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Post by Will/P.P. on Apr 16, 2019 16:11:02 GMT -5
xtc tuesdays
the xtc place, a place to talk about xtc, especially if it is tuesday.
To quote my old buddy Bubbly, "results in what often feels like miniature adventures."
It's Springtime again, let's begin.
jump, jump, go ahead and jump, jump if it's what your heart is wanting to do this is real life you're dreaming through...
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Post by Will/P.P. on Apr 16, 2019 16:13:38 GMT -5
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Post by Will/P.P. on Apr 16, 2019 16:16:36 GMT -5
How do they do this? It's like Paul, meet Brian. |
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Post by Deleted on Apr 16, 2019 16:22:17 GMT -5
Wonderland/Jump is a great single
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Post by sneakypete77 on Apr 17, 2019 3:22:46 GMT -5
Will, you beat me to it - I was going to post this later in the week.
Widely considered, even by Andy Partridge himself, as his finest song, a celebration of rebirth in the natural world as springtime unfolds. As an avowed opponent of organised religion, no big fan of rabid consumerism, and an enthusiastic champion of nature and the environment, he goes to town on all three here, trashing the first two and highlighting the last, showcasing a grasp of lyrical imagery that I'm sure Van Dyke Parks would be proud of.
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Post by Al S on Apr 20, 2019 20:14:18 GMT -5
xtc tuesdays
the xtc place, a place to talk about xtc, especially if it is tuesday.
To quote my old buddy Bubbly, "results in what often feels like miniature adventures."
It's Springtime again, let's begin.
jump, jump, go ahead and jump, jump if it's what your heart is wanting to do this is real life you're dreaming through...
A Lost at Sea track for a group prematurely losing touch with their recently edgy selves. While the first line of the chorus and the late bridge hark back to the energetic and innovative salad days, the chorus is a cold jazzy piffle predating but akin to the Thirty-Something TV series theme, fairly typical of the rut the band tapped during transitionary phases through out their career(I'm looking at you, King For A Day). |
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Post by Al S on Apr 20, 2019 20:24:52 GMT -5
This is more like it - dramatic strings reminiscent of the decapitating Cello arrangements of Roy Wood era ELO, the shift from classic to modern is deftly handled, and the bands talents including some sublime bass playing from Colin are deservingly displayed. The lyrics like the arrangement are urgent and suitably lusty and Partridge singing is as lively and brimful as Easter's heralding of the Spring. |
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Post by sneakypete77 on Apr 21, 2019 4:34:11 GMT -5
From the Mott The Hoople-esque intro this stonking song builds into what would have been a perfect singalong anthem at their live shows. Sadly, by the time they recorded this their touring days were well behind them, due to Andy's chronic stagefright and fragile mental state. Dave Gregory's guitar work, especially his jangling twelve string, together with Colin's robust bass lines and Paul Fox's deft touch on the board make for aural delight. "And just to end the list, everything that could exist needs the loving".
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Post by sneakypete77 on Apr 21, 2019 12:02:46 GMT -5
Whilst XTC is usually seen as the vehicle for Andy Partridge's talents, I reckon those of Colin Moulding have been seriously overlooked and undervalued. Initially it was Colin's material that excited their label and launched the band on their singles chart career.
Andy was arguably born a thousand years too late, given his near obsession with writing songs about an idyllic English medieval pastoral lifestyle, but Colin also dipped his toe into that period with this song. Very atmospheric, almost disturbing in its tone and subject matter, it's a much darker take on Andy's imagination, brought to life courtesy of the arranging and producing brilliance of Todd Rundgren. I like to think that this was Colin giving Andy the finger in an "I can do this too y'know" kind of way, while at the same time managing to make the song the antithesis of Andy's green and pleasant visions. Tensions between these two ran deep for much of the band's history. Probably my favourite Colin composition, but ask me tomorrow and it might very well be different.
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Post by Will/P.P. on Apr 21, 2019 12:30:50 GMT -5
Better get to answering back. First off, Happy Easter, everybody. I've had my walk with God this morning, now I'm back home and hungry!
Let's start with "Jump". -There was definitely some stumbling going on with the move to go off the road... I just missed them. I had tickets for the Japantown Theatre, San Francisco on 8 April 1982. Andy's little meltdown couldn't have come at a worse time. I had already missed them twice since my move to S.F. in 1978. I was still getting to know them when they played the Old Waldorf in early 1980. I was told they were great. I also missed the show that xtc opened for The Police at the Auditorium in Oakland, CA, 30 October 1980. I wasn't paying close enough attention. Living in the Bay Area was - too many acts to see - sometimes playing on the same day. I saw plenty/I missed plenty. At least there is the Rockpalast, 10 February concert that was recorded to give use a taste of what it was like in 1982. Somebody doesn't seem to be too keen on putting all the live material they have out on DVD, or it's like This Is Pop!, hard to convince anybody to support releasing it.
