Chalkhills Digest Volume 1, Issue 401
Date: Thursday, 5 January 1995
Chalkhills Digest, Number 401
Thursday, 5 January 1995
Today's Topics:
Re: Chalkhills Digest #400
Intro, Producers and other mayhem
My Introduction
Stuff
Next producer/Bonus tracks
Is Andy also "Kirby"?
Notice to you Colin Bashers
sarah mclachlan contribution to tribute
Me...
The Future
Virgins No More
Re: XTC Lyrics
Tull
On Froom
sour notes?
Introduction
Living Through Another Cuba
Jack Joseph Jingleheimer Puig
Fans of the band Chalkhills
Administrivia:
To UNSUBSCRIBE from the list, send a message to:
<chalkhills-request@chalkhills.org>
For all other administrative issues, send a message to:
<chalkhills-request@chalkhills.org>
Chalkhills Archives not available using FTP.
World Wide Web home page: "http://chalkhills.org/"
The views expressed herein are those of the individual authors.
Make your Union Jack and make your flag unfurl.
---------------------------------------------------------------------- From: Pneumedia@aol.com Date: Sat, 31 Dec 1994 19:32:02 -0500 Subject: Re: Chalkhills Digest #400 In Chalkhills #400, Jennifer Heather Zinn <jzinn@hsc.usc.edu> wrote: >Does anybody else think that Jellyfish is (or was) great? Very >cool harmony and production. If you like this band, try a band >called The Grays, formed from Jellyfish original members and >others. >Dream producer? Well, George Martin has lost it (Beatle CD's?), >but how about Jack Joseph Puig to round out that "englishness" >with some good American classic rock? THEN we may have >Beatle. (This must piss someone off A LOT)! I recommended the Jellyfish disc, "Spilt Milk" and the Grays disc, "Ro-Sham-Bo" to anyone I knew who was hungry for new XTC. Both of these groups had the same religious fervor when it came to their songwriting and performance. Around the same time those discs came out, a group called Starclub released a self titled disc on Island which was just a great. With all the grunge, rap and unplugged stuff filling the airwaves, it was great to see these three bands taking up the reins of power pop. I miss the dearth of uncynical, unpretentious power pop that used to invade these shores from the UK. As for my choice for a producer for the next XTC project, I thought that Eno was too obvious, Froom was an inspired try, Padgam and Rundgren been there, done that. I think Tim Friese-Green would be an excellent choice. If you listen to the excellent production on the last three Talk Talk discs (Colour of Spring, Spirit of Eden & Laughinstock) , you'll see exactly what I'm talking about. T2 moved from being a synth band into fascinating rock, jazz, folk, classical-tinged song stylists. There really is no description for the kind of beautiful music they were making. And Tim produced all three and made them into a cohesive, definitive whole. And to top it off, he produced the firstCatherine Wheel disc, Ferment, and highlighted their use of dynamics and made that a truly thrilling experience for me. Rich Swanson / Pneumedia@aol.com producer of Work Shop southeastern Connecticut's only alternative music video show.
