Chalkhills Digest Volume 2, Issue 90
Date: Sunday, 24 March 1996
Chalkhills Digest, Volume 2, Number 90
Sunday, 24 March 1996
Today's Topics:
tribute tape name
Testimonial Dinner
Tributes, lyrics. birthdays, partridges
Fields
Re: SPIN's Alternative Record Guide
Spin = Corporate Rock Whore
I am the Video Director!
Re: Chalkhills Digest #2-89
Win A Night Out With A Well Known Member Of Blur
Potpourri
The Gold Tape Loving Gizmo
My apology about the gizmo
Re: Chalkhills Digest #2-89
video killed the radiostar
Tribute Tape Title
the other "Garden..."
John Westley Harding's "When The Beatles Hit America"
Beach Boys
Go2 review; the xtc-mtv unplugged connection
video idea
Re: Travels in Nihilon
Trainspotting
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---------------------------------------------------------------------- Message-Id: <199603230111.BAA23760@aoife.indigo.ie> From: "Daniel Prendiville" <modjp@indigo.ie> Date: Wed, 20 Mar 1996 19:57:16 +0000 Subject: tribute tape name "Etc." sounds like the ideal name for a tribute tape; short and enigmatic... a bit like myself, really, except that I'm not short... Yours in celery Daniel Prendiville
------------------------------ Message-Id: <199603222141.QAA17194@swamp.li.com> Subject: Testimonial Dinner Date: Fri, 22 Mar 96 16:39:55 -0000 From: Rogier van Bakel <rogier@li.com> >Many of you will have heard "Testimonial Dinner" (I haven't yet - I just >placed an order Finally got my hands on a copy the other day. Not that impressed, except by Sara McLachlan's extraordinary, intimate version of "Dear God." (Although that middle eight section -- "I don't believe in heaven and hell", etc -- still sounds strange and musically inappropriate to me, as do *many* of XTC's middle eights; overwrought, artificial; more like a seed for new song than an organic part of an existing one. So sue me). XTC songs covered by the Rembrandts and The Crash Test Dummies are particularly disappointing. Although the Rembrandts incorporate a dopey chord substitution in the chorus of "Making Plans for Nigel", their and the CTD versions are just too reverent. These groups have very little to add to XTC's material. Terry & the Lovemen take this to the extreme. They introduce an XTC archive gem called "The Good Things" that sounds like it's being performed by the Fab Three themselves. You don't suppose that... Nah! ;-)) Someone may have pointed this out before (my memory is far from perfect), but in the liner notes, the origin of the very first song is misidentified. "Earn Enough For Us" is not from Black Sea, but from Skylarking. What an amazing blunder for a TRIBUTE album. Rogier van Bakel
------------------------------ From: patty@gdb.org Date: Fri, 22 Mar 1996 13:34:20 -0500 Message-Id: <9603221834.AA17874@musichead.gdb.org> Subject: Tributes, lyrics. birthdays, partridges > From: steve@expersoft.com (Steve-O Lutz) > > On Spilt Milk, it seems to me as though each track is a tribute to > an individual band. Joining a Fan Club is very definitely derived > >from Queen. New Mistake is Supertramp all the way (the organ on the > fade out is pretty much exact). Sebrina, Paste, and Plato is Sgt. > Pepper-era Beatles (the guitar behind the "So serene" chorus is > particularly reminiscint of Getting Better). I'd be hard-pressed to > say there's an overriding style for the whole album. Well, now, I've never heard or read anything about Andy (Sturmer, that is) trying to pull a Dukes of Stratosphere and imitate a different group for each song, but your theory is an interesting one. I can't agree with the Sgt. Pepper assertion, but I'll have to go back and listen to it yet again. I've steadfastly avoided both Queen and Supertramp, so there's not much I can say about that one. > Bellybutton is slightly less pointedly-imitative, which makes it a > superior album for me. It's still very Beatle-esque, but manages to > expand on its bases a little instead of just celebrating them. _Spilt Milk_ remains my fave. Wow, is this a great record to listen to on headphones! I do a lot of listening here at work, and there are so many layers of sound here. I'm trying to track down the _Sing Hollies in Reverse_ (couldn't find it in Boston this weekend--can someone shout with a label privately, please?) just to listen to the Jon Brion song. Not that Brion is on _Spilt Milk_, but The Grays' album is also a headphones winner. So, for that matter, is _The Bends_ by Radiohead. I'm drawn into the great production work behind those songs--John Leckie is king. And hey! I found a Grays CD single for 99 cents in Cambridge--made my day. >From Phil: > I can't believe there's still an argument about this, but to those of > you in far-flung corners of the globe who speak with silly accents (no > offence intended <grin>), I really think you should let those of us > actually in possession of an english accent make any comments on what > it sounds