Precedence: bulk
Subject: Chalkhills Digest #7-28

          Chalkhills Digest, Volume 7, Number 28

                  Monday, 23 April 2001


                Andy, Andy, George & Ringo
                   Japanese re-releases
                    Cheap and Cheerful
           This World Over on Transistor Blast
              Have GEEEETAR, Ready to Ride,
            Re: Kingstunes responds! Ahhhhhh!
                        BIG DAY!!!
                Musings on matters musical
                    Homegrown Comments
                         JJ & ADD
            The Pitsville press won't be there
                     We all shine on!
                       Viva Colin!
            damn!! lost another good one! :-(
                 DTS Testimonial Dinner ?
                         If only.
               Electronic Music: correction
           Kudos to Silver Moon & Mr. Greenman
           Re: It was twenty years ago today...
                  flying this world over
                       Ooops again!
               May The Schwartz Be With You
            XTC @ Armadillo World Headquarters
             Original Paper Sleeve Collection
                    Fab Four In Philly


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    The views expressed herein are those of the individual authors.

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

I take home my notes and coins every week.


Date: Thu, 19 Apr 2001 02:08:15 EDT
Subject: Andy, Andy, George & Ringo
Message-ID: <>

Ah, Mr. Sherwood, always a distinctive pleasure!

>One suspects Mr. Kingston's puckish sense of humor may have gotten the
>better of him there. I'm sure no insult was intended.

Drude, believe me, nothing personal intended.  But nuthin' gets me Irish up
for a fight than dissing the almighty fabs!   Yes, my toungue was quite
firmly in my cheek, but thumtimeth it getth in the way of my verbioth
rethpontheth!   (Ouch!)

Harrison, extraordinary post on the melodic aspects.  Under my nose all these
years, but never articulated.  Thank you!  Looks like I'm overdue for a
reading of MacDonald's book.

Regarding Partridge:

>Like McCartney, Partridge is "drawn to music's formal aspects," and he too
>produces "technically 'finished' work almost entirely on instinct," but the
>advantage he has over his predecessor is that he has McCartney's own
>negative example --he's seen the dangers of self-indulgence, of divorcing
>style from meaning, of becoming "entranced with his own fluency," and
>avoided it. The end result has been a career dedicated to formalistic
>adventures, of trying on this or that musical hat in much the same manner
>as McCartney--without the fatal lack of self-discipline that mars
>McCartney's output.

Excellent point.  But I would temper this with the consideration that it's
true *hen* he is indulging in the Macca muse (which is often, lately, I
admit).  There's a great deal about Andy that's unique and not totally
comparable to the Beatles.  Although I'll be the first in line to say that
XTC are among the true heirs of Lennon / McCartney's legacy.

What's interesting about Andy in comparing him to the Beatles I find is that
formally he emulates McCartney, as you've pointed out, but tries to merge
with Lennonesque qualities in the same tune.  Knights In Shining Armor, while
on the surface seems rather Macca drenched a la Blackbird, is supported by
his attempt at a Lennon style Travis-pick (that Lennon acquired from Donovan
during the Beatles visit with the Maharishi in '68) and unusual chording,
which comes off a lot like Julia.  As if Andy were conciously trying to merge
the two.

>Maybe this is why "Wounded Horse" holds so little appeal for me: Lots of
>folks have commented that it reminds them of a Plastic Ono Band number...

Funny, my first thought when I heard Wounded Horse was how Macca it sounded,
as in when Paul was trying to sound like John on Let Me Roll It!   Ooooh,
this is getting strange....

One last couple of thoughts... George didn't really start writing until they
started to record.  While he brings some of his own style to the table, he
was clearly influenced by Paul & John.  Who do you think he sounds the most
like?  Tawk amongst yourselves.....

And finally, in full circle fasion, someone was recently trying to compare
both Andy & Colin to John & Paul.  I don't see this, personally.  I see it
more like Andy being both Paul and John, and Colin being George (in the
songwriting dept.)

Let it rip!

Academically speaking, Dr. Mellers


Date: Thu, 19 Apr 2001 10:37:04 +0200
From: "Clinton, Martin" <>
Subject: Japanese re-releases
Message-ID: <>

Hi everyone,

Well have come up trumps! Got the first 5 Japanese re-releases
today (at #10.99 a go), and they look bloomin' marvellous! The sleeves are
exact copies of the originals (English Settlement has the 'textured' look,
while Black Sea comes in the pukey green bag. Indeed the actual sleeves
don't even mention the extra tracks), and are then put inside a nice little
plastic sleeve, along with the Japanese card down the left hand side (which
DOES mention the bonus Japanese).

