XTC
Band members Related acts
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line up 1 (1972-73) as The Helium Kids and Star Park
- Colin Moulding -- vocals, bass
line up 2 (1973-76) as The Helium Kids and Star Park - Terry Chambers -- drums
- Colin Moulding -- vocals, bass
line up 3 (1976-78) as XTC - Barry Adams -- keyboards - Terry Chambers -- drums
- Colin Moulding -- vocals, bass
line up 4 (1978-83) - Terry Chambers -- drums - Dave Gregory -- guitar, keyboards, synthesizer (replaced Barry Adams)
- Colin Moulding -- vocals, bass
line up 5 (1983-2000) - Dave Gregory -- guitar, keyboards, synthesizer
- Colin Moulding -- vocals, bass
supporting musicians: (1984) - Stuart Gordon -- violin, viola - Annie Huchra -- backing vocals - Pete Phipps -- drums, percussion - Steve Saunders -- euphonium
supporting musicians (1986) - Teresa Adams -- cello - Dave Beneigkeit -- trumpet - Dave Benedict -- trumpet - Bob Ferreira -- sax, flute, bass clarinet - Dean Hubbard -- trombone - Mingo Lewis -- percussion - Charlie McCarthy -- sax, flute - Prairie Prince -- drums, percussion - Todd Rundgren -- melodica, synthesizers, backing vocals - Rebecca Sebring -- viola - John Tenney -- violin - Emily Van Valkenburgh -- violin - Jasmine Vellette - backing vocals
line up 6 (2000-2005)
- Colin Moulding -- vocals, bass
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- The Colonel (Terry Chambers and Colin Moulding) - The Helium Kidz (Colin Moulding - Andy Partridge)
- Johnny Japes and His Jesticles
- Andy Partridge (solo efforts) - Star Park (Colin Moulding - Andy Partridge) - The Three Wise Men
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Genre: rock Rating: ** (2 stars) Title: Go 2 Company: Virgin Catalog: VI 2180 Country/State: Swindon, UK Year: 1978 Grade (cover/record): VG+/VG+ Comments: minor ring and edge wear; UP pressing, no bonus EP Available: 1 Catalog ID: 5045 Price: $15.00
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1978's "Go 2" found the band falling victim to the demand for quantity over quality. Clearly recorded in a rush and under considerable pressure, Partridge himself described the album as "Four weeks worth of songs, hastily scribbled on hotel notepaper and beer mats. We were living out of carrier bags and in rental vans, making nasty noises at each other and with each other. Something had to give and here it is.”), the sound wasn't radically different than the debut, offering a mix of frantic/spastic new wave moves, punk angst rounded out by occasional snatches reflecting a more mainstream sound (particular some of Colin Molding's contributions). Oh, don't forget to add in Partridge's penchant for offbeat lyrics ('Life Is Good In the Greenhouse'). Interestingly, at least to my ears the album's improved over the years. It really didn't do much or me the first couple of years I played it, but when I rediscovered XTC's earlier catalog a couple of years back I was pleasantly surprised to hear an album that was much more interesting than I remembered. There were actually quite a few highlights including the leadoff rocker 'Meccanic Dancing (Oh We Go!)', Moulding's 'Buzzcity Talking' and the should've-been-a-hits 'Are You Receiving Me?' (more below) and 'Beatown'.
For you true fanatics the original UK release came with a bonus 12" EP entitled "Go+". The EP culled a series of five songs from the album, offering them up in a dub format. Not exactly essential, but quirky. Also the US version of the album differed from the UK issue. Apparently unhappy with the absence of a clearly commercial cut, Virgin added the earlier single 'Are You Receiving Me?' to the US release.
"Go
2'" track listing:
1.) Meccanic Dancing (Oh We Go!) (Andy Partridge) - 2:34 rating: *** stars I've always wondered how they managed to create a song that was simultaneously spastically jittery and highly melodic (at least when the chorus kicked in). YouTube has a 1978 clip of the band performing the song on the French Chorus television program. Interesting to see Partridge and company at their most amped up: https://www.youtube.com/watch?v=oXR2UG4qxRY 2.) Battery Brides (Andy Paints Brian) (Andy Partridge) - 4:35 3.) Buzzcity Talking (Colin Molding) - 2:40 4.) Crowded Room (Colin Molding) - 2:53 5.) The Rhythm (Colin Molding) - 2:58 6.) Are You
Receiving Me? (Andy Partridge) - Bob Andrews) - 3:04
(side 2) 1.) Beatown (Andy Partridge) - 4:35 2.) Life Is Good In the Greenhouse (Andy Partridge) - 4:41 3.) Jumping In Gomorrah (Andy Partridge) - 2:03 4.) My Weapon (Barry Andrews) - 2:20 5.) Supper Tuff (Andy Partridge) - 4:24 6.) I Am the Audience (Colin Moulding) - 3:38
By the way, in case you really wanted to know, here are the front and back cover liner notes:
This is a RECORD COVER. This writing is the DESIGN upon the record cover The DESIGN is to help SELL the record. We hope to draw your attention to it and encourage you to pick it up. When you have done that maybe you'll be persuaded to listen to the music - in this case XTC's Go 2 album. Then we want you to BUY it. The idea being that the more of you that buy this record the more money Virgin Records, the manager Ian Reid and XTC themselves will make. To the aforementioned this is known as PLEASURE. A good cover DESIGN is one that attracts more buyers and gives more pleasure. This writing is trying to pull you in much like an eye-catching picture. It is designed to get you to READ IT. This is called luring the VICTIM, and you are the VICTIM. But if you have a free mind you should STOP READING NOW! because all we are attempting to do is to get you to read on. Yet this is a DOUBLE BIND because if you indeed stop you'll be doing what we tell you, and if you read on you'll be doing what we've wanted all along. And the more you read on the more you're falling for this simple device of telling you exactly how a good commercial design works. They're TRICKS and this is the worst TRICK of all since it's describing the TRICK whilst trying to TRICK you, and if you've read this far then you're TRICKED but you wouldn't have known this unless you'd read this far. At least we're telling you directly instead of seducing you with a beautiful or haunting visual that may never tell you. We're letting you know that you ought to buy this record because in essence it's a PRODUCT and PRODUCTS are to be consumed and you are a consumer and this is a good PRODUCT. We could have written the band's name in special lettering so that it stood out and you'd see it before you'd read any of this writing and possibly have bought it anyway. What we are really suggesting is that you are FOOLISH to buy or not buy an album merely as a consequence of the design on its cover. This is a con because if you agree then you'll probably like this writing - which is the cover design - and hence the album inside. But we've just warned you against that. The con is a con. A good cover design could be considered as one that gets you to buy the record, but that never actually happens to YOU because YOU know it's just a design for the cover. And this is the RECORD COVER. This is the back of a RECORD COVER. Catalogue No. V2108. This writing is the DESIGN on the back of the cover. This design is not like that on the FRONT. Its aim is to impart information about the RECORD and the GATEFOLD INSERT within rather than trying to sell it by being impactful or clever or any of those things. We have kept it in the same style so that the entire package has a sense of IDENTITY whichever way you see it. The record is by XTC. This is their second album. We won't attempt to describe their music because all you have to do is play it and you can describe it for yourself. XTC is made up of Andy Partridge, Barry Andrews, Colin Moulding and Terry Chambers. We have shown photos of them below because this is regarded as commercially sensible and helpful in creating their image. And if you're curious at all you might find it interesting to see what the musicians actually look like. And there are more pictures and words on the very colorful insert which you can only see if you buy the whole thing. Many people think it helpful and useful to know some details about the songs on the record inside, so here they are: 1. Meccanik Dancing (Oh We Go!) 2. Battery Brides (Andy Paints Brian) 3. Buzzcity Talking 4. Crowded Room 5. The Rhythm 6. Red 7. Beatown 8. Life is Good in the Greenhouse 9. Jumping in Gomorrah 10. My Weapon 11. Super-Tuff 12. I am the Audience. You may also be interested to know that the record was produced and Engineered by John Leckie with assistant engineers Haydn Bendall and Pete James at Abbey Road, also, Andy Llewelyn and Jess Sutcliffe at Matrix and that Barry's Roots photos were by Dave Eagle. We have to repeat the catalogue number on the insert for bureaucratic reasons and here it is V2108. Lastly we would like to make it clear that this is a product of Virgin Records Limited, partly because they wanted us to and partly because it is a legal necessity. Virgin Records' head office is located at Vernon Yard, Portobello Road, London W.11. and is (P) Virgin Records 1978 and (c) 1978 Virgin Music (Publishers) Ltd. This sleeve was written and photographed by Hipgnosis and printed in England by James Upton Ltd.
