XTC

The description of "great pop band that never got its due" is usually reserved for Big Star, but XTC deserve the title more - while the group did chart a few tunes and do occasionally show up on 80's pop compilation albums, it's surprising that the group got nowhere near the attention that their contemporaries of the post-punk New Wave scene did. With Elvis Costello, The Police, Talking Heads, Squeeze and Joe Jackson all charting major hits and became a big part of 80's pop culture, XTC was undeservedly reduced to having a small but rabid following. The reason why they get the title over Big Star is because XTC were at it for much longer - they plugged away for over two decades and never really had a noticeable decline in quality. So how does a group whose pop instincts rival the almighty Beatles go over twenty years without a major hit? Well, frontmen Andy Partridge and Colin Moulding were both average-looking men with average-sounding voices, with Moulding not even bothering to hide his British accent and Partridge adopting all sorts of vocal tics early on. They had an untrustworthy agent who famously cheated the group out of large sums of money over the years. They didn't get along with their record company, and as a result received little promotion. They never really adopted the sounds or styles that dominated the airwaves at the time. Their lyrics were often political and complex, making them likely to go over the heads of a mass audience. Most importantly, as soon as the group was starting to gain some steam commercially, Partridge had an on-stage breakdown and the group never toured again.

In a way, this was a blessing - I don't know if commercial success leads to artistic burnout, but there does seem to be some correlation there. Not every XTC album is great, but they certainly never made a bad album, and the signs of Partridge and Moulding's songwriting genius are apparent on every one. So although you really can't go wrong, you probably shouldn't get acclimated with their second-rate material until you’ve heard the good ones first. There are really two sides to this band – first is the pre-breakdown, jerky New Wave outfit, and the second is the pastoral pop band that attempted to emulate their idols from the 60’s (and in some cases even surpassed them). Both sides of the band have had their successes, although I’m guessing most of their reputation is based off the second side (which occupied a longer stretch of their career).

As for the band: Partridge and Moulding are the main guys, on guitar and bass respectively. Partridge writes about two-thirds of the band’s material while Moulding gets the rest. They sing lead on all their own songs, so it’s easy to tell who wrote what. Instrumentally, Moulding’s bass parts range from competent to astounding, and Partridge, who mostly plays rhythm, is decent if not noteworthy. Barry Andrews (later of Shriekback) plays keyboards on the first two albums, after which he was replaced by talented multi-instrumentalist Dave Gregory, who plays most leads. The only consistent drummer they had was Terry Andrews, who left in 1982 and wasn’t replaced – they’ve used studio drummers since.

Special note: All the CD versions I own of the albums up to The Big Express (save for English Settlement) have bonus tracks - as far as I know, it's tough to find a CD release without them, and it looks like the recently planned remasters are only going to add more if anything. More XTC is always good, and some of these are absolutely essential ("Life Begins at the Hop"). My rules for grading bonus tracks are that they can't decrease the rating, but they could increase it if they're particularly good (for example, songs left off that would have made the original album if not for constraints of the format). I'll be sure to mention it if that's the case.

White Music (1978) ****1/2
You don't often read much about this album - fans claim that the "real" XTC didn't show up until Dave Gregory got on board. But the early XTC, with Barry Andrews, was just as interesting. The group themselves dub a name for this type of music in one of their songs - "Traffic light rock/Stop n' go, all of the time!" The tunes themselves are generally fairly normal, but the way they perform them is bizarre (for lack of a better word) - jerky, sputtering rhythms, goofy, fluttering keyboard lines, and vocals that are jarring yet funny - Partridge growls, barks like a dog, and does Beach Boys-style harmonies, sometimes within the same song. It sounds like either they were taking seriously the idea of making the fun type of music that kids would make to entertain themselves, or they saw themselves as another emerging New Wave band and didn't take it seriously at all. I guess one thing you could say is that it's like the musical version of a comedian like Norm McDonald. Let me explain - if you ever watched Norm, you'd know that he was a funny guy, but there was always an undercurrent of mockery towards his own craft. During the Bob Saget Roast, Norm got on stage and proceeded to intentionally bomb - he told jokes that were lame, jokes that didn't make sense, and jokes that had no punchline. The difference between his routine and everyone else is that he never swore or said anything dirty - his entire performance was clean. The joke was that his routine was the same as pretty much all the other roasters, just without the 'edgy' or 'dangerous' material. Looking back, it was one of the funniest routines I've ever seen - one of those bizarre performances that left the other comedians laughing their asses off while the audience just looked perplexed. How does this relate to White Music? The album got slagged off a lot for being fundamentally unsound and obnoxious, and I can imagine other similar groups hearing this and thinking "come on, we don't sound like that!" At the brunt of this all was their cover of "All Along the Watchtower", which was almost universally hated - not just because "Watchtower" was a sacred cow, but also because their arrangement was nearly unrecognizable, with a groovy bassline, spastic harmonica riffing, and Partridge unintelligibly barking out the lyrics rather than singing. You can't help wondering if this was a tribute or a mockery. While much of the post-punk movement was nervous and jittery, XTC was busy putting together perhaps the jerkiest, jitteriest song ever ("Cross Wires").
If this sounds a bit like Zappa, all I can say is the idea is similar, except in XTC's case there was no giveaway line, no "look how clever we are!" moment. In other words, it's not clear exactly how tongue-in-cheek this is, and the while the humor is there, it's so dry that it's hard to know what to make of it...just look at the title of the album. It's over-the-top, but that's more of a product of their youthful excitement than anything. Song-wise it's solid - Partridge and Moulding were not yet the master songsmiths they would become, although the signs are there ("Statue of Liberty"). At its core, it's fast-paced, riff-heavy rock, and even the expanded, 19-track CD version that includes tunes from the 3-D EP (and others) never gets boring despite no real changes in pace. There's something to be said for catchy, high-energy rock, especially when the songs themselves are great - the album kicks off on a frantic note and never looks back ("Radios in Motion", which is excellent, and I'm not just saying that because of the reference to Milwaukee). This is music to stomp your feet to - music for, and probably made by, people riding huge sugar rushes - just try sitting still through it. It's The Cars taken to a ridiculous extreme. And it's brilliant.

