Upon its release the album was hailed as a masterwork by critics, even though the band were claiming they were unsatisfied with the production. After a difficult recording session with producer Todd Rundgren, the pastoral Skylarking appeared in the fall of 1986. XTC released a psychedelic parody album, 25 OClock, under the name the Dukes of Stratosphear in 1985. Released in the fall of 1984, The Big Express essentially followed the same pattern as Mummer, yet it charted higher in the U.K. ![]() Recording under the name the Three Wise Men, the group released the holiday single "Thanks for Christmas" at the end of the year. XTC refused to tour for the record, which caused some tension between the band and Virgin, and was presumably the reason why "Love on a Farmboys Wages" didnt make it past number 50 on the charts. Mummer, the first album the studio-bound XTC recorded, appeared in the summer of 1983 former Glitter Band member Pete Phipps recorded the drum tracks for the record. As the band completed their new album, a compilation called Waxworks - Some Singles (1977-1982) was released at the end of the year. In November, Partridge announced that XTC would never play live again, concentrating on recording instead he also blamed his collapses on intense stage fright. The band canceled the tour shortly after his second collapse, prompting Chambers to leave the group. Less than a month later, he collapsed again with a stomach ulcer. While on tour in March of 1982, Partridge collapsed while on-stage, suffering from exhaustion. Nevertheless, the album was XTCs biggest success in the U.K., reaching number five on the album charts and launching the Top Ten single, "Senses Working Overtime." Released the following year, English Settlement featured more complex arrangements, as well as more intellectual lyrics, particularly from Andy Partridge. XTC continued to smooth out their edges on 1980s Black Sea, bringing in elements of mid-60s Beatles and Kinks to their guitar-driven pop thanks to the singles "Generals and Majors" and "Towers of London," it was the groups most successful American album, peaking at number 41 while reaching number 16 on the British charts. Instead of another keyboard player, the band decided to hire guitarist (and fellow Swindon resident) David Gregory was added to the lineup after Andrews departure and the group recorded their first charting single, "Life Begins at the Hop." XTC released their third album, the steadier, more pop-oriented Drums and Wires, that summer the record climbed to number 37 on the charts, thanks to the hit single "Making Plans for Nigel." tour, Andrews quit the band he would eventually form Shriekback as well as the League of Gentlemen (the latter with Robert Fripp) and also pursue a solo career. ![]() However, none of the singles released from the album charted (including "This Is Pop"), nor did "Are You Receiving Me?," the teaser single for their second album, Go 2 (1978).Īfter returning from a brief U.S. Critics praised the angular yet melodic pop, and the album reached number 38 in the U.K. White Music, the bands first full-length album, was recorded in a week and released by the end of the year. After being turned down by CBS Records, the band changed their name to XTC and secured a record contract with Virgin they released their first EP, 3-D, in October of 1977. As punk rock took off in 1977, the group changed their name to Helium Kidz and added keyboardist Barry Andrews. Partridge, Moulding, and drummer Terry Chambers formed the first version of the band in Swindon, Wiltshire around 1976, calling themselves Star Park. 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. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTCs music has always been driven by the hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding. Allmusic Biography : XTC was one of the smartest - and catchiest - British pop bands to emerge from the punk and new wave explosion of the late 70s.
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