Precedence: bulk
Subject: Chalkhills Digest #6-17

          Chalkhills Digest, Volume 6, Number 17

                Wednesday, 26 January 2000

Today's Topics:

               New and Improved Apple Venus
                       Re: Listless
                     Re: an epiphany
                One of my favorite things.
      Re: Uffington Horse in Chalkhills Digest #6-15
                 Message from the Inside
             Suggestion: Image for AV2 cover
          Wouldn't you like to be a Pepper too?
                        AV2 Japan
               XTC brand new exclusivity !
                   Drunken Jam on Toast
                 My very first XTC Dream.
                    Unrequited Unlove
                   Guitargonauts Update
     sgt. peppers is to beatles as _______ is to xtc


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    The views expressed herein are those of the individual authors.

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

I say why on earth do you send your letters 'round here.


Message-ID: <>
Date: Mon, 24 Jan 2000 21:38:22 EST
Subject: New and Improved Apple Venus

Fellow Chalkgeeks:

Brian Wysolmierski wrote the following regarding AV2 demos:

YOU & THE CLOUDS WILL STILL BE BEAUTIFUL:  It's the only demo I didn't care
for, no matter how good the lyrics are. It sounds like Stevie Wonder singing
a Paul Simon song to me.

Shut your mouth, this is a great song.  Absolutely perfect disjointed
Partridge, amalgamating the bravado of the short haired would be punk with
the sensibilities of the now even shorter haired adult.  It sounds nothing
like Stevie Wonder or Paul Simon, although I (for one) would like to hear
Stevie sing a Paul Simon song.

He also wrote:

PLAYGROUND: Oh, this song is awesome. It's got a rockin' riff, catchy as
hell chorus.

You hit the nail on the head on this one.  I told Andy last year that I
thought it was one of the best songs he's written, he laughed uneasily saying
that he'd have to tell Colin about that because "they hadn't even recorded
the damn thing yet."

If any of you traders, newbie or otherwise, are lookin' for a cd copy of the
latest demos for AV2:

I'm sittin' here in North Carolina with a jet black beer in hand (and belly),
6 XTC cd's runnin' round on random play, watching the snow fall heavily upon
the 7 plus inches already accumulated on the ground.  Who says there's not a
God?  Oh, yeah, that would be Andy.

Ohhhhhhhhh, That Wave just popped up.  How fuckin' great is that song?

No round of drinks can extinguish this
Feeling of love and engulfing bliss

Right now I love you all (but it's probably just the beer),

wesLONG @ Optimism's Flames


Message-ID: <>
Date: Mon, 24 Jan 2000 22:03:02 +0000
From: Brian <>
Subject: Re: Listless


>>Some songs ARE better than others.<<
>oo-oh! dangerous ground ahead<

>> Most are obvious-Hey Jude is better than Disco Duck.<<
>welllllll... nes and yo. I have very fond memories of Disco Duck<

> Why we need a list to tell us that Respect
> is better than Sittin on the Dock of the Bay is beyond
> me. Prove it!

>indeed, we need proof!
>It's no good just saying that Hey Jude is better, you have to explain
>to us _why_
>What makes this forum so interesting is discourse and debate, not
>statements and slogans. Or stupid lists...

I'm overstating the blatantly obvious (and if it's not obvious to
anyone, what's wrong with them?), but musical likes and dislikes, as
with ANYTHING, are purely subjective, and can only be such. Anyone can
sit there and tell me all day that the Beach Boys are fab and why (and
I've read most of the discussion about just such here), but I'll just
come back and tell you I like Oingo Boingo better, because I just do.
They appeal to who and what I am better than the Beach Boys do, and that
is neither right or wrong - it's just me.
Explaining, or TRYING to explain to anyone else why you like something
may end up being futile, as it can never get past the subjectiveness of
it all.

