XTC - Knowledge

2210:. Near the end of the year, he told an interviewer that Moulding recently ("a couple of months back") lost interest in writing, performing or even listening to music. He remained hopeful that the situation was temporary and assured that they had "not killed off the XTC head. I mean, we still have the head cryogenically frozen. ... It's no good making a record and calling it XTC, certainly, if Colin isn't involved." In November, he stated that he had been forced to regard the group "in the past tense," with no likelihood of a new project unless Moulding should have a change of heart. Months later, Partridge intimated that Moulding had moved and changed his phone number, effectively ending all contact between the two and reducing their correspondence to emails exchanged via their manager to discuss the division of the band's assets. Partridge also said he and Gregory—their differences now resolved—had considered working together again. 1249:... what is known is that inked a deal with Virgin that wound up working out primarily for Reid, secondarily for Virgin, and not at all for XTC. Throughout their first five years of existence, XTC never saw a penny of profits from either album sales or touring revenue. Reid, on the other hand, took out large loans from Virgin, borrowing against XTC's royalties, to the tune of millions of pounds by some estimates. Even after the band settled out of court with Reid, because of the terms of the contract, Virgin was able to hold XTC liable for the sum. Because of XTC's failure to tour, the likelihood of ever repaying Virgin dwindled further and further away. Over the course of a 20-year contract with Virgin Records, and after achieving gold and platinum status in album sales on a number of discs, XTC never saw any publishing royalties. 2351:, Neville Farmer comments that Partridge "is the boss—erratic but willful runs the band on instinct", while Moulding "is the voice of calm ... a foil to Andy's radical side." Music journalist Peter Paphides felt that the songwriters' personalities "couldn't seem more different," with Moulding "phlegmatic, shy, and heartbreakingly pretty" and Partridge an "art-school dropout ... uptight, dominating and extrovert." In Moulding's view, Partridge also typically acted as an "executive producer" for albums while frequently undermining the authority of the actual credited producer. Their recording approaches differed in that Moulding sometimes preferred spontaneous or imperfect performances, whereas Partridge working method was to refine a song through repeated 1186:. He described feeling nausea and stomach pains while on stage: "My body and brain said, You're hating this experience I'm going to make it bad for you. When you go on stage I'm going to give you panic attacks and stomach cramps. You're not enjoying this and you haven't got the heart to tell anyone you can't carry on so I'm gonna mess you up." The band's remaining tour dates in England were cancelled. After recovering from the episode, Partridge rejoined the group for their first tour of the US as a headlining act. The band played the first date in San Diego. Gregory said that they were "totally unrehearsed" during the performance because "we'd not played together for two weeks. ... It was obvious that he was ill, but exactly what it was, no-one knew." 1809:, who served as XTC's manager for a short time, helped the band reach a legal settlement with Ian Reid in 1989. However, they were again left with a six-figure debt. Virgin Records advanced the group enough money to cover their debt in exchange for the promise of four additional albums. Having written more than two dozen songs by 1991, some difficulties prolonged the start of recording sessions for the next album. Initially, the band had issue with the musical director of Virgin, who, after seeing the songs, was convinced the band "could do better" and asked them to write more material. With the band sitting on the material, the director left the label a year later, and his replacement liked the band's content, hurrying them to record the album. 1228:

that they had owed him money. They tried distancing themselves from Reid by renegotiating their contract with Virgin. Six more albums were promised to the label in exchange for covering their debts, as well as a guarantee that subsequent royalty and advancement cheques be redirected into the band's own deposit account. Royalty rates were still kept relatively low, as the group's A&R man Paul Kinder explained, they had "appalling management for a number of years. Usually if a manager has got any kind of business acumen he will renegotiate the contract to get a better royalty. A record company expects this, which is why they keep royalties low initially. It's just business really. Nobody addressed the contract for XTC."

470: 2857: 1791: 2278:, which premiered on Sky Arts on 7 October. The documentary featured new interviews with Partridge, Gregory, Moulding and Chambers. Moulding praised the film and commented on the possibility of a full-fledged XTC reunion: "They say never say never, don't they? It would seem unlikely, put it that way." As of January 2018, Partridge maintained that the group would "not be recording together again." From 29 October to 1 November, TC&I performed four sold-out shows at Swindon's Art's Centre, in Old Town. It was the first time Moulding and Chambers had played a live gig in decades. 1342: 2944:

not financial success". Andy Partridge characterized the band as "quietly influential" and thought that the decision to quit touring "definitely affected our popularity later on". Schabe disagreed that the lack of touring had an effect and wrote that "XTC suffered more from the hands of industry forces than they did from failure to find an audience." Partridge also estimated that XTC's fan demographic had a male/female ratio of about 60–40, which was "reassuring" to him, as he thought the band only appealed to "computer nerds". In the 1981 edition of

2043:, returned for the sessions. It soon became apparent that the band did not have the funds to record all the material they had. Gregory, Moulding, and Bendall wanted to reduce the project to one disc, but Partridge insisted on spreading it over two LPs. It was decided that they release one album with the orchestral portions ("volume 1") and leave the rock songs for its follow-up ("volume 2"). A session was booked at Abbey Road, but the recording was rushed, lasting one day, and had to be edited over a three-month period. 2701:(1967) in its entirety. Moulding credited the arrival of Dave Gregory with reviving Partridge's interest in 1960s bands like the Kinks. However, Partridge similarly only knew of the Kinks through the group's 1960s singles, and did not listen to any of their albums until the late 1980s. Partridge also claimed that "the Beatles were the farthest thing from my mind" until 1982; at another time he stated that the opening F chord on XTC's 1978 single "This Is Pop" was directly based on the opening chord from the Beatles' " 2489: 2624: 2054: 1637: 937: 1240:

the next decade, the entirety of the band's earnings would be invested in the continued litigation. The group supported themselves mostly through short-term loans from Virgin and royalty payments derived from airplay. At one point, Moulding and Gregory were working at a car rental service for additional income. Partridge was eventually left with "about £300 in the bank", he said, "which is really heavy when you've got a family and everyone thinks you're 'Mr Rich and Famous'." A court-enforced

1262: 1117: 1462: 2383:," he decided to "think more in terms of the songs as the masters and the instruments as the servants." Discussing Gregory's contributions to the group, Farmer writes of "a precision and correctness that carries through from his prerehearsal of guitar solos to ... his encyclopedic knowledge of guitars and who-played-what-on-which-instrument-with-which-amplifier-in-which-studio-on-which-record-under-the-influence-of-what-star-sign-or-guru-or-drug." 545:(1971), which he later called "one of the watershed moments in my musical education." Partridge met Colin Moulding at the Stage Bar on Swindon's Old Town's Union Row, later known as Long's. Moulding had been playing bass since 1970 "because I liked music I thought that playing a bass, with four strings, would be infinitely easier than playing a guitar, with six strings. That was a horrible misconception!" At the end of 1972, Moulding and drummer 44: 524:" (1968). By the early 1970s, his music tastes had transitioned "from the Monkees to having a big binge on this Euro-avant-garde stuff. I got really in deep." One of his first bands was called "Stiff Beach", formed in August 1970. In early 1972, Partridge's constantly evolving group settled into "Star Park", a four-piece that featured himself with guitarist Dave Cartner, drummer Paul Wilson, and a bassist nicknamed "Nervous Steve". 2820:

decades after their first records. ... XTC's lack of commercial success isn't because their music isn't accessible – their bright, occasionally melancholy, melodies flow with more grace than most bands – it has more to do with the group constantly being out of step with the times. However, the band has left behind a remarkably rich and varied series of albums that make a convincing argument that XTC is the great lost pop band.

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with XTC's record sleeves stemmed from his disappointment with the sleeve for the "Statue of Liberty" single, which depicted a poorly cropped photo of the statue and the XTC logo in red. He was less successful in his attempts to involve himself in the band's music videos, as he said, the woman in charge of Virgin's video department rebuked all his ideas, some of which other groups later adopted in award-winning videos.

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to Australia and started a family. Feeling dismayed by Partridge's decision not to tour, he had to be persuaded to return to Swindon for the next album's rehearsals in September. At one rehearsal, Partridge recalled asking Chambers for "tiny, cyclical, nattering clay pots", which he replied sounded "a bit fucking nancified". The newly-wed Chambers soon left the band to be with his wife in Australia.

1422:'s 1982 psychedelic single "Hilly Fields 1892", and devised a recording project to fill the newfound gap in his schedule. The rules were as follows: songs must follow the conventions of 1967 and 1968 psychedelia; no more than two takes allowed; use vintage equipment wherever possible. After receiving a £5,000 advance from a skeptical Virgin Records, the group devoted two weeks to the sessions. 1145:. At this point, they were playing in arena stadiums while Partridge's mental state was beginning to deteriorate, and he requested to cease touring, but was opposed by Virgin, his bandmates, and the band's management. He would occasionally experience moments of memory lapse to the extent that he would forget who he was. His then-wife Marianne blamed his illness on his longtime dependency on 861: 1509:, Rundgren played a large role in the album's sound design and drum programming, providing them with string and brass arrangements, as well as an assortment of gear. However, the sessions were fraught with tension, especially between him and Partridge, and disagreements arose over drum patterns, song selections, and other details. Partridge likened the power struggle to "two 853:. Partridge said: "He enjoyed undermining what little authority I had in the band. We were bickering quite a lot. But when he left I thought, Oh shit, that's the sound of the band gone, this space-cream over everything. And I did enjoy his brain power, the verbal and mental fencing." XTC went through a "silly half-hearted" process of auditioning another keyboardist. Although 520:. I thought, 'Ah, one day I'll play guitar!' But I didn't think I would be in the same band as this kid on the stage." Partridge eventually obtained a guitar and taught himself how to play it with no formal training. At the age of 15, he wrote his first song, titled "Please Help Me", and attracted the nickname "Rocky" for his early guitar mastery of the Beatles' " 1493:. His bandmates were not as familiar with Rundgren, but Gregory urged the group to work with him: "I reminded Andy that Todd had produced one of his favourite New York Dolls records . In the absence of any better alternatives, he agreed." Once contacted, Rundgren offered to handle the album's entire recording for a lump sum of $ 150,000, and the band agreed. 2783:. In Partridge's opinion, the band "never got beyond Swindon." He also felt that XTC being described as "pastoral" was a compliment: "'Pastoral' to me means being more in touch with the country than the city, which I think we are. London gives me the willies." Lyrically, he cited Ray Davies, John Lennon, and Paul McCartney as his biggest influences. 1027: 2733:" (1999) to be the "perfect songs" of his career, feeling that he had "exorcized a lot of those kind of Lennon-and-McCartney, Bacharach-and-David, Brian Wilson type ghosts out of my system by doing all that." Reportedly, when Brian Wilson was played the Dukes' "Pale and Precious", a pastiche of the Beach Boys, he thought it was styled after 3052:, who were doing similar things to us but were from New York, and therefore cool. But the English don't like normal people doing intelligent things." He remembered the group being advised by their early management to change their accents and deny their Swindon origins, but "we thought it was a badge of honour, coming from the comedy town." 2336:

offerings. This didn't always go down well, either with Andy or the band, but Colin did have some killer melodies and a sweeter sound to his voice that made a welcome diversion when listening to an album as a whole." Partridge opined that Moulding's songs initially "came out as weird imitations of what I was doing", but by the time of

1287:, to underwhelming sales. The group's new material was rejected by Virgin executive Jeremy Lascelles, who suggested that they write something more commercial. Partridge remembered, "He asked me to write something a bit more like The Police, with more international flavour, more basic appeal." Lascelles said that he had actually named 2163:(2005), included two new tracks: "Spiral", written by Partridge and "Say It", by Moulding. These songs were available to purchasers of the box set in digital format only, with the use of a special download code. This followed with a digital-exclusive track, Moulding's "Where Did the Ordinary People Go?", released in December 2005. 1529:... the band has accomplished the remarkable feat of pulling the kinks out of its music without sacrificing its peerless originality. The band members have become the deans of a group of artists who make what can only be described as unpopular pop music, placing a high premium on melody and solid if idiosyncratic songcraft. 3825:

In Partridge's recollection, the director threatened that Virgin would drop the band if the band don't write an album "of twelve Top Ten guaranteed singles," and noted that this attitude held the band up in recording the album, which they refused to rewrite, believing its songs to be among the greatest they had written.

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feel they were right for the band. He began taking Moulding and Chambers out for drinks without inviting Partridge, allegedly in an attempt to take over the group. After most of Andrews' songs were dropped from the final track list, the keyboardist told journalists that he foresaw the band "explod pretty soon".

2592:), Partridge remembered how they "used to fucking kill ourselves. I think it was fear. It was fear manifested in ludicrously high energy music. It was like 1000% whaaahh! All of the songs were run together and it was really uptempo stuff." According to Moulding, "any kinship with punk" was gone after 1979's 1291:, not the Police: "Andy likes to portray us as the strict, stern schoolmasters, but we never wanted him to compromise at anything we thought he was good at. Here were very talented songwriters – surely, surely, surely they can come up with that elusive thing that is a hit single. That was our psyche." 2375:

music, and frequently contributed orchestral arrangements. Moulding said that when Andrews was in the band, Partridge had "no kind of foil" to work with, as both musicians were drawn to dissonant harmonies: " used to like the real kind of angular, spiky, upward-thrusting guitar ... if one is angular,

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XTC's principal songwriters were guitarist Andy Partridge and bassist Colin Moulding. Partridge, who wrote the majority of XTC's songs, was the group's frontman and de facto leader. He drove the band's image, designed many of their record sleeves, and handled most of their interviews. His involvement

1910:. The label rejected his idea. Virgin denied Partridge's requests to renegotiate or revoke XTC's contract. Paul Kinder believed that the label and the group were "poles apart" and that "the contract was so old it got to the point where Andy wanted the moon and Virgin weren't prepared to give it him." 1723:

Nick Reed notes: "Nearly every instrument is mixed to the forefront; it's too well-arranged to be cacophonous, but there's a degree of sensory overload, especially given the band's newfound tendency to blast synthesizers in our faces. ... whether or not this album holds up for you depends on how much

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in this case). Partridge felt it was "a bit upsetting to think that people preferred these pretend personalities to our own personalities ... But I don't mind because we have turned into the Dukes slowly over the years." Likewise, Moulding felt that the "psychedelic element was being more ingratiated

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accused the band of falling out of touch with the contemporary music climate. Journalist Serene Dominic retrospectively wrote that the album was seen as "something of a disappointment at the time of release ... devoid of silly songs like 'Sgt. Rock' that had heretofore been the band's stock-in-trade

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The cancelled American tour incurred XTC with a £20,000 debt, and since it left them unable to record new material, they decided to reexamine their financial affairs. Confused as to where their earnings had gone, the group requested that manager Ian Reid help pay for the debts, but he refused, saying

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Of his guitar technique, Partridge said that it evolved from his desire to be a drummer, to "chop and slash and try to work between what the drums were doing, a) so I could be heard, and b) because I liked the funk and I liked working the holes that the drums left." He was particularly influenced by

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that he believed his "musical partnership with Colin Moulding has come to an end. For reasons too personal and varied to go into here, but we had a good run as they say and produced some real good work. No, I won't be working with him in the future." In December, Moulding resurfaced for a live radio

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series, a set dedicated to unreleased solo demos and other material. Moulding was initially attached to the project, but opted out because "I just wouldn't have found it very inspiring. Maybe a couple of volumes would've been okay, or just one. But he wanted to do twelve, which kind of put the wind

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outfits and lit scented candles. With "nothing to live up to" as the Dukes, Partridge looked back on the project as the "most fun we ever had in the studio ... We never knew if it would sell ... We could never with XTC, as there was too much money involved and we were expected to be mentally honest

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During the middle months of 1982, Partridge spent his time in convalescence and writing songs. He later surmised that relinquishing Valium inadvertently gave him a new sense of creative direction: "I was thinking clearer and wanted to know stuff. Life's big questions." In the interim, Chambers moved

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fame. It was their lowest-selling single to date. Concurrently, Virgin issued Moulding's "Ten Feet Tall" as the band's first US single. According to Gregory, "Colin began to fancy himself as the 'writer of the singles'". In response to "the fuss made over Colin's songs", Partridge attempted to exert

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Rather than hiring a replacement keyboardist, Dave Gregory of the covers band Dean Gabber and His Gaberdines was invited to join as a second guitarist. Partridge remembered holding a "pretend audition" where Gregory was asked to play "This Is Pop", only for Gregory to inquire whether they wanted the

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to produce after they learned that he was a fan, but he declined, telling them that they were good enough to produce themselves. Virgin rejected Eno's advice, and the group instead returned to Abbey Road with Leckie. Andrews appeared at the sessions with several original songs, but Partridge did not

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Jeremy Lascelles: "I said, Andy, you've written this song before, it's another Beach Boys song, another Beatles song ... He wasn't really stretching himself – it was good but a bit comfortable. He didn't like me saying that and I didn't play them to anyone else, which he took to be a great slight."

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When asked for a favourite song by Spandau Ballet, Partridge responded: "I used to see them on TV and I wanted to kick in the set. How dare the TV force such crap on me?! They had appalling lyrics! Appalling music! Least favorite band in the history of foreverness! They were a bunch of bankers, for

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According to biographer Neville Farmer, Partridge and Moulding tended to write about "more general aspects of their lives and their attitudes". Farmer added that "Colin nor Andy handle political or religious matters with subtlety. If they have an idea about something, they say it straightforwardly.

