Precedence: bulk
Subject: Chalkhills Digest #5-33

          Chalkhills Digest, Volume 5, Number 33

                Saturday, 5 December 1998

Today's Topics:

      Song Stories for Christmas? What a great idea!
                      XTC Glam???!!!
                     New Bill Shatner
                     Lyrics and FAQs
                     Re: The Only One
               Oranges & Lemons Inspiration
                Re:Question for Old People
                  Back in my Gilded Cage
                   XTC ad...Re:Boredoms
                 College Radio Anonymous
                   Fill Call ins, NOT!
                 Open a Window to Summer
                        An error?
              Every Wanker's wound up tight
                 Political? How Crass...
             From Lovett to XTC? Yes, really!
                 Phil, We Hardly Knew Ya
               No More Phil Collins Please


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Tell me what do you say.


From: "Wesley Hanks" <>
Subject: Song Stories for Christmas? What a great idea!
Date: Thu, 3 Dec 1998 18:18:13 -0800
Message-ID: <000201be1f2c$58978660$301c1d26@wes>


"What a nifty idea" Hints from Heloise


November 29, 1998, Sunday FINAL AM EDITION

HEADLINE: Books about music can be a big hit on gift list

BYLINE: Dave Ferman, Star-Telegram Writer
 Christmas plus music equals, for a lot of people, the new Celine
Dion or Babyface CDs.

Nothing wrong with that, but it doesn't have to be that way.  Some
of the best Christmas gifts you can give your favorite music lover
aren't music at all, but rather books about music.

That's particularly true in 1998, which saw the publication of a
number of underpublicized books about, variously, swing music in
Texas; zydeco and its place in Louisiana culture; an obscure jazz
musician with an incredible secret; and a well-regarded but never
riotously popular English band.
...And then there's XTC: Song Stories (Hyperion; $ 14.95), an account
of the famous (and criminally underappreciated) English band told by
the band itself and author Neville Farmer.  XTC, you'll recall, has
made sublime pop music since the '70s, but they rarely perform
because of leader Andy Partridge's stage fright and his on-tour
breakdown in California in 1982.  After that, they devoted more time
to crafting studio CDs.

Much of the book's narrative hinges on band members talking about
individual songs.  This doesn't sound like it would work, but it does.

Along the way, an interesting portrait of a unique band is drawn.

Avoiding being criminally underapreciated,


From: "Wesley Hanks" <>
Subject: XTC Glam???!!!
Date: Thu, 3 Dec 1998 18:25:38 -0800
Message-ID: <000301be1f2d$61d6a980$301c1d26@wes>


And from Women's Wear Daily November 2, 1998


    NEW YORK -- Everybody's talking about "Velvet Goldmine," the soon-to-be-
released Seventies Glam Rock film directed by Todd Haynes. And the
flamboyant style of David Bowie's Ziggy Stardust period is a strong force in
fashion once again. Here, Studio XTC's zebra-print polyester faux fur jacket
over Starlette's cotton T-shirt and Daang Goodman's polyester, cotton and
nylon leather-look Union Jack skirt.

This will be featured in the Apple Venus cd booklet group photo, yes? Who
will be modeling? Andy? Colin?



Message-Id: <>
From: "johnbaldan" <>
Subject: New Bill Shatner
Date: Thu, 3 Dec 1998 22:14:43 -0500

I don't know whether it's credited to him or not (it's a collaboration on
Ben Folds new solo album), but "In Love" is undoubtedly William Shatner's
finest moment as a vocalist.

I have to guess that Mr. Folds coaxed the living legend out of singing
retirement, and told him explicitly "don't change one bit!"  Mr. Shatner
overpronounces and overdramatizes his way through the tune as only he can --
but this time it WORKS!  He uses his schtick as an artistic weapon!  He
demolishes Love!  Ow!


