Menu
Home Explore People Places Arts History Plants & Animals Science Life & Culture Technology
On this page
XTC
English pop group

XTC were an English rock band formed in Swindon in 1972, led by songwriters Andy Partridge and Colin Moulding. They evolved from punk and new wave roots to blend styles including angular guitar riffs and sophisticated pop. Despite limited commercial success, they developed a devoted cult following and influenced genres like post-punk and Britpop. Their 1979 single "Making Plans for Nigel" was a breakthrough, and albums like Skylarking (1986) and Oranges & Lemons (1989) showcased their progressive style. After disputes over contracts and tours, XTC ceased touring post-1982 and eventually ended as a full band in the 2000s, with members pursuing separate projects.

Related Image Collections Add Image
Profiles
1 Image
We don't have any YouTube videos related to XTC yet.
We don't have any PDF documents related to XTC yet.
We don't have any Books related to XTC yet.

1972–1982: early years and touring

Formation

Andy Partridge and Colin Moulding grew up on Penhill council estate in Swindon. Partridge jokingly characterised the community as being populated almost entirely by people with physical, mental or emotional defects.1 In the 1960s, he was a fan of contemporary pop groups like the Beatles, but was intimidated by the process of learning guitar. When the Monkees grew popular, he became interested in joining a music group. He recalled watching local guitarist Dave Gregory performing Jimi Hendrix-style songs at churches and youth clubs: "Sort of acid-skiffle. 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."2 Partridge eventually obtained a guitar and taught himself how to play it with no formal training.3 At the age of 15, he wrote his first song, titled "Please Help Me",4 and attracted the nickname "Rocky" for his early guitar mastery of the Beatles' "Rocky Raccoon" (1968).5 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."6 One of his first bands was called "Stiff Beach", formed in August 1970.7 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".8

In 1972, Partridge became closer acquainted with Gregory, a diabetic then suffering from a bout of depression,9 while working as an assistant at the Bon Marche record shop in Swindon.10 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."11 Partridge met Colin Moulding at the Stage Bar on Swindon's Old Town's Union Row, later known as Long's.12 Moulding had been playing bass since 1970 "because I liked music [and] 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!"13 At the end of 1972, Moulding and drummer Terry Chambers joined Partridge's band, replacing Nervous Steve and Paul Wilson, and the group was renamed "Star Park (Mark II)".14 Other members would frequently join and leave the group.15

Local popularity, rise of punk and label signing

After Star Park opened for Thin Lizzy in May 1973,16 the band renamed themselves the Helium Kidz.17 Partridge's musical conceptions were "blown away" upon hearing the New York Dolls: "I suddenly just wanted to play three chords again and get out my mum's makeup and stuff."18 He subsequently wrote hundreds of songs for the Helium Kidz, and some demo tapes were sent to Decca Records.19 NME 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."20 This version of the group 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."21 Gregory auditioned for the band at this juncture, but did not end up joining.22 His musicianship was determined to be "too good".23

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".24 He derived "XTC" from Jimmy Durante's exclamation upon discovering the lost chord: "That's it! I'm in ecstasy!"25 The name was chosen mainly for its emphatic appearance in print.26 Meanwhile, owing to creative differences with Partridge, synthesizer player Jonathan Perkins quit the band.27 In search of his replacement, Partridge found Barry Andrews through a "keyboard player seeks band" advertisement. Instead of a formal audition, the two went out drinking together.28 Andrews was immediately hired. During the first band rehearsal, Partridge recalled, "He sounded like Jon Lord from Deep Purple; 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 Miró had played electric organ. Fantastic."29 December 1976 officially marked the beginning of the Partridge–Moulding–Chambers–Andrews line-up.30 The members cut their long hair and, for a time, wore "kung-fu mechanic" outfits on stage.31

Ian Reid, owner of a Swindon club named The Affair, was their third manager32 and brokered deals for the group to perform at more popular venues such as the Red Cow in Hammersmith, The Nashville Rooms and Islington's Hope and Anchor. By this time, the punk rock 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 punk dogma.33 Partridge remembered hearing the Sex Pistols' "Anarchy in the U.K." (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."34 Soon, John Peel saw the band perform at Upstairs at Ronnie Scott's and asked them to appear on his BBC Radio 1 block.35 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."36 After declining CBS, Harvest and Island, they signed with Virgin Records.37

White Music and Go 2

In August 1977, XTC made their first commercially released studio recordings with producer John Leckie at Abbey Road, which appeared on their debut release 3D EP in October.38 Their first full-length record, White Music, was then recorded in less than two weeks, and released for January 1978. Partridge characterized the album as "Captain Beefheart meets the Archies" shrouded in 1950s-style retrofuturism. He reflected that the album was the sum of everything the band enjoyed, including the Beatles, Sun Ra, and Atomic Rooster,39 but dismissed the contents as premature songs "built around this electric wordplay stuff".40 White Music reached number 38 on the UK Albums Chart.41 Although the album was well received by the press (Melody Maker, NME, Sounds, and Record Mirror all gave positive reviews42), none of its singles managed to chart.4344 They rerecorded "This Is Pop" as a lead single. Its follow-up, "Statue of Liberty", was banned on BBC Radio due to the lyric "I sail beneath her skirt".45 With each member placed on a £25 weekly salary,46 the band toured for the next five years.47 The group also made appearances on the children's television shows Tiswas and Magpie,48 which meant they would occasionally play for under-16 crowds on these early tours.49 Partridge enjoyed these early shows, but would later resent touring as the band's audience numbers grew and the performing experience became more impersonal.50

By August 1978, XTC were prepared to record their next album.51 The band had contacted Brian Eno to produce after they learned that he was a fan, but he declined, telling them that they were good enough to produce themselves.52 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 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[ing] pretty soon".53 Go 2, a more experimental venture, was released in October to positive reviews and a number 21 chart peak.54 Like White Music, it was given praise in Sounds, Melody Maker, and the NME.55 One of the tracks, "Battery Brides (Andy Paints Brian)", was written in tribute to Eno.56 The album also included a bonus EP, Go+, which consisted of five dub remixes of XTC songs.57

Andrews left the band in December 1978, while they were on their first American tour,58 and went on to form the League of Gentlemen with Robert Fripp of King Crimson.59 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."60 XTC went through a "silly half-hearted" process of auditioning another keyboardist.61 Although Thomas Dolby was rumoured as a replacement, Partridge said that Dolby was never actually considered.62

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 album version or the single version: "We thought, 'Bloody oh, a real musician.' But he was in the band before he even knew."63 Gregory was anxious of whether the fans would accept him as a member, characterizing himself as "the archetypal pub-rocker in jeans and long hair. But the fans weren't bothered. Nobody was fashionable in XTC, ever."64 He grew more comfortable with the group after playing a few shows, he said, "and things got better and better".65

Drums and Wires and Black Sea

XTC were impressed by Steve Lillywhite's work on Ultravox's 1977 debut,66 and Siouxsie and the Banshees' The Scream,67 and he was contacted to produce their third album with a drum sound that would "knock your head off".68 With engineer Hugh Padgham, the band embarked to the newly built Townhouse Studios, "with its now world-famous stone room"; Gregory later recalled that Padgham had "yet to develop his trade-mark 'gated ambience' sound".69 Coinciding with Gregory's arrival, the band recorded "Life Begins at the Hop" (1979), a Moulding composition.70 By this time, Moulding "wanted to ditch [our] quirky nonsense and do more straight-ahead pop."71 He was surprised to learn that the label chose his song as a single over Partridge's.72 Upon release, it was the first charting single for the band,73 rising to number 54 on the UK Singles Chart.74 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."75

Drums and Wires, released in August 1979, was named for its emphasis on guitars and expansive drums.76 AllMusic 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 wordplay, and decidedly British flavor. ... driven by the powerful rhythms and angular, mainly minimalistic arrangements."77 The distinctive drum pattern of its lead single, Moulding's "Making Plans for Nigel", was an attempt to invert drum tones and accents in the style of Devo's cover of the Rolling Stones' "Satisfaction".78 The song became a number 17 hit79 and helped propel the album to number 37 in the UK.80 Before "Nigel", XTC had struggled to fill more than half the seats of the small club circuits they played.81 Afterward, the single was playlisted at the BBC, which helped the band secure two appearances on Top of the Pops. When touring resumed in November, every date was sold out.82 In later years, the album became the best-known of XTC's discography83 and Moulding and Partridge would look back on this point as the symbolic start of the band's career.84

To follow up "Nigel", the band released "Wait Till Your Boat Goes Down" (1980), a reggae-influenced Partridge song with production by Phil Wainman of Bay City Rollers fame. It was their lowest-selling single to date. Concurrently, Virgin issued Moulding's "Ten Feet Tall" as the band's first US single.85 According to Gregory, "Colin began to fancy himself as the 'writer of the singles'".86 In response to "the fuss made over Colin's songs", Partridge attempted to exert 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".87 Partridge at this point released a side project with Take Away / The Lure of Salvage in early 1980; a one-off record that appeared without much notice,88 except in Japan, where it was hailed as a work of "electronic genius" and outsold all other XTC albums.8990

Black Sea, released in September 1980, reunited the group with Lillywhite and Padgham and was well-received critically.91 Singles "Generals and Majors", "Towers of London" and "Sgt. Rock (Is Going to Help Me)" returned them to the charts at numbers 32, 31 and 16, respectively.92 "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".93 "Respectable Street" was banned from BBC radio due to its references to abortion and a "Sony Entertainment Centre".94 Partridge believed Black Sea was the closest the group had come to representing their live sound in the studio.95 It remains XTC's second-highest charting British album, placing at number 16,96 and the most successful album in the U.S. of their career, peaking at number 41 on the Billboard 200.97 That October, the documentary XTC at the Manor, which featured the band faking a studio session for "Towers of London",98 was broadcast on BBC2.99

English Settlement and Partridge's breakdown

From 1980 to 1981, XTC toured Australia, New Zealand, Canada and the US in support of Black Sea as the opening act for the Police. 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.100 He would occasionally experience moments of memory lapse to the extent that he would forget who he was.101 His then-wife Marianne blamed his illness on his longtime dependency on Valium,102 which he had been prescribed since the age of 12.103 She threw away the tablets,104 and over the next year, he experienced intense withdrawal effects that he later described as "brain melt".105

XTC became their own producers for their next album project.106 Until this point, Partridge had insisted that every part of the band's arrangements on record could be replicated live.107 He believed that "if I wrote an album with a sound less geared towards touring then maybe there would be less pressure to tour."108 As such, the new music showcased more complex and intricate arrangements,109110 song lengths were longer, and subject matter covered broader social issues.111 Much of the new material also featured acoustic instruments.112 Gregory bought a Rickenbacker 12-string and began contributing to the records as a keyboardist.113 In February 1982, English Settlement was released as the group's first double album.114 The hook of its lead single, "Senses Working Overtime", was based on Manfred Mann's "5-4-3-2-1" (1964),115 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.116117 In several territories outside the UK, the album was released as only a single LP.118

