The Dukes of Stratosphear "25 O'Clock" (1985)

25 O'Clock

release date: Apr. 1, 1985

format: cd (2009 remaster - APECD023)

[album rate: 3,5 / 5] [3,52]

producer: John Leckie, Swami Anand Nagara, The Dukes

label: Ape House - nationality: England, UK

Track highlights: 1. "25 O'Clock" - 2. "Bike Ride to the Moon" - 3. "My Love Explodes" - 4. "What in the World??…" - 5. "Your Gold Dress" - 6. "The Mole From the Ministry" - 13 "Black Jewelled Serpent of Sound (Radio Caroline Edit)" - 14. "Open a Can of Human Beans" - 15. "Tin Toy Clockwork Train"

Debut album by project-band The Dukes of Stratosphear - basically XTC having fun playing psychedelic rock the way it sounded in the mid to late 1960s. The original album released on Virgin Records is a six-track Mini-album with a total running length of less than 27 mins, and the 2009 remaster (issued on Andy Partridge's label Ape House) add another nine tracks of demos and outtakes extending the running length to 49 mins. At the time, XTC was a trio of vocalist & guitarist Andy Partridge, vocalist & guitarist Colin Moulding, and lead guitarist & keyboardist Dave Gregory, and with the inclusion of Dave's brother Ian on drums, they here perform as The Dukes. On the album they're credited as Sir John Johns, The Red Curtain, Lord Cornelius Plum, and E.I.E.I. Owen [!]. Producer John Leckie is credited both with his actual name and with his alias: Swami Anand Nagara.

Stylewise, it's a strong attempt in producing music with a Syd Barrett-version of Pink Floyd in mind. Alledgedly, everything was played and recorded with old equipment [wiki about the album].

For most of their career, XTC has played with elements of psychedelic rock - on later albums they're exponents of neo-psychedelic rock, and it's obvious how this side-project may be seen in the stylistic progression of XTC - especially considering the traits of the albums that followed, e.g.: Skylarking (1986), Oranges & Lemons (1989), Nonsuch (1992), Apple Venus Volume 1 (1998).

The album was promoted by Virgin as an actual debut of sorts - a collection of 1960s compositions made by an unknown act, which finally had been released. Most tellingly, the album sold twice as many records as the predecessor The Big Express (Oct. 1984) by XTC at a time when no one knew of the actual identity of the band.

25 O'Clock is a powerful album, and both as original psychedelic rock and in the discography of XTC. It's an album that may require some time accustomising and although released on April Fools' Day and exposing plentiful of British humour the music is not entirely meant as a joke.

[ allmusic.com 4,5 / 5, Pitchfork 7,7 / 10 stars ]

XTC "Wasp Star (Apple Venus Volume 2)" (2000)

Wasp Star (Apple Venus Volume 2)
release date: May 17, 2000
format: cd
[album rate: 3,5 / 5] [3,34]
producer: Nick Davis
label: Cooking Vinyl - nationality: England, UK

Track highlights: 1. "Playground" - 2. "Stupidly Happy" - 3. "In Another Life" - 5. "Boarded Up" - 6. "I'm the Man Who Murdered Love" - 8. "Standing in for Joe" - 10. "You and the Clouds Will Still Be Beautiful" - 12. "The Wheel and the Maypole"
[ full album ]

12th studio album by XTC is the second part in the band's "Apple Venus" (volumes) series and the remaining tracks of an intended double album. XTC is still a duo of songwriters Andrew [Andy] Partridge and Colin Moulding after guitarist and multi-instrumentalist Dave Gregory left during the recordings of Apple Venus Volume 1. As usual, Partridge has written the majority of the tracks as Moulding is credited for three out of twelve songs.
This new, second part, doesn't quite follow the style of Volume 1 as it's much more a pop / rock album in the style of psychedelic pop / art pop and power pop - rhythm-guitar rock with clear bonds to Beach Boys, The Kinks, The Beatles, Badfinger and Todd Rundgren (who produced XTC's acclaimed Skylarking) more than more experimental styles of neo-psychedelia and progressive pop found on the '99 album, which in a way seems a bit odd given the fact that Partridge, Moulding and Gregory had already written material for a double album when entering the studio back in early '98.
Where critics loved the '99 album, they are much more reluctant and luke-warm about this.
Neither do I find it as fine and innovative as Apple Venus Volume 1, but it's more than just a decent album. It's really such a pity that they couldn't finance the double album they sat out for when entering the studio in '98. I think, it would have been great. Instead of producing an album containing all songs - perhaps with a completely different track listing, which would have made it more of a conglomerate - they end up having released two rather different albums that will always be compared to one another. Some even talk about "the leftovers" from "Volume 1" when determining this is the inferior second part... No, they are just very different, but also so much in the spirit of XTC, who have never ceased to write and compose music in so many different styles without losing the band's dna. This is another fine chapter in the story of XTC - not one of their best but less suffice to make a good album.
[ allmusic.com, Q Magazine, Rolling Stone 3 / 5, NME 3,5 / 5 stars ]

