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Subject: Chalkhills Digest #6-167


         Chalkhills Digest, Volume 6, Number 167

                  Tuesday, 13 June 2000

Topics:

           Oranges and Lemons Special Edition?
                 Re: Easter's suggestion
                      Stupidly Happy
                       Sqaure world
           Catch up on the weekend's post fest
                         RadioXTC
                  standing in for colin
             TVT Files Claim Against Napster
                  Number 4 in Columbus!
                          Smile!
                   A Musical confession
                      Silly old XTC!
                What does in matter to ya?
       Crime of the Century (no Supertramp content)
                      Meet John Doe
                      Found a review
              Kenny G's Musical Necrophilia
                    Bad Bar Selection
  Tell me about your pet and I'll tell you who you are!

Administrivia:

I will be on vacation during the week of June 18.  Chalkhills will be
off the air during that week.  Enjoy your time off!

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    The views expressed herein are those of the individual authors.

    Chalkhills is compiled with Digest 3.7b (John Relph <relph@tmbg.org>).

Saving it all up for you.

----------------------------------------------------------------------

Date: Mon, 12 Jun 2000 09:19:53 -0500
From: "Walker, Keith (Imprimis)" <keith.walker-eds@eds.com>
Subject: Oranges and Lemons Special Edition?
Message-ID: <4803DF85761ED211AE9000A02461EBEE08751960@USPLM202>

Help me out, here.  My first XTC purchase was an edition of Oranges and
Lemons which was printed on three CD-3s (ya' know: those little bitty CDs
they tried to get people to buy those first few years of CD technology. .
.), all of which came stored in a little box that reminds me of an
eight-track tape package form the 70's.  Does anybody know what I am talking
about?  What is the story behind this edition of O&L?  Is it rare?  I've had
this thing for years and have never known anything about it!  (Other than,
of course, the music is great!)

--KAW

------------------------------

Date: Mon, 12 Jun 2000 10:28:04 -0400 (EDT)
From: Dorothy Spirito <spiritod@TECHMAIL.GDC.COM>
Subject: Re: Easter's suggestion
Message-ID: <Pine.SOL.4.00.10006121024490.5904-100000@esun2028>

Joseph Easter suggested we all use asterisks to enclose bits of sarcasm.

However, asterisks are already in wide use amongst Netizens to enclose
words or phrases we want to *emphasize*.  As I just did.

(And have done in the past, and will continue to do.)

Sorry; pick another dingbat.

Regards,
--Dorothy.

------------------------------

Date: Mon, 12 Jun 2000 11:42:32 EDT
From: Chauncy14@aol.com
Subject: Stupidly Happy
Message-ID: <d0.705208a.26765ee8@aol.com>

Stupidly Happy

Linear boredom.  After maybe 16 measures, I had my elbows on my snare, and
my chin in my palms, looking up at a photo of Buddy Rich, wrapped in a
tuba, quoting "If I couldn't play Zildjians, I'd switch instruments!"

If I was playing drums on this tune, I would have to say, "Andy, this song
needs a middle eight and a bridge or two!"

It just didn't *go* anywhere, and was too repetitive.  I got the sense that
Colin was really bored playing bass on this tune, b/c he too had no where
to go.  He kept sliding up and down the scale, but only within one chord's
framework.  It's like playing drums too loud, once you do, you can't get
any louder, and your dynamics within the song are f*cked.  And, if that
happens, the band gets drowned out.

It's just not happening for me, despite the catchy and jangly phrasing of
the lyrics.  Sorry folks.  This is the only tune on this record which
doesn't click for me.

J. Gardner,
Chicago

------------------------------

Date: Mon, 12 Jun 2000 17:32:11 +0100
From: Philip Lawes <pjl@plextek.co.uk>
Subject: Sqaure world
Message-ID: <s9451eae.044@plextek.co.uk>

Some recent opinions:
>>One thing to note about the Square World reference: I would have to say,
>>that that line refers to people who are "square."  As you know, Andy is a
>>four-eyed fool, like myself, and in the context of the lyrics, to me,
>>remind me of the bullies getting the girls. They are show-offs.  So for
>>me, Andy's girl was over-taken by a bully, just like mine was.