The group scheduled television appearances and an international tour in support of English Settlement. 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 hypnotherapy. 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."119 The band's remaining tour dates in England were cancelled.120 After recovering from the episode, Partridge rejoined the group for their first tour of the US as a headlining act.121 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."122

On 4 April 1982, XTC were scheduled to headline a sold-out show at the Hollywood Palladium in Los Angeles.123 Partridge woke up that morning, he said, and "couldn't get off the bed. My legs wouldn't function. Walked to Ben Frank's 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."124 The tour ceased. He continued his hypnotherapy treatment, fearing that he was turning into the archetypal rock burn-out (such as Syd Barrett). "It got to the point where if I touched the front door knob, I wanted to throw up."125 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.126

1982–1992: studio years

Financial issues and start of managerial litigation

The cancelled American tour saddled XTC with a £20,000 debt, and since it left them unable to record new material, they decided to reexamine their financial affairs.127 Confused as to where their earnings had gone, the group requested that manager Ian Reid help pay for the debts, but he refused, saying 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."128

Reid remained XTC's manager until January 1983 (according to the book Chalkhills and Children)129 or a couple years afterward (according to Partridge).130 He legally retained the title of XTC's manager until near the end of the decade.131 In April 1984, the group learned that he had incurred them an outstanding value-added taxes [VAT] bill132 and that he had significantly mishandled their revenue stream.133 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."134 For the next decade, the entirety of the band's earnings would be invested in the continued litigation.135 The group supported themselves mostly through short-term loans from Virgin and royalty payments derived from airplay.136 At one point, Moulding and Gregory were working at a car rental service for additional income.137 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'."138 A court-enforced gag order restricts the band from speaking publicly on the alleged improprieties.139 According to Partridge, Reid was "very naughty" and left the band with roughly £300,000 in unpaid VAT.140 Music journalist Patrick Schabe elaborates:

... what is known is that [Reid] signed 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.141

Mummer and faltered popularity

During the middle months of 1982, Partridge spent his time in convalescence and writing songs.142 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."143 In the interim, Chambers moved 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".144 The newly-wed Chambers soon left the band to be with his wife in Australia.145

Drummer Pete Phipps, formerly of the Glitter Band, 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, Waxworks: Some Singles 1977–1982, 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."146 Lascelles said that he had actually named Talking Heads, 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."147

After some remixing and additional songs at Virgin's behest, Mummer, the first product of the studio-bound XTC, appeared in August 1983.148 Virgin did little to promote the album and delayed its release by several months.149 At number 58, it was their lowest-charting album to date.150 The one single that did chart, "Love on a Farmboy's Wages", did find significant airplay on BBC Radio 1.151 It was the first of a handful of XTC songs written over the years that reflected their poor financial state.152

Virtually every contemporary review of Mummer accused the band of falling out of touch with the contemporary music climate.153 Journalist Serene Dominic retrospectively wrote that the album was seen as "something of a disappointment at the time of release ... [It was] devoid of silly songs like 'Sgt. Rock' that had heretofore been the band's stock-in-trade and didn't rock out until the last song, 'Funk Pop a Roll.' ... Mummer signaled a strange rebirth for XTC."154 Moulding thought that "when we came back from America after our aborted tour of 1982 ... people like Spandau Ballet had moved onto the scene; new groups were coming up and there was no place for us."155156 Mojo 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".157

The Big Express and 25 O'Clock

XTC released the 1983 holiday single "Thanks for Christmas" under the pseudonym Three Wise Men. It was produced by David Lord, 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 Linn LM-1 Drum Computer, and extensive time was spent on its programming.158 Partridge envisioned the work as "industrial pop" inspired by Swindon, a "railway town".159 The result, The Big Express, returned the group to a brighter and uptempo sound marked by studio experimentation and denser arrangements, setting a template that they would develop on subsequent albums.160 He jokingly referred to some parts of the album as the only time the group were befallen with stereotypical 1980s-style production.161 It was released in October 1984, reaching a higher chart position than Mummer,162 but was "virtually ignored" by critics.163 Virgin invested £33,000 into the music video for "All You Pretty Girls" to little effect.164 The band were charged for the sum.165

When Gregory joined the band in 1979, Partridge learned that they both shared a longtime enthusiasm for 1960s psychedelic music. 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.166167 In November 1984, one month after The Big Express's release, Partridge and John Leckie traveled to Monmouth to produce the album Miss America by singer-songwriter Mary Margaret O'Hara, 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 Nick Nicely's 1982 psychedelic single "Hilly Fields 1892", and devised a recording project to fill the newfound gap in his schedule.168 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.169

Calling themselves "the Dukes of Stratosphear", 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 Paisley outfits and lit scented candles.170 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 [subvert everybody's expectations] with XTC, as there was too much money involved and we were expected to be mentally honest and 'real.' Too much financial pressure."171 Released on April Fools' Day 1985, the album was presented as a long-lost collection of recordings by a late 1960s group.172 When asked about the album in interviews, XTC initially denied having any involvement.173 In England, the six-track mini-album sold twice as many copies as The Big Express, even before the Dukes' identity was made public. The album also achieved considerable sales in the US.174

Skylarking and Psonic Psunspot

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.175 One reason why the group was not selling enough records, Virgin reportedly concluded, was that they sounded "too English".176 The label forced the group to work with one of their selected American producers. When shown a list of their names, they recognised none except for Todd Rundgren.177 Gregory was a fan of Rundgren's music, particularly since hearing the 1978 album Hermit of Mink Hollow. 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 [New York Dolls, 1973]. In the absence of any better alternatives, he agreed."178 Once contacted, Rundgren offered to handle the album's entire recording for a lump sum of $150,000, and the band agreed.179

In January 1986, Partridge and Moulding mailed Rundgren a collection of more than 20 demo tapes they had stockpiled in advance.180 Compared to previous XTC albums, much of the material contrasted significantly with its mellower feel, lush arrangements, and "flowery" aesthetic.181 Rundgren responded with the idea of a concept album 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 [Rundgren] came up with a sequence of songs and a justification for their placement and brought it to the band."182

After the group arrived at Utopia Sound recording studio in upstate New York, 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.183 However, the sessions were fraught with tension, especially between him and Partridge, and disagreements arose over drum patterns, song selections, and other details.184 Partridge likened the power struggle to "two Hitlers in the same bunker".185 He expressed resentment toward Rundgren's contributions when sessions concluded, but later softened his view and praised the result.186 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 were having a good time."187

Skylarking spent one week on the UK album charts, reaching number 90 in November 1986, two weeks after its release.188 Moulding's "Grass" was chosen as lead single. It was issued exclusively in the UK with the B-side "Dear God", an outtake. "Dear God" became so popular with American college radio stations who imported the record that Geffen Records (XTC's US distributor) recalled and re-pressed Skylarking with the track included.189 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 member at knife-point. Nonetheless, the commercial success of "Dear God" propelled Skylarking to sell more than 250,000 units, and it raised the band's profile among American college youth.190 In the US, the album spent 29 weeks on the Billboard 200 and reached its peak position of number 70 in June 1987.191 The music video for "Dear God" received the 1987 Billboard Best Video award and was also nominated for three categories at the MTV Video Music Awards.192 Skylarking ultimately became XTC's best-known album193 and is generally regarded as their finest work.194

Partridge was reluctant to make another Dukes album, but to appease requests from his bandmates and Virgin Records, Psonic Psunspot (1987) was recorded. This time, 10 songs and a £10,000 budget was supplied, while John Leckie returned as producer.195 Once again, the Dukes' record outsold XTC's previous album in the UK (Skylarking 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."196 Likewise, Moulding felt that the "psychedelic element was being more ingratiated into the pie" since 25 O'Clock.197 When issued on CD, Psonic Psunspot was combined with 25 O'Clock and given the title Chips from the Chocolate Fireball (1987).198

Oranges & Lemons and Nonsuch

For their next album Oranges & Lemons, XTC traveled to Los Angeles to make use of a cheap studio rate arranged by Paul Fox, who was recruited by the band for his first production gig.199 Another reason for recording in the US with an American producer, said Gregory, was that "America was our biggest market".200 Mr. Mister (and later longtime King Crimson) member Pat Mastelotto 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.201 In a retrospective review, The Quietus' 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 you like the band's boisterous side."202 It became the highest album they had in the charts since 1982's English Settlement, rising to number 28 in the UK203 and number 44 in the US.204 Additionally, it combined with Skylarking for the group's best-selling albums to date.205 "Mayor of Simpleton" reached number 46 in the UK206 and number 72 in the US, making it their only American single to chart.207

To support the album, XTC embarked on an acoustic-guitar American radio tour that lasted for two weeks in May.208 The shows were carried out without financial compensation for the band.209 Gregory commented that it was an "interesting" style of promotion, but "incredibly hard work", as the band performed 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."210 This inspired the network to invite more artists to perform stripped-down sets, calling the series "unplugged".211 XTC's performance of "King for a Day" on Late Night with David Letterman marked the first time the group played in front of a live audience in seven years.212 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.213 After an unsuccessful attempt was made to coax Partridge back into regular touring,214 they took a short break. Partridge produced And Love for All (1990), the third album by the Lilac Time, and compered for an unbroadcast children's game show named Matchmakers.215 Gregory played for Johnny Hates Jazz, Marc Almond and Francesco Messina whilst producing for Cud. Moulding performed a special event concert with David Marx and the Refugees, a Swindon-based band that reunited him with Barry Andrews.216

Tarquin Gotch, who served as XTC's manager for a short time, helped the band reach a legal settlement with Ian Reid in 1989.217 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.218 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.219220 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.221 Gus Dudgeon produced, even though Partridge felt he was the wrong choice, and Fairport Convention's Dave Mattacks was brought in as drummer.222

Nonsuch was received with critical acclaim when released in April 1992,223224 and like Oranges & Lemons, peaked at number 28 in the UK, becoming their second consecutive and final Top 40 album.225 Rolling Stone's Michael Azerrad reviewed: "Emphasizing wonder and wit in opposition to the rage of most college rock, XTC makes alternative music for people who don't like 'alternative music'."226 Lead single "The Disappointed" reached number 33 in the UK227 and was nominated for an Ivor Novello Award.228 Its follow-up "The Ballad of Peter Pumpkinhead" reached number 71.229 "Wrapped in Grey" 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."230 In 1993, the album was nominated for a Grammy Award for Best Alternative Music Album, but lost to Tom Waits' Bone Machine.231

Strike period

In 1993, Partridge conceived XTC's next project to be an album of bubblegum pop 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 reaction to the "Springtime for Hitler" scene from the 1967 film The Producers. The label rejected his idea.232 Virgin denied Partridge's requests to renegotiate or revoke XTC's contract.233 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."234

