Chalkhills Digest Volume 2, Issue 141
Date: Tuesday, 30 July 1996
Chalkhills Digest, Volume 2, Number 141
Tuesday, 30 July 1996
Today's Topics:
The most obvious drummer!
Cherry in Your Tree
female producers
re: producer babble
Do you want to trade?
Re: Spot
Virgin ES CD better than Geffen ES CD?
Mummer, plus some B-sides
Re: bludgeon...not!
Nonsuch VINYL LPs
It's Snowing Angels
Hey, man, watch the threads...
Producer
couple quick q's
bag production
Andy's productions
The Unthinkable
Dreams/Screams (Paul & Simon)
Monkey bait
SPOT??? and DRUMS and WIRELESS
...a brief note on Urban Verbs...
Change of heart
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---------------------------------------------------------------------- Date: Fri, 26 Jul 1996 11:23:40 -0500 (EST) From: Matt Mondlock <mmondloc@indiana.edu> Subject: The most obvious drummer! Message-ID: <Pine.HPP.3.91.960726112133.13793D-100000@ophelia.ucs.indiana.edu> Is is me or is there one drummer out there that is so perfect for the group and so AVAILABLE? Indeed there is and he could add incredible harmonies as well! (Not something you often get from a drummer, eh?) I speak of Andy Sturmer! (jellyfish) I slap myself in the forehead for not thinking of it sooner...who's w/me? Matt Mondlock mmondloc@indiana.edu "Goodness Gracious, we came in at the end; no sex that isn't dangerous, no money left to spend, we're the cleanup crew for parties we were too young to attend, goodness gracious, me." -Kevin Gilbert
------------------------------ Date: Fri, 26 Jul 1996 14:10:32 -0400 From: nmcgrath@world.std.com (Nancy McGrath) Message-Id: <199607261810.AA04656@world.std.com> Subject: Cherry in Your Tree In Chalkhills #2-140, David Criddle(David.Criddle@cinsycfs.rcc.org) responded to Mark Fisher's (fisher@easynet.co.uk) query: >> someone tell me what exactly Carmen Sandiego is and how it comes to have >> such a groovy soundtrack? > > It was a computer game-cum-kids TV show, a mystery-type thing > wherein kids (or adults, let's be fair) have to go from city > to city based on specific geographical clues and try to hunt > down Carmen, who has for some odd reason gone missing and is > wanted by many many many people. The tie to the kids' TV quiz show is via the rock a capella group Rockapella which has been (for its five seasons, drawing to a close this fall) the "house band," providing many musical clues, all the incidental music and "crook" themes as well as the famous theme song, and throwing in wacky antics for good measure. Sean Altman, one of the lead singers of the group, is a long-time friend of our own David Yazbek; the two co-wrote the theme song. Yazbek and Altman (along with their friend songwriter-producer-musician Billy Straus) produced both "Carmen" albums, including the one on which "Cherry in Your Tree." Yazbek knows Andy Partridge. Ergo... As for the subject of "Cherry in Your Tree," it has multiple layers. Kids interpret it as a song about cherries and pies. Adults, meanwhile, appreciate it all the more for its double meaning. Nancy McGrath nmcgrath@world.std.com
------------------------------ Date: Fri, 26 Jul 1996 14:51:05 -0400 (EDT) From: "Christopher R. Coolidge" <ccoolidg@moose.uvm.edu> Subject: female producers Message-ID: <Pine.A32.3.91.960726144431.73544D-100000@moose.uvm.edu> That's a subject, female producers. I can't think of too many, but one who might be a good match for the guy who wrote "Down In The Cockpit" would be Roma Baran, who's mostly known for producing most of Laurie Anderson's early material.(Big Science, United States I-IV, etc.)This male-dominated industry being what it is, I don't think she's done much lately, so I'm sure she'd be affordable for the boys who just got out of expensive litigation. The most recent thing I can think she's done is an unreleased album for the defunct Montreal band The Bliminals(featuring former Richard Thompson sideman Pat Donaldson and former Kate & Anna McGarrigle sideman Joel Zifkin)back in '90.
