Go to:
- White Music (1978)
- Go 2 (1978)
- Drums and Wires (1979)
- Take Away/The Lure of Salvage (1980) by Andy Partridge
- Black Sea (1980)
White Music (1978)
5.5
Radios in Motion / Cross Wires / This Is Pop / Do What You Do / Statue of Liberty / All Along the Watchtower / Into the Atom Age / I’ll Set Myself on Fire / I’m Bugged / New Town Animal in a Furnished Cage / Spinning Top / Neon Shuffle
Despite
its quirkiness, White Music might very well the XTC album most representative
of the (punk) era it was released in. Although the band would evolve into
something of a classic pop band with lots of disregard for all things trendy,
in the late ‘70’s they basically sounded like the next pop-punk
band with a wicked edge. On the other hand, that was nearly normal at the
time: Squeeze also released their weirdest and most angular album in the same
year, Adam Ant would deliver his debut in the following year, and overseas
Devo let their cerebral/jerky take on pop loose on the masses. Devo was probably
the most successful band on an artistic level as well, because I’ve
never seen an XTC-fan who thinks their debut is essential (correct me if I’m
wrong). OK, it does contain some good singles (“This Is Pop,”
“Statue of Liberty”), and a few decent tracks, but just like U.K.
Squeeze it suffers from occasionally sloppy songwriting and silliness.
The good thing is that they already betray a musical prowess that’s
quite surprising for a debuting band, but of course they’d been around
for some years. Some of these songs even seem to hint at later accomplishments
by Gang of Four because of their off-kilter angularity, jerky rhythms and
unusual vocals, while the ridiculous-sounding keyboards of Barry Andrews (who’d
end up playing with Robert Fripp) often adds an extra dimension of idiocy.
Whereas both Partridge and Moulding would become first-class songwriters, this album’s clearly dominated by the Partridge songs. The frenetic album opener “Radios in Motion” immediately opens on a high note with a thudding bass line (“Psycho Killer” on speed) and Partridge’s effective accentuated singing. Other highlights include the infectious single “This Is Pop,” with its (at the time) outlandish combination of glam and wave, while the clean-produced “Statue of Liberty” would fit in nicely on Joe Jackson’s Look Sharp! (1979). More decent Partridge tracks come in the way of a sing-along “Into the Atom Age,” complete with demented keyboards and lyrics (“My wife’s getting lazy going gadget crazy, wants a palette shaped coffee table and a matching settee”) and the proto-Minutemen funk (just ignore Barry Andrews and listen to that rhythm section!) of “Neon Shuffle” which allegedly dates back to ’73 when the boys were still called The Helium Kidz. Unfortunately, these songs are about the only ones here that can capture my attention, as the remainder of the Partridge songs consist of unsuccessful ideas or are underdeveloped (“I’m Bugged,” “New Town Animal in a Furnished Cage”). Moulding, who would write several XTC classics (“Making Plans for Nigel,” “Generals and Majors,” “Life Begins at the Hop,” “King for a Day”) contributes three songs: while “I’ll Set Myself on Fire” has those rather annoying yelps and “hahahas,” “Cross Wires” (2:03) and “Do What You Do” (1:14) don’t even have the time to go awry. They’re both playful and hushed, but only work on a curiosity level. It’s hard not to shake your ass during the festive vaudeville of “Do What You Do,” but it’s only fun as long as it lasts. Finally there’s their rather atrocious cover of Dylan’s “All Along the Watchtower”. While it admittedly gets one hell of a funky bass line, it’s never really made clear what the intention was. Rendering a near-unrecognisable version of a classic song is fine, but in that case you’ll have to come up with some effective ideas to replace the original ones. Annoying keyboards, jerky harmonica and the worst vocal delivery of your career (imagine Joe Strummer slurring drunkenly in Hungarian) isn’t an effective recipe for success. White Music has a handful of good songs (though none of them is a stone cold classic) and a few decent ones, but the amount of merely decent or nearly average songs is too large. There’s nothing much here that hints at the band’s later – often glorious – albums and therefore this should not be your first XTC-purchase. Unless you’re the one who always says I’m wrong about everything.