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Among the scores of songs Partridge wrote for XTC are perfect examples of a very English genre: rock music uprooted from the glamour and dazzle of the city, and recast as the soundtrack to life in suburbs, small towns, and the kind of places – like Swindon – that may be more sizeable, but are still

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also began to be incorporated into the group's sound. None of the studio drummers were accepted as official members of the band. Partridge explained that this was because the group did not tour and because "There's lots of local, interpersonal language that means nothing to anybody outside the band

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Partridge and Moulding did not write together. Of their partnership, Moulding stated in 1992: "There's a lot of freedom to do what each of us likes with the other's songs, however. ... Each person puts his little prints on them." They did collaborate on arrangements, with "horn lines and harmonies,

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In 1997 (also reported as in late 1994), XTC found themselves freed from financial debt and from Virgin after "making some heavy concessions". Partridge fantasised that people from the label "met in the dark and thought, 'These blokes are not making a living. We've had 'em all these years and we've

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To support the album, XTC embarked on an acoustic-guitar American radio tour that lasted for two weeks in May. The shows were carried out without financial compensation for the band. Gregory commented that it was an "interesting" style of promotion, but "incredibly hard work", as the band performed

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During a routine meeting in early 1986, Virgin executives threatened to drop the band from the label if their next album failed to sell more than 70,000 units. One reason why the group was not selling enough records, Virgin reportedly concluded, was that they sounded "too English". The label forced

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bill and that he had significantly mishandled their revenue stream. A lawsuit was filed by the band, while he counter-sued for "unpaid commission on royalties". Virgin were then "legally required to freeze royalty and advance payments and divert publishing income into a frozen deposit account." For

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XTC became their own producers for their next album project. Until this point, Partridge had insisted that every part of the band's arrangements on record could be replicated live. He believed that "if I wrote an album with a sound less geared towards touring then maybe there would be less pressure

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Despite their "Englishness", the group's fanbase has been more concentrated in the US than the UK. They refused to conform to punk's simplicity, a point that the British press initially criticised. Partridge believed "we were trying to push music into a new area. And so we had to suffer the slings

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Discussing the band's relative obscurity and lack of financial success, Schabe said that "it's difficult to justify claims of greatness without trying to understand exactly why they never managed to rise above the status of cult band. Respect and recognition are the real validation of such claims,

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would change every few bars. Gregory attributed XTC's unorthodox drum patterns to Partridge's affinity for dub and reggae; "He's got a great innate sense of rhythm. He'll say 'No, don't put that beat there, why don't you come down on 3 instead of 2 on this part here?' ... He never put where you'd

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in the same bunker". He expressed resentment toward Rundgren's contributions when sessions concluded, but later softened his view and praised the result. Rundgren said that in spite of all the difficulties, the album "ultimately ... sounds like we were having a great time doing it. And at times we

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In January 1986, Partridge and Moulding mailed Rundgren a collection of more than 20 demo tapes they had stockpiled in advance. Compared to previous XTC albums, much of the material contrasted significantly with its mellower feel, lush arrangements, and "flowery" aesthetic. Rundgren responded with

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reviewer Chris Woodstra wrote that it signalled "a turning point ... with a more subdued set of songs that reflect an increasing songwriting proficiency. The aimless energy of the first two albums is focused into a cohesive statement with a distinctive voice that retains their clever humor, quirky

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XTC are noted for their "Englishness". Partridge denied that this was conscious on his part: "I don't try to be English. I guess because I am English, it comes out English. But I don't sit down and think, "Cor blimey, can I put a union jack and a beefeater's outfit on, Mary?" British music critic

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songs disguising itself as a retrospective compilation featuring 12 different groups from the early 1970s. The lyrics were also heavily sexual, with song titles such as "Lolly (Suck It and See)" and "Visit to the Doctor". Partridge recalled playing some demos for Virgin agents, and compared their

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with the track included. Controversy also broke out over the song's anti-religious lyrics, which inspired some violent incidents. In Florida, a radio station received a bomb threat, and in New York, a student forced their school to play the song over its public-address system by holding a faculty

926:" (1979), a Moulding composition. By this time, Moulding "wanted to ditch quirky nonsense and do more straight-ahead pop." He was surprised to learn that the label chose his song as a single over Partridge's. Upon release, it was the first charting single for the band, rising to number 54 on the 2476:

influence. Partridge felt that their music was pop from the beginning, not punk or new wave as is often suggested, and that the terms in themselves are redundant of "pop". As they became more of a studio band, their material grew progressively more complex. Later, XTC were sometimes suggested as

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Gregory quit the band whilst in the middle of sessions due to personal issues and discord with his bandmates. Partridge told journalists that Gregory left because he grew impatient with the recording of the orchestral material and wanted to quickly move on to the second project, which would have

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coffee shop, where we'd all agreed to meet, in slow motion like I had both legs in plaster, trying not to throw up. I got in there, they knew what I was going to say." The tour ceased. He continued his hypnotherapy treatment, fearing that he was turning into the archetypal rock burn-out (such as

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ran a small profile on the "up and coming" band, which consisted of Partridge, Moulding, Chambers and guitarist Dave Cartner: "They aspire to attain the impossible dream of being able to throw a TV or two out of the window of an American hotel and have no one complain." This version of the group

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got their catalogue and the copyright to their songs for evermore and we've stitched 'em up real good with a rotten deal so, erm, maybe we should let them go.' I like to think that it was a guilt thing." One of the group's first new recordings since the strike was released for the tribute album

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XTC was one of the smartest – and catchiest – British pop bands to emerge from the punk and new wave explosion of the late '70s. ... While popular success has eluded them in both Britain and America, the group has developed a devoted cult following in both countries that remains loyal over two

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Discussing Moulding's songs, Partridge said that few were included on XTC albums because Moulding was not a prolific writer. Gregory said that all of Moulding's proposed songs would be recorded to preserve democracy in the band, and "occasionally at the expense of some of Andy's often superior

1868:" was intended as the third single, and about 5,000 copies were pressed before being withdrawn from sale. Partridge remembered thinking, "that's it, they've suffocated one of our kids in the cot, they've murdered the album, basically through ignorance." In 1993, the album was nominated for a 1754:

marked the first time the group played in front of a live audience in seven years. A similar acoustic tour was planned for Europe, but cancelled when Partridge discovered that the Paris date would be broadcast from a sold-out 5,000 seater venue. After an unsuccessful attempt was made to coax

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and denser arrangements, setting a template that they would develop on subsequent albums. He jokingly referred to some parts of the album as the only time the group were befallen with stereotypical 1980s-style production. It was released in October 1984, reaching a higher chart position than

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to bridge "Colin's 'pastoral' tunes and subject matter and Andy's 'pop anthems' and sly poetry. ... The album could be about a day, a year, or a lifetime. ... Using this framework, I came up with a sequence of songs and a justification for their placement and brought it to the band."

1202:). "It got to the point where if I touched the front door knob, I wanted to throw up." For a period afterward, it was rumoured among fans and industry insiders that the group stopped performing because Partridge had died, and some American bands put on XTC tribute shows in his remembrance. 1017:". The song became a number 17 hit and helped propel the album to number 37 in the UK. Before "Nigel", XTC had struggled to fill more than half the seats of the small club circuits they played. Afterward, the single was playlisted at the BBC, which helped the band secure two appearances on 5434:"WC-".. documentary XTC at the Manor, which highlighted the studio recording of "Towers of London" Because BBC couldn't get it together to come to ACTUAL recording session in Townhouse, this was all faked later for the cameras. The recording was never used. Illegal I think now ?" 7722:"WC-Re Dave songwriting, "He never presented a completed idea for a song to the band, partly because he felt intimidated by Partridge's scrutiny." He did bring up a song, either at DRUMS or SEA sessions. The rest of the band thought it too derivative of Steely Dan,so didn't pursue" 5218:"WC-Re NIGEL..."distinctive drum pattern of its lead single, Moulding's "Making Plans for Nigel", was discovered by accident after a miscommunication between Partridge and Chambers" No, it was planned like that. We liked DEVO putting the wrong drums in right place on SATISFACTION" 2990:. During the decade, there was a reevaluation of post-punk: Shabe wrote that it "led to XTC being revered in association with the groundbreakers of that era." Musicologist Alex Ogg listed XTC as one of several "unheralded" events in the history of post-punk, while Eric Klinger of 2285:

that he and Partridge had recently become on good terms with each other. " didn't speak for a long time, except about business, and then it was quite terse. But we're quite cordial with each other now, it's probably as good as it's been for quite some time. Would we do XTC again?

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track "Ladybird", Partridge recalled that he told producer Steve Nye that he was afraid people would think he was copying the Beatles, to which Nye's response was "Who gives a fuck?" Partridge said that "from that moment onward, I started to recognise that those songwriters—the

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lasted until 1975, when the Helium Kidz decided to rebrand themselves and change their music to "three-minute pop songs that were fast and inventive." Gregory auditioned for the band at this juncture, but did not end up joining. His musicianship was determined to be "too good".

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the other has to kind of straighten him out ... So when Dave came in, and was a much straighter player, it seemed to make more sense, I think." Starting in 1982, Gregory extended his talents to keyboards as well, since Partridge and Moulding were not adept with the instrument.

7858:"WC-"The band's early influences included disco, dub reggae, circus tunes," What? Circus fucking tunes? What are they? Someone's twisted up the organ dominated 45's by Johnny and the Hurricanes, frequently played at fairgrounds in the late 1950s/early 1960s. A sound I liked" 4570:"WIKI CORRECTOR-"Gregory was playing the Mahavishnu Orchestra's album The Inner Mounting Flame (1971), which he later called "one of the watershed moments in my musical education." No, I played Dave G the album when he came into the record dept of Bon Marche, where I worked" 2579:

pattern." Partridge said that he adopted a vocal style out of "fear that we weren't going to make another record ... and people weren't going to be left with any impression of the singer". He described it as a "walrus" or "seal bark" that amalgamated Buddy Holly's "hiccup",

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at about four radio stations a day for three weeks: "We also did a live acoustic set for MTV in front of an audience which worried Andy a bit but he got through it." This inspired the network to invite more artists to perform stripped-down sets, calling the series "

930:. For a period, most of the group's singles were not placed on their albums. Moulding explained that this was because of an industry convention in the 1960s and the 1970s, and that when "we wanted to shift albums later on, that approach got blown out of the water." 2245:

XTC did not technically break up in a legal sense. As of 2014, the group still existed as a trademark controlled by Partridge and Moulding. Throughout the 2010s, selected albums from the band's catalog were reissued as deluxe packages centred on new stereo and

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Of the Beatles' influence, Partridge also drew comparisons to his "No Language in Our Lungs", "Senses Working Overtime", "You're the Wish You Are I Had", "The Mole from the Ministry", and "Here Comes President Kill Again". The night after John Lennon was

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account @xtcfans was originally managed by writer Todd Bernhardt. According to Partridge, after some time, "I sort of took it over, because I thought it was weird that there was another person in the way." In 2016, Partridge and Bernhardt released a book,

2386:

Terry Chambers was the band's original drummer. He was described by Partridge as "the that's been the most primitive, but probably the most thrilling for inventiveness, because he would blunder into ." One of his characteristic techniques was the use of

452:(1999), after which the XTC name was used by the duo of Partridge and Moulding. In 2006, Partridge announced that his creative partnership with Moulding had disintegrated, leaving XTC "in the past tense". Moulding and Chambers briefly reunited as the duo 2853:". XTC also had a significant influence and cult following in Japan. By the late 1980s, they were supported by three dedicated fanzines in as many countries. Between 1979 and 1992, they had a total of 10 albums and 6 singles that reached the UK top 40. 3834:

He described himself as the band's "battery" and expressed resentment "that the other three, inevitably, would go off sightseeing while muggins here would be needed for radio, TV and magazine interviews." Moulding said he was "happy for him to do the

587:: "That's it! I'm in ecstasy!" The name was chosen mainly for its emphatic appearance in print. Meanwhile, owing to creative differences with Partridge, synthesizer player Jonathan Perkins quit the band. In search of his replacement, Partridge found 7232:"Sadly, I have to be the CHRISTMAS CORRECTOR.-I do not add or insist on any mastering or messing with XTC 5.1 as people are saying on 5.1 fora. They are not later 'mastered' either. Steven just mixes them and I let him.That's it. Be cool yulesters" 1089:

was the closest the group had come to representing their live sound in the studio. It remains XTC's second-highest charting British album, placing at number 16, and the most successful album in the U.S. of their career, peaking at number 41 on the

7556:"WC-"Partridge even took to recording the bass parts himself, such as on Moulding's "What in the World??..." and "Vanishing Girl" Purely out of necessity, as Colin was playing rhythm guitar and the Dukes cut as live as they could. Not megalomania" 2215:

There was no official announcement that we'd finished. I just got wind that Andy didn’t really want to make another record, but he didn't tell me and maybe he didn’t know himself. ... I just think we were two old men who didn't really talk much.

1047:

more authority in the group: "I thought I was a very benevolent dictator." Gregory disagreed, recalling that the band was "pretty tired" and that Partridge "could be a little bit of a bully". Partridge at this point released a side project with

5776:"WC-"Reid was no longer the band's manager, but legally retained the title until around 1985[.]" No, we finally parted ways in 88–89 I think. Colin and I came back from ORANGES mixes in LA to try and sort the legal mess over management" 1326:

journalist Chris Ingham summed up the period: "In 18 months, XTC had gone from Top 10 hits and critical superlatives to being ignorable, arcane eccentrics. Partridge later said "Your average English person probably thinks we split up in 1982".

1429:", the spin-off group consisted of Partridge and Moulding with Dave and his drummer brother Ian. Each adopted a pseudonym: Sir John Johns, The Red Curtain, Lord Cornelius Plum and E.I.E.I. Owen. At the sessions, the band dressed themselves in 804:, which meant they would occasionally play for under-16 crowds on these early tours. Partridge enjoyed these early shows, but would later resent touring as the band's audience numbers grew and the performing experience became more impersonal. 2844:

bands of the 2000s. They also inspired tribute bands, tribute albums, fan conventions, and fansites. Dave Gregory said that he became aware of XTC's "huge" influence on American acts through his interactions with musicians in the late 1980s.

1300:, the first product of the studio-bound XTC, appeared in August 1983. Virgin did little to promote the album and delayed its release by several months. At number 58, it was their lowest-charting album to date. The one single that did chart, " 1175:" (1964), Both the album and single became the highest-charting records they would ever have in the UK, peaking at number five and number 10, respectively. In several territories outside the UK, the album was released as only a single LP. 1153:

to tour." As such, the new music showcased more complex and intricate arrangements, song lengths were longer, and subject matter covered broader social issues. Much of the new material also featured acoustic instruments. Gregory bought a

5370:"WC-"Partridge made his solo debut with Take Away / The Lure of Salvage" Careful, it wasn't a 'solo album', it was a continuation of more dub experiments. Virgin didn't want it out as XTC, as it would have counted as a contractual album" 869:

album version or the single version: "We thought, 'Bloody oh, a real musician.' But he was in the band before he even knew." Gregory was anxious of whether the fans would accept him as a member, characterizing himself as "the archetypal

2047:

consisted of rock songs. He attributed Gregory's frustration to diabetic mood swings, as did Moulding. Gregory denied that his leaving pertained to "musical differences", and that it was moreso "personal problems" related to Partridge.

2191:

He told me some months back that he's not interested in music anymore, and doesn't want to write, and basically said, "Our paths will cross again or they'll be involved in some way." And then he proceeded to move away from his house.

2687:" was one of the first records Partridge bought with his own money. Although it is widely assumed that the Beach Boys influenced XTC throughout their career, Partridge stated that he was originally only familiar with singles such as " 1023:. When touring resumed in November, every date was sold out. In later years, the album became the best-known of XTC's discography and Moulding and Partridge would look back on this point as the symbolic start of the band's career. 6926: 2355:. The band occasionally took to the term "Andy-ness" to describe Partridge's studio indulgences. Despite this, they rarely found themselves encumbered by serious creative differences. In 1997, Moulding called one dispute over a 5062:

Rock&Folk : L'album sonne donc très arrangé pour guitares. Est-ce également dû à la présence de Steve Lillywhite à la console ? Andy Partridge : Il a surtout contribué au son de batterie, très Siouxsie, plus

2233:

interview where he confirmed his recent disillusionment with music, but revealed that he was thinking of working on solo material. His given reasons for the break-up were financial discord, disagreement over the extent of the

1077:" returned them to the charts at numbers 32, 31 and 16, respectively. "Sgt. Rock" provoked feminist hate-mail for the lyric "keep her stood in line". Partridge regretted the song, calling it "crass but not enjoyably crass". " 2787:

They are no more embarrassed about their view on the world than Andy is about his sex life. That makes them easy targets for criticism." For Partridge, other popular subject matter included financial shortage, factory work,

1182:. During a live-broadcast gig in Paris on 18 March, Partridge stopped playing and ran off the stage during the opening song 'Respectable Street', and afterward, took a flight back to Swindon for treatment, which amounted to 591:

through a "keyboard player seeks band" advertisement. Instead of a formal audition, the two went out drinking together. Andrews was immediately hired. During the first band rehearsal, Partridge recalled, "He sounded like

1244:

restricts the band from speaking publicly on the alleged improprieties. According to Partridge, Reid was "very naughty" and left the band with roughly £300,000 in unpaid VAT. Music journalist Patrick Schabe elaborates:

1281:, was quickly hired as a session musician to continue the recording sessions—XTC would never again employ a permanent drummer after Chambers' departure. In the meantime, Virgin released a greatest hits compilation, 4798:"WC-"Ian Reid, owner of a Swindon club named The Affair, was their first manager..." No, actually he was our third manager. The previous two were firstly Dave Bennett, then Tony Gordon (later Culture Club manager)" 1418:, who had recently signed with Virgin. Partridge and Leckie were dismissed due to conflicts related to their religious affiliations or lack thereof (O'Hara was a devout Catholic). Partridge was feeling inspired by 2177:

collection, "I got the impression he was going for broke ..." Partridge said that the impetus for the project was the proliferation of bootleggers who were selling low-quality copies of the material and that the

1655: 685:

block. Partridge credited him as "responsible for us getting a recording contract. ... As soon as we recorded that session for the BBC, suddenly three or four record labels wanted to sign us up." After declining

5256:"WIKI CORRECTOR-"XTC's best-known album, Skylarking, is generally regarded as their finest." No, I would contend that our best known album is DRUMS AND WIRES. I would also disagree that SKYLARKING is the finest" 1235:) or a couple years afterward (according to Partridge). He legally retained the title of XTC's manager until near the end of the decade. In April 1984, the group learned that he had incurred them an outstanding 7254: 955: 3844:

Occasionally, Partridge also took to recording the bass parts, such as on Moulding's "What in the World??..." and "Vanishing Girl", however, it was out of necessity in those cases due to recording logistics.

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Partridge thought of the band's producers as "a funnel through which I can talk to other members of the band ... They'll accept it coming from another person, but they won't accept it from a contemporary."

1438:

1985, the album was presented as a long-lost collection of recordings by a late 1960s group. When asked about the album in interviews, XTC initially denied having any involvement. In England, the six-track

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in jeans and long hair. But the fans weren't bothered. Nobody was fashionable in XTC, ever." He grew more comfortable with the group after playing a few shows, he said, "and things got better and better".

2072: 4596:"THE WIKI CORRECTOR "Partridge (guitar, vocals) and Moulding (bass, vocals) met at a record store in the early 1970s" No, I recall we met in the Stage bar on Swindon Old Town's Union Row. (now Long's)" 792:

due to the lyric "I sail beneath her skirt". With each member placed on a £25 weekly salary, the band toured for the next five years. The group also made appearances on the children's television shows

1367:, owner of Crescent Studios in Bath, and they subsequently negotiated a deal that allowed them to work as much as they wanted on their next album at his studio. Some of the album was recorded using a 5007:"WC- Regarding auditioning others after Barry's departure..."Thomas Dolby was in the running, but he was rejected" No, this is a myth, Thomas was not considered. He had his own future to look after" 8507: 496:. Partridge jokingly characterised the community as being populated almost entirely by people with physical, mental or emotional defects. In the 1960s, he was a fan of contemporary pop groups like 1397:. An album of songs in that style was immediately put to consideration, but the group could not go through with it due to their commercial obligations to Virgin. In November 1984, one month after 3792:

Although it was credited to "Mr Partridge", he does not personally consider it a solo album. Virgin rejected his request to issue it as XTC as it would have counted toward their record contract.

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Swindon did not have a respected music scene as other places in Britain. Partridge cited the group's origins as the main reason for their ill-repute: "if we came from a big city like London or

2024:

and "stuff that Burt Bacharach wrote for various ". Partridge thought the new songs were "some of the best stuff, if not the best stuff, ever. It's even more intensely passionate than before."

2173:

up me a little bit. We had a bit of an argument about it." He felt that such "petty" arguments about XTC's finances precipitated the band's unofficial break-up, as he said in reference to the

604:

had played electric organ. Fantastic." December 1976 officially marked the beginning of the Partridge–Moulding–Chambers–Andrews line-up. The members cut their long hair and, for a time, wore "

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Partridge commented: "There's a lot of, 'Andy must be awful in the studio' . I'm not, I'm mister fucking nice!" He said that the only producers he ever had trouble with were Todd Rundgren on

1217:

bad record deal and a corrupt manager, life was a bit of a nightmare ... When I said we don't want to play live anymore, they completely stopped ... We ran on negative equity for 20 years.

7442:"WC- Misquote, "Andy had a sort of unwritten rule that everything we did had to be completely original; any hint of chop-ism, any rock clichés,..." I think Dave said 'ROCKISM', not chop-ism" 2018:", and "Rook". Moulding felt that "something a bit different" was appropriate for the band at this juncture, and shared Partridge's desire for a cohesive LP similar to soundtracks such as 1925:

also went on a strike against their respective labels that was heavily publicized at about the same time. XTC's strike, however, received little press. In the meantime, Partridge produced

2904:

recruited engineer John Leckie chiefly because of his productions for the retro-psychedelic Dukes of Stratosphear records. According to Neville Farmer, the name XTC inspired the names of

2379:

Gregory never presented a completed idea for a song to the band partly because he felt intimidated by Partridge's scrutiny. Since he "couldn't continue grinding out old blues clichés and

1149:, which he had been prescribed since the age of 12. She threw away the tablets, and over the next year, he experienced intense withdrawal effects that he later described as "brain melt". 565:: "I suddenly just wanted to play three chords again and get out my mum's makeup and stuff." He subsequently wrote hundreds of songs for the Helium Kidz, and some demo tapes were sent to 2332:

that sort of thing." He also lent praise to Partridge as "a real ideas man, and I love good ideas. It's not hard contributing bass parts when you have such good songs to contribute to."

