Chalkhills Digest Volume 3, Issue 36
Date: Wednesday, 20 November 1996
Chalkhills Digest, Volume 3, Number 36
Wednesday, 20 November 1996
Today's Topics:
All XTC almost all the time...
Pronunciation yet again
Not Adventurous
stoppeth 1 in 3
XTC Musak
Minor Correction
He saw the light...
Chromatic perceptions
Re: SNL
A sharp Sputnik...
Post number 28
Partch's Petaluma in Papersnow
Pointing it out / Number 6 / FF for those at the end of the worl
Falkner on Matthews
Tomorrow Never Knows
OffTopic: Re: Tomorrow Never Knows
Jewels of X-T-C & the radio
My post don't need no es-stinkin' subject!
XTC - the pronounciation
Metaphors of Life
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---------------------------------------------------------------------- Message-ID: <c=US%a=_%p=AETNA%l=AETNA/AETNA/001CC25C@aetna.aetna.com> From: "Witter, Karl F" <witterkf@aetna.com> Subject: All XTC almost all the time... Date: Tue, 19 Nov 1996 14:32:00 -0500 Odds and ends after a week's self-imposed silence... Scarecrow People: This may be a bit late, but yes, I love it. Nowadays few songs seem to be about *anything*. It tires me to see people who label comments calmly or wryly said as "heavy-handed", "overbearing" and "didactic". (That's not Chalkhills I'm describing BTW.) Then they will "depoliticize" by insisting you don't "ruin everybody's good time", and your forced acquiescence, or perpetuation of the status quo, is not a political act! Our boys generally have the talent to dress up their thoughts for easy appreciation plus clever consumption by those (like many here) who'd dig deeper into it. You can point anyone who calls that ranting to Father Coughlin for comparison. (Plus, the "nursery rhyme" attitude of O&L and Scarecrow People works even better.) Shake You Donkey Up: Leave to other, lesser talents ;-) the "Love is like a red, red rose" and "Love is like a butterfly". Andy lays it on the line with the realization that "Love is like a jackass". Extra jollies from "laden down with shame" and "dug your spurs in", to expand on the allusion. Looking at Scarecrow and Donkey, I'm curious if Andy will go back to the distinct "fiddley" violin sound (as opposed to the straight strings a la "1000 Umbrellas") anytime soon. Bad songs: Following up on the "bad songs" thread, especially on Ben's point, I'm reminded of the idea that fiction writers sometimes just need to get a story out of their system so they can proceed to the next. Surely this can apply to songwriters too, especially non-touring ones when the final phase of the creative process is putting the product down on tape. William Ham: You aren't the first to miss WBRU in Providence. I am told that it's become a bit more generic and playlisted since my weekly trips into BRU's broadcast area ended 4 years ago. It still is better than the "alternative" format sweeping the nation. We must be listening to the same station, except mine is in Hartford CT, where the XTC content streches to three songs: "Dear God", "Mayor of Simpleton" and "Peter Pumpkinhead". And yes, that's on the "flashback cafe" too; in order to taste that you must then wade through the "alternativo" stylings of Billy Idol and Duran Duran. For the rest of the time the station could be replaced by maybe 2 CDs, repeated to death for a month. The curse sows seeds of blessing, cos only since then I've started on buying recordings which brought my latent XTC fandom out. "Fossil Fuel" remarks of a tangential variety: My interest in it is like one of your basic All-Star games: When it occurs, it's the only thing on that resembles what you're really after, even though you can tell the difference. (No new songs on FF v. no defense at the NBA all-star game is one example). If FF captures the attention of the casual fan (who wouldn't buy an XTC album or pay attention otherwise) like all-star matches might, well, that's a plus. As fanatics, it's our job to whip them into a rabid frenzy (like we are now) for the next real article. (From Damian Foulger) I didn't know that we were a cult... Of course we are. Now be quiet and drink your Kool-Aid! Speaking of cults, please excuse me while I find out how to watch what may be the last Grey Cup game ever. Since Saskatchewan didn't make the playoffs this year, Go Esks! My penicillin does its best, Karl
------------------------------ Message-Id: <v01540b00aeb79024a077@[144.58.3.44]> Date: Tue, 19 Nov 1996 09:33:22 -0700 From: kevinc@boardwalk.net (Kevin Collins) Subject: Pronunciation yet again Me? A fan since the heady new wave days of the late 70s. I've *never* *ever* heard it pronounced 'ecstacy' by fan or radio DJ. Period. If anyone had done so, they would have been looked at like they were really stupid. Time magazine takes email. Maybe Chalkhills should collectively send a letter to editor chiding them for this garish and embarrassing (for them) blunder.