>I thought he was saying  " 'Big Square' world". Isn't Big Square a
>playground game? Where there's four boxes in one large box, and you
>throw a ball at people, or something? I can't remeber. And I know what
>it's like to have a girl taken from you. Except for me, it wasn't a
>bully, but my best friend... yowch... but I wrote a good song about it,
>so it wasn't all bad! B-sides, I'm only 16. There are many more ducks in
>the pond. So to speak.

I'm not sure about the game but I took the line simply to mean that the
adult world is the same as the playground - the playground is (usually)
a square area of tarmac and when we grow up it's the same only writ
larger.

Talking of playground games I was sad (or possibly happy) to see that my
kids school has had to *teach* the new intake playground games like
hopscotch or duck-duck-goose - they just don't pick them up in the
streets any more because they generally don't play on the streets any
more.

Similarly I was on a first aid course with a school nurse recently and
she said that she's had to deal with a lot of sprains and cracked
collarbones recently from the kids trying to emulate WWF wrestlers (I'm
afraid they're shown on satellite TV here now).  Basically the kids copy
the moves that highly choreographed acrobats perform on springy wooden
floors on the playground tarmac.

I'm not sure whether this makes the world squarer or not.

Phil

------------------------------

Date: Mon, 12 Jun 2000 17:41:32 +0100
From: "Smith, David" <David.Smith@tfeurope.com>
Subject: Catch up on the weekend's post fest
Message-ID: <4BBE67B71C1DD411A23600508B65F71E0E521F@tfsecmsg04.tfseur.co.uk>

Various replies (again). Damn it, why cain't I be 'riginal?

First, the Depech Mode slagfest that's taking over. I've already nailed my
colours, so I'll leave that one behind. Just a quick reply to Duncs, who,
in 162 said (in reference to Dave Gahan) "Sorry, but I'm TOTALLY sick of
people who glorify and/or apologise for their own or anyone else's smack
habit. It's stupid and destructive and anyone who gets into it deserves
everything they get"

Correct in everything Duncs, except that in every interview I've read with
Dave Gahan since he got himself straight, he's said the same thing. He's
basically said "I was an arsehole and I nearly killed myself - what's
clever about that".  His description of the time he stole from his Mum and
nearly abandoned his child to but smack doesn't tally with your assertion
that he's glorified drugs.  Let's give him some credit.

In 163 Chauncy started talking about Chuck's drumming in Playground. As a
*very* new, but enthusiastic trainee drummer (fulfilling a long-standing
ambition) thanks for putting into some form of words what I was hearing in
Chuck's lead-in to Playground. If you get too many flames from
non-drummers, please keep going and mail me offline - I'm interested.

Oh, and the various postings about Musicals. I can take or leave most, but
I couldn't live without my 1962 3-vinyl album set of Porgy & Bess. German
recording with Willard White showing the whole world how to sing. Tears
are springing as I type . . .

And on the subject of background whispers in songs - any offers on Across
This Antheap anyone?

In 165, Brooks said "Ghormenghast is extremely funny, I spent much of the
first two books laughing out loud". Me too - wonder JUST how mad he was
when he wrote the third one though!

And finally . . . Eddie St Martin said "fwiw, the chat molly does not come
across as the "chalkhills posting" molly". I'm sure that wasn't meant to
sound snidey and condescending, but it bloody did!

Oh my God, Molly said f*ck! Give 'em hell Moll - the reason I don't do the
listening parties is the old time zone thing. Ever thought of
investigating how the postings can be saved and transcribed?

Smudge out.

Smudgeboy
E-Mail: david.smith@tfeurope.com

------------------------------

Date: Mon, 12 Jun 2000 14:25:48 -0400
From: "Ian C Stewart" <ian@AUTOreverse.net>
Subject: RadioXTC
Message-ID: <200006121829.OAA21292@mail.netwalk.com>

RadioXTC on live365.com

Imagine having a 200-CD changer filled with every XTC song you know of.
Imagine hitting "random play" on that sucker and sitting back and being
constantly amazed at the randomness of the selections!

Now imagine taking that 200-disc changer to the web and being able to
listen to it with a Realplayer or Winamp!

