imagine Radio

I just wanted to follow up on Molly's recommendation of Imagine Radio
( where you can program your own radio station. I created
a station under the name "skylarker" that really focused on my favorite
bands, so that I can put it on as kind of a fun, "pick-me-up" station. XTC
played several times while I listened this afternoon, with mostly tracks
from English Settlement, of all things! I've got XTC, the Beatles, the
Kinks, Ben Folds Five, Barenaked Ladies, and a few others in major rotation
there, along with some other bands set to pop up at any time, like the
B-52s, Fountains of Wayne and They Might Be Giants. I was pleasantly
surprised at how many artists their library encompasses, and from my
experience this afternoon, you get a great selection of their music, too.
If you turn on pre-programmed Real Audio stations at work or wherever you
use your computer, you'd be well-advised to surf over and create your own

= MinerWerks=


Message-ID: <>
Date: Sun, 13 Jun 1999 00:18:37 -0700
From: Yoshiko Yeto <>
Subject: "Place of General Happiness"-Ernest Noyes Brookings Volume 2 CD


Dear God, "Rocket", the XTC (or more specifically Andy Partridge)
contribution to the Ernest Brookings CD, is absolutely mesmerizing.  In
fact, it is a personal favorite!  I would urge all fans to search high and
low, leaving no crevice untouched to obtain it.

The omission of an intro to the song, immediately catapults the listener
into outer space.  Perhaps, more specifically, it chronicles the late
Mr. Brookings' vision of outer space, which is at once sublime, lonely, and
whimsical.  Sounds like familiar XTC territory indeed!  Andy's lovely
keyboard handiwork truly underscores the feeling of drifting into space.
The luminous chorus features Andy repeating the word "rocket" with some of
the most stunning woo woos I've ever heard.  At the end of this
heartbreaking journey, he lets the song gently trail off into the dark
night.  Stunning!

If I may make yet another plug...For all you Chalkhillers out there, who
are not familiar with David Greenberger's "Duplex Planet" 'zine, I would
wholeheartedly recommend it.  David Greenberger produced the Ernest
Brookings CD and also reviewed Apple Venus on NPR.  "Duplex Planet" is an
absolutely brilliant read, which features interviews with various
octogenarians, who lived at the retirement home of the same name.

That's it for my shameless endorsements.

Malady Nelson, Esquirette

4th zoom destination to an isolated planet Neptune
Whose surface was clear of any vegetation
At base quote-would like large dirigible balloon
During when there was no hesitation

5th zoom destination smallest planet Pluto
On which are many beautiful sights
It has no vegetation you know
No power to illuminate dark nights
---Ernest Noyes Brookings
4th and 5th verses of "Rocket"


From: "Peter Moffatt" <>
Message-Id: <>
Date: Sun, 13 Jun 1999 02:33:46 -0800
Subject: Pop music

"J Bogner" <> wrote:
>Has anyone noticed on many of Andy Partridges' songs there is a
>Tension/Release pattern ?

Careful now! You're approaching the heart of POP and the essence of the
groove, man! Now would be a good time to listen to "I Want To Hold Your

Harrison Sherwood <> wrote:
>The CORRECT line is,
>    Nothing makes us more content
>    Than to have a little wallow in a bit of nonsense

Oof! Not an improvement. "A little wallow" is beyond twee, and you've given
no space for poor old Colin to breathe. Now would be a good time to listen
to "I Want To Hold Your Hand".



Message-Id: <v03102802b38976af0e69@[]>
Date: Sun, 13 Jun 1999 08:07:29 -0700
From: Richard Pedretti-Allen <>
Subject: The end of Chalkhills' Children and KING FOR A DAY

The series is now officially done.  I only have a few copies of CC97 left
and I will blow them out for cheap.  If you want one contact me at

Now the son has died, the father can be born.

It is time to announce KING FOR A DAY.

The basic scheme is to construct a website where people can submit
tributes.  These MP3 files can then be downloaded and played by the public
at large.  There will be a page to vote whether that cover should be
included on a tribute and, when enough covers clear the hurdle, a tribute
CD will be issued.


I have written a specification and have to review that with my webmaster.
I will have more information about this in a few weeks.

That is really all I'm saying about it now so please don't email me with
requests for WAV versions or MP3 CDs with every XTC tribute songs ever
done... it's too early.



p.s. Brandon Milner, contact me immediately!