like... the first wird is definitely, positively, 100% > guaranteed, no arguments necessary, etc. etc. "straight". There is _no_ > _way_ it sounds _anything_ like "stand". The second 2 syllables are less > clear, but definitely start with a "t" or "ch" sound, hence "to ya", > slurred. > > Can't someone just, um, ask Colin or something? Or perhaps someone who subscribes to _The Little Express_ can write in-- I believe the publishers keep in touch with the band. Perhaps there is a way they can find out, if anyone really wants to know. Either that or someone making the next holy pilgrimage to Swindon needs to hang out in a pub until one of the Fab Three appears... (Yes, I'm joking about that last one.) I found the conversation pretty enlightening, as I was always guessing about what it was. As far as the assertion that it doesn't sound *anything* like "stand"--well, that's my set of American East Coast ears for you! >From Simon Sleightholm: > http://www.addict.com/ATN/Music_News_Of_The_World/95-09-11.html > > carries a little article celebrating Andy's birthday, as does > > http://www.addict.com/Music_News_Of_The_World/95-12-11.html > > As you can see, they can't quite decide exactly when his birthday is, but > it's a nice gesture all the same. They can't get their facts straight at all. They ran a birthday tribute to him on September 11th, then November 11th, then December 11th. I almost wrote a snide note asking them to just run it once a month, but just got peeved and stopped reading it. I guess we should be glad that he got mentioned, but the journalist in me really doesn't think much of Addicted to Noise's constant mistakes. This one won the prize for the duh! factor. > From: Natalie Jane Jacobs <gnat@umich.edu> > Yesterday I purchased a huge thick book called THE WOMAN'S ENCYCLOPEDIA > OF MYTHS AND SECRETS by Barbara G. Walker - one of Andy's favorite books, > fact fans This is indeed the book that Andy mentioned he had borrowed from his girlfriend to "read in the toilet", and he said something about being in there almost all day. (I don't like thinking about that last bit.) > I have another book which points out that the partridge is a traditional > symbol of lust, and the "partridge in a pear tree" is a phallic symbol - > along with the five golden rings, etc. offered to his lover, the singer > is also offering himself. > > Somehow, this explains a lot to me. I don't know why. Dern tootin'. Considering how peniscentric his lyrics can be, this may explain why--it's in his last name as well as in his pants and hormones! -Patty
------------------------------ Date: Fri, 22 Mar 1996 14:03:44 -0500 (EST) From: JEFFAE@CEDAR.GOSHEN.EDU Message-Id: <960322140344.2022de58@CEDAR.GOSHEN.EDU> Subject: Fields Weeks ago Colin Wright was so nice as to send me a copy of the Fields CD "...crooked castles and mountains of want" without charge all the way from Alexandria Austrailia, and all he wanted from me in return was a little review of the record here in Chalkhills. I can sum it up in 4 words, I really like it. It's a very pleasing record to listen to casually and critically. Colin Wright mentioned that they had been remarked as being similar to Crowded House and I don't doubt it, but I've heard very little Crowded House myself so couldn't make that clear distintion. How ever I have heard other similarities. They seem somewhat folk influenced and reminded me a little of Grant Lee Buffalo, and a friend also noted that their musical style on one of their songs reminded him of Frente. But when I usually try to describe them I say that they're kind of a "folk Morphine" (due greatly to their occasional sax implementation). They're also reportedly XTC fans and when I thought about it I could see it; if you crossed , "Sacrificial Bonfire", "This world over" and maybe just a little bit of "Scarecrow people" you'd almost have a Fields song. I also asked people that were listening to my college radio show what they thought and got some pretty good reports. Some cool songs "Steel can of reason", "No reason why", "Safe", and "Peacetime>" TTFN-Jeff Eby
------------------------------ Subject: Re: SPIN's Alternative Record Guide From: wwilson@mail07.mitre.org (Wesley H. Wilson) Message-Id: <960322152216.716@mail07.mitre.org.0> Date: Fri, 22 Mar 96 15:22:17 -0500 RE: the review of _SPIN's Alternative Record Guide_ in the last issue of Chalkhills:except for a pretty good cover and a decent summary of a few bands (e.g., Wire), this book is crap. Despite what this book would like you to believe, the bands Kiss, Black Sabbath, and Abba (each has an entry in this book!) were never alternative. Alternative to what? Each band sold millions of records, never had airplay on college radio, and were all in the mainstream. Weird...the SPIN reviewer gives a low ranking (3) to Beeswax and considerably higher rankings to "same place as they got the singles from" albums.