From: "Leon X. Deggs" <>
Subject: Lyrics and FAQs
Message-Id: <>
Date: Thu, 03 Dec 1998 23:54:11 PST

Morning - s'me again.
No longer 'virgin poster' but still unsure as to posting etiqutte.
Nevermind - no Nirvana puns please, it's a perfectly normal word and I WANT

So, I recently (about 18 months ago if truth be out) trawled through the
long list of XTC FAQs on the Chalkhills site and want a question answering
as a result of this:
Is it entirely conceivable that the American releases of O&L came without
the lyrical sleeve insert?
Because one of the FAQs was: Does Partridge really swear on 'Skeleton ...'?
I mean, as soon as I thought he was singing 'and I write your f*cking book',
I instantly ran to my record sleeve and checked it up.
And it turned out the he hadn't sworn at all.
And this made me think about the FAQ.

People that need to ask this question fall into one of two categories (or
1. People that GENUINELY bought O&L without sleeve inserts.
2. People who have cheated themselves and the band by copying the album onto
cassette (or whatever new-fangled thing we have these days) without the

Remember - fantastic 80s UK recording slogan:
Home Taping is killing music.

Cheese to you all and have a Winter's day.
Leon X. Deggs


Message-ID: <>
Date: Fri, 4 Dec 1998 06:22:45 EST
Subject: Re: The Only One

>2) My wife has taken to playing Richard Clayderman CDs to our new baby
>daughter, Jade (born on 4th October weighing in at 7lb 10oz or 3.44kg), to
>wind me up. Any ideas for XTC songs suitable for babies to replace Dickie on
>the CD player?

"Garden Of Earthly Delights." "Hold Me My Daddy."

>3) Are or were any of you fans of The Only Ones (now defunct)? They were in
>serious competition with XTC for my affections at the end of the 70s. I've
>recently been playing some of their stuff again - I'd forgotten how
>excellent it was.

  I've got both of their American releases- Special View, a compilation of
their first two British releases, is slightly better than Baby's Got A
Gun. I haven't listened to either for quite a while, but you've just given
me the idea to dig up Special View and give it a spin. "Another Girl Another
Planet" is their best and best-remembered song, for the uninitiated; if you
like that, you'll like the rest of their stuff. Greg Kihn does an excellent
cover of AGAP on his last studio album, Love And Rock And Roll. Drummer Mike
Kellie was also an original member of Spooky Tooth, for anyone who's

>Well, I'm off to get myself a life. Sorry if I offended anyone.
>All the best
>Simon Deane



Message-ID: <>
Date: Fri, 04 Dec 1998 08:03:28 -0500
From: james isaacs <>
Subject: Oranges & Lemons Inspiration

I thought I would de-lurk momentarily and give this tidbit of trivia.
The inspiration for the O& L album cover would have to be the London
Sessions album by
Muddy Waters.  Look at the two together and you'll see what I mean.
Go 2 Rules,

"Humanity is the history of revenge."
-Robyn Hitchcock


Message-ID: <>
Date: Fri, 4 Dec 1998 09:54:09 EST
Subject: Re:Question for Old People

>Was there a lot of surprise among listeners when the ornately
>arranged and produced "Mummer" came out after the guitar-bass-drums
>"English Settlement"?  Or was it expected since they were now known
>to be a studio entity only?  And on that topic, was it a surprise
>when they suddenly stopped touring?

....Ere, what's that sonny?.......Let me tell my day................

I didn't feel it was much different instrument wise.  I mean the
guitar-bass- drums are there along with the Korg synth as on ES.  The
pastoral feel may be due to "Farmboys' Wages", but you got "Funk Pop-Roll"
to counter.  Maybe a tad more synth based, but look at the times.  Much less
than others.  I do remember that Big Country was played quite a lot then, so
that deviates a bit from the synthers.

The heavy hand of production really makes its mark between the two records.
I mean you've got ES with a Production/Engineering team and Mummer with
different engineers, producers and studios affecting its sound.  I also
think, IMO, that the songs are less complex on Mummer than ES.  Now before
you hit the flame button....that's not a bad thing, especially with songs as
brilliant as "Great Fire","Me and the Wind", "Ladybird".....oh.....and the
rest of it.

As far as touring, I think AP made his verbal displeasures known, but I
didn't think it would be as drastic as it was.  I was outside the Hollywood
Palladium, at the Cathay de Grande to be precise, when I saw the huge bummed
crowd leaving after the cancellation announcement.  Who would've of known
that would be the end of that phase in their career?