Message-ID: <>
Date: Sun, 13 Jun 1999 17:00:49 -0700 (PDT)
From: Jennifer Linnea Strom <>
Subject: If you haven't yet...


Just wanted to add onto Todd Bernhardt's post about Mitch's fine CD.
I know Mitch put a lot of hard work into this and it shows. He is an
adept songwriter and I can hear a strong influence from Andy Partridge
as well as Ray Davies (For obvious reasons).  The production really
compliments the songs nicely, and it has a wonderful psychedelic/pop
flavor.  Dave Gregory's solo is downright phenomenal and will have
your jaw dropping by the end of the song.  Oh yes, the photos on the
sleeve show Mitch's remarkable eye for the visual arts as well. To any
of you that are thinking of buying it, I strongly urge you to do so.
And if you aren't thinking about buying it, you should be.  Support
original music!


Politics is not a bad profession.  If you succeed there are
many rewards, if you disgrace yourself you can always
write a book.
--Ronald Reagan


Message-ID: <>
Date: Sun, 13 Jun 1999 22:58:08 EDT
Subject: English Settlement

>A blueprint for Skylarking???  Songs that don't seen finished???  I beg to
>differ, but if the entire Chalkhills population voted on what is arguably
>the greatest (and/or their favorite) XTC album I have little doubt that it
>would be English Settlement (especially among those who were already XTC
>fans when this album was released).  It is admittedly difficult to compare
>swans (especially when one's talking about XTC albums), but in my view (and
>those of many Chalkhiller's) English Settlement is one of the greatest
>albums ever produced by anyone ever!!

>Number 8??? A blueprint for Skylarking??  May I suggest a new blueprint for
>your musical-reviewing brain.


  Everyone's got a right to their opinion, of course; I can't help
observing that the woman who turned me onto XTC back in the early 80's has
this to say when I offered to play her my copy of Apple Venus last time I
saw her: "I'll pass this time, I can't imagine they could possibly top
English Settlement, that's why I don't listen to them anymore." (actually
she hardly listens to anything anymore, marriage and kids and
responsibilities can do that)I think she may be wrong on that, though I did
visit her on the Sabbath, which meant as a practicing Jew she couldn't
operate any machinery. I did offer to put it in the CD player myself, but
she felt it would be cheating, though the law is not for the Gentiles...

  As for me, if it weren't for "Melt The Guns," which really gets on my
nerves, I'd consider English Settlement a nearly perfect album, even the
songs that don't quite work, like "Leisure" and "It's Nearly Africa," have
something to pull you in, like the former's saxophone solo and the latter's
pseudo-African percussion. No accounting for taste, I suppose, and I must
admit it takes guts to dare to diss English Settlement on this list, rather
like saying "Get a life!" to a roomful of Trekkies. Rather foolish and



Message-Id: <l03130304b38aa188b66a@[]>
Date: Mon, 14 Jun 1999 12:15:53 +0000
From: Mark Fisher <>
Subject: Greenman on stage

>From the newly released programme of the Edinburgh Festival Fringe:

Green Man Productions
The Green Man. Vivid and erotic, this magical play takes you to the dark
heart of nature. Here the mythical untamed male spirit confronts his
destiny. Will he save or destroy the world? Embrace the devil in you...
Aug 9-30 (not 16, 23) 19.40
Greyfriars Kirk House, Candlemaker Row Tickets +44 (0) 131 225 3626

I've just left a message on the company's phone machine telling them about
the XTC connection.

- Mark


Subject: As time goes by
Message-Id: <0006800012197250000002L002*@MHS>
Date: Mon, 14 Jun 1999 17:48:58 +0200

Hi all you "Kreideberger",

Three months.  For three months now, I've been a member of my new
Chalkhills family, and for only slightly longer, the owner of a copy of
"Apple Venus Vol.  1".  What a ride it's been!  Chalkhills is a crazy
place, with Beatles vs.  Beach Boys and syncopation and time sigs and
crushes on Andy and heavy metal and LSD/Monty Python/the Goons and blondes
with big tits and the Grays/Residents/Martin Newell and roundabouts and
parkways.  All this diversity held together by one thing: XTC.  Wild.  It
took me awhile to find my place here, but I think I "belong" now.  Some of
the initial excitement has given way to observation with "more experienced
eyes".  Actually, it's the same with the records -- now that I've had "AV1"
for all these months, my "more experienced ears" have a slightly different
feeling for the record than I had at my first listen.