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Genre: rock Rating: *** (3 stars) Title: The Big Express Company: Geffen/Virgin Catalog: GHS 24054 Country/State: Swindon, UK Year: 1985 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $30.00
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I'll readily admit my first encounters with 1984's "The Big Express" were mixed. Co-produced by David Lord and the band, I found the collection challenging. It wasn't horrible, but nothing really jumped out at me as had always been the case on earlier sets. In fact, after trying to get through it a couple of times, I simply shelved it for what was about a decade. It wasn't until years later when I read an online review going on and on about what an overlooked classic their concept album was that I pulled it out to give it another shot. Concept album? That sure passed me by the first time around. A concept album about the closure of the Swinson Works railway system (the title apparently a reference to express train)? Huh? The one song I remembered, 'This World Over' was an anti-nuclear war ditty ...
Produced by David Lord and recorded at his Crescent Studios in Bath, the album marked their second album without drummer Terry Chambers. To fill in the gap keyboardist Dave Gregory, bassist Colin Moulding and singer/guitarist Andy Partridge again brought in sessions player/Glitter Band drummer Pete Phipps. They also began experimenting with Linn drums, along with a wide array of synthesizers and a Mellotron Partridge had acquired. Their contract with Lord allowed the band as much studio time as they wanted and they apparently took advantage of that option, recorded material over a six month timeframe. That may explain why it's an album that strikes me as suffering a bit from "analysis paralysis." With Partridge responsible for the majority of material, the eleven songs have grown on me over time, but tracks like 'You're the Wish You Are I Had', 'Seagulls Screaming Kiss Her Kiss' and 'Train Running Low on Soul Coal' were almost too clever for their own good. You get the feeling Partridge was struggling to record waves of ideas, even if that meant cramming every song nook and cranny with ideas. Yeah, so much for the less-is-more concept. That's apparently a fairly accurate reflection of the recording sessions which the band remember as being painful, particularly the time required to program the Linn drums. Like every XTC album, there was some lost treasures. While it may not have been his strongest melody, you couldn't argue with Partridge's cold war commentary on 'This World Over .' Three decades and we are right back where we were. In fact as I type this the US is thinking of reintroducing nuclear weapons to the UK. The other treasures were found in Moulding's contributions. The opener 'Wake Up' is best described as Moulding-does-Partridge. Best of all was Moulding's heartwarming, jazzy 'I Remember the Sun.' Is it my favorite XTC album? No, but it's one I've grown to appreciate; in part because it's prickly and challenging.
"The Big
Express'" track listing:
1.) Wake Up (Colin Moulding) - 4:40 rating: **** stars I've always felt Colin Moulding was the band's secret weapon bringing a keen sense of commerciality to their sound, so I was anxious to hear what was the first of two Moulding contributions to the album. Curiously, the skitterish 'Wake Up' struck me as sounding like an Andy Partridge composition. The refrain was "ear candy', but initially the rest of the song was a bit of a disappointment. With repeated spins that opinion's changed and today it would slot into a XTC Top 10 list. Always loved Annie Huchrak's lovely backing vocals.
In Neville Farmer's book "XTC: Song Stores: The Exclusive Authorized Story Behind the Music" Moulding discussed the song: "You stayed in bed / you wrote the note" is about me writing notes to skive off work in the early days of my marriage. My missus wouldn't let me go to work for the first few years. We were always at it! "A morning face" is that face you see every morning, usually a girl on the bus. But the last verse is about this paranoia, this recurring dream I have about being the first on the scene of an accident. If it's the positive version of the dream I resuscitate the victim and save the day. If it's the negative one, I run away." So where were the trains?
Virgin tapped it as the final single from the album; releasing it in 7" and 12" variants:
7" format - 1985's 'Wake Up' b/w 'Take This Town' and Mantis On Parole - Homo Safari Series No. 4' (Virgin catalog number VS746)
12" format - 1985's 'Wake Up' and 'Take This Town' b/w ' Mantis On Parole- Homo Safari Series No. 4', 'Making Plans for Nigel', 'Sgt. Rock (Is Going To Help Me)' and 'Senses Working Overtime') (Virgin catalog number VS746-12)
2.) All You Pretty Girls (Andy Partridge) - 3:40 rating: **** stars Typically quirky, 'All You Pretty Girls' managed to combine pop, a martial beat and Oriental influences into one of those Partridge compositions that climbed into your head and wouldn't leave. Apparently Partridge's original concept was along the lines of a sea shanty. A sea shanty? Where were the trains? Geez. With drummer Terry Chambers gone, the band leaned heavily on a Linn drum synthesizer and a Mellotron that was sitting in Partridge's bedroom. The tune was tapped as a 7" and 12" single, though with the band indicating they wouldn't tour in support of the album, Virgin didn't bother releasing the single in the States.:
7" - 1985's 'All You Pretty Girls' b/w 'Washaway' (Virgin catalog number VS709) 12" - 1985's 'All You Pretty Girls' b/w 'Washaway' and 'Red Brick Dream' (Virgin catalog number VS709-12)
Filmed for about $40,000, courtesy of YouTube you can see the band's accompanying promotional video: XTC - All You Pretty Girls (youtube.com)
3.) Shake You Donkey Up (Andy Partridge) - 4:19 rating: *** stars County isn't a vibe you find in a lot of Partridge songs. This one has it, including lots of fiddle. I've always loved the little guitar lick Partridge uses to propelled the rocking 'Shake You Donkey Up.' Not that Partridge's lyrics are every obvious, but even hardcore fans seem clueless what this one's about. Virgin originally wanted the track to be released as a single. Partridge even started to work on a promotional video concept, but the idea was eventually dropped. 4.) Seagulls Screaming Kiss Her Kiss (Andy Partridge) - 3:50 rating: **** stars Simultaneously propulsive, but discordant (the other band members hated the chorus), I've always found 'Seagulls Screaming Kiss Her Kiss' to be fascinating track. One of the first songs Partridge wrote on his Mellotron, the song was reported inspired by Roy Liechtenstein's then-girlfriend. Partridge met the woman at a New York film premier and their relationship quickly spiraled into fan/groupie territory. Unfortunately for Partridge he was newly married so the attraction between the two proved a strain on his new marriage. Divorcing his first wife, Partridge went on to marry the other woman. Steve Saunders provided the weird horn solo - the instrument was an euphonium. 5.) This World Over (Andy Partridge) - 5:37 rating: **** stars Unlike many Partridge compositions, 'This World Over' had a clear and obvious theme - fear of nuclear war. With his first child on the way, like many Europeans, Partridge was growing increasingly concerned about growing US - Soviet tensions and the rhetoric coming out of both sides. Partridge's song was seemingly a response to the US deploying nuclear armed Ground Launched Cruise Missiles in the UK and the concern for retaliatory strikes if a war ever broke out. "Will you smile like any father with your children on a Sunday hike? When you get to a sea of rubble And they ask “What was London like?” Um ... trains? The dark lyrics stood in contrast to the pretty melody and the sweet harmony vocals. The song was released as the album's second 45:
7" - 1984's 'This World Over' b/w 'Blue Overall' (Virgin catalog number VS721) 12" - 1984's 'This World Over' b/w 'Blue Overall' (Virgin catalog number VS721-12)
YouTube has a clip of the band's lip-synching performance of the tune on a Top of the Pops appearance: XTC-This world over (youtube.com)
(side 2) 1.) The Everyday Story of Smalltown (Andy Partridge) - 3:53 rating: **** stars Well, still no trains, but at least 'The Everyday Story of Smalltown' was inspired by life in Swindon. It's a great example of how busy some of these songs are with all kinds of stuff going on - constant changes in tempo, brass band, Beatles-influences ... 2.) I Bought Myself a Liarbird (Andy Partridge) - 2:49 rating: ** stars 'I Bought Myself a Liarbird' was written about former band manager Ian Reid who had left the band with a massive tax bill that almost bankrupted the band and marked the start of vive years of litigation with Reid. The lead guitar effects were cool but it wasn't the album's catchiest tunes. 3.) Reign of Blows (Andy Partridge) - 3:27 rating: ** stars Partridge takes on violent governments ... The rest of the band didn't like the song and Virgin Records didn't even want it on the album. Partridge's distorted vocals and guitar gave the song a dark, forbidding edge. 4.) You're the Wish You Are I Had (Andy Partridge - 3:17 rating: *** stars Another tune reportedly inspired by his soon to be second wife, the lyrics capture the intensity and insanity of infatuations. The chorus was catchy, but the rest of the song was almost discordant. Love the dirty, slide sound on the brief guitar solo. 5.) I Remember the Sun (Colin Moulding) - 3:10 rating: ***** stars Geez, who would have expected to hear Moulding showing off affection for Steely Dan ... = ) 'I Remember the Sun' was unlike anything else on the album - a beautiful, jazzy melody, amazing refrain, and lyrics that dropped your blood pressure by a good twenty points. Partridge's skitterish lead guitar is just the icing on the aural cake. Wikipedia has a quote where Moulding talked about the inspiration behind the song: "was about the fields that ... I used to play over, next to the Penhill council estate. That piece of wasteland was immensely evocative in my imagination. My mum hated me getting wet, so I remember the sun because [I] was only allowed out when it was sunny. The sun was king." A glorious performance and one of my all-time XTC favorites. 6.) Train Running Low on Soul Coal (Andy Partridge - 5:19 rating: *** stars OMG !!! Is it possible ? Finally a song with a train theme ? Was it worth the wait ? Well, if you like Partridge at his most skitterish then the answer is yes. Another track with a lot of stuff going on, but the melody wasn't particularly memorable and by the end of the song, it was all pretty discordant.
© Scott R. Blackerby January, 2025
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Genre: rock Rating: **** (4 stars) Title: Skylarkin' Company: Geffen Catalog: GHS 24117 Country/State: Swindon, UK Year: 1987 Grade (cover/record): VG+/VG+ Comments: original custom lyric inner sleeve Available: 1 Catalog ID: not yet listed Price: $30.00
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If I had a list of most fascinating albums in my collection, then 1987's 'Skylarkin'" would easily be in the top-10. It's an album I've owned since it was released. It's an album I've played dozens of time. It's an album that continues to entertain me and reveal new facets every time I play it (much to my family's dismay).
By
1986 XTC was facing major problems with their American record label.
Increasing unhappy with the band's poor US sales, Geffen demanded the
group's next album be produced by an American producer.
Singer/guitarist Andy Partridge, keyboardist/guitarist Dave Gregory and
singer/bassist Colin Moulding were hoping to produce the album
themselves. Geffen reportedly gave the group a list of potential
producers and since they only recognized one name on the list, opted to go
with Todd Rundgren. On paper Rundgren seemed like a good fit. He
was familiar with the band's catalog and had even seen them live. XTC were
less sold. Guitarist Gregory was a Rundgren fan
What's the Joni Mitchell quote? Something along the lines of "out of pain comes creativity ..." Judging by how creative 1986's "Skylarkin'" was, making it was clearly a painful experience for all involved. To my ears the album could have easily served as another released by XTC's alter ego - The Dukes of the Stratosphere. In fact, at least a couple of the songs, including Moulding's 'Big Day' traced their origins back to The Dukes of the Stratosphere sessions. Similar to 1986's "25 O'Clock" songs like 'Ballet for a Rainy Day' and the Beach Boys-flavored 'Season Cycle' reveled in a distinctive '60s sound, but wrapped them in the band's thoroughly English lyrics and presentation. Having previously strived to highlight his eccentricities, this time around material such as 'Earn Enough for Us' and 'That's Really Super, Supergirl' found Partridge offering up some of his most mainstream and appealing material. Elsewhere, long caught in Partridge's creative shadow, Moulding finally got a chance to showcase his talents. With Rundgren having a big say in song selection, the album including five of Moulding compositions. To my ears tracks like the single 'Grass' and 'Big Day' were even catchier than most of Partridge's contributions. It's an album that cruises from strength to strength. It's an album I've never grown tired of hearing. At least to my ears the result was easily the group's most mainstream and enjoyable release. While the LP only reached # 70 on the US Billboard album charts, it was widely praised by critics who readily drew comparisons to the Fab Four (perhaps part of the comparison stemming from the side long segues and Gregory's 'Yesterday'-styled strings). A college radio staple, the album ultimately spent some six months on the American charts.
1.) Summer's Cauldron (Andy Partridge) - 3:15 rating: **** stars Well,
I'm not big of songs opening with sound effects, but I have make an
exception for 'Summer's Cauldron'. Not to sound like a pompous
dick, but complete with bees, crickets, chirping birds and early morning
sounds, I found
the pastoral 'Summer's Cauldron' simultaneously calming, with just enough
droning lysergic touches to be totally intriguing. There's just
something about the song that makes me think about childhood summers.
They seemed so endless and carefree. Besides, how can you not be
stunned by colorful lyrics like "Trees
are dancing drunk with Nectar ..."
One of the song's ironies - the initial demos were put down recorded in a
January recording session. The abrupt transition to 'Grass' was unexpected as was Moulding's shimmery, lysergic-tinged ballad. A slice of pure ear candy, it's a track that worms its way into your mental play list and simply won't leave. And no, the song was not about drugs. Moulding was inspired to write the song by Coate Water Park which was located near his Swindon home. The track was released as a single with the non-LP 'Dear God' as the "B" side.