------------------------------ From: "Bil MacLeslie" <Bil@brain.biochem.umn.edu> Organization: Dept. Of Biochemistry, Univ MN Date: Sat, 31 Dec 1994 20:05:04 -600 Subject: Intro, Producers and other mayhem Salutations. I join this discussion group with a few tidbits to share. I was introduced to XTC in 1979 when I was given a pair of tickets to go see The Police on their Regatta De Blanc tour. XTC was the opening act for The Police in this general admission concert. As time goes by the only memory that has lingered for me from this double billed wonder show is Andy jumping around onstage with both arms outstretched screaming "When she's up there twirling 'round - just like a heli-heli-heli-heli..." Magic moment. Next time I had the fortune of seeing them was so many years later, the venue so different, that it seems to be a different band. Similar to a band trying to break into the big time. May 23, 1989 Local "Alternative" radio (read adult rock) Cities 97 - KTCZ FM hosts XTC to promote the new album Oranges and Lemons. The radio station is in a converted (yuppified) warehouse on the edge of downtown Minneapolis. The studios have floor to ceiling windows where an assortment of curious onlookers and fans assemble to watch long time favourites play some overdue live material. XTC is on the air for a mere fifteen or twenty minutes before they have to stop. I remember people grimacing at the inane questions being asked by the interviewer and more than once I wish I could just ask one question. When they come out, the band mills around with the crowd a few minutes answering questions before heading off to the competitive Cable Access Only radio station a few blocks away (KABL). Once again, magic moment. One other somewhat related moment was when I was working at the Guthrie Theatre as a stage hand and Todd Rundgren was there on one of his many tours. During a quite moment after setting up I was able to speak with both Todd and Chris Anderson (Todds partner in crime) about Skylarking and what it was like working with them. At the time I had yet to hear about the relationship and feelings surrounding the production of the record. It suprised me to hear later that there was such strong feelings between XTC and Todd. At the time I talked to Todd, he was so congenial and warm about the project that I still find it hard to believe that he would have been lying. He is one of the finest people I've ever met in the music industry. It really is too bad about the way things turned out (as the public sees it). Skylarking is one of XTCs finer moments. Producers: Daniel Lanois. He has been a favoured producer since the release of Peter Gabriels Birdy soundtrack. Check out Robbie Robertson's 1987 self titled release also. His own releases speak volumes on the delicacy he has mastered. David M. Allen/Robert Smith: (get the anger out combo) Rhett Davies: King Crimson, Bryan Ferry/Roxy Music, 'Til Tuesday, B-52's Many venues, many voices. This man has no sound of his own (look at that list) and still comes out on top! Nile Rodgers: Hits are us! Bowie, Madonna, Dolby, B-52's If XTC wanted to make a comeback with just one or two songs, left Colin and Nile get together for a weekend and drink cognac! Terry Lewis / Jimmy Jam: Local boys do good! Worked wonders for Janet Jackson and are just finishing up on Michael Jacksons new album. Move over Quincy Jones / Bruce Swedien. As a response: In the Chalkhills Digest #400, Adam Ostermann wrote: >5) A general question >How does everyone feel about the "additions" made to all the early XTC CDs >in '91, '92 by Geffen in the U.S.? I'm glad that these tracks are >available, but I think smacking all the extra tracks right in the middle of >the disc defalte some discs' power, esp. ^Mummer^ with the two >instrumentals: good as they are, they don't fit the flow of the disc. >Opinions? This is probably been discussed in detail; sorry, but I'm a >newborn babe in this electronic highway truck stop. The more and more I listen to albums that were re-released by record companies with extra tracks between the A & B sides, the more I hate it. All the XTC discs bug me and Robyn Hitchcocks masterpiece I Often Dream About Trains was in my mind the most diminished by this trend. One last recommendation if you can find it. Jack Logan: Bulk. A local friend named Peter Jesperson gets all the credit here. He heard about Jack and pounded the beat until he could produce this release. 42 songs comprising too many styles to count. This isn't a pretty album with glitsy slick production. This is a representation of over 14 years of song writing and recording. Many of the cuts come from 4 track demos. The hit that made some of the college charts was a tune called Shrunken Head. This is some of the most heartfelt song writing to come out of the Athens Georgia area. (A meteroite must have fallen there) Just go buy it and listen to it. Sorry this is so long winded. Til next time. Bil Bil K. MacLeslie Applications Programmer / System Administrator bil@brain.biochem.umn.edu Department Of Biochemistry, University of Minnesota 4-225 Millard Hall 435 Delaware Street S.E. Minneapolis, MN 55455-0326 (612) 625-6100
------------------------------
From: Nevets13@aol.com
Date: Sat, 31 Dec 1994 21:56:57 -0500
Subject: My Introduction
As requested, I'm here to introduce myself. I became a fan of XTC back in
1977, upon the release of White Music. Yup, I'm one of the old-timers,
heading into middle-age and reminiscing about the good old days! The album's
quirky rhythms and swirling keyboards immediately captured my attention,
especially considering the putrid music of that time (excepting, of course,
the punk revolution).
While I enjoy most of their albums, my favorite remains Drums & Wires. I
particularly remember seeing the band in concert (1980?) where they performed
most of the album (they were opening for the Police at my college gymnasium).
They absolutely blew Sting & Co. off the stage that night.
Wishing everyone a Happy New Year, and I look forward to reading and
participating in Chalkhills.