2206:, with Barry Andrews and drummer Martyn Barker. During one of the sessions, some of his hearing was destroyed following a studio mishap, which caused him to develop severe and permanent 1596:(1987) was recorded. This time, 10 songs and a £10,000 budget was supplied, while John Leckie returned as producer. Once again, the Dukes' record outsold XTC's previous album in the UK ( 5033:"WC- "XTC were impressed by Steve Lillywhite's work on Siouxsie and the Banshees' The Scream" No, he was hired because we liked the sound of the 1st Ultravox album he was involved with" 1702:, who was recruited by the band for his first production gig. Another reason for recording in the US with an American producer, said Gregory, was that "America was our biggest market". 1001:

wordplay, and decidedly British flavor. ... driven by the powerful rhythms and angular, mainly minimalistic arrangements." The distinctive drum pattern of its lead single, Moulding's "

2254:. Partridge said that he did not "insist on any mastering or messing with XTC 5.1" and that his involvement with Wilson's mixes goes only as far as authorizing them. The official XTC 579:

It was decided that the band have another name change. "The Dukes of Stratosphear" was considered, but Partridge thought it was too "flowery" and "psychedelic". He derived "XTC" from

3037:

argued that they "deserved more than they ever got. From the press, the public, their label, and various managers, XTC have been a tragically under-appreciated band in every sense."

3119: 2344:, which included the highest ratio of Moulding songs for any XTC album. On Moulding's bass-playing, Partridge praised his "old-fashioned" tendency to match notes to the bass drum. 3007:

and arrows of outrageous name calling because we refused to just play stupid." He recalled that when he played at a jam session with punk bands in the late 1970s, the drummer from

1653: 7813: 3023:." In 1988, writer Chris Hunt observed that "XTC have largely not found favour in their homeland. To a nation that judges success in terms of tabloid coverage and appearances on 7141: 2928:

is quoted: "I've always looked to XTC for inventive songwriting, innovative production, and a sense of humor. It's their strong blend of personalities that make them one of the

953: 7112: 2070: 677:" (1976) and feeling underwhelmed by its similarity to the Monkees or the Ramones: "That sort of spurred me on – watching this stuff that I thought was rather average." Soon, 7014: 2263:, that contains discussions between the two about 29 XTC songs, one Partridge solo track, and an overview of his approach to songwriting. It was published by Jawbone Press. 549:

joined Partridge's band, replacing Nervous Steve and Paul Wilson, and the group was renamed "Star Park (Mark II)". Other members would frequently join and leave the group.

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in early 1980; a one-off record that appeared without much notice, except in Japan, where it was hailed as a work of "electronic genius" and outsold all other XTC albums.

3048:

were reasons for a lack of appreciation in their native country: "XTC were clever and came from Swindon, so therefore we were crap ... I was always jealous of bands like

2640: 2027:

The group elected to divide the album into two parts: one of rock songs, and the other of orchestral/acoustic songs augmented by a 40-piece symphony. They found a label,

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was the drummer for the entire album. The album was released in February 1989 with music that was in a similar psychedelic vein as the Dukes. In a retrospective review,

954: 2677:. In 1987, he acknowledged that the group had "really changed personality. We didn't notice it bit by bit but over 10 years, suddenly it seems, wow, we're different." 7367:"I've been away for a bit, back now, to try and answer all your questions...there is no XTC these days, we will not be recording together again. Ummm....is that all?" 2071: 2010:

By late 1997, Partridge and Moulding had amassed a large stockpile of material. The former's songs were an elaboration on the more orchestral style he developed with

600:; fuzz box, wah wah pedal, bluesy runs. I said, You don't have to play like that, you can play like us if you want. The next rehearsal, he was like a maniac, like if 6745: 8767: 6698: 2575:-on-amphetamines ... danceable enough for the crowds at the clubs, and suspiciously poppy thanks to the catchy hooks and their trademark verse-chorus-verse-chorus- 2892:

said: "our '60s-ish-ness is actually early-'80s-ish-ness, a pop sensibility that came from listening to Squeeze and XTC". According to Chris Ingham, acts such as

2114:

finds them picking up pretty much where they left off. Or maybe even a little bit before they left off: this record bridges the gap between the ambitiously poppy

6699:"Quintessential Englishman Andy Partridge, front man of Eighties band, XTC, talks to Karen O'Brien about rebirth, recording contracts and the value of hindsight" 2641: 2132:, at number 40 in the UK, while in the US it was lower, at number 108. Partridge believed that some parts of the album was when "the slope started to go down". 3333: 313:. Partly because the group did not fit into contemporary trends, they achieved only sporadic commercial success in the UK and US, but attracted a considerable 649:, owner of a Swindon club named The Affair, was their third manager and brokered deals for the group to perform at more popular venues such as the Red Cow in 1304:", did find significant airplay on BBC Radio 1. It was the first of a handful of XTC songs written over the years that reflected their poor financial state. 2485:", saying that he preferred to call the band "exploratory pop" in the same vein as the Beatles or the Kinks. In his words, "Prog is just longer pop songs." 1990:, the budget allowed a day of recording at Abbey Road a 40-piece band match the mathematical precision of The , cut and pasted together to achieve the " 434:

Due to poor management, XTC never received a share of profits from record sales (of which there were millions), nor from touring revenue, forcing them into

8517: 6627: 2128:(2000), consisting of more guitar-based material, was assumed as one of the band's "weakest" albums. Upon release, its British chart peak was higher than 6473: 2695:" (1967) which were an enormous influence for him. It was not until 1986 that he discovered that the Beach Boys had an album career, when he first heard 344:

and were subsequently noted for their energetic live performances and their refusal to play conventional punk rock, instead synthesising influences from

8878: 6564: 6245: 2122:. ... The music is built on simple phrases, but the relationships between those phrases becomes tremendously complex." In contrast, the companion album 1371:, and extensive time was spent on its programming. Partridge envisioned the work as "industrial pop" inspired by Swindon, a "railway town". The result, 7255:""Music is so abused these days": XTC's Andy Partridge opens up about songwriting, painting and developing the "cruel parent gene" toward your own art" 2767:

identified Partridge's XTC compositions as within the same "lineage" of rural English songwriting invented by Ray Davies of the Kinks, and followed by

2371:, and left the band shortly thereafter. His replacement, guitarist Dave Gregory, did not contribute songs, but was the only one in the band who could 8682: 6032: 2157:

outtake. The Dukes of Stratosphear—with Dave and Ian Gregory—were reunited for the charity single "Open a Can (of Human Beans)" (2003). Another set,

2237:

project, and a "change in mindset" between him and Partridge. He also stated that he and Partridge were once again communicating directly by email.

1030:

XTC photographed with Canadian fans, 1980. From left: Moulding (holding cup), Partridge (in the background, wearing glasses), Gregory, and Chambers.

9323: 8924: 1965: 3958:

Partridge commented in 2006 that virtually "every band that comes up gets compared to us, whether it's the Kaiser Chiefs, or Franz Ferdinand, or

3033:

didn't really strike too loud a chord with the record buying public. XTC had just become 'too weird' for their own good." Musician and journalist

9619: 3686: 3519: 2182:

set earned him more money than XTC's back catalog on Virgin. He also did not feel that XTC were a band anymore: "It's more of a brand. It's more

974:

s list of the 200 best songs of the 1970s, where it was described as "more tender and complex than a straightforward anti-establishment tirade."

665:

movement had emerged, which opened an avenue for the group in terms of record label appeal, even though the band did not necessarily fit in the

9829: 9344: 3503: 3170: 2290:) I don't think we would, because I'm not sure whether I could put up with his dictatorial ways any more, or whether he could put up with me." 7415: 5594: 1869: 3044:, we would have probably have been heralded as more godlike." In another interview, he suggested that both their small-town origins and the 9316: 3495: 3158: 1571:

to sell more than 250,000 units, and it raised the band's profile among American college youth. In the US, the album spent 29 weeks on the

1410: 1787:. Moulding performed a special event concert with David Marx and the Refugees, a Swindon-based band that reunited him with Barry Andrews. 1316:

signaled a strange rebirth for XTC." Moulding thought that "when we came back from America after our aborted tour of 1982 ... people like

340:. The band's name and line-up changed frequently, and it was not until 1975 that the band was known as XTC. In 1977, the group debuted on 9824: 9309: 7171: 6834: 7145: 4232: 9859: 9799: 9330: 8842: 7341:"@SongIsKing Being made now.Interviews with all band,bar Barry, HOPE HOPE it's going to be good.Same fella did 10cc one, see that?" 7022: 6381: 3901:

Other songs inspired by the Beach Boys included "Season Cycle", "Chalkhills and Children", "Humble Daisy", and "Books Are Burning".

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the group to work with one of their selected American producers. When shown a list of their names, they recognised none except for

9809: 9784: 8649: 2367:

Barry Andrews, XTC's keyboard player for their first two albums, emerged as a third solo songwriter on the group's second album

9839: 9612: 6010:"WC-"Virgin invested £33,000 into the music video for "All You Pretty Girls" to little effect." A sum XTC would be charged for" 1952: 7037: 5162: 3949:

in 1989 and later expanded to a website devoted to the group's songs and history, including pictures, lyrics and chord charts.

834:. One of the tracks, "Battery Brides (Andy Paints Brian)", was written in tribute to Eno. The album also included a bonus EP, 9000: 8978: 8957: 8914: 4171: 3945:

The unofficial site Chalkhills.org has been described as an "exhaustive" resource for XTC information. Chalkhills began as a

2106:

was met with critical acclaim and moderate sales. It had minimal promotion. Comparing the album to the group's earlier work,

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in Los Angeles. Partridge woke up that morning, he said, and "couldn't get off the bed. My legs wouldn't function. Walked to

561:

in May 1973, the band renamed themselves the Helium Kidz. Partridge's musical conceptions were "blown away" upon hearing the

8424: 2266:

Until 2016, Moulding remained largely inactive as a musician. In October 2017, he and Terry Chambers issued a four-song EP,

9580: 9281: 7285: 6734: 2921: 2544:

were an influence, but in 1984 expressed a fondness for "things with pounding piano, everything from Velvet Underground's '

1283: 9758: 9288: 7756: 5344:"THE CORRECTOR-TAKEAWAY/LURE OF SALVAGE was not a solo album, merely a dub record of XTC tracks, the band never attended" 2917: 43: 5954: 2391:. After he left in 1983, the group employed a succession of session drummers for their studio recordings. This included 1065:, released in September 1980, reunited the group with Lillywhite and Padgham and was well-received critically. Singles " 3045: 2472:

In the mid 1970s, XTC played in London punk scenes and were consistent with music of the new wave, albeit with a heavy

8478: 6084: 2567:

XTC were not initially public with their influences due to the punk scene's anathema toward stating one's influences.

910:, and he was contacted to produce their third album with a drum sound that would "knock your head off". With engineer 9834: 9814: 9804: 9789: 9302: 9044: 9021: 1646: 1615: 1546:

spent one week on the UK album charts, reaching number 90 in November 1986, two weeks after its release. Moulding's "

8202: 2940:

said in 1991: "There’s a lot of good pop music. I’ve always liked it…bands like the Beatles, XTC, stuff like that."

1590:

Partridge was reluctant to make another Dukes album, but to appease requests from his bandmates and Virgin Records,

9794: 9263: 8708: 4716: 3463: 2124: 1014: 6127: 918:, "with its now world-famous stone room"; Gregory later recalled that Padgham had "yet to develop his trade-mark ' 9854: 9844: 9819: 9705: 9555: 9443: 3761: 3478: 1861: 1750: 1074: 1048: 946: 736:, was then recorded in less than two weeks, and released for January 1978. Partridge characterized the album as " 368: 6635: 6599: 5557: 8936: 7969: 1931: 842: 7389: 6408: 3928:

Songs inspired by the town or its people included "Life Begins at the Hop", "Wait Till Your Boat Goes Down", "

1393:

When Gregory joined the band in 1979, Partridge learned that they both shared a longtime enthusiasm for 1960s

469: 9115: 8882: 6653: 5487: 4941: 2063: 397:, but as XTC's music evolved, the distinctions between the two bands lessened. XTC continued to produce more 6576: 6259: 5882: 3811:

Another consideration Partridge had was the punk movement's antipathy toward pop music of the past: "A real

1913:

Whatever new music the band recorded would have been automatically owned by Virgin, and so the band enacted

818:, a more experimental venture, was released in October to positive reviews and a number 21 chart peak. Like 9849: 9478: 8342:

Lee, Stewart (5 March 1999). "Andy Partridge has called off XTC's six-year strike, Caitlin Moran reports".

7315:"XTC TV doc THIS IS POP will be broadcast on Sky Arts on Saturday Oct. 7th at 9pm GMT. Date for your diary" 6467: 6337: 4738:"XTC: 'Is there a place in rock'n'roll for a Princess Anne lookalike?' – a classic feature from the vaults" 4687:

Milano, Bret (7 November 1984). "An exclusive and revealing discussion with the band's eloquent frontman".

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reflected that they were drawn to 1960s artists because of the 1980s music they influenced. As the Posies'

2702: 1301: 3776:

The band were not allowed creative input for their music videos, except for "The Mole from the Ministry".

1575:

and reached its peak position of number 70 in June 1987. The music video for "Dear God" received the 1987

841:

Andrews left the band in December 1978, while they were on their first American tour, and went on to form

9242: 7113:"MAKING PLANS – XTC's Colin Moulding And Terry Chambers Ponder Live Shows After DIY Great Aspirations EP" 5683: 4135: 3888:, Gregory did present an original song, but it was rejected on the grounds that it was too derivative of 3439: 3146: 2994:

posited: "You might not hear of bands talking about XTC as a big influence the way they talk about, say,

2684: 2035:, who had engineered XTC's debut EP back in 1977 and had significant experience in recording orchestras. 1694: 1667: 1447:, even before the Dukes' identity was made public. The album also achieved considerable sales in the US. 409: 367:

Between 1979 and 1992, XTC had a total of 10 albums and 6 singles that reached the UK top 40, including "

8557: 8380: 7286:"Colin Moulding on Reteaming With Terry Chambers for 'DIY' New Project & Possibility of XTC Reunion" 6944: 2272:(credited to "TC&I"). Its release coincided with a televised documentary film of the band's career, 9587: 9072: 1699: 658: 6681:

After a 17-year association, pop perfectionists XTC have ended their relationship with Virgin Records.

2665:

Over the next few years, XTC began showcasing their vintage psychedelic influences through the use of

1736:" reached number 46 in the UK and number 72 in the US, making it their only American single to chart. 1724:

you like the band's boisterous side." It became the highest album they had in the charts since 1982's

9748: 9541: 9464: 8596: 3929: 3754: 3645: 3416: 2545: 2533: 2340:, "he really started to take off as a songwriter." He was more effused with Moulding's offerings for 1906: 1745: 1426: 901: 870: 687: 390: 195: 4737: 2317:, any imitation of our fashionable peers meant the part—and in some cases the song—would be dumped! 2293:

On 13 April 2024, it was announced that original keyboardist Jon Perkins had died at the age of 66.

9520: 9401: 9150: 8057: 6857: 6109:

Greenwald, Ted (November 1987). "XTC's Reluctant Keyboardist Reveals Rundgren's Production Style".

4264: 3933: 3731: 3590: 3257: 2633: 2147:, newly recorded XTC material was released sporadically. The four-disc hits and rarities boxed set 1926: 785: 588: 541: 236: 61: 4820: 2454:, when bands weren't quite naive, but they had a sort of group feeling about them and were gently 535:, while working as an assistant at the Bon Marche record shop in Swindon. Gregory was playing the 504:

grew popular, he became interested in joining a music group. He recalled watching local guitarist

9457: 9436: 9155: 7905: 7782: 6057: 5657: 4025: 3916: 3655: 3624: 3583: 3266: 2812: 2610: 1415: 1164: 1070: 748:. He reflected that the album was the sum of everything the band enjoyed, including the Beatles, 505: 386: 372: 241: 8256: 6506: 1265:

Partridge in the studio, 1988. His refusal to tour caused long-standing tensions with the label.

9675: 9668: 9661: 9654: 9647: 9640: 9633: 9626: 9422: 9415: 9351: 8312: 7085: 6917:"Andy Partridge hails the Dukes, buries XTC, chides Robyn Hitchcock and considers himself done" 3617: 3610: 3511: 3141: 2979: 2884:. In a 1991 article that focused on a resurgence of power pop groups, members of Jellyfish and 2601: 2552:

did at any time I just love banana-fingers piano." Moreso than Partridge, Moulding was fond of

2541: 2313:

Andy had a sort of unwritten rule that everything we did had to be completely original ... any

2149: 1939: 1580: 1475: 1378: 1002: 962: 923: 357: 8968: 7179: 6807: 5983: 5847: 5191: 9698: 9471: 9337: 9193: 4761: 4208: 4203: 4161: 4105: 3912: 3679: 3379: 1901: 1790: 1489: 1364: 1121: 1061: 756:, but dismissed the contents as premature songs "built around this electric wordplay stuff". 7814:"Failure Is Your Best Friend: Part Two of a Serialized Interview with Andy Partridge of XTC" 4029: 1386:, but was "virtually ignored" by critics. Virgin invested £33,000 into the music video for " 446:, and soon extricated themselves from the label. Gregory left the band during the making of 9691: 9492: 9485: 9256: 8198: 7887: 7861: 7725: 7559: 7445: 7370: 7344: 7318: 7235: 7209: 6385: 6226: 6013: 5779: 5437: 5373: 5347: 5259: 5221: 5036: 5010: 4801: 4599: 4573: 3700: 3455: 2846: 2833: 2764: 2754: 2102: 2079: 1833:, peaked at number 28 in the UK, becoming their second consecutive and final Top 40 album. 1387: 1360: 1101:, which featured the band faking a studio session for "Towers of London", was broadcast on 716:

In August 1977, XTC made their first commercially released studio recordings with producer

536: 448: 24: 7917: 6842: 2948:, XTC were ranked number 15 for its list of the "17 Loudest Bands in the World", ahead of 2856: 2604:, the drummer for Captain Beefheart's Magic Band, although he disliked that the drummer's 8: 9527: 9429: 9365: 8541: 6604: 6286: 6111: 4089: 3932:", "The Everyday Story of Smalltown", "I Remember the Sun", "Red Brick Dream", "Grass", " 3737:"You're a Good Man Albert Brown (Curse You Red Barrel)" (1987, The Dukes of Stratosphear) 3724: 3631: 3152: 3114: 2995: 1968:

was published. Partridge said the book was badly edited and "used the crappiest quotes".

1946:" Other complications arose; he developed some health issues, and his wife divorced him. 1857: 1814: 1587:

ultimately became XTC's best-known album and is generally regarded as their finest work.

1551: 1435: 1190: 1066: 967: 674: 424: 8846: 6061: 1728:, rising to number 28 in the UK and number 44 in the US. Additionally, it combined with 1341: 1133:

s cover artwork. Partridge "wanted to move in a more pastoral, more acoustic direction."

857:

was rumoured as a replacement, Partridge said that Dolby was never actually considered.

613:

I really didn't like the phrase 'punk'—it just seemed kind of demeaning. I didn't like '

9753: 9534: 9506: 9450: 9200: 8062: 7761: 6887: 6649: 3747: 3638: 3387: 3090: 2588:." In reference to the energy of the band's performances (which drew comparisons with 2549: 2481:

band. Partridge did not feel the band were prog and expressed hesitancy with the word "

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and said he did not become interested in politics until circa 1979, when he voted for

1137:

From 1980 to 1981, XTC toured Australia, New Zealand, Canada and the US in support of

996:, released in August 1979, was named for its emphasis on guitars and expansive drums. 9684: 9108: 9088: 9040: 9033: 9017: 8996: 8974: 8953: 8932: 8910: 8659: 8562: 7599: 6973: 6763: 5887: 5300: 4946: 4775: 4213: 4167: 4113: 3662: 3553: 3527: 2796: 2557: 2553: 2482: 2268: 1942:. "I thought I did sterling work. ... Next day, , 'Quite frankly, Andy, this is shit. 1918: 1780: 1772: 1394: 915: 897: 807:

By August 1978, XTC were prepared to record their next album. The band had contacted

737: 398: 394: 353: 8796: 2359:

bass part the "only real argument" between him and Partridge in the band's history.