------------------------------ From: Rich.Wayne@cor.dowjones.com Date: Tue, 19 Nov 1996 13:21:07 -0500 Message-Id: <860*/PN=Rich.Wayne/OU=sb1/O=dowcor/PRMD=dj/ADMD=mci/C=US/@MHS> Subject: Not Adventurous I'll probably get killed for this but... why do most Chalkhillians only mention very mainstream bands besides XTC? I find it hard to get excited about Sugarplastic, Spooky Reuben, Cardigans, TMBG, etc... XTC are a very imaginative pop band and yet there's almost no mention of similarly brilliant pop and ork-pop bands not played on mainstream radio. Mystified. -rich
------------------------------ Date: Tue, 19 Nov 1996 09:23:35 -0800 (PST) From: Thomas Long <tlong@unixg.ubc.ca> Subject: stoppeth 1 in 3 Message-ID: <Pine.SOL.3.91.961119084901.15070A-100000@interchg.ubc.ca> Amandillians, OK... I confess to being totally unimpressed by the whole "there's an expletive in Great Fire - really there is" discussion of yore... I KNOW their records inside out, must be some neophyte... well, whoever it was who brought it up, bless you... it's true, it's true... listening to FF (how Virgin laughed as they purchased things they already had) the other night, it came in loud and clear... right after the line "hot as this", but before "curling round"... no, I'm not a loony... I hold down a regular job and am always kind to animals... it reminded me of Harrison's "foot" in Ob La Di... so laugh if you must... go ahead, for I am secure in the knowledge that the word "fuck" is safely attatched to the middle 8 of Great Fire and no one's going to tell me different... now if I can only convince people that Andy shouts "knickers" at the end of Rook, life will be complete... thomas
------------------------------
Date: Tue, 19 Nov 1996 12:17:23 -0500
Message-ID: <291EDB80.1342@cinsycfs.rcc.org>
From: David.Criddle@cinsycfs.rcc.org (David Criddle)
Subject: XTC Musak
Anybody else heard the Musak version of Mayor of Simpleton? I was in
Indianapolis for a training seminar last week. It was one of those
weird things where you are talking to someone, then suddenly you
realize that the atmosphere music is clawing it's way into your head.
I guess Musak musicians can have good taste too. I wonder who chooses
what songs these people do? Anyone else heard it?
Now wouldn't that be something funny to pop on to a mix tape?
I am going under the assumption that when the XTC fellows finally put
out another album, we will all get back onto the subject. I was quite
turned off by all of the non-XTC related posts at first, but who can
blame us?
Soooo, while we are at it...How about the Fountains of Wayne? If you
are into poppy stuff, this is the rich creamy filling of pop. Not to
say it is sugar coated pap, mind you. It kind of has a poppier
Cracker kind of feel. Maybe an even more tuneful Weezer. Very solid
songwriting. Much better than the J. Falkner, IMHO, but along those
lines.
Self is very cool, if you like harder, yet melodic stuff. Very
challenging, interesting music.
Brenden Benson is also a "better than Jason F. and the Grays but not
as good as Jellyfish" entry.
I hate to clutter up chalkhills with all this, but, once again I
assume we will all switch the channels back to XTC when the time
comes. In the meantime, I have sure found some great music via you
guys. Have I really been a member of Chalkhills for 6 years?
Dave
------------------------------ Date: Tue, 19 Nov 1996 21:10:15 -0600 Message-Id: <199611200310.VAA30933@ns2.netins.net> From: JH3 <jh3@netins.net> Subject: Minor Correction James Dignan asked about versions of "Tomorrow Never Knows," Brookes McKenzie replied "didn't some awful female singer ca. 1991 do [that]?" and I replied "I'm probably wrong, but wasn't that SexGangChildren?" Once again my memory failed me: It was actually a band called Monsoon (not related to the recent act known as "Monsoon Featuring Sheila Chandra.") Out of print and hard to find these days. Once again, no XTC content... sorry... --John Hedges
------------------------------
Date: Tue, 19 Nov 1996 14:20 +0930
From: "VanAbbe, Dominic" <dominic.vanabbe@faulding.com.au>
Subject: He saw the light...
