Precedence: bulk
From: Chalkhills <>
Subject: Chalkhills Digest #9-46

          Chalkhills Digest, Volume 9, Number 46

                Friday, 12 September 2003


Senses, at least the sense of Musical Taste, working Undertime.
                      One more time
                    Mandy Moore in XTC
                    25th anniversary?
               Again and Again and Again...
                       Mandy Moore
                       Moving on up
                       Who's Flash?
                     Re: Merely A Man
                   Should I resign now?


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And I don't want to find myself this way again.


Date: Wed, 10 Sep 2003 09:05:57 -0400
From: "Duncan Watt" <>
Subject: Senses, at least the sense of Musical Taste, working Undertime.
Message-ID: <>

Ben Gott <> wrote, innocently, re: the iminent Mandy
Moore release, featuring an XTC cover:

> and I can't friggin' WAIT to
> see what "Drop the Pilot" (apparently the first single) and, of course,
> "Senses..." sound like!, yes, you *can*. It's crap. In fact, it's what AP was making fun of!

Your Pal Duncan

ps of course, you can hear the Striking Beauties rock "Senses" in a quite
Superior Fashion right here:

...and no amnesty form needed!


Date: Wed, 10 Sep 2003 06:07:52 -0700 (PDT)
From: Jackson <>
Subject: One more time
Message-ID: <>


Just a couple of observations...

It was perhaps my bragging a year ago about buying at ebay the bootleg
"Andy Partridge A to Z " that started this hornet's nest (about
bootlegs vs. the FW's demo releases) and the ensuing admonishment from
the guy who does the attractive  site..that lead
to the 4 Fuzzy Warbles releases....or maybe all of this
remaking/remodeling would have been published anyway, Regardless, any
XTC related release is welcome in my cd player, and my feelings have
always been "if you don't like the song change the station" 

All this negative human alchemy is a waste of bandwith...can't we all
just get along? 

More pertinent, the last real new XTC release, WASP STAR is my
favorite album by the band, there are'nt many artists I can say their
last effort was their best. As often is the case, at first, I did'nt
like it right off, but after a few listens , I could not stop playing
it, especially The Maypole & The Wheel... over and over and
over...just brilliant how they weave two themes simultaneously in
their songs. It left me starving for more, and hating the long wait
between another new release as XTC has left me wanting more,more,more
betwen new releases for at least the past 20 years! There's simply no
other band curently recording that has this effect on me. 

Like Lennon & McCartney, Adam & Eve or peanut butter and jelly,
Moulding & Partridge go together better than seperate, PLEASE Sirs,
may we have another? Never underestimate the power of positive
feedback!...are you receiving me? 


Date: Wed, 10 Sep 2003 08:48:58 -0400
Subject: Mandy Moore in XTC
Message-ID: <>

Ben said:

> and I can't friggin' WAIT to
> see what "Drop the Pilot" (apparently the first single) and, of course,
> "Senses..." sound like!

Ben, the video for that was on her website, as well as samples of all
the tracks. I didn't care for her take on Drop The Pilot, but if it
leads someone to the source and they pick up on Joan Armatrading, then
some good will have come of it. And just to clarify...I'm not a Mandy
Moore fan, I collect Joni Mitchell covers and Ms. Moore does "Help Me"
on this disc as well. And hopefully a new generation will be
introduced to the brilliant pop sensibilities of "Senses Working

Bob, trying to act positively

NP: Stevie Wonder, "Black Man"


Date: Wed, 10 Sep 2003 10:00:36 -0400
From: "James Michael Isaacs" <>
Subject: 25th anniversary?
Message-ID: <>


There has been a lot of cheering and shouting about for the 20th
anniversary of the release of Mummer.  Should we also not be
celebrating (much in the way we brought in Y2K) the 1978 release of Go
2, XTC's greatest work?  Now, I don't remember the actual date, as I
was yet a wee tot, but doggone it, think of this:  if they never did
Go 2, they never would have done Drums and Wires.

I thought the East Coast blackout was perhaps a way of the entire
population shutting down to appreciate it en masse, but then it
occurred to me that without electricity, many people wouldn't be able
to hear it anyway.

And no, I am not insane, but my tongue is burrowing its way violently
through my cheek.

7 years of the "Go 2 Underappreciation League"


Date: Wed, 10 Sep 2003 11:45:55 -0400
Subject: Again and Again and Again...
Message-ID: <>


Well, here I am again, posting just to say "hey".