XTC "Apple Venus Volume 1" (1999)

Apple Venus Volume 1
release date: Feb. 22, 1999
format: cd (COOKCD 172)
[album rate: 4 / 5] [3,98]
producer: Haydn Bendall, Nick Davis
label: Cooking Vinyl - nationality: England, UK

Track highlights: 1. "River of Orchids" - 2. "I'd Like That" - 3. "Easter Theatre" - 5. "Frivolous Tonight" - 6. "Greenman" - 7. "Your Dictionary" - 9. "I Can't Own Her"
[ full album ]

11th studio album by XTC, and the last to feature guitarist Dave Gregory. The album is released some seven years following Nonsuch (Apr. '92) and after a controversy with the band's label, which meant that XTC had rejected to record any new material for Virgin to finally be freed from its contract and from the label. Free to do as they like, the three band members struggled to find financials to materialise a follow-up album. Apparently, Partridge & Co. had enough songs to record what should've been a double album but as a result of insufficient finances they ended up with this, which may be regarded as the first part of a conceptual work - hence the title "Volume 1".
The album differs somewhat from other XTC albums being perhaps closest to the album Skylarking from '86 - especially, when comparing to the 2014 'corrected' issue of that particular album. This one is likewise what has been labelled as neo-psychedelic and distinctively also chamber pop from a band that was reduced to its most prolific songwriters, Andy Partridge and Colin Moulding during the recording sessions when Dave Gregory left the band due to 'musical differences' [ Gregory's version ].
XTC once again prove their ability to be able to renew themselves over and over again without losing themselves. With only two songs by Moulding, the album mostly contains compositions by Partridge, but although, it plays with new styles and incorporates brass and The London Sessions Orchestra it's still clearly an XTC album.
The album didn't sell in great numbers, but critics were generally quite positive about it, and it's also one of only two XTC albums to be enlisted in "1001 Albums You Must Hear Before You Die".
Surely, it may not contain obvious single hits - it's an album for listeners, and I really find it a bit of a surprise after Oranges and Lemons and Nonsuch, both of which saw the band explore more simplistic pop / rock traditions. Some tracks are strongly experimental, some make me think of The Divine Comedy, or Love and Rockets, others are closer to The Church, and not seldom one is reminded of bands like The Beach Boys and The Beatles, but mostly I just hear XTC on top of it all.

Highly recommended.
[ allmusic.com 4,5 / 5, The Guardian, Spin, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]

XTC "Transistor Blast" (1998)

Transistor Blast, [Archival] (compilation)
release date: Nov. 24, 1998
format: digital (4-disc box set)
[album rate: 4 / 5]
producer: various
label: Cooking Vinyl - nationality: England, UK

A 4-disc box set with the subtitle "The Best of the BBC Sessions" containing 51 tracks released after the band was finally set free from Virgin Records. Disc 1 and 2 contain BBC sessions recorded for various BBC programs including John Peel Radio 1 Show recorded from 1977-79, but it also include BBC programs recorded up until 1989. Disc 3 and 4 contain early live recordings - CD 3 is the collection of recordings from two different concerts in London, in 1978 and '79, and CD 4 is exclusively the recordings from a specific concert at the Hammersmith Odeon, Dec. 1980.
Needless say, this is a collector's item as it's more about showcasing the band playing well-known songs in alternate and live versions. With the relatively long timespan found on the first two discs they represent the most varied material, and Disc 3 and 4 only document what a great live band XTC was.
[ allmusic.com, Q Magazine 3 / 5, The Music Box 4 / 5 stars ]

XTC "Nonsuch" (1992)

Nonsuch
release date: Apr. 27, 1992
format: cd (2013 remaster)
[album rate: 3,5 / 5] [3,42]
producer: Gus Dudgeon
label: Ape House - nationality: England, UK

Track highlights: 1. "The Ballad of Peter Pumpkinhead" - 2. "My Bird Performs" - 3. "Dear Madum Barnum" - 6. "The Disappointed" - 9. "Rook" - 10. "Omnibus" - 14. "Wrapped in Grey" - 16. "Bungalow" - 17. "Books Are Burning" - *18. "Didn't Hurt a Bit"
*Extra track on 2013 remaster

