Chalkhills Digest Volume 2, Issue 117
Date: Wednesday, 29 May 1996
Chalkhills Digest, Volume 2, Number 117
Wednesday, 29 May 1996
Today's Topics:
Tears For Fears
Re: Sorting it out...
The "Pay for Andy's House" tour
COLIN
Curt and Roland Revealed
Is Colin Moulding GOD?!
Re: Chalkhills Digest #2-116
Re: XTC/EC
The Sugarplastic et al.
Do the Huxtle!
Bungalow
Kevin Gilbert
RE: How do they make their living?
Colin
Mr. Cole, Mr. Popularity, Mr. Gott
Re: Skylacking
under the covers
complicated game bridge...
Chalkhills' Children
re: Colin
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---------------------------------------------------------------------- Date: 29 MAY 96 10:08:13 EST From: PCulnane@dca.gov.au Subject: Tears For Fears Message-ID: <0000zvnrtphl.0000yeksksgu@dca.gov.au> Hello ChaIkophiles, I suspect that Curt (Smith) and Roland (Orzabal) from Tears For Fears are mentioned in the Big Express liner notes because they hail from Bath, UK, where that album was recorded (David Lord's Crescent Studios). Perhaps the Tears guys lent our boys some equipment, or maybe provided hospitality during their stay in Bath. And now that there's only Roland left, shouldn't his band be renamed Tear For Fear? Oh tee hee.... Paul-of-Oz
------------------------------ Message-Id: <199605290057.TAA13436@kenlaw> From: "Joel Flaxman" <joel@kenlaw.com> Date: Tue, 28 May 96 19:57:32 Subject: Re: Sorting it out... On Tue, 28 May 1996 15:05:56 -0700, From: richard.pedrettiallen@octel.com wrote: > Seriously, the bridge lyrics in Complicated Game have me stumped. > They are so wet with echo that I can't decipher them. Is there some > edition of DRUMS AND WIRES that list the lyrics? HELP! > My CD of Drums and Wires (US GEFD-4034) has lyrics and the passage you ask about goes like this: they wanted tom they wanted joe to dress 'em up and stick 'em out on show they were arrows in a very bad aim it's just a complicated game --Joel BTW I am far from being over 30 ################################################ "Success is being a quote." - Andy Partridge
------------------------------ Message-Id: <9605290206.AA09357@uu3.psi.com> Date: 28 May 1996 18:35:05 U From: "Stein_Alex" <stein_alex@twehbo.com> Subject: The "Pay for Andy's House" tour Just a suggestion... Since Colin toured with Aimee Mann... and Andy survived jumping up onstage for one song a while ago... and maybe a new label would give them some support... and 15 years of fans would like to see XTC live... and a tour might juice up interest in the back catalog... and the finances aren't what they should be... Perhaps Andy would consider going out on the "Pay for Andy's House" tour. Hey, I can dream, can't I? Alex
------------------------------ Date: 28 May 96 23:56:49 EDT From: studio 17 productions <104151.1063@CompuServe.COM> Subject: COLIN Message-ID: <960529035649_104151.1063_IHO73-1@CompuServe.COM> I was going to wait a bit to finally post (you know, figuring out what to talk about) but something very simple in the last digest sparked me to make a comment or two...before I send a *REAL* first post. I like BUNGALOW (too). it's like a weird 10cc outtake. it's charming quaint strange and wonderful. it requires patience. it's a bit of old England. no other song in the world like it. I like BUNGALOW a LOT. top ten Colin mentioned: of those, IN LOVING MEMORY OF A NAME is probably my personal favourite. absolutely beautiful piece of work. just thought i'd mention it. dave
------------------------------ Date: Tue, 28 May 1996 23:03:17 -0500 (CDT) Message-Id: <199605290403.XAA00589@sky.net> From: Scott Taylor <staylor@sky.net> Subject: Curt and Roland Revealed >From: joeo@cix.compulink.co.uk (Psion plc Joe Odukoya) >On another note: I was looking through the credits on my vinyl copy of >The Big Express and I noticed a thanks to "Curt & Roland". I presume >this is they of Tears for Fears fame. Anyone know the story behind this? >From: Ben Gott <BENG@hotchkiss.pvt.k12.ct.us> > -"Curt" and "Roland" are mentioned in the sleeve of The Big Express. I >suppose that these gents could be none other than the early-80s incarnation >of Tears for Fears. But why? Are "Curt" and "Roland" such uncommon names that this becomes an internationally viable assumption? And why