-Brian Matthews


Message-ID: <>
Date: Mon, 24 Jan 2000 22:08:17 +0000
From: Brian <>
Subject: Re: an epiphany


>i'm surprised that no one has done a parody song (weird al?) to that bloody
awful "mambo #5 (a little bit of...)" song.

i can hear, in a bill clinton voice, the song going something like this:

"a little bit of monica on her knees/a little bit of monica, please,
please, please"

etc, etc, and including the names of all the women slick-willie has
"allegedly" been with. of course, it wouldn't include hillary...

ok, sorry for the off-topic post & i'll shut up now...<

It's been done... Jay Leno, I think.
Leno has some guy as their Clinton look-alike, and I remember that they
did something one night a couple of months back.

-Brian Matthews


Message-Id: <>
Date: Mon, 24 Jan 2000 22:26:40 -0800
Subject: One of my favorite things.
From: "Diamond" <>

One of my favorite things is to harmonize with XTC songs. Right now, I'm
harmonizing with Your Dictionary. Unfortunetly, most of the time it sounds
awful, but every now and then, I hit the perfect note, and It feels like I'm
singing WITH andy partidge. Man, I need a life.

Kevin Diamond
"She thinks she's Edith Head,
But you might know she's not
the accent in her speach
she didn't have growing up."
        -John Flansburgh/They Might be Giants


Message-Id: <v03007800b4b2fcd4de2b@[]>
Date: Tue, 25 Jan 2000 02:13:35 -0500
From: Mitch Friedman <>
Subject: sundry


A few things some of you wanted to/should know . . .

1) Andy is most definitely *not* on the Web or on-line. He has been looking
at the tvgohome page on Nick Davis' laptop computer.

2) The Drunken Sessions took place at the end of English Settlement.

3) The Apple Venus Volume 2 cover will be a somehow neon/solarized version
of the one on AV1



Message-ID: <>
Date: Tue, 25 Jan 2000 09:11:56 +0000
Subject: Re: Uffington Horse in Chalkhills Digest #6-15

Hmmmm. I'm not sure of the significance of the White Horse, however, I grew
up not far from Swindon and went on a school trip there in the summer of
1974. I don't recall a huge amount about the trip, other than the horse
wasn't too impressive up close. Myself and my class mates of the time were
far more interested in the remains of the Iron-age hill fort that is
adjacent to the horse, it had much more fun attached to it. You could climb
all over it, whereas the horse was sort of fenced off.

Some tweny five years later (last May), I made a return trip to the White
Horse and found the whole thing very moving. It has now been taken in hand
by English Heritage or the National Trust (can't remember which). It was a
sort of misty hazy afternoon and we sat by the horse gazing out across the
Vale of the White Horse. I was struck by the sheer age of the place. I
believe the horse is something like 3500 years old. There is an incredible
sense of time and history there and I can now see how it can lend
inspiration to people. I certainly left there feeling changed and I will
make sure to go back before another twenty five years have passed.

So, not much to say with regard to the original enquiry, but to anyone in
the area, go and take a look, I think you will find it worth the effort.




Message-ID: <>
Date: Tue, 25 Jan 2000 01:34:21 -0900
From: Patrick M Adamek <>
Subject: Message from the Inside

In Chalkhills #6-15, Wes Long wrote:

>IF you be making a list of the top 100 songs, THEN you have to pick
>something as the # 1.  I'm not condoning the list.  By the way, you're
>not a REAL American, you live in Alaska!(smiley face)

My point was that making a list at all (which inherently includes a
"#1") is a ridiculous concept, not that there should be a list which did
not include a "#1."

I was born in Cleveland, Ohio and I have lived in 11 of our United
States since February of 1996.  I am about as American as I could be.
Anyway, we in Alaska call the lower 48 the "outside" ...  so there  :-)

XTC CONTENT:  I am proud to report the acquisition of a brand new CD-RW,
and I plan on plenty of XTC material being recorded (for personal use of


Juneau, Alaska


Message-ID: <>
Date: Tue, 25 Jan 2000 05:47:30 -0800 (PST)
From: Jon Rosenberger <>
Subject: Andy@TVGO

Greetings Chalkettes,

Brian's post from the 23rd of Jan
"Subject: Andy IS on the web"

"The fact that Andy contributes to the webpage proves that
he is online."

Brian the fact that Andy has contributed to Tvgo proves nothing. I
suspect that he is viewing TVGo at Nick Davis's or maybe Colin has
gotten hooked up to the web. I have never really read Colin's opinion
of the web. Anyone know? Hell they could even be surfing at the studio
it might have a link set up.

