Precedence: bulk
Subject: Chalkhills Digest #6-29

          Chalkhills Digest, Volume 6, Number 29

                 Friday, 18 February 2000

Today's Topics:

           Drums & Wires Listening Party Update
                      Nonsuch vinyl
                      Nonsuch vinyl
                       I've Got Flu
                 Sorry for Its Departure
                    Kids and Greenman
                     another goodbye
                   Kids and XTC...again
               Artists who worked with XTC.
Hello, everyone (WARNING - overlong introductory de-lurk type pos
             Musing Over Colin's Missing Muse
                   Let's all make a CD
                     Andy says . . .


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It's our record that is playing.


Message-Id: <>
Date: Thu, 17 Feb 2000 23:02:48 -0500
From: David Oh <>
Subject: clarity

>From: Eric Loehr <>
>Davidoh later said:
>>so, if there are any newbies (male *and* female) out there who own musical
>>instruments and want to be included....
>Are we talking having both male *and* female body parts or parts of
>personalities, or what?  Oh. You meant *or*. Never mind.  ;-}}
>Eric, who is not a newbie, and isn't male *and* female, but who has his
>mother's hair and his father's personality, and  promises to give them back
>really, really soon.

and here i thought that every one would be smart enough to understand what
i meant. damn! what was i thinking?

 peace & xtc,



Message-ID: <>
Date: Thu, 17 Feb 2000 22:17:46 -0800 (PST)
From: Molly Fanton <>
Subject: Drums & Wires Listening Party Update

I'm doing the Drums & Wires Listening Pary in Talk City.  The Chat
Room is going to be called, Drums and Wires, because if I put XTC
listening party I might get druggies, so this is just to be on the
safe side.  For more information go to

So I hope to see you there. :)  I hope to see some of my pals from the
AOL XTC Listening Party days in there.


Molly's Pages


Message-ID: <>
Date: Fri, 18 Feb 2000 10:30:16 +0000
From: B Blanchard <>
Subject: ACHOO

Hey - pass me the tissues and more whiskey in the coffee please.

It is incredibly sad that LE will be no more. I have all my LE's and
Mark Fisher's Lighthouse mags and as wonderful as the list is - it is
like digital photography to holding a 10 x 8 in your hand.  I love
looking/holding magazines/photos.  So congrats and thanks to Pete and
June for all their work over the years and I hope they will be regular
contributors to Chalkhills.  I shall treasure the day the next/last LE
hits the doormat.

Which won't be the same!

Did XTC write a song about being ill QUITE as good as 10cc's You've Got
A Cold?

Yours in bed with the heated blanket on and the Horlicks and Gin on


Date: Fri, 18 Feb 2000 04:35:35 -0800 (PST)
From: Benjamin Lukoff <>
Subject: Nonsuch vinyl
Message-ID: <>

On Thu, 17 Feb 2000 "William Sherlock" <> wrote:

>A query: was "Nonsuch" ever released on vinyl?

Indeed it was:

I managed to find a copy in my local secondhand record store for $7, and
later managed to find two for my friends at for $20 each.  Haven't
seen one since, but they are out there.


Message-ID: <>
Date: Fri, 18 Feb 2000 07:48:08 EST
Subject: Nonsuch vinyl

February 17, 2000, William Sherlock asks the musical question...

"A query: was "Nonsuch" ever released on vinyl?"

I know it was, only because I've seen it at my favorite local, independent
record store. I wouldn't doubt it's still there, as it always is every time
I've checked the XTC bin over the course of the last 5 or 6 years that I've
been frequenting the place.

J. Fariello


Message-ID: <>
Date: Fri, 18 Feb 2000 10:21:56 +0000
From: B Blanchard <>
Subject: I've Got Flu

Bill Sherlock asked:

A query: was "Nonsuch" ever released on vinyl?