------------------------------ Date: Fri, 22 Mar 1996 15:25:56 -0500 (EST) From: Natalie Jane Jacobs <gnat@umich.edu> Subject: Spin = Corporate Rock Whore Message-ID: <Pine.SOL.3.91.960322151414.277A-100000@tron.rs.itd.umich.edu> Don't forget that in the Spin Alternative [sic] Music Guide entry on XTC, "Meccanik Dancing" is described as classist and condescending, and "Funk Pop a Roll" as pointless ranting. Re. the latter, it shouldn't surprise anyone that someone who works for Spin wouldn't recognize criticism directed at himself; he's one of "those hammers to keep you pegs in your holes," a corporate-sanctioned arbiter of taste for the toiling masses. The objects of satire can never see their own reflection. Natalie Jacobs ************** "There ain't no devil, there's just God when he's drunk." - Tom Waits
------------------------------ Date: Fri, 22 Mar 1996 14:55:36 -0600 (CST) From: "LaShawn M. Taylor" <shonniet@interaccess.com> Subject: I am the Video Director! Message-ID: <Pine.BSI.3.91.960322143254.26116A-100000@flowbee.interaccess.com> I have the perfect video for Colin's "The Good Things" on a Testimonial Dinner that will fit perfectly with his *nom de plume*. Imagine the cameral panning onto a long table with a large, medieval spread in the middle of a vast hazy, sunlit daisy meadow. People dressed in Renaissance garb would be strolling about chatting, eating or waltzing in front of a makeshift stage, wearing extravagent masks. On the stage would be Colin wearing an elaborately, feathered eyemask. On his left would be Gregory playing a harp and on his right would be Andy playing his guitar. Both of them would also be wearing masks, but theirs can be like those porcelain faces masks you sometimes see hanging on folks' walls. Near the end of the song (after Colin sings "just believe me. . ."), a sudden burst of wind blows off Gregory's mask. Pandemonium erupts as the wind sweeps over everything, uprooting the table, tossing food, masks and revelers everywhere, even stripping away the landscape (a neat image of Andy falling flat on his face trying to chase down his own mask) until only Colin remains, still wearing his mask, standing motionless in a dark, dreary alley. BTW, I like Chalkhills Children as the title for the Tribute Album. I have absolutely no musical talent, but I'm eager to hear the other Chalkhillians who do have it :) LaShawn M. Taylor * --------------------------------------------------------------------------- Oh, my head is spinning like the world | shonniet@flowbee.interaccess.com at the kind of beasts I've seen | Watch for my brand spanking new Let me put my bag down and I'll tell | home page coming soon to an URL about it from the start. . .xTc | near you (knuckle down!!) * ---------------------------------------------------------------------------
------------------------------ Message-Id: <v01530501ad78ca7af0c9@[199.171.191.72]> Date: Fri, 22 Mar 1996 13:45:58 -0800 From: gondola@deltanet.com (E.B.) Subject: Re: Chalkhills Digest #2-89 >White Music, 6; Go2, 7; Drums and Wires, 8; Black Sea, 6; English >Settlement, 5; Waxworks, 8; Beeswax, 3; Mummer, 4; Big Express, >4; Skylarking, 8; Oranges & Lemons, 6; Rag & Bone, 5; Explode >Together, 4; Nonsuch, 6; BBC Radio One Live, 4 >Dukes - 25 O'Clock, 5; Psonic Psunspot, 5; Chips, 6 > >And then try this, "The Dukes of Stratosphear was a Rutles-type >exercise in 60's necrophilia. The various Beatles, Byrds, and Beach >Boys gags are as much of a slap in the face to the group's lame >mid-period as Skylarking proved." and.... "The Mayor of Simpleton, >which is Sam Cooke's 'Wonderful World' rewritten from a moron's >perspective." > >Mark Rushton Well, I gotta admit, I also instantly thought of "Wonderful World" when I heard "Mayor Of Simpleton" for the first time. Doesn't mean "Simpleton" isn't a cute song, though. There's lots of strange stuff going on with that Spin guide. I skimmed it in a store, and wrinkled my brow many, many times. I seem to remember seeing "Trout Mask Replica," "London Calling" and Tom Waits' "Rain Dogs" all getting 7's (a few of my favorite albums), while seeing three or four 8's listed under Diamanda Galas. (Diamanda Galas?) Try to figure THAT one out. I'm not going to buy the book. Even being a few years out of date, the Trouser Press Guide is far more dependable (and there's a new version coming, too). Off the top of my head, my own ratings would be: White Music 7, Go2 6, Drums & Wires 7, Black Sea 8, English Settlement 7, Mummer 8, Big Express 8, Skylarking 9, Oranges & Lemons 8, Rag & Bone 7, Nonsuch 8, Chips From The Chocolate Fireball 8. I'd like to insert a bunch of +'s and -'s however, because a 10-point scale is awfully limited. And if I retreated to my CD player for a day or two, I might come up with some different grades. Regards, G.B.