10th studio album by XTC is like the predecessor, Oranges & Lemon (1989), originally released as a double vinyl album. Stylistically, the album follows closely on the same path laid out with the '89-album - both of which incorporate the psychedelic influences of primarily The Beatles and Beach Boys. The biggest difference on this is a delicate addition of chamber pop.
I never played the album much as I found that it only served to document that the band hasn't been able to find their feet, or a style to explore and make theirs. In retrospect, I must confess that I just wasn't ready for this retro-styled conglomerate and obliviously didn't share the same warm feelings for the band anymore. And much undeservedly, 'cause Nonsuch doesn't contain any poor or bad compositions. I still don't find it one of their best, but I hear some of the same influences like eg. Neil Hannon a decade later should investigate when making strong contemporary classics for The Divine Comedy. Just listen to "Bungalow".
[ allmusic.com 4,5 / 5, Select, Rolling Stone 4 / 5, Q Magazine 3 / 5 stars ]

XTC "Oranges & Lemons" (1989)

Oranges & Lemons
release date: Feb. 21, 1989
format: cd (2015 remaster)
[album rate: 3,5 / 5] [3,42]
producer: Paul Fox
label: Ape House - nationality: England, UK

Track highlights: 1. "Garden of Earthly Delights" - 2. "The Mayor of Simpleton" - 3. "King for a Day" - 5. "The Loving" - 9. "Merely a Man" - 10. "Cynical Days" - 11. "Across This Antheap" - 15. "Chalkhills and Children"

9th studio album by XTC with American producer Paul Fox is originally released as a double vinyl album issued on Virgin. With it, the band takes on another journey into neo-psychedelia pop / rock. Stylistically, it's not on the continued path laid out on the predecessor Skylarking but instead it presents a take on a more traditionally styled pop / rock universe pointing back to The Beatles and Beach Boys as evident sources and adding more to the styles of Mummer from 1983 with its more simplistic and harmony-founded pop / rock. On the other hand, Oranges & Lemons doesn't point to the new wave starting point of XTC but embrace some of the stylistic experiments heard on the two studio albums by the project-band The Dukes of Stratosphear, 25 O'Clock (1985) and Psonic Psunspot (1987), which were made as mere artistic and musical outlets of the three remaining members of XTC, Partridge, Moulding and Gregory.
The album is supposedly best known for containing the single "The Mayor of Simpleton" - a song I always found too simple and a bit tedious - a song that made it all the way to the top of the US Billboard's Modern Rock chart. The album itself also fared well reaching number #28 on the UK albums chart list and it generally received positive reviews praising its humour and detailed compositions. Compared to the predecessor, the album doesn't exactly reflect the same willingness to experiment, and instead XTC has made shorter and more mainstream compositions - perhaps with broader appeal. Oranges & Lemons is far from bad, but comparing with the band's extensive back catalogue, I think this is where they settle with a more uniform style and sound, and for fans of their readiness to explore new territories, it may seem like a less innovative album, but really, just give it a chance 'cause the music and lyrics are of highest quality as usual.
The album was re-released in 2015 as part of "The Surround Sound Series" in a highly expanded two-disc version consisting of a cd with a new mix of the original album (crafted by Steven Wilson], and a blue-ray disc consisting of extensive material.
[ allmusic.com, Q Magazine, Rolling Stone 4 / 5 stars ]

XTC "Skylarking" (1986)

2014 cover

Skylarking
release date: Oct. 27, 1986
format: cd (2014 corrected polarity edition)
[album rate: 4 / 5] [3,96]
producer: Todd Rundgren
label: Ape Records - nationality: England, UK

Track highlights: 1. "Summer's Cauldron" - 2. "Grass" - 4. "That's Really Super, Supergirl" - 8. "Earn Enough for Us" - 9. "Big Day" - 12. "Dear God"