------------------------------ Message-Id: <v02130522ae1ed0c9e3c8@[128.89.11.23]> Date: Fri, 26 Jul 1996 14:59:23 -0500 From: abissaro@bbn.com (Andrew Bissaro) Subject: re: producer babble hi in the last edition, Dave Gershman asserted: > I actually do have better things >to do than sit around intentionally listening for what sort of "sound" >albums have, but one usually can't help noticing it, I'm afraid. Amen, brother! Unfortunately, one can't help noticing it on one too many xTc albums... A bit later, Kevin Mathews gushed: >. O&L was for me the album >that epitomised the best that XTC can be. It's strong, psychedelic and >ultimately even handed. Spot-on, pal. Is it me, or is the closing 10 minutes of O&L the most F***ing Perfect Musical Bliss Imaginable!!! MY GOD maybe English settlement comes close, but the boys have never sounded more with-it. > No surprise that Robyn Hiotchcock's >brilliant Perspex Island was similarly produced by Fox. Yes, Kevin: yes. Perspex Island is a masterpiece, in many ways inspired by O&L. The album is a chimy, rockin', potent call to arms. Now, the more I read all this producer babble, the stronger the feeling becomes that it has to be Froom. He's paid his dues, recorded a LOT of pop, and matured pretty well. His wife (S. Vega) is a HUGE XTC fan and would undoubtedly have some interesting contributions to taking the proceedings on some level...and then they could get Richard Thompson to play some guitar, and Jim Keltner to play drums (he would do a NICE job with xTc), maybe Elvis would show up for some BVs...I guarantee if this happened, the good vibes would spread and produce a real Work of Fine Musical Art. Yes, this is what it must be; I'm glad we're all in agreement. Now a question: what do y'all think of Cast? I haven't heard anything but the single, but any band with former La's in it has to be interesting... love, ab Andrew Bissaro BBN on the World Wide Web http://www.bbn.com abissaro@bbn.com (617) 873-3024 "I do everything from the heart, from personal conviction. If you try to find love by charting a course, you'll never find it." --Van Cliburn
------------------------------ Message-Id: <v01510102ae1ec9459f8f@[130.244.120.62]> Date: Fri, 26 Jul 1996 21:29:28 +0200 From: per@aron.pp.se (Per Aronsson) Subject: Do you want to trade? I have a lot of of doublets that I am willing to trade. Here is some of them: 7-singles: Love At first Sight, Canada. Earn Enough For Us, Australia promo. To Many Cooks in The Kithcen (The Colonel). Thanks For Christmas (Three Wise Men). Bags Of Fun With Buster (Johnny Jap hand His Jesticles). 12-single: Great Fire, US Promo. LP: Live And More, Japan. Cassettes: Jules Vernes Sketchbook and The Bull With The Golden Guts. (Yes, the originals.) Please e-mail if you have any rare items that you dont need... I am amongst others looking for Science Friction, Austraila, Rip van Reuben, flexi and Andys christmas greetings om a Geffen-CD. Greetings from Sweden - where an XTC-album sells lousy 2000 copies. Per Aronsson.
------------------------------ Message-Id: <199607262038.PAA25698@mailhost.onramp.net> Date: Fri, 26 Jul 1996 15:41:33 -0600 From: gimarc@onramp.net (gimarc@onramp.net) Subject: Re: Spot > Anyone ever like or hear of Spot? They sound sort of like a cross > between Nirvana and XTC. Interesting to listen to while waiting > (seemingly forever) for the next drop of previously-unheard XTC... The Spot he's speaking of is the group with one CD on Ardent Records. They're based here in Dallas and used to go under the name Mildred (who also released a very XTC-ish CD). I agree- if you go for the Swindon lads, you'll probably go for spot. Rather complex little pop band. Accept no left coast immitations. All the best! George Gimarc http://www.onramp.net/RGP/ home to: Punk Diary 1970-79 (St. Martin's Press) Hollywood Hi Fi (St. Martin's Press) Elisabeth Fairchild (Signet Regency Romance author) Reel George Productions, Inc (Record company)
------------------------------ Message-Id: <v01510105ae1f08fbae9d@[169.132.99.120]> Date: Fri, 26 Jul 1996 20:10:50 -0400 From: mnaran@village.ios.com (Matt Naranjo) Subject: Virgin ES CD better than Geffen ES CD? The ES UK vinyl release still reigns supreme in terms of total dynamics--clean highs, and ball-buster punchy bass. On the digital side, I'm afraid that, unless there was a UK CD release made over the last few years, the US Geffen CD is as good as you can get right now. This version came out sometime in 1988 and was mastered by Sony's DADC division,(which also mastered O&L and Nonsuch worldwide). This version was notable in being COMPLETE, compared to the initial Virgin CD, which was originally produced by the French MPO facility sometime earlier, and was abridged by a few tracks to meet what was then a lower CD program capacity. No one minded in Europe, since vinyl versions also were cropped in various ways to adapt the album into a single disk format. "Yacht Dance", "Knuckle Down", & "Fly on the Wall" were common omissions.