------------------------------ From: 7IHd <ee92pmh@brunel.ac.uk> Message-Id: <5691.9603222236@molnir.brunel.ac.uk> Subject: Win A Night Out With A Well Known Member Of Blur Date: Fri, 22 Mar 1996 22:36:10 +0000 (GMT) # From: fisher@easynet.co.uk (Mark Fisher) # Subject: Paranoid delusions # # I've been resisting making this comment, because it seems like too obscure # an influence, but I can't hear Blur's *Parklife* (the song) without # thinking of Barry Andrews' *Win a Night Out With a Well-Known Paranoic*. # Although I don't imagine the Andrews song sold more than about 12 copies, I # do remember it getting quite a lot of airplay on the Anne Nightingale show # on Radio One, where it had a kind of cult status, so it's not inconceivable # that the Blur kids might have heard it. # # We could rendezvous at a place I know (Parklife!) # # Any thoughts? Hey, he's right! Wow. :-) It was the B-side of "Rossmore Road" the first time around - I'm surprised the B-side got airplay (though it is definitely very good! - I miss Annie Nightingale's show...). But Mike Reid used to play the A side, I don't remember it from when it was released (I'm far too young for that) but I heard him play it as "a request for a song he used to play a few years ago" once, which was in fact what led me to investigate Mr. Andrews further. Anyway, I suspect it sold *slightly* more than 12 copies, as I have two, Barry has one, and you have one, Radio One obviously has one too, and no doubt Mike Reid has his own, as he proclaimed it as one of his all time favourite records. So that's 6 already. :-) It's a big shame that that record wasn't a hit, as everyone who's heard it seems to think it's brilliant. Barry, incidently, doesn't really like it any more, though I think he thinks the A side is OK. Oh well. I always said "Parklife" was Blur's least original album... :-) On the subject of Radio One airplay, a while back people mentioned Mark Radcliffe's show as somewhere to hear XTC... it's just occurred to me that he actually played something off "Through The Hill" once! ttfn _ |_)|_ *| | | )|| http://http2.brunel.ac.uk:8080/~ee92pmh/ ========
------------------------------
Date: Fri, 22 Mar 1996 16:03:49 -0800
Message-Id: <199603230003.QAA20982@scn.org>
From: bc263@scn.org (Byron Keathe Wright)
Subject: Potpourri
Fellow Chalklates:
In the previous Chalkhill Digest, Mark Rushton unearthed some off-kilter
commentary in a SPIN record guide slagging XTC. To me, the most striking
SPIN criticism was the supposed unsingalongability (look it up - it's in
the dictionary, right where I scrawled it in crayon) of XTC songs. HUH?!
I've yet to find a MORE singalongable group than XTC. Period. Anywhere.
Ever.
Listening to most groups, I tend to focus upon the music well before the
lyrics/vocals, often blocking out the latter to enjoy the former.
Lyrics/vocals are in my estimation secondary to the music anyway. But with
XTC, for example and by stark contrast, lyrics/vocals are nearly half the
fun. It's a blast to sing along with XTC music. I've probably learned a
greater proportion of XTC lyrics than any other group to which I listen,
because so few groups are capable of penning lyrics worth remembering;
also, XTC's delightful and creative variety of vocal stylings, whether
Partridgean or Mouldian, don't usually get old and insufferable after one
or two listens. White Music to Nonsuch, the "GAMUT". What a goofy word,
that. Anyway, I'm with Mr. Rushton: Mr. SPIN Alternative Record Guy Clown
needs to get his head out of, uhm, WHEREVER he's stuffed it.
...Well, okay, that's not exactly a direct quote from Mr. Rushton, but I
think it makes a valid point just the same.