Flame away youngsters!!!!

Phil Cusimano


Message-ID: <>
Date: Fri, 04 Dec 1998 11:56:20 -0500
From: "Neal H. Buck" <>
Subject: Back in my Gilded Cage

Children, Children,

Nice to be back in ChalkHell! I haven't posted since March, when I left
Columbia, MD for the Wild West of Reno, NV. It was fun, but the
job/money thing dried up. So now I'm back at my old/new town, job & apt.
It's all the same, except it's changed - I feel like Rip Van Winkle (or
should I say Wanker?)

I've only recently been plugged back in, but I want to say how good it
was to actually meet some of you MD/VA/DC Chalkers for dinner and the
Mike Keaneally concert at that mecca of thoughtful, provocative music
JAXX. This is also to let you folks know that I can be reached by e-mail
now, since I wasn't connected then.

Phil Collins? My aunt wants me to find out about him. Sure, he's an
excellent drummer, especially on the PG-era Genesis/Brand X albums,
though he seems to go for "drumming lite" on his solo albums. I'd rather
rave about Bill Bruford, thank you very much.

I don't know much about Mark Isham's work, but I did see him once at the
Bayou, in Wash., DC with David Torn (and Mr. Bruford & Mick Karn). Torn
does a good Fripp imitation. I'm sure music "experts" could point out
his genius, but most of it sounds like noise to me (not pop). BTW, I did
thoroughly enjoy the show.

O&L is one of my favorites (except "President Kill"). That's mostly cuz
it sounded like a return to the (gasp!) "upbeat pop" sound of old, after
the relatively lugubrious "Skylarking." IT followed the pop-y "Big
Express" which followed the subdued "Mummer" (liked "M," didn't "BE" as
much - so much for pigeon-holes). O&L was followed by the subdued
"Nonsuch" (a not-like). Notice the pattern? It'll be interesting to see
if the new release will be more pop, or perhaps since it's 2 CDs,
they'll cover both sides.

I thought the lyrics to "Zen Archer" were printed on the sleeve of the
LP (or the poster). You could always subscribe to TRs site
( and ask him for it. BTW, I just saw him on "The Daily
Show" (Comedy Central) slagging Lou Reed & Bowie, and answering their "5

Good news for Bill Nelson (friend of XTC) fans! Be-Bop Deluxe's
"Futurama" & "Modern Music" have been re-issued, and Bill has a new
distribution deal with Fripp's DGM label to re-issue his solo stuff
(hopefully "Two-Fold Aspect of Everything" & Red Noise's
"Sound-on-Sound" - a must for any early XTC fan [produced by John
Leckie, too])

Enough for now,
The poster formerly know as "New Town Animal"


Message-ID: <>
Date: 4 Dec 1998 17:09:00 0000
From: "Robert  Wood" <>
Organization: Mutech
Subject: Analogies

>> It's funny that you see Mummer as being much different.  I think that it
flows nicely from ES tracks like "Yacht Dance" and "Senses Working
Overtime".  I hear both albums as being very "wooden," unlike Black Sea,
which is metallic, O&L, which is vinyl, or Nonsuch, which is more like
driftwood:-P <<

Ooooh, no! Can't agree with that! O&L is very CD, not vinyl, 'cos it's very,
very toppy and harsh. Nonsuch, is more of a pearl album, beautfully smooth
and desirable!

Like the idea of what you're saying though, and agree with  Black Sea being
metallic. Think Mummer is more pastoral and Skylarking choked... ES would be
metal plated pastoral!

(That's enough! - ed)


Message-ID: <>
From: "Catherine Piazolla" <>
Subject: XTC ad...Re:Boredoms
Date: Fri, 04 Dec 1998 07:02:45 PST

In case you were worried, somebody has decided that exposure might
actually help XTC.  Check this month's Rolling Stone with Jewel (oh shut
up) on the cover for a quarter-page ad for Transistor Blast and a teaser
below mentioning Apple Venus ("early '99").