------------------------------
Date: Fri, 26 Jul 1996 17:30:28 -0700
From: relph (John Relph)
Message-Id: <199607270030.RAA14509@mando.engr.sgi.com>
Subject: Mummer, plus some B-sides
Kevin Brunkhorst <KB305@aol.com> is working non-stop! He has been
slaving over a hot guitar, and has sent in the chords for the
following songs from _Mummer_:
Me and the Wind
Funk Pop a Roll
In Loving Memory of a Name
Ladybird
Human Alchemy
Toys
Jump
Deliver Us From the Elements
Great Fire
Wonderland
Beating of Hearts
Kevin has this to say to all of us:
Get your guitar, cue up the CD.
Proud to be on the website, looks good there.
What's next?
So check out the charts and chords archive today!
-- John
------------------------------ Date: Fri, 26 Jul 1996 23:37:39 -0400 (EDT) Message-Id: <199607270337.XAA04142@cyber1.servtech.com> From: Joshua Hall-Bachner <particle@servtech.com> Subject: Re: bludgeon...not! > "The Disappointed": Didn't someone point out the resemblance > to Tears For Fears at one point? Okay. Three albums of pretty blatant 60's psychedelia is okay. One song that sounds *vaguely* like Tears For Fears is bad. And besides, Gus didn't write the songs, did he? > "Crocodile": "That "boink-boink-boink" guitar noise and the > awful cowbell idea. You mean the R-to-L thing? I like that! And I don't hear a cowbell. (I do hear one of those Mexican "fish" that you scrape, but I don't see the problem there either.) > "That Wave": Dreadful multitracked octave vocals at the > beginning -still- remind me of an awful The The B-side. > Some of the song segues don't work. (Why are people always > compelled to make songs fade into each other on XTC albums? > It isn't necessary, folks!!) I think the weird vocals add something to the song, personally. While some of the song crossfades do kinda suck (Disappointed to HuoP, for example), (a) They've been that way forever (e.g. NTiOH to YD on English Settlement) and (b) The fade from TW to TSA is one of the most natural (and one of the best) segues on any of XTC's albums. (I do agree they should dump the song medleys, but I assume that's the boys, not the producers, doing that.) And, even if all the above is "bad", it's still not much. If that's the extent of it, I really don't see anything to complain (or, in many cases, whine) about. Come on, post a complete list! /----------------------------Joshua Hall-Bachner----------------------------\ | particle@servtech.com http://www.servtech.com/public/particle/ | | "Life is like a jigsaw. You get the straight bits, but there's something | \------missing in the middle."--XTC, "All Of A Sudden (It's Too Late)"------/
------------------------------ Message-Id: <199607271416.KAA13276@mime4.prodigy.com> From: Moonsilver@prodigy.com (MR NOBLE K THOMAS) Date: Sat, 27 Jul 1996 10:16:39, -0500 Subject: Nonsuch VINYL LPs If anyone is interested in acquiring UK LP pressing of Nonsuch then please privately e-mail me at Moonsilver@Prodigy.com. I can get them at a very reasonable cost. Also have 1 extra copy of the Yazbek CD (UK Import) available. As for producers, I mentioned Don Was about a month ago which elicited not a single response, so perhaps just a creative engineer and let it flow all by itself in the studio.
------------------------------
Message-Id: <199607271507.AAA01070@mita1.cc.mita.keio.ac.jp>
Subject: It's Snowing Angels
Date: Sun, 28 Jul 1996 00:07:13 +0900
From: NAOYUKI ISOGAI <b9400863@mita1.cc.mita.keio.ac.jp>
Hello There!!!
The other day an incredible way of listening to some songs
suddenly occurred to me, and I'll let you all know how it goes...