For anyone interested, I phoned a specialist record shop a week or so ago in
the UK called Badlands (11 St George's Place, Cheltenham, Gloucestershire,
GL50 3LA, UK. Tel: (01242) 227724/25  Fax : (01242) 227393 or, who told me that the UK versions' release
date was still not totally decided ('late April or May' was his guess), and
as far as they knew the first UK ones would be in replica LP sleeves at
#10.99 each (!), and that standard Jewel ones would be out some time after
that at around #8 each...however the guy did say getting exact details was
proving tricky.

Well, all that I need to do now is listen to the things!!

All the best



Date: Thu, 19 Apr 2001 06:37:30 EDT
Subject: Cheap and Cheerful
Message-ID: <>

Hill People

Just a short one to let all you European based Chalkies that the very
excellent Japanese imports of our favourite albums are available for a
knockdown price at
They are a Jersey based company, hence no VAT and they include P&P.
Example, Mummer available on 14 May for only #8.98, as are Big Express,
Nonsuch, O&L and Skylarking.
Unfortunately for moi (or is that fortunately) I have already got the
albums from for about #11.60 each. Currently listening to Drums
and Wires and I can recommend these remastered albums to everyone. Not only
is the packaging a delight (typically professional Japanese attention to
detail) but they sound like completely new albums. I haven't heard Drums as
it was meant to be before today, it is absolutely stunning. Enjoy!



Date: Thu, 19 Apr 2001 14:19:57 +0100
From: "Dewi Thompson" <>
Subject: This World Over on Transistor Blast
Message-ID: <000501c0c8d5$2820c780$758fe4d4@dewi>


I'm merrily listening to Transistor Blast for the first time, and to these
ears Andy's vocals on the TB version sound identical to the one on The Big
Express.  In fact most of the instrumental track sounds the same although it
says in the booklet that the song was recorded for the Bruno Brookes show.

Can someone explain what is going on!  Sorry if this is an old topic.



Date: Thu, 19 Apr 2001 11:07:28 -0700 (PDT)
From: Jon Rosenberger <>
Subject: Have GEEEETAR, Ready to Ride,
Message-ID: <>

Splitting Heirs eh??? How about sumpin' fo' Uncle Willie!

Seth, Seth, Seth (Shaking of Head) Seth, Seth, Seth, why do you say
these things, you know my quirkiness won't allow me to let them pass.

"and yes it is true that all members of the Soft boys did end up
touring throughout the eighties, <snip, snip> while not one member of
XTC toured ever again (unless you count Barry of course, which would
once again be splitting hairs)...

Wrong Again Seth!, Let me tell ya bout the KING of jangly geeetar....

Dave Gregory Toured Japan in 1994 with Martin Newell\Cleaners as well
as Germany in 1995.

He toured the USA\UK with Aimee Mann in 1993 including a concert in New
York where Andy P. was present and Aimee and Dave dragged him onstage
for a version of the Dukes "Collideascope".

He toured with Steve Hogarth and the "h" band in 1997, last fall they
screamed "genius"  at two shows in London at Dingwalls and another in
Utrecht, Netherlands, this was after they played the Festival of Hope
in Switzerland last spring. More H band shows are planned for Italy
this year.  ["H" Band RAWKS! IMO!!!]

Not really touring per se but he also played at the Kosovo Aid Concert
in Swindon in 1999 with wait for it...Barry Andrews, among others.
As well as a show he did early this year in London with Louis Phillipe.

So basically what I am saying is the guy gets around.


PS: And no Wes I don't count the BBC "Books are burning" thing in 1992.
I refuse to believe it exists, it is simply a phantasm, prove me wrong
and send me a copy. ;)

PPS: Terry Chambers after emigrating to Australia toured with both
"Dragon" and "Icehouse". (who also (sans Terry) cut a mean version of
"Complicated Game") The "Dragon" thing included a swing through the
states I think? Anyone have more info or details? Culnane where are
you? You'll know. ;) Speaking of which I haven't seen any parcels from
D.U. yet? Not lost I hope!