Go 2 (1978) **1/2
Released just 9 months after White Music, it's no surprise that the group could barely scramble together enough ideas for an album. Go 2 shows the group getting a little more stiff and rigid, dropping most of the goofy voices in the process. It all starts off promising - "Meccanic Dancing" rides a jerky riff and some playful keyboard bopping into one of their most infectious tunes. But picking out standouts from there is tough - "Battery Brides" is Partridge's first foray into longer-form dub music, taking the the form of a sparkling slow-burner, and it's mostly a success, but it's lacking a chorus. That's really the problem with this album - with a few exceptions ("Meccanic Dancing", "The Rhythm"), the songs seem underwritten; many of the tunes don't really have much of a refrain, and sometimes they lack basic components like an ending ("Red"). This is especially evident on the second half - "Beatown" and "Life is Good in the Greenhouse" drag on for twice as long as they should, relying on obnoxious vocal hooks the whole way. Barry Andrews contributes two songs, one of which is a faux-reggae tune that rumbles along with no rhyme or reason ("Super-Tuff"). At least "My Weapon" is decent. All together, it's not a bad album - "Red" is a ska-based rave-up that injects some much needed energy, and "Buzzcity Talking" captures the efficient New Wave feel they were no doubt aiming for with most of these tracks. And if you get the CD version, you get the fantastic early single "Are You Receiving Me?" - it's underwritten as well, but it's energetic and hooky enough to overshadow that.

Drums and Wires (1980) ****
This marked the first major shift in the band's sound, and some might argue the band's first attempt at legitimacy. Barry Andrews was gone, replaced by talented multi-instrumentalist Dave Gregory, who would from here on become the groups 3rd wheel. Having a talented lead guitarist allowed Partridge to play the less challenging rhythm parts, and the result was one of the tightest New Wave groups around. Terry Chambers' drumming is deceptively good - like Devo's Alan Myers, his tight, interlocking drum parts are essential to this album, and like Myers in "Satisfaction", he even tries an upside-down rhythm for leadoff single "Making Plans For Nigel". Although that track is a fairly heavy-handed diatribe about middle-class working values, the album lightens up considerably from there, particularly on Partridge's songs. This is still the same flighty group that did White Music, after all, and Partridge still uses some of his goofy vocal mannerisms ("Helicopter", "Scissor Man"), and even barks his way through the heavy closing track ("Complicated Game", easily his darkest composition to this point). The big emphasis is on textured guitar parts, which come across crisp and professional throughout, and are pretty astounding in places (“Scissor Man”). However, the biggest stride forward is the more three-dimensional compositions, which are complex yet immediately accessible ("Ten Feet Tall", which is gorgeous, "Reel by Reel", which should have been a hit single). If there's a problem with the album, it's that it's almost too mechanical - it trudges along too often without any real bursts of energy, and it gets to the point that the one punkish tune the boys just bash out sticks out more than it probably should ("Outside World"). Then again, maybe this is simply because some of the slower tunes just last too long ("Roads Girdle the Globe", "Millions"). The problem with stacking a bunch of midtempo tunes together is that it highlights a lack of instrumental variety – there’s a few whimsical synth noises here and there, but the only real standout element is a bit of trumpet on “That Is The Way”. Still, it's hard to fault a group that combined songwriting of this caliber with a tight and professional approach – this is thinking music (similar to King Crimson’s Discipline), and the three bonus tracks go a long way toward alleviating any lack of energy on the original album. In particular, "Life Begins at the Hop" is XTC's first truly essential single, one of those rare tracks where the group seems to nail absolutely EVERYTHING - not only are the hooks great, but the harmonies are astounding, and the short guitar solo is right on the money. Sure, it’s retro, but when it sounds this good, who cares? Fans of guitar-based New Wave should definitely pick this up – it’s the first step of the group’s transformation into one of the best pop bands of all time.