do we see these posts now, twelve years after the LP's release, after hundreds of issues of Chalkhills? Come on Ben & Joe, when you get together to fabricate your trans-Atlantic trolls, you're going to have to do better than this. But I suppose some congratulations are in order -- I couldn't even get this kind of cooperation when I tried (unsuccessfully) to prop up the Sean-Altman-is-Andy-Partridge rumor. (An ongoing crusade --- I'll convince you yet!) But seriously, let's put this one to rest before it becomes another "Dear God" thread. We all know that Andy, Colin and Dave were just gently thanking the Kurzweil (familiarly known as "Curt" among Teutonic keyboardists) and Roland companies, respectively, for their even-an-idiot-can-program-by-MIDI products in the wake of Barry Andrews' departure. Perhaps I'm mistaken, but I think it might have even been a contractual obligation between Virgin and the manufacturers. (Ooops, sorry --- do I really have to scream JUST KIDDING!!!!! again for all the dim people?) +-----------------------------+ | Scott M. Taylor | | staylor@sky.net | | http://www.sky.net/~staylor | +-----------------------------+
------------------------------ Date: Wed, 29 May 1996 13:28:43 +0900 (JST) Message-Id: <199605290428.NAA05819@gol1.gol.com> From: mwicks@gol.com (Michael Wicks) Subject: Is Colin Moulding GOD?! On Fri, 24 May 1996 20:13:46 -0400 (EDT), Christie (cbyun@cep.yale.edu) wrote: >And finally, to get to a kind of neglected area--the lovely and talented >Colin Moulding. He's not quite the extrovert that Andy is, so it seems >he doesn't get talked about as much (did we argue over whether or not >Colin believes in God? No, squelch the thought before that thread comes >up again!). I read an interview with him in which he was actually happy! >Yes, believe it or not, he was talking about how much he enjoyed being >in a band and making music. A departure from his usual brooding self, >I think. It was kind of an old interview, but let's hang onto the thought. I'm tickled to read such fine words about the (in Andy's words) "wonderfully bountiful Colin, our hostess (!) for this evening..."[KROQ Live, 1989 Acoustic Tour performance/interview]. I must second the emotions that he is an Outstanding songwriter, musician, one of (if not the) best bass players around, and just an all together cool guy! (Still can't believe that his son is now, what, 18? 20? Woah, Colin just doesn't LOOK (Life Begins At) 40! In addition, though I was saddened to think that he might feel a bit depressed as to his songwriting input. Hang in there! I'm (with all the rest of you) very much looking forward to hearing some new Moulding compositions. >And here's my top ten list of Colin songs, in no order: Ok, I'll give a shot at it: The Meeting Place, Cynical Days, Life Begins At the Hop, Generals and Majors, Blame the Weather,One of the Millions , English Roundabout, I Remember the Sun, Dying/Sacrificial Bonfire, and The World is Full of Angry Young Men >Only ONE person wrote in to say they thought Bungalow was a good song. >Doesn't anyone else out there like it? Come on, guys, it's a GREAT song. >Sometimes I have the urge (usually in a quiet library) to burst out >singing, "Bungaloooowww!!! By the sea-eaa!" Come on, I'm sure there are >others out there. Yes!!! Can you hear the waves? Imagine Colin walking out in front of his Bungalow, with his wife, kid, dog(?), or just by himself...ahhh, soothing :-) Actually, I like to look at this song as half tongue-in-cheek and half an epic/climax/ monumental pinnacle of a next to last album-closing song. Even Andy and Dave commented that this was one of Colins' best; and even though it isn't in my top 10 Mouldings, I still enjoy it nonetheless (although, to be perfectly honest, it took me awhile to like this one...imagine my surprise when I first heard it!). Finally, if anyone needs some CD's that you just can't find where you're at, I might be able to find some here in Osaka (I just send one Scott Anderson a CD that he requested me to find), and perhaps we can trade! I'm especially interested in this new Sugagplastic CD!) Just e-mail me at mwicks@gol.com! Anxiously awaiting the new album (see lyrics to nonsvch songs for hint as to the title) Michael W.