Date: 19 Apr 2001 14:50:12 -0400
From: Dan Schmidt <>
Subject: Re: Kingstunes responds! Ahhhhhh!
Message-ID: <>
Organization: Harmonix Musick Systems

Joe Hartley <> writes:

| <> wrote:
| >  *But* it doesn't start on the chord Db, but on the II chord (the
| > chord based on the second note of the Db major scale), which is Eb
| > minor.  Now, the *normal* thing to do (for reasons I won't get
| > into here) would be a II-V-I progression (Eb minor, Ab7, then Db
| > major).  But *instead* of playing the V chord (Ab7), he plays D
| > major, which has no relation at all to the key!

This isn't as crazy as one might think; it's a perfect example of a
standard jazz technique called tritone substitution.

| > Now the really *cool* part is that the second time the D comes
| > around again ("and I *found* that love is more), he blows off the
| > key of Db which he started on, and uses a transitory chord in Db,
| > a chromatic substitution, no less, (the D major) as the root chord
| > of the new key, D major!  Em (which comes next) is the II chord
| > and A7 is the five chord of the key of D, which becomes the key of
| > the rest of the song!  The D is a pivot chord form the old key to
| > the new (a half step higher), and a devilishly clever one at that!
| Again, I think music theorists at the time cringed over this!  It's
| not intuitive at all from a theory standpont.

Music theorists at the time probably said "Neat use of IIb as a pivot
chord; that's a nice modulation, if a bit abrupt."

Both of these moments are really nice, and excellently crafted, but
they don't come out of nowhere from a music theory standpoint.

I do agree that Lennon wasn't thinking in theory terms at all, and
that he just had an intuitive feel for what would work.  And that's as
it should be.



Date: Thu, 19 Apr 2001 14:38:31 -0500
Subject: BIG DAY!!!
Message-ID: <>

he steps out from behind the velvet curtain...

Congratulations Dan!
It's your BIG DAY!

scurrows back behind the scenes...



Date: Thu, 19 Apr 2001 16:29:31 -0400
From: "Todd Bernhardt" <>
Subject: Musings on matters musical
Message-ID: <>
Organization: Enterworks, Inc.


Martin M pointed out:

> b) my humble little Dukes site, under the heading "What in the World??...",
> which contains a detailed assessment.
> Comments are always welcomed.

Here's one: It's a great site, and a wonderful addition to the XTC
resources on the Web. Now, let's eat some music, shall we?

Al LaCarte said:
> Ayn Rand made some good points in her books, but what
> the hell could she have said about The Beatles?

"Oh! They're so *cute*!!!"

>From Jim Smart:
> I'd like to add that the thing that has killed a lot of feeling in music
> is the click track. This is when you base your recording on a computer
> click. It keeps you from changing the tempo. But in the "old days", there
> was no click, and the musicians had to do it live, eyeball to eyeball, and
> just stay together and give a tight performance.

Well, yes and no. A click track should be a tool, just as others have
correctly pointed out about computers and music in general. A good
drummer should be able to use a click merely as a reference, pushing and
pulling the tempo forward or back when needed. The click should not
control the drummer; when it does, the time can feel stiff.

I like using clicks. When I'm on the click, it "disappears" (that is, I
don't hear it anymore), and it isn't a distraction. But when I do want
to speed up or slow down the tempo a bit, the click's always there to
ground me and remind me what the original tempo was. It also does help
with punch-ins and editing down the line.

That said, I don't like the other musicians in bands I'm in to play with
the click. I like to record to it first (usually other musicians are
involved, providing scratch guitar, vocals, etc.), and then, when they
track their parts, I want them listening only to me, to ensure a human
feel. That way, even though we may record our parts separately, we're
playing together.

Or it could be a control thing. I dunno.

Eddy the K said:
> Liked Harrison's observation regarding Andy showing a strong Paul influence,
> but with the example of his mistakes to avoid. I think "Skylarking" was the
> first XTC album to make me go "why isn't McCartney doing McCartney songs as
> good as this lately?" ("Ballet for a Rainy Day" in this case).

"You're the Wish You Are I Had" is the first song I heard by Andy where
I consciously thought he was sleeping with Macca's muse. Looking back, I
realized that he'd been doing Her for some time, but that was the first
time I sat up and took notice.

And, finally, from Tommy the K:
> The easiest way to explain it to non musicians is this.  All music is built
> on scales, or sequences of notes that repeat as they go higher.  Each scale
> has 7 notes, the 8th being the repeat of the 1st.