Last I heard, Boredoms were on something of a Krautrock binge, merging
psychedelia and mekanik beat.  Other bands you might love on this tip:
Ruins, Melt Banana, Ground Zero, Optical*8, Base of Fiction, Kirihito,
Bondage Fruit, Happy Family, Koenjihyakkei, Un Bel Tipo...Don't look
now, but Japan has the best underground scene east of London sewers.



Message-Id: <>
From: "RoadKill" <>
Date: Fri, 4 Dec 1998 11:58:58 +0000
Subject: College Radio Anonymous

> Duncan said:
> <<College radio is mostly a bunch of scared wanna-be's that respond to
> potential criticism by playing things that are completely hideous and
> pretending to really like them, while dancing to ABBA oldies and Kool And
> The Gang in the back of their tiny little shrunken minds. Being cool is
> really great, isn't it?>>
> Hey, I work at a college radio station right now.  I play a lot of
> interesting things.  I take offense with what you have said.  I don't think
> my show is hideous.  And what's so bad about ABBA?  And I don't have a tiny
> little mind.
> Molly

Both, to me,  are right (at least in reference to college radio).

	Ah, I just love to see the thread on college radio.  I love college
radio.  I spent 40-60 hours a week at my college station WVUA at the
Univ. of Alabama.  I have moved on to the lovely world of commercial
morning drive radio where my job depends on my ability to attract and
maintain listeners.
	When I get drunk (or the equivalent) I often speak fondly on those
years.  That is why I feel safe to admit that college radio is the
greatest form of masturbation short of martyrdom.  I worked at a
couple of other college stations during a couple of summers in
Pennsylvania and Maryland, met others at the CMJ convention in NYC,
and am an active listener of college stations (the first thing I look
for when I come to town).  For the most part, the DJs have freedom to
program part (if not all) of the music for their shows.  You put that
along w/ that large mic at your mouth and you've got the biggest ego
stroke you've ever experienced.
	What makes college radio so unique is the random results created by
combining inexperience and desire.  For the most part you have
mindless chatter and inside jokes (usually w/ one or more people not
on mics).  The music will fluctuate from station to station depending
if they are on a rotational or block format.
	 Block stations (where there are "shows" of specific genres or under
complete control of the DJ) will depend totally on the DJ.  They
either suck tremendously or display talent.  To work here, you
understand that there are people that will focus their next 2, 3,
whatever hours to you and the music you chose to play for them.  You
have a mission everytime to walk into that studio to give the best
impression of yourself.  You dream and fantasize about what people
think of you -- if they were analyzing the songs you play and that
they will start listening to a band because of you.  But, hey, that's
insulting!!!  You're right, you have control over it - it's not an
	You don't get as high, but it is a different high to be a DJ at a
rotational format (sounds as much like commercial radio as can be
pulled off under the circumstances).  The primary rush comes from the
more restrictive nature of the format.  The songs are, in some way
(either a song, CD, or group of CDs), already picked out by
management.  This usually results in DJs wanting to exercise more
freedom and avoiding or altering the programmed songs.  They often
will refer to this on air and joke about what management might do.
There is a sense of danger that is shared w/ the audience - a
rebellion.  This is also where you will hear the wackiest attempts at
sounding like a commercial station.  Guys will try to make their
voices go as low as they can or add scratch to the texture.
Trying to be a goofy radio person will also cause some scary
results that will make listeners cringe or laugh (don't expect a
high percentage of hits, though).  These folks are also very likely
to never read any announcement on the air without commenting or
parodying the content.
	But the greatest service that college radio provides is an outlet
for artists that would not be played on a commercial station.  The
only "bad" college stations to me are the ones that play music that
is readily available at the commercial stations in the market.  But
you don't have to abandon...let's say...REM just because they are on
VH1.  Just remember to play "Radio Free Europe" and "driver8" (or
insert other release while still an indie).
	Drooling about college radio just isn't seemly (and I'm suprized
that I haven't shorted my keyboard).  I love college radio and
generally enjoy getting drunk w/ former and present college DJs.  If
I ever do get back to college for a graduate degree, I will most
certainly try to become involved in college radio again.  I have the
strength.  Join me brothers and sisters of noncommercial
broadcasting!  Let's wipe our hands clean and admit that job is the
greatest guilty pleasure that is still legal.