Oddly enough, these days, the bulk of my CD buying seems to be reissues.
This does not mean that new music doesn't appeal to me; there just happens
to be an awful lot of reissued stuff that also is pulling me in its
collective direction, even stuff that I'd hoped would be on CD with just
the right bit of upgrading.  I realize that record companies like to
reissue key albums or entire catalogues of the artists who have recorded
for them, occasionally baiting the collector into believing that *THIS*
would be the definitive copy.  You take that chance when you buy and your
only hope is that the local used CD store will take the previous issue off
your hands, as most times, in my case, they have.  Someone, at some point,
will have to tell me, especially if he or she has worked in used CD shops,
just how absolutely valuable previous issues of a given album on CD really
are, because I buy the upgrades *BECAUSE* they are upgrades, sometimes
sounding better than previous while not really tweaking the original
recording.  I wince when I find out that a certain product is being
reissued yet again and *THIS* time, they claim, the sound is as pure as it
is going to get.  I almost expect that, for example, Verve will come out
and decide to issue Frank Zappa & Mothers' albums like WE'RE ONLY IN IT FOR
THE MONEY and RUBIN AND THE JETS, with total original master tapes fully
intact, explaining to the masses that they "had just found these sparkling
master recordings that were unmarred by time, and we know that you fans
will eat this stuff up!"  How many times have you heard *THAT*!  Sometimes
the repurchases have something to do with packaging, but most times I rebuy
for the sound upgrade with notable extras.  While some of you have been
complaining about the FUZZY WARBLES disks, I have to say that, when you
look at most of the reissues this year, the FUZZIES are perhaps better
buys.  Most reissue campaigns merely turn out to be so many demos and
alternate takes and, while these are good, you secretly hope that the extra
stuff turns out to be truckloads of unissued tracks!

This all depends on how the group likes to work and how they feel about the
studio on the overall.  Some folks, like our own Andy Partridge, seem to be
more comfortable in the studio and that becomes their creative tool.  While
the recording of a record might be a grind, once they start creating and
embellishing, ideas come flooding out on a good night and the record
sometimes gets expanded to twice the length of the thing that eventually
gets released.  How many times have we read the article about the making of
a forthcoming album in which one or two of the members talk about so many
noodlings that they had done during a given session that are in the can but
never made it to the finished album because they were afraid of putting too
much "padding" throughout the disk?  Yet, there was a time in pop music
history where groups were not comfortable with the studio; so when they
went in with songs, they had just enough material to fill the album and
they went through the grueling process of rehearsing and perfecting, much
of which is captured on tape and saved.  Now, at that time, no one knew
that there would be a such thing as a CD, with twice the length of a vinyl
album.  Thus, especially with jazz issues, we have found that any number of
noteworthy musicians did numerous takes of the same song with the exact
same arrangement but with different degrees of energy and dexterity in
soloing.  Fanatics must have just about *ALL* those arrangements and that
is perhaps why jazz collections are peppered with alternate takes.  The
complete opposite of this is found with reissues of prog bands like Yes,
whose catalogue is going through an overhaul with the majority of bonus
tracks being rehearsals to give the listener an impression of just how the
pieces took shape.  These, too, are rather fascinating, though, because you
realize how the studio had enhanced the recordings.  For those who have
never been in a recording studio, like myself, the outtakes here really
make the ear keen to what kind of editing must go on to make the finished
product shine like a new dime!

For those who think that groups like Yes and Gentle Giant (remembre them?)
were studio creations and not nearly as good in concert, well, perhaps
their criticism has some basis in fact, but this problem stems less with
the ability of the musicians to play the pieces correctly than to the fact
that the artists in question have sometimes arranged and dubbed themselves
to the point that, in order to play the pieces properly onstage, they'd
need to carry twice the amount of musicians with them!  Since we have heard
from musicians themselves, even on this list, just how expensive it is to
embark on a tour to support this magnificent bit of audio artistry that had
just been completed and released, one can easily see why even the biggest
names don't do more than merely attempt the pieces or songs as best they
can with the resources that they can neatly carry around with them.

