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 -- keyboards (replaced Barry Adams)
- Colin Moulding -- vocals, bass
line up 5 (1983-2000) - Dave Gregory -- keyboards
- Colin Moulding -- vocals, bass
line up 6 (2000-2005)
- Colin Moulding -- vocals, bass
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- The Colonel (Terry Chambers and Colin Moulding) - Dukes of the Stratosphere - 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 colourful 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: **** (4 stars) Title: Skylarkin' Company: Geffen Catalog: 24117 Country/State: Swindon, UK Year: 1987 Grade (cover/record): VG+/VG+ Comments: Available: 1 Catalog ID: not yet listed Price: $6.00
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Renown for destroying records he'd produced for other artists, placing the group in the hands of producer Todd Rundgren seemed an open invitation to aural disaster. Perhaps due to both
parties' affection for Beatles' styled rock,
"Skylarkin'" proved surprisingly successful. The outcome was an even bigger surprise given Rundgren and Partridge spent much of the recording process at each other's throats. (In fact in a series of post-LP release interviews Partridge rather ungraciously trashed Rundgren's efforts.) Having previously strived to highlight his eccentric sides, this time around material such as "Earn Enough for Us", "Season Cycle" and "That's Really Super, Supergirl" found Partridge offering up some of his most mainstream and appealing material. Moreover, long caught in Partridge's shadow, tracks such as "Grass" and "Big Day" proved Moulding was easily an equally talented contributor. The result was easily the group's most commercial and enjoyable endeavor. While the album only reached #70 in the States, 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 the "Yesterday"-styled strings). A college radio staple, the album
ultimately spent some six months on the American charts. (In an odd marketing move, the collection was originally released with "Mermaid Smiled" in the track line up. On subsequent releases, the song was replaced by "Dear God.") 1.) Summer's Cauldron
(Andy Partridge) - (side 2) 1.) Earn Enough for Us
(Andy Partridge) -
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Genre: rock Rating: **** (4 stars) Title: Dear God Company: Virgin Catalog: 0-20630 Country/State: Swindon, UK Year: 1987 Grade (cover/record): -- Comments: four track, 12" EP Available: SOLD Catalog ID: SOLD Price: SOLD $20.00
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Inexplicably, Geffen chose to follow the album with the release of the four track
"Dear God" EP. Pulling three tracks from
"Skylarkin'" ("Grass", "Earn Enough for Us" and the Partridge-penned title track (easily one of the best things he'd written)), the EP was rounded out by the previously unreleased "Extrovert" . 1.) Grass (Colin Moulding) - (side 2) 1.) Extrovert (Andy Partridge) - |
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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