Precedence: bulk
Subject: Chalkhills Digest #8-29

          Chalkhills Digest, Volume 8, Number 29

                   Tuesday, 14 May 2002


                 Re: really LOUD masters
                   Re: Becki Digregorio
                     La la Londinium
                satan in sheep's clothing?
               The *truth* about "Coat..."
                 We are all made of jelly
           Wow, didn't know you'de get pissy...
    First XTC purchase of the year (may be the last!)
         Sherwood vs. The English Language, Pt. 2
      re: "supplication" (becki digregorio) -- oops!
                      Lost In Music
                      Please Please
                    Blur(b) about XTC
                    Wasp Star & Thrak
               Re: We Are All Made Of Stars
     Trainspottin' the ol' horse in the 28th century
                 Trombone + Hidden Tracks
                    Becki (R)evolving


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And she's ever going round.


Date: Wed, 8 May 2002 13:48:13 -0700 (PDT)
From: Jim Samuelian <>
Subject: Re: really LOUD masters
Message-ID: <>

>I'm still waiting for a complete CD remaster of
>U2's "Boy" complete
>with the "hidden track"

John, I'm with you.  This (ok and English Settlement
and Kilimjaro and Talk Talk Talk and Sound Affects -
ok I'm sadly stuck in the early 80s, this I know) is
seriously my favorite album of all time and I CAN'T
STAND that it doesn't end like the LP did.  If only U2
made more money, they could do it...  :)

While I'm whining: I also hate that the many, many
Drums and Wires CDs are not sequenced like my original
US Virgin LP, but I've learned to live with this day at a time....



Date: Wed, 08 May 2002 18:17:40 -0400
Subject: Re: Becki Digregorio
Message-ID: <>

Dan Phipps wrote:
<< we love you, becki!!  good job indeed!  >>

I'm here to second that emotion!

Becki has shared some of her upcoming CD, "God's Empty Chair," with me and I
can't wait to hear the whole thing.  Her debut CD was great, but this one
sounds like a real humdinger... and heavy on the hum.

Yes, Dave Gregory contributes guitar and mellotron on two songs.  Yes, the
CD includes a song penned by Andy Partridge ("Susan Revolving") and given to
Becki (on which Lyle Workman contributes some amazingly psychedelic
guitar!). But the song "Cats in the Aviary" will have you humming through
your day like a fat cat, complete with cheshire grin.  Becki's vocals are
great, it's got hooks galore, and John Wedemeyer adds some wonderful guitar
work.  The walkdown at the end of his solo is magical... A fantastic song
from start to finish.

I'm sure Becki will post here when the CD is available.  Keep your eyes
peeled!  She's a Chalkhills treasure!

Ann Arbor, Michigan, USA


Date: Wed, 8 May 2002 15:22:52 -0700 (PDT)
From: Jim Smart <>
Subject: La la Londinium
Message-ID: <>

So Lore's gong to London and wants ideas, hmmm?

Well, I just happened to have designed a web site a
few years back with that in mind called The Big Black
Smoke. If you have any interest in the Kinks, and even
if you don't, you might like to visit it at:

Plus, I recommend the Charles Dickens House, and the
river cruise to Greenwich for the day.

Happy traveling!

Hoping to visit London again someday,



Date: Wed, 8 May 2002 15:47:57 -0700 (PDT)
From: Tyler Hewitt <>
Subject: satan in sheep's clothing?
Message-ID: <>

Reading through Harrison Sherwood's post in Chalkhills
Volume 8, Number 28, I found the following : " this
essay was going to be read by complete strangers who
don't know me from Satanas Diablo."

Is this a clue?
You're not trying to tell us that YOU are Satanas
Diablo are you, Harrison?

Just asking,
who still believes that Paul is dead


Date: Thu, 09 May 2002 02:14:06 +0200
From: Jeff Thomas <>
Subject: The *truth* about "Coat..."
Message-ID: <>

Hi there everybody!

It seems like just eleventy-jillion years ago, I was a regular
contributor to these hallowed digests.  I wrote stuff, sometimes funny,
sometimes not, and we all had fun.  Did you all miss me?  I didn't think
so.  But I just had to come out of hiding to put in my "two pennuth" in
the "Coat debate".