8th studio album by XTC originally released by Virgin Records is produced by American producer Todd Rundgren, and it follows two years after The Big Express (Oct. 1984). Or does it? Following the '84 album Andy Partridge and Dave Gregory had found a common interest in psychedelic rock of the 1960s and Partridge pursued the idea of making music with bonds to Syd Barrett, Pink Floyd, The Electric Prunes, and Beatles at their most experimental stage. The whole band found it an exciting side-step, and they were joined by Greg's brother Ian Roy and together they initially recorded six tracks with John leckie, 'Swami Anand Nagara' (aka John Leckie) and the band as producers - all four members are credited with new-found names like Sir John Johns, The Red Curtain, Lord Cornelius Plum, and E.I.E.I. Owen - and under the name of The Dukes of Stratosphear, a Mini-album titled 25 O'Clock (Apr. 1985) was released to great reviews and sales numbers (selling the double as their '84 album). That album has been re-issued and remastered and promoted as 'XTC as The Dukes of Stratosphear', and the album has been filed as the eight by XTC, which I find a difficult choice. Perhaps, Partridge an Co. would have likened it to follow The Big Express, but frankly, it's not only due to contractual obligations from Virgin that it wasn't promoted as an XTC album, it's so differently shaped that it's better perceived as an album by a (side-)project-band consisting of the members of XTC.
That aside, Skylarking both follows a style from the '84 album AND builds on the side-project with strong bonds to psychedelic rock but it's not the attempt to put out another album in the style of the 1960s but more so, to present us with a contemporary conglomerate. Thanks to the success of the band's newly recorded '85 album they have made quite a daring move into more experimental neo-psychedelic pop / rock. The recording process wasn't a great success as Andy Partridge and Rundgren didn't communicate that well, and to make things really complicated an error in the recording process made the final release obscured, and only some 24 years later in 2010, as Partridge reissued the album on his own label, the album came out as intended in a corrected polarity edition.
My initial feelings towards the album was that it once again was a fine collection of songs, but at this point of my contemporary fascination for the band, and their music, I had simply grown tired of their style, and I kind of abandoned the band. I stopped buying and even listening to their new material. Duh! Only 20 years later or so, I returned and found that their progression still made sense, so I still enjoy their music and frankly, I don't think they have made a bad album ever, AND this one is definitely worth more than a listen 'cause it's one of the band's better ones. Despite the unintended sound difficulties the album is the first by XTC to be enlisted in "1001 Albums You Must Hear Before You Die".
The original cover for the album, as drawn out by Partridge, was banned by Virgin and was replaced by another before being released; however, for the 2010 reissue (released by Andy Partridge's Ape House) of the album, the original cover was back and so was the intended sound [ story ]. Having listened to both the 1986 album and the 2010 'corrected polarity edition', I must say that the album could only have received even broader acclaim, had the technical error been addressed back then. It's a must for XTC fans and most music lovers of early neo-psychedelia and a cornerstone in modern music.

Highly recommended.
[ allmusic.com, Rolling Stone 5 / 5, Uncut 4,5 / 5, Q Magazine 4 / 5 stars ]

   

vinyl cover

   

1986 cd cover

XTC "The Big Express" (1984)

original round vinyl cover

The Big Express
release date: Oct. 15, 1984
format: vinyl (wheel-shaped cover - VG 2325) / cd (2001 remaster)
[album rate: 3,5 / 5] [3,68]
producer: David Lord
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Wake Up" - 2. "All You Pretty Girls" (4 / 5) - 3. "Shake You Donkey Up" - 5. "This World Over" (4 / 5) (remaster) - 8. "Reign of Blows" - 11. "Train Running Low on Soul Coal" (4 / 5)

7th studio album by XTC produced by David Lord credited as "The Good Lord". Where Mummer had elements of 'folk' and presented the band in a highly positive and warm spirit, this album has a sensation of blues rock and soul-inspiration throughout without ever becoming any of those genres. It's first and foremost new wave and art pop. The band remains a trio with Partridge, Moulding and Gregory without drummer, and as was the case on Mummer, Peter Phipps plays drums on an album that also contains electronic drums on several tracks.
The Big Express is one of my favourite albums by the band, although, I don't rate it as high as English Settlement, Black Sea, White Music, or the fine follow-up Skylarking. These albums are not just major albums, including great songwriting, but are also classic albums of their period, which this is not - at least to the same extent. In that regard this is just a statement of fine craftsmanship. "All You Pretty Girls" is a giant pop track, and "This World Over" is a beautiful philosophical song that I shall never get tired of, and the end-track "Train Running Low on Soul Coal" is one great uptempo metaphor of a song.
Production-wise, it's much better than most releases of the 1980s.
[ allmusic.com 4 / 5, Rolling Stone 3,5 / 5 stars ]

2001 remaster

XTC "All You Pretty Girls" (1984) (single)

All You Pretty Girls, 7'' single
release date: Sep. 10, 1984
format: vinyl (VS 709)
[single rate: 4 / 5] [3,78]
producer: David Lord, XTC
label: Virgin Records - nationality: England, UK

Tracklist: A) 1. "All You Pretty Girls" (4 / 5) - - B) 1. "Washaway"

Single release by XTC for the band's forthcoming album The Big Express (1984). The title track is a great power pop tune, and really shows the band's commercial touch.

XTC "Love on a Farmboy's Wages" (1983) (single)

Love on a Farmboy's Wages, 7'' single
release date: Sep. 19, 1983
format: vinyl (105 882-100)
[single rate: 3,5 / 5] [3,55]
producer: Steve Nye and XTC
label: Virgin Records - nationality: England, UK

Tracklist: A) 1. "Love on a Farmboy's Wages" - 2. "In Loving Memory of a Name" - - B) 1. "Desert Island" - 2. "Toys"

Single release by XTC from the album Mummer (1983). Both of the two A-side tracks are included on the original album - here with two B-side tracks that would later be included on the 2014 remaster.