Andy has stated in the past that he was not interested in reading this
list as we all were far too critical of his work and that he thought
that the topics that we debate were trivial and silly. He has read some
of the Chalkhills stuff that was printed off for him and he was
apparently a little upset at some of the comments that were made. I
believe this was during the Chipping Norton sessions. Was that you that
brought them to him Mitch?

I wonder if he has seen the Guitargonauts site and what he thinks of




Message-ID: <>
From: Jill Oleson <>
Subject: Suggestion: Image for AV2 cover
Date: Tue, 25 Jan 2000 08:39:38 -0600

Now that it's clear that the image in Chalkhills accompanying
the announcement of the upcoming "Apple Venus, Volume 2"
is not an official image, I'd like to suggest the following image
be considered for the album cover:

The fact that the artist is none other than my extraordinarily
talented husband has had no influence on my recommendation!
The subtle peacock feather in conjunction with the red scissors
cutting gold thread is enough of a reason for me.

      + + + + + + + + + + + + + + + + + + + + + + +
      *PA:  Sir Demon Brown, you are a hero indeed!

Jill Oleson
Austin, Texas


Date: Tue, 25 Jan 2000 08:40:43 -0600
Subject: Wouldn't you like to be a Pepper too?
From: William Loring <>
Message-ID: <>

David Oh said:

> what i've heard and read is that "skylarking" is regarded as xtc's "sgt.
> peppers".
> my question is this: do you agree or do you think this is a load of
> cobblers, as one dom lawson would so eloquently put it? i am a little
> curious as to what the general concensus is regarding this viewpoint.

Personally, I think English Settlement comes closest to being a "Sgt.
Peppers" for XTC. This album to me represents the greatest leap in maturity
of style and production. It's also brilliant, which helps.



Message-Id: <v04210a00b4b38f1af0e8@[]>
Date: Wed, 26 Jan 2000 03:08:16 +0900
From: Amasaki <>
Subject: AV2 Japan

Hi, from FarEast.

Sales date of AV2 seems to be 25th March in Japan.


Message-ID: <001a01bf6769$1ef59060$d549fac1@ordi>
From: "jpcac" <>
Subject: XTC brand new exclusivity !
Date: Tue, 25 Jan 2000 20:18:45 +0100

Hi all,

I don't know if it has been noticed here before but there's a page about XTC
in the last UNCUT (february 2000), and a strange one : it's a report of the
first time time XTC played in USA (back in 1978 - David Byrne invited them,
apparently). Quite funny. And there's a CD with the review which is great
for The Cure fans : there's a track from their new album on it... Among
other interesting bands.
Oh, and I saw that Prefab Sprout is going to play live again in England (in
march and april) ! Maybe Andy will also change is mind too one day !!! (in
fact, I can really understand his decision : life on tour must really be
exhausting and -sometimes- nasty).

(from France - excuse my english)


Message-id: <>
Date: Tue, 25 Jan 2000 16:31:59 -0500
Subject: Drunken Jam on Toast
From: (Rich Greenham)

I just spent the better part of my afternoon downloading the "Drunken Jam
Sessions" to DAT.  Sure -- I could've been working... But what fun is that!

Thank you, Sir Demon Brown.  I am humbled by your presents.  Pun intended.
 : )



ps. "Go Fuck Yourself With Your Atom Bomb" is a hoot!  This is a
must-download for those Chalkies out there who truly feel the need to
possess the famous quote: "That is the most extreme abomination of a
song..."  Long Live The Dukes!


Message-ID: <>
Date: Tue, 25 Jan 2000 14:04:30 -0800 (PST)
From: Jon Rosenberger <>
Subject: My very first XTC Dream.

Hello Chalkeratzi,

I had my very first XTC Dream last night and I thought I would go ahead
and share it with all of you, since no-one else I know is likely to
understand it anyway. I swear this is 100% an accurate portrayal of my
dream as I remember it and that in itself is strange as I rarely
remember any of them.
It woke me up in the middle of the morning (about 4 am) and it was so
vivid I never did get back to sleep since I was reliving it in my mind.
I hope this isn't my last XTC dream since this was the best Christmas,
New Years and Birthday present combined I have ever had.