Far beyond prog, someone like Elvis Costello at times did his own
background harmonies and tricky vocal arrangements, too, and you felt the
empty space when he had tried to perform some of those smoothe arrangements
live minus the obviously overdubbed vocals.  Nowadays, some groups have
cagily brought along backing tracks to play along with, but it takes away
from the live experience to hear this bit of cheating.  Someone like
Costello has opted instead to re-arrange his songs to fit the live venue
and I'd always wished that more groups would do just that.

So where am I going here?  Nowhere, just to say that I fully understand why
Andy Partridge chooses to use the studio as his creative tool.  I've spoken
about this before, but I did want to say that I like the FUZZY WARBLES
disks for the reason that they, too, help us hear the arranging process on
some songs as they happen...and these are *NEVER* boring.  Partridge is
comfortable with the studio and that always makes a fine album because the
artist will always think of touches to add to songs or in between songs to
create some sort of conceptual continuity, even if none was intended
originally.  With the advent of super-audio CD (SACD), artists (or, in the
majority of the cases, the record companies that hoarde the artists' work)
seem to be realizing that the studio is a never-ending tone poem.  I don't
have equipment with such capabilities, so I've never heard SACD sound, but
I have a hard time feeling that the classic stereo albums of our favorite
artists can be reconfigured to fit this neww expansion in sound well
enough, without hiss or detection of the age of the master recordings.
I've heard the stereo tricks on recordings of, say, the 1930's, lifted
originally from the sound on 78 RPM productions, and something about it
sounds synthetic.  On the other hand, there is the miracle that the stereo
remix of the Beach Boys' PET SOUNDS album seems to me!  I guess it all
depends on the condition of the original master tapes or disks.  Yet, I
don't hear of any current albums, released in the last few weeks, existing
specifically on this format with a hybrid track for those, like myself, who
don't have the equipment versatile enough.  Such hybrids are always
released as an aftermath.

Yet, Andy Partridge is up there with the best soundscape masters, even if
SACD does never discover XTC or Partridge never gets to dabble in hybrid
recordings.  Just recently, I ordered Martin Newell's current AUTUMN RADIO
and an earlier album, THE OFF-WHITE ALBUM and, although I like some of the
material on these albums, the true wizard of a collection remains THE
GREATEST LIVING ENGLISHMAN, the one on which the "new and improved" Andy
Partridge plays, arranges and produces.  I do hope that Andy does another
recording session with Martin Newell real soon since I thought the wits
worked quite well together...and seemed to have a lot of fun doing it!
Some concerts I'd seen in my lifetime really make me wish that the audience
wasn't there, anyway, so I'm focusing almost entirely on good studio
technique.  If an artist can pull off his work live and afford to bring the
amount of musicianship to make it work, bravo!  However, most musicians are
really feeling comfortable in the studio and perhaps grind their teeth at
doing that road trip to introduce themselves to crowds that think it is
fun, in this age of reality TV, to heckle or yowl up request lists that
only result in the performer just standing there until everyone just shuts
up and lets him or her or them continue with the show they had planned!  I
long for the day when an artist can make the bulk of his or her money
producing albums alone.  Who knows; maybe certain names will decide to
eventually tour anyway, genuinely for the fun of it, having made money
enough to do the trip as they wish.  Look at Steely Dan; as far as I know,
they had balked at touring for almost the same reasons I had given above,
and audiences were miffed.  They also hadn't recorded any music for years,
save for solo material here and there, but suddenly, they decided on going
out with a full band and touring again regularly  around new product and
playing sets that make each show interesting and unpredictable, sometimes
slowing a number down or trying it on a different key with a different
vocalist.  I guess many of us could go on theorizing just why the guys came
out and decided to tour again around new albums.  Hey, Simon & Garfunkel
are going to reform as a duo again!  Sooner or later, despite degrees of
success on the record racks, there is always the stage as creative tool as
well, and we cannot predict just what could happen in the future.  Yet, you
just can't press this kind of creativity in eithe rdirection.  If an artist
goes through a creative block, sooner or later that artist will suddenly
wake up with a double-album's worth of inspiration, and how many artists
these days actually release full double albums?  This only seems to be a
reissue phenomenon with the second disk being bonus tracks and rehearsals.
Let's hope that the Andy Partridge projects soon are finished and released
to us.  I've no doubt that he's got material in the can and will release it
when the time is right.  There is so much other music out there these days,
that I can't keep up with it all, especially that being issued on websites.
That is what I like to read the CHALKHILLS list for, and I hope we get back
to talking about such rare goodies.