7" released - 1987's 'Grass' b/w 'Dear God' (Virgin catalog number 108 493) 12" released - 1987's 'Grass' b/w 'Extrovert' and 'Dear God' (Virgin catalog number VS 882 12)
YouTube
has a clip of the accompanying promotional video: https://www.youtube.com/watch?v=nyvgFFAzwzA With Moulding handling lead vocals, 'Meeting Place' recalled a children's nursery-rhyme. Best thing I can say is it was a charming tune. It was an interesting, if odd choice for a UK single:
7" release - 1987's 'The Meeting Place' b/w 'The Man Who Sailed Around His Soul' (Virgin catalog number VS-912) 12" release - 1987's 'The Meeting Place' b/w 'The Man Who Sailed Around His Soul' (Virgin catalog number VS-912-12)
YouTube
has a copy of the song's promotional video: https://www.youtube.com/watch?v=V6d6HL_TGZs 'That's Really Super, Supergirl'
was a great example of XTC's ability to mash-up quirky bizarre song
structures with comic book inspired lyrics and catchy pop tune
characteristics. The swooning backing vocals are wonderful. Dick
Gregory provided the wonderful guitar solo with an un-credited Todd Rundgren
providing keyboards. A
sweet, breezy and highly melodic ballad, 'Ballet for a Rainy Day' has always
reminded me of a tune that Brian Wilson would have loved to write and
perform. Not sure how Partridge managed it, but the lyrics and melody
perfectly captured the feel of a dark, wet day. The end-of-song
orchestration added a slight psychedelic touch to the effort. Another
I've-been-dumped-again tune, '1000 Umbrellas' wasn't the most upbeat song
Partridge ever penned. Sounding like 'Eleanor Rigby' on downers, the
song's most interesting facet came in the form of of Gregory's
extensive string orchestration. The original demo was so downbeat
producer Rundgren didn't want it included on the album, though he changed
his mind after hearing Gregory's strings. One
of the album's highlights, even without credits you'd know 'Season Cycle'
was an XTC effort (with a big nod to Brian Wilson and the Beach Boys
...) The hypnotic keyboards, interesting lyrics, Partridge's unique
voice and the angelic harmonies ... near perfection. (side 2) 1.) Earn Enough for Us (Andy Partridge) - 2:51 rating: **** stars The autobiographical 'Earn Enough for Us' was inspired by Partridge's time working in a paint shop and trying to care for a young family. His boss was apparently a true SOB. The song's painful lyrics made for an interesting contrast to the bubbly, jangle guitar melody. Always loved Moulding's bass line on this one, though Partridge didn't like it which led to Moulding quitting the band for a brief period. One of the album's most commercial tunes, the track was released as a single in Australia and Canada:
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1987's 'Earn Enough for Us' b/w 'The Man Who Sailed Around His Soul' (Virgin
catalog number VS 1361)
2.) Big Day (Colin Moulding) - 3:25 rating: **** stars One
of the five Moulding songs, 'Big Day' was originally intended for their
Dukes of the Stratosphere release, but the band thought it was too good to
waste. Written as a single, the song was interesting given it featured
one of Moulding's best vocals. Powered by Gregory's jangle guitar and
the whispery harmonies, the melody was certainly pretty (loved the wedding
bells), but the song was kind of quirky. In fact, it sounded like
something Partridge could have written. 'Another
Satellite' was another song inspired by a female fan whom Partridge had
become involved with. It's the same woman who inspired the song
"Seagulls Screaming Kiss Her Kiss Her' on "The Big Express".
Musically the song featured a haunting, stark and echoy sound with lyrics
that made a lot more sense when you knew the inspiration. The refrain was
one of the sweetest things Partridge ever wrote. 'The
Man Who Sailed Around His Soul' sounds like a cross between a slice of
Beatnik jazz and a James Bond theme song. Interestingly, that was
apparently exactly what Partridge was aiming for. Kudos to Rundgren
who overnight dreamed up the arrangement. The Tubes Prairie Prince
provided drums. I found a brief quote from Partridge where he
discussed the song: "The
Man Who Sailed’ initially was a folk thing with acoustic guitar
interweaving, but Todd wrote a brass arrangement for it. It has since come
out as a cross between Bobby Darin's ‘Mack the Knife’ and Lena Horne's
‘Fever’! It's sort of a big band number.” The
song also appeared as the "B" side on their 'The Meeting Place'
and 'Earn Enough for Us' 45s. Complete with nod to the late Patrick
McGoohan, the band filmed a promotional video for the British television
show The Tube: https://www.youtube.com/watch?v=x3qbUy6e11Q An admitted atheist, Partridge apparently expected 'Dear God' to generate some blowback from believers. There's a 1987 interview with "The Limelight Annual" were he discussed the track: "I'm sure people will write and say of course there's a God, how can you think there's not one? We get a lot of letters like that in any case. We seem to attract irate Christians. And I'm sure we'll get a few saying, "How good, 'cos I've always thought that as well." Basically I don't believe in God. I don't think there's a stately British actor in a white sheet looking down on us all and deciding that you're going to get run over, and you're going to win the pool..." A stark folk-flavored song, the track was framed as an agnostic writing a letter to God questioning his existence and fairness. And that's one of the things that makes it so interesting - Partridge seems to be questioning organized religion, rather than condemning it outright, Interesting XTC factoid - 'Dear God' was to be included in the original US release, but both Partridge and Geffen Records had second thoughts about the song's potential controversial content. Partridge was concerned protestors would invade his home life. Geffen executives were concerned with having a young child (Moulding's son Lee), sing the opening and closing segments would only increased the controversy, leading to widespread protests. The result was a decision to drop it from the LP's US track listing. The song was then relegated to the "B" side of their 'Grass' 45. When American college radio started playing the song it was added back to subsequent releases of US album, replacing the song 'Mermaid Smiled'. And yes, controversy came pouring in with angry listeners calling radio stations to protest what they heard as the song's anti religion stance. Geffen also released it as a single with a promotional video: https://www.youtube.com/watch?v=p554R-Jq43A&list=RDp554R-Jq43A&start_radio=1
7" release - 1987's 'Dear God' b/w 'Mermaid Smiled' (Virgin catalog number 7-28394) 12" release -
1987's 'Dear God' and 'Extrovert' b/w 'Earn Enough for Us' and 'Grass'
(Virgin catalog number 0-20630) Widely
assumed to be inspired by the recent loss of his father, 'Dying' was
actually inspired by one of Moulding's elderly neighbors. It isn't
particularly melodic; in fact Moulding sounded like he was trying to purposely
sing off key. The lyrics were certainly dark, though thought
provoking. For goodness sakes, form time to time check on your elderly
neighbors and relatives. 'Sacrificial Bonfire' has always reminded me of a slice of medieval English folk music, though Moulding was apparently trying to capture an :"Iron Age' vibe. Truthfully, I'm not sure what the plotline was. Rundgren added the string arrangement (which I've always through distracted from the melody).