Guess what! You don't have to imagine it anymore! It's here!

http://www.live365.com/cgi-bin/directory.cgi?genre=search&searchdesc=radioxtc

on behalf of no one but myself,
Ian C Stewart
http://listen.to/xtcliveanddirect

------------------------------

Date: Mon, 12 Jun 2000 14:50:49 EDT
From: Robeach11@aol.com
Subject: standing in for colin
Message-ID: <1e.678850f.26768b09@aol.com>

MS writes in #6-163:

<< 2. That SO MUCH praise is given to Colin's songs. Come on guys - his stuff
 is personal, but it certainly isn't terrific music. His stuff never gets
 released (maybe for a reason?) and, really now, couldn't an amateur
 songwriter have written the "Standing in for Joe" lyrics (not to mention
 just about every other one of his songs on the past few discs.) Just read
 the lyrics out loud. They sound like the came from a child's poetry
 class. When you put his basic patterns up against complex stuff like
 "Maypole" and "Greenman," it just doesn't compare. Does anyone really buy
 these albums for his work instead of Andy's? >>

Yes! Me! And for Andy's work, too. Nobody is making music like these guys
anymore. Colin in particular is SO out of step with the times that I find it
amazingly refreshing. "Frivolous Tonight", "Fruit Nut",& "In Another Life"
are just awesome examples of Brit-pop in the great tradition of
McCartney/Davies. These songs (to me) are perfect summations of everyday
life. I get goose bumps when I hear the "it's how we're built love" section
of "In Another Life"-- that ascending (sampled) horn section... whew!
Excellent.

As noted before, I also find it interesting that:

1) Andy is a homebody, yet writes songs that are often broad in their
imagery.

and

2) Colin is more 'outdoorsy'  but writes more like a homebody.

Rob
Carson, Ca

------------------------------

Date: Mon, 12 Jun 2000 14:51:45 -0400
From: Paul Burgess <pburgess@tvtrecords.com>
Subject: TVT Files Claim Against Napster
Message-ID: <v04220809b56adfa7bbf9@[38.149.92.114]>

As reported here earlier, TVT has filed suit against Napster.  Like
the previously filed suit against MP3.com, we have taken this action
in order to protect the copyrights owned by the label and our
artists. We hope you support our decision to protect Andy and Colin
from the piracy of their music.

------------------------------

Date: Mon, 12 Jun 2000 14:46:20 -0400
From: donatim@nationwide.com
Subject: Number 4 in Columbus!
Message-ID: <OF3491B1DA.EE58D813-ON852568FC.0066751C@ent.nwie.net>

For what it is worth, as of June 8 here in sunny Central Ohio, "I'm the Man
Who Murdered Love" was the 4th most requested tune on the local alternative
station.  Since I don't normally listen to this show, I'm not sure if it is
up or down or what, but hey, in an area with a population of around a
million, number 4 isn't that bad.

------------------------------

Date: Mon, 12 Jun 2000 16:37:25 EDT
From: Robeach11@aol.com
Subject: Smile!
Message-ID: <c8.60700e9.2676a405@aol.com>

In #6-165 Clifford writes:

<< I don't know if you've noticed this, but I think the song Chalkhills and
 Children is very Beach Boysish. Has anyone else noticed this? I don't know
 enough about the Beach Boys to pin point the exact period in their career
 where they sounded like Chalkhills and Children, but listening to the tune
 reminded me of the Beach Boys. I could be wrong folks, I'm not the Beach
 Boys expert, that's my dad :-) >>

You're not wrong.  "Chalkhills & Children" kinda has a "Surf's Up" or "Till I
Die" vibe running through it.

Here are some other Wilson-esque XTC tracks:

"Season Cycle"  (check out the "Skylarking" liner notes... background vocals
credited to the Beech Avenue Boys if I recall correctly).

"Pale & Precious" (The Dukes do "Good Vibrations")

"Ugly Underneath" (when the full group vocals kick in)

"Boarded Up"  (that harmonium type instrument is very "Smiley Smile"
influenced)

I'm sure I am forgetting some others. Anybody?

There is a tremendous book that came out maybe 10 years ago called "Look!
Listen! Vibrate! Smile!" by Domenic Priore. He compiled tons of newspaper
clippings and expert opinions on the legendary Beach Boy's "Smile" sessions.
A fun read to say the least. On the very last page there is a glowing review
of the Dukes "Pale & Precious". I'd be glad to copy it but all of my books
are boxed up ready for our move.