-Steve Rovner
------------------------------
Subject: Stuff
From: jd.mack@neteast.com (JD MACK)
Date: Sat, 31 Dec 94 22:50:00 -0500
Organization: Online Technologies, Inc. - 301-738-0001
O.K., I think I'll jump into this "next producer" fantasy discussion.
It seems to me that the ideal producer for the next XTC album should be
Paul McCartney or Brian Wilson. It seems that having a major influence
on Andy producing may calm down Andy's ego a bit. Not to mention that
both are/were fine producers (Brian's mental health may disqualify him
from the job nowadays). I would also like to throw in Jeff Lynn and Don
Was, but that would probably lead to another Todd Rundgren nightmare for
Andy.
'nuther thing: I noticed that They Might Be Giants are listed as a
contributing band to the upcoming XTC tribute album. This seems a
logical choice. If anyone has picked up TMBG's "John Henry" album,
they'll notice that it's produced by Paul Fox. I personally hear a lot
of XTC influence on this album in particular. The vocals at the end of
"Subliminal" are very O&Lish, adding one part at a time in a vein
similar to the ending of "Scarecrow People." Also, note the similarity
of the lyrcis from "Snial Shell" ("I want to thank you for putting me
back in my snail shell") to Colin's "Down A Peg" ("thank you for taking
me down a peg").
Finally, I'm gonna commit sacrelidge! After the next XTC album
(assuming there is one), they should BREAK UP! Personally, I consider
O&L the best XTC album ever, so I have no problem with their current
output. I'm simply tired of seeing Colin and Dave being dirt poor (they
were parking cars for a living between albums for Pete's sake)! Both of
them are stellar musicians that could be making beaucoup bucks in bands
willing to tour. Andy can always find other musicains to bring his
songs to life. Colin and Dave should have a shot at the big time.
------------------------------ From: Mikewheel@aol.com Date: Sat, 31 Dec 1994 23:34:32 -0500 Subject: Next producer/Bonus tracks "How does everyone feel about the "additions" made to all the early XTC CDs in '91, '92 by Geffen in the U.S.?" I like the additional tracks on the early CDs.It gives people like me, who discovered XTC recently, a chance to hear B-sides that we probably would not hear otherwise. I happen to like that the additional songs appear in the middle, because you know where side one ends and where side two begins, which is usually ignored with CDs. I think the beginning and ending of a side is really important. For example "There Is No Language In Our Lungs" is a great song to close side one of "Black Sea." Someone on America OnLine said that he heard Van Dyke Parks was going to be the producer for XTC's next album. Van Dyke Parks worked with Brian Wilson in 1967 on the Beach Boys' "Smile" album, he wrote the lyrics for that album, and they are interesting and somewhat similar to Andy's lyrical style. Van Dyke Parks has released five solo albums between 1968 and 1989 and has one scheduled to come out next year on which Brian Wilson sings lead for many of the songs. Lately Van Dyke Parks has arranged the strings on "The Joshua Tree" by U2 and "Martinis and Bikinis" by Sam Phillips, on which Colin plays bass. I don't think he has ever produced an album, though he may have produced his own albums. I'd imagine Van Dyke Parks would continue this mellow, mature phase that XTC has been in lately and it wouldn't surprise me if he supported the no drums idea. I'm not sure how much power he would have producing XTC, I don't see haim as being like Todd Rundgren; I think Andy could well have his way with Van Dyke Parks. Van Dyke's music is certainly interesting and I think a collaboration between him and XTC may turn out some great music, but I doubt it would be very rocking or have much of an edge, if it has an edge it will be subtle. Van Dyke Parks as XTC's next producer is only a rumor so don't believe it until you hear more. Mike Wheeler mikewheel@aol.com
------------------------------
From: SPE9237@ACFcluster.NYU.EDU
Date: Sun, 01 Jan 1995 21:05:39 -0400 (EDT)
Subject: Is Andy also "Kirby"?
Hi folks. I asked this a few months ago, but no one at the time knew the
answer. Here goes again:
On Joan Armatrading's 1981 album "Walk Under Ladders", Andy Partridge is
listed as guitarist on the songs "The Weakness in Me" and "Eating The Bear".
My friend, who didn't even know that fact, pointed out that the song "When I
get it right" from the same album had extremely Andy-esque rhythm guitar
(similar to that found in parts of "Runaways"). No Andy is listed, BUT a
guitarist named simply "Kirby" plays on that ong and "I wanna hold you".