Message-id: <01IC2KPDBCYQ00FC4P@faulding.com.au>
Hola Hillsters,
A note to shed light/answer/respond/agree with etc. issues raised in
#3-34:
Firstly, from Mark Strijbos:
>They are radio sessions - multitracked and certainly not live
>Fans have been exchanging tapes of these sessions for ages and have
>often asked the band and/or Virgin to release them.
>My only serious gripe about the Wireless CD is that it is by no means
>complete - there should be a volume 2!
Agreed, and I certainly agree with you that D&Wless is a worthy purchase (if
only for NTIOH and SP). The coverart pisstake sleeve of D&W is cute too. I
could be wrong, but I vaguely remember reading a snippet with AP from about
18 months ago. In reference to the possibility of the BBC compiling a
second volume, AP claimed that the BBC had lost the master tapes, and so
hence it probably wouldn't happen.
Secondly, from Jason (re.Sugarplastic):
>Hey, rock on! (my stock response to everything cool) I was introduced to
>them by a friend in Seattle who informed me that "they sound like you."
>I immediately bought "Bang", and, while not sounding *quite* like the
>stuff I do, jived with my taste enough so that I consider it to be one
>of the best albums of the year.
P@ul-of-Oz brought the seedy to Melbourne with him. It's well established
that they're XtC, erm, "influenced", but I'd not realised the extent of it.
P@ul took great delight in watching my facial expressions as
track-after-track of *VERY* XtC-ish stuff eminated from my stereo. At least
they're up-front about it, like Blur and TMBG. Maybe other bands like
Inspiral Carpets could take a leaf..
Incidentally anyone who has not had a face-to-face encounter with a fellow
Hillster should do so. The mutual picking of musical minds made for a
fascinating weekend, and I'll endeavour to meet more fellow Melburnians in
the next few weeks.
Thirdly, from Keith Beck:
>I've got a copy of Wrapped in grey CD 5, does anybody know what it
>is worth?
>I got five copies from the above shop, I paid 99 pence each for them,
>kept one for myself and gave the other four away......Aaaahhhh!
Well, oo's a silly bugger then... ;-) Given another, say, ten years (judging
by the value Science Friction 7" has acquired) you could have probably just
about bought Australia I'd say ;-)
And from Mark Strijbos again:
>I think not - the live version will always be slightly different and
>therefore at least "interesting" and sometimes a live version even
>surpasses the album version.( the Battery Brides B-side ? )
Ackshirley, I was always quite partial to the live "Set myself on fire" on
the same B-side. I ain't a huge WM fan, but IMO this rendition is
infinitely more powerful.
And, from Mark yet again:
>Dave ( another Dave! Is this a conspiracy? ) Gershman said:
>> There is a point at which a non-XTC topic could get
>> carried too far (though I really don't think we've quite reached that
>> point with any of them), but really...XTC do not exist in a vacuum.
>Agreed.
>And I really don't object to people pointing me to similar artists
>or a thread on the influence of the Kinks or Beach Boys on Andy but I can
>do without a long boring thread on the merits of Macca's "Goodbye"
>and whether or not it should have been included on Anthology III.
>Or how the producers messed up that CD...
Yes, yes and yes!!! This was my point eggs-actly from a few issues ago!! I
accepted a (thoroughly anticipated) flaming for my mail which was admittedly
coarser than I'd intended (dammit, that'll teach me to proofread before
sending...) It's not the related bands and subject matter that bother me.
I too have been turned onto stuff like Sugarplastic, The Odds, Yazbek etc.
courtesy of fellow readers.
What irks me is that an initial, say, comparison of a couple of lines
generally tends to snowball into an interminable thread and clog up anything
up to a dozen issues, getting further and further away from the orginal
point, eventually missing it altogether (see the "Cola Wars" and AMANDA's
"Mind-Fuck" for further proof of this). At one stage I thought I'd turned
on CNN such was the lack of music, let alone XtC, related stuff.
Fortunately recently the threads have been reigned in before they've
degenerated into socio-politico debate. Anyway, I'm not gonna waste anymore
of anyone's time arguing whether left is right, or right is wrong. From
hereon in I'll merely do as someone suggested and press the skip button.
Auf Wiedersehen,
Dom.