Whatever new music the band recorded would have been automatically owned by Virgin, and so the band enacted strike action against the label.235 Prince and George Michael 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.236237 In the meantime, Partridge produced Martin Newell's 1993 album The Greatest Living Englishman238 and early sessions for Blur's second album. "I thought I did sterling work. ... Next day, [David Balfe from the Teardrop Explodes said], 'Quite frankly, Andy, this is shit.'"239 Other complications arose; he developed some health issues, and his wife divorced him.240

In 1997 (also reported as in late 1994241), 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 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."242 One of the group's first new recordings since the strike was released for the tribute album A Testimonial Dinner: The Songs of XTC (1995).243 "The Good Things", a Moulding song originally demoed for Oranges & Lemons,244 was credited under the pseudonym Terry and the Lovemen.245 In 1998, Song Stories, an authorized overview of the band's catalog by journalist and longtime friend Neville Farmer was published. Partridge said the book was badly edited and "used the crappiest quotes".246

Apple Venus and Wasp Star

By late 1997, Partridge and Moulding had amassed a large stockpile of material.247 The former's songs were an elaboration on the more orchestral style he developed with Nonsuch tracks "Omnibus", "Wrapped in Grey", and "Rook".248 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 My Fair Lady and "stuff that Burt Bacharach wrote for various [films]".249 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."250

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.251 They found a label, Cooking Vinyl, and a producer, Haydn Bendall, who had engineered XTC's debut EP back in 1977 and had significant experience in recording orchestras. Prairie Prince, who drummed on Skylarking, returned for the sessions. It soon became apparent that the band did not have the funds to record all the material they had.252 Gregory, Moulding, and Bendall wanted to reduce the project to one disc, but Partridge insisted on spreading it over two LPs.253 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").254 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.255

Gregory quit the band whilst in the middle of sessions due to personal issues and discord with his bandmates.256 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 consisted of rock songs.257 He attributed Gregory's frustration to diabetic mood swings,258 as did Moulding.259 Gregory denied that his leaving pertained to "musical differences", and that it was moreso "personal problems" related to Partridge.260

Released in February 1999, Apple Venus Volume 1 was met with critical acclaim and moderate sales.261 It had minimal promotion.262 Comparing the album to the group's earlier work, Pitchfork reviewer Zach Hooker wrote: "Apple Venus 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 Oranges and Lemons and the pastoral Skylarking. ... The music is built on simple phrases, but the relationships between those phrases becomes tremendously complex."263 In contrast, the companion album Wasp Star (Apple Venus Volume 2) (2000), consisting of more guitar-based material, was assumed as one of the band's "weakest" albums.264 Upon release, its British chart peak was higher than Volume 1, at number 40 in the UK,265 while in the US it was lower, at number 108.266 Partridge believed that some parts of the album was when "the [artistic] slope started to go down".267

Fuzzy Warbles and disintegrated partnership

After Wasp Star, newly recorded XTC material was released sporadically. The four-disc hits and rarities boxed set Coat of Many Cupboards (2002) included "Didn't Hurt a Bit", a rerecording of a Nonsuch outtake. The Dukes of Stratosphear—with Dave and Ian Gregory268—were reunited for the charity single "Open a Can (of Human Beans)" (2003).269 Another set, Apple Box (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.

From 2002 to 2006, Partridge simultaneously released volumes in the multi-album Fuzzy Warbles series, a set dedicated to unreleased solo demos and other material.270 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 [Andy] wanted to do twelve, which kind of put the wind up me a little bit. We had a bit of an argument about it."271 He felt that such "petty" arguments about XTC's finances precipitated the band's unofficial break-up, as he said in reference to the Fuzzy Warbles collection, "I got the impression he was going for broke ..."272 Partridge said that the impetus for the project was the proliferation of bootleggers who were selling low-quality copies of the material273 and that the Fuzzy Warbles set earned him more money than XTC's back catalog on Virgin.274 He also did not feel that XTC were a band anymore: "It's more of a brand. It's more HP Sauce than ever. [Colin and I are] two selfish middle-aged gits who make the music we make."275

In 2006, Partridge recorded an album, Monstrance, 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 tinnitus.276 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."277 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.278 Months later, Partridge intimated that Moulding had moved and changed his phone number,279 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.280

In July 2008, Partridge wrote in the Swindon Advertiser 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."281 In December, Moulding resurfaced for a live radio 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 Fuzzy Warbles project, and a "change in mindset" between him and Partridge. He also stated that he and Partridge were once again communicating directly by email.282

Reissue programme and TC&I

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.283 Throughout the 2010s, selected albums from the band's catalog were reissued as deluxe packages centred on new stereo and surround sound mixes by Steven Wilson.284 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.285 The official XTC Twitter 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, Complicated Game: Inside the Songs of XTC, 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.286

Until 2016, Moulding remained largely inactive as a musician. In October 2017, he and Terry Chambers issued a four-song EP, Great Aspirations (credited to "TC&I").287 Its release coincided with a televised documentary film of the band's career, XTC: This Is Pop, which premiered on Sky Arts on 7 October.288 The documentary featured new interviews with Partridge, Gregory, Moulding and Chambers.289 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."290 As of January 2018, Partridge maintained that the group would "not be recording together again."291 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.292

In 2021, Moulding told Mojo that he and Partridge had recently become on good terms with each other. "[Andy and I] 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? (laughs) 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."293

On 13 April 2024, it was announced that original keyboardist Jon Perkins had died at the age of 66.294

Musical style and development

Group dynamic

Partridge and Moulding

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.295296 His involvement 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.297 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.298

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."299 They did collaborate on arrangements, with "horn lines and harmonies, that sort of thing."300 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."301302

Discussing Moulding's songs, Partridge said that few were included on XTC albums because Moulding was not a prolific writer.303 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 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."304 Partridge opined that Moulding's songs initially "came out as weird imitations of what I was doing", but by the time of Drums and Wires, "he really started to take off as a songwriter."305 He was more effused with Moulding's offerings for Skylarking, which included the highest ratio of Moulding songs for any XTC album.306 On Moulding's bass-playing, Partridge praised his "old-fashioned" tendency to match notes to the bass drum.307

In Song Stories, Neville Farmer comments that Partridge "is the boss—erratic but willful [and] runs the band on instinct", while Moulding "is the voice of calm ... a foil to Andy's radical side."308 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."309 In Moulding's view, Partridge also typically acted as an "executive producer" for albums while frequently undermining the authority of the actual credited producer.310311 Their recording approaches differed in that Moulding sometimes preferred spontaneous or imperfect performances, whereas Partridge working method was to refine a song through repeated takes.312 The band occasionally took to the term "Andy-ness" to describe Partridge's studio indulgences.313314 Despite this, they rarely found themselves encumbered by serious creative differences. In 1997, Moulding called one dispute over a Skylarking bass part the "only real argument" between him and Partridge in the band's history.315

Andrews, Gregory and drummers

Barry Andrews, XTC's keyboard player for their first two albums, emerged as a third solo songwriter on the group's second album Go 2, and left the band shortly thereafter.316 His replacement, guitarist Dave Gregory, did not contribute songs, but was the only one in the band who could score music, and frequently contributed orchestral arrangements.317 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: "[Andy] used to like the real kind of angular, spiky, upward-thrusting guitar ... if one is angular, 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."318 Starting in 1982, Gregory extended his talents to keyboards as well,319 since Partridge and Moulding were not adept with the instrument.320

Gregory never presented a completed idea for a song to the band partly because he felt intimidated by Partridge's scrutiny.321322 Since he "couldn't continue grinding out old blues clichés and power chords," he decided to "think more in terms of the songs as the masters and the instruments as the servants."323 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."324

Terry Chambers was the band's original drummer. He was described by Partridge as "the [drummer] that's been the most primitive, but probably the most thrilling for inventiveness, because he would blunder into [different ideas]."325 One of his characteristic techniques was the use of hi-hat chokes.326 After he left in 1983, the group employed a succession of session drummers for their studio recordings.327 This included Pete Phipps (Mummer and The Big Express), Prairie Prince (Skylarking and Apple Venus), Pat Mastelotto (Oranges & Lemons), and Dave Mattacks (Nonsuch).328 Drum machines also began to be incorporated into the group's sound.329 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 and is very difficult to bring people into."330

Genres and influences

In the mid 1970s, XTC played in London punk scenes and were consistent with music of the new wave, albeit with a heavy ska influence.331 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".332 As they became more of a studio band, their material grew progressively more complex.333 Later, XTC were sometimes suggested as being a prog band.334 Partridge did not feel the band were prog335 and expressed hesitancy with the word "progressive", saying that he preferred to call the band "exploratory pop" in the same vein as the Beatles or the Kinks.336 In his words, "Prog is just longer pop songs."337

The band's early influences included disco, dub reggae, music hall, the Beatles, Free, the Kinks, Captain Beefheart, the Stooges, the New York Dolls, Cockney Rebel, Motown, Can, David Bowie, the Groundhogs, Black Sabbath,338 and the organ-dominated records of Johnny and the Hurricanes.339 The New York Dolls' single "Jet Boy" was a particular favorite for XTC.340 Partridge denied in 2019 that the Velvet Underground were an influence,341 but in 1984 expressed a fondness for "things with pounding piano, everything from Velvet Underground's 'I'm Waiting for My Man', to things that people like the Beatles or the Rolling Stones did at any time I just love banana-fingers piano."342 Moreso than Partridge, Moulding was fond of heavy metal groups such as Black Sabbath and Uriah Heep,343 as well as Deep Purple, Cream, and Free.344

XTC were not initially public with their influences due to the punk scene's anathema toward stating one's influences.345 Pitchfork writer Chris Dahlen characterised the band's original sound as punk meets "Buddy Holly-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-explode pattern."346 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", Elvis Presley's vibrato, and "the howled mannerisms of Steve Harley."347 In reference to the energy of the band's performances (which drew comparisons with Talking Heads348), 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."349 According to Moulding, "any kinship [XTC had] with punk" was gone after 1979's Motown-influenced "Life Begins at the Hop".350

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."351 He was particularly influenced by John French, the drummer for Captain Beefheart's Magic Band, although he disliked that the drummer's groove would change every few bars.352 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 [cymbal crashes] where you'd expect to find them."353 Producer Chris Hughes likened the band's fashion of playing guitar to an automated music sequencer.354

Over the next few years, XTC began showcasing their vintage psychedelic influences through the use of Mellotron and backwards tape recordings on the albums Mummer and The Big Express.355 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."356

The Beach Boys' 1968 rendition of "Bluebirds Over the Mountain" was one of the first records Partridge bought with his own money.357 Although it is widely assumed that the Beach Boys influenced XTC throughout their career,358 Partridge stated that he was originally only familiar with singles such as "I Get Around" (1964) and "Good Vibrations" (1967) which were an enormous influence for him.359 It was not until 1986 that he discovered that the Beach Boys had an album career, when he first heard Smiley Smile (1967) in its entirety.360 Moulding credited the arrival of Dave Gregory with reviving Partridge's interest in 1960s bands like the Kinks.361 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.362 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' "A Hard Day's Night" (1964).363364