It arrived today, straight from Idea.  Yes, with the  autographs.  I'm
not much of an autograph person myself, having so far only gotten one
from James Taylor (yes, that James Taylor, spare me the comments).
However, somehow here I just couldn't resist; they're gold and they're
mine.  So, and now to the 4-CD set in question:

The packaging is good.  (But I have seen other packaging for multi-CD
sets that I would consider comparable in quality.)  The essay is good.
(But I have read other essays for multi-CD sets that I would consider
comparable in quality.)  The comments are good.  (But I have read other
artists' comments that I would consider comparable in quality.)

The music is XTC.

That, in case it was not self-explanatory, is my way of casting myself
and my vote firmly in the *this is a f-ing great set* camp.  I mean, to
each his/her own, but this set is something I don't want to live
without.  Fabulous.  Wonderful.  Exhilarating.  Wow.  I honestly have to
say three to seven things:

1) I just don't get you guys who are complaining about this not being
interesting, essential, whatever.  Wow, are you ever *not* speaking for

2) If you are in the undecided camp, you really must consider buying the

3) It's worth the GBP 35, if just for that amazingly great recording of
"Didn't Hurt a Bit."  Wow.  Oh, and the demos of "Terrorism", "Find the
Fox", "Let's Make a Den", "The Troubles", and "Science Friction".
*Wow*.  Well, I really shouldn't forget "Fireball XL5", "Things Fall to
Bits", "Us Being Us", the live versions of "Traffic Light Rock",
"Crowded Room", "Snowman", and "Books are Burning", and all of those
alternative versions of "Hop" and half of the rest of "D&W".  WOW.  Oh,
heck, and just add everything else there, while we're at it.  **WOW!!**

So, you see, I like it.  I like the scattering in of regular album
tracks, too, because it gives you a feel for what the boys like(d) and
it seems to aid the flow.  Besides, they're all beautifully remastered.
I like all the live stuff -- it's icing on the "TB" cake.  And I like
the alternate takes and demos -- yes, it is like "Anthology" again.  I
love "Anthology" so much that I have four complete 2-CD sets (yes, you
read that right), and I have enough good material to make a 5th one
(George, rest his soul/guitar/humor, said that a 4th one would have to
be called "Scraping the Barrel"; to err is human), but I couldn't
duplicate the quality of the packaging or the comments, so I won't.  You
see, I like hundreds of things in pop music, but there are only two that
I wouldn't want to live without:  the Beatles, and XTC.  I feel like
"Coat" is a reward for my love of this band.  It, like "Anthology",
gives me an aural "peek" behind the Wizard's curtain, and I'm only too
thrilled to experience no disappointments when I find out how the magic
is done.

What great music.  And add to all this the packaging (thank you, Andrew
Swainson and Virgin), the essay (thank you, Harrison), and the comments
by the band (thanks, guys):  What more could I ask for?

Did I say "Wow"?

- Jeff

* * * *
NP - "Didn't Hurt a Bit".  For the 6th time.


Date: Thu, 09 May 2002 02:21:18 +0000
From: "Duncan Kimball" <>
Subject: We are all made of jelly
Message-ID: <>

Moby ... hmmmm ...

Call me inattentive, but I never knew until today just why Richard Melville
Hall was called Moby. I sort of asssumed being a whitey DJ had something to
do with it, or he was bragging about the size of his dick or whatever. But
apparently he is in fact a distant relative of Herman Melville.

Does talent run in the family? Hmmm. Bit of a stretch from the deathless
prose of "Moby Dick" to the abject triteness of "We are all made of stars".

Since the subject has been raised, I've heard the new single and offer six
other bad-tempered, ill-considered and eminently flameworthy observations on
the Moby "phenomenon":

1. Whilst I rarely think about him, the presence of his music generally
reminds me that Moby shits me for a variety of reasons. Prominent among
these are his aforesaid music (much of which isn't "his" at all) and the
fact that he openly promotes himself as both a vegan and a christian, two of
the most illogical and idiotic "lifestyle choices" ever offered for
consumption on the cosmic smorgasbord (come and get me, hippies)

2. His gigantic success (TEN MILLION copies of "Play", three million
singles) once again demonstrates that, other than a rudimentary grasp of the
popular song form and a modicum of skill at using a sampler and ProTools,
the lack of any conspicuous musical talent or originality need not be an
impediment to huge international success

3. He managed to licence every track from "Play" for use in commercials,
huh? And people worry about XTC "selling out" with their merchandising??
Maybe they ought to take some lessons from young Mr Hall.

4. He uses interesting samples, notably the blues and gospel samples on
"Play", but as is always the hazard with this practice, they make me want to
hear the original a lot more than Moby's appropriation of them

5. His "singing". Ugh. No wonder he does dance music. How can people
complain about Andy's singing compared to this clown? He makes Kylie sound
like Dame Joan by comparison.