On another topic, the Honourable Paul Culnane from Oz wrote in the same
digest the praises of Spacehog. Called 'em "quirky" power pop. No
disrespect intended, Paul, but when I listened to the "Resident Alien" CD I
was struck by its utter conventionality and LACK of quirk. It nearly put
me to sleep. Damnable expectations...
Seattleites (don't need another Seattleite) in particular might enjoy the
following: on 19 Feb. I was down at Key Arena to watch the Seattle 'Sonics
notch a win over the Atlanta Hawks. With the NBA being the nonstop,
over-the-top, "in-yo-face" turbo-newkyular *ENTERTAINMENT!!!!* steamroller
into which it's devolved of late, the last thing I expected was the music
of XTC serenading Hoop Heads engaged in SeatQuest prior to tip-off.
However, as I located my own perch, the very first thing I heard over the
p.a. above the low rumble of the gathering crowd was "The Mayor of
Simpleton". Mr. McManus immediately followed, truly delightful, a really
cool revved-up tune I'd never heard (it must be newish, but not from Brutal
Youth, 'cause I know that one) featuring a tilted (skewed) chord
progression (for which I'm one of those type people ol' Phineas Taylor
hee-self once insisted are "born every minute"). Drab order wasn't
restored until they played that Foo Fighters alternaballad garbage-hit (the
band is okay, but I could do without all the obligatory and seemingly
extraneous unpluggeddy efforts this decade has yielded, including this
one).
I wonder, by the bye: did Pete Shelley ever figure out what to do with his
life?
The new Grifters CD, a winner, contains a subtle Wilsonian nod (wink, poke,
prod, jab, etc.). The tune "Last Man Alive" is perhaps best described as a
Brian Wilson sandwich (no mayonnaise, please) on thick crumbly David Bowie
(white) bread, if you're hungry for that sort of thing. "Radio City
Suicide" is as fine a conclusion to a CD as I've heard in a while. It's
worth noting that the Grifters doubtless represent a bad diet for the more
anally retentive among us.
(Parenthetically),
--
- Keathe { bkwright@garnet.acns.fsu.edu }
------------------------------ Date: Fri, 22 Mar 1996 17:32:46 -0800 From: relph (John Relph) Message-Id: <199603230132.RAA01117@mando.engr.sgi.com> Subject: The Gold Tape Loving Gizmo produce@magicnet.net (Arthur James Virgin) writes: >>From: GROOVE25@SIUCVMB.SIU.EDU >>Who among us has heard the re-mastered Skylarking (on Gold CD) put out by >>Mobile Fidelity Sound Labs? > >The >vocals are more pronounced and there seems to be more s e p e r a t i o n >in the mix. I agree. The percussion seems clearer and is more spread out across the soundstage than on any other version I've heard. Definitely nice and clear (as clear as you can get with Todd at the board). "Kendrick, Tim" <tken@dictaphone.com> writes: > > I suggest that we call the tribute tape: > "Remembering Guernica" Excellent. BugRoom@aol.com writes: > >I just got an idea for the Tribute Tape title: > >Chalkhill's Children Shouldn't that be _Chalkhills' Children_? steve@expersoft.com (Steve-O Lutz) writes: > > I think the lyrics tend to support "stand clear" a lot better than >they do "straight to ya". The funny thing is that I always thought it was "strange trip". Must've been the neo-psychedelic flavour of the song (or maybe it was the drugs 8^) james.dignan@stonebow.otago.ac.nz (James Dignan) writes: > >Oh yes. And I also know that Godley and Creme released some gems of albums >that no-one seems to have heard of, like "L", Freeze Frame", and "Ismism" Actually, I've heard _L_ was released on CD in Japan, but I wouldn't fork out US$30+ for it... I'll just listen to the vinyl again, thank you very much. -- John -- * Improve your Web page! Use HEIGHT and WIDTH attributes with all images! * They will load faster! e.g.: <IMG SRC="image.gif" WIDTH=100 HEIGHT=80> * A message from the Council to Propagate Height and Width Usage (CPHWU)
------------------------------ Date: Sat, 23 Mar 1996 01:59:09 -0500 (EST) From: "Tom X. Chao" <tqc8542@is.NYU.EDU> Subject: My apology about the gizmo Message-Id: <Pine.OSF.3.91.960323015500.21353C-100000@is.nyu.edu> Yes, I knew the Gizmo wasn't a synthesizer as we know them today (huge steam-powered piston-pounding acoustic sound generators). In my excitement at discovering some mention of 10cc, I lacked specificity. I foreswore it. What about that XTC band, eh? Are they good or what, eh? TXC