Belinda Blanchard replies:



Message-ID: <>
Date: Fri, 18 Feb 2000 11:03:41 EST
Subject: Sorry for Its Departure

As a long-time XTC fan, I too, am sad to see that The Little Express is going
away. I had a few drawings published in there, and it was always a real treat
to open my mailbox and find an issue inside (or, better yet, The Bull with
the Golden Guts!) I'm thankful to have saved all the issues I received.

Well, gang, I've gone back and listened to "Prettier Than You" by Brian
Stevens. This is the CD that has Dave Gregory's playing all over it. I like
it much more than when I first bought it.

And I'm also still into Cotton Mather. Those who are on the fence about
buying this one should check out the sample audio tracks on CD Now.

That's it for now,

Wes Wilson


Message-ID: <>
Date: Fri, 18 Feb 2000 08:38:22 -0600
From: chris vreeland <>
Organization: Vreeland Graphics
Subject: Kids and Greenman

My seven year old daughter absolutely loves geenman, which she'll dance
around to in her twitchy sort of way. It's also amusing to listen to her
singing along when she has it on headphones only.
	I stumbled a bit, however, explaining the song after it-
(In her words) "That funny song about the guy who can't spell..."
To which I replied, "Wellll....Honey..... n-not.....exactly....."

Chris "remember when me and mommy used to fight...." Vreeland


Message-ID: <>
Date: Fri, 18 Feb 2000 09:22:19 -0800 (PST)
From: Tyler Hewitt <>
Subject: another goodbye

lots of goodgyes lately-Chipping Norton Studios, the
Little Express...

Here's a non-xtc related passing, but a sad one

Screaming Jay Hawkins passed away last weekend in
For those who don't know who he is, he was a '50's era
rock n roller who's act was filled with voodoo props
and Halloweenish humor. Sort of like Little Richard
crossed with the Cramps. Like Alice Cooper or Marilyn
Manson decades before they came along. A true
His music is actually pretty enjoyable, especially if
you like 50's rock and blues-rock. "Constipation
Blues" is one of the funniest songs I've ever heard.


Message-ID: <>
Date: Fri, 18 Feb 2000 13:55:38 -0600
Subject: Kids and XTC...again

Both my children are into XTC.  Well, they are kind of
forced because of their father.  Jake, my 4-year-old, digs
the songs "No Thugs In Our House" and especially "Senses
Working Overtime".  He sings his own words to each, but you
can tell what songs they are.  I guess he is an English
Settlement fan.  My daughter, Maddy, who is 9 months, is
hooked on "Are You Receiving Me?"  I turn the song on and
she scoots across the floor, on her butt, and sits in front
of the speaker and dances a little dance.

It's good to start them young, I guess.



Message-ID: <002601bf7a40$4c3fabc0$0200a8c0@digitalpc>
From: "Digitalmaster" <>
Subject: Artists who worked with XTC.
Date: Fri, 18 Feb 2000 10:42:07 -0800

<<Which brings up my question: Has XTC ever
recorded with any other big
named artist or used anyone as backup vocals>>

God, I definitely would not be the expert here as I am trying to figure out
all the lovely collaborations our Swindon boys have done.  Though, I do know
of quite a few.   One was "The Heads" album titled "No Talking, Just Head."
The group is really Talking Heads minus Byrne.  It's a really good album.
Andy did a track which turns out to be one of the best (of course I am very

I know of a few other albums they have worked on.  On a Terry Hall album
(Lead singer of the Specials) Andy wrote a really good song, but did not
perform it (no vocals at least).  Doesn't Chalkhills have a section
explaining all this?  I know of more, but nothing off the top of my head
right now.

I have heard a rumor (probably just that) that Andy and Mark (of Devo) are
working on a song for an upcoming Devo album scheduled to be released about
a year after the Devo Anthology comes out.  That would be a strange but cool
combination, wouldn't it? Maybe not 20 years ago or so, but at this point,
their sounds are so much further apart.

Hope this helps.