Note: there are about 7 billion versions of this album around, and the most common one (the one that I have) puts seven extra tracks in the middle of the album: three from the early 3D EP, three B-side tracks and an outtake. Of these, the frantic single “Science Friction” is by far the most interesting, as it’s one of the best of their early singles.
Go 2 (1978)
4
Meccanic Dancing (Oh We Go !) / Battery Brides (Andy Paints Brian) / Buzzcity Talking / Crowded Room / The Rhythm / Red / Beatown / Life Is Good in the Greenhouse / Jumping in Gomorrah / My Weapon / Super-Tuff / I Am the Audience
Yes,
you read that correctly. A 4. And I regret it. I promised myself I’d
try to be honest about my grades, so there you go. Although this band would
become one of the most important and consistent (well, in my opinion at least)
British bands of the eighties and nineties, their first two efforts are decidedly
sub-standard. Whereas White Music was “saved” by a handful
of good tracks that were scattered over the album (check out my picks), there’s
nothing much here to redeem the painfully weak second half of the album –
especially Andrews’s two songs – that barely transcends the band’s
dreadful cover version of “All Along the Watchtower.” But let’s
return to the highlights that are neatly grouped on the first half of the
album first. The juddering “Meccanic Dancing” has verses as fractured
as they come, with weird ska-like guitar accents, cheap keyboards effects
and Partridge’s nearly hiccupping his lyrics in a robotic way. The chorus
is fairly conventional, though, and leans closer to the band’s later
pop stuff. Surprisingly relaxed is what “Battery Brides” sounds
like, as the moderate pace, the recurring bass-line and the sci-fi keyboards
remind both of the ‘70’s ambient of Eno (to whom the song is dedicated)
and of The Who’s “Baba O’Riley” (I swear I’m
not making this up!). Add to this the pleasant ska-punk of “Crowded
Room,” and there you go: the worthwhile songs.
Oh wait, there’s probably more that might tickle your interest or satisfy your cravings for mechanized wave: maybe the ascending/descending patterns in “The Rhythm” sound well thought of to your ears, or the nervy and disjointed ska of “Red,” and maybe even the militaristic barks of “They use the head and not the fist!” in “Beatown” will crack you up (weirder things have happened). But please don’t try to convince me of the merits of painful experiences such as “Buzzcity Talking” that probably has the most aggravating chorus of the entire album (and consequently of the entire XTC-catalogue), while also Andrews has no business appearing over and over again. Equally infuriating are the dragging pace, weak vocal performance and returning poetry of “Rather be a plant than your Mickey Mouse” (and those “Ahahahas”!) in “Life Is Good in the Greenhouse.” To make matters worse (indeed, the torture hasn’t stopped yet), Andrews’ refined compositions aren’t suitable candidates for Song of the Year either. The “I wanna take it out on her with my weapon” (from *enter drum rolls* “My Weapon”) is probably the silliest line in an XTC-song ever, while also “Super-Tuff” is a lie, by being Super-Boring. The remainder of the songs that I haven’t mentioned didn’t really succeed in insulting me, although the fact that I can’t think of anything memorable about them either – despite several listens – speaks for itself. The funny thing about the whole deal is the album cover, which is probably one of the smartest around. Instead of offering a visual attraction it’s merely a long text discussing the nature of the album as a product and the music fan as a consumer: “We’re letting you know that you ought to buy this compact disc because in essence it’s a PRODUCT and PRODUCTS are to be consumed and you are a consumer and this is a good PRODUCT.” They’re right when they claim the album is a PRODUCT, but unfortunately it is not much else. This consumer doesn’t think it’s a good product at all.
Note 1: the CD-versions that are currently available all
add the single “Are You Receiving Me?” that’s luckily (and
sadly at the same time) the album’s highlight.