------------------------------ Date: Sat, 23 Mar 1996 04:43:04 -0800 Message-Id: <199603231243.EAA11048@seanet.com> From: Scott Kennedy <scottk@axcelis.com> Subject: Re: Chalkhills Digest #2-89 > Even harder to notice, but definitely there if you >play the track LOUD, is the noise of a chair creaking during Sacrificial >Bonfire. >>Martin Call me crazy, but I am pretty darn sure that the "creaking chair" in Sacrificial Bonfire is the sound of a crackling "bondfire". Makes sense huh?? > I haven't seen anything in writing to confirm that Mr.Partridge > has indeed been influenced in some way by Mr.Wilson.... Help me. > Bill Godby I have a friend in New York who once gave a grateful Mr. Partridge a cassette of some rare Beach Boys material. If you can not hear the influence, you can at least be sure he is a fan. P.S. Andrew B, are you out there? S Kennedy
------------------------------ Message-Id: <v01510100ad7987609999@[194.128.83.69]> Date: Sat, 23 Mar 1996 15:57:14 +0000 From: fisher@easynet.co.uk (Mark Fisher) Subject: video killed the radiostar Am I the only one whose heart has sunk at reading the synopses of imagined XTC videos that a couple of Chalkies have suggested? Maybe it's my lack of imagination at interpreting them, but they sound to me like a million-and-one pop videos that fill up MTV every day. In that sense, they're no worse than any other, it just seems to me that the pop video has become a terribly cliched medium and - call me old fashioned but - few people have found an appropriate visual accompaniment to the pop song since Dick Lester's Beatle-flicks. I don't claim to have the visual imagination to think up an alternative, but I have a suspicion that it would not have images of the band (playing instruments, staring meaningfully into the camera, anything), just as it wouldn't have images of old people walking past in slow motion (which every video I ever see seems to have). The problem, I guess, is that most videos are designed as adverts (hence pictures of the 'product', ie the band) and that does not make for interesting art. The second problem is that visual images tend to make concrete the things that music leaves abstract and - at the risk of contradicting my earlier postings about song meanings - denies the listener a lot of interpretive pleasure. I still believe that a good music video should be possible, I just don't think that anyone, in the mainstream at least, knows what it would look like. Maybe someone out there does . . . Mark Fisher (fisher@easynet.co,uk)
------------------------------
Message-ID: <01BB18AA.500914E0@qrvlppp57.epix.net>
From: Tim and Stephanie Schreyer <schreyer@epix.net>
Subject: Tribute Tape Title
Date: Sat, 23 Mar 1996 11:16:37 -0500
Hello Chalkhillians!
Back in the early days of Chalkhills, there was an attempt to put together
a tape of Chalkhillians' bands playing XTC tunes. I worked as sound man at
the time for a band, the Modern Day Pharaohs, and submitted a couple
horribly recorded live tunes to the project. The tape never emerged -- I
think the compiler absconded with the goods! -- but it had been named!
And as the suggester of the name, I resubmit to you:
_This_Is_NOT!_ (yeah, yeah, yeah)
What do you think?
:-) Tim
---
schreyer@epix.net
------------------------------ Date: Sat, 23 Mar 1996 14:02:38 -0600 (CST) From: "Jeffrey with 2 f's Jeffrey" <jenor@csd.uwm.edu> Subject: the other "Garden..." Message-ID: <Pine.OSF.3.91.960323140120.1910I-100000@alpha1.csd.uwm.edu> Someone mentioned that Snakefinger has a song called "The Garden of Earthly Delights": it should be pointed out that that's a cover; the original version dates from the late '60s, I believe, by a band called The United States of America (if I'm remebering right). --Jeff Jeffrey J. Norman <jenor@csd.uwm.edu> Dept. of English & Comp. Lit., U of Wisconsin-Milwaukee "Eating nuts and berries, masturbating, and shitting under a rock isn't going to change the world."
------------------------------
Date: Sun, 24 Mar 1996 04:45:15 GMT
Message-Id: <199603240445.EAA02388@emerald.oz.net>
From: Todd Wells <twells@oz.net>
Subject: John Westley Harding's "When The Beatles Hit America"
I'm not sure how recently or if this has been mentioned on Chalkhills, I've
been lurking off-and-on for a long time but haven't made myself heard much
recently.