Pedant alert:
Each *diatonic* scale has seven notes in the octave, while each
chromatic scale has 12 tones. There are many others out there ... don't
be so West-centric, man!

Just busting yer chops, geetar dood ... nice post.



Date: Thu, 19 Apr 2001 17:39:42 -0400
From: "Tim Kendrick" <>
Subject: Homegrown Comments
Message-ID: <002d01c0c919$3f693a00$8f19113f@tim63>

Hi everyone!

Just a few comments about HOMEGROWN.


 . . .

 . . .

 . . .

 . . .

 . . .

It's great!  (Duh!)

The best things on it are the very early demos.
I kind of wish there were more of them included
and less of the later demos (which sound too close
to the finished product to be interesting).

The demo for "Everything Decays" is my favorite.
As someone else said, it's much slower - but it's also
very moody and emotional I think.  It would have been
a very different but wonderful song on it's own, without
being joined at the hip to "The Pot Won't Hold Our Love"
(which is not as good on it's own and was rightly put
away until a better use was found for it).

There are 2 different versions of "In Another Life"
- the first version sounds like what we got, but with different lyrics.
The second version has the lyrics we know, but a different sound!
Very interesting!!!

There are also 3 versions of "The Man Who Murdered Love".
The first 2 sound nothing like the final version, nor nothing like
each other.  It's basically 3 different songs but with the same title
and same idea behind them.

Overall I think it's a great treat for fans.  The booklet
is informative and funny.  And having "Didn't Hurt A Bit"
and "Bumper Cars" added on is a great bonus.
Well worth the money spent!!!!!!

   Tim K.


Date: Thu, 19 Apr 2001 18:37:12 -0400
From: Sylvan Migdal <>
Subject: JJ & ADD
Message-ID: <>

on 4/19/01 1:02 PM, <> at
<> wrote:

"Hello I must be going (but before I do I'll give a good plug to [...] Josh
Joplin's Useful Music)."

I second that! I just saw him opening for They Might Be Giants, and after
his set they tossed a few promo copies of Useful Music into the audience.
Needless to say, I caught one, and it's very good.


on 4/19/01 1:02 PM, someone wrote:

>> On Tuesday April 16,2001 The XTC 'Black Sea Box Set'
>> comes out. 153 songs! On ONE CD! British Sterling #10.99!
>> Now *that's* what I call 'value'!
> Yeah, but it's only one CD... which means that each song is only about
> 29 seconds long!

Apparently a release for the XTC fan with ADD...
"Give a man a fire and he's warm for a day, but set fire to him and he's
warm for the rest of his life." --Terry Pratchett


Date: Thu, 19 Apr 2001 19:35:43 -0700 (PDT)
From: Ryan Anthony <>
Subject: The Pitsville press won't be there
Message-ID: <>

In Digest 27 in the Year of Our Chalkhills, 7, Gary
Nicholson announced that he is directing a reworked
and retitled version of Karel (*R.U.R.*) Capek's 1922
satire *Life of the Insects* (first staged in America
as *The World We Live In*) at the Chesil Theatre in
Winchester, Hants., May 21-26, with music by Tom
Waits, Blur, and XTC. He gives this URL:

He adds: "It's not worth busting a gut to fly over
from Pitsville, Arizona to see it; indeed, it may not
be worth a whimsical jaunt down the M3 from
Basingstoke; but if you're passing ..."

Well, gol-dang! The *Pitsville Daily Tumbleweed*
(proud voice of northern east-central southwestern
Arizona) was going to jet me to Winchester to catch
Opening Night, but my editor is taking Mr. Nicholson
at his word and keeping me here. Oh, well, it will be
nearly as much fun to review whatever the Pitsville
High School Drama Club is cooking up to cap the school
year. Dear Lord, please let it be anything but *Our

Actually, considering the size of the school, the
production is probably going to have to be either
*Mark Twain Tonight* or *Swimming to Cambodia*.

Ryan Anthony

An independent Internet content provider


Date: Thu, 19 Apr 2001 21:37:55 -0500
From: "vee tube" <>
Subject: Hey!
Message-ID: <>

    Where the hell did the H (Olde German) flat
   minor w/diminished 9th plus augmented 13th go?

          (Mel Bay, are you listening?)