------------------------------ Message-Id: <v01540b09aeb8e3589264@[139.80.228.168]> Date: Wed, 20 Nov 1996 16:34:45 +0000 From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Chromatic perceptions mikearns@aolcom sez: >The emotional qualities of the intervals are as follows (where T=tritone; >P=perfect; M=major; m=minor) : m2 & M7 = extreme tension; M2 & m7 = milder >tension; m3 & m6 = negative mood; M3 & M6 = positive mood; P4 = temporal >suspension; P5 = power; T = instability; P8 (octave) = definition; PU >(unison) = strength. Intervals larger than an octave retain the quality of >their lower siblings (i.e., M9 = M2) though the greater distance weakens >the effect. Subtle adjustments of these qualities also occur where >out-of-tune-ness or other contextual ironies exist (including the ears of >the beholder, eh? So much for trying to be absolute). excellent stuff! And to think I nearly did my Masters thesis on this kind of thing (ended up doing visual rather than auditory perception. Sad, but never mind). What you say is good, although you should add the rider that this is what they mean to ears (and minds) brought up with western musical theory and experience. In other parts of the world, the same rules do not necessarily apply. In parts of Asia, for instance, what we might call a "sad" minor chord is just the opposite - very cheerful. In some cultures, such as those in the Pacific, minor chords are very rare (in some, I believe that they are unknown). And in parts of Africa major chords are regarded as nostalgic (the most nostalgic chord for me is a minor 6th). Also, I would quibble with your point about intervals larger than an octave, simply because these usually contain other noytes which alter the effect. A 9th chord, for instance, implies the addition of a 7th within the chord, which a 2nd does not - also the "feel" of the chord alters with the octave gap, in a similar way that the "feel" of a chord can alter when it is inverted. Oh, and BTW, if y'all are wondering what my Masters Thesis is on, I quote They Might Be Giants: "She's actual size, but she looks much bigger to me". >James: didn't some awful female singer ca. 1991 do a cover of "tomorrow >never knows"? i seem to remember cringing a lot at her nerve. Danielle Dax! James
------------------------------ Message-Id: <v01540b08aeb826e60e26@[199.171.191.70]> Date: Tue, 19 Nov 1996 20:20:13 -0700 From: gondola@deltanet.com (E.B.) Subject: Re: SNL From: Ted Harms <tmharms@library.uwaterloo.ca> > >I thought it was Chevy Chase and one of his better ones was "Jane, you >ignorant slut, who'd you sleep with to get this job?" No, Chevy Chase never said "You ignorant slut." Weekend Update only became a "team" broadcast when Chase left SNL and the news was taken over by Aykroyd and Curtin. That's when the Point/Counterpoint parodies began, which begat the remarkably durable "Jane, you ignorant slut" catchphrase. EB
------------------------------ Date: Tue, 19 Nov 1996 23:39:42 -0500 (EST) Message-Id: <199611200439.XAA14378@cyber1.servtech.com> From: Joshua Hall-Bachner <particle@servtech.com> Subject: A sharp Sputnik... >>[Heaven Is Paved With Broken Glass] >I'm assuming the better mix is the one on "Rag and Bone"; if so, what is >this "original" mix and from whence does it come? (Although I really >don't think I could handle flat and uninteresting drums on that one) It's available on certain Ball and Chain singles, as one can surmise from the wonderful Discography on Chalkhills (the site). :) And, IMHO, if you've heard the R&BB version, it's not really worth the effort of locating unless you're a completist. >I have a couple of interesting anecdotes regarding things that happened in >my life that are directly related to XTC, but I don't know if anybody is >interested. You comment on how obsessed/knowledgeable we are in one paragraph, and then you even *need* to ask this? :) >I've got a copy of Wrapped in grey CD 5, does anybody know what it >is worth? A hulllllaballooooo. Of course, there's always the WiG 7". Last time I heard, that was going for upwards of $250 U.S. >I got five copies from the above shop, I paid 99 pence each for them, >kept one for myself and gave the other four away......Aaaahhhh! "Aaaahhhh!" is right! I feel for you. >sometimes a live version even >surpasses the album version.