Discussing the recording of the Mummer 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 Ray Davieses, the Lennons and McCartneys, the Brian Wilsons—had gone into my head really deeply.365 He later considered "Rook" (1992), "Wrapped in Grey" (1992) and "Easter Theatre" (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."366 Reportedly, when Brian Wilson was played the Dukes' "Pale and Precious", a pastiche of the Beach Boys, he thought it was styled after Paul McCartney.367

Lyricism and English culture

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?"368 British music critic John Harris identified Partridge's XTC compositions as within the same "lineage" of small town English songwriting invented by Ray Davies of the Kinks, and followed by the Jam, the Specials, "scores of half-forgotten punk and new wave bands," the Smiths and mid 1990s Britpop.369 In Partridge's opinion, the band "never got beyond Swindon."370371 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."372 Lyrically, he cited Ray Davies, John Lennon, and Paul McCartney as his biggest influences.373

According to biographer Neville Farmer, Partridge and Moulding tended to write about "more general aspects of their lives and their attitudes".374 Farmer added that "Colin nor Andy handle political or religious matters with subtlety. If they have an idea about something, they say it straightforwardly. 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."375 For Partridge, other popular subject matter included financial shortage, factory work, comic book characters, seafaring, war, and ancient rituals.376 He described himself as an atheist and said he did not become interested in politics until circa 1979, when he voted for Margaret Thatcher "purely because she was a woman. I was that naive. Now I'm very left."377

Recognition and influence

Writing for AllMusic, music critic Stephen Thomas Erlewine recognised the group thusly:

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 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.378

XTC were one of the progenitors of Britpop,379380381382 were influential to later power pop acts such as Jellyfish and the Apples in Stereo,383 and anticipated the indie/art pop bands of the 2000s.384 They also inspired tribute bands, tribute albums, fan conventions, and fansites.385386 Dave Gregory said that he became aware of XTC's "huge" influence on American acts through his interactions with musicians in the late 1980s.387 They Might Be Giants paid tribute to them in their song, "XTC vs. Adam Ant".388 XTC also had a significant influence and cult following in Japan.389 By the late 1980s, they were supported by three dedicated fanzines in as many countries.390 Between 1979 and 1992, they had a total of 10 albums and 6 singles that reached the UK top 40.391

The band are often compared reverentially to 1960s acts such as the Who, the Kinks, and most frequently, the Beatles.392 In a 1991 article that focused on a resurgence of power pop groups, members of Jellyfish and the Posies reflected that they were drawn to 1960s artists because of the 1980s music they influenced. As the Posies' Jon Auer said: "our '60s-ish-ness is actually early-'80s-ish-ness, a pop sensibility that came from listening to Squeeze and XTC".393 According to Chris Ingham, acts such as Kula Shaker, the Shamen and the Stone Roses recruited engineer John Leckie chiefly because of his productions for the retro-psychedelic Dukes of Stratosphear records.394 According to Neville Farmer, the name XTC inspired the names of U2, R.E.M., and INXS.395 Japanese band Seagull Screaming Kiss Her Kiss Her was named after the XTC song of similar title.396 Peter Gabriel 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 great British bands."397 Kurt Cobain of Nirvana said in 1991: "There’s a lot of good pop music. I’ve always liked it…bands like the Beatles, XTC, stuff like that."398 Minor Threat, Dag Nasty, and Bad Religion veteran Brian Baker has also cited XTC as an influence.399

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, not financial success".400 Andy Partridge characterized the band as "quietly influential"401 and thought that the decision to quit touring "definitely affected our popularity later on".402 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."403 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".404 In the 1981 edition of Rolling Stone's Book of Rock Lists, XTC were ranked number 15 for its list of the "17 Loudest Bands in the World", ahead of Queen and Kiss.405

XTC were the only group besides the Stranglers to emerge from the punk scene with a keyboardist.406 Journalist Steven Hyden of The A.V. Club wrote that their style of "post-punk guitar pop" became popular in the early 2000s among bands such as Kaiser Chiefs, Franz Ferdinand, Hot Hot Heat, and Bloc Party.407 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."408 Musicologist Alex Ogg listed XTC as one of several "unheralded" events in the history of post-punk,409 while Eric Klinger of PopMatters posited: "You might not hear of bands talking about XTC as a big influence the way they talk about, say, Gang of Four, but they were certainly in the mix that became the music that was to come."410411

British reception

Despite their "Englishness", the group's fanbase has been more concentrated in the US than the UK.412413414 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 and arrows of outrageous name calling because we refused to just play stupid."415 He recalled that when he played at a jam session with punk bands in the late 1970s, the drummer from X-Ray Spex shouted "Oh, you can fucking play, can you? Oh, listen to him, he can play."416 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 Top of the Pops, the retiring bards of rural olde England didn't really strike too loud a chord with the record buying public. XTC had just become 'too weird' for their own good."417 Musician and journalist Dominique Leone 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."418

Swindon did not have a respected music scene as other places in Britain.419 Partridge cited the group's origins as the main reason for their ill-repute: "if we came from a big city like London or Manchester, we would have probably have been heralded as more godlike."420 In another interview, he suggested that both their small-town origins and the British class system 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 Talking Heads, 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."421 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."422

Awards and nominations

AwardYearNominee(s)CategoryResultRef.
Grammy Awards1993NonsuchBest Alternative Music AlbumNominated423
Ivor Novello Awards1993"The Disappointed"Best Song Musically and LyricallyNominated424
MTV Video Music Awards1988"Dear God"Best Concept VideoNominated425
Breakthrough VideoNominated
Best DirectionNominated
Q Awards2014Andy PartridgeClassic SongwriterWon426

Members

Principal members

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

  • Dave Cartner – guitar (1972–1974)
  • Nervous Steve – bass guitar (1972)
  • Paul Wilson – drums (1972)
  • Steve Hutchins – vocals (1974–1975)
  • Jon Perkins – keyboards (1975–1976; died 2024)

Timeline

Discography

Main article: XTC discography

Studio albums

See also

Filmography

Documentary films

  • XTC at the Manor (1980, staged studio recording of "Towers of London" and interviews)
  • Urgh! A Music War (1982, contains live performance of "Respectable Street")
  • XTC Play at Home (1984, interviews and promotional videos)
  • XTC: This Is Pop (2017, interviews, archival footage and animations)

Music videos

The band were not allowed creative input for their music videos, except for "The Mole from the Ministry".427

Notes

Bibliography

References

  1. "XTC: Ninjas of the Mundane". Rolling Stone. 20 April 1989. /wiki/Rolling_Stone ↩

  2. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  3. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  4. Rachel 2014, p. 200. - Rachel, Daniel (2014). The Art of Noise: Conversations with Great Songwriters. St. Martin's Press. ISBN 9781466865211. https://books.google.com/books?id=hL1zAwAAQBAJ ↩

  5. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  6. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  7. Gimarc 2005, pp. 1, 10. - Gimarc, George (2005). Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970-1982. Backbeat Books. ISBN 978-0-87930-848-3. https://books.google.com/books?id=4WM6Cb1z-PwC ↩

  8. Twomey 1992, pp. 37–39. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  9. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  10. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  11. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  12. Partridge, Andy [@xtcfans] (29 January 2019). "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)" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  13. Brenda, Herrmann (September 1992). "Colin Moulding: The Agony and the XTC". Bass Player: 14–16. ↩

  14. Twomey 1992, pp. 37–39. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  15. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  16. Rachel 2014, p. 203. - Rachel, Daniel (2014). The Art of Noise: Conversations with Great Songwriters. St. Martin's Press. ISBN 9781466865211. https://books.google.com/books?id=hL1zAwAAQBAJ ↩

  17. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  18. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  19. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  20. Gimarc 2005, p. 17. - Gimarc, George (2005). Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970-1982. Backbeat Books. ISBN 978-0-87930-848-3. https://books.google.com/books?id=4WM6Cb1z-PwC ↩

  21. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  22. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  23. Farmer 1998, p. 60. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  24. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  25. Rachel 2014, p. 203. - Rachel, Daniel (2014). The Art of Noise: Conversations with Great Songwriters. St. Martin's Press. ISBN 9781466865211. https://books.google.com/books?id=hL1zAwAAQBAJ ↩

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

  27. Jones, J.R. (12 June 2000). "Too Much of a God Thing". Chicago Reader. https://www.chicagoreader.com/chicago/too-much-of-a-god-thing/Content?oid=902571 ↩

  28. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  29. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  30. Walley, Chas de (23 January 2013). "XTC: 'Is there a place in rock'n'roll for a Princess Anne lookalike?' – a classic feature from the vaults". The Guardian. London. https://www.theguardian.com/music/2013/jan/23/xtc-classic-feature ↩

  31. Passantino, Rosemary (April 1989). "XTC at Last". Spin. 5 (1). ISSN 0886-3032. https://books.google.com/books?id=h-bxxO5B-xsC&pg=PA92 ↩

  32. Partridge, Andy [@xtcfans] (29 January 2019). "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)" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  33. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  34. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  35. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  36. Thodoris, Από (23 November 2017). "Interview: Andy Partridge (XTC)". Hit Channel. Retrieved 20 September 2017. https://www.hit-channel.com/interview-andy-partridge-xtc/132778 ↩

  37. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  38. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  39. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

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

  41. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  42. Twomey 1992, p. 74. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  43. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  44. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  45. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  46. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  47. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  48. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  49. Twomey 1992, pp. 75–76. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

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

  51. DeRogatis 2003, p. 341. - DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. ISBN 978-0-634-05548-5. https://books.google.com/books?id=U7cQmRsLgN8C ↩

  52. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  53. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  54. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  55. Twomey 1992, p. 79. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  56. DeRogatis 2003, p. 341. - DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. ISBN 978-0-634-05548-5. https://books.google.com/books?id=U7cQmRsLgN8C ↩

  57. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  58. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  59. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  60. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  61. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  62. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  63. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  64. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  65. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  66. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  67. Soligny, Jérôme (May 1999). "Discorama XTC [an interview with Partridge]". Rock & Folk: 62–67. 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 vaudou. /wiki/Rock_%26_Folk ↩

  68. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  69. Bernhardt, Todd (15 December 2008). "Dave remembers 'Making Plans for Nigel'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20081214.html ↩

  70. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  71. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  72. Bernhardt, Todd (11 May 2009). "Colin discusses 'Life Begins at the Hop'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20090510.html ↩

  73. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  74. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  75. Bernhardt, Todd (24 November 2008). "Colin discusses 'Making Plans for Nigel'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20081123.html ↩

  76. Woodstra, Chris. "Drums and Wires". AllMusic. Retrieved 20 September 2017. https://www.allmusic.com/album/drums-and-wires-mw0000691295 ↩