One comment to those of you who use the list for spaming purposes.  Since I
joined this list, I have received about 10 spams a day.  This is getting
old, so I am going to change my email on both the list and with my isp.  If
someone is interested in your product, they will search it out on yahoo like
I do.  However, its a big turn off to get mail about how I can make a
million dollars blah blah blah.  This is a great list, but unfortunately our
email addresses are either being sold by a dishonest user, or sniffed out on
the site by spammers.  This is unfair to those of us who use the list to
make friends and talk about our interests. I would appreciate it those of
you out there using our email addresses would not do so in the future.
Thank you.

PS. Wes, did you send it? :)


Message-ID: <>
From: Ed Kedzierski <>
Subject: Hello, everyone (WARNING - overlong introductory de-lurk type pos
Date: Fri, 18 Feb 2000 13:37:32 -0800

I'm new to posting, not new to XTC, or this world (I'm 35).
First of all, I guess I should apologize for the length of this, but I've
got quite a bit to cram in after over a year of lurking (if first
subscribing, letting my old e-mail account die, reading the digests off the
web and then resubscribing under a new address counts as "lurking").

Born, raised, and still live in, Vancouver, BC, Canada.

I have all regular album releases & a couple of singles/Eps - no demos
except for "Homespun" (achingly curious about songs like "Wonder Annual"
"Prince of Orange" etc., but getting started on the trading circuit seems
like such a steep curve).

I consider myself an "entire career" fan - in terms of the "earlier stuff"
vs. "later stuff" camps I'm both & neither. Anyone who's strictly into one
or the other should really make the investment of listening time to learn to
appreciate the other - it's worth it.

I've had more musical phases than I care to outline here, though I'm happy
to say that I don't hate anything that I've ever been into in the past - I
may not be as passionate about certain bands and styles anymore as during
the initial heat of discovery, but hearing what I've liked previously never
makes me angry or embarassed. Some people will, after an artist or band
sells out or does a style-shift for the worse, retroactively dislike
everything. Maybe it's just personalities. Maybe I'm just lucky (no-one I've
ever been heavily into has really done anything too unforgivably heinous).
Needless to say, XTC's incredibly varied career has provided me with great
joy at numerous points throughout.

First heard the band, obviously enough, when both "Nigel" and "Life Begins
at the Hop" received fairly regular airplay (luckily, their early-ish
singles were fairly successful in Canada, or who knows when I would have
discovered them). At the time, I was exclusively into 60's stuff,
particularly Beatles (and some mid-late Brian Jones period Stones and the
like), and so where all my friends. I remember "Nigel" confused and
intrigued me at the same time. As I got more interested in "new wave" (like
many, I was still unaware of the finer musical distinctions involved between
"new wave" "punk", "new romantic", etc.), I was unsure of how my group of
friends would react - I remember hiding things like Devo's first album under
my bed when they'd come over.

I remember seeing "Go2" in the record store and being very intrigued by the
cover (which should really show up in all those "great record cover" books -
it's ridiculous that it never does), but not recognizing any songs, I didn't
buy it. It was the one XTC album that (apart from the new stuff of course) I
didn't end up getting until last year (my response, having bought it after
lurking the Hills for a few months: "Hey! This is a pretty fun album! What's
everybody so excessively down on it for?")

Over time, I became more confident about my interest in "newer stuff",
especially as it became more apparent to me that the enthusiasm and
willingness to innovate that I was finding in a lot of it was an echo of
what had attracted me to a lot of the 60's stuff of my first music phase. At
some point, another friend (not excactly a part of the inner circle I
mentioned before, but another 60's enthusiast opening up to newer things)
loaned me a copy of "Waxworks". I borrowed it again. And again. Oddly
enough, I only listened to side one repeatedly, occasionally turning it over
for "Senses" (I know, I know, I didn't know what I was missing - I'd realize
that later). Eventually, I found used copies of both the "Wax" comps for a
reasonable price. I think that I must have bought "Drums & Wires" at around
the same time. Bought "Black Sea" mainly for "Generals and Majors" and also
because I'd read somewhere about "Respectable Street" being "Kinks-like".
(I forgot to mention, I had a MAJOR Kinks period, just after my Beatlemaniac
phase, bleeding into my "hey, what's this new stuff?" period, especially the
"perfect four" - Face to Face, Something Else, Village Green, and Arthur.)
Wouldn't end up giving the rest of Black Sea a proper listen for quite a few
years - and yes, I know it was my loss (I actually didn't properly get into
"No Language in Our Lungs" until LAST YEAR! - how messed up is that for
someone who calls himself a fan?).
Bought the 12" single of "senses", which indicated that it came from an
album called "English Settlement", which I found impossible to find at the
time (and after reading about the cut-down 1-record version versus the
proper double album, I turned up my nose at the North American editions that
I came across for the next few years).