Cory Berry

XTC Content - I ordered my TB from TVT and I'm wearing out the latch
on my mailbox by continuously checking to see if it has arrived.


Message-Id: <>
From: "Jeff Smelser" <>
Date: Fri, 4 Dec 1998 12:02:52 -0700
Subject: Fill Call ins, NOT!

Hi Chalksters-

Another brilliant Chalkhillian Spake:

> I should add "Sussudio" as another damn good reason, <*to hate Phil C.>
> but it's so bad I almost feel sorry for the sad gimp who wrote it. Almost.

And it's a direct ripoff of Prince's 1999.....that's where my contempt
for him comes.

Later XTC buds,  JD SMX


Date: Fri, 4 Dec 1998 14:24:24 -0500
Message-Id: <>
Subject: Open a Window to Summer

Did anyone else catch the Brian Wilson special on PBS, "Imagination"?
I called both of my sisters, and insist they watch it. One was watching
a cooking show and the other Drew Carey.

Well, they both missed out. While I have jealousy read postings here
from British Chalkers reporting that they heard new songs and word
from Mr. Partridge on the BBC, I almost felt guilty enjoying the
Brian Wilson special and wishing to God it was broadcast in every
country. What a marvelous show. Goosebumps. Elation. Toe tapping.

What sheer joy it was to see Brian performing again, and some damn
fine songs on his new album! I went to a local CD store, populated by
twenty-somnethings with more earrings than IQ points, and asked politely
(when I didn't see it in the bin), "Do you have 'Imagination'?"
"WHAT?" one of them asked, over the din of noise they are wont to
listen to in the store, to drive out the old men like me who know
I yelled. The response? "IS HE ROCK?"

After this sorry exchange, I was saddened yet gladdened that the
store didn't have a single copy. The sold out! GREAT! I was actually
glad they didn't have any copies, in a way. I promptly ordered the CD
and will have it in a week or so. Gosh, hearing that music a few nights
ago was like opening a window to summer.

He really is in one piece, and he seems genuinely gladder than glad to
be out there again. Guest stars included Julian Lennon and Elvis Costello.
Oh, and The Barenaked Ladies - who confessed to being so very influenced
by Brian and The Beach Boys. If you did see it, e-mail me privately
with thoughts as this is a list dedicated to XTC. Thanks!



Message-ID: <>
Date: Fri, 04 Dec 1998 14:44:21 -0400
From: Brian <>
Subject: An error?


>From an article kindly provided by Wesley Hanks:

>But the idea of a fake reality, a secret history, does. It's
one of the reasons why Partridge loved the bubblegum idea, and why XTC
has recorded under different guises, including the Dukes of
Stratosphear, Johnny Japes and his Jesticles, and as Terry and the
Lovemen, which featured on the XTC tribute album, A Testimonial Dinner.<

I'm certainly no XTC expert, but I do know what I heard - XTC didn't
record under 'Terry & The Lovemen', did they? According to the demo tape
I have (with Andy as guest on that radio show in London), T&TLM (almost)
merely did a cover of one of XTC's tunes. Isn't this correct, or have I
missed something?

* Digital & traditional illustration/animation
* Caricaturist-for-hire
* RENDERMAN ~ One-Man Band Ordinaire


Message-ID: <>
Date: Fri, 4 Dec 1998 14:43:51 EST
Subject: Every Wanker's wound up tight

1) To me Oranges & Lemons was probably the epitome of what Andy wanted out
of XTC.  This might sound odd to some but I think if you take XTC's body of
work you can see how it was leading up to this.  Yes, everything and the
kitchen sink is on that album production wise, but to me it's done with the
same reckless abandon as the Barry Andrews days.  It should be noted that
Paul Fox had the guys work out the songs live in a rehearsal studio with Pat
Mostellano (who supposedly requested to play the older stuff).