Rob
Carson (South Bay), California

------------------------------

Date: Mon, 12 Jun 2000 16:05:39 -0700
From: Ed Kedzierski <ed.kedzierski@blvdmedia.com>
Subject: A Musical confession
Message-ID: <08B5DDC2BABCD311BFC6005004A884B013B6BA@mgcservices.com>

Tyler and Todd both suggested that I check out Sondheim in order to correct
my somewhat blanket condemnation of all musicals after 1970...

Well, I have to confess that some of what I said was in fact more out of
ignorance than I'd like to admit, as I have no first-hand experience of his
work. I don't actively seek out musical theatre generally, so I have to
admit that what I have been exposed to post-1970 has tended to be the sort
of thing that has had excerpted numbers being performed on TV. This of
course does tend to be the dreckiest stuff. Also, the only things that seem
to come through my town tend to be the real lowest-common-denominator type
megas. Tyler's guess about ALW was pretty much on the button, but I won't go
into it, to avoid antagonizing Molly. I don't know if there's ever even been
anything by Sondheim staged here (but as I said, I haven't made much of an
effort, so it could easily have escaped my notice; for theatre, I generally
tend to stick to plays). I think that the last thing I even noticed was that
a couple of years ago a lot of talk shows had people doing songs from that
"Titanic" musical, all of which seemed to exemplify everything I complained
about in my intial post; no humour, sickening earnestness, that damn "modern
Broadway" singing style, etc.
Sorry if it seems that I'm making excuses for myself, but I gave off a more
authoratative vibe than I should have in my first post, based solely on what
I've been exposed to, for which I feel kind of embarrassed.
Also, if you think about it, by 1970 the routine of making musicals into
movies was petering out pretty quickly (I won't say that 1970 marks the end
of all movie musicals, because someone will invariably come up with an
exception, but hopefully you know what I mean... the heyday was definitely
over, and being a hit musical was no longer an absolute guarantee of a movie
version being made). So that's one channel of exposure gone. I guess that
I'm just admitting that all I really have to go on for this form is what has
been excessively popular, so yes, it is a bit like someone who only ever
hears radio hits saying "pop music these days sucks". Apologies.
Of course I've heard of Steven Sondheim, but I can't tell you if I've ever
actually heard anything of his, and for some reason (I think it was the
alliterative name that did this) always assumed that he was from an earlier
era.
Oh, and Mr. Easter, I didn't say that I "hate the musicals" - I like "the
musicals", my post was more of a defence, I just made some (perhaps overly
sweeping) generalizations about more recent (post-1970) musicals, based on
what I've heard, which is apparently too little to go on, though I stand by
most of the things that I said about modern musical numbers that I've heard
and disliked.
I do still think that the poorly-executed importation of "rock" elements
into the musical have resulted in some pretty dire numbers, though. For me,
the appeal of musical numbers has always been a certain "goofiness" (I mean
that in the best possible way), which "rock earnestness" tends to kill like
salt on a slug.
(Even with musicals I like, I admit that I'll always skip over the big
emotional "vocal calisthenics" numbers and head straight for the sillier
bits.)
I'm always open to discovering new stuff, but I'll be the first to admit
that I'm far from getting around to everything that's out there that I might
end up liking...

Reviewing the situation,
Ed K.

------------------------------

Date: Mon, 12 Jun 2000 22:10:04 EDT
From: KINGSTUNES@aol.com
Subject: Silly old XTC!
Message-ID: <6e.2825ee.2676f1fc@aol.com>

yo, Gang -

I was taking a last thumb through of last week's Philadelphia City Paper
when I ran across a review of Wasp Star by local 'Discquicks' columnist
Michael Pelusi - thought I'd share.  Submitted for you consideration (and /
or consternation):

http://www.citypaper.net/articles/060100/mus.dq2.shtml

Heh?  A slice of the press our boys are getting.  This guy got paid, too.
At least he didn't pan it altogether.  There's a cool B&W shot of Andy and
Colin offhandedly leaning on a white backdrop, with a closeup of Colin's
boot.  (A subliminal message to all reviewers?)  Also, on the same page is
a review of Rhino's box set of Tom Lehrer (The Remains of Tom Lehrer),
featuring his high school photo.

Kevin Gilbert fans, take note (although you're probably light years ahead
of me on this one): I just saw this post on the Gentle Giant digest...