As the 80's progressed, I went through more phases, all of them cumulatively
adding to my "taste repertoire" rather that "overwriting" anything. My brief
hardcore phase taught me to appreciate the loud and hard (previously, things
like metal and hard rock had been alien to me - I only learned to tolerate
bands like Led Zeppelin, much less anything harder, after having been into
punk, ironically enough). My rather longer-lasting proto-gothoid big-hair
phase came about when I found that a lot of bands like the Cure and Siouxsie
had many elements that I'd always loved about psychedelia (one of my
life-long favourite musical genres). I would return to my old Beatles,
Kinks, etc. records from time to time whenever I felt the need to revisit
them. The same with the early XTC that I had, when I felt like flashing back
to the exciting days of early new wave (as I then still thought of it).
Little did I know how this one band, who I enjoyed but wasn't, like, nuts
about or anything (unlike now), would come to merge these streams in my
musical enjoyment in the years to come...

I remember seeing "Mummer" in the store, and being genuinely happy at seeing
that they were still around, but I didn't recognize any songs from it, so I
foolishly passed over it. Same thing when I saw "Big Express" - "Cool! I
always liked them! I should get this - when I have more money." It would be
another few years (88 or 89) before I bought either of them.

Somewhere around this time (just remember all the timelines here are less
than perfect, these are just memories, not researched historical
documentation - "Read me, Dr. Memory!"), I went to see Shriekback ("Oil and
Gold" tour). It wasn't until after the gig that I read of the connection,
but it was a fantastic show, one of the best gigs I saw in the 80s. They
just exploded onto the stage, and as I'd been listening to both Oil and Gold
and Care, I was very into it (I'm a pretty quiet guy generally, and with the
help of a few drinks, surprised the somewhat-new friends I went with by how
much I enjoyed myself). I do remember thinking, when Barry leapt out with
his shaved head and floral robe outfit, "My god! It's 'Dr. Severin' from the
'Space Hippies' episode of Star Trek!" (Minus the blobby ears, of course.)

Then one day, I see "25 O'Clock" in one of the cooler record stores (cool
enough to have a hand written sticker taped to the record saying "this is
XTC in disguise doing a psychedelic pastiche") I was instantly intrigued,
but broke that day (going into record stores with no money & drooling over
what I couldn't get was a bad habit of mine for a long time - at least until
I stopped being so damn unemployed). A couple of weeks later, an
acquaintance of mine who wouldn't lend records but would gladly come by your
place with a pile of stuff for you to tape came over for a taping session
for which I'd said "surprise me". The first thing that I noticed in his bag
was, of course "25 O'Clock". "This one!" I said "this one first! I really
want to hear this!" He seemed surprised (I had Robert Smith hair, eyeliner,
everything but lipstick and whiteface) but enthusiastic about playing it to
someone. I still have the tape (in very rough shape), which turned out a
very odd mix - Dukes for most of side one, the rest of it filled with Chris
& Cosey, Severed Heads and some early California hardcore. I was blown away.
"This is the greatest re-creation of psychedelia ever made!" I'd tell
everyone who'd listen "nothing rings false! There's nothing on it that you
could possibly doubt was recorded in '67!" I played it for my old 60's
music-listening friends (who I still hung out with, ribbing about my
appearance notwithstanding - in fact, they're still my closest friends
today), who seemed genuinely impressed.