Note 2: shortly after the release of this album, Andrews left the band and
was replaced by guitarist Dave Gregory. The classic era could begin …
Drums and Wires (1979)
7
Making Plans for Nigel / Helicopter / Day in Day out / When
You’re Near Me I Have Difficulty / Ten Feet Tall / Roads Girdle
the Globe / Reel by Reel / Millions / That Is the Way / Outside World
/ Scissor Man / Complicated Game / Life Begins at the Hop / Chain of
Command / Limelight
Enter
new guitar player Dave Gregory and producer Steve Lillywhite (U2, Psychedelic
Furs, etc). Because of the change in the line-up, XTC became a much more guitar-oriented
band (hence the “wires”), which is a good thing, as Andrews’
hit-or-miss keyboards-contributions often led to frustrating results. Fortunately,
not only Gregory’s entrance meant an improvement for the band, as the
song-writing of Partridge and (especially) Moulding progressed with leaps
and bounds at once. Although Moulding wrote only 4 out of 12 songs, two of
his contributions have become classics in the XTC-catalogue (well, in my fairly
unimportant opinion that is), while another one is also among the highlights
here. Partridge’s efforts are generally quirkier, wilfully difficult
songs that are nice complements to Moulding’s more accessible material,
but sometimes they’re overly silly or based on half-assed efforts. Similar
to the first two albums, Drums and Wires starts off exceptionally
well: Moulding’s “Making Plans for Nigel” is an outstanding
representative for the album: deceptively accessible, but in reality far from
conventional, it introduces a new rhythm-heavy era in the band’s history.
With its propulsive bass line, awkward drumming and angular guitar patterns,
it’s really not that surprising that Primus’ Les Claypool acknowledged
it to be a major influence on him (and he further proved it by covering several
songs – on stage ànd in the studio).
The winning streak continues with the opposites of “Helicopter” and “Day in Day out”. While the first one reminds you why they often were considered an odd band (a tag that would disappear slowly during the next decade), because of the nearly robotic, ultra-tight rhythm and Partridge’s frenetic performance, the lazy and more conventional pop of Moulding’s “Day in Day Out” is as charming as they come. By the way, am I the only one who thinks this song is exactly the stuff Blur’s ex-guitarist Graham Coxon must have been studying? “When You’re Near Me I Have Difficulty” has some pretty inane lyrics (“Now I’m feeling like a jellyfish, just a spineless wobbly jellyfish”), but the song works well, although it’s dwarfed by the song it precedes. Starting off with some acoustic guitar, but transforming itself into a delicious piece of jangly pop, “Ten Feet Tall” is another of Moulding’s triumphs. Nothing spectacular on the surface (one of the ‘normal’ songs on the album actually), but everything – from the restrained vocals to the acoustic/electric guitars and those wonderful verses – clicks, making it an overlooked gem in the band’s catalogue (even though it was released as a single). Frustratingly, the album’s least impressive cuts then all gather in the middle section, hereby burying the good wave-pop of “Reel by Reel” between sub-par experiments that suggested the band really needed to cut short some of its tendencies. Both the extended dirge “Millions” as well as “Roads Girdle the Globe” go to show the band became better musicians, but didn’t always know what to do with their capabilities. Even though his previous contributions were terrific, Moulding’s “This Is the Way,” has, above all, a talent for annoying me to no end … during the verses, that is, when vocals and contrary rhythms are fighting for attention, while both are ugly.
All this is redeemed, however, towards the end of the album, which picks up the frantic energy of the nervy art-punk of the first two albums: “Outside World” isn’t anything marvellous, but its sudden twists and turns at least seem to make sense, while Partridge’s exaggerated vocals didn’t bother me at all. The album’s last two cuts also confirm that they weren’t a “classic” pop band yet, as the hero from “Scissor Man” is the completely nutty version of a Marvel Comics-hero, the music being appropriately nervous and confusing (but in a good way). Album closer “Complicated Game” certainly is a remarkable entry in the catalogue, a truly creepy dirge, Partridge’s vocals sounding totally perverted when he mumbles, stutters, moans lines such as “A little girl asked me should she part her hair on the left, no-o-o-o-, little girl asked me should she part her hair on the right, nooo.” As the song progresses, also the music becomes more abrasive (noise bursts, voice manipulation), making it their darkest, most threatening song yet (and ever). A remarkable improvement on Go 2, their breakthrough album (in the US at least) succeeded in combining their early experimentalism and crankiness with a newly found pop sensibility they’d turn into their advantage on subsequent releases. If it weren’t for a few songs that lack focus, it could’ve been their first excellent album, but now it’s “just” a good album with a few wearisome moments (though nothing is comparable to Go 2’s “My Weapon”).