> All you Kevin Gilbert fans might be interested to know that the standard
>version of "The Shaming of the True" is now for sale at:
>
>http://www.kevingilbert.com/popplusone/gilbert.html
>
>It is $16 US (plus shipping), and contains a 24 page booklet.
>For those not familiar with KG, this is his "Magnus Opus"....a
>semi-autobiographical Rock Opera, that includes his tribute to GG:
>"Suite Fugue (Dance of the A&R men)".

Also, I've just aquired a cassette copy of XTC's interview on World Cafe
with David Dye, WXPN from the Apple Venus 1 release period.  Nothing that
no one's heard before, but if anyone's interested, I'll stupidly happily
send you a copy FOC.

Tom (may all of Andy's logic be twisty!) Kingston

------------------------------

Date: 13 Jun 00 13:53:04 AES
From: Paul.Culnane@dcita.gov.au
Subject: What does in matter to ya?
Message-ID: <0004xnnfpljz.0004wwkggoii@dcita.gov.au>

Nicole:

I believe the line in "Live And Let Die" to which you referred actually
goes: "But if this ever changing world in which we're living..."  Put that
way, it *is* grammatically correct.

yours pedantically
~~ p @ u l

------------------------------

Date: Tue, 13 Jun 2000 13:44:48 EST
From: "Iain Murray" <halfmanhalflager@hotmail.com>
Subject: Crime of the Century (no Supertramp content)
Message-ID: <20000613034448.83158.qmail@hotmail.com>

>From: "Mark Strijbos" <mmello@knoware.nl>
>Subject: Getting Closer
>
>I'm starting to get worried as it seems you're all closing in on me:
><snip> Think again: which crime would be almost perfectly shielded by >an
>all-consuming passion for all things related to XTC ?

Holy shit! You're Phil Collins!!!

Iain

"I believe there is a commonality to humanity. We all suck." -- Bill Hicks

------------------------------

Date: Tue, 13 Jun 2000 13:32:49 EST
From: "Iain Murray" <halfmanhalflager@hotmail.com>
Subject: Meet John Doe
Message-ID: <20000613033250.46194.qmail@hotmail.com>

>From: "Joseph Easter" <easter2000@earthlink.net>
>Subject: radios in motion
>
>Are we using our -real- names here? I'm not. Noone should, are you nuts.
>Be John Doe, anonymity is a blessing.

I tried that for a while, but people took a dislike to my new persona for
some reason. Maybe it was the fact that I'd never lost a logical
argument......I'm beginning to think I've said too much......

Iain (or am I?)

"I believe there is a commonality to humanity. We all suck." -- Bill Hicks

------------------------------

Date: Mon, 12 Jun 2000 23:42:52 -0400
From: "Cheryl" <mcgregoc@mindspring.com>
Subject: Found a review
Message-ID: <000101bfd4e9$750cb9e0$5407f7a5@mcgregocmindspring.com>

Hi all.

I was browsing through my Mademoiselle last nigh and nearly fell out of bed
when a found a review of XTC in the July issue.  In the article Tune In To
Summer, Nina Malkin writes:

>XTC Wasp Star(Apple Venus volume2) TVT/IDEA)
England's legendary XTC are most beloved for their quirky-yet-catchy charm
(past hits include "Dear God" and "The Mayor of Simpleton".  After a
seven-year hiatus, the band came back last year with an experimental album
that strayed off the pop path, but this disc displays XTC in their happy,
hooky best.  This is sonic sunshine cool guitars, pretty harmonies,
blissfully offbeat lyrics ("Don't you know about  a zillion years ago?some
star sneezed, now they're paging you in reception" from "We're All Light").
So put  the top down, slather on the SPF and let the good sounds roll.<

I was astounded that this mag would have a review of Wasp Star.  Excellent.
Wouldn't you say chalkhillers?

Stupidly happy beyond belief because of many things in my life,
Cheryl
Wishing desperately to be one of Mark's conquests...I feel so abandoned...
but I have been bad, havent' I Mark.  ;)

------------------------------

Date: Mon, 12 Jun 2000 22:01:24 -0500
From: "Joe Funk" <twosheds@mindspring.com>
Subject: Kenny G's Musical Necrophilia
Message-ID: <005301bfd4e3$c094b8a0$7721fea9@user>

Greetings Chalklings!