1320:

had moved onto the scene; new groups were coming up and there was no place for us."

1157:

12-string and began contributing to the records as a keyboardist. In February 1982,

9719: 9548: 9513: 8086: 7883: 7857: 7721: 7555: 7441: 6389: 6009: 5775: 5466: 5433: 5369: 5255: 5217: 5032: 5006: 4797: 4595: 4569: 3915:, XTC played a gig at Liverpool, where they performed both "Towers of London" and " 3768: 3717: 3567: 3125: 2850: 2829: 2478: 2455: 2274: 1991: 1853: 1849: 1567:

member at knife-point. Nonetheless, the commercial success of "Dear God" propelled

1547: 1506: 1487:. Gregory was a fan of Rundgren's music, particularly since hearing the 1978 album 1430: 1278: 1178:

The group scheduled television appearances and an international tour in support of

1043: 927: 889: 780:

all gave positive reviews), none of its singles managed to chart. They rerecorded "

681:

saw the band perform at Upstairs at Ronnie Scott's and asked them to appear on his

7366: 7340: 7314: 7231: 7205: 5343: 5298:

Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC".

4888: 2488: 1550:" was chosen as lead single. It was issued exclusively in the UK with the B-side " 1034:

To follow up "Nigel", the band released "Wait Till Your Boat Goes Down" (1980), a

9743: 9594: 9499: 9295: 9249: 9235: 9214: 9186: 9011: 8947: 8904: 8792: 8512: 7469: 7064: 6921: 6740: 6560: 6413: 6241: 6222:"Rundgren still bangs the drum all day Rock and roll titan to play at Music Hall" 4766: 4523: 4260: 3959: 3707: 3447: 3431: 3403: 3371: 3342: 3096: 3034: 3025: 2901: 2726: 2692: 2614: 2459: 2015: 2001: 1964:, an authorized overview of the band's catalog by journalist and longtime friend 1865: 1841: 1825: 1755:

Partridge back into regular touring, they took a short break. Partridge produced

1592: 1535: 1373: 1351: 1322: 1019: 992: 761: 691: 666: 618: 415: 143: 7206:"THE CORRECTOR- XTC has never split,legally it still exists,as Colin and myself" 5955:"XTC: The Big Express – A Thirtieth Anniversary Celebration – album reappraisal" 2166:

From 2002 to 2006, Partridge simultaneously released volumes in the multi-album

9726: 9712: 9562: 9207: 9145: 9140: 9135: 8988: 7939: 7913: 7909: 7879: 7853: 7717: 7659: 7551: 7437: 7362: 7336: 7310: 7259: 7227: 7201: 7137: 6377: 6005: 5771: 5749: 5429: 5365: 5339: 5251: 5213: 5056: 5028: 5002: 4793: 4721: 4591: 4565: 3395: 3248: 3239: 3230: 3198: 2960: 2937: 2734: 2730: 2680: 2605: 2525: 2493: 2416: 2404: 2247: 2036: 1922: 1795: 1760: 1711: 1559: 1461: 1317: 1296: 1194: 753: 699: 695: 614: 584: 562: 546: 489: 485: 481: 453: 385:

and became a studio-based project centred on Partridge, Moulding and guitarist

341: 337: 314: 302: 294: 290: 231: 226: 221: 169: 123: 57: 53: 49: 9078: 9066: 8768:"Artistic Crap: Part One of a Serialized Interview with Andy Partridge of XTC" 6507:"A Chat With Andy Partridge Of XTC – 1992 – Past Daily Weekend Pop Chronicles" 2998:, but they were certainly in the mix that became the music that was to come." 1163:

was released as the group's first double album. The hook of its lead single, "

332:

Partridge and Moulding first met in the early 1970s and subsequently formed a

9773: 9221: 8900: 8860: 8654: 7390:"XTC's Colin Moulding And Terry Chambers Announce First Live Gigs Since 1982" 6545: 6254: 5324: 4779: 4291: 4217: 4117: 3597: 3411: 3085: 3049: 3030: 2975: 2964: 2963:

to emerge from the punk scene with a keyboardist. Journalist Steven Hyden of

2925: 2648:"Wrapped in Grey" was one of numerous XTC songs influenced by the Beach Boys. 2589: 2581: 2529: 2513: 2424: 2251: 2168: 2032: 2028: 1914: 1896: 1818: 1806: 1741: 1698:, XTC traveled to Los Angeles to make use of a cheap studio rate arranged by 1555: 1498: 1484: 1471: 1346: 1288: 1091: 745: 580: 566: 532: 521: 439: 174: 8949:

Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970-1982

4624:

Brenda, Herrmann (September 1992). "Colin Moulding: The Agony and the XTC".

2791:

characters, seafaring, war, and ancient rituals. He described himself as an

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in the 1970s, later playing in a variety of styles that ranged from angular

9779: 9101: 8801: 8364: 8207: 7787: 5911: 5821: 4742: 3946: 2983: 2949: 2772: 2722: 2697: 2688: 2585: 2571:

writer Chris Dahlen characterised the band's original sound as punk meets "

2561: 2432: 2388: 2020: 1878: 1845: 1707: 1183: 1168: 1154: 1039: 919: 911: 854: 850: 846: 509: 428: 382: 361: 179: 2725:—had gone into my head really deeply. He later considered "Rook" (1992), " 601: 9408: 9172: 8106: 5492: 3355: 2953: 2933: 2893: 2881: 2865: 2718: 2572: 2521: 2509: 2451: 2392: 2380: 1986: 1936: 1829:

was received with critical acclaim when released in April 1992, and like

1810: 1776: 1716: 1419: 1274: 1199: 781: 741: 732: 717: 682: 670: 650: 638: 597: 501: 497: 306: 8621:

Marshall, Tracy (March 1999). "An Interview with XTC's Andy Partridge".

8153:"Andy answers fans' questions about guitar playing and players – Part I" 1844:

reviewed: "Emphasizing wonder and wit in opposition to the rage of most

9228: 9084: 3889: 3423: 3041: 3008: 2987: 2971: 2897: 2885: 2788: 2776: 2714: 2657: 2517: 2505: 2372: 2092: 1885: 1799: 1784: 1703: 1684: 1672: 1525: 1466: 1440: 1189:

On 4 April 1982, XTC were scheduled to headline a sold-out show at the

1142: 983: 558: 403: 282: 8879:"Xperia Access Q Awards – all the 2014 winners – Q MagazineQ Magazine" 8824: 2824:

XTC were one of the progenitors of Britpop, were influential to later

2186:

than ever. two selfish middle-aged gits who make the music we make."

1231:

Reid remained XTC's manager until January 1983 (according to the book

1210: 9358: 8429: 8344: 8037: 6168: 3971:

As early as 1983, the vast majority of their fanmail was from the US.

3488: 2968: 2877: 2837: 2825: 2666: 2447: 2159: 1873: 1764: 1368: 1241: 1172: 1081:" was banned from BBC radio due to its references to abortion and a " 808: 789: 678: 662: 654: 622: 513: 349: 333: 326: 318: 310: 298: 130: 112: 98: 8452: 8362:

Harrison, Andrew (July 2001). "XTC: Britpop's Spiritual Granddads".

3549:(1980, staged studio recording of "Towers of London" and interviews) 1579:

Best Video award and was also nominated for three categories at the

1505:

After the group arrived at Utopia Sound recording studio in upstate

6033:"Parcels from a Patchouli Past: An Interview with Andrew Partridge" 5679: 3190: 2889: 2540:" was a particular favorite for XTC. Partridge denied in 2019 that 2207: 2183: 1960:, was credited under the pseudonym Terry and the Lovemen. In 1998, 1405: 1005:", was an attempt to invert drum tones and accents in the style of 997: 893: 593: 552: 528: 137: 117: 8929:

XTC: Song Stories: The Exclusive Authorized Story Behind the Music

8177:

Price, Jim (29 June 1991), "Jim Price speaks to Andy Partridge ",

5322:

George, Harry (October 1983). "The Case of the Missing Andy Boy".

1895:

In 1993, Partridge conceived XTC's next project to be an album of

1813:

produced, even though Partridge felt he was the wrong choice, and

456:

in the late 2010s. Partridge and Gregory remain musically active.

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Crandall, Bill (8 August 1997). "NO EXIT: XTC's Andy Partridge".

2873: 2861: 2841: 2800: 2792: 2780: 2768: 2537: 2314: 2255: 1956:(1995). "The Good Things", a Moulding song originally demoed for 1102: 626: 605: 517: 493: 474: 322: 286: 200: 94: 8453:"Answers to Frequently Asked Questions about Chalkhills and XTC" 5488:"A Watershed Moment: XTC's Andy Partridge on English Settlement" 4065: 4063: 4061: 4059: 4057: 4055: 4053: 4051: 4049: 4047: 2872:

The band are often compared reverentially to 1960s acts such as

2799:"purely because she was a woman. I was that naive. Now I'm very 1312:

and didn't rock out until the last song, 'Funk Pop a Roll.' ...

922:' sound". Coinciding with Gregory's arrival, the band recorded " 2909: 2593: 1510: 1377:, returned the group to a brighter and uptempo sound marked by 1146: 1108: 1035: 864:

XTC performing live (pictured from left: Gregory and Partridge)

794: 749: 360:" (1979) marked their commercial breakthrough and heralded the 3713:"The Mole from the Ministry" (1985, The Dukes of Stratosphear) 3331: 2135: 500:, but was intimidated by the process of learning guitar. When 297:(vocals, bass), the band gained popularity during the rise of 9383: 8479:"In They Might Be Giants' "XTC Vs. Adam Ant," everybody wins" 7489:"Working from the Inside: A conversation with Colin Moulding" 4044: 2613:

likened the band's fashion of playing guitar to an automated

2501: 2083:

relied almost entirely on orchestral or acoustic instruments.

1294:

After some remixing and additional songs at Virgin's behest,

726: 527:

In 1972, Partridge became closer acquainted with Gregory, a

48:

XTC backstage in Toronto, Canada (October 1978), from left:

9179: 8864: 8292: 8179: 7416:"Tributes paid to XTC's first keyboardist Jonathan Perkins" 4973: 4971: 4969: 4521:

Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part".

3363: 2913: 2352: 1082: 1006: 860: 814: 435: 20: 8683:"Beyond Rip It Up: Towards A New Definition of Post Punk?" 8244: 6169:"30 Years Ago: XTC Finds Pop Perfection with 'Skylarking'" 5634: 4548: 4546: 2748:

held up as bywords for broken hopes and limited horizons.

1554:", an outtake. "Dear God" became so popular with American 8906:

Turn on Your Mind: Four Decades of Great Psychedelic Rock

8739: 8350:

Having inspired a whole generation of Britpop artists ...

8317: 8265:, pp. 67, 127, 164–165, 170, 172, 174, 188–189, 292. 7626: 7624: 7622: 7620: 6801: 6799: 5410: 4343:

Bookasta, Randy; Howard, David (1990). "Season Cyclers".

4087:

Trakin, Roy (February 1981). "The New English Art Rock".

3557:(1982, contains live performance of "Respectable Street") 2473: 2446:

I'd like to be considered in the tradition of bands like

1848:, XTC makes alternative music for people who don't like ' 1675:

style. It became their highest charting single in the US.

1363:" under the pseudonym Three Wise Men. It was produced by 1026: 571: 345: 317:. They have since been recognised for their influence on 9060: 7904: 7641: 7639: 6788:

Randall, Mac (4 March 1999). "XTC: The Masters Return".

6524: 6198: 4966: 4641: 4639: 4637: 4635: 3523:(2002–2006, Andy Partridge demos of solo and XTC tracks) 2974:" became popular in the early 2000s among bands such as 2153:(2002) included "Didn't Hurt a Bit", a rerecording of a 8406: 8404: 7836: 7834: 7165: 7163: 4954: 4543: 4531: 2905: 1856:" reached number 33 in the UK and was nominated for an 1390:" to little effect. The band were charged for the sum. 617:' either, because that was already the phrase used for 393:, was invented as a one-off excursion into 1960s-style 9093: 9013:

The Art of Noise: Conversations with Great Songwriters

8577: 8558:"POP MUSIC : Rediscovering the Beatles (Sort of)" 8280: 8268: 7686: 7674: 7617: 7092:(Audio). Event occurs at 57:00–58:50, 1:45:00–1:46:25 7079: 7077: 7075: 6796: 6162: 6160: 5707:

Kristine McKenna, "XTC and the ABC's of Topical Pop",

5464:

Ramon, Gary (November 1990). "XTC Recording History".

3282:

Early members (pre-1975 Star Park and Helium Kidz era)

2775:, "scores of half-forgotten punk and new wave bands," 1434:

and 'real.' Too much financial pressure." Released on

438:

throughout the 1980s and 1990s. In 1993, they went on

8629: 8094: 7999: 7987: 7698: 7636: 7570: 7506: 7178:(Audio). Event occurs at 12:24–16:00. Archived from 6675:

Bookman, Dave (15 December 1994). "Virgins No More".

6128:"TRIBUTE: Celebrating 30 Years of XTC's 'Skylarking'" 5919: 5790: 5726: 5714: 5232: 4632: 4351: 764:. Although the album was well received by the press ( 459: 8747: 8401: 7884:"WC-Vervet Underground were NOT an influence on XTC" 7831: 7600:"Andy Partridge: Providing XTC's Rhythmic Oversight" 7160: 7015:"Andy Partridge: XTC "Well and Truly in the Fridge"" 6440: 6428: 6186: 6145: 5481: 5479: 5477: 4983: 4906: 4848:

Friedman, Roger (October 1992). "The Agony of XTC".

4663: 4651: 3531:(2017, Colin Moulding and Terry Chambers reunion EP) 1886:

1993–present: legal entanglement, return and breakup

838:, which consisted of five dub remixes of XTC songs. 265: 7736: 7072: 6157: 6085:"XTC to Reissue Dukes of Stratosphear Side Project" 5876: 5874: 5872: 5870: 5868: 5848:"25 Years On: XTC's Oranges & Lemons Revisited" 5500: 3571:(2017, interviews, archival footage and animations) 2508:, the Beatles, Free, the Kinks, Captain Beefheart, 1622: 1211:

Financial issues and start of managerial litigation

512:-style songs at churches and youth clubs: "Sort of 423:" (1989) was their highest-charting single, while " 9032: 8987: 8970:A Wizard, a True Star: Todd Rundgren in the Studio 8597:"My 1991 Interview with Kurt Cobain & Nirvana" 8470: 8225:Bernhardt, Todd; Partridge, Andy (24 March 2006). 8224: 7937: 6733: 6697: 6338:"Andy Partridge – Fuzzy Warbles Collector's Album" 5747: 4153: 4134:Mendehlson, Jason; Klinger, Eric (24 April 2015). 4069: 19:This article is about the band. For the drug, see 8539:Isler, Scott (May 1989). "The Dukes of Swindon". 8203:"The sound of the suburbs and literary tradition" 7657: 6487:Fevret, Christian (1992). "XTC – Quality Sweet". 5841: 5839: 5837: 5835: 5754:"Andy discusses "Train Running Low on Soul Coal"" 5474: 4133: 2240: 1450: 1404:s release, Partridge and John Leckie traveled to 1330: 1253: 9771: 5865: 4338: 4336: 4334: 4332: 4330: 4328: 4326: 4324: 4322: 2362: 2296: 877: 553:Local popularity, rise of punk and label signing 6727: 6725: 6472:: CS1 maint: others in cite AV media (notes) ( 6281: 6279: 6277: 5160: 4320: 4318: 4316: 4314: 4312: 4310: 4308: 4306: 4304: 4302: 4233:"The Best Guitarist in the World at Bearsville" 4159: 2740: 1802:, which served as the basis of the album cover. 1732:for the group's best-selling albums to date. " 1562:(XTC's US distributor) recalled and re-pressed 9345:Transistor Blast: The Best of the BBC Sessions 9063:– XTC fan site with comprehensive band history 8193: 8191: 8189: 8084:Houghton, Mick (April 1995). "Spirited away". 7136: 7038:"XTC's Partridge discusses boxset, Monstrance" 6835:"XTC, Apple Venus Volume 1 / Transistor Blast" 6691: 6689: 6543:Swenson, Kyle (April 1999). "Orchestral XTC". 6331: 6329: 6327: 5909:Stafford, Bob (1989). "Oranges & Lemons". 5832: 5551: 5549: 5547: 5545: 5543: 5541: 5539: 5537: 5535: 5293: 5054:Soligny, Jérôme (May 1999). "Discorama XTC ". 4710: 4708: 4706: 4704: 4702: 4700: 4698: 4342: 4129: 4127: 3504:Transistor Blast: The Best of the BBC Sessions 1038:-influenced Partridge song with production by 9109: 8337: 8335: 7776: 7774: 7772: 7593: 7591: 7589: 7587: 7585: 6910: 6908: 6757: 6755: 5711:, 4 April 1982. Retrieved via Newspapers.com. 5588: 5586: 5584: 5582: 5580: 5578: 5533: 5531: 5529: 5527: 5525: 5523: 5521: 5519: 5517: 5515: 5291: 5289: 5287: 5285: 5283: 5281: 5279: 5277: 5275: 5273: 2548:', to things that people like the Beatles or 2436:and is very difficult to bring people into." 1870:Grammy Award for Best Alternative Music Album 1763:, and compered for an unbroadcast children's 9324:Drums and Wireless: BBC Radio Sessions 77–89 9317:Rag and Bone Buffet: Rare Cuts and Leftovers 8501: 8499: 7757:"MUSIC; Adventurous Punk of a Troubled Past" 7246: 6996: 6994: 6722: 6274: 5815: 5813: 5811: 5809: 5807: 5805: 5154: 5073: 5071: 4843: 4841: 4516: 4514: 4512: 4510: 4508: 4506: 4504: 4502: 4500: 4498: 4496: 4494: 4492: 4490: 4488: 4486: 4484: 4482: 4480: 4478: 4476: 4474: 4472: 4470: 4468: 4466: 4464: 4462: 4460: 4458: 4456: 4454: 4452: 4450: 4448: 4446: 4444: 4442: 4440: 4438: 4436: 4434: 4432: 4430: 4428: 4426: 4424: 4422: 4420: 4418: 4416: 4414: 4412: 4410: 4408: 4406: 4404: 4402: 4400: 4398: 4396: 4394: 4392: 4390: 4388: 4386: 4299: 4255: 4253: 4082: 4080: 4078: 3496:Rag and Bone Buffet: Rare Cuts and Leftovers 2864:bands, XTC were particularly influential on 2806: 2669:and backwards tape recordings on the albums 1971: 730:in October. Their first full-length record, 9310:Explode Together: The Dub Experiments 78-80 8861:"XTC: Dear God (Music Video 1987) – Awards" 8726: 8220: 8218: 8186: 7480: 7279: 7277: 6914: 6695: 6686: 6324: 6215: 6213: 5977: 5975: 5743: 5741: 5317: 5315: 5313: 5311: 4695: 4682: 4680: 4678: 4384: 4382: 4380: 4378: 4376: 4374: 4372: 4370: 4368: 4366: 4204:"The Natural History – Beat Beat Heartbead" 4124: 4020: 4018: 4016: 4014: 4012: 4010: 4008: 637:—Andy Partridge elaborating on XTC's song " 9759:Seagull Screaming Kiss Her Kiss Her (band) 9116: 9102: 8791: 8332: 8127:"Andy and Dave discuss 'Towers of London'" 7769: 7582: 7463: 7461: 7459: 7008: 7006: 6905: 6752: 6102: 5575: 5512: 5270: 5185: 5183: 5137:"Colin discusses 'Making Plans for Nigel'" 5111:"Colin discusses 'Life Begins at the Hop'" 4935: 4933: 4931: 4929: 4927: 4925: 4923: 4921: 4759: 4006: 4004: 4002: 4000: 3998: 3996: 3994: 3992: 3990: 3988: 2584:'s vibrato, and "the howled mannerisms of 1205: 9079:Neville Farmer XTC Song Stories Interview 8993:Complicated Game: Inside the Songs of XTC 8899: 8496: 8150: 8124: 8077: 8017: 7878: 7852: 7748: 7716: 7597: 7550: 7524: 7486: 7436: 7361: 7335: 7309: 7226: 7200: 7110: 6991: 6500: 6498: 6376: 6108: 6004: 5931: 5802: 5770: 5621: 5619: 5617: 5615: 5428: 5390: 5364: 5338: 5250: 5212: 5134: 5108: 5104: 5102: 5100: 5080:"Dave remembers 'Making Plans for Nigel'" 5077: 5068: 5027: 5001: 4977: 4838: 4792: 4755: 4753: 4619: 4617: 4615: 4613: 4590: 4564: 4250: 4103: 4075: 3563:(1984, interviews and promotional videos) 3055: 2306: 2261:Complicated Game: Inside the Songs of XTC 8732: 8620: 8549: 8532: 8361: 8215: 8083: 7933: 7931: 7807: 7805: 7467: 7274: 7144:. The Swindon Advertiser. Archived from 6967: 6965: 6600:"One critic handicaps tonight's Grammys" 6210: 6119: 5972: 5952: 5946: 5908: 5738: 5459: 5457: 5455: 5453: 5451: 5308: 4847: 4818: 4675: 4363: 4186: 3815:, which is ludicrous, and rather nasty." 2855: 2487: 2439: 1789: 1460: 1340: 1260: 1115: 1025: 859: 468: 8706: 8555: 8476: 8055: 7970:"Go 2 / English Settlement / Black Sea" 7944:"Sir John Johns discusses "25 O'Clock"" 7898: 7780: 7456: 7413: 7387: 7252: 7003: 6971: 6787: 6731: 6674: 6648: 6625: 6597: 6559: 6542: 6536: 6480: 6240: 6166: 6082: 5880: 5651: 5649: 5485: 5297: 5180: 5128: 5053: 4939: 4918: 4883: 4881: 4879: 4230: 4166:. Ashgate Publishing, Ltd. p. 81. 4163:Britpop and the English Music Tradition 3985: 3651:"All of A Sudden (It's Too Late) (1982) 2492:XTC initially modeled themselves after 1307:Virtually every contemporary review of 914:, the band embarked to the newly built 705: 9772: 9613:A Testimonial Dinner: The Songs of XTC 9030: 9009: 8945: 8923: 8765: 8753: 8635: 8583: 8508:"XTC colors songs with earthy palette" 8505: 8410: 8298: 8286: 8274: 8262: 8250: 8197: 8112: 8100: 8043: 8005: 7993: 7967: 7840: 7811: 7754: 7742: 7704: 7692: 7680: 7630: 7512: 6942: 6885: 6855: 6826: 6530: 6495: 6486: 6446: 6434: 6335: 6311: 6305: 6219: 6125: 6030: 6024: 5925: 5796: 5732: 5720: 5640: 5612: 5592: 5555: 5506: 5416: 5321: 5238: 5097: 4989: 4960: 4912: 4877: 4875: 4873: 4871: 4869: 4867: 4865: 4863: 4861: 4859: 4750: 4735: 4686: 4669: 4657: 4645: 4623: 4610: 4552: 4537: 4520: 4357: 4201: 4086: 2596:-influenced "Life Begins at the Hop". 2202:In 2006, Partridge recorded an album, 1953:A Testimonial Dinner: The Songs of XTC 1558:stations who imported the record that 1359:XTC released the 1983 holiday single " 724:, which appeared on their debut album 9830:Musical groups disestablished in 2006 9097: 8966: 8931:. London: Helter Skelter Publishing. 8733:Staunton, Terry (16 May 1992). "XTC: 8647: 8538: 8450: 8378: 8176: 7928: 7802: 7664:"Colin discusses 'The Meeting Place'" 7645: 7576: 7527:"Andy discusses 'Mayor of Simpleton'" 7035: 7012: 6962: 6832: 6814:(Audio). Event occurs at 19:32–26:00 6761: 6504: 6406: 6204: 6192: 6151: 5463: 5448: 5393:"Andy discusses 'Respectable Street'" 4714: 4259: 4160:Bennett, Andy; Stratton, Jon (2013). 3140: 2849:paid tribute to them in their song, " 2532:, and the organ-dominated records of 2500:The band's early influences included 2226:In July 2008, Partridge wrote in the 364:associated with 1980s popular music. 9581:Seagulls Screaming Kiss Her Kiss Her 9331:Fossil Fuel: The XTC Singles 1977–92 8709:"Counterbalance: XTC's 'Skylarking'" 8125:Bernhardt, Todd (16 December 2007). 7169: 7111:Catchpole, Matt (22 February 2018). 7083: 6805: 6056: 5981: 5845: 5819: 5655: 5646: 5558:"The Man Who Sailed Around His Soul" 5391:Bernhardt, Todd (26 February 2007). 5189: 5135:Bernhardt, Todd (24 November 2008). 5078:Bernhardt, Todd (15 December 2008). 4024: 3491:remixes credited to "Mr. Partridge") 3269:– guitar, keyboards, backing vocals 3219: 3001: 784:" as a lead single. Its follow-up, " 8680: 8422: 8341: 7283: 6764:"XTC Interview with Colin Moulding" 6696:O'Brien, Karen (5 September 1998). 5678: 5595:"Andy Partridge: The Big Interview" 5556:Schabe, Patrick (27 October 2006). 4856: 4760:Passantino, Rosemary (April 1989). 4736:Walley, Chas de (23 January 2013). 4104:McCormick, Moira (22 August 1998). 2918:Seagull Screaming Kiss Her Kiss Her 2811:Writing for AllMusic, music critic 669:. Partridge remembered hearing the 427:" (1986) was controversial for its 13: 9825:Musical groups established in 1972 8310: 8115:, pp. 99, 119, 172, 217, 242. 8020:"Andy discusses 'Wrapped in Grey'" 7525:Bernhardt, Todd (7 January 2007). 6732:Morrish, John (20 February 1999). 6626:Gritten, David (8 February 1997). 6598:DeYoung, Bill (23 February 1993). 6409:"Favorite Letterman Music Moments" 6366:. Vol. 164. 24 February 1989. 6167:Zaleski, Annie (27 October 2016). 5953:Jennings, Dave (18 October 2014). 5883:"The Making of XTC's "Skylarking"" 5161:Pitchfork Staff (22 August 2016). 4819:Thodoris, Από (23 November 2017). 3131:Best Song Musically and Lyrically 3078: 2946:Rolling Stone's Book of Rock Lists 2622: 2052: 1635: 935: 460:1972–1982: early years and touring 14: 9871: 9303:Chips from the Chocolate Fireball 9054: 8648:Hyden, Steven (8 February 2007). 8556:Willman, Chris (18 August 1991). 8506:Brasor, Phillip (16 March 1999). 8423:Ham, Robert (15 September 2014). 8018:Bernhardt, Todd (18 March 2017). 7781:Fortnam, Ian (19 February 2016). 6856:Hooker, Zach (23 February 1999). 6362:"Oranges & Lemons – Geffon". 6336:Dahlen, Chris (19 January 2007). 6126:Nelson, Terry (26 October 2016). 6083:Brelhan, Tom (25 February 2009). 6031:Gibron, Bill (14 February 2010). 5163:"The 200 Best Songs of the 1970s" 4821:"Interview: Andy Partridge (XTC)" 3435:(1987, The Dukes of Stratosphear) 2556:groups such as Black Sabbath and 1616:Chips from the Chocolate Fireball 619:French cinema of a certain period 442:against Virgin, citing an unfair 9282:Waxworks: Some Singles 1977–1982 9264:Wasp Star (Apple Venus Volume 2) 8871: 8853: 8835: 8817: 8785: 8759: 8700: 8674: 8641: 8614: 8589: 8477:Zaleski, Annie (21 March 2016). 8444: 8416: 8372: 8355: 8304: 8170: 8151:Bernhardt, Todd (27 June 2010). 8144: 8118: 8049: 8011: 7961: 7872: 7846: 7710: 7651: 7544: 7518: 7430: 7407: 7381: 7355: 7329: 7303: 7284:Ham, Robert (26 November 2017). 7253:Zaleski, Annie (20 March 2016). 7220: 7194: 7130: 7104: 7055: 7029: 6936: 6879: 6849: 6781: 6748:from the original on 7 May 2022. 6668: 6654:"The Greatest Living Englishman" 6642: 6619: 6591: 6553: 6505:Skene, Gordon (21 August 2016). 6452: 6220:Parker, Adam (6 February 2016). 5486:Keoghan, Jim (6 February 2012). 4942:"XTC: Stupidly Happy Ever After" 3965: 3952: 3939: 3922: 3904: 3895: 3874: 3864: 3847: 3838: 3828: 3818: 3464:Wasp Star (Apple Venus Volume 2) 2959:XTC were the only group besides 2708:Discussing the recording of the 2656:Problems playing this file? See 2638: 2301: 2125:Wasp Star (Apple Venus Volume 2) 2091:Problems playing this file? See 2068: 1994:with a hard-on" sound required. 1890: 1683:Problems playing this file? See 1651: 1284:Waxworks: Some Singles 1977–1982 1097:. That October, the documentary 982:Problems playing this file? See 951: 583:'s exclamation upon discovering 289:in 1972. Fronted by songwriters 42: 9860:Second British Invasion artists 9800:English new wave musical groups 9706:Take Away / The Lure of Salvage 9556:The Ballad of Peter Pumpkinhead 9444:Sgt. Rock (Is Going to Help Me) 9289:Beeswax: Some B-Sides 1977–1982 8893: 8707:Klinger, Eric (24 April 2015). 8451:Relph, John (7 December 2014). 8425:"XTC Albums From Worst To Best" 8381:"The Godfather of New New Wave" 7598:Bernhardt, Todd (17 May 1998). 7487:Bernhardt, Todd (23 May 2000). 7036:Gallo, Phil (4 December 2006). 7013:Maher, Dave (2 February 2007). 6710:from the original on 7 May 2022 6400: 6370: 6355: 6314:"XTC: A Coat of Many Cupboards" 6234: 6076: 6050: 5998: 5902: 5881:Amorosi, A.D. (28 March 2016). 5846:Reed, Nick (11 February 2014). 5764: 5701: 5672: 5422: 5384: 5358: 5332: 5244: 5206: 5109:Bernhardt, Todd (11 May 2009). 5047: 5021: 4995: 4940:Dominic, Serene (11 May 2000). 4812: 4786: 4729: 4584: 4558: 4282: 3805: 3795: 3786: 3762:The Ballad of Peter Pumpkinhead 2609:expect to find them." Producer 1862:The Ballad of Peter Pumpkinhead 1751:Late Night with David Letterman 1075:Sgt. Rock (Is Going to Help Me) 947:"Making Plans for Nigel" (1979) 369:Sgt. Rock (Is Going to Help Me) 9810:English post-punk music groups 9785:1972 establishments in England 9081:XTC Convention 2021, 27:36 min 8766:Nelson, Sean (13 April 2016). 8046:, pp. 198, 249, 265, 274. 7812:Nelson, Sean (20 April 2016). 7468:Paphides, Peter (April 2004). 7142:"What's happening with Colin?" 6945:"25 O'Clock / Psonic Psunspot" 6943:Dahlen, Chris (2 April 2009). 6886:Dahlen, Chris (21 July 2006). 6628:"And the band did not play on" 6312:Schabe, Patrick (5 May 2002). 5684:"The XTC Legacy: An Appraisal" 5593:Hughes, Rob (18 August 2016). 4289:"XTC: Ninjas of the Mundane". 4231:Burdick, John (23 July 2015). 4224: 4195: 4180: 4097: 4070:Partridge & Bernhardt 2016 3740:"Spirit of the Forest" (1989) 3606:"Are You Receiving Me?" (1978) 3535: 3336: 2536:. The New York Dolls' single " 2241:Reissue programme and TC&I 1932:The Greatest Living Englishman 1124:served as the inspiration for 531:then suffering from a bout of 401:records, including the albums 1: 9840:Musical groups from Wiltshire 8056:Pareles, Jon (18 July 1987). 7968:Dahlen, Chris (9 July 2002). 7755:Singer, Barry (9 June 2002). 7414:Ponting, Noel (29 May 2024). 7388:Peacock, Tim (31 July 2018). 7172:"Interview of Colin Moulding" 6735:"Arts: The agony and the XTC" 5938:"XTC: Take Another Bite...". 4237:Hudsonvalleyalmanacweekly.com 3978: 3011:shouted "Oh, you can fucking 2922:the XTC song of similar title 2815:recognised the group thusly: 2363:Andrews, Gregory and drummers 2297:Musical style and development 2139:and disintegrated partnership 2110:reviewer Zach Hooker wrote: " 1443:sold twice as many copies as 1345:The impending closure of the 9035:XTC: Chalkhills and Children 8843:"The Ivors 1993 – the Ivors" 8311:D., Spence (20 April 2007). 8227:"The Lyrical Andy Partridge" 7783:"Heavy Load: Andy Partridge" 7068:. December 2006. p. 22. 4715:Jones, J.R. (12 June 2000). 3293:Nervous Steve – bass guitar 3103:Best Alternative Music Album 2741:Lyricism and English culture 1798:illustrated by cartographer 608:mechanic" outfits on stage. 464: 247: 7: 8909:. Hal Leonard Corporation. 7918:"Recording The Big Express" 6915:Pop Machine (29 May 2009). 6808:"Interview of Dave Gregory" 6762:Tobin, Alex (29 May 2000). 6462:(liner). XTC. Virgin. 1992. 