  77. Woodstra, Chris. "Drums and Wires". AllMusic. Retrieved 20 September 2017. https://www.allmusic.com/album/drums-and-wires-mw0000691295 ↩

  78. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  79. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  80. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  81. Twomey 1992, p. 102. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  82. Bernhardt, Todd (15 December 2008). "Dave remembers 'Making Plans for Nigel'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20081214.html ↩

  83. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  84. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  85. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  86. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  87. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  88. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  89. George, Harry (October 1983). "The Case of the Missing Andy Boy". Trouser Press. pp. 26–29. /wiki/Trouser_Press ↩

  90. Although it was credited to "Mr Partridge", he does not personally consider it a solo album.[49] Virgin rejected his request to issue it as XTC as it would have counted toward their record contract.[50] ↩

  91. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  92. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  93. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  94. Bernhardt, Todd (26 February 2007). "Andy discusses 'Respectable Street'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20070226.html ↩

  95. Twomey 1992, pp. 113–114. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  96. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  97. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  98. Partridge, Andy [@xtcfans] (29 January 2019). "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 ?" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  99. Ramon, Gary (November 1990). "XTC Recording History". Record Collector. No. 130. /wiki/Record_Collector ↩

  100. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  101. Twomey 1992, p. 3. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  102. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  103. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  104. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  105. Hughes, Rob (18 August 2016). "Andy Partridge: The Big Interview". Team Rock. Retrieved 20 September 2017. http://teamrock.com/feature/2016-08-18/andy-partridge-discusses-the-pitfalls-of-fame-in-the-prog-interview ↩

  106. "XTatiCally Yours". Record Buyer. April 2002. ↩

  107. Twomey 1992, pp. 110, 124. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  108. Keoghan, Jim (6 February 2012). "A Watershed Moment: XTC's Andy Partridge on English Settlement". The Quietus. http://thequietus.com/articles/07896-xtc-andy-partridge-english-settlement ↩

  109. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  110. Woodstra, Chris. "English Settlement". AllMusic. Retrieved 20 September 2017. https://www.allmusic.com/album/english-settlement-mw0000652650 ↩

  111. Kot, Greg (3 May 1992). "The XTC Legacy: An Appraisal". Chicago Tribune. Retrieved 22 June 2016. /wiki/Greg_Kot ↩

  112. Woodstra, Chris. "English Settlement". AllMusic. Retrieved 20 September 2017. https://www.allmusic.com/album/english-settlement-mw0000652650 ↩

  113. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  114. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  115. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  116. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  117. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  118. Ramon, Gary (November 1990). "XTC Recording History". Record Collector. No. 130. /wiki/Record_Collector ↩

  119. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  120. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  121. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  122. Ramon, Gary (November 1990). "XTC Recording History". Record Collector. No. 130. /wiki/Record_Collector ↩

  123. Kristine McKenna, "XTC and the ABC's of Topical Pop", Los Angeles Times, 4 April 1982. Retrieved via Newspapers.com. ↩

  124. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  125. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

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

  127. Twomey 1992, p. 127. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  128. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  129. Twomey 1992, p. 131. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  130. Bernhardt, Todd; Partridge, Andy (14 June 2009). "Andy discusses "Train Running Low on Soul Coal"". Chalkhills. /wiki/Andy_Partridge ↩

  131. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  132. Twomey 1992, p. 137. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  133. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  134. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  135. Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1. http://www.chrishunt.biz/features16.html ↩

  136. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  137. Reed, Nick (11 February 2014). "25 Years On: XTC's Oranges & Lemons Revisited". The Quietus. Retrieved 25 September 2017. http://thequietus.com/articles/14404-xtc-oranges-and-lemons ↩

  138. Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1. http://www.chrishunt.biz/features16.html ↩

  139. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  140. Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1. http://www.chrishunt.biz/features16.html ↩

  141. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  142. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  143. Amorosi, A.D. (28 March 2016). "The Making of XTC's "Skylarking"". Magnet. Retrieved 13 March 2017. http://www.magnetmagazine.com/2016/03/28/magnet-classics-xtcs-skylarking/ ↩

  144. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  145. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  146. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  147. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  148. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  149. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  150. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  151. Stafford, Bob (1989). "Oranges & Lemons". Melody Maker. /wiki/Melody_Maker ↩

  152. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  153. Twomey 1992, p. 134. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  154. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  155. "XTatiCally Yours". Record Buyer. April 2002. ↩

  156. 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 God's sake!"[74] ↩

  157. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  158. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  159. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  160. Woodstra, Chris. "The Big Express". AllMusic. Retrieved 20 September 2017. https://www.allmusic.com/album/the-big-express-mw0000201518 ↩

  161. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  162. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  163. Woodstra, Chris. "The Big Express". AllMusic. Retrieved 20 September 2017. https://www.allmusic.com/album/the-big-express-mw0000201518 ↩

  164. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  165. Partridge, Andy [@xtcfans] (29 January 2019). "WC-"Virgin invested £33,000 into the music video for "All You Pretty Girls" to little effect." A sum XTC would be charged for" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  166. Gibron, Bill (14 February 2010). "Parcels from a Patchouli Past: An Interview with Andrew Partridge". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/119477-parcels-from-a-patchouli-past-an-interview-with-andrew-partridge-2496154616.html ↩

  167. Another consideration Partridge had was the punk movement's antipathy toward pop music of the past: "A real Pol Pot kind of thing, which is ludicrous, and rather nasty."[2] /wiki/Year_Zero_(political_notion) ↩

  168. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  169. Rachel 2014, p. 203. - Rachel, Daniel (2014). The Art of Noise: Conversations with Great Songwriters. St. Martin's Press. ISBN 9781466865211. https://books.google.com/books?id=hL1zAwAAQBAJ ↩

  170. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  171. Amorosi, A.D. (28 March 2016). "The Making of XTC's "Skylarking"". Magnet. Retrieved 13 March 2017. http://www.magnetmagazine.com/2016/03/28/magnet-classics-xtcs-skylarking/ ↩

  172. Erlewine, Stephen Thomas. "25 O'Clock". AllMusic. Retrieved 20 September 2017. /wiki/Stephen_Thomas_Erlewine ↩

  173. Brelhan, Tom (25 February 2009). "XTC to Reissue Dukes of Stratosphear Side Project". Pitchfork. Retrieved 20 September 2017. https://pitchfork.com/news/34690-xtc-to-reissue-dukes-of-stratosphear-side-project/ ↩

  174. Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1. http://www.chrishunt.biz/features16.html ↩

  175. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  176. Greenwald, Ted (November 1987). "XTC's Reluctant Keyboardist Reveals Rundgren's Production Style". Keyboard. /wiki/Keyboard_(magazine) ↩

  177. Nelson, Terry (26 October 2016). "TRIBUTE: Celebrating 30 Years of XTC's 'Skylarking'". Albumism.com. Retrieved 20 September 2017. http://www.albumism.com/features/tribute-celebrating-30-years-of-xtc-skylarking ↩

  178. Myers 2010, p. 256. - Myers, Paul (2010). A Wizard, a True Star: Todd Rundgren in the Studio. Jawbone Press. ISBN 978-1-906002-33-6. https://books.google.com/books?id=K1WFL1CgvDIC&pg=PA212 ↩

  179. Zaleski, Annie (27 October 2016). "30 Years Ago: XTC Finds Pop Perfection with 'Skylarking'". Diffuser.fm. Retrieved 20 September 2017. http://diffuser.fm/xtc-skylarking/ ↩

  180. Myers 2010, p. 257. - Myers, Paul (2010). A Wizard, a True Star: Todd Rundgren in the Studio. Jawbone Press. ISBN 978-1-906002-33-6. https://books.google.com/books?id=K1WFL1CgvDIC&pg=PA212 ↩

  181. Amorosi, A.D. (28 March 2016). "The Making of XTC's "Skylarking"". Magnet. Retrieved 13 March 2017. http://www.magnetmagazine.com/2016/03/28/magnet-classics-xtcs-skylarking/ ↩

  182. Myers 2010, pp. 257–258. - Myers, Paul (2010). A Wizard, a True Star: Todd Rundgren in the Studio. Jawbone Press. ISBN 978-1-906002-33-6. https://books.google.com/books?id=K1WFL1CgvDIC&pg=PA212 ↩

  183. Amorosi, A.D. (28 March 2016). "The Making of XTC's "Skylarking"". Magnet. Retrieved 13 March 2017. http://www.magnetmagazine.com/2016/03/28/magnet-classics-xtcs-skylarking/ ↩

  184. Parker, Adam (6 February 2016). "Rundgren still bangs the drum all day Rock and roll titan to play at Music Hall". The Post and Courier. http://www.postandcourier.com/features/arts_and_travel/rundgren-still-bangs-the-drum-all-day-rock-and-roll/article_7b358388-63b5-5e1d-bdbc-02afdcdee8a2.html ↩

  185. Jones, J.R. (12 June 2000). "Too Much of a God Thing". Chicago Reader. https://www.chicagoreader.com/chicago/too-much-of-a-god-thing/Content?oid=902571 ↩

  186. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  187. Parker, Adam (6 February 2016). "Rundgren still bangs the drum all day Rock and roll titan to play at Music Hall". The Post and Courier. http://www.postandcourier.com/features/arts_and_travel/rundgren-still-bangs-the-drum-all-day-rock-and-roll/article_7b358388-63b5-5e1d-bdbc-02afdcdee8a2.html ↩

  188. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  189. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  190. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  191. "Billboard 200: XTC". Billboard. 2017. Retrieved 27 February 2017. http://www.billboard.com/artist/277881/xtc/chart?f=305 ↩

  192. Schabe, Patrick (5 May 2002). "XTC: A Coat of Many Cupboards". PopMatters. https://www.popmatters.com/xtc-coat-2496118960.html ↩

  193. Dahlen, Chris (19 January 2007). "Andy Partridge – Fuzzy Warbles Collector's Album". Pitchfork. Retrieved 20 September 2017. http://pitchfork.com/reviews/albums/9785-fuzzy-warbles-collectors-album/ ↩

  194. Zaleski, Annie (27 October 2016). "30 Years Ago: XTC Finds Pop Perfection with 'Skylarking'". Diffuser.fm. Retrieved 20 September 2017. http://diffuser.fm/xtc-skylarking/ ↩

  195. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  196. Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1. http://www.chrishunt.biz/features16.html ↩

  197. Amorosi, A.D. (28 March 2016). "The Making of XTC's "Skylarking"". Magnet. Retrieved 13 March 2017. http://www.magnetmagazine.com/2016/03/28/magnet-classics-xtcs-skylarking/ ↩

  198. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  199. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  200. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  201. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  202. Reed, Nick (11 February 2014). "25 Years On: XTC's Oranges & Lemons Revisited". The Quietus. Retrieved 25 September 2017. http://thequietus.com/articles/14404-xtc-oranges-and-lemons ↩