------------------------------ Date: Tue, 28 May 1996 23:42:09 -0500 (CDT) From: "Jeffrey with 2 f's Jeffrey" <jenor@csd.uwm.edu> Subject: Re: Chalkhills Digest #2-116 Message-ID: <Pine.OSF.3.91.960528233819.29510A-100000@alpha1.csd.uwm.edu> On Tue, 28 May 1996 Tim Kendrick <TKEN@DICTAPHONE.COM> wrote: > 1.) If XTC were more popular there would be more > videos, posters, interviews, and (most importantly) > more new music. Andy has said repeatedly that he > would love to release a new album every six months. > If XTC were more popular, that could become a reality. Uh - not likely. In fact, any look at the megapopular artists of the last 10-15 years will reveal that massive popularity *decreases*, not increases, the frequency of releases. Record companies aren't going to release new product while the old product is spinning off new singles/videos/"emphasis tracks"/whatever they call 'em these days. 3 years between full-lenghts is not uncommon for megastars these days. If releasing lots of new stuff is what you want for XTC, better that they sign to a smaller indie label. Whether you like them or not, look at Pavement - or, to take a group that's been around about as long as XTC, The Fall. Releases like clockwork, but not much in the way of sales. --Jeff Jeffrey J. Norman <jenor@csd.uwm.edu> <http://www.uwm.edu/~jenor/> Dept. of English & Comp. Lit. University of Wisconsin-Milwaukee ::American people like their politics like Pez - :::::::::::::::::::::::::: ::small, sweet, and coming out of a funny plastic head. - Dennis Miller::::
------------------------------ Message-Id: <199605290512.AAA25348@wymple.gs.net> From: "Brian Huddell" <bhuddell@wymple.gs.net> Date: Wed, 29 May 1996 00:13:15 +0000 Subject: Re: XTC/EC "Charles Lee Lovingood, Jr." <lognsdad@Interpath.com> writ: >... I can think of a few instances, like R.E.M. and U2 >who, when they weren't making enough money, sacrificed a considerable >amount of their passion in quest of the mighty green. Listen to U2's >Boy and then listen to, say Zooropa, you'll see what I mean. Um...the point, then, is that U2 waited until they were rich and fat to sell out? Wow, they're even stupider than I thought. The arrogance of "you'll see what I mean" is priceless. Turns out I listen to those two albums and I see something COMPLETELY DIFFERENT!! Imagine that. Opinions presented as dicta, somehow self-evident, are the chief hazard of lists like these. They never fail to wrench me out of lurk mode. Carry on. Peace, Brian
------------------------------ Message-Id: <m0uOe0S-0000YAC@stimpy.PCC.COM> From: troy@pcc.com (Troy Peters) Subject: The Sugarplastic et al. Date: Wed, 29 May 1996 01:41:16 -0400 (EDT) So I wandered into Tower Records in Tacoma, Washington, last week to pick up the new Elvis Costello platter. [_All This Useless Beauty_, which, as others have said here recently, is E.C.'s best in some time...]. As I roamed the aisles looking for Costello and debating about getting the _Girl 6_ Soundtrack [verdict: if you love Prince, buy it on sale], I began to bounce to the goofy tunes emanating from the store audio system. "What," I asked the friendly clerk, "is this?" Without even knowing of my secret Swindon obsession, he said, "Sounds like XTC, deosn't it? It's this new thing called The Sugarplastic." He played the disc while I was there, and eight other people and I snatched up the last copies in the store. Don't get me wrong, it's not profound. But all of you should go out and buy The Sugarplastic's _Bang, The Earth Is Round_. I would tell you to get E.C.'s _All This Useless Beauty_, but I am sure you already have it, right? One more: _Fidelity_ by The Low Road on Passenger/Caroline Records (same label as Ben Folds Five). Any other Low Road fans out there? These guys are from Philly, and Allen Hewitt the bass player is a big O&L fan. Finally [I promise], let me join the chorus of joy in hearing the news that our boys may have finally won freedom from Virginity. Counting the days to the next XTC release... Thanks for listening, Troy Peters troy@pcc.com