© Scott R. Blackerby January 2025
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Genre: rock Rating: **** (4 stars) Title: Oranges & Lemons Company: Virgin Catalog: 24218-1 Country/State: UK Year: 1989 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: not yet listed Price: $8.00
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Whereas "Skylarkin'" reflected Partridge and company's growing interest in '60s
psychedelia, 1989's "Oranges & Lemons"
found the band literally bathing themselves in the genre. Fabled for their agonizing fights with producers, this time the trio hired Paul Fox to man the boards. (Partridge apparently liked Fox's work on a Boy George song). The choice proved inspired. From it's
day-glo cover art, to the trippy sounds of material such as "Garden of Earthly Delights", "Here Comes President Kill Again" (baring an uncanny resemblance to solo, post-Beatles John Lennon), and "The Loving", the results made for one of the band's most engaging releases. Sure, spread across four sides, there was some needless filler - particularly sides 3 and 4. It would have made a killer single LP. That said, even some of the throwaway efforts ("Poor Skeleton Steps Out " and "Scarecrow People") were worth hearing. Elsewhere "Mayor of Simpleton", "Merely a Man" (love the horn arrangement), "King for a Day" and "One of the Millions" (the latter two reflecting two of Moulding's three contributions), underscored the trio's often overlooked knack for writing killer pop songs. Propelled by rave reviews and a limited acoustic tour of select American radio stations, the collection became the group's best selling American release, hitting
# 44. 1.) Garden of Earthly Delights
(Andy Partridge) - (side 2) 1.) Scarecrow People
Andy Partridge) -
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Genre: rock Rating: **** (4 stars) Title: Waxworks Some Singles 1977 - 1982 Company: Geffen Catalog: 24027-1 Country/State: Swindon, UK Year: 1982 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 331 Price: $15.00
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If you're frugal
and don't want to invest in one of the retrospective sets ("Fossil
Fuel: The XTC Singles 1977 - 1992", "The
Uppsey Daisy Assortent", or
the 2002 4 CD set "Coat of Many Cupboards"),
then I'd suggest 1982's "Waxworks Some
Singles 1977 - 1982" might be the
place for you to start exploring XTC. Like the title indicates, the
album features a wonderful 14 track compilation of the band's early singles
(most of the all but unknown outside of their American cult
following). You'll seldom hear a set that does such an amazing job of
showcasing a band's musical growth from competent new wave/punk wannabes ('Science
Friction'), to the
Kinks-styled 'Tower of London'. 1.) Science Friction (Andy Partridge) - 3:12 Off of their 1978 "White Music" album, 'Science Friction' managed to blend jittery new wave moves, some classic '60-styled organ, killer drumming, with Andy Partridge's instantly recognizable voice. Not their most commercial effort, but the perfect song to show these guys were more than your run-of-the-mill British wannabe outfit. The video quality is pretty bad, but YouTube has a promotion clip of the band performing the song: http://www.youtube.com/watch?v=KtnNJ3q5wEc rating: *** stars 2.) Statue of Liberty (Andy Partridge) - 2;24 Another "White Music" track, 'Statue of Liberty' unveiled Partridge's affection for strong pop melodies and hooks. Unfortunately getting banned by the BBC for supposedly lewd lyrics didn't help sales. YouTube has a clip of the band performing the song on the British Old Grey Whistle Test television program. The young Andy Partridge's reference to Rita Coolidge was hysterical, as were the song's 'yo-yo' refrain: http://www.youtube.com/watch?v=qjEuws9-HTM rating; *** stars 3.) This Is Pop (Andy Partridge) - 2:39 As represented here, the single mix of 'This Is Pop' was one of their jittery-est, new wave-influenced singles, while the title track chorus was glistening top-40 pop. Fascinating combination of genres. YouTube has a frenetic live performance of the song from the Revolver television program: http://www.youtube.com/watch?v=Iy8gSdZdpy8 rating: *** stars 4.) Are You Receiving Me? (Andy Partridge) - 3:03 Snarling punk influences with Partridge's knack for catchy melodies ... add in Bob Andrews of keyboards and this one was near irresistible. YouTube has a copy of the original promotional video at: rating: **** stars 5.) Life Begins At the Hop (Colin Moulding) - 3:45 Off of 1979's "Drums and Wires" (the first XTC album I ever bought), 'At the Hop' showcased Colin Moulding as the band's overlooked commercial talent. Yeah, the song had a distinctive new wave angst to it, but it was also the kind of track that was impossible to sit still to. I can still remember the promo video: http://www.youtube.com/watch?v=7vq1U8BKsEw rating: **** stars 6.) Making Plans for Nigel (Colin Moulding) - 3:53 Another Colin Moulding track off of 'Drums and Wires", I can remember hearing this on Washington's WHFS (radio has never been the same since it left), and being dumbfounded by the track ... I literally stopped at my local Penguin Feather record store to buy the album. The song was reportedly inspired by Moulding's own life - his parents vehemently opposed to him picking music over going to college. It was British to the core and most of my friends just didn't appreciate it, but to my ears the pounding rhythm section and the insidiously catchy refrain were golden. The references to British Steel apparently almost got it banned by the BBC. YouTube has a promotional television performance of the song at: http://www.youtube.com/watch?v=g0X4Czq1c1E rating: **** stars 7.) Wait Till You Boat Goes Down (Andy Partridge) - 4:34 Off of the "5 Senses" EP, 'Wait Till You Boat Goes Down' is simply miles apart from the new wave/punk influences that characterized much of their earlier work. Moulding's bass work was amazing, as were the band's harmony vocals. Fantastic song and a preview of what they were about to start doing. rating: **** stars
1.) Generals and Majors (Colin Moulding) - 2:43 Off of the "Black Sea" LP, 'Generals and Majors' showcased Partridge's penchant for lyrically dense songs, coupled with his obvious affection for Beach Boys-styled harmonies (simply inspiring). Y YouTube has a clip of the promotion video (featuring Richard Branson who was technically their boss as head of Virgin Records - then their label): http://www.youtube.com/watch?v=LCW6Kte2o1A rating: **** stars 2.) Tower of London (Andy Partridge) - 4:38 The second "Black Sea" selection, 'Tower of London' was one of those transitional tunes between their earlier new wave stylings and a more sophisticated approach. The subject matter was simply too English for American listeners, but so what. Nice promo video to go along with it: http://www.youtube.com/watch?v=JRNHbBg6HVc rating: **** stars 3.) Sgt. Rock (Is Going To Help Me) (Andy Partridge) - 3:36 Another "Black Sea" track, 'Sgt. Rock (Is Going To Help Me)' has always made me wonder if Partridge and company were big Monty Python fans ... yeah, they could occasionally be a bit too clever for their own good. Call it 10cc disease (the fuzz guitar solo actually recalled that band). Pleasant enough melody though. YouTube has a clip of the band lip synching the song of Top of the Pops 2: http://www.youtube.com/watch?v=4e9sNqtS9qE rating: *** stars 4.) Senses Working Overtime (Andy Partridge) - 4:33 Their sound is uniquely English, and that's seldom as apparent as this track off the "English Settlement" album. Not as instantly appealing as some of their other material, but given time 'Senses Working Overtime' is one of their best performances. Course the fact it was their first UK top-10 hit show you want my opinion counts for. YouTube has a Top of the Pops performance of the song at: http://www.youtube.com/watch?v=Nn81JYWz_Lw rating: **** stars 5.) Ball and Chain (Colin Moulding) - 4:36 The second "English Settlement" track, 'Ball and Chain', I've never had a clue what it's about. Nice propulsive melody though and the synthesizers were surprisingly subtle. YouTube has a couple of interesting clips related to the song: There's a nice live performance of the song from the 1982 Oxford Road Show: http://www.youtube.com/watch?v=ABy2RLY-VIM The other link is to the original promotional video (with another Richard Branson appearance): http://www.youtube.com/watch?v=4a9wowg4AjI : rating: *** stars.
Great place to start exploring this band !!!