It starts as I am travelling in England. I enter a pub somewhere in
some little hamlet, it is nightime and it is very foggy outside with
gas lanterns and the "Inn" has a very medieval feel to it. The pub has
wood everywhere, rough wood planking for the floors and walls,
roughhewn wooden posts holding up a beam ceiling and it even has
carriage wheel chandeliers with candles for lighting. I plop down at a
trestle table and a serving wench (what can I tell you, she looks like
a wench)brings me a wooden tankard of ale and says it will be "two
bits". She looks at me strangely as I give her several american dollars
and she proceeds back to the bar. This place is really old with no
electricity or anything but I don't seem aware of this and I am only
realizing it now as I type this)

Anyway I hear some music coming from upstairs so I head up a rickety
old unlevel set of stairs and enter another room in this pub. The room
is smaller than the large one downstairs, roughly square but with
another small square area adjoining it in one corner. This area has
like a step up to it and I wonder over there. neither room has any
seeting just a few posts holding up another beam ceiling. I see a few
guitars and a bass. But what really attracts my attention is a small
black and grey practice amp about 2 feet by 2 feet with a painting on
the grill. The painting is the Drums and Wires logo. I don't see anyone
about so I wander around the room looking out the windows and stuff
watching the people wandering around in the fog covered mud streets.
All of a sudden behind me I hear (This imitation is going to suck but
it was perfect in my dream)

Dunt do da Dunt, Dunt do Da Dunt,
Dunt do da Dunt, Dunt do Da Dunt,

You put your cleanest dirty shirt on
Then you stagger down to meet the dawn
You take a ride upon a bus, it's just a fuss
You know it keeps you born

I whirl around and see three figures that I have known for a long time
but never met. Three old friends reunited again and playing as one.
Strangely the one in the center has his back to the room and is singing
into an absolutly ancient microphone while strumming a huge acoustic.
The one on his right smiles beautifully like some kind of a man
possesed with himself as his hands fly across an electric and he
hammers out the opening chords of what is quickly becoming a loud and
fast version of "Wake Up". The gent on the left labors the basslines on
a beautiful long, all black bass. As he half turns to look at the
drummer, he frowns when he sees that no one is there nor are there any
drums, yet the drumbeats are pounding along as well. He seems to smile
at some memory and then looks down again as his fingers work to match
the tempo set by the unseen drums. No one else in the room seems to
notice the trio jamming away and only once in a while does someone
break away from their conversation to look over at the combo which is
now starting to seriously cook musically. I stare in rapt amazement as
they plough through Across this antheap and right into Towers of
London. About half way through they stop abruptly and look at each
other and nod. They then disappear quickly down into a doorway and the
door shuts. I try to follow them but am blocked by the crowd and it
takes me a few minutes to reach that corner of the room. I am stunned
trying to figure out where they have gone. I ask a fellow near there
where they went and he tells me that they were just having a soundcheck
and that they will be back soon. A SOUNDCHECK!!! OH MY GOD!!

They are going to a full set. I wait patiently for about an hour
riveted to that spot and wait for them to return. When they do they
seem very determined to be serious and they carefully tune up before
Andy leads them into the first tune................

Day In Day Out?? Wow it sounds amazing. Andy's got his old shrieking
voice out and he is zooming all over his vocal range. Dave seems a
little suprised by the selection and he works hard to hit the chords in
the right places. This amuses Colin no end and he is trying not to look
at Dave and just play his bass. They finish that tune and launch into a
spastic version of Statue of Liberty. With the crowd starting to rock
with them now, straight on into Crowded Room and then She's So Square.
Wow they are playing really weird selections. They fire through several
more including Ball and Chain, Neon Shuffle and Love at First Sight.
These guys are really smoking and they are starting to loosen up and
enjoy themselves with Dave especially taking longer and longer turns at
improvised guitar solo's. Andy starts to stutter as he launchs into All
Along The Watchtower and then segue's quickly into This is Pop! The
drums are amazing but there aren't any??? I am freaking out trying to
find the drummer as they are blowing my mind all over the place. They
finish with Atom Age and Helicopter. HOLY SHIT I am freaking out all
over the place and the whole crowd is going bonkers. They flee into a
dressing room of some sort and the door is shut before I can get in. I
wait for a while and soon it opens a crack and a voice says "PSSST,
you, quick come here" I quickly slip through the door that someone had
opened and I am in the dressing room. It is a standard rock arena
dressing room with a couple of couchs and cinder block walls painted a
shade of grey with various band graffiti all over them.