( the Battery Brides B-side ? ) I'd go further than that -- I think that *all three* Towers of London B-sides (live Battery Brides, live Set Myself on Fire, and the R&BB version of Scissor Man) are superior to their respective album versions. To calm this down a little -- some of the D&W< tracks are really good. Some are really bad (Scarecrow People?). I don't expect to buy the CD anytime soon, but I'll pick it up if I find a cheap copy. >chastise Mr. Ted Harms who dismissed the awesome Catherine Wheel (the >band, not the pyrotechnic display) as a mere "shoegazer" act -- they're much >more emotional, energetic, and song-oriented than all the Jesus & Mary Chain >wanna-be's of the world *put together*. Don't wanna start another long off-topic discussion here, but I haven't been especially impressed with CW. "Bill and Ben" and "Crank" (the two songs I've heard) are reasonably good, but the lyrics leave a good bit to be desired. IMHO. Josh, break the code of whispering chimneys and traffic signs. /---------------------------Joshua Hall-Bachner---------------------------\ | particle@servtech.com http://www.servtech.com/public/particle/ | | "I won't die until I'm dead." -- They Might Be Giants, "On The Drag" | \-------------------------- Eschew Obfuscation ---------------------------/
------------------------------ From: Floopyglop@aol.com Date: Tue, 19 Nov 1996 23:58:10 -0500 Message-ID: <961119235809_140181677@emout02.mail.aol.com> Subject: Post number 28 Hi! I'm here. Behold, my umpteenth post: Mike Mills said [in Chalkhills 2-34]: >Oh man. Too bad you're shelling out big bucks for CDs when for you >there's obviously no worth left after the first listen. I repeat: I was referring to XTC's Drums and Wireless, *not* their *studio* albums. I'm not even referring to *all* live recordings! You seem to have missed the *entire paragraph* I spent praising Crowded House's live work. (To be fair, I did enjoy the acoustic Oranges and Lemons shows. Of course, there was some attempt at retooling the songs in those performances.) (This paragraph operates under the assumption that if you highlight enough key words with asterisks, it will get your message across clearer. Does this approach hold any merit? I leave it up to you, the Chalkhills readership, to decide.) Mark from the Little Lighthouse: >But we're not talking live recordings here Dave. That's even less of an excuse for XTC not to toy around with the songs more. I guess these recordings fall into that nether region between studio recordings and live performances. Did XTC multitrack the earlier ones, though? They sound rough (or sloppy, take your pick) enough to have been recorded in one take. Also, I know that some radio shows have studio audiences. Was John Peel's show recorded under this setting? >Dave (another Dave! Is this a conspiracy? ) Gershman said: Yes, we're all out to get you, Mark. David Yazbek should be here any minute to help us take over Chalkhills. (Speaking of Yazbek, what happened to him, anyway? Is he still subscribed to this list?) >I'm sure it's all very interesting to loads of people but I don't think the >XTC (!) mailing list is the proper forum. What do I care about how many >other bands Jeff Lynne has ruined/saved ? As long as he stays well clear of our >Heroes... Perhaps someone should start a splinter list for all those Chalkhillians who want to discuss non-XTC topics in an in-depth manner. It could be a neat little companion piece to Chalkhills, plus it would reduce John's Chalkhills workload and make it easier for those not interested in non-XTC chatter (myself not necessarily included) to get to the XTC discussion. (And I agree with your Jeff Lynne observation, Mark. He's a good songwriter, but don't let him near XTC. All his productions sound the same. He'd turn XTC into the Traveling Wilburys.) Non XTC topic summarization: The Cardigans sound neat, Crash Test Dummies are okay (liked their version of Peter Pumpkinhead, but I think Brad Roberts sounds like a horse, thay should let Ellen Reid sing lead more), Sting's post-Police work isn't all that great (he just doesn't do jazz very well), They Might Be Giants are great (especially their two most recent albums). Eric Matthews is excellent. Umajets (no one's mentioned them in a while) have a great record out (another post-Jellyfish splinter project, this time for bassist Tim Smith) called "Demolition". It's like a slightly harder-edged Jellyfish (more guitar) and it matches up pretty well with the recent Jason Falkner record (Jason Falkner and TMBG: Victims of Elektra Records' Indifference, won't you make a contribution for their well-being?). The Umajets album is available at umajets@aol.com (they also have a home page). It's one of the best kept secrets out there (try finding it in a record store and you'll see why). Dave O'Connell York PA