6. The new single is a limp, anaemic throwback to the dreariest doldrums of
early 80s Eurostyle synthipop. My immediate impression was that it sounded
like a really bad Depeche Mode outtake.

Give me a John Foxx/Ultravox record any day (where is that guy now, anyway?)

Other business:

I don't have COMC yet, put Paul showed me his (ooo-eerrr missus!) and I have
to say it's a splendid contrivance, as we've come to expect. Why the hell
more people don't knock on Andy's door more often for album designs I have
no idea. If the writing ever dries up, he'd make a fortune as a designer.
The guy is clearly bursting with ideas, and no slacker at carrying them out

Harrison - I haven't read your essay in full yet, but, simply put -- COOL.
Congrats in excelsis. Is "apotheosis" an appropriate term? Not only do you
actually get to write liner notes (and how often have we all read the shitty
notes on some newly bought album and thought "I could do better than that"?)
but you get to pen a 9,998 word essay about your FAVOURITE band.

"You utter, utter bastard".

That being said, we miss your posts. Well, I do. Pity about you having to
work for such swine. (I bet that gets 'filtered'.)

 From the Sad Farewells Dep't:

- Al Hendrix

- Layne Staley ("N-n-n-n-n-n nobody's fault but mine"). Pathetic.

- Otis Blackwell, famed composer of innumerable rock classics. A life
well-lived. The exact opposite of young Mr Staley, as a matter of fact.

- TLC member Lisa "Left Eye" Lopes, whose bitchen solo single "The Block
Party" was one of my faves of 2001. Tragically killed in a car crash aged
just 21. A shame.

Enough for now. Cheers to all.



Date: Thu, 9 May 2002 01:10:11 -0400 (EDT)
From: "" <>
Subject: Wow, didn't know you'de get pissy...
Message-ID: <>

I appears I hurt a few feelings by criticizing Harrison's writing on
cupboards. Take note: I have never known any good writer to be above
criticism. When I submit journal articles I expect criticism, and
learn from it. Many times things are turned down, or must be redone,
even after I did tons of research; I don't get all pissy and start
whining about it...

Now people are coming to his defense? What defense? You act as if I
said he was a terrible writer and it was a terrible essay! In case
some of you have too short of attention spans or need help reading,
here is what I wrote:

"The only criticism I have for the project is the essay by
Harrison. You are a great writer, but, it was a little too wordy for
my tastes in terms of what I am used to getting on a CD sleeve. Other
than that, I liked what you had to say, just not so much the way you
said it. I wish Andy & Collin wrote something more in the sleeve."

That was not too bad now was it? Calm down and get some fresh air once
in a while. I complimented his writing and put in my criticism of it.

...Not the most welcoming bunch in the world...


Date: Thu, 9 May 2002 11:58:33 +0000
From: Sughosh Varadarajan <>
Subject: First XTC purchase of the year (may be the last!)
Message-ID: <>

Hiya ppl!

Well, I finally went ahead and bought my first XTC CD for the year
(and like I said in the subject, it may well be the last, not to
mention the only CD of XTC that I'll ever find in this country!).

What I'm talking about is not "Coat.." though, which in any case I
don't think I'm fan enough to buy, but "Wasp Star",on which I'd beg to
differ with the chap who said it's boring.. I thought it was an
absolutely brilliant stroke, coming as it did after the rather sombre
Apple Venus.. proof that XTC were, are and will remain a delightful
pop group, with more than merely a sufficient amount of surplus
intelligence, that would make us feel just a wee bit guilty about
using that word "pop" (I believe we've had discussions on THAT in the
past, so I'll let it go..)

Anyways, got my copy of WS after begging and pleading with the owner
of a local record store, who happens to be the only one who even
claims to have a copy of the album.. took him about 3 days to find it
(disorganized morons!).. but what the hell,I now have a brand new copy
of Apple Venus Vol.2, for the relatively cheap price of US $10 or

Regret that I am unable to join in on any further discussions,since
the list seems distinctly "Coat"-centric these days..except that I'd
like to agree with the person who said XTC's stage is the CD
itself.. yeah that's for sure..I don't care if I never get to see them
live, just so long as they stick around writing songs long enough to
put out Apple Venus Vol. 15 at the very least (ah, I'm a hard
taskmaster, aren't I?)