XTC "Mummer" (1983)

Mummer
release date: Aug. 30, 1983
format: vinyl (reissue - OVED 142) / cd (2014 remaster)
[album rate: 3,5 / 5] [3,72]
producer: Steve Nye and XTC
label: Virgin Records - nationality: England, UK

Track highlights: 2. "Wonderland" - 3. "Love on a Farmboy's Wages" - 4. "Great Fire" - 6. "Human Alchemy" - 7. "Ladybird" - 8. "In Loving Memory of a Name" - 9. "Me and the Wind"

6th studio album by XTC introducing new producer Steve Nye (and with Bob Sargeant producing two tracks). Founding member drummer Terry Chambers left the band during the recordings and is only credited on the first two tracks, although, he remains credited as band member on the album, but his decision left the band to continue as a trio consisting of Andy Partridge, Colin Moulding and Dave Gregory. For the remaining drum parts, Peter Phipps was brought in as additional personnel.
Almost as usual, a new album signals a change of style when it comes to this band. The album reflects a progression into a more polished pop / rock style, despite it being classic melody-founded with a specific experimental art pop style to distinguish their music from all other expressions of 'pop'. The production is again in the high-end compared to what was released at the time.
Mummer soothes of super blue-eyed positive sensation and really takes you into a Swindon country-side of a long-forgotten England. It's far from being boring once you enter the Partridge / Moulding lyrical and musical universe. The latter is responsible for three of the original album's ten tracks - Partridge having written the remainders and the 5 bonus tracks on the 2014 remaster.
In general, I always felt that it lacked really great songs 'though in retrospect, I find it a much better work than I did then. It's a near-conceptual work of art with songs telling stories of everyday life and elements that touch it in a certain part of England just as it once was. Almost like a peek into a storybook.
[ allmusic.com, Q Magazine, Rolling Stone 3 / 5, Smash Hits 4,5 / 5 stars ]

2014 remaster

XTC "Wonderland" (1983) (single)

Wonderland, 7'' single
release date: Jun. 24, 1983
format: vinyl (VS 606)
[single rate: 3,5 / 5] [3,58]
producer: Steve Nye and XTC
label: Virgin Records - nationality: England, UK

Tracklist: A) "Wonderland" - - B) "Jump"

Single release by XTC from the forthcoming album Mummer (1983). The B-side composition is not included on the original album but comes as a bonus track on the 2014 remaster.

XTC "Beeswax - Some B-sides 1977-1982" (1982)

Beeswax - Some B-sides 1977-1982 (compilation)
release date: Nov. 5, 1982
format: vinyl (OVED 9)
[album rate: 4 / 5]
producer: various
label: Virgin Records - nationality: England, UK

Compilation album by XTC containing 13 B-side singles, which came for free with the purchase of the 1982 compilation album Waxworks - Some Singles 1977-1982.

I have however, only purchased both of the albums individually as second-hand albums.

The "Waxworks" album more or less showcased the band to people who weren't familiar with XTC, but the real gem is of course the "Beeswax" album, which proves the true potential of XTC.

XTC "Waxworks - Some Singles 1977-1982" (1982)

Waxworks - Some Singles 1977-1982 (compilation)
release date: Nov. 5, 1982
format: vinyl (V2251)
[album rate: 4 / 5]
producer: various
label: Virgin Records - nationality: England, UK

Compilation album by XTC containing 12 A-side singles.
Originally, the album was released as a double vinyl album. The front cover of the album is provided with a sticker stating "2 Albums for the Price of 1", which meant that you were also handed the compilation album Beeswax- Some B-Sides 1977-1982 containing an additional 13 tracks. Unfortunately, I have so far only been able to purchase the two albums as individual albums.

XTC "English Settlement" (1982)

English Settlement
release date: Feb. 12, 1982
format: vinyl 2 lp (embossed cover - V2223) / cd (2001 remaster)
[album rate: 4 / 5] [4,06]
producer: Hugh Padgham & XTC
label: Virgin Records - nationality: England, UK

Track highlights: A) 1. "Runaways" - 2. "Ball and Chain" (4 / 5) - 3. "Senses Working Overtime" (4,5 / 5) - 4. "Jason and the Argonauts" - - B) 1. "No Thugs in Our House" (4 / 5) - 7. "All of a Sudden (It's Too Late)" - - C) 1. "Melt the Guns" - 3. "It's Nearly Africa" - - D) 1. "Fly on the Wall" (4 / 5) - 2. "Down in the Cockpit" - 3. "English Roundabout" (4 / 5) - 4. "Snowman"