Explode Together - The Dub Experiments (rec. 1978-1980, rel. 1990) **
Not technically an XTC album, but rather a collection of an EP release (Go+) and a solo Andy Partridge album (Take Away/The Lure of Salvage). It's basically Patridge dropping most of the vocals and guitars while turning up and simplifying the rhythm parts. On the EP, it's all fairly lackluster and boring, but the album does have a few interesting spots - several of these tracks are based on outtakes, and Partridge sometimes legitimately tries to make a new track out of old rhythm pieces – “The Rotary” (based off “Helicopter”) is little more than Partridge shouting nonsense over a breakneck drum track, but it’s a great deal of fun. Likewise, “Cairo” makes good use of a sped-up vocal line and obnoxious synth line. Most of the fun is trying to pick out which tracks these came from – it’s not really hard to do, seeing as many of the ‘dubs’ sound like you’re just listening to the track with half of the channels missing. I give credit to Partridge for a few interesting ideas and I wonder how many musicians were doing this type of remixing in the late 70’s. Regardless, that doesn’t make it good – it doesn’t really have any of the things that would draw someone to the group in the first place, and XTC’s music is not particularly rhythm-centric enough to really make this work.

Black Sea (1981) ****1/2
A lot of people point to this album as the point when XTC finally figured it all out and joined the elite, but I feel that's a slight against the great albums that came before, so I'll just say Black Sea is where the group was able to tweak and perfect their formula to the point that they may have just been the best New Wave outfit around. Dave Gregory's interesting little rhythmic fills and hard-hitting lead guitar playing are certainly key, but the whole band sounds great - producer Steve Lillywhite did a phenomenal job, giving the album a sharp-toothed "live" feel that gives this record an edge over prior releases. In fact, they made it a point to not include anything prominent that couldn't be replicated by the four-piece on stage. The album starts with a short and pleasant piano-and-vocal melody, played through what sounds a very scratched vinyl. Soon after, loud guitar riffs take center stage, clanging against each other, booming drums join in, and "Respectable Street" kicks off. During the bridge, that same opening melody pops up, as if to drive the point home - this is a pop band, but they can rock, and it's a keen sense of balance that makes this album a great one. Most of the songs are fast-paced, but they wisely leave a few more tender moments in the middle of the album ("No Language in Our Lungs"). They can do ridiculously catchy rockers ("Generals and Majors", "Love at First Sight", both of which are Moulding's), but they also have more fully written and traditional material ("Towers of London"). They’re goofy in spots ("Sgt. Rock", "Living Through Another Cuba") but can tear up a frenzy when needed ("Travels in Nihilon"). Even lyrically, it's ambiguous - is Moulding really accusing the military of trying to start war ("Generals and Majors"), or is he just being whimsical? Does Partridge really think the end of the world is near ("Living Through Another Cuba")? Is "Rocket From a Bottle" a song about the giddy head rush you get from a new love, or is it a somewhat graphic portrayal of the sudden sexual energy that comes with it? Even if the lyrical sentiment comes off as heavy-handed (and it does, even if they’re generally good), the music's still light enough to be fun and heavy enough to endure repeat listens. Anyone who's a fan of clean guitar-driven New Wave should have this in their collection – in a perfect world, this album would have spawned five hit singles. The bonus tracks on this one aren't quite essential, although Moulding's harmonica-driven "Smokeless Zone" sounds like it could have been released as a single.