Jump! Wait a minute... well spotted, Alan. I had never heard the Thirtysomething theme until today. It does sound similar. But. If anyone was nicking, it wasn't Andy. That show didn't come on until 1987. Andy had "Jump" done-n-dusted in 1982.
"Jump" is one of my very favorite early Andy songs. He was learning to calm down a bit, but still scared of love, love and swimming pools... Jumping in with indecision, but at least ready to take a next step. Something/anything to go forward. He admits that he thought his mates would laugh at the lyrics, that he was exposing too much of the "inner me". Thinks the lack of response from the others left it to be a b-side.
"Jump" was my planned opener to the thread. I've wanted to get the subject re-started since Smiley fell apart for me. xtc is one of my very favorite groups. One of the very few who can sound like the Beach Boys, The Beatles, the psychedelic late sixties, masterful Pop, Jazz, even easy listening, all rolled into one big ball. I'll close this with an Andy quote from Creem mag. back in 1982, "We modeled ourselves after the New York Dolls, the Stooges, and literally anybody who couldn't play, but looked real flash". I'd say they did a whole lot better than that. |
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Post by Will/P.P. on Apr 21, 2019 14:31:59 GMT -5
Whilst XTC is usually seen as the vehicle for Andy Partridge's talents, I reckon those of Colin Moulding have been seriously overlooked and undervalued. Initially it was Colin's material that excited their label and launched the band on their singles chart career.
Andy was arguably born a thousand years too late, given his near obsession with writing songs about an idyllic English medieval pastoral lifestyle, but Colin also dipped his toe into that period with this song. Very atmospheric, almost disturbing in its tone and subject matter, it's a much darker take on Andy's imagination, brought to life courtesy of the arranging and producing brilliance of Todd Rundgren. I like to think that this was Colin giving Andy the finger in an "I can do this too y'know" kind of way, while at the same time managing to make the song the antithesis of Andy's green and pleasant visions. Tensions between these two ran deep for much of the band's history. Probably my favourite Colin composition, but ask me tomorrow and it might very well be different.
Oo - evil Colin... and on Easter no less. Colin dipped two toes in, don't forget "Dying" - less pastoral, but very much as dark, with that dew-drop hanging off grandpa's nose, and the clincher, "I don't want to die like you." - thought it pretty cold the first time I heard the lyric! Quite the morbid little tale, then it's off to burn the body in a sacrificial bonfire. Reminded me of The Wicker Man - there would be one to pull out and watch for Easter evening... Join round friends and neighbors, let's sing "Sumer Is Icumen In" in the old medieval tradition. Even more years later, on the Tv show Supernatural, sacrificial burning was *the only* way to close a case of living.
Where I grew up we celebrated May Day at grade school, with Maypole dancing out in the playground. It was a children's custom. Were they trying to teach us all about the pagan ways? It wasn't done once you got to Jr. High.
There is another reference to The Wicker Man on Apple Venus Volume 1, The Green Man Inn is where Sgt. Howie is lodged. Andy wasn't about to let Colin outdo him.
Here's the official video for extra atmosphere:
Burning stuff, it's all in good fun.
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Post by sneakypete77 on Apr 23, 2019 8:58:20 GMT -5
Well it's Tuesday again, so here's my two-penn'orth. I remember watching this when it was first broadcast, and although I'd been aware of previous singles such as Making Plans for Nigel and Sgt Rock, this was the first time I'd actually seen them perform. There is an official promo video for this song, but I've always felt it was just a bit too pretentious, amateurish and Monty Python-esque (think Silly Walks). I much prefer this, as seen on a BBC children's TV show in 1982, with the lads lip-synching so very badly atop the actual track and evidently enjoying every minute of taking the piss (check out Andy's giveaway grin around 2.48). I love the accompanying comment "That trumpet is fooling no-one Mr Moulding."
So this was my introduction to this wonderful band. I probably came in at a moment when their sound was becoming less edgy and more melodic, which suited me fine. I explored some of their back catalogue but never could get to grips with the post-punk shouty period, much preferring their later stuff. In fact, my first XTC album purchase was Skylarking which arguably mirrors the buying of my first Beach Boys record in 1966 which was Pet Sounds; there's nowt like discovering an artist at a peak of their powers. And as Andy says in the This Is Pop documentary, "Once in a while, once in a very rare while you get a band that starts pretty good then gets better and better....and we are the other band that did that".