"Orchids": This song was and is amazing.  When I first heard the album, I
remember all of the confusing, whirling swirling sounds and the bits of
melody and lyrics, and although I couldn't comprehend it all, I felt the
positive energy oozing out of the speakers.  I knew: XTC is/are back!  (I
immediately sent an e-mail to my brother telling him to run, not walk to
the nearest record store and buy the album.)  And I knew that this was one
of those songs that would grab me completely soon thereafter.  It did.  As
good of an opener as any XTC record ever had, ranks up there in my eyes
with "Respectable Street" and "Wake Up".  A "must hear" song.

"I'd Like That": One of those songs that got me right at the first listen.
I love the ebullient lyrics and the whole feel of the song.  As opposed to
many of the comments, I really like the thigh-slapping -- great idea, and
it really amplifies the positive vibes.  I'm still not so sure about the
"kissing glue" stuff -- sometimes I like it, sometimes I think it's a
little too much.  The production of that phrase with the carnival sounds
isn't that hot, though.  But it is a very good choice as a single.  Also a
"must hear" song.

"Easter Theatre": A song many people consider the best on the album,
possibly their best ever.  I can't agree.  To me, it's a good, solid XTC
song and one no one else could make (although it didn't "grab" me at
first), but as has been mentioned by several others, it seems a bit too
strained at points.  It's fun, but there are lots of better XTC songs in my

"Knights": This one has taken its share of criticism.  A very interesting
song with tough-to-figure-out lyrics, very soporific -- good thing for a
lullaby.  Lovely melody.  I like it a lot.  But not a "gigantic" song.

"Frivolous": I love this one.  Colin at his "small is beautiful" best.
Good production, very Beatley/Kinky, good distorted vocals, excellent
melody.  Not "grand" like the Partridge songs but not "trivial" either;
clean, neat, and fun.  I do not skip over this song.

"Greenman": When I first got the record, this was "the song".  GVES
(Greenman volume enhancement syndrome) was rampant in my house, as was
PCAWG (playing congas along with Greenman).  Great rhythm, and an
orchestral part so driving and African-oriental and "pagan" flavored , it
made me think of Mike Batt's "Caravans" album or "Ride to Agadir".  Imagine
my surprise when I read the credits a few days later and discovered that
the orchestral arrangements were by...Mike Batt!  I *still* think this one
would be a great single, because it is truly "catchy".  *But*: this is the
song that has moved down in my assessment the most.  In fact, whereas it
was the song I wanted to hear *most* in the beginning, it is now one of the
candidates for songs I can skip if I'm short for time.

"Dictionary": Some people say Colin's contributions don't fit the record,
others say it's this one.  As I see it, the jury's still out on this one.
I like its simplicity, and especially the end when bad turns to good and
negativity yields to a positive outlook.  And it is very hummable and very
clever.  Still -- I'm not sure it fits in the album.

"Fruit Nut": That Colin and Andy belong together is, for me, exemplified by
this song.  Listen to Andy's "Making of Easter Theatre" and what does he
basically say at the start?  "A man must have his shed."  And since Andy
has taken on "larger" topics, the small stuff is left to Colin.  Two pieces
of a puzzle.  Good song.

"I Can't Own Her": This tune took a lot of flak in the early days after the
release of the album.  Why, I never understood, but I hope some of the
detractors see in differently now.  Effortlessly intriguing words,
fascinating arrangement, I still think Brian Wilson should cover it.
Super, but still topped by...

"Harvest Festival": In my eyes, this is *the* song of the album.  What
lyrics -- heartbreaking yet happy, true-to-life, mature, not at all
contrived or forced.  And a tune to go along with it.  One of the best XTC
songs ever, in my book.

"Balloon": Interesting, but not one to listen to when you're depressed.  A
typical Partridge downer (as opposed to Moulding downers like "King for a
Day" or "Smartest Monkeys") in the vein "This World Over", one I can skip
if I have to although I do recognize its qualities.  I think there have
been numerous better closers, though, eg. "Nihilon", "Snowman", and

All in all a solid album I love to hear, but it doesn't push "Skylarking",
"O&L", "Mummer" or "Nonsuch" off of their pedestals (actually, for me it
sort of pushed "Nonsuch" up onto a pedestal).  It can stand tall among
them, though.  But then, what else would I expect?  XTC is/are still the
only continuously inventive, exciting, and challenging bands I know of, and
they've been doing that now for over 20 years.  I can hardly wait for the
special Christmas version; if Cooking Vinyl actually does release it they
will make themselves immortal amongst labels in my eyes.  And then comes

I'm a-waitin'!