    Anyone wanna' join the HbMin/Dim9+13 club?
            (we wear green tights)

    We meet on the #7-b8th every four years in
   Florida to vote for Pat Buchanan and bitch
   about Butterflies!





Date: Thu, 19 Apr 2001 23:14:11 EDT
Subject: We all shine on!
Message-ID: <>

>The Beatles often tuned their guitars down a half step.

The Beatles never, never, never ever tuned their guitars down a half step.
Besides, they'd have been nuts to try something like that during the touring
days, when they were doing 20 minute concerts in halls full of screaming
kids.  Paul tuned his acoustic down a whole step for Yesterday.  I have
picked out every song they've done (even the piano ones, I play keyboards
too).  There is not *one* song on *any*  of their albums other than Yesterday
with a fully detuned guitar.   Everything is concert pitch, exept when they
used a capo.  Cold, hard, fact.

I have a video of them playing it live.  John starts on an Eb minor, five
string bar, 6th fret.

>"If I Fell" is an example to me of a song that probably started as a
>few noodling strums on a guitar and acted as a springboard for more

Nice try, but no cigar.  I repeat, the Beatles were a cover band for years
before they started writing.  Have a listen to the Hamburg shows and the
Decca Audition tapes, please.  Both John and Paul had played hundreds of
songs, and were totally familiar with chord progressions and song structures.
 The *knew* what a II-V-I progression was, even if they didn't call it that.
It was a standard turnaround, fer chrissakes!   Yes, he was noodling, but
with II-V-I progressions.  He knew he was skipping the Ab7 by playing the D.
No aimless noodling, sorry.

>The "odd" Ebm/D/Db sequence makes a lot of sense to a guitar player.  The
>chords are either the A or Am fingering on the 6th, 5th and 4th frets,
>respectively.  It's something that someone writing from a music theory
>background might never come up with, but someone strumming a few chords
>and descending a fret at a time down the neck could hear something worth
>developing fairly quickly.

You're paying absolutely no attention to what I'm showing here.  This is not
all about descending chromatics.  This is about overlapping II-V-I
progressions with a chromatic pivot.  The D.  He knew this.  I bet if we
could ask Paul or Geroge Martin,they'd confirm.  The fact that he went to Em
then A7 proves it.
Again, as I'm repeating ad infinitum, Joh was familiar with the patterns he
was playing with because he'd been playing cover songs with them for years.

John and Paul had been playing together for *six* years when they signed with

And don't get me started on the rediculous notion that only untrained
composers would be somehow free of creative constraints by not knowing the
nuts and bolts of their trade.  Tell it to Bach, buddy.   Theory only
explains, not constrains!    John was breaking the rules, and he knew it.

>Again, I think music theorists at the time cringed over this!  It's
>not intuitive at all from a theory standpont.  To me, it's a great example
>of John's innate musical instinct.  I'll bet that he hadn't a clue
>about the theory of this, but just knew how to put the chords together
>to get the feel for what he wanted.

Wrong again, the theorists loved what he was doing!   He poked fun at them
for praising it.  As far as his instinct, that's exactly what I said.
Besides, whether you realize it or not, you've contridicted yourself.  If he
knew how to put the chords together, he knew the theory.  He knew it
empirically, he was just fairly musically illiterate.  No, maybe he couldn't
tell you that he was playing a II-V-I, but he knew the progression anyway.
He had played tons of other people's music, and knew the patterns.  When he
started to write, he started playing around with them.

>They're both songs that go beyond the "guitar combo" but John's is more
>experimental, more of an oddball when dissected theoretically.  Paul's
>song is a much more theoretically "correct" composition.

Oy!   Both of them 'broke the rules'.  Paul had a more formal sense (see
Harrison's post), but he was quite capable of surprises.  You failed to point
out how Penny Lane modulates downward a whole step for the chorus while the
melody rises.  Feel?  I don't think so.  Clever inspiration is more like it.
He knew what he was doing.  Equally, John was capable of straightfoward
compostion.  You Can't Do That comes to mind.  Straight 12 bar blues.

BTW, theoretical correctness went out with the coming of the Renaissance.

>How to tie this to XTC?  I always felt that Andy wrote a lot more by
>feel than theory, just like I felt John did.  Sorry to possibly bore you
>with more of this, but as a person with no musical talent myself, the
>process of songwriting fascinates me.  I've played guitar myself for 20+
>years, and whatever songs I've learned to play relatively well have come as
>a result of sheer repetition; as I say, I lack any talent for playing!
>Likewise, the art of songwriting has always eluded me.  I've never been able
>to "feel" what that next chord should be the way Andy or John have.