Anyway, the John Westley Harding song "When The Beatles Hit America" that is
featured on the Sire "Just Say Mao" sampler CD, is about his dream (circa
1990) about the Beatles reuniting (include John) and touring America.
A segment of the lyrics is:
And finally the record hits the shelves
and it's called "The Beatles - From Ourselves"
and for anyone that didn't know
well it sounded quite alot like
ELO or ELP or FYZ or REM or XTC,
it sounded alot like XTC!
I'm sure some of you are familiar with this, but I thought I'd pass it along
in case some of us hadn't heard about it.
It's really a witty little song (recorded on DAT in a hotel room). Another
favorite line:
a place where reunions are not expected of anyone
(not even the Buzzcocks)
Enjoy,
- Todd "I wanna be famous, a star of the screen
twells@oz.net but you can do something in between..."
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------------------------------ From: Stewart Evans <stewart@bigmon.boulder.co.us> Subject: Beach Boys Date: Sat, 23 Mar 1996 23:07:27 -0700 (MST) Message-ID: <9603232309.aa12801@bigmon.boulder.co.us> Just in case anybody still doubts the Beach Boys connection, here's an interview excerpt from around the time of "Psonic Psunspot": SE: A couple of songs on the new albums have been particularly cited as sounding like certain other bands. AP: Oh, yes! SE: Was there a deliberate tribute attempt? AP: Absolutely. That was generally the...I hate this expression, but I'm going to use it, because I can't think of another...the raison d'etre. There we are, that's French for 'there is the raisin'. The very being of the Dukes is that they sound unnervingly like other bands that you know, but you can't quite put your finger on it. Umm...well, it's great fun to play spot the influence, you can put tracks on and people will say "Oh, that's so-and-so" so I don't know whether I should give it all away and just tell you who they're supposed to be, or whether you want to play the game for a bit. SE: I suppose it keeps the mystery up, it'll make people listen more if you don't tell us, so maybe you shouldn't. AP: Well maybe have a couple, I'll give you the obvious ones that you just can't get wrong. I dunno, maybe you got them wrong, how embarrassing! "You're My Drug" is the Byrds, that's pretty obvious. "Pale and Precious" is the Beach Boys. That was really difficult to do, because Beach Boys vocals are so distinctive to them. When your voice is like a seal barking, which mine is, it's really tricky to make yourself like the Beach Boys. You just have to imagine that your hips are fatter and they're kind of squeezed into those sandy colored slacks, and there you are, lead in bed. "Vanishing Girl"...that's the Hollies, right. The great missing Hollies single or whatever. Incidentally, this is from an interview that I did with Andy for a radio special on KFJC, back in 1987 or 88. I've only just now finished transcribing the whole thing, and I'm sending it to John separately for adding to the archives. -- Stewart [ It's in the archives now. Ten hut! -- John ]
------------------------------
Date: Mon, 25 Mar 1996 02:04:29 +0900 (JST)
Message-Id: <199603241704.CAA22643@gol1.gol.com>
From: mwicks@gol.com (Michael Wicks)
Subject: Go2 review; the xtc-mtv unplugged connection
Dear Fellow Chalkhillians,
Hey, guys! It's time for a bit of a walk down memory lane, when Barry the
Car and Terry the Fish were still in the band. Yes, I've been listening to
some Go2 (and reading 'chalkhills and children'). Mind you, I first bought
the album because of its intriguing cover (I'd never seen an album cover
WITHOUT any art, pictures, anything, except maybe the Beatles White Album).
The text of the cover is typical Partridge humor, and the concept was/is
still one of my favorite
Now, without any further ado, a brief review of the "Strong and Silent":
Meccanik Dancing (Oh We Go!)- An eclectic, riveting, energetic, frantic
song. Love the phrase, "Woolworth Beauty, Factory Beau". Early hip-hop?
Naa, just 'ol fashioned wir-y music. B+
Battery Brides (Andy Paints Brian)- As one reviewer put it, "...couldn't
have been better even if Eno had proudced the boys..." This is one of my
favorite early live songs that the band played. A-
Buzzcity Talking- Colin, with a wonderfully-cocky accent, sings with
youthfull angst and rebelliousness. What energy! The shattered plinking
of Barry's keyboard is also a delight. B
Crowded Room- Every time I'm on the subway, or in a bar here in Osaka,
this song rings in my head. One of the first slamdancing/mosh/rave songs,
perhaps? Colin scores a double! B+
The Rhythm- The synth/keyboards sounding like someone blowing into a
garden hose, as the water gets closer to the top, then back down the hose.