Cheers all,


Date: Thu, 9 May 2002 14:00:11 -0500
From: "JH3" <>
Subject: Sherwood vs. The English Language, Pt. 2
Message-ID: <01bc01c1f78b$bedc2da0$dc10a8c0@alternatech>
Organization: Alternatech, Inc.

Harrison S. writes:

>Thank you all very much. Please don't concern yourselves
>with "defending" my essay from any critical remarks in this
>forum.... <snip> ...It's an end-of-term exam; not a scratched
>graffito on a classroom desk. Some gravity was called for...
><snip> ... My essay, after editorial advice and guidance from
>Todd Bernhardt, Stephanie Takeshita and John Morrish (to
>all of whom much thanks and a tip o' the tam o' shanter),
>clocks in at 9,998 words. <snip>

And despite all that, H.S., you still managed to misspell both
"spatial" and "cognoscenti"! Plus four other (only slightly less
serious) errors... Where's the *quality control,* people? This
is XTC we're talking about here!

Of course, it's better than I would've done.

John "a wink is as good as a nod to a blind 'net" Hedges


Date: Thu, 09 May 2002 18:15:33 -0400
From: "Danny Phipps" <>
Subject: re: "supplication" (becki digregorio) -- oops!
Message-ID: <>

people of the Hill....

hear me out, please?

i feel that it is necessary for me to clear up a simple
mistake on my part re: my previous "review" of our own
becki digregorio's new song "supplication" from her
forthcoming cd "god's empty chair."

i mistakenly explained that the song was written for
becki's late brother who had died from cancer.  becki's
brother bret is still very much alive and in remission from
his cancer!  becki had no idea that she even had a brother
until he contacted her to inform her of his existence just
in case he "didn't make it."  i did not mean to create a
possible morbid scenario or to seem melodramatic re: this
most beautiful song about bret.

some people might think that, overall, this explanation is
somewhat trivial in light of other things, but i personally
felt it was necessary to clear the air re: the reason
behind becki's new song which she was so kind and dear
enough to send to me in order to tie me over until the new
cd comes out.  (thanks again, sweet b!!)

please seek this new song (and cd) out, folks, and let our
becki's music inspire everyone around you.  :-)  we are all
blessed indeed to hear it.


"We are all part of the same soul..."
                        (Billy Sherwood)


Date: Fri, 10 May 2002 10:41:14 +0100
From: "John Bartlett" <>
Subject: Lost In Music
Message-ID: <000d01c1f807$0091cfe0$dbd3403e@hppav>

Hello all,
long time no post.
Recently on the Audities power pop list, there's been a bit of chat about
Martin Newell. This rang a bell with me about a book published here in the
UK by one of Newells' band mates, and fellow XTC fanatic, Giles Smith.

The book is about one pop fans' obsession with forming teenage bands,
records,especially those of XTC, and growing up.Whilst not about XTC or
Newell per se, there's a nice passage about the authors' first epiphiny-like
encounter with XTC (This Is Pop, played over the sound system in Parrot
Records, Colchester, sadly now a wine bar), and for those of a certain
age,the book is genuinely funny.

Also, it has the added attraction for me being set in and around my home
town of Colchester.
Here's the link for a description at (no affiliation with
Amazon,Smith etc).


Date: Fri, 10 May 2002 14:38:04 +0200
From: art et affiche <>
Subject: Please Please
Message-ID: <>

Ben Gott wrote :
"Today I received my "XTC" plates.  Oh, yeah."

Here in France we can't do that. The law doesn't permit vanity plates.
My plate (damn it!) has just XL written between the figures. As they
are more and more licence numbers, we have now three letters on the
new car plates. Yesterday I was driving behind an ''APE'', this
morning I've passed a ''BOP'' and a ''ANT''. We are currently in the
''C..'' period. Yes, the four letters word has only three in
french. Begins by a C, ends with a N, with a O on the middle. I let
you imagine. Anyway I have to wait a few years before reaching the XTC

Ryan Anthony said
>>Oh, and regarding the supposedly censored references
to Princess Margaret in "Shaving Brush Boogie" on
*Coat* -- the version on the *Red Lion Demos* is
intact. ... I played it just now, and sure enough, at 6:01 into the track,
there's the aforementioned royal personage "going down on the
whole damn band."

And bless Vee Tube, thanks to whom I got the intact version trough!