------------------------------ Message-ID: <3292C164.5B5D@geocities.com> Date: Wed, 20 Nov 1996 00:29:25 -0800 From: Troy Peters <troypeters@geocities.com> Subject: Partch's Petaluma in Papersnow In Chalkhills #3-34, Natalie Jane Jacobs <gnat@umich.edu> wrote: > Looking at the lyrics to Papersnow, I caught a couple of obscure (or maybe > not-so-obscure) cultural references - "Laundry ticket that exploded" > refers to "The Ticket That Exploded" by ancient withered raspy-voiced > badass William S. Burroughs. "Petals fell on Petaluma" refers to an > opera or orchestral suite (I can't remember which) by Harry Partch, a mad > genius avant-garde composer who built his own instruments out of junk, the > results sounding rather similar to latter-day Tom Waits without the > vocals. (Feel free to correct me if I'm wrong here, kids.) Good catch, Natalie. Harry Partch's "And on the Seventh Day, Petals Fell in Petaluma" is a large scale chamber work he composed in 1964. Partch built his own instruments at least partially in an attempt to develop a functional microtonal language (basically getting notes in between the keys on a piano - although this is an oversimplification). You can get "Petaluma" on CD (CRI CD 7000); check it out. I wonder how Mr. Partridge came to know Partch's work? Partch has had a huge influence on many different musicians (including Tom Waits). My own guess is that AP might have been turned on to Partch by Harold Budd. Just a guess. And the Residents are reputed to be big Partch fans, so there might be an earlier connection there. Or maybe AP is just remarkably astute, as usual. BTW, if you're curious about Partch and you love EC, you can hear Elvis himself playing a Partch instrument (the harmonic canon) as he sings on the intriguing album "Weird Nightmare: Meditations on Mingus" (Columbia CK 52739). This one is *definitely* worth checking out. Okay, back to studying scores... Troy Peters http://www.netcom.com/~tpeters6/
------------------------------ Message-Id: <199611200450.PAA02721@warchives.riv.csu.edu.au.> From: "Simon Knight" <sknight@warchivegw.riv.csu.edu.au> Date: Wed, 20 Nov 1996 15:00:38 +0000 Subject: Pointing it out / Number 6 / FF for those at the end of the worl David McGuiness wrote about glitches in G&M: >I don't have the CD to hand so I can't give you a time code >reference BUT listen out people. I never noticed it on my old vinyl >copy, but on FF it causes momentary mental distraction as I'm >shimmying my way around the kitchen. Do this at your own risk! Hear something pointed out like this and you never hear the song the same way again! Beware! >Play "Strawberry Fields Forever" on the left channel only. About a >minute into the song (the point where the two takes were spliced >together) This is exactly what i meant. Once someone pointed out where the join was in this song i never heard it the same way again. I never noticed it before, and now i can't believe i hadn't. It sounds SO obvious and i always find myself anticipating it and going "urgh!" at the minute change. Thanks for everyone who filled me in about the Prisoner. I've watched the first few episodes and am hooked. I notice a lot of the incidental music bears a strong resemblence to The Man Who Sailed Around His Soul. I'd like to think Andy had this in mind, but since the arrangement was actually Todd's idea i guess it's just coincidental. You can see why they recorded this song for the "Laughing with the Prisoner" program though. It's just so APT. While ordering FF from my local record store yesterday i noticed there were two australian versions listed. Is the limited edition cover available domestically here in Oz? Has anyone had a non-import sighting of it?
------------------------------
Message-Id: <199611200540.VAA27546@sgi.sgi.com>
Date: Tue, 19 Nov 1996 22:40:59 -0700
From: hbmus047@email.csun.edu (Ian Dahlberg)
Subject: Falkner on Matthews
Hello all,
Somebody may have noticed this before but I just realized, upon
reading the liner notes, that Jason Falkner plays on several tracks on Eric
Matthews' "It's Heavy In Here." Pretty cool, I think. Jason's solo CD has
been in my car stereo for about a month now and I haven't gotten tired of
listening to it yet.
I'll have to put in my 2 cents regarding "Shake You Donkey Up" in
that it is absolutely one of my favorites. After figuring out the main
'hoe-down' lick on guitar, I couldn't stop playing it! The bridge is
definitely pure bliss; I'm always howling along with it in the car at the
top of my lungs. Hell, I howl along with "Big Express" in it's entirety
every time. I'll have to plan a road trip with some XTC nuts who know all
the words to B.E. so we could all sing along through the whole thing like
Jellyfish allegedly did!
Ian Dahlberg
------------------------------ Message-ID: <3293C1D3.1A36@sinesurf.co.nz> Date: Wed, 20 Nov 1996 18:43:31 -0800 From: Danielle <inadibor@sinesurf.co.nz> Organization: University of Auckland Subject: Tomorrow Never Knows ATTENTION ALL YOU SPECULATORS!!! LOOK, it's *Danielle Dax* who did that remake of 'Tomorrow Never Knows', OK? And I should bloody well know because it's my name! So no more guessing! Yours in frustration, Danielle, who tried desperately to keep quiet because she doesn't have anything to say about XTC at this particular moment. But she couldn't, so tough biccies. ;) np: Chemical Brothers. "Get up on it like this ..."