This was to be the beginning of my true appreciation for this band, who I'd
always liked, but hadn't really realized what they were truly capable of...

This next bit's going to sound awfully typical, but I heard "Dear God"
somewhere, probably on the radio, saw the video, and decided it was time to
buy their new album. A lot of reviewers comparing Skylarking to Sgt Pepper
at the time (perhaps this is what DavidOh's referring to - I remember quite
a few reviews of this album containing lines like "trying to re-make Sgt.
Pepper in the 80's might seem like a strange thing to do but...") made up my

For some reason (probably that I was still unsure and wanted to listen in
the car - the best place for me to get into something new - before
committing myself) I did something I usually avoid doing: I bought the tape.
I hate bought tapes. I'll always buy an album in "proper" format (vinyl or
CD: I'm not militant either way, but it's now impractical to go without a CD
player, and I can't imagine giving up my turntable), and then make a car
tape that can be remade as it deteriorates (as car tapes inevitably do). It
actually took a few listens to "take" and the psychedelic connections took
time to form (I think that the keyboards didn't have the "fat piano" sound
I'd always identified with the genre), but soon enough "Meeting Place",
"Rainy Day" and especially "1000 Umbrellas" had me well on the way. The rest
of the album soon followed.
Over the years, I eventually bought "Skylarking" four times: the original,
now unplayable tape (I still use the case for its homemade successors), a
"standard North American vinyl" version I bought about a year later, an
"original vinyl" version I bought a couple months after that so I could hear
"Mermaid Smiled" (I got this used: it has a big "produced by Todd Rundgren"
sticker on it, and a hole punched in the corner of the sleeve, as though for
promo or radio), and the CD ("logical" Canadian version - I had no idea that
other versions were different until I found Chalkhills) some years later.
In hindsight, sure, Skylarking may not be as perfect as it seemed when one
first fell for it, but some of the backlash I've read has been way too
vehement. The thing's still a gem.