WDTK wrote : >>A pity that there's no new music coming soon but, well,
after the long gestation of AV, WS and even Coat it's not
surprising. They needed to clear out the cobwebs prior to
redecorating. Personally, I'd prefer to see FW broken down into
separate sets for demos, demos of songs released, weird profanity and
odd English humour. That's Just me.>>

I stand beside you. A lot of people here on the Hill seem to have
plenty of bootlegs.  I have none, except some lives (thanks our dear
Vee tube again). So I will be happy with the FW discs, (12, Harrison,
are you sure?) and above all if there are some unreleased songs
demos... and yes, even ''their collective chuckles and farts'' as it's
been described, I must admit, I'd like to hear. Because I know in
rehearsal sessions or in the studios, there are great moments of music
and fun.  So I take the risk of making myself a fool, but, please, can
someone here be kind enough and post a transcription of the boozy
dialogues of ''Ballad of the wanking man''? For me and in the name of
the others non-english speakers around the Chalkhills?

'bout the glue question, well I see someone has already given a good
advice. The parallel between archeology and COMC is quite fun.  I sell
antiquarian books, so I know about it too. I can't obviously give you
a brand, but use glue for binding. It's soft and very adhesive and
resistant. You can use it with paper, cardboard, leather... And it
even smell good! But you have to learn the first rule of any
book-lovers : when you hold a book to read it, FIRST put its back on
the palm of your opened hand, maintain the cover, then open it with
the other. You won't break or peel off the spine.

About the new Moby single, thanks Tom for this little chronicle :
>>Hence if you are expecting this new single to be a further fractured
take on the Blues then you will be disappointed. Instead We Are All
Made Of Stars is a nod back to the 25 year old New Wave sound
(essentially it is the best single XTC never made)>>.

I laugh because I've heard this song a few days ago on the radio, and
just thought ''Oh what a crappy 80's sound, who wrote this?'' And when
I've heard the chorus lyrics, and this poor weak voice annoucing
(without conviction) We Are All Made Of Stars, I coudn't help myself
thinking about ''We're all light'' from Wasp Star, and how these
lyrics were fun and witty compared to these. It confirms one thing. I
will never understand Moby's popular success.  What's more, now, he

Thank You , goodnight.

Marie ''On my fuss'' Omnibus


Date: Fri, 10 May 2002 08:13:13 -0700 (PDT)
From: "jude hayden" <>
Subject: Blur(b) about XTC
Message-ID: <>

Howdy, helium kids!

Looks like no one else has posted about this yet, so...

The latest issue of Blurb (the Blur fan club magazine)
has a fairly long article about the sessions Andy
Partridge produced for their "Modern Life Is Rubbish"
(2nd) album. If you're unfamiliar with the story, this
is actually a pretty big deal, because in the Blur camp
these have taken on legendary status as tracks that no
one (outside of a very select few) will ever hear, and
they don't even like to talk about. Long story short,
they didn't get on very well... Blur wanted their sound
a little "tougher" than how Andy was shaping it, and
Andy didn't think their songs were very good anyway (he
has apparently since called it "Their Second Album Is
Rubbish", which to me smacks of sour grapes, but

I unfortunately don't have the article in front of me,
but he did three songs with them, 7 Days, Coping, and
Sunday Sunday (at the time called Sunday Sleep).
Overall, the article indicates that the tracks (Blur's
comments to the contrary) are very good, though perhaps
a little more languid than the later, Stephen Street
produced versions. Apparently Sunday Sunday in
particular sounds very different, as if it were a Dukes
of Stratosphear track, with crazy chaotic horns and
some psychedlic flourishes, which, if familiar with the
song, one imagines would be quite complimentary and

Shame we'll probably never hear them. (Overly
optimistic aside: If, by some chance someone out there
has a copy, please contact me off-list, I'd love to
trade for them!)

See ya-


Date: Fri, 10 May 2002 16:13:49 +0000
From: Curtis Martens <>
Subject: Wasp Star & Thrak
Message-ID: <>

I think the differing opinions on Wasp Star are possibly due to the
fact that, unlike many XTC albums, there is one basic idea behind
each song: electric guitars. This may be too much of one thing for
some listeners. I have the same problem with Apple Venus, it's just
too many "quiet" songs in a row for my taste. I love Wasp Star myself,
but I've always had a soft spot for electric guitars. I much prefer
the variety of styles on Oranges & Lemons though.

I love King Crimson, and Thrak is definitely one of my favorites. I
can't imagine Fripp ever hooking up with XTC, but Adrian Belew would
be an interesting guest artist in the event of a Dukes reunion, don't
you think?

The general tone of civility on this site is very pleasant.