5th studio album by XTC produced by Hugh Padgham and the band is XTC's critically acclaimed conceptual double album.
Commercially, the band never succeeded like contemporaries like U2 and The Jam, but they were the critics' and other bands' darlings, and with this, Partridge / Moulding was a duo in the songwriters' super-league. At this point their music had changed from fast energetic new wave outbursts, and experimental art pop, to more lyrics-based tracks in an art pop, pop / rock style, and it had become more jangle pop. The album was soon seen as a cornerstone of new stylistic progression on the contemporary European pop / rock scene because undoubtedly, they played perfectly unnoticed by the broad American audience.
Personally, the music didn't sink in until some years after but it's one of Britain's musical jewels of the early 1980s. I find that it's one of those rare albums that keep adding new dimensions to "its shape". Actually, it doesn't even sound dated, and that's a huge accomplishment, and I think it has to do with the band's unique original sound. In a sense it's rather homogeneously crafted, but it's also extremely varied and ambitious - and in a way, opposite the tightness of Black Sea. To me, this is their absolute best and it's a highly recommendable listen.
[ allmusic.com, Q Magazine 4 / 5 stars, Pitchfork 100 / 100 ]

[ collectors' item - 1st issue with embossed cover ]

XTC "Black Sea" (1980)

Black Sea
release date: Sep. 12, 1980
format: vinyl (V 2173) / cd (1987 reissue)
[album rate: 4 / 5] [3,82]
producer: Steve Lillywhite
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Respectable Street" - 2. "Generals and Majors" - 3. "Living Through Another Cuba" ( live) - 4. "Love at First Sight" - 5. "Rocket From a Bottle" - 7. "Towers of London" - 11. "Travels in Nihilon"

4th studio album by XTC is produced by Steve Lillywhite just like the predecessor. Although, the music is still art pop and new wave like the previous Drums & Wires (1979), this is also very classic pop / rock. On this, Andy Partridge seems to take a stronger role as the band's leading figure. On the '79 album Moulding and Partridge almost shared writing credits but here Moulding has only contributed with two songs (tracks #2 & #4) and Partridge has written the remaining nine compositions.
With Black Sea the band was compared to The Beatles by the English music press, and the writing duo, Partridge / Moulding was like Strummer / Jones of The Clash put on line with Lennon / McCartney, although they never wrote their songs together. It was either Partridge or Moulding who came to the studio recordings with new songs, but I have always thought of this as the band's "Sct. Pepper" album.
Black Sea was my favourite XTC album in the early 1980s. I had it on cassette and played it a lot, although, they were never my favourite band back then. Their music was simply too extravagant and demanding for a young teenager's mind, I guess. In the mid 80s, I simply couldn't listen to the album anymore - I was fed up with it, and thought of it as mostly annoying. Today however, I understand my fascination as well as my later contempt because of its strict, almost narrow form. From a contemporary perspective the production may seem poor but by standards of the time it's really a high-end spacious production. Most new wave and early post-punk albums were truly no masterpieces in that respect but the Lillywhite production takes sound into a new era. The album is one of XTC's most coherent albums and naturally highly recommendable.
[ allmusic.com 4,5 / 5, Q Magazine 4 / 5 stars ]

XTC "Drums and Wires" (1979)

Drums and Wires
release date: Aug. 17, 1979
format: cd (2014 remaster)
[album rate: 4 / 5] [4,08]
producer: Steve Lillywhite
label: Virgin Records / Ape House - nationality: England, UK

Tracklist: 1. "Making Plans for Nigel" - 2. "Helicopter" - 3. "Day in Day Out" - 4. "When You're Near Me I Have Difficulty" (4 / 5) - 5. "Ten Feet Tall" - 6. "Roads Girdle the Globe" - 7. "Real by Reel" (4 / 5) - 8. "Millions" - 9. "That Is the Way" - 10. "Outside World" (4,5 / 5) - 11. "Scissor Man" - 12. "Complicated Game" (4,5 / 5) - *15. "Life Begins at the Hop" (4 / 5)
[ full album playlist ]
*Bonus track on various releases from 1979, as well as on 2014 remaster