I believe most Chalkhillians have "It's Snowing Angels," and I'm
AFRAID that you like to listen to it in as-good-as-possible sound
quality, especially those who have _HELLO_ CD. But here's a way of
listening that lies opposite your view. I suggest you should make
a dub of dub of dub of ... dub of that song so that it will sound
pretty low-fi, and listen to it. I like this low-fi version much
better than _HELLO_ version.
Go ahead, take a tape and try!!!
Peace,
---- NaoyuKing, the department "Fine art never moved my soul
of Economics in KEIO Univ. No vintage wine designer clothes
But my world shakes for me
E-mail : b9400863@cc.mita.keio.ac.jp My bird sings sweetly..."
------------------------------ Message-Id: <199607271654.RAA00495@aoife.indigo.ie> From: "Daniel Prendiville" <modjp@indigo.ie> Date: Sat, 27 Jul 1996 15:36:15 +0000 Subject: Hey, man, watch the threads... The bould myke <jerk@earth.execpc.com> said in reaction to my question "what's wrong with Mr. Dudgeon's production of NONSUCH? > I really do hate to make a list and submit it to Chalkhills > (don't ream me!) but I must react. > > "The Disappointed": Didn't someone point out the resemblance > to Tears For Fears at one point? Who wrote the music, Andy Partridge or Gus Dudgeon? And if it does sound like TFF, isn't it time someone gave Andy a curt reproach? > "Crocodile": "That "boink-boink-boink" guitar noise and the > awful cowbell idea. That guitar noise (love the technical jargon, BTW) is not too dissimilar from the opening of POOR SKELETON. So that's Paul Fox's fault in reality, isn't it? And how about that "awful" iron pipe sound (or whatever) in TOWERS OF LONDON? Steve Lillywhite, drop your kecks and prepare for a spanking > "That Wave": Dreadful multitracked octave vocals at the > beginning -still- remind me of an awful The The B-side. The production on that track is a paragon of subtlety when compared to the production/arrangement/performance of TRAIN RUNNING LOW, a track which everybody seems to love, for some reason. > Some of the song segues don't work. (Why are people always > compelled to make songs fade into each other on XTC albums? > It isn't necessary, folks!!) Like, f'r instance? On the other hand (there's a fist...), that bluff cove of a Northumbrian, Sir Simon of Sleightholm, is giving out socks about recent threads, in particular, the ongoing producer thread. I know we've discussed this problem frequently over a late night cocoa and a digestive biccie, and while I'm in agreement with you generally, the thought has struck me that if it weren't for idle (some of it very idle) musings about producers, album titles, the *proper* running order of albums, songs referring to monkeys (nobody copped MONKEY CHOP by DAN I, circa 1979) etc. etc., we'd have bugger all to talk about really. There's only so much archive information to unearth, so much hot poop (FOSSIL FUEL) to digest, so many T-shirts to sell and so many plugs for Dave feckin' Yazbek playing in one's basement. So what's to do, Simon?? And as for "listening to production", you should try listening to SKYLARKING *without* the production. It's all over the album like a dog in heat... Finally, and in conclusion, my thanks to Terry Chambers via Paul Culhane (a son of a son of a son of Erin, yes?) for coming up with the perfect title for any future tribute release:- "SUCK MORE PISS" There, I've said a mouthful already. Be Seeing You djp P.S. Hooray for Michelle Smith!!!!
------------------------------ From: SDynamo@aol.com Date: Sat, 27 Jul 1996 17:31:08 -0400 Message-ID: <960727173106_247075861@emout18.mail.aol.com> Subject: Producer Howdy, folks! First time contributor, here. I've been listening to XTC since English Settlement, so I have some historical perspective, though perhaps not as much as some. Since the producer/drummer vein has yet to be tapped, I will submit my own entry. To those of you who reacted viscerally to the earlier discussions of Rush, I ask you please to keep an open mind to my suggestions. A number of people here, and in the AOL forum I also haunt, have noted that in some of the more recent albums, the choice of producer has led to a muddying of the sound, specifically in the drum attacks and the bite of the guitar sound. As an antidote to these concerns, I would suggest Ted Templeman as producer and Alex Van Halen as drummer. Templeman has given the Van Halen recordings, particularly those of the David Lee Roth, pre-"1984" era, a very live sound. Guitar attacks and overall drum sounds are very clean, though not in the current sense, where the idea is to make it sound like you are five feet away in the band's basement. I mean clean like you are 30 yards away at the arena. Alex Van Halen admittedly is not the most clever drummer in the world, but neither was Terry Chambers. I never felt that XTC's compositions demanded much of the drummer. With Templeman's production, he would definitely give them as big a drum sound as they have had in a long time, maybe ever. I should note that I am not a big Van Halen fan. I have never seen them live, and I own just one album of theirs (Diver Down), which I bought for one song. I do like the production, however.