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Genre: rock Rating: **** (4 stars) Title: English Settlement Company: Geffen Catalog: 24027-1 Country/State: Swindon, UK Year: 1982 Grade (cover/record): VG+/VG+ Comments: double LP Available: 1 Catalog ID: 331 Price: $40.00
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For a college kid who found the
early XTC albums fascinating (punk, but with brains and a sense of melody),
"English Settlement" came as a major surprise.
Maybe not a great analogy, but I remember listening to the album and think
the new, expanded sound might be similar to someone who'd grown up on black
and white television and was suddenly exposed to color television shows.
1.) Runaways (Colin Moulding) - 4:34 rating: **** stars I can remember hearing 'Runaways' for the first time and thinking someone had been fiddling with the bass settings on my stereo. When Colin Moulding's bass kicked in n the track, it literally sent my living room and fillings quaking ... And some three decades later the song's subject remains as disconcerting to my ears as it did when I first heard it. Highly tuneful (most bands would kill to be able to replicate XTC's harmony vocals), but the child abuse lyrics remain dark and disturbing. 2.) Ball and Chain (Colin Moulding) - 4:32 'Ball and Chain' was supposedly inspired by the destruction/urban renewal of Swindon town centre with The Beatles 'Getting Better' serving as the musical inspiration. Virgin marketing executives brought in producers Clive Langer and Alan Winstanley (having enjoyed massive success with the band Madness), to record the tune as a single (backed with 'Punch and Judy'). Langer immediate rubbed the band the wrong way; leaving before the song was completed. Winstanley finished the sessions. 3.) Senses Working Overtime - 4:50 The tune was also released as the leadoff single:
- 4.) Jason and the Argonauts - 6:50 rating: **** stars Someday I'll have to find an XTC biography so I can figure out what some of the inspirations were for songs like 'Jason and the Argonauts'. Kicked along by a mesmerizing guitar pattern, it's one of my choices for standout performance on the album. I have no idea if the track was inspired by Greek mythology, or something totally different. It was also another track where the XTC rhythm section stole the show - Moulding's bass line was simply sterling and Terry Chambers managed to sound like an entire college drum line YouTube has a clip of the band performing the song before a German audience as part of a 1982 Rockpalast appearance: https://www.youtube.com/watch?v=SgMz7S6L8Bg
(side 2) 1.) No Thugs In Our House - 5:09 rating: *** stars The skitterish 'No Thugs In Our House' has always been another song that I've wondered about - parents of a bad child who don't want to believe the kid is a racist ? The song's always reminded me of the band's earlier, punkish releases. YouTube has a clip of the band performing the song on the Grey Old Whistle Test television program: https://www.youtube.com/watch?v=e3eG6qUGJ34 2.) Yacht Dance - 3:56 rating: **** stars The perfect introduction for folks who didn't think XTC could handle a uplifting lyric, or a bouncy, commercial melody ... Always loved the acoustic guitar flourishes.
English Settlement (1982 Virgin). Released as a double album, this is XTC at the height of their powers. A stylistic triumph, where country/folk cheerfully rubs shoulders with anthemic pop. Andy: “I gave away my acoustic guitar in a TV contest and had to buy a new one, suddenly all these new tunes flowed out! Colin gets fretless, Dave goes 12-string, Terry still ‘just 'its 'em’. This 15-track warehouse of songs sounds expansive, fresh, unfinished and vast. It was to become many people's favourite XTC album.” Andy: “Why don't we make an album we don't have to reproduce on stage? We can use acoustic instruments, we can overdub keyboards, we can use pianos. . . The first of the multi-coloured records.”
With voices (filters, chants, wimp cool) and melodies (chants, modes, arts cool) ever more abstract, I figured Colin Moulding had finally conquered Andy Partridge and turned this putative pop band into Yes for the '80s. But it's more like good Argent, really, with the idealism less philosophical than political--melt the guns, urban renewal as bondage, o! that generation gap. And fortunately, the melodies aren't so much abstract as reserved, with the most outgoing stolen from Vivaldi or somebody by none other than Andy Partridge. B PLUS
English Settlement is an unexpected turning point in XTC's career. After two straight energetic unstoppable English Settlement is the fifth studio album by the English band XTC, released on 12 February 1982, and their first double album. The album reached No. 5 on the UK Album Chart for an 11-week chart stay,[1] and No. 48 on the Billboard 200album chart for a 20-week stay.[2] The album's music style marked a turn towards the more pastoral pop songs that would dominate later XTC releases, with increased use of acoustic guitar and fretless bass. In many countries outside the UK, the album was first released as a single LP, with five tracks deleted. However, this version was discontinued not long after release. The record spawned three UK singles: "Senses Working Overtime" (No. 10); "Ball and Chain" (No. 58); and "No Thugs in Our House". ContentsBackground[edit]For English Settlement, XTC became their own producers.[3] Bandleader Andy Partridge figured: "We did a couple of albums with Steve Lillywhite as producer and Hugh Padgham as engineer and we twigged that it was Hugh who was getting all the great sounds and we were making the music, so what did we need Lillywhite for?"[3] He also believed that "if I wrote an album with a sound less geared towards touring then maybe there would be less pressure to tour."[4] Padgham was thus given a producer credit alongside XTC. Compared to the band's previous albums, English Settlement showcased more complex and intricate arrangements.[5][6] Songs were longer and subject matter covered broader social issues.[7] Much of the new material featured acoustic instruments, a reflection of Partridge's newfound interest in 12-string guitar,[6] Guitarist Dave Gregory also bought a Rickenbacker 12-string and began contributing to the group as a keyboardist.[8] His first piano contribution was on the introduction of "Respectable Street", from 1981's Black Sea and for the English Settlement sessions, he played keyboards on the B-Side "Blame the Weather".[9] The
song "English Roundabout" is a rare example of popular music
written in the unusual 5 Release and reception[edit]
In February 1982, English Settlement was released as the group's first double album.[8] Both the album and lead single "Senses Working Overtime" became the highest-charting records they would ever have in the UK, peaking at number five and number 10, respectively.[5][8] In several territories outside the UK, the album was released as a single LP.[19] The album was previewed with a live performance on The Old Grey Whistle Testprogram in January where they performed "Yacht Dance" (their only performance of the song) and "No Thugs In Our House". They also made a live appearance on The Oxford Road Show performing "Snowman", "Ball and Chain" and "Jason and the Argonauts". Promotional videos were created for "Senses Working Overtime", "No Thugs in Our House", "All of a Sudden (It's Too Late)" and "Ball and Chain". Only nine full shows were performed on the proposed 1982 English Settlement World Tour due to Partridge's collapsing at Le Palace in Paris, France on 18 March (during the first song in their set) and subsequent breakdown after their performance at The California Theatre, San Diego, California, U.S.A. on 3 April. This would prove to be XTC's last full show; the band abandoned the next night's show in Los Angeles.[20] Track listing[edit]Original UK double album[edit]All tracks written by Andy Partridge, except those marked with (*), which are by Colin Moulding.
Single LP worldwide version[edit]Released in much of the world in 1982.
Personnel[edit]
with:
records
like Drums & Wires and Black Sea, everybody (well, I) would expect
another, even more lively and aggressive record that could still be as
catchy and poppishly amazing as BS. Aaaaand nope, you get English
Settlement, which feels like expecting a rocket ride and ending up with a
two-week long vacation in a farming community somewhere in Cornwall. I
don't think I'm alone when I say that I consider XTC to be quite an
underrated band. Sure, their first two efforts weren't incredible but the
succeeding albums were simply quite marvelous. Despite their penchant for
pop-grooves and catchy melodies they just didn't see much mainstream
success. So, just like the Manic Street Preachers would do with their third
album 12 years from this, XTC decided to go for broke. If they couldn't
confidently achieve the mainstream success they desired, they were going to
put everything they had on their mind in this album.