Oh, by the way, I did read here that there is a Thomas Dolby recording
floating around on which Andy or Colin did some co-writing?  Wow!!!  Now
there is a supergroup for the future...and, boy, does that date me to even
use the word "supergroup".  The term killed Blind Faith and sent 'em
bouncing back to their respective corners!  Yet, I liked that whole bit of
seeking new directions and playing with some talents with whom the artist
in question always wanted to play.  What Andy Partridge is about to do is
really healthy, and I like Colin's attitude about younger musicians.  If he
felt so inclined, he should do some talent hopping and perhaps offering his
assistance...and maybe even coaxing Mr. Dolby out into the studio again.
Thomas Dolby left the biz on a real high note as far as I'm concerned.  He
had some heavyweights on his last studio album and I thought that this love
affair with music as a career would have lasted for at least a few more
audio projects.

Meanwhile, reissues are flowing out like water.  Soon we will have not only
the supposedly upgraded Dylan catalogue (or 15 titles therein at least),
but we wil see expanded Television reissues, with a live Rhino Handmade
disk rumored to come!!!  I hope it all continues, and I hope we start
talking in this list about pros and cons on some of these, while hinting at
stuff we're hearing about Andy and Colin.

Lastly, Becki DiGregorio's new Dukes of Stratosphere-inspired project is spurts, but it is underway, and we should hear her take on
'60's garage and psychedelic studio wizardry soon enough.  It's all coming
together and all still in the works, but there y'are!



Date: Wed, 10 Sep 2003 23:14:49 -0400
From: Gary McBride <>
Subject: Mandy Moore
Message-ID: <>

Not sure if this has been reported, or maybe it's obvious, but you can
hear a clip of Mandy Moore's cover of "Senses Working Overtime" at her
website along with all the other tracks on
the album.  Looks like "Senses" might be the leadoff track... nothing
to really inspire me to buy it, or anyone else over age 24. The upside
might be that it could inspire some youngsters to pick up an XTC album,
or maybe mistakenly download the originals from Kazaa or something. I
know that Travis inspired me to run out and buy the original "Hit Me
Baby One More Time." Actually, it didn't... but it could have.


Date: Thu, 11 Sep 2003 16:25:47 -0700
From: "WAYNE KLEIN" <>
Subject: Moving on up
Message-ID: <>

  >>I had a strange feeling about Warren today, so I went out, bought the
  new album, and checked his website.  Music has lost one of its
  greatest.  The new album, "The Wind," is a damn good final wave
  goodbye.  Warren, we'll miss you.


  I loved Warren's comment about life (and death) listed at his website.
"Enjoy every sandwich". It says it all with the wry humor he was noted for.
Transverse City and Sentimental Hygiene are two of my favorite albums. Yes,
The Wind joined that list (along with Bad Luck Streak in Dancing School and
Warren Zevon).

  Thanks for the joy Warren. May God (if he exists) have a sense of humor.

  Not that it matters but Warren's top albums--

  Sentimental Hygiene
  Bad Luck Streak in Dancing School
  The Wind
  Life'll Kill You
  Transverse City
  Warren Zevon
  Learning to Flinch
  Hindu Love Gods
  The Envoy (why, oh why isn't this on CD yet?)
  My Ride's Here

  Don't know if Mr. Partridge is a fan but it would be a blast to see The
Dukes cover a Zevon tune (Transverse City would be a natural).

  Took a listen to Mummer again for the first time in awhile. It isn't my
fav album but it does have a number of classic tracks. I always felt that
Funk Pop a Roll has plenty of bite but doesn't quite build the way, say,
Snowman or Travels does.

  Still love Love on a Farm Boy's Wages though.

  Also from Ben >>Sorry to double post, but I've just heard Mandy Moore's
version of John
  Hiatt's "Have a Little Faith in Me" from her upcoming album.  Of
  course, the XTC connection is obvious (duh!), as the album was produced
  by our own John Fields and features a cover of "Senses Working
  Overtime."  In any case, I don't know if you're out there, John, but
  you did a bang-up job with this one...the right combination of breathy
  and Hiatt-y (for lack of a better term), and I can't friggin' WAIT to
  see what "Drop the Pilot" (apparently the first single) and, of course,
  "Senses..." sound like!<<

  I was a bit surprised when I heard this (in a movie theater no less). My
daughter loved it and she's asked to hear more of John Hiatt's music. Her
fav so far is Child of the Wild Blue Yonder. As to Mandy's version of Faith
it does remind me a bit of Glen Ballard's production of Hiatt's remake (it's
on the Greatest Hits  CD Capitol put out). If John Fields is out there I'd
be curious if the remake was the starting point for Moore's version. Good
choice to include Senses on the album. My daughter loves that, too. I kinda
like it as well.