Over the next while, they moved further up the ladder. Taped "Psonic
Psunspot" off a friend (eventualy got the CD once my taped copies of the
Dukes albums got too overplayed), got and loved "O&L". I'll just say this in
O&L's defence: not only is it a great, unjustly maligned album, but
"President Kill" is one of my favourite tracks on it (to me it's reminiscent
of two of my favourite White Album tracks, Cry Baby Cry and Sexy Sadie).
Somewhere around '91, I finally found a proper copy of English Settlement: a
lovely used import double, embossed cover, brown parchment-like inner
sleeves, and the info-on-one-side-horse-on-the-other labels. Well. This was
the real start of my first true infatuation with their music, the one that
put them among my official favourites (to think that I could have seen them,
but wasn't into them enough when they still toured...!). I'd always liked
them before, but that years-after-the-fact discovery of ES really "flipped
the switch" for me big time. I don't think that it left my turntable for
Went back to fill in some gaps: Bought "Mummer", (liked it right off the
bat) and "Big Express" (it took me a while, but having finally made the
breakthrough on the last holdout "Reign of Blows" some years later, it's now
one of my favourites). Found a used copy of White Music, that, while no
masterpiece, reminded me of how much fun it can be to leap around the room
to something that fast (still the only album I haven't re-purchased on CD,
but that's probably just a matter of time). Found a copy of "Look Look", and
seeing "Towers of London" inspired me to get into Black Sea again.
And just as this manic phase was calming down, out comes Nonsuch. I rant and
rave about this album to various friends, but remain pretty much alone in
relentlessly playing and re-playing it. The oddest one was getting dumped by
a girlfriend, and to avoid the "dumped-guy whine" launching into a
completely out of context rave review of the album. I don't know what she
thought that was about. Can't understand what there is to dislike about
"Omnibus" or "Crocodile" (these seem to be the most dissed Nonsuch songs,
for some reason). The only Nonsuch track I ever skip is Peter Pumpkinhead;
not that I hate it or anything, it's just the only one I rarely feel like
Right around the release of Nonsuch, I read an article on the band which
would have a lasting effect on the way I thought about them. It was in the
now-defunct Reflex (I couldn't find it in the articles archives, but I just
found the actual copy of the magazine & would be happy to type it up for
you, John). The writer made a visit to Swindon, and described their
work-at-home demo process, and this really impressed me. It was before
Virgin fucked up the Wrapped in Grey release (I actually saw a copy at the
time & didn't buy it... stupid!), I had no idea about their financial
problems, and the whole thing sounded almost idyllic: these three guys
making lovingly hand-crafted studio music, not living like rock stars like
they might have been with gigging and high-pressure promotion, but striking
a nice balance and doing what they wanted without interference (or so I
thought) and making at least a decent middle class living (again or so I
They would remain one of my favourites from then on, and occasionally I'd
wonder when I'd see something new, but even as the years went by I never
doubted that I'd eventually see a new XTC album. Thought of writing to the
Little Express, but I'm horrible with mail and sending away for things (and
now it's too late - don't worry, I'm holding a big "L" up to my forehead
right now). But it wasn't until around December of '98 that I finally went
"what the hell is going on?", and realized that I should check the net (I've
had access since around '95). First thing I find is of course Chalkhills,
which I have to say is the best band site I've ever seen (I've checked out
other band's sites expecting the kinds of resources for them that Chalkhills
has for XTC, and few even come close). "New album in a couple of months?
Yes!" "Dave's gone? No!" "I've been missing out!" I'm inspired to go out and
get Song Stories and TB.
I re-purchase a whole bunch of albums on CD (biggest revelations: when I
re-buy "D&W", I realize that I've never heard "Day In, Day Out" before as
the N. American vinyl version bumped it for "Hop" and I love it! Re-buying
TBE introduces me to "Washaway", and I have a real weakness for that kind of
piano sound.)
The article archive is astounding. Links to other wonderful if slightly
smaller sites.
Most of all I start reading the digests. I really think there's a great
bunch of people here. I have no problem when things stray a bit of topic, as
it's always about something I find interesting, and there is a connection
somehow, whether you can always see it or not. New rules or increased
moderation are not needed at all, if you ask me. I have no problem reading
about both XTC and what other XTC fans find interesting to talk about
besides the band (or even music). You all sound (read?) like people I'd be
happy to know (sure, sometimes there seems to be a bit too much
oversensitivity and umbrage-taking, but it usually seems to sort itself
I've put off posting for all this time & finally just couldn't resist the
urge to join in.

If you've made it this far without wanting to flame me for the length of the
thing, you have my thanks and apologies.

Some of the things I thought I'd get in here that I'm holding off for future

Other favourite bands (though they include the Bonzos, R. Hitchcock, Devo,
and more).
The contents of the XTC mix tape I finally put together last year.
Why (unlike many, apparently) I prefer the final version of Easter Theatre
to the demo.
Why I think the so-called "irony glut" is a myth.
What the REAL "most overrated album of all time" is (this goes back to the
old "My Sgt. Pepper" thread, and as afraid as I am of the inevitable flames
this might bring, I'm bursting to say it... Don't worry, it's not an XTC
Comedy tastes (as important to me as my musical tastes).
And many other things.

I'll shut up now. Please don't kill me.

Ed Kedzierski


Message-ID: <B0B0BB04D8ABD111937800805FEA5B1D02A326E7@EXCHOU-PROD1001>
From: "Dupuy, James" <>
Subject: Musing Over Colin's Missing Muse
Date: Fri, 18 Feb 2000 15:59:01 -0600