English Settlement (1982) ****1/2
This is a definite step towards middle-period XTC, and their thickest album yet. You can take that literally, too - this one was a double, and while many artists use the double album as a way to do longer songs or avoid cutting material, XTC used it to make something of a career statement. Apparently not content with being the hottest guitar-driven New Wave combo around, they decided to smooth the rough edges and delve into rich pop music. It's a success - there's a staggering amount of great songwriting here, and if this were cut to a single album, it would be one of the best pop albums of all time. Not to say it shouldn't be a double - "Leisure" is the only song out of the bunch that's less than good, and all four sides are well worth hearing. The group have definitely broadened their sonic palettes - even though Partridge is putting out heart-wrenching and ear-pleasing material such as "Yacht Dance" and "Snowman", his flightier side is still on full display ("Melt the Guns", "Down in the Cockpit"). Moulding shows a few sides as well - while "Runaway" is a seriously ominous song about abused children, he shows an affinity for goofy 60's pop ("Ball and Chain") and fast-paced ska ("English Roundabout"). It's hard to believe that this wasn't a commercial breakthrough for the group - I count six legit potential singles here, and that's not even counting some of the best material like "Jason and the Argonauts" or "Yacht Dance" (the latter, in particular, is one of the most gorgeous uses of acoustic guitar I've ever heard). The one that did put XTC briefly on the map was "Senses Working Overtime", a lush guitar-led tune that's almost impossibly catchy. Even though it's all pop music (as Partridge would say), there's a variety of styles and tempos, and in the end, there really is something for everybody on this album - the way Partridge goes from a menacing growl in "No Thugs in Our House" to a longing croon in "Yacht Dance" is incredible. Instrumentally, it's still mostly guitar-based, though they occasionally throw in a few synthesizers ("Fly on the Wall"). Producer Hugh Paradigm does a great job here, not only in producing a lush and full-sounding mix, but also emphasizing the abundance of great hooks that is XTC's main strength. In the end, this is an album where you can actually be thankful that it runs so long. The only weakness is a lack of ideas in a couple of songs - if they had replaced "Leisure" and "Knuckle Down" with "The World is Full of Angry Young Men" and "Tissue Tigers" (two fantastic B-sides from this era that appeared on Rag and Bone Buffet), this would easily be five stars. Regardless, this is an essential, and XTC-fans-to-be would probably get a broader view of the group from this album than any other one.

Mummer (1983) ***
Somewhere in between this album and English Settlement, Andy Partridge suffered an on-stage breakdown due to his wife suddenly taking him off Valium. You can't really blame that for XTC not taking off commercially after three great, radio-friendly albums in a row, but it certainly didn't help matters - not only did this remove a huge opportunity for promotion, but it pissed off both the record label and the drummer. As a result, the band lost what little promotion they had, and many assumed that they just broke up. As for the drummer, he would leave after the recording of this album, and the group would simply replace him with a succession of studio drummers. He played on a few tracks here, with the rest being filled out by Gary Glitter's tour drummer (!). Mummer is the first album showcasing the group's new, post-breakdown style, and it's the start of their retro-wacky, studio-bound recordings. The album is dominated with synthesizers, which means fewer guitars, and the lethargic, mid-tempo arrangements that every song gets make this much less exciting than prior efforts. It didn't have to be that way - the first three tracks are all fantastic. "Beating of Hearts" is a jangly Indian-style psych-pop tune, Moulding's "Wonderland" is a shimmering pop tune that should have been a single, and the pastoral "Love on a Farmboy's Wages" is one of Partridge's sweetest songs yet. After that, it's a mixed bag - some of the material is pleasant yet slight ("Ladybird"), but sometimes it's just obnoxious ("Human Alchemy") or aimless ("Me and the Wind"). In fact, the album is so lethargic that the guitar-driven rock song that closes out the album stands out ("Funk Pop A Roll"), even though it sounds like Partridge isn't really trying. At least Moulding's material is generally good. Mummer also features bonus tracks, one of which may be the best song on the whole album ("Toys"). There's a couple of other good songs ("Jump", "Gold"), and a few synth-only instrumentals which are not unpleasant but not really worth listening to. Confusingly enough these are added to show up between the album's two sides rather than at the end, so unless you look it up you'll probably never know which ones didn't appear on the original album. Overall they're a net positive that ultimately made me decide between 3 stars and 2 1/2. However, this could have scored higher still - include "Toys", "Jump", and "Gold" and drop the weaker album tracks and this would be pretty damn solid.

The Big Express (1984) ****
This is the one time XTC veers off their course, turning in an industrial-style album that's about as far away from Mummer as they could get. Probably a good idea, but this one didn't sell any better. The sound is likely the result of losing their drummer, leading the band to go with a big 80's-style drum machine that dates this album more than any other one they've released. It's not really a bad thing - the songs work well with the new approach, and the group is keen enough to hire a real drummer to help accent the softer tunes ("This World Over"). They certainly haven't lost their edge - this is as blunt an album as the group has put out, with many of the tunes sounding like novelties - albiet well written ones ("All You Pretty Girls", "Seagulls Screaming Kiss Her Kiss Her", which uses some pretty interesting vocoder effects). Hell, if you're not a fan of Partridge's vocal growls and tics you may want to skip this one altogether - "Shake You Donkey Up" is one of the most fantastically bizarre tracks the group ever recorded, sounding like a demented hoedown gone completely overboard, but Partridge seems to go out of his way to be as obnoxious as possible. Likewise, you may not be too impressed with him imitating train noises on the jangly closing track "Train Running Low on Soul Coal". They're a little over the top, but it's nice to see that XTC hasn't lost their energetic side, and personally I'll take as many goofy noises coming out of Andy's mouth as I can get. Even if they put you off, there's still several great pop tunes here, including the gut-wrenching "This World Over", a somber tune for the apocalypse (is there any other kind?) and the irresistible "You're the Wish You Are I Had". Plus, you get Moulding's "Wake Up", which is a masterpiece - the song builds off two clanging guitar chords played in opposite speakers, giving it a jarring, energizing feel. His only other song on the original tracklist is the pleasant "I Bought Myself a Liarbird". There's three bonus tracks, which are all fairly good - "Red Brick Dream" is one of Partridge's most ambient tunes, making use of a trippy echo effect on the guitar and an interesting lack of rhythm. I can see why it was cut, but it's definitely welcome here. So it’s a very good album, but I can’t recommend to a newcomer since it doesn’t really represent the group well – half of these tracks don’t really have any parallels in the XTC discography, and the sound is noticeably different than the rest of their work. But if you’re a fan this is a must.