2) It should be noted that American censors are so oblivious to the word
"wanker" that in the '80's I heard Mr. Belvedere call someone one.  I nearly
dropped my remote as I was cruising past that channel (for those who may not
know who Mr. Belvedere is, you're lucky).

3) In answering Michael Davies question, YES.  When Mummer came out it was
nearly impossible to find out anything concerning XTC.  Once Andy walked off
the stage in Los Angeles the music world thought that was it for XTC.  So
when "Great Fire" came out in the spring of 1983, I was shocked, though I
had read an article or two I thought it would have been years before I saw
an XTC record, if at all.  Then, I believe Mummer itself didn't see the
light of day until September 1983 and I don't believe it was officially
released in America until 1984.  So just hearing an XTC LP was enough to
blow my mind.  Then I heard "Beating Of Hearts," et all and then my mind
exploded all over my room and I had to get it back together to go to work a
couple of days later.  It was wooden and synthetic and every thing English
Settlement wanted to be but was trapped in the constraints of having to tour
that record.  Mummer was all over the place like a hybrid of The Beatles'
Revolver and some lost Fairport Convention record.

Finally, I don't know if anyone has ever mentioned this, but there is a
chapter in a book called "Kaleidoscope Eyes: A History of Psychedelic Music"
dedicated to "English Eccentrics of the '80's: Andy Partridge, Julian Cope &
Robyn Hitchcock."  In a book that seems to cover every aspect of the genre
(yes, Dom I believe even Ozzy is mentioned), I thought it was pretty cool
that three of my all-time favorites should be included in the same chapter.

Harry Strole


Date: Fri, 4 Dec 1998 14:46:21 -0600 (CST)
From: Marshall Joseph Armintor <>
Subject: Political? How Crass...
Message-ID: <>

<<I think issue intrudes into some of XTC's material to a detrimental
effect (personally, I'd cite "Melt The Guns," "WarDance," and "Goodbye
<<I think Derek Miner makes a good point here. XTC have never really
been good at doing political/ issue songs which probably explains why
a lot of people hate songs such as "President Kill" and "The Smartest
Monkeys". The possible exception to this is "No Thugs in Our House"
which I think works rather well as a song.>>

  I'd agree with Dom that this isn't necessarily the case, as it's
an often-invoked criticism of often that you've gotta take
notice that a good deal of their songs are politically oriented.
Sure, "War Dance" and "President Kill" aren't subtle [although I think
the latter is a good song, still], but there are plenty of other
tracks like "Towers of London," "Reign of Blows," "That Is The Way,"
"Generals and Majors," "Leisure," and "Knuckle Down" that aren't
heavyhanded...even the sublime "Books Are Burning" helps the message
go down smoother that it would in the hands of a less-competent
songwriter.  If you look at it the right way, Colin's songs "Sacrificial
Bonfire," "Bungalow," and "Deliver Us From The Elements" are political,
   There's a terrific online used CD site called Cellophane Square,
the virtual arm of the real-life music store-chain: plenty of interesting
stuff, even if some of the more obscure titles are rarely ever in stock.
(Namely, the ones I want.)  Anyway, in their "Coming Soon" section,
there's a nice blurb for _Transistor Blast_ and the forthcoming "all-new
studio album" next to the Squirrel Nut Zippers, JSBX, Fatboy Slim, etc.:
    Just thought I'd mention it because it's heartening to see that
random people in the commercial world are aware of the new material, no
matter how much water has gone under the bridge since 1992.


np Mingus, _Black Saint and Sinner Lady_


Message-ID: <>
From: Jill Oleson <>
Subject: From Lovett to XTC? Yes, really!
Date: Fri, 4 Dec 1998 14:53:22 -0600

Oh, Talkers,

I was surprised yesterday with a ticket to see
Lyle Loft in concert at the historic Paramount Theatre
in downtown Austin.  As I settled in my assigned chair,
upholstered in a velvety red cloth, and admired once again
the beauty of the turn-of-the-century frescos in this
treasured old palace, I wondered what the evening's
entertainment would be like.  I have several of Loft's
albums, yet had never seen this Texas boy in concert.
As the house lights dimmed and the stage lights came up,
the collective excitement of the members of the audience
was absolutely palpable.  I knew I was in for a real treat.