------------------------------
From: Saints3Den@aol.com
Date: Sat, 27 Jul 1996 17:45:31 -0400
Message-ID: <960727174530_586268412@emout15.mail.aol.com>
Subject: couple quick q's
hello there , a couple of burning questions which may at one time have been
asked...
1 Who is/was Hans de Vent,
2 In chalkhills proper, "eartime", i think its called , why is there
nothing for Nonsuch...Beeswax... 25 O'Clock ?
Regarding Vinyl English Settlement... In my search ,years ago for a copy
with lyrics, I too noticed a much higher sound quality in the UK version ,
and it took me buying at least five different copies until I found one with
lyric sheets. So, how do you get a copy? THen it wasn't easy,(trial and
error,) now it may be impossible to find..
eddie
By the way, was that a real small flying monkey , or just a big
asshole?
------------------------------ Date: Sat, 27 Jul 1996 19:27:42 -0400 (EDT) Message-Id: <v01510100ae20161026ab@[128.230.1.73]> From: pebrantl@mailbox.syr.edu (Paul Brantley) Subject: bag production Producers do a variety of things in a variety of ways; sometimes they do next to nothing. One should not assume that everything that winds up on an XTC album, in the way of arrangements, engineering sounds, etc., is the result of the producer's decision. Even in the Skylarking sessions, the infamous tension arose as a result of Andy and Todd butting heads. What seems fairly clear from interviews and such I've read over the years is that Andy has needed "that other person" around to butt heads with, to bounce ideas off of; it seems to be in his nature. In the case of Paul Fox and David Lord, Andy apparently did what he wanted and it was fine with them. With Gus Dudgeon, Andy did what he wanted and it wasn't fine with Gus. With Todd, Andy got a much flatter head. If you listen to the demos from the last 3 or 4 albums, the "basic" arrangements of Andy's tunes are replicated pretty directly on the actual albums, the BIG exception being Skylarking, where grooves are re-thought, chord structures and bass lines are clarified, and even song structures are modified, etc. Andy's eventual appreciation of that album suggests that he really learned something in the process. Todd, of course, finally found a peer. Concerning the new album, there seems to be one crucial criterion worth considering: having a producer/engineer team around that knows how to deal with recording, scoring, transcribing, understanding orchestral instruments, because as the new demos bear out, the music is full of Andy's promised orchestrations. Let's wish them Pepperland. Paul
------------------------------ From: Heccubus@aol.com Date: Sat, 27 Jul 1996 20:41:52 -0400 Message-ID: <960727204151_247149747@emout15.mail.aol.com> Subject: Andy's productions Hello all, This production thing is quite funny. Colin & Dave do not want themselves to produce because they feel that Andy will not let them participate in production decisions. Someone else will help keep him under control. And as for Andy's production, Having heard both Martin Newell's "Englishman" and Andy's Hello CD Club EP there is much to be desired in his production abilities. He is really my most favorite performer/songwriter but I feel the production is best left to others. And most every album has sounded great and represented growth for the band in every way. The only exception is Todd Rundgren's production of Skylarking, the guy needs to put down the bowl, all of his drug taking has ruined his ability to HEAR music. Utopia albums (early to mid-eighties ones) are so damn muddy and Skylarking is the most deafeningly bright professional album I've ever heard. The mobile fidelty CD sounds better, I think they must have really remixed the master. And as for Mr. Yazbek's production of XTC, I'm truly thankful for his efforts to bring new XTC music out during this incredibly long dry spell, but his production too leaves much to be desired. Mitchell Froom could be an excellent choice as he is one of my favorite producers of late. The last two Los Lobos albums have been astounding, as were the Froom produced Elvis Costello and Crowded House albums. Here's looking forward to the possibility of an entire new XTC in the next year or so. Thanks for listening (figuratively of course).