- Jeff


Message-ID: <>
From: Todd Bernhardt <>
Subject: Round and round
Date: Mon, 14 Jun 1999 15:24:05 -0400

Hiya, Chalkies--

Sherison Herwood said:
>The overall effect of delay is to "thicken" a part, give it more auditory
interest. Even the best voices can sound cruddy on tape (ever recoil in
horror at the sound of your own speaking voice on tape?) and delay is one
of the weapons producers use to add a little interest to a lifeless

True, true. But they could be using another trick as old as the multi-track
studio:  recording the same person singing the same part several times,
which also "strengthens" the voice. Almost everyone does this nowadays. The
aural character of some singers, in fact, is almost entirely derived from
this -- for example, when Sinead O'Connor sings in the studio, she almost
always sings slightly differently on the second vocal track, creating a
slight internal dissonance that "spreads out" her voice and gives it the
distinctive timbre that I find missing in her live stuff.

>Andy Partridge has always had a major fetish for delay--but not simply to
add a little echo onto a vocal: He uses it quite often as a compositional
and improvisational tool, rather than a mere effect. You can hear the
beginnings of the obsession in "Complicated Game" and "Scissor Man." (I'm
convinced that the delay unit's prominent placement on "Drums and Wires" is
simply a result of the machine's sudden common availability in 1979.)<

And the influence of dub reggae -- which relies heavily on delay -- on the

>Perhaps his most sophisticated use of the delay unit as compositional tool,
though, is on "Another Satellite," in which Andy uses a very long delay
setting to actually sing a round with himself--that's not a second singer
echoing his lines ("I don't want to see your mooney mooney [mooney mooney]
face"); that's a delay unit. To my knowledge, nobody's ever given him due
props for this rather amazing creative feat: The song is written *as a
round*, with the second voice to be supplied by a delayed version of the

For another example of this, check out Queen's early stuff -- Brian May was
a master at using the delay, both to thicken his rhythm-guitar sound and to
create rounds within songs. "Brighton Rock" is a great example of it for the
lead guitar, while he applies it to Freddie Mercury's voice with great
effect on "Now I'm Here" and "The Prophet's Song." (And don't even get me
started about the Dixieland jazz band he imitates with his homemade guitar
on "Good Company" -- fucking brilliant.)

And to Andy Bogner:
Well put.



Message-Id: <>
From: "Shoalin" <>
Subject: The Dream We All Wish We Had
Date: Tue, 15 Jun 1999 08:56:30 +0700

Martin Luther King may of had a doosey, but last night's nocturnal vision
was so god awful vivid that I nearly woke up singing!  A balding bespeckled
Andy, the movie-star-good-looks of Prairie Prince and Curtains Moulding,
pounding away furiously at a luscious rendition of Green Man in front of a
live audience, and it wasn't in a TV studio....  Could it happen?  Given
what we all very well know about Andy, very probably not.  But then again,
is one not truly lost without the occasional company of one's dreams?  (and
just imagine the chore of selecting a befitting playlist!!!)



Date: Mon, 14 Jun 1999 20:57:27 -0700 (PDT)
From: relph (John Relph)
Message-Id: <>
Subject: Re: Thickening Around the Middle

Harrison Sherwood <> wrote:
>You'll get no argument from me on that last point, but the effect you speak
>of really isn't particularly unusual: It's just good old Delay, signal
>panned hard left and effect hard right. In other words, Andy sang the lines
>once onto tape. Then later they sent that one track out to a delay unit,
>which is a fun little gizmo that "slows down" the signal so it comes out a
>bit later than the original sung part--like an echo. They then recorded
>that delayed signal onto another track.

The Beatles used two different methods to achieve this effect.

The first method is one that has been mentioned already: they sang the
lead vocal again, as close as possible to the original, to make a
thicker vocal sound.  It's called "double tracking".

The second method is a little more complicated.  They recorded the
original lead vocal, and then made a copy of that track on another
tape machine.  Then they played the copy of the vocal track, with a
slight delay, and recorded it back to a new track on the original
machine.  But there's one more twist to this: they manually changed
the delay in real-time so that sometimes it played almost completely
in sync with the original vocal track, and sometimes it was a little
later.  By varying the delay, they made it sound as if it had actually
been sung again, slightly differently than the original.  They called
this "artificial double tracking".  A little more complicated than the
effect Harrison describes above.