  203. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  204. "Billboard 200: XTC". Billboard. 2017. Retrieved 27 February 2017. http://www.billboard.com/artist/277881/xtc/chart?f=305 ↩

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

  206. Reed, Nick (11 February 2014). "25 Years On: XTC's Oranges & Lemons Revisited". The Quietus. Retrieved 25 September 2017. http://thequietus.com/articles/14404-xtc-oranges-and-lemons ↩

  207. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  208. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  209. Partridge, Andy [@xtcfans] (29 January 2019). "WC-Re acoustic EU tour..." (Tweet). Archived from the original on 7 May 2019 – via Twitter. /wiki/Andy_Partridge ↩

  210. Ramon, Gary (November 1990). "XTC Recording History". Record Collector. No. 130. /wiki/Record_Collector ↩

  211. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  212. Gibbs, Ryan (19 May 2015). "Favorite Letterman Music Moments". The Young Folks. Retrieved 20 September 2017. https://www.theyoungfolks.com/music/56185/favorite-letterman-music-moments/ ↩

  213. "XTatiCally Yours". Record Buyer. April 2002. ↩

  214. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  215. Farmer 1998, p. 55. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  216. Farmer 1998, p. 54. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  217. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  218. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  219. Fevret, Christian (1992). "XTC – Quality Sweet". Les Inrockuptibles. ↩

  220. 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."[14] 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.[99] ↩

  221. Skene, Gordon (21 August 2016). "A Chat With Andy Partridge Of XTC – 1992 – Past Daily Weekend Pop Chronicles". Past Daily. Retrieved 25 September 2017. http://pastdaily.com/2016/08/21/chat-andy-partridge-xtc-1992/ ↩

  222. Farmer 1998, pp. 58–59. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  223. Swenson, Kyle (April 1999). "Orchestral XTC". Guitar Player. /wiki/Guitar_Player ↩

  224. Reed, Nick (11 February 2014). "25 Years On: XTC's Oranges & Lemons Revisited". The Quietus. Retrieved 25 September 2017. http://thequietus.com/articles/14404-xtc-oranges-and-lemons ↩

  225. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  226. Azerrad, Michael (28 May 1992). "XTC: Nonsuch". Rolling Stone. Archived from the original on 17 August 2007. Retrieved 18 June 2011. /wiki/Michael_Azerrad ↩

  227. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  228. Rachel 2014, p. 203. - Rachel, Daniel (2014). The Art of Noise: Conversations with Great Songwriters. St. Martin's Press. ISBN 9781466865211. https://books.google.com/books?id=hL1zAwAAQBAJ ↩

  229. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  230. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  231. DeYoung, Bill (23 February 1993). "One critic handicaps tonight's Grammys". The Gainesville Sun. Retrieved 29 April 2010.[permanent dead link‍] https://news.google.com/newspapers?id=zt4RAAAAIBAJ&pg=4985,6642121&dq ↩

  232. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  233. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  234. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  235. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  236. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  237. Gritten, David (8 February 1997). "And the band did not play on". The Daily Telegraph. London. Archived from the original on 26 February 2016. https://web.archive.org/web/20160226074010/http://www.telegraph.co.uk/culture/4707495/And-the-band-did-not-play-on.html ↩

  238. Unterberger, Richie. "The Greatest Living Englishman". AllMusic. Retrieved 20 September 2017. /wiki/Richie_Unterberger ↩

  239. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  240. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  241. Bookman, Dave (15 December 1994). "Virgins No More". Eye Weekly. After a 17-year association, pop perfectionists XTC have ended their relationship with Virgin Records. ↩

  242. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  243. O'Brien, Karen (5 September 1998). "Quintessential Englishman Andy Partridge, front man of Eighties band, XTC, talks to Karen O'Brien about rebirth, recording contracts and the value of hindsight". The Independent. Archived from the original on 7 May 2022. Retrieved 25 September 2017. https://www.independent.co.uk/life-style/interview-andy-partridge-andys-plans-work-out-but-theres-no-room-for-nigel-1196333.html ↩

  244. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  245. O'Brien, Karen (5 September 1998). "Quintessential Englishman Andy Partridge, front man of Eighties band, XTC, talks to Karen O'Brien about rebirth, recording contracts and the value of hindsight". The Independent. Archived from the original on 7 May 2022. Retrieved 25 September 2017. https://www.independent.co.uk/life-style/interview-andy-partridge-andys-plans-work-out-but-theres-no-room-for-nigel-1196333.html ↩

  246. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  247. Tobin, Alex (29 May 2000). "XTC Interview with Colin Moulding". Kinda Muzik. Retrieved 20 September 2017. http://www.kindamuzik.net/achtergrond/xtc/xtc/496/ ↩

  248. "XTatiCally Yours". Record Buyer. April 2002. ↩

  249. Tobin, Alex (29 May 2000). "XTC Interview with Colin Moulding". Kinda Muzik. Retrieved 20 September 2017. http://www.kindamuzik.net/achtergrond/xtc/xtc/496/ ↩

  250. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  251. Jones, J.R. (12 June 2000). "Too Much of a God Thing". Chicago Reader. https://www.chicagoreader.com/chicago/too-much-of-a-god-thing/Content?oid=902571 ↩

  252. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  253. Jones, J.R. (12 June 2000). "Too Much of a God Thing". Chicago Reader. https://www.chicagoreader.com/chicago/too-much-of-a-god-thing/Content?oid=902571 ↩

  254. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  255. Dominic, Serene (11 May 2000). "XTC: Stupidly Happy Ever After". Phoenix New Times. http://www.phoenixnewtimes.com/music/xtc-stupidly-happy-ever-after-6417095 ↩

  256. Jones, J.R. (12 June 2000). "Too Much of a God Thing". Chicago Reader. https://www.chicagoreader.com/chicago/too-much-of-a-god-thing/Content?oid=902571 ↩

  257. Jones, J.R. (12 June 2000). "Too Much of a God Thing". Chicago Reader. https://www.chicagoreader.com/chicago/too-much-of-a-god-thing/Content?oid=902571 ↩

  258. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

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

  260. Dave (9 March 2008). "Interview of Dave Gregory". Rundgren Radio (Audio). Event occurs at 19:32–26:00. Retrieved 14 January 2018. http://www.blogtalkradio.com/runt/2008/03/09/rundgren-radio ↩

  261. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  262. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  263. Hooker, Zach (23 February 1999). "XTC: Apple Venus, Volume One". Pitchfork.com. Retrieved 16 June 2011. http://pitchfork.com/reviews/albums/8835-apple-venus-volume-one/ ↩

  264. Dahlen, Chris (21 July 2006). "Apple Box". Pitchfork. Retrieved 20 September 2017. https://pitchfork.com/reviews/albums/9231-apple-box/ ↩

  265. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  266. "Billboard 200: XTC". Billboard. 2017. Retrieved 27 February 2017. http://www.billboard.com/artist/277881/xtc/chart?f=305 ↩

  267. Pop Machine (29 May 2009). "Andy Partridge hails the Dukes, buries XTC, chides Robyn Hitchcock and considers himself done". Chicago Tribune. Archived from the original on 13 June 2009. PM09 https://web.archive.org/web/20090613014431/http://featuresblogs.chicagotribune.com/entertainment_popmachine/2009/05/the-ever-melodic-adventurous-underappreciated-british-band-xtc-had-just-come-off-1984s-coolly-digital-low-selling-th.html ↩

  268. Pop Machine (29 May 2009). "Andy Partridge hails the Dukes, buries XTC, chides Robyn Hitchcock and considers himself done". Chicago Tribune. Archived from the original on 13 June 2009. PM09 https://web.archive.org/web/20090613014431/http://featuresblogs.chicagotribune.com/entertainment_popmachine/2009/05/the-ever-melodic-adventurous-underappreciated-british-band-xtc-had-just-come-off-1984s-coolly-digital-low-selling-th.html ↩

  269. Dahlen, Chris (2 April 2009). "25 O'Clock / Psonic Psunspot". Pitchfork. Retrieved 20 September 2017. https://pitchfork.com/reviews/albums/12893-25-oclock-psonic-psunspot/ ↩

  270. Dahlen, Chris (19 January 2007). "Andy Partridge – Fuzzy Warbles Collector's Album". Pitchfork. Retrieved 20 September 2017. http://pitchfork.com/reviews/albums/9785-fuzzy-warbles-collectors-album/ ↩

  271. wesLONG (June 2003). "Didn't Hurt a Bit". Optimism Flames. Retrieved 20 September 2017. http://www.optimismsflames.com/Interview1Colin.htm ↩

  272. Mojo 2021 issue[full citation needed] /wiki/Wikipedia:Citing_sources#What_information_to_include ↩

  273. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  274. Dahlen, Chris (19 January 2007). "Andy Partridge – Fuzzy Warbles Collector's Album". Pitchfork. Retrieved 20 September 2017. http://pitchfork.com/reviews/albums/9785-fuzzy-warbles-collectors-album/ ↩

  275. Morrish, John (20 February 1999). "Arts: The agony and the XTC". The Independent. London. Archived from the original on 7 May 2022. https://www.independent.co.uk/arts-entertainment/arts-the-agony-and-the-xtc-1071947.html ↩

  276. Gallo, Phil (4 December 2006). "XTC's Partridge discusses boxset, Monstrance". Variety. Retrieved 20 September 2017. https://variety.com/2006/music/news/xtc-s-partridge-discusses-boxset-monstrance-1117955044/ ↩

  277. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  278. "Countdowns to XTC". Mojo. December 2006. p. 22. /wiki/Mojo_(magazine) ↩

  279. Maher, Dave (2 February 2007). "Andy Partridge: XTC "Well and Truly in the Fridge"". Pitchfork. Archived from the original on 14 January 2009. https://web.archive.org/web/20090114055305/http://www.pitchforkmedia.com/article/news/41069/Andy_Partridge_XTC_Well_and_Truly_in_the_Fridge ↩

  280. Doug (17 February 2008). "Andy Partridge interview". Rundgren Radio (Audio). Event occurs at 57:00–58:50, 1:45:00–1:46:25. Retrieved 5 January 2018. http://www.blogtalkradio.com/runt/2008/02/17/rundgren-radio/ ↩

  281. Andy Partridge (30 July 2008). "What's happening with Colin?". The Swindon Advertiser. Archived from the original on 29 September 2011. Retrieved 12 October 2008. /wiki/Andy_Partridge ↩

  282. Dave (7 December 2008). "Interview of Colin Moulding". Rundgren Radio (Audio). Event occurs at 12:24–16:00. Archived from the original on 25 February 2009. Retrieved 9 December 2008. https://web.archive.org/web/20090225073541/http://www.blogtalkradio.com/runt/2008/12/07/Rundgren-Radio ↩