To
call XTC's career up this point bubbling potential is an understatement
really. Their first two were modest and (in the debut's case) successful
stabs at some great spartan New Wave music. It's the next two that
tantalized with their shining possibilities and unknowns. A powerful mixture
of pop sensibility and tireless creative instinct that only some of the very
best acts seem to possess from the Beatles on to Outkast later. Both Drums
and Wires and Black Sea however were missing something, something that would
be hard to describe until seeing what XTC got up to next. In retrospect it
is clear. They were statements without focus, particularly Drums and Wires.
The band did not have some grand mission to the sessions that produced them,
and that didn't just loosen up great songs...I belive firmly that it also
lead to LESS great songs and LESS songwriting quality. I don't mean to say
focus does this with every act, but at least in the case of XTC I think so.
English Settlement's sessions were marked by the band starting to play
around with a 12-string guitar, and the rural direction this ended up taking
them. No you know me by now, I'm an urban guy. My musical tastes are urban
and strongly so. Even the rural stuff I like I tend to do so in a more
distant way, I don't fall in love with Bob Dylan for instance. I just
respect him. But here we see something rare, the urban founded band going
rural...but doing so through their particularly urban origins in music. XTC
themselves are from Swindon, which is a tiny city out in the middle of the
pretty damn rural West Country of England. For all their New Wave Punk
origins that geography of their home must have been beckoning somewhere in
the back of their heads. But XTC's approach to all this (that would
subsequently be their thing) was to create a powerfully focused album based
around a SETTING. It's music of place, it has it's distinct flavors, tones,
smells, sights, and goddamn it there's no way the band isn't fully aware of
this aspect to themselves. Nearly all the songs here bow to the overarching
goal of embodying this new vibe and it's English countryside flavor complete
with a vaguely pagan Celtic echo that makes itself noted at points. Oh, all
this and it's a DOUBLE album. Which means it gets to utilize one of the best
uses for a double album, which is just flauntingly embracing it's space to
explore a sound's many different nooks and crannies. And aside from the
bizarrely weak two song hiccup that is Leisure and Nearly Africa, it does so
with immense quality and grace. With a confidence that absolute cements that
this is their true arrival as a major major act not to be screwed with. Even
the less memorable tracks benefit from the agenda on hand! Sure I tune out a
bit with Down in the Cockpit for instance...but in playing with the setting
the band has constructed it still works on some level. But don't let
yourself think this is a triumph of concept over songs, don't even begin to
imagine that this all the reason I let it crush Drums and Black Seas. The
songwriting quality has risen tremendously yet again, the first five songs
on this are MONSTERS, particularly the first four. These are true titans!
Frightening and if there's one major flaw here it's that they deftly
overshadow much of what follows on the album! Runaways is a misty magical
atmospheric song, perfect for opening the scene. Ball and Chain features one
of my favorite melodies. Senses Working Overtime is probably their most
famous song and for fair reason. And Jason and the Argonauts is probably the
best song on the album with it's combination of perfect melody, perfect
arrangement, and perfect and powerful atmosphere. There are fantastic
numbers elsewhere though. All Of a Sudden is a wistful song that can be
powerfully depressing if you let it get to you, while Melt the Guns is a
fantasia of paganish drums and yelps that makes it sound like the band has
rescued Pink Floyd's song about the partying Pict from being stupid after
all these years. And Fly On The Wall is a complete and total masterpiece of
New Wave pop that has a bad reputation for no fucking reason whatsoever,
it's an awesome track and you should all be ashamed for disliking it. I'll
die defending that song! All throughout, an impressive array of percussion
and the more acoustic sounding guitar playing evokes the rolling green of
England as that country once more realizes that aping American roots music
is retarded when their own country has such fertile ancient roots. The art
on the cover is some 2000 or so year old Celtic design embedded in the
landscape, a Stone Henge sort of thing. Combine this sense of English roots
with what is still a powerful undercurrent of New Wave energy and
post-modern pop? And it's an absolute match made in heaven that easily
vaults to the short list of the decade's best albums. This
is where things start going south. Partridge sets himself up as a
"great songwriter" and believes this means he has to lecture us on
obvious topics. "Melt the Guns" is three minutes too long and
"Down in the Cockpit" is simply embarrassing gender politics
doo-doo. Elsewhere are some good tunes absolutely lost in the production.
After two excellent records in the studio, I have no idea what they were
trying to do here. But the subtlety is gone, that's for sure.
At
the risk of damning with faint praise, this is so much better than
“Skylarking”. I can't think of any other bands where their double album
is better than their most critically acclaimed album, though I'm sure fans
of “The White Album” and “Bitches Brew” and “Exile on Main St.”
are emerging from the woodwork as I speak. With some of those there's an
argument to be made, but this one is self-evident. “Skylarking” was an
overly cloying tribute to 60s psychedelics but this uses that as an
influence and uses it with other elements such as punk and jangle to create
something far more original and easier to relate to.
XTC
are a band that my parents played a good deal of when I was growing up and
my memories have always been fond ones, particularly of English
Settlement.
Coming back to it now it’s apparent that as a child I was only aware of
the first half of the first disc of this double album and literally did not
know how to turn an album over. That first side is phenomenal and worthy of
a five star rating in itself but unfortunately English
Settlementfalls
prey to the pitfalls that nearly all double albums do. I have yet to find a
double album where there isn’t at least one track I could do without and
this is no exception. Were this pared down to the best 40-50 minutes
worth of tracks I’d feel much more comfortable with this rating and would
consider a half star bump. This is XTC’s last album before turning to
being a studio only band and bridges the gap between their new wave/pop days
with the art rock and kinksesque pop that would reach it’s full form
on Skylarking.
The issue of the band undermining a good pop tune with an out of place
bridge or Partridge yelping his lyrics is still here but more often than
not, Moulding and Partridge stay out of the way of their own creativity.
English
Settlement is one of XTC's best, no question. It may be a little long and
some songs may outwear their welcome ("Melt the Guns"), but it's a
diverse, enigmatic batch of songs that isn't afraid to delve into a range of
mature topics. Here is a record that shows a band growing, but also rising above all expectations. Drums and Wires and Black Sea really showed the world we are dealing with a special band here, a band that can effortlessly toss off some consistent pop albums, which is a pretty rare feat in rock music. Add to that formula of a band at its peak mysticism, style experimentation, expanded instrumentation, and more specialized production, and you have an idea of English Settlement. It is just as consistent as the albums before it, but its 72 and a half minutes long, so that puts it in a class of its own. Songs lengths are expanded but not to annoying effect like so many double albums, each of these songs feel like they should be as long as they are. The balance of music in the flow is perfect too: Moulding opens it up with a one two punch of "Runaways" and The Beatles' "Getting Better" homage "Ball and Chain", which sound like they were written by completely different people, and later his "Fly on the Wall" and "English Roundabout" show great versatility and melodic depth - it's his best batch of songs for an XTC album. Partridge writes the other eleven tracks, and with the exception of the passable "Leisure", they all shine. "Senses Working Overtime", "No Thugs in Our House" and "All of a Sudden" all bear his stamp of being single ready, inherently English, and complex. However, things really shine on the political rap of "Melt the Guns", the pacifism of "Knuckles Down", and clash of styles in "Snowman", "It's Nearly Africa", and "Yacht Dance". English Settlement is often referred to as a fan favorite, but really I just think it strikes at the core of what makes the band great: it is the ultimate showcase of their melodic fantasies.