------------------------------ Date: Mon, 29 Jul 1996 01:10:52 -0700 Message-Id: <199607290810.BAA02465@dfw-ix6.ix.netcom.com> From: mikem9@ix.netcom.com (Mike Martis) Subject: The Unthinkable I don't mean to be the guy throwing a wet towel on all the speculation regarding the new album (especially so soon after breaking free from Virgin's death grip), but I've got to bring it up: What if Mssrs. Partridge, Moulding and Gregory can't get a record deal? Now, I KNOW that most of us on this list consider our lads to be popular music's most important trio since Frank, Dean and Sammy. But let's play Mr. Record Company Executive for a moment. Here's a band that has received critical acclaim many times over and has a fiercely loyal (if not massive) following. And beyond that...what? Here's what: --Their "signature" tune (Senses Working Overtime) came out 16 years ago --They've never sold a ton of records --They're not the type of band that appeals to today's mainstream music-buying demographic, in large part because (see next item) --Their sound does not lend itself to a major radio format --They don't tour --They're coming out of an ugly relationship with their former label, which could leave some big-desk types to consider the guys "difficult" to work with, and --Umm, well...they're getting on in years a bit. Again, I'm playing devil's advocate here - I'd buy five copies of a new xTc record if it'd help assure some semblance of commercial success and in turn guarantee more records. But as a business prospect, what record company is going to invest in an entity with that type of portfolio? In these bottom-line times, is there anybody out there willing to take on a truly great artist despite the fact that it's got a decent chance of being a commercial bust? On the flip side, maybe the new label would pump money into their new signee and promote them properly, and Prince of Orange will be a smash hit among Alternative, AOR and Adult Contemporary formats alike, and the new album will sell millions. Andy will suddenly crave touring, and the band will entertain hundreds of thousands of new and old xTc fans alike in arenas across the globe... I don't know. I may be caught up in a bit of needless worrying, but I've heard that some members of the band have expressed similar concerns. Of course, after all they've been through, they're certainly to be forgiven for being a tad skeptical about matters pertaining to contracts and the like. But one thing appears fairly certain - the signing probably won't be the slam-dunk we (at least I) initially thought it would be. That in itself is a damn shame. It would be a travesty of immense proportion should something happen and the three don't ink a deal and are forced to go their separate ways. Please, somebody tell me I'm hallucinating... --Mike aka "Concerned in California"
------------------------------ Message-ID: <31FCE45B.6085@bright.net> Date: Mon, 29 Jul 1996 11:18:35 -0500 From: R+K Carvey <carveys@bright.net> Subject: Dreams/Screams (Paul & Simon) Paul in Australia wrote: "... So, with some guile and gall, I approached somebody who looked "in charge" and requested entry to the inner sanctum. Entry duly gained, I headed in and met all four Swindonians, just like that!..." Thank you! These are the stories we all want to hear, but we are just too shy to ask for. Paul, your story was a jem, a gas, a laugh! It should be viewed by other subscribers as a challenge to lay down your thoughts of "dream producers" and relate some very real XTC stories to the group. The First Time Thread would be much more recreational than the next dead monkey song. I'm going to compose mine right now (but it won't be as exciting as Paul's!). Excellent story! Simon Sleightholm sez: "... There may be a few deluded souls who've made "suggestions" with the hope that - in true B-movie style - Andy will be browsing Chalkhills, see a name and snap his fingers - "That's it!"... Amen, my brother, amen. There has to be more information/news/gossip/tales regarding the band out there somewhere, instead of resorting to "what ifs" and the like. Next, we'll all be reading threads regarding the possibilities of sounds if George Martin had produced Go2 and if Andy had been replaced by Tiny Tim. Let's move on. Thanks, Simon. Boy, we need that new album badly, don't we? Sincerely to my Chalkhills pals, Roger Carvey