Date: Fri, 12 Sep 2003 11:12:22 -0400
Subject: Who's Flash?
Message-ID: <>


Well, well, well, just a day after I post to this list, I read the October
issue of ICE Magazine (yes, I'd received the issue *THAT* quickly!) and
noted a piece on what has to be the fourth reissue of the Who's TOMMY, this
time in SACD hybrid with bonus tracks.  The bonus tracks are what have me
interested in the set, but I gotta tell ya, this is an instance wherein I
wince!  It was bad enough that the stores were not carrying the "secret"
upgrade of A QUICK ONE and I had to send the copy I ended up buying back to
MCA/Universal to get the corrected one, but now we're getting the kind of
hype that *THIS* is indeed the definitive pressing, complete with extra
bonuses...and I hear we may even get *ANOTHER* upgrade of WHO'S NEXT!  The
claim, like that which accompanied the blurbs on A QUICK ONE and WHO'S
NEXT, is that the genuine master tapes have now *FINALLY* been
discovered!!!  AARGH!!  Please, John Astley, mine those vaults more
thoroughly next time, okay?

SACD hybrids are here!

Maybe it would have done Virgin well to save the XTC reissues until this
phenomenon became the big news and issued domestic copies, complete with
this extra layer of sound for the few that own such capable players, and
all the bonuses and more!!!  Again, i'm constantly swaying on this issue; I
mean, I guess this is how record companies make their money, over and over
again, and I don't completely sneer at it, mostly because, if I were to
miss a prime edition of a given album, there will always be another even
*MORE* definitive issue down the road; I mean, maybe Rhino will listen to
my suggestion years hence and issue a two-disk edition of the Stooges'
album, FUN HOUSE with the best of the bonuses that were once briefly
available through Rhino Handmade on that eight-disk edition of the album!
There is bound to be new editions of certain albums, honoring anniversaries
and such.  Has anyone stopped counting the different editions, in different
parts of the world, of the Beach Boys' PET SOUNDS?  In this case, I'm
starting to smart from the excess and sometimes wonder whether I should
jump at stuff that calls itself "definitive" or "deluxe", although the
latter term usually is lent to reissues that turn out to be genuinely
once-in-a-lifetime opportunities!

Such hype is hard to figure out, but I guess that is what makes collecting
interesting.  I guess my desire for such upgrades will stop when the used
CD stores stop accepting my previous issues.  When no one wants my "stuff",
I'll have no other alternative than to ignore the tempting fresher stuff
that appears on the new product lists I constantly paruse with varied

I just thought you'd all like to hear about this item, though.  Somebody
sneak into Verve Records' vaults and make sure that they aren't hoarding
the missing bass and percussion tracks to the Mothers of Invention album,
WE'RE ONLY IN IT FOR THE MONEY, who's uncensored version we were cheated
out of, 'cept for a Zappa-conducted remix on Barking Pumpkin vinyl.  Now
*THAT* would be definitive!!!


P.S.  Could someone explain to me, sometime, off or on list, just why
previous issues of a given album are worth so much to collectors, aside
from those rare editions in mini-LP sleeves or which feature now very rare
bonus tracks that still haven't shown up on current collections?  When CD's
were first being pressed, as I'd been told, the cover art for the CD
versions was simulated impressions of the original album covers, and I know
that word booklets were non-existent.  Yet, I'd been told in some used CD
shops, that earlier editions are valuable!  Huh?