This is tricky, I don't want to sound elitist or personal here.  But if your
admitting to a lack of musical talent, how can you make these comments about
John's writing?  As for John and Andy, well, you answered your own question.
They had / have a rare talent, one built on experience and pure gift.

I understand what you're trying to get at here, but it's an argument that I
am poised to shoot down whenever I can.  And not simply to justify the fact
that I am a trained musician!  I played rock long before I studied theory.
If anything, the knowldege opened me up to understanding what was happening.
The argument, in a nutshell, is that somehow creativity and proper training
are exclusive.  There are hundreds of examples of untrained mediocre
composers, just as there are countless trained geniuses.  Yes, in pop and
rock.  Ever hear of Joe Jackson?  Kevin Gilbert?  They were trained.  They
could talk the "gobbledygook".   Didn't stop them, now, did it?

I have a friend who is one of the most gifted musicians I know.  Plays drums,
bass and a little guitar.  The man can take a jazz lead on the bass.  Plays
like Jaco.  Amazing ear.  But he can't read a note.  I tried, at his behest,
to teach him basic theory.  It was like talking to a brick wall.  And I was
trying to make it simple enogh a five year old could get it.  No one knows
how the mind handles these things.  Maybe it's dyslexia, I dunno.  But being
musically illiterate does not keep a talented musician from understanding
what to do.   Conversely, being musically literate does not squelch
creativity.  If you're talented, you will shine in either case.  And John did

My aplogies, folks, for dragging this out here.  But I have to fight for the

Tom %-)


Date: Fri, 20 Apr 2001 06:14:26 -0000
From: "Ralph Simpson DeMarco" <>
Subject: Viva Colin!
Message-ID: <>

Dear Affiliated Members:

Yes, it has been a long time since I have posted.

Responding to Klaus
Re: Smartest Monkeys
<<What's wrong with that song? It was always my favourite on Nonsuch. If I
think it over quickly, for me it is XTC's best song ever (and I've heard
them all!), closely followed by "Standing In For Joe". We GOTTA found the
"Defenders of Colin" soon.>>

OK, well it may not be my favoroite on Nonsuch, I have always liked that
song. In fact, I am rather taken aback by all the posts about what songs one
would snip from each XTC album. This makes no sense to me. I find it boring
and insulting. How about talking about your favorite songs and leave the
song attacks to yourselves? I remember defending Wonderland years ago (not
to mention Mummer in general). I have always liked Colin's songs and I think
they are why XTC are a great band instead of a very good one. Colin's work
is the perfect compliment to Andy's. The perfect example of this is
Skylarking - the one XTC album that features almost as many Colin songs as

Ralph Simpson DeMarco


Date: Fri, 20 Apr 2001 06:07:53 -0400
From: "Danny Phipps" <>
Subject: damn!! lost another good one! :-(
Message-ID: <>

joey in peace!

damn!  :-(

/danny phipps

"Be the sound of higher love today!"
                         -- Jon Anderson


Date: Fri, 20 Apr 2001 13:47:27 +0100
From: "Peter Fitzpatrick" <>
Subject: DTS Testimonial Dinner ?
Message-ID: <>

What's up with the DTS version of Testimonial Dinner up on

Worth ordering ?

Peter Fitzpatrick
Media Program Manager
Xbox & PC Games


Date: 20 Apr 2001 06:08:30 -0700
From: Rodney Griffith <>
Subject: If only.
Message-ID: <>

Quoted from Rhino Handmade Early Warning Number 33:

"If all goes as planned, the next Rhino Handmade release will be a
true milestone. The entire recorded works of a fictional record
label. All on one compact disc."

If only it were Zither!