Note: There are several editions around, but the one you’ll find in the shops is probably the recently re-mastered re-issue that I have. On top of the original album, it also adds the excellent party single “Life Begins at the Hop,” the amusing freebie single “Chain of Light” that originally accompanied Drums and Wires, and its B-side “Limelight” during which the band, again, sounds like a demented version of Madness and Squeeze at the same time.
Take Away/The Lure of Salvage (1980) by Andy Partridge
3
Commerciality / The Day They Pulled the North Pole Down / The Forgotten
Language of Light / Steam Fist Futurist / Shore Leave Ornithology (Another
1950) / Cairo / The Rotary / Madhattan / I Sit in the Snow / Work Away Tokyo
Day / New Broom
Preliminary
note: I don’t have a separate copy of Andy Partridge’s
Take Away/The Lure of Salvage (who has?) - I even doubt whether
it was ever released on CD separately. However, it’s also included
– along with the Go+ EP - on the compilation Explode
Together – The Dub Experiments 78-80 (1990) that I got my hands
on. Since the compilation contains the two releases in its entirety and
isn’t a mishmash of cuts from various sources, following the chronological
order makes more sense than suddenly stuffing it between Oranges &
Lemons and Nonsuch. Or doesn’t it?
Being particularly pleased with the results of Go+ (1978), an EP that came as a bonus with early copies of the band’s sophomore album, Partridge set out to record an entire dub-styled album, which he described as “… a collection of tracks that have been electronically processed/shattered and layered with other sounds or lyrical pieces.” As he suggests, these songs weren’t created from scratch, as earlier songs (or parts of songs) were turned inside out or completely mutilated. Indeed, “mutilated” is the word, because I’m sure that no sane person will admit to liking this one, except for maybe a few single-minded, hardcore XTC-fans or those who are into this kind of avant-rock that seeks to rob music as much as possible of its humane character. Because of the use of bizarre sounds and noises, keyboards, and randomly placed eccentric vocals delivered with a mechanical pronunciation reminiscent of the one used in Devo’s “Satisfaction,” it’s as hard to get into as your average Captain Beefheart-album that isn’t Unconditionally Guaranteed or Bluejeans & Moonbeams.
Sometimes, these soundscapes are quite hypnotic and not that different from what the Krautrockers and Eno (with the Talking Heads) were doing, but the randomness of it all and the sense that most of its was a) tossed-off without much planning (“The Forgotten Language of Light,” based on the percussion track of Drums & Wires’ “Millions”), b) relying on conveniently muffled vocals (“Shore Leave Ornithology”) or c) largely nonsensical (“Madhattan”), remains dominant. Occasionally, you’ll also feel sorry for the original versions that are abused: “Steam Fist Futurist” is a horrid take on “Reel by Reel,” “The Rotary” a headache-inducing assault on “Helicopter” AND the senses, with improvised vocals on top of it, whereas the obnoxious “New Broom” is a robotic deconstruction of “Making Plans for Nigel” at 17RPM. In a certain way, it’s quite admirable that such a young Partridge had the guts to release such an inaccessible record (and allegedly, he insisted that the label (Virgin) asked a maximum price of 3.99 pounds), and admittedly, some of the bearable songs (“Commerciality,” and um, maybe “I Sit in the Snow”) were even precursors to an approach that would gain more prominence later on, but for the most part, Take Away/The Lure of Salvage is the kind of album that gives experimentation a bad name. Nowadays Partridge doesn’t seem that pleased with the results either (and how often have you seen copies of the album or Explode Together?), which strengthens my belief that there lies no masterpiece waiting to be uncovered under the ugly surface of this utterly forgettable solo debut.