			I was also a little let down when I heard the latest
from Colin on AV1. Lately (Nonsvch and later), it has taken me a few listens
to "get it" when listening to Colin's songs. I hated Bungalow when it first
came out but now I think it is one of Colin's best. The strange thing about
this is when I first started listening to XTC (1978), it was Colin's music
that I liked immediately and it took a few listens to "get it" with Andy's
tunes. It seems that there has been a role reversal, or is this an aging
affect? I continue to listen to Colin's latest tunes hoping the "click" will
come. So far it hasn't. Homespun has seemed to help a little. I do like his
Homespun material better. (BTW I also think Greenman is better on Homespun
as well. I get a kick out of that ukulele sounding acoustic guitar on it and
the gong is a must. It seems to add so much more drama/passion.) As far as
Colin losing "it", I find it hard to believe that the guy who can play such
creative bass lines (assuming they are his) is losing his creative artistic
touch. Maybe the motivation isn't there as suggested in the last post. I
hope that is not the case. I hope it is just a writer's block, something I
believe Andy mentioned having at one time in an interview. Better yet, maybe
my two brains cells haven't had enough time to learn to appreciate his
latest stuff.

			Does anybody know what has been the number of AV1
and Homespun cd's sold?
			I can also add to the list of children who like
Greenman. My 3 nieces and my nephew love the song.
			I am dying to hear how Church of Women comes out.

			"On my knees but dancing"



Message-ID: <000701bf7a8a$d740ffe0$d842113f@unlpm>
From: "Jamie Lowe" <>
Subject: Let's all make a CD
Date: Fri, 18 Feb 2000 21:38:07 -0600


Here's a harebrained scheme I have had in my head for the past few days and
thought it was time to get it out once and for all.  For better or for
worse.  My flame retardant suit is at the ready...

 Let's (Chalkhills Children) produce a future Xtc CD.   You heard me right,
let's raise the money give the band creative control (hopefully with us in
mind) and let them go for it.  If 100 of us invest $1000 that's $100K and
adds up to real money fast.  We can figure out the details later if the deal
takes flight.  Obviously, lesser and greater amounts would also be
acceptable, the point is to produce new Xtc Music!  BTW, You can count me in
right now for at least a grand otherwise I wouldn't bother you with this
crazy idea.

The basic plan is that the investors get their money back and an autographed
CD, and maybe get to meet the lads when they come to do a promo tour.  But
the real goal is to get some new music out of them.  The band keeps all the
profits that would usually be earmarked for the middlemen.  The difference
is that the producers are a not for profit organization.  We (the investors)
get our money back and the knowledge that we have helped put another Xtc Cd
on the market.  The world gets more Xtc music which it indubitably needs,
the lads get all that's do them and hopefully more.  Just think of the buzz
we could spin in the international press, fan club raises cash to produce
superlative band's music!

I know it sounds like a dreamer dreaming, but I hope that my scheme does not
come to a humiliating end.  I need your help, in whatever form, ideas,
expertise or money, is it possible?

Jamie Lowe


Message-Id: <v03007800b4d3bc5403f7@[]>
Date: Fri, 18 Feb 2000 22:59:52 -0500
From: Mitch Friedman <>
Subject: Andy says . . .

Hi again,

First off, as far as I have been led to believe the new album has been
mastered and will be pressed up into promo copies any day now.

Oh, what does Andy say? He says that just about everyone who knows him
has been told to listen to this cd called "Fascinating Rhythm! - Great
Hits of the Twenties". Myself included. There is a record company in
England called Past Perfect and what they do is put out compilations
of music from the '20s through the '40s on cd and tape. What they
excel at is taking the original 78's and digitally removing every pop
and click so that all that is left is the most remarkably pristine
reproductions of this fantastic old music you have ever heard in your

I purchased "Fascinating Rhythm" about three weeks ago and I've
listened to it about 20 times. The selections are wonderful, and the
sound is amazing. Go to and snoop around for
it. I've also gotten my hands on equally superb discs of Django
Reinhardt and Stephane Grapelli, Duke Ellington, Fred Astaire singing
songs from his movies and the original symphonic recordings of George
Gershwin. They have a big catalog of other material too. Please do
yourself a favor and go check this stuff out!


p.s. I'm very sad about the end of The Little Express too. Without it
I wouldn't be here right now.


End of Chalkhills Digest #6-29

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