------------------------------ Date: Wed, 29 May 1996 02:30:37 -0500 Message-Id: <v02110100add16579f724@[144.92.180.50]> From: aosterma@students.wisc.edu (Adam J. Ostermann) Subject: Do the Huxtle! > -I've been reading a lot of negative stuff about Freedy Johnston's >cover of "Earn." Sure, it's slower than the original, but I like it. And >his album "This Perfect World" is one of the unproclaimed gems of pop. It's >really quite incredible - anybody wanna back me up on this? Sure. ^This Perfect World^ is the real deal, and his previous labum ^Can You Fly^ is just as good. Rootsy, assured pop for now people, as the saying should go. Well, Sunday I got to catch another ^Testimonial Dinner^ artist - namely P. Hux. The threesome were in Madison as one-fifth of the Non-Stop Pop Matters tour package. Although all the bands (The Jennifers, Bench, 92 Degrees and the MC/headliner Paul Collins) were good, P. Hux had everybody grooving. When Mr. Hux himself got off stage, he was nice enough to share a few words with me. I told him about Chalkhills, and he seemed pretty receptive. We talked about L.A., his wife, all sortsa stuff. Later, he came on and played rhythm guitar for Paul Collins. The only bummer was that I was going to buy the P. Hux CD, but I was strapped for cash, and the nearby walk-in ATM was locked up for Memorial Day. Curses! But I did get a cool sticker.... BTW With his hair cut, Hux looks A LOT like Billy Bragg... Oblig XTC comment: The entertainment warehouse Best Buy had a sale on Geffen Goldline product, which means people can purchase ^Rag and Bone Buffet^, ^Oranges and Lemons^ and ^The Big Express^ among others, for....$4.99!!!!!!!! Oh, and a few Whitesnake CDs, too.... Adam J. Ostermann aosterma@students.wisc.edu ****************************************************************************** Adam J. Ostermann (aosterma@students.wisc.edu) UW-Madison Journalism Graduate-to-be Co-Entertainment Editor, The Badger Herald (http://www.badgerherald.com) * ----------------------------------------------------------------------------
------------------------------ Date: Wed, 29 May 1996 11:20:51 +0100 Message-Id: <199605291020.AA17656@felix.dircon.co.uk> From: nonsuch@dircon.co.uk (Simon Sleightholm) Subject: Bungalow Christie <cbyun@cep.yale.edu> wrote: >Only ONE person wrote in to say they thought Bungalow was a good song. >Doesn't anyone else out there like it? Come on, guys, it's a GREAT song. >Sometimes I have the urge (usually in a quiet library) to burst out >singing, "Bungaloooowww!!! By the sea-eaa!" Come on, I'm sure there are >others out there. It's a wonderful song - Colin's best for a long while. The atmosphere is pure shabby-seaside, it just brings to mind all the people who used to visit these genteel UK resorts (Whitley Bay, Brighton, Seahouses) when they were younger - 40/50 years ago - and who dreamed of retiring there. You can see them there now, strolling bewildered around a town that now throbs to night clubs and slot machines, not fairground organs, and which has swapped deckchairs for dogshit as the main beach decoration. It makes an interesting companion piece to "Seagulls Screaming" which portays the small seaside town in its off season grimness. "Bunaglow" packs, for me, one hell of an emotional punch. I don't know why, though I suspect the orchestration and production may have something to do with it. The demo version doesn't affect me in the same way (I'm glad they ditched the high pitched "la-la-la-lala" bit from the final version), but it's such a well structured song. When after "Luxury accomodation, traps the sun", the backing voices come in and take that descending scale, I get a shiver down the back of my neck. This reminds me. About three years ago I settled in to watch a documentary on the prime of Coney Island, the US fairground to end all fairgrounds. It was a superb bit of work, made even more so by the appearance of "Frost Circus" at odd points throughout the programme. Even now I scan the listings to see if it is showing again. Did anyone else see it? Has anyone got a copy? Or know what it was called? An instrumental take of "Bungalow" would have served the filmmakers just as well. "hence the name" Simon. * --------------------------------------------------- http://www.users.dircon.co.uk/~nonsuch/bungalow.htm * --------------------------------------------------- No Thugs In Our House, only XTC.
------------------------------ From: RCroz75755@aol.com Date: Wed, 29 May 1996 07:34:22 -0400 Message-ID: <960529073421_312831807@emout12.mail.aol.com> Subject: Kevin Gilbert I know there are some fans of Kevin Gilbert on this list...and I did not see it posted previously, but it has been confirmed that Kevin died on Friday, May 17. I don't have any details pertaining to how or why but I will certainly post them as soon as the information is available. Rob Crozier rcroz75755@aol.com
------------------------------
Message-Id: <c=US%a=MARK400%p=GE%l=LINELNT1-960529115203Z-1169@linelnt1.light.ge.com>
From: "Burgess, Christopher (MSX)" <BURGESSC@linelnt1.light.ge.com>
Subject: RE: How do they make their living?
Date: Wed, 29 May 1996 07:52:03 -0400
Rich Pearson wrote:
Subject: How do they make their living?