  283. Partridge, Andy [@xtcfans] (17 August 2014). "THE CORRECTOR- XTC has never split,legally it still exists,as Colin and myself" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  284. Hughes, Rob (18 August 2016). "Andy Partridge: The Big Interview". Team Rock. Retrieved 20 September 2017. http://teamrock.com/feature/2016-08-18/andy-partridge-discusses-the-pitfalls-of-fame-in-the-prog-interview ↩

  285. Partridge, Andy [@xtcfans] (23 December 2017). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  286. Zaleski, Annie (20 March 2016). ""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". Salon. Retrieved 20 September 2017. http://www.salon.com/2016/03/20/music_is_so_abused_these_days_xtcs_andy_partridge_opens_up_about_songwriting_painting_and_developing_the_cruel_parent_gene_toward_your_own_art/ ↩

  287. Ham, Robert (26 November 2017). "Colin Moulding on Reteaming With Terry Chambers for 'DIY' New Project & Possibility of XTC Reunion". Billboard. Retrieved 20 September 2017. https://www.billboard.com/articles/columns/rock/8046313/colin-moulding-xtc-tci-interview ↩

  288. Partridge, Andy [@xtcfans] (31 August 2017). "XTC TV doc THIS IS POP will be broadcast on Sky Arts on Saturday Oct. 7th at 9pm GMT. Date for your diary" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  289. Partridge, Andy [@xtcfans] (9 December 2016). "@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?" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  290. Ham, Robert (26 November 2017). "Colin Moulding on Reteaming With Terry Chambers for 'DIY' New Project & Possibility of XTC Reunion". Billboard. Retrieved 20 September 2017. https://www.billboard.com/articles/columns/rock/8046313/colin-moulding-xtc-tci-interview ↩

  291. Partridge, Andy [@xtcfans] (13 January 2018). "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?" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  292. Peacock, Tim (31 July 2018). "XTC's Colin Moulding And Terry Chambers Announce First Live Gigs Since 1982". Udiscovermusic.com. Retrieved 31 October 2018. https://www.udiscovermusic.com/news/xtc-colin-moulding-terry-chambers-gigs/ ↩

  293. Mojo 2021 issue[full citation needed] /wiki/Wikipedia:Citing_sources#What_information_to_include ↩

  294. Ponting, Noel (29 May 2024). "Tributes paid to XTC's first keyboardist Jonathan Perkins". Swindon Advertiser. Retrieved 29 May 2024. https://www.swindonadvertiser.co.uk/leisure/24345492.tributes-paid-xtcs-first-keyboardist-jonathan-perkins/ ↩

  295. Paphides, Peter (April 2004). "Senses Working Overtime". Word. No. 14. http://chalkhills.org/articles/Word200404.html ↩

  296. He described himself as the band's "battery"[136] and expressed resentment "that the other three, inevitably, would go off sightseeing while muggins here would be needed for radio, TV and magazine interviews."[58] Moulding said he was "happy for him to do the talking."[137] ↩

  297. Farmer 1998, p. 88. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  298. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  299. Brenda, Herrmann (September 1992). "Colin Moulding: The Agony and the XTC". Bass Player: 14–16. ↩

  300. wesLONG (June 2003). "Didn't Hurt a Bit". Optimism Flames. Retrieved 20 September 2017. http://www.optimismsflames.com/Interview1Colin.htm ↩

  301. Brenda, Herrmann (September 1992). "Colin Moulding: The Agony and the XTC". Bass Player: 14–16. ↩

  302. Occasionally, Partridge also took to recording the bass parts, such as on Moulding's "What in the World??..." and "Vanishing Girl",[139] however, it was out of necessity in those cases due to recording logistics.[140] ↩

  303. Doug (17 February 2008). "Andy Partridge interview". Rundgren Radio (Audio). Event occurs at 57:00–58:50, 1:45:00–1:46:25. Retrieved 5 January 2018. http://www.blogtalkradio.com/runt/2008/02/17/rundgren-radio/ ↩

  304. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  305. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  306. Myers 2010, p. 258. - Myers, Paul (2010). A Wizard, a True Star: Todd Rundgren in the Studio. Jawbone Press. ISBN 978-1-906002-33-6. https://books.google.com/books?id=K1WFL1CgvDIC&pg=PA212 ↩

  307. Bernhardt, Todd (17 May 1998). "Andy Partridge: Providing XTC's Rhythmic Oversight". Chalkhills. Retrieved 25 August 2019. http://chalkhills.org/articles/TBAndy19980517.html ↩

  308. Farmer 1998, p. 309. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  309. Paphides, Peter (April 2004). "Senses Working Overtime". Word. No. 14. http://chalkhills.org/articles/Word200404.html ↩

  310. Myers 2010, p. 255. - Myers, Paul (2010). A Wizard, a True Star: Todd Rundgren in the Studio. Jawbone Press. ISBN 978-1-906002-33-6. https://books.google.com/books?id=K1WFL1CgvDIC&pg=PA212 ↩

  311. Partridge commented: "There's a lot of, 'Andy must be awful in the studio' [written on the Internet]. I'm not, I'm mister fucking nice!"[58] He said that the only producers he ever had trouble with were Todd Rundgren on Skylarking and Gus Dudgeon on Nonsuch.[122] ↩

  312. Bernhardt, Todd; Moulding, Colin (26 January 2009). "Colin discusses 'The Meeting Place'". Chalkhills. /wiki/Colin_Moulding ↩

  313. Twomey 1992, p. 162. - Twomey, Chris (1992). XTC: Chalkhills and Children. London: Omnibus Press. ISBN 9780711927582. https://archive.org/details/xtcchalkhillschi00twom ↩

  314. 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."[24] ↩

  315. Farmer 1998, p. 194. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  316. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  317. Farmer 1998, p. 61. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  318. Bernhardt, Todd (11 May 2009). "Colin discusses 'Life Begins at the Hop'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20090510.html ↩

  319. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  320. Farmer 1998, p. 309. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  321. Farmer 1998, p. 309. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  322. During the sessions for Drums and Wires or Black Sea, Gregory did present an original song, but it was rejected on the grounds that it was too derivative of Steely Dan.[149] /wiki/Steely_Dan ↩

  323. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  324. Farmer 1998, p. 309. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  325. Bernhardt, Todd (17 May 1998). "Andy Partridge: Providing XTC's Rhythmic Oversight". Chalkhills. Retrieved 25 August 2019. http://chalkhills.org/articles/TBAndy19980517.html ↩

  326. Bernhardt, Todd (11 May 2009). "Colin discusses 'Life Begins at the Hop'". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20090510.html ↩

  327. Brenda, Herrmann (September 1992). "Colin Moulding: The Agony and the XTC". Bass Player: 14–16. ↩

  328. Farmer 1998. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  329. Bernhardt, Todd (17 May 1998). "Andy Partridge: Providing XTC's Rhythmic Oversight". Chalkhills. Retrieved 25 August 2019. http://chalkhills.org/articles/TBAndy19980517.html ↩

  330. George, Harry (October 1983). "The Case of the Missing Andy Boy". Trouser Press. pp. 26–29. /wiki/Trouser_Press ↩

  331. Singer, Barry (9 June 2002). "MUSIC; Adventurous Punk of a Troubled Past". The New York Times. https://www.nytimes.com/2002/06/09/arts/music-adventurous-punk-of-a-troubled-past.html ↩

  332. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  333. Myers 2010, p. 255. - Myers, Paul (2010). A Wizard, a True Star: Todd Rundgren in the Studio. Jawbone Press. ISBN 978-1-906002-33-6. https://books.google.com/books?id=K1WFL1CgvDIC&pg=PA212 ↩

  334. Fortnam, Ian (19 February 2016). "Heavy Load: Andy Partridge". Louder Sound. Retrieved 17 November 2018. https://www.loudersound.com/features/heavy-load-andy-partridge ↩

  335. Fortnam, Ian (19 February 2016). "Heavy Load: Andy Partridge". Louder Sound. Retrieved 17 November 2018. https://www.loudersound.com/features/heavy-load-andy-partridge ↩

  336. Nelson, Sean (20 April 2016). "Failure Is Your Best Friend: Part Two of a Serialized Interview with Andy Partridge of XTC". The Stranger. Retrieved 16 November 2018. https://www.thestranger.com/music/2016/04/20/23979872/failure-is-your-best-friend-part-two-of-a-serialized-interview-with-andy-partridge-of-xtc ↩

  337. Hughes, Rob (18 August 2016). "Andy Partridge: The Big Interview". Team Rock. Retrieved 20 September 2017. http://teamrock.com/feature/2016-08-18/andy-partridge-discusses-the-pitfalls-of-fame-in-the-prog-interview ↩

  338. Farmer 1998, p. 7. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  339. Partridge, Andy [@xtcfans] (29 January 2019). "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" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  340. Dave (7 December 2008). "Interview of Colin Moulding". Rundgren Radio (Audio). Event occurs at 12:24–16:00. Archived from the original on 25 February 2009. Retrieved 9 December 2008. https://web.archive.org/web/20090225073541/http://www.blogtalkradio.com/runt/2008/12/07/Rundgren-Radio ↩

  341. Partridge, Andy [@xtcfans] (29 January 2019). "WC-Vervet Underground were NOT an influence on XTC" (Tweet) – via Twitter. /wiki/Andy_Partridge ↩

  342. Gregory, Dave; Moulding, Colin; Partridge, Andy (November 1984). "Recording The Big Express". One Two Testing (16). /wiki/Dave_Gregory_(musician) ↩

  343. Bernhardt, Todd; Partridge, Andy (12 April 2009). "Sir John Johns discusses "25 O'Clock"". Chalkhills. Retrieved 20 September 2017. /wiki/Andy_Partridge ↩

  344. Passantino, Rosemary (April 1989). "XTC at Last". Spin. 5 (1). ISSN 0886-3032. https://books.google.com/books?id=h-bxxO5B-xsC&pg=PA92 ↩

  345. Farmer 1998, p. 7. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  346. Dahlen, Chris (9 July 2002). "Go 2 / English Settlement / Black Sea". Pitchfork.com. Retrieved 20 September 2017. https://pitchfork.com/reviews/albums/8833-go-2-black-sea-english-settlement/ ↩

  347. Farmer 1998, p. 22. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  348. DeRogatis 2003, p. 341. - DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. ISBN 978-0-634-05548-5. https://books.google.com/books?id=U7cQmRsLgN8C ↩

  349. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  350. Farmer 1998, p. 68. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  351. Bernhardt, Todd (17 May 1998). "Andy Partridge: Providing XTC's Rhythmic Oversight". Chalkhills. Retrieved 25 August 2019. http://chalkhills.org/articles/TBAndy19980517.html ↩

  352. Bernhardt, Todd (17 May 1998). "Andy Partridge: Providing XTC's Rhythmic Oversight". Chalkhills. Retrieved 25 August 2019. http://chalkhills.org/articles/TBAndy19980517.html ↩