Black Sea (1980)
8.5
Respectable Street / Generals and Majors / Living Through Another Cuba / Love at First Sight / Rocket from a Bottle / No Language in Our Lungs / Towers of London / Paper and Iron (Paper and Coins) / Burning with Optimism’s Flames / Sgt. Rock (Is Going to Help Me) / Travels in Nihilon
Boasting
no less than five singles (all with insignificant success) and the big sound
that was introduced on Drums and Wires, XTC’s fourth album
(in three years) finally succeeds in delivering a consistent batch of songs.
Whereas the previous albums all had a handful of highlights (often the singles)
that suggested they were capable of greater things, Black Sea is
the first of their releases that’s completely devoid of half-assed attempts
at uniting classic pop and frenetic quirkiness. On top of the increased quality,
the duo of Partridge and Moulding also came up with a bunch of better lyrics
this time around, repeatedly stressing their infatuation with typically “English”
matter, offering songs about suburban superficiality (“Respectable Street”),
the “Towers of London” and army officials yearning to reinstall
Britain’s former stature. As before, the show is stolen by the singles
(to realize what a great singles band they were, get a copy of the magnificent
2-CD set Fossil Fuel – not one weak track), the best of which
is probably the hard-hitting album opener “Respectable Street.”
While Partridge’s vocals could still be described as “manic yelling”
(actually quite a contrast to the main theme in the song – trying to
be anonymous/unnoticed behind the hedgerows of shiny suburbia), the band’s
attach is less wicked, but as relentless as ever, with especially drummer
Chambers showing off his considerable skills.
Moulding only turns in two songs, but at least one of them is a classic in the XTC-Songbook: his jumpy, ska-indebted anti-war song “Generals and Majors” treats a serious theme with an ironic lightness of touch that makes it even more likeable. It’s an example of XTC in the “classic-mode”, rivalling the great British songwriters on the ‘60’s (Lennon & McCartney, Davies, etc), while the silly boy scout-whistling adds a extra quirky touch to it. Moulding’s “Love at First Sight” is more about that immediately likeable rhythm and melody than anything else (not that there’s much else), but it’s an oddity that still qualifies as “pleasant” instead of “silly.” Another highlight is “Towers of London,” kicking off the second half in Beatles-esque fashion with that great, laidback chorus. While it doesn’t more than paint a picture of a time gone by, the song’s impressive sound and impressive musicianship (what an asset Gregory was!) make it a third classic on the album. “Sgt. Rock (Is Going to Help me)” is not far behind though: driven by a great repetitive riff and a rhythm section that kicks out the jams throughout the entire song, it’s ultimately about that infectious chorus (that seems to deal with some kind of super hero who’ll come to Andy’s aid when he’s trying to impress the ladies) and a whole lot of droll nonsense. Now that I mentioned it already a few times, the choruses are a few of the songs’ biggest asset: “Rocket from a Bottle” would’ve only been decent if it weren’t for that enjoyable chorus and the dragging verses of “No Language in Our Lungs” are made up for by a terrific sound. More imposing are “Paper and Iron” and “Burning with Optimism’s Flames,” two typically restless XTC-songs that just can’t settle down with one idea: while the forceful drum salvos and noticeable ska-influences of the former are just a few of the details that turn it into a weird, but enjoyable song, the latter’s ridiculously wordy verses and original phrasing set it apart. OK, I’ve stressed enough that the majority of this album’s songs are blessed with an abundance of great melodies, but there are also a few out of step-tracks, such as “Living Through Another Cuba,” which somehow tries to bring Joe Jackson (the vocals on Night and Day’s “T.V Age” (recorded two years after this album) might as well have been inspired by Partridge’s blustering rant) and Talking Heads’ world-groove together, and actually gets away with it. Similarly, the extended “Travels in Nihilon” (basically not much of a song), is mainly a great showcase for the rhythm section of Chambers and Moulding, both of whom deliver the goods with a frantic energy. Earlier albums already contained tracks that were proof of this band’s immense talent, but apparently it took them a few years to become better editors of their own work. As it is now, Black Sea’s seamless succession of good-to-great stuff became their first terrific album and suggested the band might eventually become one of the key-bands of the ‘80’s and beyond.
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