Skylarking (1986) *****
John Alroy called this "The best single effort by the most talented rock band of the 80s". In general I hate broad hyperbole like that, but I really can't disagree. There isn't really much need for a review after that, but I'll expound a bit. XTC were always a standout group whose releases were almost all at least good, and frequently astounding. Now, I can think of many groups are great, but for many, the stars never quite aligned (which is why many artists on this site don't have a 5 star album), whereas XTC did produce one album that showed exactly what you knew they were capable of all along. For this album, the group enlisted Todd Rundgren as producer, and you can hear traces of his pop-friendly, psychedelic sound all over. But the big difference is that Todd convinced the group to try arrangements they would have never tried before - they do a ballad using disparate violins ("1000 Umbrellas"), Beach Boys-style pop ("Season's Cycle"), psychedelia ("Grass"), creepy synth-pop ("Another Satellite"), and even big band jazz ("The Man Who Sailed Around His Soul"), and everything works beautifully. If you're the type who finds something like Pet Sounds to be a masterpiece, well, this is even better - every track is written like a single, with catchy, pop-friendly choruses, efficient arrangements, and a strong sense of melody. The capper on all this is the sheer density of many of these songs - there's enough here to keep you occupied, and unlike other XTC albums the group never lets things grow dull. It's also one of the most colorful albums they ever released - not that everything is cheery (and some of this is downright depressing), but there's a huge instrumental variety, and on only one track do they sound like a straightforward rock band ("Earn Enough For Us", an engaging slice of power-pop). There’s piano, violin, flute, glockenspiel, horns, synths, and all sorts of percussion and Eastern-sounding instrumentation that I can’t identify. Yes, it’s busy, but Rundgren is able to place the emphasis well, pushing the important elements forward and not overloading a track if it demands a sparse arrangement (such as in the beautiful, haunting “Another Satellite”). The only track I take issue with is “Dear God”, but I can forgive that since it was originally a B-side – it’s a fine track, but “Mermaid Smiled”, which appeared on the original release, was better. Strangely enough “Dear God” was the only song here that did even remotely well on the charts. Otherwise, both songwriters are in top form, and Moulding contributes a few fascinating numbers that you wouldn’t think he was capable of (the trippy, psychedelic “Grass”, the epic and sweeping “Sacrificial Bonfire”). Where he used to sing about trivial subjects with a wink and a nod, he’s now writing about death, marriage, and the cycle of life. Such is the nature of this album – although it never explicitly says this, it’s about cycles, the transition of day to night, birth to death. It’s a weighty premise for a pop album, but it they nailed it, and the result is a masterpiece you’ll want to hear over and over again.

The Dukes of Stratosphear - Chips from the Chocolate Fireball (1987) *****
This is an album not only for XTC fans, but anyone who was a fan of 60's psychedelia in general. The Dukes were, in the words of XTC themselves, a Nuggets-era psychedelic group that was 'forgotten' by the record companies, only to be unearthed twenty years later. For this project, the members of XTC each came up with their own "alter-ego" persona, with Dave Gregory's brother "E-I-E-I-Owen" taking the drums. This disc is a combination of the two Dukes releases - the EP-sized 25 O'clock and the LP Psionic Psunspot. Their sound is mostly a combination of peak-era Beatles and Pink Floyd, (particularly on the EP) but there are plenty of other 60's touchstones represented here - the LP has tributes to The Hollies, Kinks, Zombies, Beach Boys, Byrds, and Hendrix. In fact, they're often so spot-on that how much you like a particular track may come down to how much you like the group they're imitating. You could argue this as a strike against the album, since the Dukes don't really have their own persona, but that's missing the point. The reason this is so successful is because Partridge is as good a songwriter as Ray Davies, Syd Barrett, and even Paul McCartney were in their primes, and he's passionate enough about this music to take it seriously. The difference is that Partridge and Moulding have the benefit of hindsight. Add in John Leckie's crisp but very retro production and you have a late 60's tribute album that's almost shockingly authentic. And that's why this album holds up so well - it's easy to write this sort of thing off as a gimmick, but the songs are as full as anything XTC ever wrote, and there's a ton of replay value here. While it's obvious that they're generally just trying to have fun as their alter-egos, tossing off all sorts of 'dated' elements such as mellotron, manipulated vocals, and backwards drums, it's not like they're just doing it without purpose - "Bike Ride To the Moon" is written less like a tribute to Syd-era Floyd and more like an actual Pink Floyd song. What I'm trying to say is that they nail the subtleties of the groups they're trying to imitate, and in some cases nearly top them (the ridiculously catchy "You're My Drug" is better than any Byrds tune I can remember, and "Vanishing Girl" is as good as anything the Hollies ever wrote). In fact, this album could compare pretty well to classics like Revolver or Pet Sounds. My favorite songs on the release: Moulding's trippy, effects-laden "What In The World?", the alternately harsh and bouncy "Your Gold Dress", the driving, riff-heavy "Little Lighthouse", the ultra-catchy "You're My Drug", and "Good Vibrations" tribute "Pale and Precious". But it's really all good - every track here has something going for it, and the end result is some of the best material the group ever recorded.