Great vocals by senor Partridge. "Gene Kelly's hat and cane..." A-
Red- More post-Modern-punk here. "Red! Red! Don't let them make you see..."
A fun song. C+
Beatown- A capital city (Boston? Or is that 'Beantown'?) with all roads
leading to it, and seems like no one's there to answer the communists. A bit
violent, with "beat" and "use the head, and not the fist". Nonetheless, a
damn good song. B-
Life Is Good in the Greenhouse- Yes! Cool song! "...rather be a plant that
be your Mickey Mouse". An ode to my -ex, circa 1991, and her fascination for
M.Mouse and plants. (I know, literal interpretation, but still... :-) A-
Jumping In Gomorah- The best lyrics on the whole album, and the music
isn't so bad, either. "Next stop: Tower of Babel" B-
My Weapon- Barry trying to take the band on a different route. Sorry,
Barry, but Andy was making other plans! (ouch!) C-
Super-Tuff- Well, better than the previous one, but I wish Sargasso Bar had
been chosen instead. C
I Am The Audience- Another Golden Moulding! Be your own ticket! B-
Are You Receiving Me?- The best song out of the lot, even the Martin Rushnet
version/production. Call it punk, new wave, britpop, whatever. As long
as you call it one of late 1978's best songs! Nice work! A
Overall, about a 'B', give or take a few percentage points!
Not mentioned was the weirdest song, "Strange Tales, Strange Tails", which
can be heard on 'Rag and Bone Buffet', definately not all rags and bones.
Some scraps, yes, but generally a fine collection of untarnished "junk".
Finally, a question (not about Go2). Saw a book not too long ago covering
a history of MTV's Unplugged, but was majorly disappointed on the total
lack of mention of XTC's role in the show. Now I know they never formally
played under the Unplugged title/heading, but as I recall, they did do a
couple songs (King For A Day, Scarecrow People) for an audience of 150, on
June 28th, 1989. This was called a mini-acoustic set, but does anyone out
there know for certain if XTC was the first band to do that for MTV, i.e.
play only acoustic guitars in front of an MTV studio audience? I'm at a
loss as to why, again, XTC doesn't even get a footnote mention in this
small bit of musical history.
Next month: A bit of Drums and Wires, including the many faces of Nigel!
-Michael W. (mwicks@gol.com)
------------------------------ Date: Sun, 24 Mar 1996 12:07:33 -0500 (EST) From: kathryn lynne burda <klburda@umich.edu> Subject: video idea Message-ID: <Pine.SOL.3.91.960324115746.5325D-100000@qix.rs.itd.umich.edu> If I had an unlimited budget for an XTC video, I would begin with "No Thugs In Our House". It would start off with a shot of the quintessial suburban household and its occupants- everyone happy, having fun, etc. Fade to a shot of the band, and then back to the family. This time the veneer is wearing off, and you start to see the problems that Junior is causing. Bothering his siblings, breaking things, torturing the family pet, and so forth. A zoom shot of him seated with a pot in his lap and a wooden spoon in one hand as he's "banging out a headache on the kitchen floor". More shots of little Graham as he turns into a real menace, all while the parents dismiss the idea that their little precious could be so bad. I might have a scene where they actually scold him, but at the end it would do no good- he'd be moving on to bigger and more serious crimes (all the while completing them with a mischevious smile on his face).
------------------------------ Message-Id: <v01530503ad7bba90feb7@[139.80.100.147]> Date: Mon, 25 Mar 1996 14:53:03 +1200 From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Re: Travels in Nihilon >Anyone know anything about a book titled Travels In Nihilon? >i have a vague memory of seeing it's cover once and would be very >interested in it. >does it really exist? I've read it, many years ago - it's a sort of Gulliver's Travels type story written (I think) by Alan Sillitoe. Didn't really impress me very much, and I wouldn't have read it if it wasn't for its title :) James
------------------------------ Message-Id: <v01530504ad7bbb552d07@[139.80.100.147]> Date: Mon, 25 Mar 1996 14:55:53 +1200 From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Trainspotting >And for the real train spotters amongst us, has anyone noticed the studio >noise at the beginning of the album version of Towers of London (edited out >of the single version)? "Trainspotting" is a very good name for it, since I always thought it was one of those annoying, tannoy systems from a railway station (the type that announces unintelligible "the train now arriving..."). Never could understand what it was doing there. James
------------------------------ End of Chalkhills Digest #2-90 ******************************
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