SO, my question is, does anyone know if Kirby is Andy playing under a
pseudonym? Is he perhaps naming himself after Jack Kirby, the American
comic book artist who co-created The Fantastic Four, The Hulk, Captain
America, and Thor? (And, who was it who drew Sgt. Rock, anyway?) Has
anyone ever heard of Kirby playing on any songs beyond these two?
And who the heck is "Hans de Vente" who sings on "Melt the Guns" and gets
thanked in at least one other album's liner notes?
These stupid things keep me up at night.
Love, Steve Espinola telnet acfcluster
oops I meant SPE9237@acfcluster.nyu.edu
bye.
------------------------------ From: KyleSk@aol.com Date: Mon, 2 Jan 1995 09:58:46 -0500 Subject: Notice to you Colin Bashers Nah, I'm not going to flame anyone. However, may I remind some of us. Colin is as much XTC as Andy is. Dump Colin? They've already lost Terry, whose absence has contributed to the lack of focus in XTC's later works. (singular exception: Skylarking) Andy needs some balance in his egotistical pursuit of aesthetics. Without Colin, Dave and Andy would be, I dunno, something much less. Kyle
------------------------------ Date: Mon, 2 Jan 1995 14:44:35 -0500 From: cornflake boy <woj@remus.rutgers.edu> Organization: <a href="http://remus.rutgers.edu/~woj/">wojpage</a> Subject: sarah mclachlan contribution to tribute chalkhillians, when i saw that sarah mclachlan was slated to contribute to the forthcoming xtc tribute album, i fired off a note to nettwerk records via the sarah mailing list to find out what's up. turns out that nettwerk doesn't know much except that it's going to happen and sarah will be singing "dear god." woo woo. woj
------------------------------ Date: Mon, 2 Jan 1995 21:42:16 -0500 From: bbutler@magicnet.net (Bruce M. Butler) Subject: Me... Hi. I'm a 16 year old male in Orlando, Fl. and am writing this because I was told to. I write in my spare time, but still go to High School. A couple of years ago, in the dollar bin, I saw a copy of "Oranges and Lemons" and for some strange reason I remembered it, but never bought it. And the rest is history. I heard about Chalkhills from the BBC net site. That's it! David Butler
------------------------------ From: CVreeken@aol.com Date: Mon, 2 Jan 1995 23:25:28 -0500 Subject: The Future Sorry to hear that Virgin has ended their association with XTC. This is not the end of the world, however. Many fringe groups exist quite successfully outside the mainstream record companies. Todd Rundgren is now releasing some of his most creative music on a small label, and no longer feels the record company pressure to write a "big hit single." Let's hope XTC will do the same. As to Jeffrey Langr's suggestion that they fire Colin Moulding and hire Trent Reznor, let's come back to the real world for a moment. First of all, Colin is as much a part of XTC as McCartney was to the Beatles. The group could not go on as XTC without either he or Andy, not that anyone has suggested anything of the kind. And why would Trent Reznor need to join any other group? NIN is doing just find on their own. I could'nt imagine an entire XTC album sounding like "Travels in Nihilon" anyway. Regarding Crash Test Dummies version of Peter Pumpkinhead, I heard it at a listening booth in a Virgin Records today. It's not as bad as I thought it would be, and I'm no CTD fan by any means. It's pretty close to the original, not slowed down like all their other songs are. The soundtrack album to Dumb & Dumber contains no Todd Rundgren songs. He did the music score to the movie, not the soundtrack. An interesting use of the term "Skylarking" can be found in California's Workers' Compensation Law. There is actually a Skylarking Provision that refer's to basically goofing off or horseplay on the job. If you are injured while "skylarking" you are usually not entitled to Workers' Comp. benefits. Mention was made in the last digest of the groups Jellyfish and The Grays. I recommend both. Jellyfish has two LPs. The first is more Beatlish and the second has more of a 70s ELO/Queen vibe. The Grays only album is great. It's called Ro Sham Bo, and can be found in the cut-out bins because no on bought it. Their loss. Very Beatlesque and full of hooks that stick in your head for weeks. Finally, I agree that the additions to the early XTC CDs interupt the flow. There's probably a reason they were left off the original albums. That's why they are called outtakes. I would have liked them better on Rag & Bone Buffet, thank you. I usually program my CD to skip them, or play them last. Till next time, Craig Vreeken
------------------------------
From: mark.derby@nwcs.org (Mark Derby)
Subject: Virgins No More
Date: Tue, 3 Jan 1995 00:23:00 GMT
Organization: NWCS Online * Oregon USA
>From: eye@interlog.com (eye WEEKLY)
>Date: 14 Dec 1994 11:14:07 -0500
>Organization: eye -- Toronto's Arts Newspaper
>After a 17-year association, pop perfectionists XTC have ended their
>relationship with Virgin Records. Despite critical acclaim and
>adulation from the most loyal fan base in rock, the group has had a
>long-standing problem getting the respect it deserves from the label.