Oranges and Lemons (1989) ***1/2
Another double, but it's troublesome. Out of the 15 tracks here, some are unquestionably brilliant, but there's a fair share of filler material here, and had this not been released in the beginning of the CD era, it probably would have came out as a pretty solid single album. I'd say this is definitely the album where the cover best matches the material - colorful, psychedelic, and a little gimmicky. They've kept the multitude of instruments from Skylarking, but lost the inspiration that came with it - they don't really push their sound forward nor do they seem particularly interested in doing so. Losing Todd Rundgren as producer didn't help, especially since the newcomer, the relatively unknown Paul Fox, goes for a busy and colorful sound but seems to often lose focus - the drums sound hopelessly tinny, and Moulding's bass parts don't really shine through despite being frequently astounding. The album begins with the Middle Eastern-sounding "Garden of Earthly Delights", which is an exciting slice of hook-filled psychedelia, sounding like Mummer done right. It's followed by the two singles - Partridge's "Mayor of Simpleton" is one of his best pop songs yet, with an unforgettable chorus, a disarming sweetness, and a surprisingly complex bass line. Moulding's "King for a Day" is catchy, although it's (rightfully) been called out for being a little too close to "Everybody Wants to Rule the World", so it only gets partial credit. From there, it's a real hit-or-miss affair - Moulding's "One of the Millions" is brilliant and memorable, but his "Cynical Days" sounds underdeveloped and goes nowhere. Partridge contributes a number of gimmicky tunes, some of which come off well - "Poor Skeleton Steps Out" and the jangly "Scarecrow People" are successful, but some tracks cannot be salvaged ("Merely a Man", "Here Comes President Kill Again"). I guess it would be accurate to say that there's generally something good about every track here, but few are overall winners - "Across This Antheap" and "Hold Me My Daddy" are good songs that deserve better production, and any decent hook that "Pink Thing" might have is overshadowed by its ridiculously suggestive and ambiguous subject matter, which results in lyrics that are basically one double entendre after another. Then again, some songs are so good they can't be ruined - the closing "Chalkhills and Children" is beautiful and haunting, recalling "Pale and Precious" from the Dukes album. Plus, it's the only good song I've heard that ever used a saw lead synth, and that's gotta count for something. Even if this album was trimmed and given fuller production, it wouldn't be one of their most significant releases, but it would still be pretty damn good, and I listen to the better tracks from this so much that I couldn't give it just an average grade. It's an exhausting album with a lot of ways to turn the listener off, but there are enough good ideas to make it worthwhile.