The show centered around Loft's current release,
"Step Inside this House," an album of songs written by
various Texas singer/songwriters who have influence
Loft both as a person and as a musician.  For me,
it was a trip down memory lane.  But in this trip, all the
bumps have been taken out of the road.  The songs,
in the hands of this a gentle grand-master, were such a
soothing balm, that it might be best to say the trip down
memory lane was in a sailboat pushed by a cool breeze
on a summer day.

Along with Loft and his Large Band (7 members), fellow
Texan Steve Fromholz also played and sang.  You may or may
not be familiar with his lyric "I gave her a ring and she gave me
the finger," a Progressive Country Classic.  In between each of
the songs they played, either Lovett or Fromholz would tell
stories of what life has been like for them and other musicians
in Texas for the last fifty or so years.

Usually when I go see a concert, the music creates images
in my head and get inspired to paint them.  In other words,
one of the reasons I go see concerts is to make me a better
painter.  But with these two guys telling stories about people
I had known or at least heard of for the last 20+ years, I began
thinking about my own history, especially the relationships I've
had with other people throughout my life.

Okay, so I'm sure by now you're wondering what the XTC
connection in this story is.  It began when Fromholz referred to
the "Survivors of the Great Progressive Country Music Scare of
the 1970s."  When he said that, I flashed back on the first live music
concert I ever saw.  It was a Texas Classic:  Rusty Wier,
B.W. Stevenson (who wrote "My Maria"), and Jerry Jeff Walker
(who wrote "Mr. Bojangles").  -- Don't worry if you don't know these
people or their songs.  If you're familiar with Austinite Willie Nelson,

well, that's close enough.  If you've ever watched the TV show
"King of the Hill," that's close enough as well.  And if you listen
to Lovett's "Step Inside this House," that's IT exactly only it's
taken a shower and is wearing a sophisticated aftershave.

I was not old enough to have been allowed into that concert.
The venue, the Austin Opry House, sold liquor, so everyone in
the place should have been 18 or older.  I was not, but I looked
like I could be and I sneaked in.  It was so cool to me to see
all these guys in person that I had heard on the radio.  I also
tasted my first beer: YUK!   The show made for an interesting
introduction to live music. We sat at large wooden picnic tables
and chowed on nachos and pitchers.  My next concert was a
Billy Joel show a couple of years later in the Super Drum at the
University of Texas -- another nice show.

I loved listening to Top Forty radio.  I was so addicted that I
would sleep with it on so I could listen to it all the time.  One
day, KLBJ played a few clips from a really strange British band.
The announcer's voice boomed (in the way that only they can
so the event sounds like the coolest thing in the whole wide world):


I thought about those clips for a moment.  What the hell were
those songs?  What kind of music was that?  Why did the band
ruin a perfectly good song by interrupting the upbeat flow with
an obnoxious "whooohooo" every so often?  And what the hell
kinda name for a guy is Nigel?

I called in any way.  It's good to feel like a winner at SOMETHING.

So, you know, I was caller number 10.  I won all that stuff and
a friend and I went to the pizza joint the night before the concert.
By now, I was old enough to actually like beer (a lot!). I remember
saying to her, if the concert tomorrow is rotten, at least we had
a good meal tonight!  After consuming all I could consume, I picked
up the album and the pin and went home.

I listened to the album a couple of times before going to the show
the next night.  The music was okay, I guess, if you like that
quirky shit.  In fact, it was beginning to grow on me.  But it sure
didn't sound like any of that Top Forty or Progressive Country stuff
I was used to.  No Siree.  Not by a long shot.  It sounded like a
buncha dang fereigners on hormonal overload.

So we went to the concert.  And to make a long story short
(and because I have a lot of work to do at the office this week),
IT ROCKED MY WORLD.  Seeing them in concert helped me finally
understand where they were coming from.  Etcetera, etcetera.

I guess this is that "how I became a fan of XTC" post I was
supposed to email the first time I wrote Chalkhills.  Sorry for
the delay. It took a Lyle Lovett concert and a trip down memory
lane to inspire me to write it up.