Dave gets up quickly and comes to greet me. He has on jeans and a red
and blue horizontally striped rugby shirt. He has a big smile as he
comes over and gives me a bear hug?!? He says "About time, we have been
waiting for you" I am totally mystified by this. I have no clue what he
is talking about and am thinking that I must have lost my mind and gone
to heaven. So Dave leads me over to the guys. Colin gets up and shakes
my hand and then puts his arm over my shoulder, he is wearing jeans and
boots with a white denim sort of shirt Andy gets up and offers me his
hand. He is wearing a pair of black trousers and a red shirt which is
buttoned up all the way to the collar. He has a bit of hair and is not
wearing a hat, but he does have his trademark round specs on. Andy
seems to be the shyest of the bunch and he quickly sits back down and
finishs cleaning his guitar and putting it away as Dave and Colin grill
me on my thoughts on the show. I am wildly enthusiastic of course. I
ask Colin about the drums and he frowns again and seems to be sad as he
says something which I find very profound, "Sometimes the drummer is
absent but his beat is always with us" Then he quickly changes the
subject and tells me all about Carol and the kids and Dave fills me in
on his family. Andy says hardly a word and just seems to be relaxing
and occasionally talking to other people that come to ask him questions
about post concert-things.  Far too quickly Colin tells me that they
have to go and the three of them stand up and start to head towards an
exit door. Dave asks me to come see them again soon and I agree of
course. He bends over and gets something out of his guitar case and
hands it to me as he says. "Here we wanted you to have this. Keep it
safe". I am amazed as I take my gift from Dave. It is a three foot
tall, 15 inch around stuffed version of the mole from the Dukes
cartoon, It is in full color and the details are impressive. I laugh as
I see that it is also wearing the Colonel Cunt Hat.  All three join me
in a good chuckle and then they are gone without another word. I woke
up about here.

So any junior Freuds out there want to analyse that?

It really doesn't matter, I got to see XTC live last night!!!! :~D

Cheers all and pleasant dreams.

The Mole "thinking about taking a nap" at the Ministry


Message-ID: <>
Date: Tue, 25 Jan 2000 17:14:36 -0500
From: Ben Gott/Loquacious Music <>
Subject: Unrequited Unlove


I would like to add my pathetic tuppence to Harrison's eloquent post of
last digest, regarding Andy's songs about love.  In said post, Harrison
wrote that

>I can't help thinking that it traces its origin to the self-comforting
>of a badly unnerved Andy Partridge in 1982, his professional life in
>tatters and his marriage gone cold, clinging to sanity by strumming a
>guitar in an English summer garden while thinking about a woman
>thousands of miles away.
>This, I think, Laura, is why there are no songs of lasting and flawless
>love in the XTC canon.

Not only is this a great point on its face, but I think I can tie it a
little deeper to another discussion we've been having here on this list.

The thing that has always grabbed me about XTC's songs is that,
underneath all the verbiage and obtuse metaphors, there is something so
uniquely *human* about Our Boys.  Perhaps he left it out because he
simply forgot, but I imagine that Harrison was thinking of "Another
Satellite" when he wrote his post.  This song, it has been documented,
was not an anti-Marianne song, but an anti-*Erica* song (lyrics are from

"My heart is taken, it's not lost in space
And I don't want to see your mooney, mooney face
I say 'Oh why on Earth d'you revolve around me?
Aren't you aware of the gravity?'..."