To hell with Virgin! I'm sure plenty of labels would be eager to
have XTC on their roster.
The latest issue (#36) of the zine _The Big Takeover_ contains an
eye-opening piece on how rock musicians are paid. They must recoup their
advances not out of sales, but out of the tiny percentage of sales that is
their royalties! Hence, newly-signed bands are often "in debt" to the
label, despite having sold enough units to make a profit for the label.
Maybe I'm ignorant...sorry if this is old news, folks. TBT's
editor Jack Rabid, once a member of now-defunct band Springhouse, has had
personal experience with how difficult it is for bands to make a living
from their artistic work. I'm sure XTC's financial worries are due to
similar reasons. How much money has Virgin made from XTC's catalog over
the years?
BTW, _The Big Takeover_ is a terrific zine, well worth searching
out (it appears on an irregular basis, and is not as well-distributed as,
say, _Spin_...or even _Maximum Rock and Roll_). Issues 32 and 33 contain
the best interviews with Andy Partridge I've ever read. Write to: Rodent
Productions, 249 Eldridge Street #14, New York NY 10002.
>At least New York City musician David Yazbeck appreciates them.
>Yazbeck, an acclaimed musician/producer in his own right, is putting
>together an XTC tribute album. Slated to contribute tracks are They
>Might Be Giants, Joe Jackson, Sarah McLachlan, Freedy Johnston, Ruben
>Blades and the band themselves.
Usually, tribute albums are lame...but I'd buy this just to hear
what Freedy does with the Swindon boys' work. Wonder what it means, that
XTC themselves will contribute?
---
* WR # 338 * ...a hammer to keep your pegs in your holes
------------------------------ From: JoelSom@aol.com Date: Tue, 3 Jan 1995 09:20:10 -0500 Subject: Re: XTC Lyrics Hello XTC fans! This is my first letter to this Mailing list and I think it's great to have this opportunity to discuss great bands like XTC. I have one quick question: My band currently covers XTC material in our shows, however, if I could somehow get the lyrics to "Peter Pumpkinhead" it would be extremely appreciated, especially the last verse which I am having difficulty with. Thank you all. Bye.
------------------------------ From: "Jim Slade" <JIMS@phl.cursci.com> Organization: The Current Science Group Date: Tue, 3 Jan 1995 10:40:01 EST5EDT Subject: Tull Someone asked if there are any XTC/Jethro Tull fans out there. I've wondered that regarding the Mummer album. I don't know any Tull fans, so I haven't had the chance to play Mummer for one, but certain songs on that album made me appreciate some of the things that Jethro Tull did (esp. "Love on a Farmboy's Wages"). On the other hand, "Summer's Cauldron" (I think that's the name of the Colin Moulding song at the end of the album that I must skip) reminds me of all the things that I grew up hating about Tull. So it goes.