------------------------------ Message-ID: <FB0ED72F01291300@ametsoc.org> Date: Mon, 29 Jul 96 14:14:00 -0500 From: dgershmn <dgershmn@ametsoc.org> Organization: AMS Subject: Monkey bait TikaMasala@aol.com said: >Gee, Dave, need a little counseling or something? It was a joke. A >simple little joke. And you killed it dead -- just like my little monkey. >Are you happy now, oh mighty Lenny Bruce of webland? And Garbarek@aol.com followed up: >Subject: RE: Attacking the poor guy with the monkey. >To whoever it was that jumped all over the guy with the monkey joke -- why >don't you take a chill-pill, man. "Counseling"? "Chill-pill"? Please. Okay, okay, I'll admit, MAYBE I could have eased up a bit or just let it slide. OF COURSE I understand it was a joke...honest, comrades. It just sounded like a pretty mean-spirited one to me, and I felt the need, however unnecessarily, to put in a word on behalf of those you were "humorously" trouncing on. But I beg your forgiveness. Heck, my "monkeys with typewriters" response wasn't terribly original or all that funny itself. Hardly worth your vehement reproaches any more than the original joke was worth mine, in any case. And now for something completely unrelated... It was mentioned here recently that George Martin has suffered a loss of some portion of his hearing in the years since the Beatles -- a very unfortunate occurrence, to say the least. This knowledge now renders the title of Martin's autobiography terribly ironic: "All You Need is Ears." And finally, on a lighter note, here's my Eloquent Thought of the Day: XTC Rules!! Yeah. Dave "Lenny" Gershman
------------------------------ Date: Mon, 29 Jul 1996 12:11:42 -0400 Message-ID: <1FCF87C0.@messaging.tfn.com> From: barkerw@messaging.tfn.com (Welton Barker) Subject: SPOT??? and DRUMS and WIRELESS >There is a band here in L.A. called Spot...is THIS that band you're >referring to? I saw them play at the Roxy a few times, only because one >of my friends was an acquaintance of someone in the band...I don't know, >I wouldn't relate them to XTC I really don't know if this is the same band or not. The band I'm talking about is managed by a company in Georgia, so it might not be the same band. They have an album out on Ardent records. Admittedly though, this group is not at all and "XTC-type" group. They just remind me of XTC at times in that they use changes that are somewhat more sophisticated than the average run-of-the-mill pop or rock groups. Other bands I would place in the same area of "some XTC relatability" are TOO MUCH JOY, BLUR, and even EGGSTONE. SPOT are much harder than the previous three though. Long story short (although it's really too late for that), they're a good band, and might be worth a listen. On to XTC STUFF!!!!!! I just got a copy of DRUMS AND WIRELESS and am absolutely delighted at the quality of the cuts. I was afraid that it would be a bunch of reissues of other BBC recordings of XTC, but this is not so. It includes cuts from 1977 up to 1989, and is really a great addition to any collection. I highly recommend it to anyone who is at all fanatical about XTC. Welton
------------------------------ From: jrsnipp@interserv.com Date: Mon, 29 Jul 1996 14:56:43 -0700 Message-Id: <199607292156.OAA15069@m1.interserv.com> Subject: ...a brief note on Urban Verbs... When Patte Zumbrun <pzumbrun@goucher.edu> mentioned: > Lastly, I saw XTC in Baltimore Maryland, USA when Black Sea came out. The > warm up group was Urban Verbs from Washington DC. I had a major 80's flashback. Briefly stated, IMHO, Urban Verbs album "Urban Verbs" was one of the best albums to come from a band never to be heard from again. After their album "Early Damage," I never heard anything from them again. (Being in Omaha, NE though, this is not surprising.) Anyone know "where are they now?" Please e-mail me privately, so as to not incure the flaming wrath of XTC police.... Joe
------------------------------ Message-ID: <31FD5432.5AA6@cyberhighway.net> Date: Mon, 29 Jul 1996 19:15:46 -0500 From: ross <ross@cyberhighway.net> Subject: Change of heart Okay, I'll admit it. You guys convinced me to take the time to listen to NONSUCH, thanks, it worked. I never got around to listening to it in the proper manner, ie. laying down with lyrics in hand, loud volume. I was kinda turned off by the mellowness and frequently used it as, brace yourself, background music (please don't hurt me). Well, today I was once again impressed by the allusions, metaphors and references used by A.P. The lyrics gave me that same old feeling that English Settlement and Skylarking did way back when. I'm tearing up. WHAT FUN! P.S. if you haven't ever listened to all your XTC cd's cronologically in one sitting, try it sometime (harder for some than others). It's was a learning experience for me. Thanks for listening, Laura, aka- gutierrezross@library.edu.uta
------------------------------ End of Chalkhills Digest #2-141 *******************************
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