	-- John


Message-Id: <>
From: "Ian C Stewart" <>
Subject: YAZBEK sampled by techno group! end of world nigh
Date: Wed, 2 Jun 1999 20:51:15 -0400

It's true, YAZBEK has been sampled by techno "group" ('grope' is more
accurate) FZZY PMPR.

Hear what drastic rumpshaking reconfiguration FZZY PMPR has executed---in
Real Audio!

The song in question is called "Hoochierock" and it appears on the FZZY
PMPR / SAMARKAND split CD released earlier this year. Find out about all
that and more at
or if you're more the direct type and just want the rock, click here!
("Hoochierock" is about halfway through the file---it's not the first song!
You might actually need to listen to the whole thing to find it!)

Anyway, it was amazing to me, er, to FZZY PMPR, how cool it is to hear
YAZBEK sampled in beat-oriented music along with all the greats like KING

Ian C Stewart


Message-Id: <v04205100b38b8cfe7e14@[]>
Date: Mon, 14 Jun 1999 21:59:29 -0700
From: David Haakenson <>
Subject: 'Black Sea' on Virgin Atlantic

Pardon me for this commercial, but this is a rare item you probably
haven't seen, nor may ever see again.

Ultra rare XTC 'Black Sea' test pressing for Virgin Atlantic. As XTC
completists know, 'Black Sea' was prepared for release on VA in the
U.S., but actually came out on Virgin RSO. Initial copies had VA
jackets and a green paper bag with an RSO sticker on the back.
Peeling it off reveals the bags were printed with Virgin Atlantic
information on them. Even initial copies of the vinyl had separate VA
and RSO numbers pressed into it.

Was this album ever released with Virgin Atlantic labels on it?

I've never found one, but at release time, I did receive a test
pressing made for Virgin Atlantic. Only VA numbers are handwritten on
the label, with only VA numbers in the vinyl.

Check out the eBay auction and photos on this item:

If you haven't checked out eBay, do so. So far, I've offered my
Little Express fan club cassettes, the "11 Different Animals" XTC
songbook, and soon, the BBC College Concert live LP and possible the
fabled Record Mirror vinyl EP on Virgin with "Traffic Light Rock"
live. Stay tuned.

David Haakenson


Message-ID: <002501beb6f4$8e3d2580$5d0fb3d1@oemcomputer>
From: "Aaron Pastula" <>
Subject: Anyone? Anyone?
Date: Mon, 14 Jun 1999 23:01:45 -0700

Here's a question that just occured to me.  I looked on the website for an
answer, apologies if I missed it or if the topic has been covered.

Apart from the fact that it's a line from Nonsuch, anyone care to venture
as to what "Apple Venus" actually MEANS?



Date: Tue, 15 Jun 1999 03:30:48 -0400
Subject: Re: First Time XTC
Message-ID: <>

Well, my first time I heard XTC was when Senses Working Overtime first
came out.  My sister played that song constantly, but I didn't know who
they were back then.  Then in 1989, when I saw the video for The Mayor of
Simpleton I got hooked.  I loved that song, so I bought their album at
Strawberries in Boston, MA.  But I didn't really get into them until
about three years ago when I decided to listen to O&L again.  It just hit
me how I was missing a great group.  So I went on a shopping spree and
bought almost all the XTC albums I could find at the record stores here
in Buffalo.  So ever since then I've been a die hard fan.



Message-Id: <>
Date: Tue, 15 Jun 1999 09:38:14 -0600
Subject: Ballet for a River of Orchids
From: "Bob O'Bannon" <>

This appeared recently on All Star Daily News:

>>Rock bands have seen their songs turned into elevator music via Muzak;
they've had them symphonically reworked via full-on orchestras, and even
performed to laser light shows. But performed to choreographed dance by a
ballet company? That's just what noted dance choreographer Neta Pulvermacher
has cooked up with XTC.
Pulvermacher, who studied dance in Israel before attending Julliard School
of Dance and has worked with John Zorn and the Jazz Passengers, will debut a
dance piece choreographed to XTC's "River of Orchids" from Apple Venus Vol.
1 (released early this year on TVT Records) this weekend in Cleveland.
The piece will be performed on Saturday (June 12) and Sunday (June 13) at
Halle Theater, and will return on June 19 at the Paul Daum Theater in Akron,
Ohio. According to a spokesperson for TVT, Pulvermacher is also working on
creating dance pieces for all 11 songs on the album.
The idea originated in February, when Pulvermacher met XTC mastermind Andy
Partridge at a photo shoot in New York. The two got to talking about the
idea, Partridge was receptive, and Pulvermacher got to work on it right
away, according to the spokesperson.
Meanwhile, TVT is working the second single from Apple Venus titled
"Greenman," while Partridge and Co. are hard at work wiring their studio to
begin working on Apple Venus Vol. 2. The second installment probably won't
surface until early 2000.<<<