Nonsense prevails, modesty fails.
[Elvis Costello]


Date: 20 Apr 2001 12:43:24 CDT
From: Mor_Goth <>
Subject: Electronic Music: correction
Message-ID: <>

Ahh, I had it pointed out to me by clever friend of mine that the "warble" in
the background of "We're All Light" is not actually a computer generated
sound.  It is made by a "theramin" (sp?)Here's the email he sent me:
Since I'm not subscribed to the list at the moment, I
thought I'd e-mail my 2 cents on your electronic music
entry.  First off, I agree, naturally, that "We're All
Light" is one of their best, and that electronics make
for a bigger bag of tricks musicians can use.  The
instrument making the warble on that track, however,
is a "Theremin" (I think I spelled it correctly,)
which produces notes based on your hand passing
through the magnetic field it generates.  (Think
Zaphod trying to tune his radio by waving his hand at
it.)  Somewhere I heard it was invented by Nicola
Tesla, but that could be one of those random bits of
trivia I have floating in my brain which is only a

Im thinking that this must be the doohiky that Jimmy Page used in the "The
Song Remains The Same" movie (I forget which song)Apparantly I should have
checked the archived digests as it seems this was covered in Vol 6 #s 146, 150
and 153, there seems to have been some debate as to if it was a real Theremin
or a synthesized one.  Either way I would point out that it certainly is a
sampled and looped effect and so still kind of supports my point.



Date: Fri, 20 Apr 2001 17:58:02 EDT
Subject: Kudos to Silver Moon & Mr. Greenman
Message-ID: <>

Sister and Brother 'Hillians - there are many reasons I love this list, and
I'll feed your souls and tell you -- IT'S YOU!!! Bear with me for two short

Mr. Greenman noted in #7-26, which I received April 16, that Silver Moon
( had Homegrown ready and available to ship. I placed my
order on the 17th, canceled my CD Universe order, which had been on backorder
for weeks with no light in sight, and received Homegrown April 20. From
Edmond, Oklahoma to Annapolis, Maryland, in 3 days. Yippie!

Ain't life grand! Next week's chemo will be interesting with THIS on the

Remember: Lunch or be lunch, dahlings.



Date: Fri, 20 Apr 2001 23:10:23 -0400
From: Groove Disques <>
Subject: Re: It was twenty years ago today...
Message-ID: <> wrote:
>Subject: It was twenty years ago today........
> Andy Partridge taught the band to play.
>  April 17, 1981. Emerald City , Cherry Hill , N.J.

Oh man, don't remind me.  I was a few months short of my 18th birthday,
which then would have qualified me as "legal" right over the Ben Franklin
Bridge in NJ.  I wanted to go to that show, but I was a little chicken
about trying to sneak into NJ clubs illegally.  A week or two later I won
free tickets to another Emerald City show from WMMR.  The bouncer didn't
even check my ID!  It was fun, but the nondescript blues-party bands (John
Eddy and the Front Street Runners was one - think sub-J. Geils Band) were
no match for what I'd missed.



Date: Sun, 22 Apr 2001 13:09:37 EDT
Subject: flying this world over
Message-ID: <>

Hi there fellow Chalkhillians!
This is my first post, even though I've been on the list for almost a year,
now.  The reason I haven't posted is just because I didn't have anything to
add to the discussions going on, even though I find them all very
interesting.  Anyway, now I do have something semi-interesting.  I was on a
flight from Syracuse, NY to Palm Beach, FL this past week for vacation.
While on the flight (US Airways) I was flipping through the complimentary
magazine, Attache.  In the back it lists all the songs playing on their
prerecorded radio stations (for flights which have that, though this flight
did not, unfortunately).  On the rock 'n' roll "station" was our very own
Swindon boys doing Mayor of Simpleton.  None of my family cared at all, but I
was psyched to see XTC somewhere other than my CD collection or online.  So,
just thought some of you might find that interesting, and if not... sorry.

The Smartest Monkey,
Josh Phelan


Date: Sun, 22 Apr 2001 15:50:08 EDT
Subject: Ooops again!
Message-ID: <>

A quick note to say that the chords on the If I Fell example in my
Substitutions post came out a little off center in the email translation,
and did not line up properly with the words.  If you need a correction,
contact me offline, although most of you I'm sure will figure it out.

Ciao, TK %-)


Date: Sat, 21 Apr 2001 22:37:53 +0200
From: "Mark Strijbos" <>
Subject: May The Schwartz Be With You
Message-ID: <>

Dear Chalkers,

a very peculiar story crept into these halowed halls:
> declared an official religion just by declaring
> yourselves to be Jedi, Power Rangers, Ninja Turtles,
> Powerpuff Girls, Masters of the Universe, or Keepers
> of the Holy Hand Grenade on your census forms? It
> sounds like an Urban Legend.

and guess what ? it is.
A recent article on the BBC website @ mentioned that
all of these "religions" would in fact be counted in the category
Others. So instead of being officially recognized they wouldn't even
show up as Jedi in the statistics.