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Post by Will/P.P. on Apr 24, 2019 0:45:17 GMT -5
Thanks for getting something actually posted on a Tuesday, Pete. It's like 1:30am Wednesday morning here in New York. I had to be out of town for most of the day. I did watch This Is Pop for a second time on Monday night - had to hook-up Showtime cable channel to do so. Showtime seems to have it "rented" for this whole year, so it can be seen anytime with the On Demand feature. They need to put it out on DVD, and add a bunch of the live material. We have it all on youtube, but I want the better sound you can only get by putting it on DVD.
I agree that they were a whole different band when Barry left, and Dave joined. I only like about 50% of their first two albums. They remained edgy after that, but by the time of English Settlement the acoustic guitars were coming out of the cases. That made them a better, more well rounded group. "Ball and Chain" took a while to grow on me, unlike most of Colin's other material. |
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Post by sneakypete77 on Apr 24, 2019 6:56:58 GMT -5
OK, it ain't Tuesday any more. Shoot me.
I've always considered Easter Theatre to be the perfect companion piece to this song, dealing as it does with Andy's twin pet subjects of celebrating the natural world and questioning religious beliefs, and the thirteen year time difference between them didn't seem to temper his stance toward either. For me, this is one of his cleverest lyrics, and I can't think of too many other writers who would have had the gumption to rhyme 'season cycle' with 'umbilical'. Can only imagine what went through Todd Rundgren's mind when he first picked up Andy's lyric sheet, but whatever, he gave it a masterful arrangement and production despite Andy's best efforts at thwarting him.
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Post by sneakypete77 on Apr 30, 2019 3:15:37 GMT -5
Well, it's that time again, and as I probably won't be around next week here's two to be going on with.
Both from the Nonsuch album, the first seems to be their attempt to out-Sting The Police and features a slice of social commentary by Colin. His lyrics could be clunky at times and for me this effort is no exception, but his bass playing is sharp as a tack and anyway, I rather like the tune. Dave teases us with the prospect of a jangly guitar solo around 1.57 but decides instead to channel his inner Rick Wakeman with a lovely synth flourish.
The second song, if Andy is to be believed, was written by him for a movie which was to be set in 1965 but which didn't happen due to lack of funds. Most fans think, however, that it's Andy taking a final swipe at their label Virgin Records, from whom they were due to sever links. Substitute "Mister Branson" for "Madame Barnum" and it works a treat, almost a chronicle of their tenure with Virgin.
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Post by Will/P.P. on Apr 30, 2019 20:04:58 GMT -5
No gang! I haven't forgotten you (or the general and major disinterest...). It's time for another brief on xtc tuesdays. You've had your chance, and now the Tuesday is nearly over from where I sit tonight. Oh the life of an xtc fan, or a Beach Boys fan for that matter...
We've had a Birthday since last we met at this meeting place. Nonsvch turned over to 27 in America on 27 April. Older by a little over a month in the U.K. where the album was released on 24 March 1992 - when you could have it on vinyl if you wished*. So a very timely time to share a couple of the tracks with us, Peter. Thanks for your attention. "The Smartest Monkeys" is one of my very favorite Colin songs. Many of his are social comments. Shows he is concerned about the world he/we live in. All it takes is a load of the extra cash-sheesh the rich have in excess of to make things better for those who can't make ends meet. But they can't be bothered with that. They've got a movie, a play, a party to go to.
*I saw someone offering $100 for an original copy at Hoffman's recently. He seems to be as of this morning still wishing, as that original vinyl is rare when even at that late date in their career not many were flocking out to buy Nonsvch. I have one, but only one, and will not be parting with mine. Have to look it up, but after the excitement they created when they came to America to promote Oranges and Lemons, the public was off to something new. It takes more than MTV air-play to sell records in large amounts. You had to be Madonna big.
Nonsvch was nominated for "Best Alternative Music Album" at the 35th Grammy Awards, 1992 (awarded 24 February 1993). Sadly, it didn't win... I don't remember what it was up against, but I bet it wasn't as good. I'll look it up tomorrow to see. Getting a Grammy nod is an accomplishment of course - means your "one of". But you want the win. Sam Beam has had his last couple of albums get nominated for a Grammy. You work hard to get to that point in a career. The first year he didn't win I was disappointed. This year I didn't even sit through the broadcast to see. He didn't, as I figured he wouldn't. The Grammy shows have become so boring nowadays, that I just looked it up online the next day. Back in 1993 though, I thought the music was good enough to watch the broadcast live. Music in the 2000s has been a let down for the most part. (Mini-rant over).