Rag and Bone Buffet (rec. 1978-1988, rel. 1990) ****
There are only a handful of artists who fall on my "I will probably enjoy anything they put out" list. XTC certainly resides there, so it's no surprise that this collection of B-sides, unreleased tunes, alternate versions of album tracks, and other assorted rarities gets high marks from me. Although four stars seems a little high for a rarities collection that spans 24 tracks and is not exactly stacked with aces, I really appreciate these kind of releases when they feature songs that are more in the "too weird to be released on the album" camp as opposed to the "like the album tracks, but weaker" one. Not that much of this is too weird, but there are some genuine oddities that will raise an eyebrow or two - there's a synth-funk Christmas tune that's outright bizarre ("Countdown to Christmas Party Time" - one of two Christmas songs on here), an intentionally horrible piece of disco ("Officer Blue"), and a goofy scrapped single that Moulding was to release under the guise of "The Colonel" ("Too Many Cooks in the Kitchen"). Since the majority of the material comes from their fruitful '80-'83 years, it's no surprise that some of this is excellent, with a couple of tunes seriously deserving a second look - how did great pop songs like "Tissue Tigers" (which features a brilliant textured guitar line) and or "The World Is Full Of Angry Young Men" not make an album? Those songs are among their best! Other must-haves for the XTC fan - the rejected single "Punch and Judy" (which feature some of Partridge's most depressing lyrics ever, regardless of the sing-songy way he delivers them), "Blame the Weather", and the ex-Skylarking highlight "Mermaid Smiled". Otherwise, the songwriting is generally solid despite having to hear a few songs that were cut for being below XTC's usual quality (Go2 reject "Strange Tales, Strange Tails", "Looking for Footprints"). The other side to this is the alternate versions of a few of XTC's tunes, all of which are welcome (single versions of "Respectable Street", "Ten Feet Tall", "Scissor Man", a live "Another Satellite") - I'd also include "I Need Protection" on this list, as it sounds like an early version of "Travels in Nihilon". Overall this is a pretty solid collection – most of the songs are upbeat and groovy, and the many fans of the group will likely find this essential. In fact, this might not even be a bad first purchase if you’re feeling particularly adventurous – it goes down fairly easy, has its share of great music, and shows a ton of different sides to the group, some of which were never fully shown off in the studio.

Nonsuch (1992) ***
This is pop, alright. For this album, the group enlists veteran producer Gus Dugeon, and he gives the proceedings a solid, workmanlike feel. It's basically one midtempo pop tune after another, and despite a clear 60's influence, the sound edges closer to adult contemporary. There's a pretty full helping of XTC music here with 17 tracks, and like Oranges and Lemons, it becomes an exhausting listen. Unfortunately, this time there isn't even that much variety - the one time the music rises above a medium pace is the clear standout ("Omnibus"), and there are too many songs that are passable but don't really have good hooks - the group practically sounds burned out ("Holly Up On Poppy", "Books Are Burning"). At least Moulding can be counted on to provide at least one great song - "My Bird Performs" is one of his most melodic and hypnotic compositions yet. Unfortunately, the rest of his material falls short - "War Dance" and "The Smartest Monkeys" are decent but dreary, and Moulding's heavy-handed lyrical jabs are obnoxious. Hell, "War Dance" even seems to lift parts of "Low Rider", although that may just be a clever in-joke. Plus, his "Bungalow" is just awful, and hardly even constitutes a song. Partridge fares better, with a number of sweet and melodic pop songs that show just why he's the master ("Then She Appeared", "Dear Madam Barnum"), with a few clear standouts - "The Disappointed" is a fully developed pop masterpiece, and "Wrapped in Grey" is another moving ballad that's one of the most emotional tracks in the group's catalogue. His more experimental stuff is hit or miss - "Rook" is devastating, but "That Wave" hardly qualifies as a song, and I'm not sure what to think of the country-stomp "Crocodile". I feel like 3 stars is a bit too low - there is some really great material, and the album generally holds up well to repeat listens, but with little energy, a generic atmosphere, and a too-long running time, it can be tough to swallow.

Transistor Blast (1998)
Although XTC never really had an "official" live album released, this 4-disc box set fills in the void quite nicely. It starts with two post-touring discs of BBC sessions, in which the group seems just as comfortable performing newer songs like "Scarecrow People" alongside old, more manic tracks like "Cross Wires". For a band that doesn't tour, they sound surprisingly tight live, although it's not as energetic as a performance in front of a crowd would be. The remaining two discs chronicle actual live shows, one being an early, off-the-wall 1978 show that further muddles any question of the sincerity of the early version of the group, and a 1981, relatively polished Black Sea-era gig that's the real jewel of the set. Full review coming soon.