6407:Gibbs, Ryan (19 May 2015). 6382:"WC-Re acoustic EU tour..." 3919:" in tribute to the Beatle. 2967:wrote that their style of " 2685:Bluebirds Over the Mountain 2100:Released in February 1999, 1904:" scene from the 1967 film 1821:was brought in as drummer. 1759:(1990), the third album by 1647:"Mayor of Simpleton" (1989) 965:" was ranked number 143 on 557:After Star Park opened for 84:The Helium Kidz (1974–1975) 10: 9876: 9588:Garden of Earthly Delights 8991:; Bernhardt, Todd (2016). 8681:Ogg, Alex (October 2009). 7086:"Andy Partridge interview" 6392:on 7 May 2019 – via 5822:"Andy Partridge Interview" 4202:Klinge, Steve (May 2003). 3694:In Loving Memory of a Name 3340: 3214: 2560:, as well as Deep Purple, 744:" shrouded in 1950s-style 653:, The Nashville Rooms and 18: 9749:The Dukes of Stratosphear 9736: 9604: 9572: 9479:Love on a Farmboy's Wages 9393: 9375: 9273: 9164: 9131: 9039:. London: Omnibus Press. 7470:"Senses Working Overtime" 7084:Doug (17 February 2008). 4717:"Too Much of a God Thing" 4689:Fairfield County Advocate 3673:Love on a Farmboy's Wages 3417:The Dukes of Stratosphear 3189: 3165: 3150: 3145: 3113: 3084: 3077: 3074: 3071: 3068: 3065: 3062: 3015:, can you? Oh, listen to 2807:Recognition and influence 2534:Johnny and the Hurricanes 2462:within pop song formats. 2064:"River of Orchids" (1999) 1744:". XTC's performance of " 1427:the Dukes of Stratosphear 1302:Love on a Farmboy's Wages 1112:and Partridge's breakdown 1083:Sony Entertainment Centre 902:Siouxsie and the Banshees 822:, it was given praise in 760:reached number 38 on the 391:the Dukes of Stratosphear 260: 256: 213: 209: 196:The Dukes of Stratosphear 188: 162: 152: 105: 90: 73: 68: 41: 34: 9835:English musical quartets 9815:English power pop groups 9805:English pop music groups 9790:Caroline Records artists 7170:Dave (7 December 2008). 6634:. London. Archived from 6058:Erlewine, Stephen Thomas 4265:"Coat of Many Cupboards" 4026:Erlewine, Stephen Thomas 3880:During the sessions for 3779: 3668:"Funk Pop A Roll" (1983) 3311:Jon Perkins – keyboards 3305:Steve Hutchins – vocals 3251:– drums, backing vocals 3029:, the retiring bards of 2634:"Wrapped in Grey" (1992) 542:The Inner Mounting Flame 362:reverberating drum sound 309:to elaborately arranged 9795:English art rock groups 9458:Senses Working Overtime 9123: 9010:Rachel, Daniel (2014). 8946:Gimarc, George (2005). 8397:(subscription required) 8313:"Top 25 Britpop Albums" 6860:Apple Venus, Volume One 3656:Senses Working Overtime 2880:, and most frequently, 2813:Stephen Thomas Erlewine 2281:In 2021, Moulding told 1935:and early sessions for 1369:Linn LM-1 Drum Computer 1257:and faltered popularity 1233:Chalkhills and Children 1206:1982–1992: studio years 1165:Senses Working Overtime 1141:as the opening act for 843:the League of Gentlemen 375:" (1982). After 1982's 373:Senses Working Overtime 9855:Virgin Records artists 9845:Progressive pop groups 9820:Geffen Records artists 9423:Making Plans for Nigel 9416:Life Begins at the Hop 9352:Coat of Many Cupboards 9031:Twomey, Chris (1992). 9016:. St. Martin's Press. 3618:Life Begins at the Hop 3611:Making Plans For Nigel 3512:Coat of Many Cupboards 3313:(1975–1976; died 2024) 3287:Dave Cartner – guitar 3242:– vocals, bass guitar 3142:MTV Video Music Awards 3056:Awards and nominations 2869: 2836:, and anticipated the 2822: 2750: 2627: 2546:I'm Waiting for My Man 2542:the Velvet Underground 2512:, the New York Dolls, 2497: 2464: 2319: 2307:Partridge and Moulding 2218: 2194: 2150:Coat of Many Cupboards 2057: 1996: 1864:" reached number 71. " 1803: 1794:A 17th-century map of 1640: 1581:MTV Video Music Awards 1531: 1479: 1379:studio experimentation 1356: 1266: 1251: 1219: 1134: 1085:". Partridge believed 1031: 1003:Making Plans for Nigel 963:Making Plans for Nigel 940: 924:Life Begins at the Hop 888:XTC were impressed by 865: 634: 621:. ... blatantly just 478: 358:Making Plans for Nigel 293:(vocals, guitars) and 69:Background information 23:. For other uses, see 9338:Upsy Daisy Assortment 8849:on 10 September 2016. 7062:"Countdowns to XTC". 6972:wesLONG (June 2003). 6833:Zupko, Sarah (1999). 6806:Dave (9 March 2008). 4209:CMJ New Music Monthly 3813:Pol Pot kind of thing 2859: 2817: 2745: 2683:' 1968 rendition of " 2626: 2491: 2467:—Andy Partridge, 1981 2444: 2440:Genres and influences 2311: 2221:—Colin Moulding, 2018 2213: 2197:—Andy Partridge, 2007 2189: 2056: 1982: 1902:Springtime for Hitler 1793: 1783:whilst producing for 1771:. Gregory played for 1692:For their next album 1639: 1605:. When issued on CD, 1521: 1518:having a good time." 1490:Hermit of Mink Hollow 1464: 1414:by singer-songwriter 1408:to produce the album 1349:formed a backdrop to 1344: 1264: 1247: 1222:—Andy Partridge, 2000 1215: 1122:Uffington White Horse 1119: 1029: 939: 863: 611: 472: 81:Star Park (1972–1974) 9493:All You Pretty Girls 9486:Thanks for Christmas 9257:Apple Venus Volume 1 9243:Oranges & Lemons 9075:at John Peel Archive 8967:Myers, Paul (2010). 8797:"Above average Andy" 8520:on 22 September 2018 8385:Record Collector Mag 8301:, pp. 106, 122. 7418:. Swindon Advertiser 7230:(23 December 2017). 7148:on 29 September 2011 6638:on 26 February 2016. 6364:CMJ New Music Report 6287:"Billboard 200: XTC" 6248:Oranges & Lemons 6227:The Post and Courier 5942:. No. 11. 1999. 5820:Hunt, Chris (1989). 5658:"English Settlement" 5643:, pp. 110, 124. 5626:"XTatiCally Yours". 4136:"XTC's 'Skylarking'" 3936:", and "Boarded Up". 3701:All You Pretty Girls 3456:Apple Venus Volume 1 3440:Oranges & Lemons 3299:Paul Wilson – drums 3260:– keyboards, vocals 3046:British class system 2847:They Might Be Giants 2834:the Apples in Stereo 2721:and McCartneys, the 2421:Oranges & Lemons 2103:Apple Venus Volume 1 2080:Apple Venus Volume 1 1958:Oranges & Lemons 1831:Oranges & Lemons 1706:(and later longtime 1695:Oranges & Lemons 1668:Oranges & Lemons 1665:", lead single from 1624:Oranges & Lemons 1613:and given the title 1601:into the pie" since 1425:Calling themselves " 1416:Mary Margaret O'Hara 1388:All You Pretty Girls 1361:Thanks for Christmas 661:. By this time, the 537:Mahavishnu Orchestra 449:Apple Venus Volume 1 419:(1992). In the US, " 410:Oranges & Lemons 389:. A spin-off group, 336:outfit with drummer 25:XTC (disambiguation) 9850:RSO Records artists 9430:Generals and Majors 9366:Psurroundabout Ride 8379:Jones, Tim (2007). 8253:, pp. 164–165. 7882:(29 January 2019). 7856:(29 January 2019). 7720:(29 January 2019). 7662:(26 January 2009). 7554:(29 January 2019). 7440:(29 January 2019). 7365:(13 January 2018). 7339:(9 December 2016). 7182:on 25 February 2009 7025:on 14 January 2009. 6974:"Didn't Hurt a Bit" 6650:Unterberger, Richie 6632:The Daily Telegraph 6605:The Gainesville Sun 6468:cite AV media notes 6380:(29 January 2019). 6207:, pp. 257–258. 6008:(29 January 2019). 5774:(29 January 2019). 5432:(29 January 2019). 5419:, pp. 113–114. 5368:(29 January 2019). 5254:(29 January 2019). 5216:(29 January 2019). 5031:(29 January 2019). 5005:(29 January 2019). 4796:(29 January 2019). 4594:(29 January 2019). 4568:(29 January 2019). 4106:"Continental drift" 3857:and Gus Dudgeon on 3632:Generals and Majors 3484:The Lure of Salvage 3203:Classic Songwriter 3115:Ivor Novello Awards 2322:—Dave Gregory, 2007 2014:tracks "Omnibus", " 1984:For the orchestral 1917:against the label. 1815:Fairport Convention 1191:Hollywood Palladium 1067:Generals and Majors 1054:The Lure of Salvage 698:, they signed with 675:Anarchy in the U.K. 632:group. That's all. 488:grew up on Penhill 381:, the band stopped 9535:Mayor of Simpleton 9451:Respectable Street 9201:English Settlement 8952:. Backbeat Books. 8885:on 1 January 2015. 8662:on 19 October 2018 8063:The New York Times 7762:The New York Times 7394:Udiscovermusic.com 7313:(31 August 2017). 7204:(17 August 2014). 6489:Les Inrockuptibles 6262:on 3 February 2008 3748:Mayor of Simpleton 3639:Respectable Street 3388:English Settlement 3171:Breakthrough Video 3159:Best Concept Video 3031:rural olde England 2870: 2703:A Hard Day's Night 2628: 2550:the Rolling Stones 2498: 2229:Swindon Advertiser 2116:Oranges and Lemons 2058: 2031:, and a producer, 1858:Ivor Novello Award 1804: 1734:Mayor of Simpleton 1726:English Settlement 1663:Mayor of Simpleton 1641: 1609:was combined with 1480: 1357: 1267: 1180:English Settlement 1160:English Settlement 1135: 1127:English Settlement 1110:English Settlement 1079:Respectable Street 1032: 1011:the Rolling Stones 941: 866: 479: 444:recording contract 421:Mayor of Simpleton 378:English Settlement 9767: 9766: 9685:Great Aspirations 9521:The Meeting Place 9402:Statue of Liberty 9002:978-1-908279-78-1 8995:. Jawbone Press. 8980:978-1-906002-33-6 8973:. Jawbone Press. 8959:978-0-87930-848-3 8916:978-0-634-05548-5 8563:Los Angeles Times 7942:(12 April 2009). 7938:Bernhardt, Todd; 7916:(November 1984). 7658:Bernhardt, Todd; 6929:on 13 June 2009. 6579:on 17 August 2007 6533:, pp. 58–59. 6388:). Archived from 6244:(23 March 1989). 5984:"The Big Express" 5982:Woodstra, Chris. 5748:Bernhardt, Todd; 5709:Los Angeles Times 5656:Woodstra, Chris. 5342:(19 March 2014). 5328:. pp. 26–29. 5192:"Drums and Wires" 5190:Woodstra, Chris. 4963:, pp. 75–76. 4947:Phoenix New Times 4555:, pp. 37–39. 4540:, pp. 1, 10. 4173:978-1-4094-9407-2 3934:The Meeting Place 3732:The Meeting Place 3663:Beating of Hearts 3603:"Heatwave" (1978) 3591:Statue of Liberty 3554:Urgh! A Music War 3541:Documentary films 3528:Great Aspirations 3323: 3322: 3233:– vocals, guitar 3225:Principal members 3212: 3211: 3002:British reception 2868:(pictured 2009). 2797:Margaret Thatcher 2643: 2269:Great Aspirations 2118:and the pastoral 2073: 2039:, who drummed on 1999:—Paul Morrish of 1900:reaction to the " 1860:. Its follow-up " 1852:'." Lead single " 1850:alternative music 1781:Francesco Messina 1773:Johnny Hates Jazz 1656: 1395:psychedelic music 1237:value-added taxes 956: 916:Townhouse Studios 788:", was banned on 786:Statue of Liberty 738:Captain Beefheart 276: 275: 16:English rock band 9867: 9720:XTC: This Is Pop 9549:The Disappointed 9437:Towers of London 9118: 9111: 9104: 9095: 9094: 9069: 9050: 9038: 9027: 9006: 8984: 8963: 8942: 8920: 8887: 8886: 8881:. Archived from 8875: 8869: 8868: 8857: 8851: 8850: 8845:. Archived from 8839: 8833: 8832: 8821: 8815: 8814: 8812: 8810: 8795:(2 April 2004). 8793:Hodgkinson, Will 8789: 8783: 8782: 8780: 8778: 8763: 8757: 8751: 8745: 8744: 8730: 8724: 8723: 8721: 8719: 8704: 8698: 8697: 8695: 8693: 8678: 8672: 8671: 8669: 8667: 8658:. Archived from 8650:"Andy Partridge" 8645: 8639: 8633: 8627: 8626: 8618: 8612: 8611: 8609: 8607: 8601:Garthmullins.com 8593: 8587: 8581: 8575: 8574: 8572: 8570: 8553: 8547: 8546: 8536: 8530: 8529: 8527: 8525: 8516:. Archived from 8503: 8494: 8493: 8491: 8489: 8474: 8468: 8467: 8465: 8463: 8448: 8442: 8441: 8439: 8437: 8420: 8414: 8408: 8399: 8398: 8395: 8393: 8391: 8376: 8370: 8369: 8359: 8353: 8352: 8339: 8330: 8329: 8327: 8325: 8308: 8302: 8296: 8290: 8284: 8278: 8272: 8266: 8260: 8254: 8248: 8242: 8241: 8239: 8237: 8222: 8213: 8212: 8201:(2 April 2010). 8195: 8184: 8183: 8174: 8168: 8167: 8165: 8163: 8148: 8142: 8141: 8139: 8137: 8122: 8116: 8110: 8104: 8098: 8092: 8091: 8081: 8075: 8074: 8072: 8070: 8053: 8047: 8041: 8035: 8034: 8032: 8030: 8015: 8009: 8003: 7997: 7991: 7985: 7984: 7982: 7980: 7965: 7959: 7958: 7956: 7954: 7935: 7926: 7925: 7902: 7896: 7895: 7880:Partridge, Andy 7876: 7870: 7869: 7854:Partridge, Andy 7850: 7844: 7838: 7829: 7828: 7826: 7824: 7809: 7800: 7799: 7797: 7795: 7778: 7767: 7766: 7752: 7746: 7740: 7734: 7733: 7718:Partridge, Andy 7714: 7708: 7702: 7696: 7690: 7684: 7678: 7672: 7671: 7655: 7649: 7643: 7634: 7628: 7615: 7614: 7612: 7610: 7595: 7580: 7574: 7568: 7567: 7552:Partridge, Andy 7548: 7542: 7541: 7539: 7537: 7522: 7516: 7510: 7504: 7503: 7501: 7499: 7484: 7478: 7477: 7465: 7454: 7453: 7438:Partridge, Andy 7434: 7428: 7427: 7425: 7423: 7411: 7405: 7404: 7402: 7400: 7385: 7379: 7378: 7363:Partridge, Andy 7359: 7353: 7352: 7337:Partridge, Andy 7333: 7327: 7326: 7311:Partridge, Andy 7307: 7301: 7300: 7298: 7296: 7281: 7272: 7271: 7269: 7267: 7250: 7244: 7243: 7228:Partridge, Andy 7224: 7218: 7217: 7202:Partridge, Andy 7198: 7192: 7191: 7189: 7187: 7167: 7158: 7157: 7155: 7153: 7140:(30 July 2008). 7134: 7128: 7127: 7125: 7123: 7108: 7102: 7101: 7099: 7097: 7081: 7070: 7069: 7059: 7053: 7052: 7050: 7048: 7033: 7027: 7026: 7021:. Archived from 7010: 7001: 6998: 6989: 6988: 6986: 6984: 6969: 6960: 6959: 6957: 6955: 6940: 6934: 6933: 6925:. Archived from 6912: 6903: 6902: 6900: 6898: 6883: 6877: 6876: 6874: 6872: 6853: 6847: 6846: 6841:. Archived from 6830: 6824: 6823: 6821: 6819: 6803: 6794: 6793: 6785: 6779: 6778: 6776: 6774: 6759: 6750: 6749: 6737: 6729: 6720: 6719: 6717: 6715: 6701: 6693: 6684: 6683: 6672: 6666: 6665: 6663: 6661: 6646: 6640: 6639: 6623: 6617: 6616: 6614: 6612: 6595: 6589: 6588: 6586: 6584: 6575:. Archived from 6561:Azerrad, Michael 6557: 6551: 6550: 6540: 6534: 6528: 6522: 6521: 6519: 6517: 6502: 6493: 6492: 6484: 6478: 6477: 6471: 6463: 6456: 6450: 6444: 6438: 6432: 6426: 6425: 6423: 6421: 6404: 6398: 6397: 6378:Partridge, Andy 6374: 6368: 6367: 6359: 6353: 6352: 6350: 6348: 6333: 6322: 6321: 6309: 6303: 6302: 6300: 6298: 6283: 6272: 6271: 6269: 6267: 6258:. Archived from 6242:Azerrad, Michael 6238: 6232: 6231: 6217: 6208: 6202: 6196: 6190: 6184: 6183: 6181: 6179: 6164: 6155: 6149: 6143: 6142: 6140: 6138: 6123: 6117: 6116: 6106: 6100: 6099: 6097: 6095: 6080: 6074: 6073: 6071: 6069: 6054: 6048: 6047: 6045: 6043: 6028: 6022: 6021: 6006:Partridge, Andy 6002: 5996: 5995: 5993: 5991: 5979: 5970: 5969: 5967: 5965: 5950: 5944: 5943: 5935: 5929: 5923: 5917: 5916: 5906: 5900: 5899: 5897: 5895: 5878: 5863: 5862: 5860: 5858: 5843: 5830: 5829: 5817: 5800: 5794: 5788: 5787: 5772:Partridge, Andy 5768: 5762: 5761: 5752:(14 June 2009). 5745: 5736: 5730: 5724: 5718: 5712: 5705: 5699: 5698: 5696: 5694: 5676: 5670: 5669: 5667: 5665: 5653: 5644: 5638: 5632: 5631: 5623: 5610: 5609: 5607: 5605: 5590: 5573: 5572: 5570: 5568: 5553: 5510: 5504: 5498: 5497: 5483: 5472: 5471: 5467:Record Collector 5461: 5446: 5445: 5430:Partridge, Andy 5426: 5420: 5414: 5408: 5407: 5405: 5403: 5388: 5382: 5381: 5366:Partridge, Andy 5362: 5356: 5355: 5340:Partridge, Andy 5336: 5330: 5329: 5319: 5306: 5305: 5295: 5268: 5267: 5252:Partridge, Andy 5248: 5242: 5236: 5230: 5229: 5214:Partridge, Andy 5210: 5204: 5203: 5201: 5199: 5187: 5178: 5177: 5175: 5173: 5158: 5152: 5151: 5149: 5147: 5132: 5126: 5125: 5123: 5121: 5106: 5095: 5094: 5092: 5090: 5075: 5066: 5065: 5051: 5045: 5044: 5029:Partridge, Andy 5025: 5019: 5018: 5003:Partridge, Andy 4999: 4993: 4987: 4981: 4975: 4964: 4958: 4952: 4951: 4937: 4916: 4910: 4904: 4903: 4901: 4899: 4885: 4854: 4853: 4845: 4836: 4835: 4833: 4831: 4816: 4810: 4809: 4794:Partridge, Andy 4790: 4784: 4783: 4757: 4748: 4747: 4733: 4727: 4726: 4712: 4693: 4692: 4684: 4673: 4667: 4661: 4655: 4649: 4643: 4630: 4629: 4621: 4608: 4607: 4592:Partridge, Andy 4588: 4582: 4581: 4566:Partridge, Andy 4562: 4556: 4550: 4541: 4535: 4529: 4528: 4518: 4361: 4355: 4349: 4348: 4340: 4297: 4296: 4295:. 