------------------------------ From: Mark Colan <Mark_Colan.LOTUS@crd.lotus.com> Date: 3 Jan 95 13:01:00 ES Subject: On Froom > Richard Thompson has gone WAY down hill since Froom > began adding his polish, and don't let me get started on Elvis > Costello's SPIKE album. There's no fire in Froom's productions. Whooo boy -- I sure disagree. Never have I been so aware of the added value of a producer before Mitchell Froom; I think he's the most innovative producer I've ever heard. I love what he's done for Thompson and Los Lobos. I thought SPIKE was Elvis' last great album -- and the best in a long while -- BECAUSE of Froom's work (and all the great guests, and experiments into other genres). Suzanne Vega's 99.9 moved her from the tame and tired folky stuff of her previous efforts to something bordering on industrial and excitingly new. And the Latin Playboys (with Froom PLAYING, not just producing, with members of Los Lobos) is truly inspired and one of my favorite albums in some time, with its dark, dissonant, funky, back-woods sound, borrowing even from Captain Beefhard. On the other hand, if you believe that a producer should not color or influence the music, you won't like Froom, because he adds a lot to his productions. I heard an interview with Ric Ocasek on WBCN several years ago in which he corrected the interviewer when she referred to his recent effort of producing a Boston band. He said, paraphrased, "REducer. I don't produce, I reduce. Most bands try to put way too much into the mix. I take out the bad stuff and play up the good." I guess with someone this talented and unusual, you're bound to love him or hate him. I'm in the former camp. mtc
------------------------------
Date: Tue, 3 Jan 95 16:00:23 EST
From: Jeff Rosedale <rosedale@columbia.edu>
Subject: sour notes?
Get off Colin's back! He's a good songwriter and a fantastic bass
player! Think of some of the great sounds coming out of the low tones
of the XTC spectrum:
the bass chord in "All of you Pretty Girls" ("Do something for me,
boys...")
the classic bjorn borg (from Andy's liner notes/XTC live) bassline from
Battery Brides
Not to mention the bwanging boing of the Helicopter bassline
the thundering low tones that make one levitate when listening to
English Settlement- I wish I had a subwoofer for that album!
Even some of the more recent "mainstream" sounding XTC is often
bolstered by bizzarre bass! Crank it up and listen closely!
In the age of give the people what they want, don't wish too hard for
an "Andy-only" XTC. The great talent of Gregory and Chambers has been
misconstrued as "usurping" and the results could be unfortunate- of
course Andy can, has and will spin musical gold but it's the
collaboration with other great musical talents that sends XTC towering
into the lofty heights of modern music.
And this thing about drums. The world needs drums. Drum machines make
me angry. Unless you're playing something like "Motorcycle Landscape"
that demands screaming grating cacophony, you need the liveliness, the
punch, the drive of real drums (and real drummers help too) to make
music come alive. Or you could go totally instrumental- but that's
veering in a direction I worry about. Did anyone read the last issue
of Wired where David Byrne was asked about hypothetically playing an
instrument hooked directly into his mind? This is at once everything
and nothing of the promise XTC has shown. We can never retrieve the
past of XTC but let the future be worth its legacy.
(dissolve to a puff of orange smoke)
--Jeff R//dale
------------------------------ From: FARBER@HULAW1.HARVARD.EDU Date: Tue, 03 Jan 1995 19:28:17 -0500 (EST) Subject: Introduction Hello all, I guess I'm suppossed to introduce myself. I'm Craig Farber & I'm a law student at Harvard Law School. Any other Harvard people on the list are welcome to contact me since your XTC fandom ensures a reasonable chance at coolness. I first heard about XTC only in a vague sense when I knew of their existence but didn't actually know what songs they wrote. The first song of theirs that I actually connected to them was Dear God. (Though I knew the songs Nigel & Senses before that time) Favorite Album: Skylarking I heard about Chalkhills by looking at the complete list of mailing lists at news.lists (?). I noticed Chalkhills among the titles & suspected an XTC list. I'm also on a TMBG mailing list & I would like to get on a Robyn Hitchcock list if such a thing exists. Any info. on this would be appreciated. --Craig Farber
------------------------------ Date: Wed, 4 Jan 95 12:43 EST From: Jeffrey Langr <0005392548@mcimail.com> Subject: Living Through Another Cuba From: allyn krause AK>Living through Another Cuba came out about the same time as Reagan's AK>election into office, I believe, or at least the campaigning was going AK>on. Thatcher must have been in office about the same time, or was AK>nearly there. It was a scary time in the history of the Cold War. AK>Ronnie was all in favor of building up armaments so that we could blow AK>up the world ten times over, instead of the six or so that we were AK>currently set to do. Interesting, though, how things ended up, isn't it. Like it or not, Gorbachev admitted that the Soviet Union's failure (and our supposed subsequent ability to begin arms reduction) was largely due to Reagan's policies. "Living Through Another Cuba" is a great song, any way you look at it. "President Kill" is pap in comparison, a dreary exercise (musically and lyrically) in overstatement of the presumed obvious. What happened?!?!! Methinks the boys have lost their fervor.