3rd studio album by XTC released on Virgin and produced by Steve Lillywhite. The original vinyl release contains 12 tracks - whereas the 2014 cd remaster disc 1 contains 18 tracks. After having released the band's second album Go 2, keyboardist Barry Andrews left the band (to join Robert Fripp in The League of Gentlemen and a year was part of the new-founded Shriekback) and he was subsequently replaced by guitarist Dave Gregory, which naturally makes this album a rather different release. Together with the debut, this is one of XTC's finest collections of songs showing that the band already belongs to other styles and genres than only punk rock or mere post-punk. Where Go 2 was highly experimental post-punk and 'zolo', this is a slight move into melody-based songwriting with new wave written all over the place, but also with a twist of something else... maybe art rock? Anyway, it's clearly new wave with inspiration from ska and reggae, but also from jazz rock and progressive rock. XTC is a very rare band in the sense that they can release a collection of songs like these that are perfectly in family with both classic pop melodies of a Lennon / McCartney British songwriter school, and at the same time also in family with new wave art-rockers like Talking Heads and Devo, in family with more pure punk rock bands like The Damned and Sex Pistols, AND still capable in keeping the tracks closely related! That may sound quite impossible or irrational. Nevertheless, XTC makes it happen right here.
This album is one of my absolute favourites of the late '70s, and it's still an album that has something to offer and quite frankly hasn't dated much.
The album has been reissued a number of times. "Life Begins at the Hop" was not included on the very first issue, but quickly found its way to early pressings of the album, as its also a single release from just before the original album release. Together with other single releases from around '79 this is one of the album's true highlights, imho.
Drums and Wires was re-released in 2014 as part of 'The Surround Sound Series' in a highly expanded two-disc version consisting of a cd with a new mix of the original album (crafted by Steven Wilson] with an additional 6 bonus tracks, and a blue-ray disc consisting of 99 [!] tracks, a handful of live recordings and 2 videos. Anyway, Drums and Wires is a must-have in any decent collection of new wave albums.
[ allmusic.com 4,5 / 5 stars ]

**The 6 bonus tracks on 2014 remaster include: 13. "Chain Of Command", A-side single org. rel. Aug. 17, 1979, 14. "Limelight", B-side single org. rel. Aug. 17, 1979, 15. "Life Begins At The Hop", A-side single org. rel. May 4, 1979, 16. "Homo Safari", B-side single org. rel. May 4, 1979, 17. "Ten Feet Tall (Electric Version)", B-side single org. rel. Mar 14, 1980, 18. "Wait Till Your Boat Goes Down", A-side single org. rel. Mar, 14, 1980.

<  show lyrics >

~ ~ ~
"Outside World"

"She has six swans singing in her sauna
So she can't hear what's going on
No she can't hear what's going on
In the outside world
In the outside world
In the outside
Bad black and white men
Standing in their pigpen
Selling guns to simpletons
To shoot 'em in the abdomen
And she's not interested in that
And she's not interested in that
She has six swans singing in her sauna
Outside - world - outside

She has eleven lions laughing at her lakeside
So she can't hear what's going on
No she can't hear what's going on
In the outside world
In the outside world
In the outside
Bad brown and yellow men
Splitting on their fellow men
Drape her in a newspaper
And stab her with a poison pen
She's not interested in that
She's not interested in that
She has eleven lions laughing at her lakeside
Outside - world - outside

You can keep your animals
All the noise and the din
Just make a little space for me
I'm coming in"

~ ~ ~
"Life Begins At The Hop"

"I have learnt there's a magical spot at the hop
Come with me to the church on the corner the hop
There's nuts and there's crisps and there's c-c-c-cola on tap
A good time had by those boys and those girls at the hop

Tell me what do you say (tell me what do you say)
Tell me what do you say
I tell you
Life begins at the hop, boys and girls

Prepare yourself for the boys in the band at the hop
The cheap guitars, they're too young for the bars at the hop
We'll jive around, make fools of ourselves 'til they stop
We're back next week with another ridiculous tie knot

Tell me what do you say (tell me what do you say)
Tell me what do you say
I tell you
Life begins at the hop, boys and girls

Tell me what do you say (tell me what do you say)
Tell me what do you say (tell me what do you say)
I tell you
Life begins at the hop, boys and girls

I have learnt there's a magical spot at the hop
Come with me to the church on the corner the hop
There's nuts and crisps and there's c-c-c-cola on tap
A good time had by those boys and those girls at the hop

Tell me what do you say (tell me what do you say)
Tell me what do you say
I tell you
Life begins at the hop, la la la la la la la
Life begins at the hop, la la la la la la la
Life begins at the hop, la la la la la la la la la la la
boys and girls
~ ~ ~

XTC "Go 2" (1978)

Go 2
release date: Oct. 6, 1978
format: vinyl (1984 reissue) / cd (2001 remaster)
[album rate: 3,5 / 5] [3,56]
producer: John Leckie
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Meccanik Dancing (Oh We Go!)" - 2. "Battery Brides (Andy Paints Brian)" - 4. "Crowded Room" - 6. "Red" - 7. "Beatown" - 9. "Jumping in Gomorrah" - *13. "Are You Reciving Me?"
* Bonus track on 2001 remaster