Date: Sat, 11 May 2002 23:09:52 +0100
From: Mark Fisher <>
Subject: Re: We Are All Made Of Stars
Message-ID: <>

> Instead We Are
> All Made Of Stars is a nod back to the 25 year old New Wave sound
> (essentially it is the best single XTC never made) and for the first time
> features a vocal from the man himself.

I'd never have made this direct comparison myself (Moby doesn't sound
anything like XTC in any era), but I have found it hard to express to
non-XTC fans that it's hard fully to enjoy We are all Made of Stars when you
know of a certain song called We're All Light.



Date: Sat, 11 May 2002 18:42:30 -0400
From: "Kate Burda" <>
Subject: Trainspottin' the ol' horse in the 28th century
Message-ID: <006d01c1f93d$22d9b9a0$>

What appears when a lonely satellite decides to draw itself a few friends?
The Uffington Horse, of course!  If you watch Cowboy Bebob (a VERY cool
cartoon, I must add, and not just because of the horse's cameo role!), pay
close attention to the first drawing the satellite completes in the 'Jamming
With Edward' episode (#8?).

And who says machines are stupid?



Date: Mon, 13 May 2002 19:10:37 +0200
From: "Emmanuel Marin" <>
Subject: Trombone + Hidden Tracks
Message-ID: <000d01c1faa1$1a1a62a0$d0410b50@em>

About "Trombone Or", well, first some words are missing ("Trombone
d'Or", "Trombone en Or", ... ?) and then it sounds very weird even to
a French ear. On the other hand, I think that reading "Trombone"
on a CD makes a French first think about the instrument, not the
paperclip !

And about hidden tracks, there's one other "painful" trick I haven't
seen yet mentioned here : that's the 99th track. On one Francis Decamps
[of Ange fame] CD [that I don't own], the one sold within a Camembert
cheese box, there's a track at number 99, after about 90 "0 seconds"
tracks, I guess. The CD was sold with the announcment in French "Beware,
this CD is trapped". It seems it was so painful for most CD players at
that time, that a criticism of this trap was the most important part of
the only review I remember reading about it...


Date: Tue, 14 May 2002 19:11:20 EDT
Subject: Becki (R)evolving
Message-ID: <>

How's that for a snazzy postmodern academico-semiotic-idiotical title, eh?
Puts me in mind of a project I've been working on, a manifesto declaring a
countermovement towards a generalized semantic capitalism, taking as its text
the destruction of the language of opposition through Gap ads....

Ah, but enough of this japery.

Like Dan Phipps in the last ish, I was lucky enough to be the recipient of an
advance Becki DiGregorio tune from her upcoming album, "god's empty chair."
This one is an Andy Partridge Original, titled "Susan Revolving." Written
originally for Mummer, this tune lay fallow until Becki picked it up for this
record. Scuttlebutt has it that when Andy got wind that Becki was recording
it, he insisted on writing additional new lyrics, completing a song he
considered undone.

How many people can say *that*, eh?

So what does Becki do with it?

She gathers together her regular band (John Wedemeyer (guitar) Endre Tarczy
(keys) and Randy Hayes (drums), adds Lyle Workman (
), formerly of Bourgeois Tagg, Todd Rundgren, Jellyfish, Frank Black and Beck
on guitars and sitar(!), and lays down the rip-roarin'est, flange-soakin'est
Dukes of Stratosphear track since that tragic gardening accident deprived us
of their Liquid Purple Arrivingnesses themselves. That's all.

Chordally reminiscent of that monster of psychedelia, Status Quo's "Images of
Matchstick Men," Becki's "Susan Revolving" starts
Mole-from-the-Ministry-ishly slow, with a slinky little electric sitar
figure, before exploding into heavy chords and bashing drums. Her
unmistakable Grace Slick vocal delivery bubbles up from underwater, all
gurgly chorus and flange. (That's what the Dukes were missing, you know!
Where was Grace?) Workman contributes a raga-intensive solo straight out of
the sunny climes of 1966 by way of Mick Ronson and Adrian Belew, and behind
some lovely Strawberry Fields-y pentatonic keyboard noodling the whole gang
fades majestically into the dissidence.

"god's empty chair" also features Dave Gregory-o on acoustic and electric
guitars and Mellotron, so Jeezum Criminy what are you waiting for?

Well, it's not quite out yet; she's waiting for the packaging & printing to
be finished. She tells me it'll be out by the end of this month.

Ordering info to follow. Watch this space.

Harrison "It's about to explode" Sherwood


End of Chalkhills Digest #8-29

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