Apple Venus, Volume 1 (1999) ****1/2
Yes, that is a seven-year gap, thanks to Partridge finally having enough of Virgin and deciding to run out the rest of the length of their contract on their own. They kept busy in the interim, planning a double album, with one half consisting of delicate orchestral pop and the other guitar-based rock. The two albums wound up coming out separately, presumably due to monetary problems, despite stumbling into an increased budget when it was found their manager was embezzling funds from the group. The good news is that the group gets a whole orchestra to work with, and Partridge uses them well, adding delicate touches to the softer songs and sweeping moves to the more epic ones. The bad news is that Dave Gregory wound up being the odd man out this time, and quit the band before the album was complete - he's credited, but only vaguely, although he's really not needed on this album anyway. This is really Partridge's album - his orchestral arrangements are frequently stunning ("River of Orchids", "Greenman"), and his softer tunes are heart-wrenching ("Knights in Shining Karma", "I Can't Own Her"). Moulding does contribute, but both his songs are trivial ("Frivolous Tonight", "Fruit Nut") - nice diversions, but they don't add much to the album. So it's not rock solid the way Skylarking or the Dukes project was - I could do without "Your Dictionary" as well, an attack on Andy’s ex-wife that's overflowing with so much bitterness it would make Elvis Costello blush. But the rest of the album is great - middle-age seems to have only heightened Partridge's melodic skills, and the album's high points alone would make this rank among the group's best. "River of Orchids" is an astounding piece of nearly trance-like orchestral pop, with a slowly building orchestral arrangement that's unlike anything I've ever heard. Likewise, "Greenman" is a sweeping, Middle-eastern themed tune that is not only a masterpiece melodically but is also the group's most epic and grandiose song yet. I also have to mention "Easter Theatre" and "Harvest Festival" - both majestic, symphonic pop songs that could stand among classic masterpieces such as "God Only Knows" or "A Day in the Life". And there's plenty to be found in the other tracks - both "I Can't Own Her" and "The Last Balloon" are heartbreaking, especially when you consider the subject matter (his daughter and his own mortality, respectively). You could probably thank the amazing production work for some of this - this may be XTC's best sounding album as a whole, but I think that Partridge's tasteful and labored arrangements get most of the credit - it's hard to imagine any songwriter developing material like this over the course of just a year or two, and it’s amazing how much there is to explore in the space of its 50-minute running time. Perhaps it shouldn’t be so surprising – after all, XTC has been excellent at nearly everything they do, and have almost never sounded burned out despite having been around since the late 70’s. On the other hand, this album is not only excellent, but also pushes the boundaries of pop music, which very few groups even attempt after having been in the game for over two decades (Sparks and YMO are the few that come to mind). Highly recommended.

Wasp Star (Apple Venus Vol. 2) (2000) ***
The second half of the Apple Venus project showcases the more rock-oriented side of the group, and though it's a fine pop album, it's not up to XTC's high standards. Most of the trouble occurs since the band doesn't have Gregory to bring the songs to life - Partridge is certainly competent on lead, but most of his riffs are fairly obvious and heavy-handed. In addition, Moulding's bass is buried deep in the mix to the point where it's nearly inaudible on most of the songs. So you're basically hearing guitar, drums, and vocals. This really shouldn't be a problem given that Partridge and Moulding are fantastic songsmiths that can write tunes for practically any arrangement, but you really only get half the story here. These songs definitely are tuneful, catchy, and professional, but they're also repetitive to the point where some of them feel like they're missing a few parts ("I'm The Man Who Murdered Love", "Stupidly Happy"). In fact, this is the group’s simplest set of tunes yet – in a way, that’s good, because it’s a great counterpoint to the Apple Venus tunes that were mostly growers, and it’s definitely enjoyable from the first listen on. On the other hand, there isn’t much replay value here, and it’s a little strange to hear a group writing songs with big, obvious riffs like this after mastering the genre of pop for two decades – it’s like if Elvis Costello was writing stuff like “Mystery Dance” in 2008 rather than 1978. Still, this is Partridge we’re talking about, and there are some real gems near the end – the ska-based “You and the Clouds Will Still Be Beautiful” is gorgeous, and the closing “Wheel and the Maypole” is a fitting testament to XTC’s long, storied career, taking Skylarking’s “out with the old, in with the new” message and turning it into something upbeat, catchy, and nearly celebratory. Otherwise, there are a few nice riff-rockers (“Playground”, “Stupidly Happy”), and a healthy supply of good hooks (“We’re All Light”). Moulding gets three tracks here, which are strangely pastoral and folky – “Standing in For Joe” and “In Another Life” are pleasant if forgettable, but “Boarded Up”, which centers on a creepy atmosphere and a desolate acoustic riff, is a winner. Lyrically, it’s as simultaneously playful and heavy-handed as they’ve ever been, although there is an abundance of bizarre sexual metaphors this time around (“My Brown Guitar”, the first half of “The Wheel and the Maypole”). The only real misstep is another song about Partridge’s ex-wife, this time a tedious blues number that shows the limitations of Partridge’s voice (“Wounded Horse”). It’s hard to complain about an album as effortlessly enjoyable as this one, but I wish that XTC ended on a better album than this – Apple Venus was astounding, but it’s fairly certain that this will be the end of their career, as Moulding seems to have no interest in soldiering on. The good news is that it shows that the group never did lose their songwriting muse, not even in middle age, which is something few bands that stick together this long can say – the bad news is that even within this album, it’s apparent that they are capable of doing it even better. A curious end to a fantastic career.

Coat of Many Cupboards (2002)
A 4-disc, chronologically ordered box set filled with all sorts of alternate takes, demo tracks, unreleased material, live performances, and a 'overlooked' studio tracks. It's expensive, but the actual product is pretty well-crafted, complete with a huge booklet on the group. Anyone who's a hardcore fan (like me) should consider this...all four discs go down easy, there's tons of hidden treasure, and it's a damn fine snapshot of the group. Full review coming soon.