And as for the question:  Which are you, Jill, the June bug
or the hurricane?  I'll have to admit to sometimes being both.
Thanks for asking!

Jill Oleson
Austin, Texas


Message-ID: <>
Date: Fri, 04 Dec 1998 17:23:44 -0500
From: Don & Sue Parker <>

For more misheard lyrics, try, The Archive of Misheard
Lyrics. There's only one offering under XTC. Yup, it's that same "chunky
stew" reference. The person who submitted it was...drum roll,


We are the music makers and we are the dreamers of dreams. -  W.W.


Message-ID: <>
Date: Fri, 04 Dec 1998 17:56:23 -0500
Organization: University of Akron
Subject: Phil, We Hardly Knew Ya

I've greatly enjoyed reading the last few Chalkhills.  The Internet may be
destroying our interpersonal communication skills, but it seems to be doing
wonders for our written debating skills.

In #5-32, Dom intones:

> Maybe it's a British thing, but Phil sucks for three major reasons...
> (i) His records suck (like REALLY REALLY HARD)(ii) He is, bizarrely given his
> alleged upbringing, right-wing and a vocal
> supporter of the Conservative party (should this affect how I view his
> music? Damn right it should!). WHy shouldn't someone who earns millions pay
> 50% tax? Answer me that, comrades!
> (iii) He promised to leave the country if Labour became the government. And
> didn't. Lying shit.

I think Ted Nugent promised something similar in the U.S. if the Democrats
won the White House - Clinton's been around for 6 years, and unfortunately
Ted is still with us.  Perhaps he and Phil could buy an island somewhere and
spend their days contemplating legalized cop killer guns and ways to cook
the poor.  All while "chuffing" each other's "wankers."  (Are these still
buzz words, or have we moved on?)

Andisheh Nouraee asks:

"The TVT site says the release date was Dec 1.  CDNow says Dec 8.  The
fellow at Tower Records here in Atlanta said January.  When I asked him if
he meant the boxed set as opposed to Apple Venus, he said both are now
scheduled for January."

As for the Transistor Blast box, I preordered from the company direct 3
weeks ago and I'm still waiting.  I did get this message from TVT when I
enquired about delivery:




I'm not exactly sure what this means, is the release date Dec. 11, or just
the order date?  Since when has the West Coast been the hotbed of XTCism?
But at least we know it is coming...sometime.

As far as the "vertically challenged" women thread is concerned, if you're
interested in really rotund beauties, and you live in the States, check out
your nearest TBN station.  One huge step ahead of bloated country television
and more extensively progressive than obese Newt, the mammoth Christian
Coalition has fully embraced spacious women as part of its titanic flock.
The only other immense requirement seems to be big hair.  And they sing,
too!  What a plus!

And one other worthless tidbit - does Colin's bass work seem stronger on
"Drums and Wires" and "Nonsuch" than it does on other LPs?  "Roads Girdle
the Globe" seems to strike me as an excellent example of a song completely
carried by its bass line.  If I could only play half as well...



Message-ID: <>
Date: Fri, 4 Dec 1998 18:04:15 EST
Subject: No More Phil Collins Please

Our sweet friend, Dom mentioned:
<<Maybe it's a British thing, but Phil sucks for three major reasons...
(i) His records suck (like REALLY REALLY HARD)
(ii) He is, bizarrely given his alleged upbringing, right-wing and a vocal
supporter of the Conservative party (should this affect how I view his
music? Damn right it should!). WHy shouldn't someone who earns millions pay
50% tax? Answer me that, comrades!
(iii) He promised to leave the country if Labour became the government. And
didn't. Lying shit.>>

I'm getting bitching and moaning about Phil Collins.  I actually like him
and Genesis with him.  He's a talented drummer and producer.  You might not
like him, but that doesn't mean anybody else can.  I'm always going to like
his music, and nobody can stop me from liking him.

Okay, now the XTC content.  Starting after the new year I'll be doing a poll
on my web page on which is your favorite XTC song.  I can only post 5 songs,
so I don't want any complaints.  I'll post the poll sometime after January 5.



End of Chalkhills Digest #5-33

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