  353. Dave (9 March 2008). "Interview of Dave Gregory". Rundgren Radio (Audio). Event occurs at 19:32–26:00. Retrieved 14 January 2018. http://www.blogtalkradio.com/runt/2008/03/09/rundgren-radio ↩

  354. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  355. Bernhardt, Todd; Partridge, Andy (12 April 2009). "Sir John Johns discusses "25 O'Clock"". Chalkhills. Retrieved 20 September 2017. /wiki/Andy_Partridge ↩

  356. Pareles, Jon (18 July 1987). "The Pop Life". The New York Times. Retrieved 18 January 2018. https://www.nytimes.com/1987/07/15/arts/the-pop-life-380387.html ↩

  357. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  358. Houghton, Mick (April 1995). "Spirited away". Uncut. p. 116. /wiki/Uncut_(magazine) ↩

  359. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  360. Bookasta, Randy; Howard, David (1990). "Season Cyclers". Contrast. No. 7. ↩

  361. Farmer 1998, p. 95. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  362. Bernhardt, Todd; Partridge, Andy (14 June 2009). "Andy discusses "Train Running Low on Soul Coal"". Chalkhills. /wiki/Andy_Partridge ↩

  363. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  364. 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".[167] The night after John Lennon was killed, XTC played a gig at Liverpool, where they performed both "Towers of London" and "Rain" in tribute to the Beatle.[168] ↩

  365. Partridge & Bernhardt 2016. - Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1. ↩

  366. Bernhardt, Todd (27 June 2010). "Andy answers fans' questions about guitar playing and players – Part I". Chalkhills. Retrieved 20 September 2017. http://chalkhills.org/articles/XTCFans20100627.html ↩

  367. Price, Jim (29 June 1991), "Jim Price speaks to Andy Partridge [radio interview]", WFMU /wiki/WFMU ↩

  368. Bernhardt, Todd; Partridge, Andy (24 March 2006). "The Lyrical Andy Partridge". Chalkhills. Retrieved 18 October 2018. http://chalkhills.org/articles/XTCFans20060324.html ↩

  369. Harris, John (2 April 2010). "The sound of the suburbs and literary tradition". The Guardian. London. /wiki/John_Harris_(critic) ↩

  370. Farmer 1998, pp. 164–165. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  371. Songs inspired by the town or its people included "Life Begins at the Hop", "Wait Till Your Boat Goes Down", "Ball and Chain", "The Everyday Story of Smalltown", "I Remember the Sun", "Red Brick Dream", "Grass", "The Meeting Place", and "Boarded Up".[174] /wiki/Ball_and_Chain_(XTC_song) ↩

  372. George, Harry (October 1983). "The Case of the Missing Andy Boy". Trouser Press. pp. 26–29. /wiki/Trouser_Press ↩

  373. Bernhardt, Todd; Partridge, Andy (24 March 2006). "The Lyrical Andy Partridge". Chalkhills. Retrieved 18 October 2018. http://chalkhills.org/articles/XTCFans20060324.html ↩

  374. Farmer 1998, p. 306. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  375. Farmer 1998, p. 307. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  376. Farmer 1998, pp. 106, 122. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  377. Fortnam, Ian (19 February 2016). "Heavy Load: Andy Partridge". Louder Sound. Retrieved 17 November 2018. https://www.loudersound.com/features/heavy-load-andy-partridge ↩

  378. Erlewine, Stephen Thomas. "XTC". AllMusic. Retrieved 27 December 2017. /wiki/Stephen_Thomas_Erlewine ↩

  379. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  380. D., Spence (20 April 2007). "Top 25 Britpop Albums". IGN. Retrieved 20 September 2017. http://www.ign.com/articles/2007/04/20/top-25-britpop-albums ↩

  381. Lee, Stewart (5 March 1999). "Andy Partridge has called off XTC's six-year strike, Caitlin Moran reports". The Times. Having inspired a whole generation of Britpop artists ... /wiki/The_Times ↩

  382. Harrison, Andrew (July 2001). "XTC: Britpop's Spiritual Granddads". Q. /wiki/Q_(magazine) ↩

  383. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  384. Jones, Tim (2007). "The Godfather of New New Wave". Record Collector Mag. Retrieved 28 September 2018. (subscription required) https://recordcollectormag.com/articles/the-godfather-of-new-new-wave ↩

  385. Farmer 1998, p. 9. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  386. The unofficial site Chalkhills.org has been described as an "exhaustive" resource for XTC information.[183] Chalkhills began as a mailing list in 1989 and later expanded to a website devoted to the group's songs and history, including pictures, lyrics and chord charts.[184] ↩

  387. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  388. Zaleski, Annie (21 March 2016). "In They Might Be Giants' "XTC Vs. Adam Ant," everybody wins". The A.V. Club. Retrieved 13 March 2024. https://www.avclub.com/in-they-might-be-giants-xtc-vs-adam-ant-everybody-1798245394 ↩

  389. Brasor, Phillip (16 March 1999). "XTC colors songs with earthy palette". The Japan Times. Archived from the original on 22 September 2018. Retrieved 22 September 2018. https://web.archive.org/web/20180922101847/https://www.japantimes.co.jp/news/1999/03/16/national/media-national/xtc-colors-songs-with-earthy-palette/#.W6W9lXtKhvw ↩

  390. Isler, Scott (May 1989). "The Dukes of Swindon". Musician. /wiki/Musician_(magazine) ↩

  391. "XTC". Official Charts. Retrieved 25 September 2017. http://www.officialcharts.com/artist/17667/xtc/ ↩

  392. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  393. Willman, Chris (18 August 1991). "POP MUSIC : Rediscovering the Beatles (Sort of)". Los Angeles Times. Retrieved 5 October 2018. https://www.latimes.com/archives/la-xpm-1991-08-18-ca-1425-story.html ↩

  394. Ingham, Chris (March 1999). "XTC – 'Til Death Do Us Part". Mojo. /wiki/Mojo_(magazine) ↩

  395. Farmer 1998, p. 9. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  396. Brasor, Phillip (16 March 1999). "XTC colors songs with earthy palette". The Japan Times. Archived from the original on 22 September 2018. Retrieved 22 September 2018. https://web.archive.org/web/20180922101847/https://www.japantimes.co.jp/news/1999/03/16/national/media-national/xtc-colors-songs-with-earthy-palette/#.W6W9lXtKhvw ↩

  397. Farmer 1998, p. 310. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  398. "My 1991 Interview with Kurt Cobain & Nirvana". Garthmullins.com. Retrieved 21 June 2021. http://www.garthmullins.com/2016/02/my-interview--kurt-cobain.html ↩

  399. "Dag Nasty". Threatening Society zine. 2021. Archived from the original on 14 July 2024. Retrieved 2 December 2024. https://threateningsociety.com/dag-nasty ↩

  400. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  401. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  402. Keoghan, Jim (6 February 2012). "A Watershed Moment: XTC's Andy Partridge on English Settlement". The Quietus. http://thequietus.com/articles/07896-xtc-andy-partridge-english-settlement ↩

  403. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

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

  405. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  406. Farmer 1998, p. 15. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  407. Hyden, Steven (8 February 2007). "Andy Partridge". The A.V. Club. Archived from the original on 19 October 2018. Retrieved 18 October 2018. https://www.avclub.com/andy-partridge-1798210667 ↩

  408. Schabe, Patrick (27 October 2006). "The Man Who Sailed Around His Soul". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/the-man-who-sailed-around-his-soul-2495729988.html ↩

  409. Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Retrieved 20 February 2016. http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk ↩

  410. Klinger, Eric (24 April 2015). "Counterbalance: XTC's 'Skylarking'". PopMatters. Retrieved 20 September 2017. https://www.popmatters.com/192717-counterbalance-xtcs-skylarking-2495538109.html ↩

  411. Partridge commented in 2006 that virtually "every [English] band that comes up gets compared to us, whether it's the Kaiser Chiefs, or Franz Ferdinand, or the Futureheads."[57] /wiki/The_Futureheads ↩

  412. Harris, John (2 April 2010). "The sound of the suburbs and literary tradition". The Guardian. London. /wiki/John_Harris_(critic) ↩

  413. Staunton, Terry (16 May 1992). "XTC: Nonsuch". NME. /wiki/NME ↩

  414. As early as 1983, the vast majority of their fanmail was from the US.[48] ↩

  415. Pierson, Pat (September 2007). "Permanent Bliss: The Immutable Pleasures of XTC". Filter. /wiki/Filter_(magazine) ↩

  416. Nelson, Sean (20 April 2016). "Failure Is Your Best Friend: Part Two of a Serialized Interview with Andy Partridge of XTC". The Stranger. Retrieved 16 November 2018. https://www.thestranger.com/music/2016/04/20/23979872/failure-is-your-best-friend-part-two-of-a-serialized-interview-with-andy-partridge-of-xtc ↩

  417. Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1. http://www.chrishunt.biz/features16.html ↩

  418. Leone, Dominique (3 April 2002). "Coat of Many Cupboards". Pitchfork.com. Retrieved 20 September 2017. /wiki/Dominique_Leone ↩

  419. Farmer 1998, p. 6. - Farmer, Neville (1998). XTC: Song Stories: The Exclusive Authorized Story Behind the Music. London: Helter Skelter Publishing. ISBN 190092403X. ↩

  420. Nelson, Sean (13 April 2016). "Artistic Crap: Part One of a Serialized Interview with Andy Partridge of XTC". The Stranger. Retrieved 20 September 2017. https://www.thestranger.com/music/2016/04/13/23950754/artistic-crap-part-one-of-a-serialized-interview-with-andy-partridge-of-xtc ↩

  421. Hodgkinson, Will (2 April 2004). "Above average Andy". The Guardian. London. Retrieved 31 October 2018. /wiki/Will_Hodgkinson ↩

  422. Hughes, Rob (18 August 2016). "Andy Partridge: The Big Interview". Team Rock. Retrieved 20 September 2017. http://teamrock.com/feature/2016-08-18/andy-partridge-discusses-the-pitfalls-of-fame-in-the-prog-interview ↩

  423. "XTC". Grammy.com. https://grammy.com/artists/xtc/8071 ↩

  424. "The Ivors 1993 – the Ivors". Archived from the original on 10 September 2016. https://web.archive.org/web/20160910053239/http://theivors.com/archive/1990-1999/the-ivors-1993/ ↩

  425. "XTC: Dear God (Music Video 1987) – Awards". IMDb. https://m.imdb.com/title/tt6905482/awards/ ↩

  426. "Xperia Access Q Awards – all the 2014 winners – Q MagazineQ Magazine". Archived from the original on 1 January 2015. https://web.archive.org/web/20150101052037/http://www.qthemusic.com/6168/xperia-access-q-awards-all-the-2014-winners/ ↩

  427. Ramon, Gary (November 1990). "XTC Recording History". Record Collector. No. 130. /wiki/Record_Collector ↩