------------------------------ Message-Id: <1.5.4.32.19961120054552.0094c7e0@dave-world.net> Date: Tue, 19 Nov 1996 23:45:52 -0600 From: Eric Adcock <eadcock@dave-world.net> Subject: OffTopic: Re: Tomorrow Never Knows "R. Brookes McKenzie" <rmckenzi@smith.smith.edu> wrote: > James: didn't some awful female singer ca. 1991 do a cover of > "tomorrow never knows"? Danielle Dax covered TNK on her album "Blast The Human Flower", which is dated 1990. I really like her version, and the album as a whole. What a difference in opinion (if it is the same singer). Take care, Eric Adcock Mr. What Bloomington, IL, USA mailto:eadcock@dave-world.net http://www.dave-world.net/~eadcock/
------------------------------ Message-Id: <v01540b00aeb85318ad26@[207.15.170.23]> Date: Wed, 20 Nov 1996 00:36:12 -0600 From: kmarkman@netwestonline.com (Miss Piggy) Subject: Jewels of X-T-C & the radio Hello Chalkhills! Just some random thoughts: From: DeWitt Henderson <dewitth@lanl.gov> >Subject: Re: X-T-C > >OK, since it seems to practically be coming to a vote, I say "X-T-C", not >the designer drug pronunciation. Now, for the rest of my post, I apologize I have always said X-T-C, I think because that's how I first heard it pronounced on the radio, and I think it sounds better. Speaking of radio, an I actually won a crappy CD from a commercial AOR (!!) station years ago for knowing that XTC had a song called Dear God (just one of the reason's it's my favorite.) Anyway, it is with some bemusement that I read the posts bemoaning the lack of XTC airplay on commercial "alternative" stations. I attended a conference this year where the keynote speaker was the guy who basically invented the Modern Rock format, and what he said is that thry research and target their programming towards 15-17 year olds. And aside from the few on this list, there are not a whole lot of 15-17 years olds who listen to XTC. Certainlky not enough to be a statistical factor. So this is why you hear the same five industrial songs over and over again - if it works in one market, it is copied and reproduced across the country. Commercial stations exist to make a profit, and are controlled by a small group of corporations who frankly do not care about artistic merit unless it brings in $$$. So until the day that XTC sells millions (yeah, that'll happen) continue to play your CDs and search out good community and college stations, the last bastion of programming freedom. Hope you're still awake, if not how bout this --FREE STUFF!!!!! Hah, knew I'd get your attention. Anyway, someone suggested replacing your Fossil Fuel case with other jewel boxes, since it seems to be fragile. Well, I have access to tons of jewel boxes if you wanted, free for the taking, except maybe we could work out a tape dub or something. Anyway, if you want any, e-mail me! >Is anyone out in XTC land a musician who has experience transcribing >for all male or male/female choruses? I can't help, but I bet it would sound groovy. Use this as moral support :) Finally, yes, I'm relentless: We still need a host for the TeXTCas party, tentatively scheduled for sometime in 97 in Austin. C'mon all you lurkers, time to step into the limelight (of the littel lighthouse). Send me mail if'n your interested. There, see, you've made me say "if'n!" I must be desperate! ;) Vaya con huevos, kris kmarkman@netwestonline.com ******************************************************************* PURPLE ALERT! PURPLE ALERT!...Course, it could be a mauve alert..." --Holly the senile computer
------------------------------ From: BRJohnson1@aol.com Date: Wed, 20 Nov 1996 02:25:36 -0500 Message-ID: <961120022534_352009288@emout17.mail.aol.com> Subject: My post don't need no es-stinkin' subject! OK, so true story, ok? I met this girl through a mutual friend. I like her, but we're not talking love at 1st sight. So i'm talking to her this morning, and i'm thinking, maybe i should ask her out for this weekend, but I'm not sure. Hey, I'm nervous. I've got the phone base in hand and i'm wandering around the room. Knocked over the Les Paul (gakk!), straightened the sheets (1st time for everything), et cetera. Finally, i realize i'm at the shit-or-get-off-the-pot point - ask her out already! But i can't. So as i mumble with her on the phone, i re-organize my CD collection - yeah, i'm real nervous. I'm chronologically indexing the XTC group, and I see that Black Sea is missing - this is a problem! So i mumble "shit" under breath, and she asks "what?" I tell her "i'm missing a CD, _Black Sea_, by an english band called XTC", expecting the usual "hunh?" Instead i hear, "oh i have that album. A friend gave it to me" SSSCCHHHHHHWWWWWIIIIIIINNNNGGGGG!!!!!!! Needless to say, she and I will be together Friday night! Other stuff: In #3-35, someone dissed the Cardigans... Lemme say, you got a problem with Nina, you go through me, Ok? Can't we drop the TMBG thing already? Ok, so they like XTC. So they wrote a song "about" XTC. I even own 3 of their albums. This being said, they will never, ever, ever, be 1/10th as good as 3 certain boys, from a certain Wiltshire town, starting with X, ending with C, and with a big, fat T in the middle. Brendan Benson... thanks to those who suggested his album. Excellent, but maybe a little too Sweet??? (as in Matthew). Brad. In the CD player, _Black Sea_. In the glass, Jack and Coke. On the face, smile.