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Genre: rock Rating: ** (2 stars) Title: Wasp Company: Virgin Catalog: VI 2180 Country/State: Swindon, UK Year: 1978 Grade (cover/record): VG+/VG+ Comments: minor ring and edge wear; UP pressing, no bonus EP Available: 1 Catalog ID: 5045 Price: $15.00
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"Wasp"
track listing: 1.)
(side 2) 1.)
Wasp Star (Apple Venus Volume 2) is the fourteenth studio album by the English rock band XTC, released 23 May 2000 on Cooking Vinyl/Idea Records. Defined by bandmember Andy Partridge as the "eclectric" counterpart to 1999's Apple Venus Volume 1, it consists of rock-based material largely written between 1994 and 1996.[9] Wasp Star reached number 40 on the UK Albums Chart. In 2002, the group released an instrumental version of the album entitled Waspstrumental. XTC dissolved in 2006, leaving Wasp Star their last studio album to date. Track listing All tracks are written by Andy Partridge, except where noted. No. Title Writer(s) Length 1. "Playground" 4:17 2. "Stupidly Happy" 4:13 3. "In Another Life" Colin Moulding 3:35 4. "My Brown Guitar" 3:51 5. "Boarded Up" Moulding 3:23 6. "I'm the Man Who Murdered Love" 3:44 7. "We're All Light" 4:39 8. "Standing in for Joe" Moulding 3:42 9. "Wounded Horse" 4:11 10. "You and the Clouds Will Still be Beautiful" 4:18 11. "Church of Women" 5:06 12. "The Wheel and the Maypole" 5:55 Total length: 50:54 Personnel XTC Colin Moulding – vocals, bass guitar, harmonica on "In Another Life", guitar on "Boarded Up" Andy Partridge – vocals, guitar Additional personnel Caroline Dale – cello Nick Davis – keyboards Simon Gardner – flugelhorn Patrick Kiernan – violin Peter Lale – viola Holly Partridge – backing vocals on "Playground" Prairie Prince – drums (2–4, 12) Chuck Sabo – drums (1, 6–11) Kate St. John – oboe Matthew Vaughan – programming Gavyn Wright – violin Production Haydn Bendall – recording engineering Nick Davis – producer, mixing, recording engineering Simon Dawson – mix engineer Alan Douglas – recording engineering Barry Hammond – recording engineering Bob Ludwig – mastering Leonard B. Johnson – A&R Coordination XTC took full advantage of their studio-bound status with The Big Express, creating their most painstakingly detailed, multi-layered, sonically dynamic album to date. The more upbeat material and brighter sound recall some of the band's earlier moments, but most of all, The Big Express signals a turning point for the band, setting the blueprint for their later approach -- a combination of studio perfection matched with impeccable songcraft that results in a thoroughly consistent and enjoyable album beginning to end. Skylarking, the album that followed, gets much more glory, and certainly its impact was greater (this one was virtually ignored), but really, The Big Express covers much of the same territory and is just as strong an album in many ways. [Three songs were added to the middle of the CD reissue -- "Red Brick Dream," "Washaway," and "Blue Overall" -- but they fit seamlessly into the complete picture.] n 1984, seven albums deep into their career, things weren’t quite going XTC’s way. Having been chastened by the indifference that greeted 1983’s Mummer, the Wiltshire progressive art-rockers stubbornly sought to up the ante with follow-up The Big Express, a concept record largely influenced by their home town, Swindon, and its famous railway shed, Swindon Works. Train Running Low On Soul Coal became the spring from which the songs would flow, with chief songwriter Andy Partridge exploring his existential tribulations through the titular metaphor over a chugging, industrial sample. It wasn’t all insular parochialism – This World Over addresses geopolitics, and in particular the oh-so-80s topic of the proliferation of nuclear warheads and the feeling that it could only be a matter of time before somebody used them (the line where the protagonist’s children ask, ‘What was London like?’ speaks volumes). Sponsored Links Why ‘Nature's Adderall’ Is Taking Over The Internet Health Headlines If the plan had been to get commercially back on track, then what XTC actually made was a stubbornly baroque pop album where Partridge and producer David Lord demonstrated a wilful lack of restraint. With new toys at their disposal, including a Mellotron and a full 24 tracks to play with, The Big Express feels like a labyrinthine opera with harmonic vocal passages that come off like the British answer to Brian Wilson’s then-mythical Smile album. It’s ostentatious and even maddening at times, but there’s no faulting the ambition. RECOMMENDED VIDEOS FOR YOU... CLOSE Almost inevitably, the record-buying public at the time were as incurious as they had been about Mummer, but disdain also came from some quarters of XTC’s fanbase. Yet The Big Express has weathered far better than the Swindon Works that inspired it, demolished in 1986. Nearly 40 years on, the album teems with invention and surprises: Seagulls Screaming Kiss Her, Kiss Her is a swirly, psychedelic trip to the seaside where madness can be purchased almost as easily as a bucket and spade. I Bought Myself A Liarbird and Shake You Donkey Up are emphatically, naggingly insistent, the latter hypertrophying on 5/4 tangents that prove irresistible, despite their complexity. This is XTC in excelsis, for those who can handle such a riotous melodic imposition. Steven Wilson’s mixes arrive on CD a year after The Big Express was reissued on vinyl, and his steady hand brings some much-needed clarity to an album brimming over with ideas. It’s as though it was made for 5.1 Surround Dolby Atmos three decades before the technology even existed.
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The
collection hit # 38 on the UK album charts, but only # 178 in the United
States. The lack of American sales was due in part to the band
refusing to tour in support of the album. American label Geffen did
little to promote or support the collection; not even bothering to release a
US single. Pulling a page out of The Small Faces catalog (think
"Ogdens' Nut Gone Flake"), the
album was originally released in a circular sleeve. I've been looking
for a copy for years.
and
eager to give the collaboration a shot. Partridge and Moulding were
less enthused, but eventually agreed to the collaboration. Still, in
hindsight teaming Rundgren with XTC (particularly Partridge), seemed an open invitation
chaos and hurt feelings. The album was pulled together from a series
of twenty demos the band had previously recorded. Known as a hands-on
producer, Rundgren listened to the tapes and suggested he be allowed to pick
the songs; the running order and splice together a
concept album. Rundgren even suggested the album be titled "Day
Passes". Rundgren's vision was to structure the album to
reflect a series of life milestones. Partridge and company were less
than thrilled by what they saw as Rundrgen's overbearing personality and the
fact he'd seemingly already made decisions on which songs to include.
Additionally they weren't overly keep on the concept album approach.
Recorded at Rundgren's Utopia Sound Studios in Woodstock , New York, the
sessions were apparently a bumpy ride for all parties; particularly
Partridge. Still, perhaps due to both
parties' affection for Beatles' styled rock
"Skylarkin'" proved surprisingly successful
both artistically and commercially. The outcome was an even bigger surprise given Rundgren and Partridge spent much of the recording process at each other's
throats, arguing over everything from drum sounds to song selection. Their
dislike for one another was apparent in a series of post-LP release interviews
where Andy Partridge rather ungraciously trashed Rundgren's work. In
all fairness, YouTube has a brief interview where Rundgren gives his side of
the story - it's actually balanced and quite informative: 