2nd studio album by XTC released on Virgin and produced by John Leckie, who also produced the debut. Stylistically, this is already a big leap into something else despite being released only nine months after the debut album. This is a much more art rock and art punk release where the band really experiments in the writing process. The keyboards are given much stronger focus, and two songs are credited keyboardist Barry Andrews, who would leave the band at the end of the year. Although, sharing the same producer as on the debut, the album is clearly better balanced with a more dynamic result. In fact, Leckie harvested great appraisal for his dynamic production and became a bit of a shining producer-star after this.
I recall judging this as a rather poor follow-up to the splendid debut, as you may argue that in only contains about 3-4 fine tracks - with the majority of the remainders being somewhat below average. But this is on a mere superficial level. If you're looking for the strong and similar shaped album as the debut with its sharp and quirky new wave blasts, you will likely end up being disappointed. Like I was.
Go 2 really reflects the overall transition the band always found themselves in - never resting in a style, never on repeat, and always inspired by new ways of expression, trying something... else. The strong energetic and melodic new wave tracks are here replaced by experimental art rock, but if you're able to put ordinary song patterns aside and look at it as an innovative and original album with stylistic elements of zolo, which had its highs in the late 70s and early 1980s, you may consider this as a very strong and fascinating release.
[ allmusic.com, Q Magazine 2 / 5 stars ]

XTC "White Music" (1978)

White Music [debut]
release date: Jan. 20, 1978
format: vinyl (V2095) / cd (2001 remaster)
[album rate: 4 / 5] [3,92]
producer: John Leckie
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Radios in Motion" - 3. "This Is Pop" (4,5 / 5) - 4. "Do What You Do" - 5. "Statue of Liberty" (4,5 / 5) - 7. "Into the Atom Age" (5 / 5) - 6. "All Along the Watchtower" - 8. "I'll Set Myself on Fire" (4,5 / 5) - 10. "New Town Animal in a Furnished Cage" - 12. "Neon Shuffle" - *13. "Science Friction" - *16. "Hang on to the Night" (4,5 / 5) - *18. "Traffic Light Rock"
* bonus tracks on 2001 remaster containing an additional 7 tracks.

Studio album debut by British band XTC is in its original issue a 12 track album. The band was formed as Star Park in 1972 in Swindon, Wiltshire, UK by Andy Partridge, Colin Moulding and Terry Chambers, and around '73 they were renamed Helium Kidz with the addition of keyboardist Jonathan Perkins, and in '75, after considering the name The Dukes of Stratosphear [!], they settled with the name XTC. Shortly after, Perkins left and in '76 Barry Andrews joined the band.

With many musical influences this album is somewhat difficult to narrow in, stylistically. Partridge and Moulding grew up listening to psychedelic rock [which may explain the inclusion of the Hendrix cover, track #6], and they were apparently captivated by art rock, glam rock and proto-punk as new musical styles of the mid-70s. The band consists of vocalist, guitarist and composer Andy Partridge, bassist & vocalist, and (other) musical composer, Colin Moulding, Barry Andrews on piano & organ, and with Terry Chambers on drums.
White Music is rich on energy and was easy to categorise as punk rock or: new wave, which was by then nearly pseudonymous, although, the term new wave would be used to identify almost any new style that wasn't exactly punk rock but was just rich in energy and fell out on already established styles. The term zolo was much later (in the 1990s) often used when speaking of new wave artist - like Devo, Split Enz, Snakefinger, Sparks, The Residents as well as XTC - all playing "hyper jerky rhythms" and utilising cacophonous, yet harmonious bleeps and boings, one could add.
The album didn't catch my attention until years later. I heard it then but was probably just too young and naive to get it. I think, it's among the 10 best new wave, art pop, punk rock albums ever made. I was only 13 when this was released and I believe I must've been about 15 when I heard it for the first time. I always loved this specific album more than most new wave and punk releases way back then, although XTC was never my absolute favourites. Joy Division, The Clash, The Cure, The Jam, Ramones, Dead Kennedys, Elvis Costello, Stiff Little Fingers, The Skids - they all were ranked just a little bit higher on my personal list... back then, mind you. 'Cause when I hear them today, some 30 years later, they are one of just a handful of artists that I really still enjoy. All the aforementioned artists still have something to offer but they were also highly praised. In retrospect, XTC were the avantgarde, although most people weren't aware of it back then. Their music was already post-punk even long before punk was over - it had only just begun! I don't know for certain but it seems to me that they must've been highly influenced by Roxy Music, Eno, Bowie, New York Dolls, AND Beatles BUT being highly original, they sounded just like no one else. Lots of great new music was released in '78, which explains why this album is not among my favourite top 3 for this year. The Clash released their most significant album that year Give 'Em Enough Rope, The Jam also launched their best [?] album ever All Mod Cons, and Elvis Costello put it all together after his significant debut with This Year's Model - these are all albums I have played till my parents knew and hated every track by heart.
The music on White Music is much more than just a short exciting chapter of British punk - the album is (now) a cornerstone of modern music history and XTC has influenced generations of new artists, and to me this is no less than a stunning work of art that never has ceased to find its way to my current playlist, and it's an album that just doesn't seem to ever sound dated.
[ allmusic.com, Q Magazine 3 / 5 stars ]