20 April 1989. 4286: 4280: 4279: 4277: 4275: 4263:(3 April 2002). 4261:Leone, Dominique 4257: 4248: 4247: 4245: 4243: 4228: 4222: 4221: 4212:. No. 112. 4199: 4193: 4192: 4184: 4178: 4177: 4157: 4151: 4150: 4148: 4146: 4131: 4122: 4121: 4101: 4095: 4094: 4084: 4073: 4067: 4042: 4041: 4039: 4037: 4022: 3972: 3969: 3963: 3956: 3950: 3943: 3937: 3926: 3920: 3908: 3902: 3899: 3893: 3878: 3872: 3868: 3862: 3851: 3845: 3842: 3836: 3832: 3826: 3822: 3816: 3809: 3803: 3799: 3793: 3790: 3769:The Disappointed 3743: 3742:(featured guest) 3625:Towers of London 3584:Science Friction 3568:XTC: This Is Pop 3561:XTC Play at Home 3547:XTC at the Manor 3314: 3308: 3302: 3296: 3290: 3272: 3263: 3254: 3245: 3236: 3220: 3126:The Disappointed 3080: 3060: 3059: 2932:British bands." 2920:was named after 2916:. Japanese band 2851:XTC vs. Adam Ant 2758: 2645: 2644: 2625: 2468: 2323: 2275:XTC: This Is Pop 2222: 2198: 2075: 2074: 2055: 2006: 1992:Vaughan Williams 1945: 1854:The Disappointed 1839: 1757:And Love for All 1722: 1658: 1657: 1638: 1539: 1474:performing with 1436:April Fools' Day 1403: 1279:the Glitter Band 1223: 1167:", was based on 1132: 1099:XTC at the Manor 1071:Towers of London 1044:Bay City Rollers 973: 958: 957: 938: 928:UK Singles Chart 890:Steve Lillywhite 642: 281:were an English 272: 269: 267: 216: 155: 140: 133: 126: 76: 46: 32: 31: 9875: 9874: 9870: 9869: 9868: 9866: 9865: 9864: 9770: 9769: 9768: 9763: 9732: 9600: 9595:Wrapped in Grey 9568: 9500:This World Over 9389: 9371: 9296:The Compact XTC 9269: 9236:Psonic Psunspot 9215:The Big Express 9187:Drums and Wires 9160: 9127: 9122: 9068:X is for... XTC 9067: 9057: 9047: 9024: 9003: 8989:Partridge, Andy 8981: 8960: 8939: 8925:Farmer, Neville 8917: 8896: 8891: 8890: 8877: 8876: 8872: 8859: 8858: 8854: 8841: 8840: 8836: 8823: 8822: 8818: 8808: 8806: 8790: 8786: 8776: 8774: 8764: 8760: 8752: 8748: 8731: 8727: 8717: 8715: 8705: 8701: 8691: 8689: 8679: 8675: 8665: 8663: 8646: 8642: 8634: 8630: 8619: 8615: 8605: 8603: 8595: 8594: 8590: 8582: 8578: 8568: 8566: 8554: 8550: 8537: 8533: 8523: 8521: 8513:The Japan Times 8504: 8497: 8487: 8485: 8475: 8471: 8461: 8459: 8449: 8445: 8435: 8433: 8421: 8417: 8409: 8402: 8396: 8389: 8387: 8377: 8373: 8360: 8356: 8340: 8333: 8323: 8321: 8309: 8305: 8297: 8293: 8285: 8281: 8273: 8269: 8261: 8257: 8249: 8245: 8235: 8233: 8223: 8216: 8196: 8187: 8175: 8171: 8161: 8159: 8149: 8145: 8135: 8133: 8123: 8119: 8111: 8107: 8099: 8095: 8082: 8078: 8068: 8066: 8054: 8050: 8042: 8038: 8028: 8026: 8016: 8012: 8004: 8000: 7992: 7988: 7978: 7976: 7966: 7962: 7952: 7950: 7940:Partridge, Andy 7936: 7929: 7922:One Two Testing 7914:Partridge, Andy 7910:Moulding, Colin 7903: 7899: 7877: 7873: 7851: 7847: 7839: 7832: 7822: 7820: 7810: 7803: 7793: 7791: 7779: 7770: 7753: 7749: 7741: 7737: 7715: 7711: 7703: 7699: 7691: 7687: 7679: 7675: 7660:Moulding, Colin 7656: 7652: 7644: 7637: 7629: 7618: 7608: 7606: 7596: 7583: 7575: 7571: 7549: 7545: 7535: 7533: 7523: 7519: 7511: 7507: 7497: 7495: 7485: 7481: 7466: 7457: 7435: 7431: 7421: 7419: 7412: 7408: 7398: 7396: 7386: 7382: 7360: 7356: 7334: 7330: 7308: 7304: 7294: 7292: 7282: 7275: 7265: 7263: 7251: 7247: 7225: 7221: 7199: 7195: 7185: 7183: 7168: 7161: 7151: 7149: 7135: 7131: 7121: 7119: 7117:Essentially Pop 7109: 7105: 7095: 7093: 7082: 7073: 7061: 7060: 7056: 7046: 7044: 7034: 7030: 7011: 7004: 7000:Mojo 2021 issue 6999: 6992: 6982: 6980: 6978:Optimism Flames 6970: 6963: 6953: 6951: 6941: 6937: 6922:Chicago Tribune 6913: 6906: 6896: 6894: 6884: 6880: 6870: 6868: 6854: 6850: 6845:on 4 June 2011. 6831: 6827: 6817: 6815: 6804: 6797: 6786: 6782: 6772: 6770: 6760: 6753: 6741:The Independent 6730: 6723: 6713: 6711: 6704:The Independent 6694: 6687: 6673: 6669: 6659: 6657: 6647: 6643: 6624: 6620: 6610: 6608: 6596: 6592: 6582: 6580: 6563:(28 May 1992). 6558: 6554: 6541: 6537: 6529: 6525: 6515: 6513: 6503: 6496: 6485: 6481: 6465: 6464: 6458: 6457: 6453: 6445: 6441: 6433: 6429: 6419: 6417: 6414:The Young Folks 6405: 6401: 6375: 6371: 6361: 6360: 6356: 6346: 6344: 6334: 6325: 6310: 6306: 6296: 6294: 6285: 6284: 6275: 6265: 6263: 6239: 6235: 6218: 6211: 6203: 6199: 6191: 6187: 6177: 6175: 6165: 6158: 6150: 6146: 6136: 6134: 6124: 6120: 6107: 6103: 6093: 6091: 6081: 6077: 6067: 6065: 6055: 6051: 6041: 6039: 6029: 6025: 6003: 5999: 5989: 5987: 5980: 5973: 5963: 5961: 5959:Louder Than War 5951: 5947: 5937: 5936: 5932: 5924: 5920: 5907: 5903: 5893: 5891: 5879: 5866: 5856: 5854: 5844: 5833: 5818: 5803: 5795: 5791: 5769: 5765: 5750:Partridge, Andy 5746: 5739: 5731: 5727: 5719: 5715: 5706: 5702: 5692: 5690: 5688:Chicago Tribune 5677: 5673: 5663: 5661: 5654: 5647: 5639: 5635: 5625: 5624: 5613: 5603: 5601: 5591: 5576: 5566: 5564: 5554: 5513: 5505: 5501: 5484: 5475: 5470:. No. 130. 5462: 5449: 5427: 5423: 5415: 5411: 5401: 5399: 5389: 5385: 5363: 5359: 5337: 5333: 5320: 5309: 5296: 5271: 5249: 5245: 5237: 5233: 5211: 5207: 5197: 5195: 5188: 5181: 5171: 5169: 5159: 5155: 5145: 5143: 5133: 5129: 5119: 5117: 5107: 5098: 5088: 5086: 5076: 5069: 5057:Rock & Folk 5052: 5048: 5026: 5022: 5000: 4996: 4988: 4984: 4976: 4967: 4959: 4955: 4938: 4919: 4911: 4907: 4897: 4895: 4893:Official Charts 4887: 4886: 4857: 4846: 4839: 4829: 4827: 4817: 4813: 4791: 4787: 4758: 4751: 4734: 4730: 4713: 4696: 4685: 4676: 4668: 4664: 4656: 4652: 4644: 4633: 4622: 4611: 4589: 4585: 4563: 4559: 4551: 4544: 4536: 4532: 4519: 4364: 4356: 4352: 4341: 4300: 4288: 4287: 4283: 4273: 4271: 4258: 4251: 4241: 4239: 4229: 4225: 4200: 4196: 4185: 4181: 4174: 4158: 4154: 4144: 4142: 4132: 4125: 4102: 4098: 4085: 4076: 4068: 4045: 4035: 4033: 4023: 3986: 3981: 3976: 3975: 3970: 3966: 3960:the Futureheads 3957: 3953: 3944: 3940: 3927: 3923: 3909: 3905: 3900: 3896: 3882:Drums and Wires 3879: 3875: 3869: 3865: 3852: 3848: 3843: 3839: 3833: 3829: 3823: 3819: 3810: 3806: 3800: 3796: 3791: 3787: 3782: 3774: 3741: 3708:This World Over 3538: 3470: 3432:Psonic Psunspot 3404:The Big Express 3372:Drums and Wires 3345: 3343:XTC discography 3339: 3334: 3332: 3324: 3312: 3306: 3300: 3294: 3288: 3276: 3270: 3261: 3252: 3243: 3234: 3217: 3058: 3035:Dominique Leone 3026:Top of the Pops 3004: 2980:Franz Ferdinand 2902:the Stone Roses 2809: 2760: 2752: 2743: 2727:Wrapped in Grey 2693:Good Vibrations 2675:The Big Express 2663: 2662: 2654: 2652: 2651: 2650: 2649: 2646: 2639: 2636: 2629: 2623: 2615:music sequencer 2496:(pictured 1973) 2470: 2466: 2442: 2401:The Big Express 2365: 2338:Drums and Wires 2325: 2321: 2309: 2304: 2299: 2243: 2224: 2220: 2200: 2196: 2141: 2098: 2097: 2089: 2087: 2086: 2085: 2084: 2076: 2069: 2066: 2059: 2053: 2016:Wrapped in Grey 2008: 2002:The Independent 1998: 1980: 1943: 1893: 1888: 1866:Wrapped in Grey 1842:Michael Azerrad 1837: 1720: 1690: 1689: 1681: 1679: 1678: 1677: 1676: 1659: 1652: 1649: 1642: 1636: 1631: 1607:Psonic Psunspot 1593:Psonic Psunspot 1541: 1536:Michael Azzerad 1533: 1459: 1456:Psonic Psunspot 1445:The Big Express 1401: 1399:The Big Express 1374:The Big Express 1352:The Big Express 1339: 1332:The Big Express 1259: 1225: 1221: 1213: 1208: 1130: 1114: 1020:Top of the Pops 993:Drums and Wires 989: 988: 980: 978: 977: 976: 975: 971: 959: 952: 949: 942: 936: 886: 879:Drums and Wires 762:UK Albums Chart 714: 659:Hope and Anchor 644: 636: 555: 467: 462: 383:concert touring 285:band formed in 264: 248:members section 214: 205: 184: 153: 148: 144:progressive pop 136: 129: 122: 74: 64: 37: 28: 17: 12: 11: 5: 9873: 9863: 9862: 9857: 9852: 9847: 9842: 9837: 9832: 9827: 9822: 9817: 9812: 9807: 9802: 9797: 9792: 9787: 9782: 9765: 9764: 9762: 9761: 9756: 9751: 9746: 9740: 9738: 9734: 9733: 9731: 9730: 9727:Planet England 9723: 9716: 9713:Waspstrumental 9709: 9702: 9695: 9688: 9681: 9680: 9679: 9672: 9665: 9658: 9651: 9644: 9637: 9630: 9616: 9608: 9606: 9602: 9601: 9599: 9598: 9591: 9584: 9576: 9574: 9570: 9569: 9567: 9566: 9563:Easter Theatre 9559: 9552: 9545: 9542:King for a Day 9538: 9531: 9524: 9517: 9510: 9503: 9496: 9489: 9482: 9475: 9468: 9465:Ball and Chain 9461: 9454: 9447: 9440: 9433: 9426: 9419: 9412: 9405: 9397: 9395: 9391: 9390: 9388: 9387: 9379: 9377: 9373: 9372: 9370: 9369: 9362: 9355: 9348: 9341: 9334: 9327: 9320: 9313: 9306: 9299: 9292: 9285: 9277: 9275: 9271: 9270: 9268: 9267: 9260: 9253: 9246: 9239: 9232: 9225: 9218: 9211: 9204: 9197: 9190: 9183: 9176: 9168: 9166: 9162: 9161: 9159: 9158: 9153: 9148: 9146:Terry Chambers 9143: 9141:Colin Moulding 9138: 9136:Andy Partridge 9132: 9129: 9128: 9121: 9120: 9113: 9106: 9098: 9092: 9091: 9082: 9076: 9064: 9056: 9055:External links 9053: 9052: 9051: 9045: 9028: 9022: 9007: 9001: 8985: 8979: 8964: 8958: 8943: 8937: 8921: 8915: 8901:DeRogatis, Jim 8895: 8892: 8889: 8888: 8870: 8852: 8834: 8816: 8784: 8758: 8746: 8725: 8699: 8673: 8640: 8628: 8613: 8588: 8586:, p. 310. 8576: 8548: 8531: 8495: 8469: 8443: 8415: 8400: 8371: 8354: 8331: 8303: 8291: 8289:, p. 307. 8279: 8277:, p. 306. 8267: 8255: 8243: 8214: 8185: 8169: 8143: 8117: 8105: 8093: 8090:. p. 116. 8076: 8058:"The Pop Life" 8048: 8036: 8010: 7998: 7986: 7960: 7927: 7897: 7890:) – via 7871: 7864:) – via 7845: 7830: 7801: 7768: 7747: 7735: 7728:) – via 7709: 7697: 7695:, p. 194. 7685: 7683:, p. 162. 7673: 7650: 7648:, p. 255. 7635: 7633:, p. 309. 7616: 7581: 7579:, p. 258. 7569: 7562:) – via 7543: 7517: 7505: 7479: 7476:. No. 14. 7455: 7448:) – via 7429: 7406: 7380: 7373:) – via 7354: 7347:) – via 7328: 7321:) – via 7302: 7273: 7245: 7238:) – via 7219: 7212:) – via 7193: 7176:Rundgren Radio 7159: 7138:Andy Partridge 7129: 7103: 7090:Rundgren Radio 7071: 7054: 7028: 7002: 6990: 6961: 6935: 6904: 6878: 6848: 6825: 6812:Rundgren Radio 6795: 6780: 6751: 6721: 6685: 6667: 6641: 6618: 6590: 6552: 6535: 6523: 6494: 6479: 6451: 6439: 6427: 6399: 6369: 6354: 6323: 6304: 6273: 6233: 6209: 6197: 6195:, p. 257. 6185: 6156: 6154:, p. 256. 6144: 6118: 6101: 6075: 6049: 6023: 6016:) – via 5997: 5971: 5945: 5930: 5928:, p. 134. 5918: 5901: 5864: 5831: 5801: 5799:, p. 137. 5789: 5782:) – via 5763: 5737: 5735:, p. 131. 5725: 5723:, p. 127. 5713: 5700: 5682:(3 May 1992). 5671: 5645: 5633: 5611: 5574: 5511: 5499: 5473: 5447: 5440:) – via 5421: 5409: 5383: 5376:) – via 5357: 5350:) – via 5331: 5307: 5269: 5262:) – via 5243: 5241:, p. 102. 5231: 5224:) – via 5205: 5179: 5153: 5127: 5096: 5067: 5046: 5039:) – via 5020: 5013:) – via 4994: 4982: 4980:, p. 341. 4978:DeRogatis 2003 4965: 4953: 4917: 4905: 4855: 4837: 4811: 4804:) – via 4785: 4749: 4728: 4722:Chicago Reader 4694: 4674: 4662: 4650: 4648:, p. 203. 4631: 4609: 4602:) – via 4583: 4576:) – via 4557: 4542: 4530: 4362: 4360:, p. 200. 4350: 4298: 4281: 4249: 4223: 4194: 4179: 4172: 4152: 4123: 4112:. p. 13. 4096: 4093:. No. 30. 4074: 4043: 3983: 3982: 3980: 3977: 3974: 3973: 3964: 3951: 3938: 3930:Ball and Chain 3921: 3903: 3894: 3873: 3863: 3846: 3837: 3827: 3817: 3804: 3794: 3784: 3783: 3781: 3778: 3773: 3772: 3765: 3758: 3755:King for a Day 3751: 3744: 3738: 3735: 3728: 3721: 3714: 3711: 3704: 3697: 3690: 3683: 3676: 3669: 3666: 3659: 3652: 3649: 3646:Ball and Chain 3642: 3635: 3628: 3621: 3614: 3607: 3604: 3601: 3594: 3587: 3579: 3573: 3572: 3564: 3558: 3550: 3537: 3534: 3533: 3532: 3524: 3516: 3508: 3500: 3492: 3469: 3468: 3460: 3452: 3444: 3436: 3428: 3420: 3408: 3400: 3392: 3384: 3376: 3368: 3360: 3351: 3341:Main article: 3338: 3335: 3330: 3321: 3320: 3316: 3315: 3309: 3303: 3297: 3291: 3278: 3274: 3273: 3264: 3255: 3249:Terry Chambers 3246: 3240:Colin Moulding 3237: 3231:Andy Partridge 3218: 3216: 3213: 3210: 3209: 3207: 3204: 3201: 3199:Andy Partridge 3196: 3193: 3187: 3186: 3183: 3181:Best Direction 3177: 3176: 3173: 3167: 3166: 3164: 3161: 3156: 3149: 3144: 3138: 3137: 3135: 3132: 3129: 3122: 3117: 3111: 3110: 3108: 3105: 3100: 3093: 3088: 3082: 3081: 3076: 3073: 3070: 3067: 3064: 3057: 3054: 3003: 3000: 2961:the Stranglers 2808: 2805: 2779:and mid 1990s 2744: 2742: 2739: 2735:Paul McCartney 2731:Easter Theatre 2729:" (1992) and " 2691:" (1964) and " 2681:The Beach Boys 2653: 2647: 2637: 2632: 2631: 2630: 2621: 2620: 2619: 2526:the Groundhogs 2504:, dub reggae, 2494:New York Dolls 2443: 2441: 2438: 2417:Pat Mastelotto 2405:Prairie Prince 2364: 2361: 2310: 2308: 2305: 2303: 2300: 2298: 2295: 2248:surround sound 2242: 2239: 2212: 2188: 2140: 2134: 2088: 2077: 2067: 2062: 2061: 2060: 2051: 2050: 2049: 2037:Prairie Prince 1981: 1979: 1970: 1966:Neville Farmer 1929:'s 1993 album 1923:George Michael 1892: 1889: 1887: 1884: 1872:, but lost to 1796:Nonsuch Palace 1761:the Lilac Time 1746:King for a Day 1712:Pat Mastelotto 1680: 1660: 1650: 1645: 1644: 1643: 1634: 1633: 1632: 1630: 1621: 1560:Geffen Records 1520: 1497:the idea of a 1458: 1449: 1338: 1329: 1318:Spandau Ballet 1277:, formerly of 1258: 1252: 1214: 1212: 1209: 1207: 1204: 1113: 1107: 979: 960: 950: 945: 944: 943: 934: 933: 932: 920:gated ambience 885: 876: 754:Atomic Rooster 713: 704: 700:Virgin Records 610: 585:the lost chord 563:New York Dolls 554: 551: 547:Terry Chambers 490:council estate 486:Colin Moulding 482:Andy Partridge 466: 463: 461: 458: 429:anti-religious 371:" (1980) and " 356:. The single " 342:Virgin Records 338:Terry Chambers 315:cult following 295:Colin Moulding 291:Andy Partridge 274: 273: 262: 258: 257: 254: 253: 252: 251: 244: 239: 234: 232:Terry Chambers 229: 227:Colin Moulding 224: 222:Andy Partridge 217: 211: 210: 207: 206: 204: 203: 198: 192: 190: 186: 185: 183: 182: 177: 172: 166: 164: 160: 159: 156: 150: 149: 147: 146: 141: 134: 127: 120: 115: 109: 107: 103: 102: 92: 88: 87: 86: 85: 82: 77: 71: 70: 66: 65: 58:Terry Chambers 54:Colin Moulding 50:Andy Partridge 47: 39: 38: 35: 15: 9: 6: 4: 3: 2: 9872: 9861: 9858: 9856: 9853: 9851: 9848: 9846: 9843: 9841: 9838: 9836: 9833: 9831: 9828: 9826: 9823: 9821: 9818: 9816: 9813: 9811: 9808: 9806: 9803: 9801: 9798: 9796: 9793: 9791: 9788: 9786: 9783: 9781: 9778: 9777: 9775: 9760: 9757: 9755: 9752: 9750: 9747: 9745: 9742: 9741: 9739: 9735: 9729: 9728: 9724: 9722: 9721: 9717: 9715: 9714: 9710: 9708: 9707: 9703: 9701: 9700: 9696: 9694: 9693: 9689: 9687: 9686: 9682: 9678: 9677: 9673: 9671: 9670: 9666: 9664: 9663: 9659: 9657: 9656: 9652: 9650: 9649: 9645: 9643: 9642: 9638: 9636: 9635: 9631: 9629: 9628: 9624: 9623: 9622: 9621: 9620:Fuzzy Warbles 9617: 9615: 9614: 9610: 9609: 9607: 9605:Related media 9603: 9596: 9592: 9589: 9585: 9582: 9578: 9577: 9575: 9571: 9564: 9560: 9557: 9553: 9550: 9546: 9543: 9539: 9536: 9532: 9529: 9525: 9522: 9518: 9515: 9511: 9508: 9504: 9501: 9497: 9494: 9490: 9487: 9483: 9480: 9476: 9473: 9469: 9466: 9462: 9459: 9455: 9452: 9448: 9445: 9441: 9438: 9434: 9431: 9427: 9424: 9420: 9417: 9413: 9410: 9406: 9403: 9399: 9398: 9396: 9392: 9386: 9385: 9381: 9380: 9378: 9374: 9368: 9367: 9363: 9361: 9360: 9356: 9354: 9353: 9349: 9347: 9346: 9342: 9340: 9339: 9335: 9333: 9332: 9328: 9326: 9325: 9321: 9319: 9318: 9314: 9312: 9311: 9307: 9305: 9304: 9300: 9298: 9297: 9293: 9291: 9290: 9286: 9284: 9283: 9279: 9278: 9276: 9272: 9266: 9265: 9261: 9259: 9258: 9254: 9252: 9251: 9247: 9245: 9244: 9240: 9238: 9237: 9233: 9231: 9230: 9226: 9224: 9223: 9219: 9217: 9216: 9212: 9210: 9209: 9205: 9203: 9202: 9198: 9196: 9195: 9191: 9189: 9188: 9184: 9182: 9181: 9177: 9175: 9174: 9170: 9169: 9167: 9165:Studio albums 9163: 9157: 9154: 9152: 9151:Barry Andrews 9149: 9147: 9144: 9142: 9139: 9137: 9134: 9133: 9130: 9126: 9119: 9114: 9112: 9107: 9105: 9100: 9099: 9096: 9090: 9086: 9083: 9080: 9077: 9074: 9070: 9065: 9062: 9059: 9058: 9048: 9046:9780711927582 9042: 9037: 9036: 9029: 9025: 9023:9781466865211 9019: 9015: 9014: 9008: 9004: 8998: 8994: 8990: 8986: 8982: 8976: 8972: 8971: 8965: 8961: 8955: 8951: 8950: 8944: 8940: 8934: 8930: 8926: 8922: 8918: 8912: 8908: 8907: 8902: 8898: 8897: 8884: 8880: 8874: 8866: 8862: 8856: 8848: 8844: 8838: 8830: 8826: 8820: 8804: 8803: 8798: 8794: 8788: 8773: 8769: 8762: 8755: 8750: 8742: 8741: 8736: 8729: 8714: 8710: 8703: 8688: 8684: 8677: 8661: 8657: 8656: 8655:The A.V. Club 8651: 8644: 8638:, p. 15. 