I've often wondered how AP, CM, and DG do financially. For
instance, Colin doesn't seem to do that many outside musical
projects to "bring home the bacon" so to speak. Do you suppose
he and the others made enough in royalties over the years to
ferret away enough to live on now? Or do you think they just do
side projects when they need some cash? You don't suppose Colin
or Dave have "real" jobs during the day, do you? Does anybody
know?
I don't know about now, but, a few years back I do remember reading an
article with XTC in some men's magazine. Dave and Andy were both
working at a Hertz or Avis rental place to pay the bills.
No justice . . .
Bye!
Chris
* -------------------------------------------------------------------------
Phone:(216) 266-8625 Fax: (216) 266-2313
Dialcom: 8*346-8625
Christopher.Burgess@lighting.ge.com
------------------------------ From: smcdow@arlut.utexas.edu (Stuart McDow) Message-Id: <199605291432.JAA13226@mamba.arlut.utexas.edu> Subject: Colin Date: Wed, 29 May 1996 09:32:42 -0500 (CDT) >From Christie <cbyun@cep.yale.edu> > > And finally, to get to a kind of neglected area--the lovely and > talented Colin Moulding. ... And here's my top ten list of Colin > songs, in no order: > > Heatwave, Smokeless Zone, Ball and Chain, English Roundabout, In Loving > Memory of a Name, Wonderland, Wake Up, Vanishing Girl, The Meeting Place, > Bungalow. I agree with this sentiment - Colin has written some really great songs. Let's give him his due. Here's mine: Dying, What in the World?, Fly on the Wall, I Remember the Sun, The World is Full of Angry Young Men, Smartest Monkeys (except for the smarmy synth solo), The Affiliated (I *love* the middle part), One of the Millions, Grass, Ten Feet Tall. Ask me again tomorrow, and the list will be different. Andy gets the lion's share of attention, but Colin's contributions are wonderful and integral to the sound. Hows about we start a Colin Fan Club (CFC) so he knows he's appreciated? (I'm half-serious about this). -- Stuart McDow Applied Research Laboratories smcdow@arlut.utexas.edu The University of Texas at Austin
------------------------------ From: Bob Thomas <BobT@cait.wustl.edu> Subject: Mr. Cole, Mr. Popularity, Mr. Gott Date: Wed, 29 May 96 10:10:00 CDT Message-ID: <31AC692B@msgw.cait.wustl.edu> TXC wrote: >As regards this post, "Don't Get Weird . . ." is Cole's weakest disc. Get >the early albums with the Commotions and the eponymous Lloyd Cole first >solo disc. I've heard from Tom on this before, and despite the irrelevance to XTC, I need to comment. ( Actually, an appreciation for Lloyd Cole's music is consistent with the high regard subscribers have for XTC, so let's call it tangential ). I agree with Tom's recommendations for L.C. & The Commotions and the excellent "Lloyd Cole" CDs. But, Tom, you don't mean to say "don't buy that other one," do you? Shouldn't we steer first-time buyers away from the notorious "Bad Vibes," instead? I'll admit that the album is a half-and-half affair --- intentionally so, and you thematic types might get into it --- but there are Lloyd classics on that disc (in my, almost fully functioning, mind). You might have to pay for it, though ; >])! |||||||||||| Mr. Lovingood said: >makes perfect sense, but I wonder if, say E.C. and XTC feel the same way. >It seems to me that those artists, and I can think of a few instances, >like R.E.M. and U2 who, when they weren't making enough money, sacrificed >a considerable amount of their passion in quest of the mighty green. >Listen to U2's Boy and then listen to, say Zooropa, you'll see what I >mean. By the same token, R.E.M.'s Murmur and Monster. Elvis could make a >radio friendly album. He certainly has the talent! I don't think it is >that important to him. He has the respect of a lot of people, if not >scads of money, and he continues to please those listeners with solid >releases. Same with XTC. Gee. I gotta agree, Lee. See, I had a lot of respect for both REM and U2 in their early days. Rather, I still respect them, I just don't listen to them anymore. Er, I listen to their earlier stuff . . . oh. hell! you know what I mean! REM has an excellent catalog of 1980's releases that relatively few have heard. They were about as well known as the Revelaires back then. But more to the point, I think there are dangers for XTC in popularity, heavy sales, and the public's adoration. I also think there's little chance they'll achieve it without a more stadium-rock orientation, and a skin-headed or bare-chested crooner up front. XTC make great music for themselves and for us; they just don't have the edge, if you get my drift. |||||||||| Ben Gott typed: >Andy drew skis on the Skylarking female (nymph?), and, on the O&L sleeve, >wrote "Hung like a Hampster!," with an arrow pointing to his...um...pink >thing. >Ben Now, Ben. You took a day off cow-tilting to write this? |||||||| Be good. Bob Thomas