I was checking out the Pat Metheny website when I came upon the following
quote from PM himself, discussing what he thought of Kenny G's latest
recording (I guess Kenny G. took a classic Louie Armstrong tune, intact, and
noodled on top of it).....
Pat:
  "This type of musical necrophilia - the technique of overdubbing on the
  preexisting tracks of already dead performers - was weird when Natalie
  Cole did it with her dad on 'Unforgettable' a few years ago, but it was
  her dad.......  .....But when Kenny G decided that it was appropriate
  for him to defile the music of the man who is probably the greatest jazz
  musician that has ever lived by spewing his lame-ass, jive, pseudo
  bluesy, out-of-tune, noodling, wimped out, fucked up playing all over
  one of the great Louis's tracks (even one of his lesser ones), he did
  something that I would not have imagined possible.  He, in one move,
  through his unbelievably pretentious and calloused musical decision to
  embark on this most cynical of musical paths, shit all over the graves
  of all the musicians past and present who have risked their lives by
  going out there on the road for years and years developing their own
  music inspired by the standards of grace that Louis Armstrong brought to
  every single note he played over an amazing lifetime as a musician."

WHOOOOA!!

Way to go Pat!!!
Weird.... It is just hard for me to picture Pat Metheny cussing!
The interview is at:  http://www.patmethenygroup.com

Anyway...
Quick English quiz:  What is the longest 4-letter word in the English
Language?

XTC content: Been listening to my new copy of the MFSL remastered
"Skylarking".  While listening a thought occurred to me...  Colin's songs
on WS are good, really good..  But, IMO, "Grass" & "The Meeting Place" are
GREAT songs!  What a whopping difference!  I really do believe that Colin
has lost a little of the songwriting "Edge" he had in the '80s.  It is not
easy to continue to crank out song after song.. I have a hard time putting
2 chords together.  In fact, I think it is amazing that Andy continues to
write incredible song after incredible song.  I will probably get
lambasted, but that is my opinion...

Joe "Noodles" Funk
C.H.A.P.

------------------------------

Date: Tue, 13 Jun 2000 00:15:52 EDT
From: KINGSTUNES@aol.com
Subject: Bad Bar Selection
Message-ID: <9a.6128506.26770f78@aol.com>

Oh, and by the way; if, IF it we're ever on a bar jukebox . ....... ...
.'Train Running Low On Soul Coal' !!!!!!   That would clear the bastards
out!

Tom (Please, Dom!  Any shorter and I'll implode!) Kingston

------------------------------

Date: Mon, 12 Jun 2000 21:33:05 -0700
From: "May O'Mahoney" <may5272@gte.net>
Subject: Tell me about your pet and I'll tell you who you are!
Message-ID: <3945B980.7837@gte.net>

Debora Brown wrote:
>...as Playground poured out of the speakers, my husband drifted out of
>the conversation, and a thoughtful look spread across his face.. after a
>few moments he asks me which one of the lads is a big dog lover..

Ah, yes, great minds in sync........
That comes right on the heels of a question that I wanted to ask the
Chalquette group:  What kind of dog(s) does Andy have? Is Colin a dog or
a cat person?  Dave?
Why this came into my mind is anyone's guess - maybe it had something to
do with an old interview I heard where Andy explained how he got an idea
for a song whilst out walking the dog.

___________________

Cathryn Myers wrote:

 Wasp Star sounds so
> "diminished" in comparison to The Big Express.

But there is something about the one
> two punch of Wake Up and All You Pretty Girls (Do something for me
> boys.still gives me shivers) that straps me in for the duration...

In regards to WS being diminished, I kind of look at it like this:

Wasp Star is like a great collection of watercolors in rich dark tones
and minimal lines, bound together in a rough-hewn notebook.

Albums like The Big Express and English Settlement are like big, epic
tomes edged in gold leaf with leathery covers and glossy, sensuous
illustrations.

_________________

Radios In Motion wrote:
>
> Mr. Mayonnaise trying to call me white trash below:

First of all, those are your words, not mine!  Second of all, I should
be more miffed at you, Mr. Motion, for calling ME a "Mr."!

And PLEASE stop touching my baby!  I hate it when complete strangers who
don't even have a broken down Camaro in their front yard feel entitled
to poke at my child just because they find it darling!

Yours Truly,
Ms. Mayonnaise

------------------------------

End of Chalkhills Digest #6-167
*******************************

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