------------------------------ From: Damian Foulger <Foulger@cardiff.ac.uk> Organization: UWCC Date: Wed, 20 Nov 1996 09:48:50 GMT Subject: XTC - the pronounciation Message-ID: <9EB8A35EAC@nrd2s.cf.ac.uk> Dan wrote: > According to the book, Chalkhills and Children, Andy derived the > name from The Man Who Found The Lost Chord with Jimmy Durante, when > he mutters during his pivotal transcendent experience (in his own > inimitable way), "I'm in ecs-ta-cy!" (sic) hence the letters and > pronunciation X-T-C. > > I'd think that would put the "ecstacy" (sic) argument to bed. I'm not quite sure which pronounciation you are putting to bed but in case you still hold that it is ecstasy: That as may be, but would Andy really ever be that unsubtle? It's much more Andy to call the band X-Tee-C even thought the idea for the name came from the pivotal transcendant experience. Andy has never been blatant so why would he start with the name of his band. Was his first effort called Helium Kids? I think NOT. Anyway, we've had this discussion before and I think you'll find that XTeeC is the way, ask a Taoist. ;-) Dames tWd (Life is good in the greenhouse:XTC) "I am quite happy to wear cotton without knowing how it works" - Black Adder
------------------------------
Date: Wed, 20 Nov 1996 12:08:34 -0500 (EST)
From: Allan Hislop <Allan_Hislop_at_UKCDEE01@ccmail.bms.com>
Subject: Metaphors of Life
Message-id: <9610208485.AA848503614@ccgate0.bms.com>
Dear fellow Cheesehillians,
I was sitting here at work pondering over some of my favourite XTC
tracks, when I noticed a startling thread appearing:
Mayor of Simpleton, Dear Madam Barnum, Sgt. Rock, Snowman, The
Disappointed, Crocodile, Shake You Donkey Up.
Metaphors of love or what?
Add tracks such as "You're really Super, Supergirl", "Helicopter",
etc. and it seems that a simple Boy-Girl relationship type song is not
enough for our favourite band.
And what does it say about my own psyche that I like these types of
songs? After all I'm a happily married man with a 6 month old
daughter.
Then I realise I also like "Earn enough for us", "Love on a Farmboys
wages" & "Paper and Iron", and perhaps it all starts to make sense.
I found that I'm not as keen on "Towers of London", "Redbrick Dream",
"Bungalow" and "Roads girdle the globe". So no structural fixation
for me (or thoughts of travelling and retirement yet) although I do
like "Statue of Liberty". ?
Common threads seem to surround all XTC songs eg War - "Generals..",
"Living thro'..", "This World Over", etc.
A number of songs for a number of emotions and a great way to make a
compilation tape.
Even just using XTC song titles:
Animal themes: Crocodile (again), Ladybird, Shake You Donkey Up
(again), Fly on the wall, Seagulls Screaming.
And so it goes on.
Instead of a song of the week, perhaps we could pick a theme, and try
and find a song or 2 that fits?
Perhaps it's a stupid idea, I'm working too hard (or not enough, if
I'm doing this), just ignore me, I'm blathering.
I'm going for a lie down, my brain hurts.
This is Pop?
Allan
------------------------------ End of Chalkhills Digest #3-36 ******************************
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