Date: Fri, 12 Sep 2003 08:35:42 -0700 (PDT)
From: Michael Versaci <>
Subject: Spunkbubbled!
Message-ID: <>


Long ago, in an internet far far away, a prophetic young Chalkhillian
upstart by the name of Dom Lawson had the wit and insight to post the

>This reminds me of an episode of "Miami Vice" which I failed
to avoid a few years back. It co-starred the spew-inducing Phil Collins
(whose new album title "Hits" must be the ultimate in telling anagrams
-a bad joke, but a necessary one)[Good joke!  mv], a thespian titan in
his own bigoted and imagination-free brain, as some kind of "crook"
(fellow Brits will confirm how implausible this casting was for the
diminuitive, cash-loving spunkbubble).<

A seasoned veteran of the list took exception to these bon mots and
reacted with the following:

>Granted, Phil Collins has made some records that were in poor taste.
He also happens to be a brilliant and influential drummer, a good
singer, and has written some fine songs.  I recommend that you listen
to Genesis' first album after the departure of Peter Gabriel, "A Trick
Of The Tale" to find just how capable a musician the man is before you
dismiss him as being "spew-inducing" and "imagination-free".  (By the
way, do you listen to Phil before you sit down to write to

In fact, I'd wager that no matter what it is you do that you take pride
in Mr. Lawson, [embarrassing nasty bits edited for my own dignity]
whatever that thing is,  you will never be as good at it as Phil
Collins is at making music.<

Well, as it turns out, this seasoned veteran has eaten these words for
breakfast many times since he wrote them.  It started with the obvious
-records like "Invisible Touch" and "Another Day in Paradise" went from
"bad taste" to "spew-inducing," "Abacab" went from "Acceptable" to
"Crap," and now I'm afraid to spin "A Trick of The Tail!"  I still
believe he was once a good drummer, but "brilliant" and "influential"
should be reserved for likes of Bill Bruford [Happy, T-Bone?]  and
Stewart Copeland.   As far as "good singer" is concerned, I must have
been smoking some exceptional, er, "cigarillos" back in those days.
That toffee-nosed wanker should have stayed behind the drums and kept
his festering gob shut, both on record and off.

(Sorry, this is abuse... :D )

Dom has demonstrated since then that he does many things extremely
well, from turning me on to great records ("Damnation" by Opeth for
one) to consistently contributing some of the most entertaining and
intelligent pieces to Chalkhills.

My formal apologies, Mr. Lawson.  Collins is indeed, a Spew-Inducing

Michael Versaci


Date: Fri, 12 Sep 2003 12:52:13 -0400
Subject: Re: Merely A Man
Message-ID: <>

> Funny you should mention Merely A Man.

I don't think it's the worst thing on O&L...Across This Antheap or
Here Comes President Kill Again (although lyrically right on the
money) are my two least favorites.  But when I transferred the LP to
tape so I could play it in the car (back in THOSE days), Merely a Man
didn't make the cut.


NP: XTC, "The Last Balloon" Homespun version


Date: Fri, 12 Sep 2003 20:36:00 +0100
From: "gary NICHOLSON" <>
Subject: Should I resign now?
Message-ID: <000801c37965$1c96ab80$904b86d9@oemcomputer>

Point 1: Look up XTC in the 2004 Encyclopaedia Britannica DVD-ROM and you
get an article on New Wave, which states:

"In Britain new wave was led by clever singer-songwriters such as pub rock
veterans Nick Lowe, Graham Parker, and Elvis Costello; Squeeze and XTC,
whose songs were sophisticated and infectious; ska revivalists such as
Madness and the Specials; genre-hopping Joe Jackson; synthesizer bands such
as Human League, Heaven 17, and A Flock of Seagulls; and the so-called New
Romantics, including the cosmetics-wearing Duran Duran, Adam and the Ants,
and Culture Club. As the mid-1980s approached, the line separating new wave
from the corporate mainstream blurred, especially for bands such as the
Pretenders (fronted by former rock journalist Chrissie Hynde), the Police,
and U2, who became hugely popular. Although punk was pronounced dead (though
it later would inspire grunge and alternative), the music and fashion
sensibilities of new wave continued to influence pop music through the

Point 2: I work for Encyclopaedia Britannica in the UK (although I do sales
and distribution of godd old fuddy-duddy print). Owing to this unfortunate,
and potentially apoplexy-inducing association with XTC and (sharp intake of
breath) A Flock of Seagulls hahahahahkillthemallhahahah. should I fall on my
sword or use my negligible influence to get a few editorial changes?

Point 3: Swindon's new parking wardens. 650 tickets issued in the first 10
days. By 20 wardens. According to BBC South today. Erm. Is it me or is that
pretty poor?

Point 4: Another glass of wine may be called for.

Respect to all,

Gary Nicholson


End of Chalkhills Digest #9-46

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