Pity though, innit? i mean, otherwise we could use this too and turn
Andy into our God. I'm sure He'd play along unless we insist on
nailing Harry to a cross.

yours in xtc,

Mark Strijbos


Date: Mon, 23 Apr 2001 12:40:00 -0600
From: "Steve Oleson" <>
Subject: XTC @ Armadillo World Headquarters
Message-ID: <>

When XTC came to Austin on the O& L tour, Andy said that the first
time they came to Austin was with the Police in 1980.  I KNEW that
wasnt right because I remembered seeing them here during their tour
for Drums & Wires.

Jill and I both remember seeing them at the Armadillo World
Headquarters prior to that. They played with Wazmo Nariz, so I checked
out some sites on them trying to get the scoop... there are very few
sites for Wazmo...

I'm trying to find out when XTC played at the Armadillo World
Headquarters.  Anybody know?????

The Chalkhills archive list has them playing in Austin w/ the Police
Nov 11, 1980.

Steve "Home with the Armadillos" Oleson


Date: Mon, 23 Apr 2001 14:06:18 -0400
From: MinerWerks <>
Subject: Original Paper Sleeve Collection
Message-ID: <a05001900b70a18a224fe@[]>


I just got a shipment from Siren Disc of the Japanese remasters of
Drums & Wires, Black Sea and English Settlement... I paid $18.99 for
each, better than most prices I found. Bonus - they shipped all three
by priority mail for S&H of only $4.95.

I am giddy over these reproductions of the album sleeves. Around the
time I made up my Jules Verne's Sketchbook CD last year, I toyed with
the idea of replicating the XTC album covers with inserts and trying
to coax the best sound I could out of vinyl copies. I got as far as
finding at least one copy of each Virgin LP up to Oranges and Lemons.
I decided it would take too much effort, plus I wouldn't be able to
do anything like the embossing on the cover of English Settlement.
Needless to say, I was extremely pleased to see that someone else had
a similar idea!

Taking these discs out of the plastic bags, I got a sense of what it
must have been like to buy these albums brand new. It was great to
see the artwork unblemished by dumb "bonus track" banners, and in
such great shape. I have to really give a good listen to the music
later, but I did listen enough to know it's... well, I am short on
adjectives for sound, but the sound is good! I know I'm looking
forward to hearing The Big Express remastered, 'cause the current CD
is rather awful.

Anyway, while I was looking into getting these discs, I noticed that
there will be Canadian mini-LP reissues as well. I can realistically
save $4-$5 on each disc by going with the Canadian ones, but I wonder
if they will come in plastic bags with an extra lyric sheet? I didn't
realize how small the print would be on the inserts, so it was nice
to have the credits, thanks and lyrics reprinted in a slightly larger

Oh, and I hope that beyond the 10 albums, we might see more
material... like a Psonic Psunspot reproduction with gatefold cover?
I want to see some release of XTCs b-side material, of course. Maybe
someone will attempt to reproduce some of the original 7" and 12"
releases in a set like they did with the Beatles' singles and EPs?

= Derek =


Date: Mon, 23 Apr 2001 15:53:15 -0600
Subject: Fab Four In Philly
Message-ID: <>

I've just been giving a listen to a recently obtained copy of the "bootleg"
Fab Four Live In Philly.

REALLY enjoying it, even considering that the packaging has pictures of
Barry Andrews and he's listed as a  band member while the music itself is
pure Black Sea era Swindonians. Lots of great guitar grinding, with a very
lively "When You're Near Me" and "There is No Language In Our Lungs" (a
personal fave).

Now, I went out to Chalkhills and read the short entry on this disc, but I
was wondering if anyone has additional information on it. The person I
purchased it from assured me that it wasn't a bootleg, and was legal when
it was produced, but it's listed amongst the bootlegs on Chalkhills. It's a
legit CD, as opposed to a CD-ROM, but the sound isn't stellar, as
Chalkhills says, a bit trebly, like something that was broadcast over the

Now, I know that many on this list have flamed those who've used Napster to
download the Lads (spare me your ire, please, as I'm NOT GUILTY), but I'm
wondering about situations like this, where I'm buying something that
probably never put any money in the pockets of Andy et. al..

The question is: where do I send my check?



End of Chalkhills Digest #7-28

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