8637: 8632: 8624: 8617: 8602: 8598: 8592: 8585: 8580: 8565: 8564: 8559: 8552: 8544: 8543: 8535: 8519: 8515: 8514: 8509: 8502: 8500: 8484: 8483:The A.V. Club 8480: 8473: 8458: 8454: 8447: 8432: 8431: 8426: 8419: 8412: 8407: 8405: 8386: 8382: 8375: 8367: 8366: 8358: 8351: 8347: 8346: 8338: 8336: 8320: 8319: 8314: 8307: 8300: 8295: 8288: 8283: 8276: 8271: 8264: 8259: 8252: 8247: 8232: 8228: 8221: 8219: 8210: 8209: 8204: 8200: 8194: 8192: 8190: 8182: 8181: 8173: 8158: 8154: 8147: 8132: 8128: 8121: 8114: 8109: 8103:, p. 95. 8102: 8097: 8089: 8088: 8080: 8065: 8064: 8059: 8052: 8045: 8040: 8025: 8021: 8014: 8008:, p. 68. 8007: 8002: 7996:, p. 22. 7995: 7990: 7975: 7974:Pitchfork.com 7971: 7964: 7949: 7945: 7941: 7934: 7932: 7923: 7919: 7915: 7911: 7907: 7906:Gregory, Dave 7901: 7893: 7889: 7885: 7881: 7875: 7867: 7863: 7859: 7855: 7849: 7842: 7837: 7835: 7819: 7815: 7808: 7806: 7790: 7789: 7784: 7777: 7775: 7773: 7764: 7763: 7758: 7751: 7744: 7739: 7731: 7727: 7723: 7719: 7713: 7707:, p. 61. 7706: 7701: 7694: 7689: 7682: 7677: 7669: 7665: 7661: 7654: 7647: 7642: 7640: 7632: 7627: 7625: 7623: 7621: 7605: 7601: 7594: 7592: 7590: 7588: 7586: 7578: 7573: 7565: 7561: 7557: 7553: 7547: 7532: 7528: 7521: 7515:, p. 88. 7514: 7509: 7494: 7490: 7483: 7475: 7471: 7464: 7462: 7460: 7451: 7447: 7443: 7439: 7433: 7417: 7410: 7395: 7391: 7384: 7376: 7372: 7368: 7364: 7358: 7350: 7346: 7342: 7338: 7332: 7324: 7320: 7316: 7312: 7306: 7291: 7287: 7280: 7278: 7262: 7261: 7256: 7249: 7241: 7237: 7233: 7229: 7223: 7215: 7211: 7207: 7203: 7197: 7181: 7177: 7173: 7166: 7164: 7147: 7143: 7139: 7133: 7118: 7114: 7107: 7091: 7087: 7080: 7078: 7076: 7067: 7066: 7058: 7043: 7039: 7032: 7024: 7020: 7016: 7009: 7007: 6997: 6995: 6979: 6975: 6968: 6966: 6950: 6946: 6939: 6932: 6928: 6924: 6923: 6918: 6911: 6909: 6893: 6889: 6882: 6867: 6866:Pitchfork.com 6863: 6861: 6852: 6844: 6840: 6836: 6829: 6813: 6809: 6802: 6800: 6791: 6784: 6769: 6765: 6758: 6756: 6747: 6743: 6742: 6736: 6728: 6726: 6709: 6705: 6700: 6692: 6690: 6682: 6678: 6671: 6655: 6651: 6645: 6637: 6633: 6629: 6622: 6607: 6606: 6601: 6594: 6578: 6574: 6573:Rolling Stone 6570: 6568: 6562: 6556: 6548: 6547: 6546:Guitar Player 6539: 6532: 6527: 6512: 6508: 6501: 6499: 6490: 6483: 6475: 6469: 6461: 6455: 6449:, p. 54. 6448: 6443: 6437:, p. 55. 6436: 6431: 6416: 6415: 6410: 6403: 6395: 6391: 6387: 6383: 6379: 6373: 6365: 6358: 6343: 6339: 6332: 6330: 6328: 6319: 6315: 6308: 6292: 6288: 6282: 6280: 6278: 6261: 6257: 6256: 6255:Rolling Stone 6251: 6249: 6243: 6237: 6229: 6228: 6223: 6216: 6214: 6206: 6201: 6194: 6189: 6174: 6170: 6163: 6161: 6153: 6148: 6133: 6129: 6122: 6114: 6113: 6105: 6090: 6086: 6079: 6063: 6059: 6053: 6038: 6034: 6027: 6019: 6015: 6011: 6007: 6001: 5985: 5978: 5976: 5960: 5956: 5949: 5941: 5934: 5927: 5922: 5914: 5913: 5905: 5890: 5889: 5884: 5877: 5875: 5873: 5871: 5869: 5853: 5849: 5842: 5840: 5838: 5836: 5827: 5823: 5816: 5814: 5812: 5810: 5808: 5806: 5798: 5793: 5785: 5781: 5777: 5773: 5767: 5759: 5755: 5751: 5744: 5742: 5734: 5729: 5722: 5717: 5710: 5704: 5689: 5685: 5681: 5675: 5659: 5652: 5650: 5642: 5637: 5630:. April 2002. 5629: 5622: 5620: 5618: 5616: 5600: 5596: 5589: 5587: 5585: 5583: 5581: 5579: 5563: 5559: 5552: 5550: 5548: 5546: 5544: 5542: 5540: 5538: 5536: 5534: 5532: 5530: 5528: 5526: 5524: 5522: 5520: 5518: 5516: 5508: 5503: 5495: 5494: 5489: 5482: 5480: 5478: 5469: 5468: 5460: 5458: 5456: 5454: 5452: 5443: 5439: 5435: 5431: 5425: 5418: 5413: 5398: 5394: 5387: 5379: 5375: 5371: 5367: 5361: 5353: 5349: 5345: 5341: 5335: 5327: 5326: 5325:Trouser Press 5318: 5316: 5314: 5312: 5303: 5302: 5294: 5292: 5290: 5288: 5286: 5284: 5282: 5280: 5278: 5276: 5274: 5265: 5261: 5257: 5253: 5247: 5240: 5235: 5227: 5223: 5219: 5215: 5209: 5193: 5186: 5184: 5168: 5164: 5157: 5142: 5138: 5131: 5116: 5112: 5105: 5103: 5101: 5085: 5081: 5074: 5072: 5064: 5059: 5058: 5050: 5042: 5038: 5034: 5030: 5024: 5016: 5012: 5008: 5004: 4998: 4992:, p. 79. 4991: 4986: 4979: 4974: 4972: 4970: 4962: 4957: 4949: 4948: 4943: 4936: 4934: 4932: 4930: 4928: 4926: 4924: 4922: 4915:, p. 74. 4914: 4909: 4894: 4890: 4884: 4882: 4880: 4878: 4876: 4874: 4872: 4870: 4868: 4866: 4864: 4862: 4860: 4851: 4844: 4842: 4826: 4822: 4815: 4807: 4803: 4799: 4795: 4789: 4781: 4777: 4773: 4769: 4768: 4763: 4762:"XTC at Last" 4756: 4754: 4745: 4744: 4739: 4732: 4724: 4723: 4718: 4711: 4709: 4707: 4705: 4703: 4701: 4699: 4690: 4683: 4681: 4679: 4672:, p. 60. 4671: 4666: 4660:, p. 17. 4659: 4654: 4647: 4642: 4640: 4638: 4636: 4627: 4620: 4618: 4616: 4614: 4605: 4601: 4597: 4593: 4587: 4579: 4575: 4571: 4567: 4561: 4554: 4549: 4547: 4539: 4534: 4526: 4525: 4517: 4515: 4513: 4511: 4509: 4507: 4505: 4503: 4501: 4499: 4497: 4495: 4493: 4491: 4489: 4487: 4485: 4483: 4481: 4479: 4477: 4475: 4473: 4471: 4469: 4467: 4465: 4463: 4461: 4459: 4457: 4455: 4453: 4451: 4449: 4447: 4445: 4443: 4441: 4439: 4437: 4435: 4433: 4431: 4429: 4427: 4425: 4423: 4421: 4419: 4417: 4415: 4413: 4411: 4409: 4407: 4405: 4403: 4401: 4399: 4397: 4395: 4393: 4391: 4389: 4387: 4385: 4383: 4381: 4379: 4377: 4375: 4373: 4371: 4369: 4367: 4359: 4354: 4347:. No. 7. 4346: 4339: 4337: 4335: 4333: 4331: 4329: 4327: 4325: 4323: 4321: 4319: 4317: 4315: 4313: 4311: 4309: 4307: 4305: 4303: 4294: 4293: 4292:Rolling Stone 4285: 4270: 4269:Pitchfork.com 4266: 4262: 4256: 4254: 4238: 4234: 4227: 4219: 4215: 4211: 4210: 4205: 4198: 4190: 4183: 4175: 4169: 4165: 4164: 4156: 4141: 4137: 4130: 4128: 4119: 4115: 4111: 4107: 4100: 4092: 4091: 4083: 4081: 4079: 4071: 4066: 4064: 4062: 4060: 4058: 4056: 4054: 4052: 4050: 4048: 4031: 4027: 4021: 4019: 4017: 4015: 4013: 4011: 4009: 4007: 4005: 4003: 4001: 3999: 3997: 3995: 3993: 3991: 3989: 3984: 3968: 3961: 3955: 3948: 3942: 3935: 3931: 3925: 3918: 3914: 3907: 3898: 3891: 3887: 3883: 3877: 3867: 3860: 3856: 3850: 3841: 3831: 3821: 3814: 3808: 3798: 3789: 3785: 3777: 3770: 3766: 3763: 3759: 3756: 3752: 3749: 3745: 3739: 3736: 3733: 3729: 3726: 3722: 3719: 3715: 3712: 3709: 3705: 3702: 3698: 3695: 3691: 3688: 3687:Human Alchemy 3684: 3681: 3677: 3674: 3670: 3667: 3664: 3660: 3657: 3653: 3650: 3647: 3643: 3640: 3636: 3633: 3629: 3626: 3622: 3619: 3615: 3612: 3608: 3605: 3602: 3599: 3595: 3592: 3588: 3585: 3581: 3580: 3578: 3577: 3570: 3569: 3565: 3562: 3559: 3556: 3555: 3551: 3548: 3545: 3544: 3543: 3542: 3530: 3529: 3525: 3522: 3521: 3520:Fuzzy Warbles 3517: 3514: 3513: 3509: 3506: 3505: 3501: 3498: 3497: 3493: 3490: 3486: 3485: 3481: 3477: 3476: 3475: 3474: 3466: 3465: 3461: 3458: 3457: 3453: 3450: 3449: 3445: 3442: 3441: 3437: 3434: 3433: 3429: 3426: 3425: 3421: 3418: 3414: 3413: 3409: 3406: 3405: 3401: 3398: 3397: 3393: 3390: 3389: 3385: 3382: 3381: 3377: 3374: 3373: 3369: 3366: 3365: 3361: 3358: 3357: 3353: 3352: 3350: 3349: 3348:Studio albums 3344: 3329: 3328: 3319: 3310: 3304: 3298: 3292: 3286: 3285: 3284: 3283: 3279: 3277: 3268: 3265: 3259: 3258:Barry Andrews 3256: 3250: 3247: 3241: 3238: 3232: 3229: 3228: 3227: 3226: 3222: 3221: 3208: 3205: 3202: 3200: 3197: 3194: 3192: 3188: 3184: 3182: 3179: 3178: 3174: 3172: 3169: 3168: 3162: 3160: 3157: 3154: 3148: 3143: 3139: 3136: 3133: 3130: 3127: 3123: 3121: 3118: 3116: 3112: 3109: 3106: 3104: 3101: 3099: 3098: 3094: 3092: 3089: 3087: 3086:Grammy Awards 3083: 3061: 3053: 3051: 3050:Talking Heads 3047: 3043: 3038: 3036: 3032: 3028: 3027: 3022: 3018: 3014: 3010: 2999: 2997: 2993: 2989: 2985: 2981: 2977: 2976:Kaiser Chiefs 2973: 2970: 2966: 2965:The A.V. Club 2962: 2957: 2955: 2951: 2947: 2941: 2939: 2935: 2931: 2927: 2926:Peter Gabriel 2923: 2919: 2915: 2911: 2907: 2903: 2899: 2895: 2891: 2887: 2883: 2879: 2875: 2867: 2863: 2858: 2854: 2852: 2848: 2843: 2839: 2835: 2831: 2828:acts such as 2827: 2821: 2816: 2814: 2804: 2802: 2798: 2794: 2790: 2784: 2782: 2778: 2774: 2770: 2766: 2759: 2756: 2749: 2738: 2736: 2732: 2728: 2724: 2723:Brian Wilsons 2720: 2716: 2711: 2706: 2704: 2700: 2699: 2694: 2690: 2686: 2682: 2678: 2676: 2672: 2668: 2661: 2659: 2635: 2618: 2616: 2612: 2607: 2603: 2597: 2595: 2591: 2590:Talking Heads 2587: 2583: 2582:Elvis Presley 2578: 2574: 2570: 2565: 2563: 2559: 2555: 2551: 2547: 2543: 2539: 2535: 2531: 2530:Black Sabbath 2527: 2523: 2519: 2515: 2514:Cockney Rebel 2511: 2507: 2503: 2495: 2490: 2486: 2484: 2480: 2475: 2469: 2463: 2461: 2457: 2453: 2449: 2437: 2434: 2433:Drum machines 2430: 2426: 2425:Dave Mattacks 2422: 2418: 2414: 2410: 2406: 2402: 2398: 2394: 2390: 2389:hi-hat chokes 2384: 2382: 2377: 2374: 2370: 2360: 2358: 2354: 2350: 2345: 2343: 2339: 2333: 2329: 2324: 2318: 2316: 2302:Group dynamic 2294: 2291: 2289: 2284: 2279: 2277: 2276: 2271: 2270: 2264: 2262: 2257: 2253: 2252:Steven Wilson 2249: 2238: 2236: 2235:Fuzzy Warbles 2231: 2230: 2223: 2217: 2211: 2209: 2205: 2199: 2193: 2187: 2185: 2181: 2180:Fuzzy Warbles 2176: 2175:Fuzzy Warbles 2171: 2170: 2169:Fuzzy Warbles 2164: 2162: 2161: 2156: 2152: 2151: 2146: 2138: 2137:Fuzzy Warbles 2133: 2131: 2127: 2126: 2121: 2117: 2113: 2109: 2105: 2104: 2096: 2094: 2082: 2081: 2065: 2048: 2044: 2042: 2038: 2034: 2033:Haydn Bendall 2030: 2029:Cooking Vinyl 2025: 2023: 2022: 2017: 2013: 2007: 2004: 2003: 1995: 1993: 1989: 1988: 1978: 1974: 1969: 1967: 1963: 1959: 1955: 1954: 1947: 1941: 1938: 1934: 1933: 1928: 1927:Martin Newell 1924: 1920: 1916: 1915:strike action 1911: 1909: 1908: 1907:The Producers 1903: 1898: 1897:bubblegum pop 1891:Strike period 1883: 1881: 1880: 1875: 1871: 1867: 1863: 1859: 1855: 1851: 1847: 1843: 1836: 1835:Rolling Stone 1832: 1828: 1827: 1822: 1820: 1819:Dave Mattacks 1816: 1812: 1808: 1807:Tarquin Gotch 1801: 1797: 1792: 1788: 1786: 1782: 1778: 1774: 1770: 1766: 1762: 1758: 1753: 1752: 1747: 1743: 1737: 1735: 1731: 1727: 1719: 1718: 1713: 1709: 1705: 1701: 1697: 1696: 1688: 1686: 1674: 1670: 1669: 1664: 1648: 1629: 1625: 1620: 1618: 1617: 1612: 1608: 1604: 1599: 1595: 1594: 1588: 1586: 1582: 1578: 1574: 1573:Billboard 200 1570: 1565: 1561: 1557: 1556:college radio 1553: 1549: 1545: 1540: 1537: 1530: 1528: 1527: 1519: 1517: 1512: 1508: 1503: 1500: 1499:concept album 1494: 1492: 1491: 1486: 1485:Todd Rundgren 1477: 1473: 1472:Todd Rundgren 1469: 1468: 1463: 1457: 1453: 1448: 1446: 1442: 1437: 1432: 1428: 1423: 1421: 1417: 1413: 1412: 1407: 1400: 1396: 1391: 1389: 1385: 1380: 1376: 1375: 1370: 1366: 1362: 1354: 1353: 1348: 1347:Swindon Works 1343: 1337: 1333: 1328: 1325: 1324: 1319: 1315: 1310: 1305: 1303: 1299: 1298: 1292: 1290: 1289:Talking Heads 1286: 1285: 1280: 1276: 1271: 1263: 1256: 1250: 1246: 1243: 1238: 1234: 1229: 1224: 1218: 1203: 1201: 1196: 1192: 1187: 1185: 1181: 1176: 1174: 1170: 1166: 1162: 1161: 1156: 1150: 1148: 1144: 1140: 1129: 1128: 1123: 1118: 1111: 1106: 1104: 1100: 1096: 1094: 1088: 1084: 1080: 1076: 1072: 1068: 1064: 1063: 1058: 1056: 1055: 1051: 1045: 1041: 1037: 1028: 1024: 1022: 1021: 1016: 1012: 1008: 1004: 999: 995: 994: 987: 985: 970: 969: 964: 948: 931: 929: 925: 921: 917: 913: 909: 908: 903: 899: 895: 891: 884: 880: 875: 872: 862: 858: 856: 852: 848: 844: 839: 837: 833: 829: 825: 821: 817: 816: 810: 805: 803: 802: 797: 796: 791: 787: 783: 779: 778:Record Mirror 775: 771: 767: 763: 759: 755: 751: 747: 746:retrofuturism 743: 739: 735: 734: 729: 728: 723: 719: 712: 708: 703: 701: 697: 693: 689: 684: 680: 676: 672: 668: 664: 660: 656: 652: 648: 643: 640: 633: 631: 629: 624: 620: 616: 609: 607: 603: 599: 595: 590: 589:Barry Andrews 586: 582: 581:Jimmy Durante 577: 574: 573: 568: 567:Decca Records 564: 560: 550: 548: 544: 543: 538: 534: 530: 525: 523: 522:Rocky Raccoon 519: 515: 511: 507: 503: 499: 495: 491: 487: 483: 476: 471: 457: 455: 451: 450: 445: 441: 437: 432: 430: 426: 422: 418: 417: 412: 411: 406: 405: 400: 396: 392: 388: 384: 380: 379: 374: 370: 365: 363: 359: 355: 351: 348:, 1960s pop, 347: 343: 339: 335: 330: 328: 324: 320: 316: 312: 308: 304: 300: 296: 292: 288: 284: 280: 271: 263: 259: 255: 249: 245: 243: 240: 238: 237:Barry Andrews 235: 233: 230: 228: 225: 223: 220: 219: 218: 212: 208: 202: 199: 197: 194: 193: 191: 187: 181: 178: 176: 175:Cooking Vinyl 173: 171: 168: 167: 165: 161: 157: 151: 145: 142: 139: 135: 132: 128: 125: 121: 119: 116: 114: 111: 110: 108: 104: 100: 96: 93: 89: 83: 80: 79: 78: 75:Also known as 72: 67: 63: 62:Barry Andrews 59: 55: 51: 45: 40: 33: 30: 26: 22: 9737:Other topics 9725: 9718: 9711: 9704: 9697: 9690: 9683: 9674: 9667: 9660: 9653: 9646: 9639: 9632: 9625: 9618: 9611: 9409:This Is Pop? 9382: 9364: 9357: 9350: 9343: 9336: 9329: 9322: 9315: 9308: 9301: 9294: 9287: 9280: 9274:Compilations 9262: 9255: 9248: 9241: 9234: 9227: 9220: 9213: 9206: 9199: 9192: 9185: 9178: 9171: 9156:Dave Gregory 9124: 9034: 9012: 8992: 8969: 8948: 8928: 8905: 8894:Bibliography 8883:the original 8873: 8855: 8847:the original 8837: 8828: 8819: 8807:. Retrieved 8802:The Guardian 8800: 8787: 8777:20 September 8775:. Retrieved 8772:The Stranger 8771: 8761: 8756:, p. 6. 8749: 8738: 8734: 8728: 8718:20 September 8716:. Retrieved 8712: 8702: 8690:. Retrieved 8686: 8676: 8664:. Retrieved 8660:the original 8653: 8643: 8631: 8622: 8616: 8604:. Retrieved 8600: 8591: 8579: 8567:. Retrieved 8561: 8551: 8540: 8534: 8524:22 September 8522:. Retrieved 8518:the original 8511: 8486:. Retrieved 8482: 8472: 8460:. Retrieved 8456: 8446: 8434:. Retrieved 8428: 8418: 8413:, p. 9. 8390:28 September 8388:. Retrieved 8384: 8374: 8363: 8357: 8349: 8343: 8324:20 September 8322:. Retrieved 8316: 8306: 8294: 8282: 8270: 8258: 8246: 8234:. Retrieved 8230: 8208:The Guardian 8206: 8199:Harris, John 8178: 8172: 8162:20 September 8160:. Retrieved 8156: 8146: 8136:20 September 8134:. Retrieved 8130: 8120: 8108: 8096: 8085: 8079: 8067:. Retrieved 8061: 8051: 8039: 8029:25 September 8027:. Retrieved 8023: 8013: 8001: 7989: 7979:20 September 7977:. 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