First of all AV2 was slated for summer 99, then it was late 99, and now it's
early 2000. We'll be lucky if we get it by next summer.



Message-ID: <>
Date: Tue, 15 Jun 1999 09:52:57 -0700 (PDT)
From: Tyler Hewitt <>
Subject: those annoying acid flashbacks...

someone wrote:
Also, there's yet another story (perhaps apocryphal) that Abbie
or Jerry or one of the gang had dissolved acid in a solution of
DMSO in a water pistol, and was squirting cops with it. DMSO, if
you don't know about these things, is a chemical that transports
other chemicals through the skin barrier -- think of the late
lamented Dr. McCoy and his hypospray widget. I forget now -- how
did unwitting acid ingestion end up a major topic on the list?
(I'm not complaining.)

Underground journalist Paul Krassner describes it a little differently.
His story claims that during a huge protest at the Pentagon, the
yippies had this DMSO/Acid mix in squirtguns (they called it 'lace',
like a peaceful mace). In front of a bunch of journalists, they
announced what it was, and said that it would make you take your
clothes off and fuck (sounds much more fun than being maced). Then,
they squirted a couple of nearby hippies (they had planned this in
advance) who, indeed, took off their clothes and fucked.
Apperantly, Mr. Krassner was supposed to have been the guy, but
couldent be there.

I think this story was in Paul Krassner's book "Confessions of a
Raving, Unconfined Nut" which is full of fun anticdotes like that one,
but isn't terribly well-written. It is a good read for those interested
in this stuff.


Message-Id: <>
From: "Mark Strijbos" <>
Date: Tue, 15 Jun 1999 22:45:18 +0200
Subject: I'd Like That

Dear Chalkers,

the new (UK) CD single "I'd Like That" is out now, just missing my
birthday by a few days :(
The package is really dead gourgeous and very much in the same
vein as the previous one, also with handwritten & printed lyrics.
I hope this will also be the case for the Greenman single BTW...

The disc itself in particular is really beautiful with a cute little bee
sitting on a big sunflower.
Surf to my site at for decent scans of the sleeve
and disc.

yours in xtc,

Mark Strijbos at The Little Lighthouse


Message-ID: <>
Date: Tue, 15 Jun 1999 17:25:51 -0700
From: Yoshiko Yeto <>
Subject: an exhaustive laundry list of unrelated ideas emerging from the depths of my polluted psyche


I was wondering, are there any Zombies aficionados out there?  Someone
recently suggested on Chalkhills that XTC cover "A Rose For Emily", which
was an absolutely exquisite idea!  "Odessey & Oracle" has been hot glue
gunned to my overtaxed CD player!

Regarding my "true" initial exposure to XTC, it occurred frightfully late.
I was listening to KCRW when I heard the two wondrous major 7th chords that
open up "Wrapped in Grey" like a Peckham rose.  Oh, I was hooked like wild
salmon!  My jaw was never again the same.  I did hear their earlier hits on
KROQ in my ignorant teenage years, but forsake XTC for the truly wretched
spectrum of mid to late eighties neu wave.  I hadn't even fostered enough
brain cells to purchase "Skylarking".  Juvenilely delinquent, I tell you.

For any interested denizens of Los Angeles, The American Cinematheque is
hosting the Mods & Rockers film festival.  "Bedazzled" is screening on June
25th at 7:00 p.m.  Also featured are "Wonderwall" (starring the
irrepressible Jane Birkin with the instrumental score provided by George
Harrison), "Blow-Up", "Beyond the Valley of the Dolls", and the
Godard-esque Monkees' film "Head".  Mickey Dolenz will be on hand for a
discussion of the film.  If you are interested in further information, you
can contact them at

I'll spare you from more of my meandering gibberish.

Jabberwockily yours,

Ms. Malady Nelson, Esquirette


End of Chalkhills Digest #5-225

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