------------------------------
Date: 4 Jan 1995 12:09:04 U
From: "Bob Sherwood" <Bob_Sherwood@cpqm.saic.com>
Subject: Jack Joseph Jingleheimer Puig
Hey, Chalkhillists. Hope your holidays were full of XTC rarities.
Welcome, Al Krause. Your posting was much enjoyed. Your remarks regarding
the cultural milieu of "White Music" rang especially wicked true to my ears.
It's easy to forget that this was a musical era filled with all sorts of
arbitrary signposts of coolness and pretention. One week it would be proper
to wear a phone around your neck and slash your arms, the next it would be
"pretentious" to use cymbal crashes in a song. The Pistols had already "sold
out" and London was home to The Subway Sect, the Banshees, The Damned, etc.
"White Music" attained the enviable status, in this atmosphere, of climbing
up _everyone's_ nose. Pretty neat trick.
>>Jack Joseph Puig
Hey, that's an intriguing producer choice, indeed. Not only would he
provide a sympathetic ear and a whole lot of influences common to the fellas,
(as well as the odd anathema one, i.e. lots of good 70's cock rock) but he's
probably sitting on his hands since Jellyfish went belly-up...oh, those
spineless, wobbly Jellyfish....interesting idea, anyroad.
I loved Jellyfish. My old bass player auditioned for them and the first
question of the phone interview was, "do you have cool hair?". I thought
that was great because their version of "cool hair" has got to be pretty
godawful- sort of a cross between Peter Criss and '74 Bowie or something.
Hmmm... "Now She Knows She's Wrong" always struck me as very "Season Cycle"
influenced.
>>Jim Slade "Why aren't XTC as big as
The Police/Sting?"
Hey, I bite. Why???
>>THE ART-SCHOOL WHITE-BOY ROCK-GOD FUNK CONTINUUM:
How about Beck? Kind of a stretch but sorta...
>>Single, white females
Hey, Steve Lahr- two words, sport- go away. We're here to talk about
music, Brie-breath.
Special
Announcement
------------------------------ Date: Thu, 5 Jan 95 12:10:53 EST From: patty@gdb.org (Patty Haley) Subject: Fans of the band Chalkhills Hi gang: I was in a bookstore a few weeks ago killing time before an appointment, and picked up a book on the Internet published by _Wired_ magazine. I don't remember the name, but it was one of those pseudo-hip thingies with orange and funky yellow on the cover. A large portion of the book (if not the whole thing) pertained to the different Usenet newsgroups and mailing lists. As I run the Catherine Wheel mailing list, I was interested in seeing if any mention was made of the list. No, and it's a good thing not. What someone did was just take the names of the request alias and say it was the request for the band. In other words, chalkhills-request was the request address for fans of the band Chalkhills, no joke. As the request for the CW mailing list is fruit-request, then a listing would have been for fans of the band Fruit. Sigh. What's the old adage about a little knowledge being a dangerous thing. There were several booboos of this nature in the book. So hell, if anyone's into the band Chalkhills, tell 'em to send mail to xtc-request@presto.ig.com :-) So, I don't know about you, but I'm sure hoping for material in 1995 from both Chalkhills and Fruit. Chalkhills hasn't done anything for over a year, and Fruit hasn't done anything for almost that long. Speaking of the band Chalkhills, I've found that as Andy and Colin have grown older, I've found it easier to tell their voices apart. I've always thought that Andy was singing *all* the songs on the earlier stuff until I learned differently on this list, but even listening to live stuff from way back when their voices sound very much alike except when they're singing together, when it's easier to tell them apart. As far as the Frooming of XTC goes, no thanks. Richard Thompson's _Mirror Blue_, produced by Mitchell Froom, was my second fave record of 1994, so I've been listening to it a *lot*, but the production doesn't do me. I'd rather have Andy fighting bitterly again with Todd Rundgren over Mitch Froom. Also, _English Settlement_ has finally overtaken _Black Sea_ as my fave, erm, Chalkhills album. "Fly on the Wall" never ceases to amaze. -Patty
------------------------------ End of Chalkhills Digest #401 *****************************
Go back to Volume 1.
6 January 1995 / Feedback