------------------------------ Date: Wed, 29 May 1996 15:28:46 +0400 (EDT) From: Thomas Slack <tgs@telerama.lm.com> Subject: Re: Skylacking Message-ID: <Pine.3.89.9605291518.B16142-0100000@pink.lm.com> John (BugRoom@aol.com) says: > Ian was very excited to get all the responses, > and _Skylacking_ probably wouldn't even happen > without all the enthusiasm from Chalkhills. Ian could respond with a little more appreciation for those who made an effort. I spent alot of time putting together a version of Season Cycle, and after sending it, never got so much as a "Thanks, but we're not interested." Good luck to those of you with a "reserved" song. TS
------------------------------ Message-Id: <v01510102add1c43e540e@[194.128.83.69]> Date: Wed, 29 May 1996 22:41:40 +0000 From: fisher@easynet.co.uk (Mark Fisher) Subject: under the covers Quite disagree with the Chalkie who objected to cover versions. I mean, it's fair enough objecting to *bad* cover versions, but there's always the chance that a cover could improve on the original (though I don't think it's ever happened with XTC) and it's quite common for a cover to tell you something you didn't appreciate about the original. I've just got the Moonshine Willy version of Complicated Game (thanks to the Chalkie who alerted us to its availability) which is simultaneously the best and the worst XTC cover version ever. The worst, because it completely undercuts everything that was great about the original. And the best for much the same reason. Moonshine Willy have been true to themselves and have created a version that you would never have thought possible. It's gloriously daft. And I hope everyone who's contributing to the next tribute tape learns from it. I'd love to know what someone who'd never heard XTC's Complicated Game thought of it. Mark Fisher (fisher@easynet.co,uk)
------------------------------ Date: Wed, 29 May 1996 16:56:30 -0700 From: becki digregorio <ziglain@cruzio.com> Subject: complicated game bridge... Message-ID: <9605291650.aa12160@bbs.cruzio.com> >From: richard.pedrettiallen@octel.com > > Seriously, the bridge lyrics in Complicated Game have me stumped. > They are so wet with echo that I can't decipher them. Is there some > edition of DRUMS AND WIRES that list the lyrics? HELP! richard, a long time ago i purchased a book called "XTC: testi con traduzione a fronte." and, yes, it _is_ in italian. but the english pages that coincide w/ the lyrics have the bridge as follows: "they wanted tom they wanted joe to dress 'em up and stick 'em out on show they were arrows in a very bad aim it's just a complicated game." the first 43 pages of the book are only in italian, and while i'm italian i can't read the book (!). could be interesting with quotes such as: "non voglio essere un eroe, per nessuno. mi considero un Puck invecchiato, non un qualche dio hollywoodiano dello spettacolo." -- andy partridge. hmmm... hope it helps!!! and special greetings to you, simon!!! how are you enjoying the tape?? :) --becki
------------------------------ Date: Wed, 29 May 1996 17:37:41 -0700 Message-Id: <199605300037.RAA14714@dfw-ix6.ix.netcom.com> From: huduguru@ix.netcom.com (huduguru) Subject: Chalkhills' Children Greetings, Chalkies! I just finished mixing down my song for the Chalkhills tribute tape (Not "Skylacking") and was just wondering how everybody else was doing with theirs. I first recorded mine (My Love Explodes) a couple months ago, but a friend of mine gave me an old set of drums that he wanted to get out of his house. Bye-Bye Drum Machine! Hello radically different version of the song! See Ya! Steve
------------------------------ Date: 30 MAY 96 11:40:57 EST From: PCulnane@dca.gov.au Subject: re: Colin Message-ID: <0000lxpdnbzb.0000eucsyikw@dca.gov.au> Christie, No, you're not alone; I'll put my hand up as one of those who loves "Bungalow". The Leslie treatment on Colin's voice adds just that touch of richness and drama to this grand song. It seems to fit the faux-passion inherent in the song's subject. And then there's that stately, transcendent instrumental break in the middle and then Colin comes back in with "standing prime position for the town..." with all that massed choir sound behind him. Ooooh that sends shivers down my spine every time. I'd better go now or I might get naughty. Paul
------------------------------ End of Chalkhills Digest #2-117 *******************************
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