On first glance, I stand in awe at this song.  Of course, Andy's talking
about the "gravity" (unspoken: "of this situation") of having Erica
around when his marriage to Marianne -- which was undoubtedly on the
rocks -- is still hanging together, and has produced a girl and a boy
whom he adores beyond belief (see "Garden of Earthly Delights" and
"Holly Up On Poppy," among others).  But here's the kicker:  this ain't
no gooey, sappy love song, nor it is a metaphor-filled hard-on like
"Omnibus."  It is, in the words of Babybird, a "hatesong":

"Hey, pretty baby
Do you know some hatesongs
Do you know some hatesongs we could sing?
Hey, black-and-blue eyes,
Little green and brown eyes
Do you know some hatesongs we could sing?"
                      ("Hatesong," from the "Back Together" single)

Mr. Babybird is not, of course, talking about "hatesongs" as racist
songs of hate -- rather, he's speaking of "anti-love" songs, a category
into which "Another Satellite" seems to fit quite well, no?

However, things are never that easy, are they?  Life is not all Britney
Spears and Backstreet Boys, is it?  After another verse that begins
"Hey, little white man / Yes, me, little white man," Babybird shifts
gears unexpectedly:

"'Cos I'm drugged up to the eyeballs
Drugged up to the eyeballs
Drugged up to the eyeballs with love..."

Then why, one asks, is he singing hatesongs?

Similarly, "Another Satellite" finds Andy not blaming Erica for their
destructive relationship, but instead blaming *himself*:

"Abort your mission, let's just say you tried
Before you glimpse I have a darker, darker side..."

While the song begins with an outright vent of anger at this other
satellite, Andy's song also shows how confused he is about exactly
*what* is going on.  Why warn the "[other] satellite" about his "darker,
darker" side when he's trying to get rid of her?  Who, really, is the
one who's going to be hurt in this situation?  How real is that?  Pretty
damn real, methinks.

So could this be why Chalkhills isn't the mailing list for "The
Carpenters" (why, exactly, *do* birds suddenly appear?) or for N'Sync
(is the "'" in the right place?), or for any other of the "unrequited
love" bands?  Sure, XTC can write an amazing love song (s.c. "We're All
Light," "Bungalow," and "No Language In Our Lungs," for example), but
their love songs are so *real* and palpable that their pure, human
emotions shine through, and give us:

"Don't you know, in this new dark age
We're all light?"

"So we're working every hour that God made
So we can fly away...
Saving it all up for you..."

"No no no no no no bridge of thoughts
No mental link
No letting out just what we think --

There is no muscle in our tongues..."


     Benjamin Gott . Loquacious Music . Brunswick, ME 04011
AIM: Plan4Nigel . Telephone (207) 721-5366 . Mobile (207) 798-1859      .


From: "Mark Strijbos" <>
Date: Wed, 26 Jan 2000 00:57:26 +0100
Subject: Guitargonauts Update
Message-Id: <>

Dear Chalkers and Guitargonauts!

Surf over to the Archives section of
for quite a large and lavishly illustrated article on Dave's home
studio setup and keyboards from the Japanese magazine
"Keyboard" (1997)

But don't worry: Shigemasa and Cindy Lou Marie Fujimoto have
translated this interesting piece into perfect English so we can
actually read it... ;)

BTW: the scans of the original Japanese pages will also be
published as soon as possible

Yours truly, madly, deeply,

Mark Strijbos


Message-ID: <002a01bf6756$47665380$>
From: "Steven Paul" <>
Subject: sgt. peppers is to beatles as _______ is to xtc
Date: Tue, 25 Jan 2000 16:40:55 -0000

David Oh asked:

>what i've heard and read is that "skylarking" is regarded as xtc's "sgt.
>my question is this: do you agree or do you think this is a load of
>cobblers, as one dom lawson would so eloquently put it? i am a >little
curious as to what the general concensus is regarding this >viewpoint.

I would have to say that Chips from the Chocolate Fireball is XTC's Sgt.
Peppers because of the change from the standard fare.  The Dukes of
Stratosphere were alter egos of the band members and the music was a whole
"something completely different."  All of the Dukes' music gave added
dimension to XTC.  A depth of character and color that XTC didn't have.

I'm no scholar on the Beatles, but I think that is fairly descriptive of
what the EFFECT of Sgt. Peppers was on the Beatles.  It gave them a new
direction to move, an avenue of progress where they had been stuck in a


End of Chalkhills Digest #6-17

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