Elsewhere, there is still much speculation on what the next Steven Wilson xtc blu-ray will be. Andy's been teasing on about it for near a year, now. But it is near completion, and will be announced soon. Soon-sheesh. What's the big deal, just tell us which one has been done, Andy. Andy works slow with the details, thinking that will keep folks checking back on his ramblings on Twitter. First it's, "just finished listening to the new stereo mix Steven brought me." Then, "now I have the 5.1 mixes." Far as I can tell, all that's left is the art work, and signing a set of postcards for bonuses.
Let me end on a high, and another thought on our Birthday boy. The Little Express made this comment on Nonsvch at the time of release: "Adrift in our beds we awaken with the sounds of Rooks, Monkeys, Birds, Buses and Waves populating our unconscious... We are flying down to the bottom of the sea and a thousand Cheshire cats are grinning inside." I say, "Well said." |
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Post by Will/P.P. on Apr 30, 2019 20:11:17 GMT -5
I'll add a favorite of mine from Nonsvch, the whole album is a list of favorites. Colin did the demo in early 1991, that is on the blu-ray.
This is "War Dance":
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Post by Will/P.P. on Apr 30, 2019 20:19:25 GMT -5
Colin: "The words were originally prompted by the Falklands War in 1982. But it was too much on one piece of history. Then along came the Persian Gulf War, and I put the revised lyrics to a new piece of music. It was time to bring war out of the closet again."
...for those with an extra interest in war, the demo. Too bad he didn't toss us what he had back in '82. |
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Post by Will/P.P. on May 7, 2019 18:55:17 GMT -5
Continuing on... I was listening to this song last Saturday night. Then last night I watched the movie Vice. Theme was political corruption in the last fifty years. I'm not terribly into politics, but it's looking to me the way things are going in our world the worry is creeping in. Some people want to be crowned a dictator. Unitary Executive Theory.
This is a lip-sync done to promote The Big Express (1984). Don't think I ever saw it on MTV -they probably wanted to stay away from any talk on the subject.
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Post by Will/P.P. on May 14, 2019 18:27:00 GMT -5
"This World Over" - When I was playing this I thought at first it sounded sort of like the Police, a usual Andy influence. Then as the song got going I thought no, this reminds me of something else. During the week I figured it out. Becomes Bob Welch-ish in both theme and mood. I'm convinced this song, an old Fleet wood Mac number called "Bright Fire" is the culprit.
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Post by Will/P.P. on May 14, 2019 18:41:47 GMT -5
Before I leave the subject of impending nothingness, let's look back to when little Dave, Andy and Colin were sitting in their bedrooms trying to get the old Dansette to work, waiting to be impressed by something new.
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Post by Will/P.P. on May 14, 2019 18:49:10 GMT -5
They all loved that, everybody did. Another old scratched up record on it's 200th rotation, Andy thought, "can I get one more play out of this?"
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Post by Will/P.P. on May 14, 2019 18:54:24 GMT -5
What became of those Kids? All that's left to say is, "bring on the Dukes!"!!
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Post by Deleted on May 14, 2019 20:17:49 GMT -5
Wish people talked about this cut more. Shoulda been a B-side and not relegated to the dust bin until 2002.
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Post by sneakypete77 on May 26, 2019 11:17:41 GMT -5
I’m in the midst of helping to care for a dear friend so Tuesdays are on the back burner for the duration. But I’m home again for a day and trying to catch up on things, so here are a few thoughts to keep the pot simmering.
If there was ever a constant in an XTC universe it was that every album kicked off with a killer song, a song which set out their stall in uncompromising ways. It nudged you in the direction that you thought the album was going to go, but then they threw you that inevitable curve ball that we’d expected all along, and suddenly it was business as usual, the familiar territory of not knowing what would happen next.
Who could have imagined that the discordance of Todd Rundgren’s melodica would slide like a melting ice cream cone into Colin’s Grass. Or that the exuberant imagery of Peter Pumpkinhead would resolve itself into a bird singing sweetly, and what just might be Moulding’s finest ever lyric? For me, that’s how most of the albums played out, a frenetic Andy opener followed by a soothing (but not always) Colin tune. It was the way of things , so in 1999 what was suddenly going on lads, come on, don’t fuck with the formula.
After a seven year wait for someone to get their finger out I remember slipping the new album into the player and after two minutes becoming convinced that they were taking the piss. This wasn’t the bold statement of intent that I was used to hearing. So I skipped over it and thankfully entered our secretive little world once again. And when the gold sun rolled around I almost shat, it was so stunningly beautiful. But I kept going back to that opener and persevering with it until one landmark day when I finally got it. Now, I’m unable to listen to it just the once, it has to be on repeat play so I can become immersed in its polyphonic layers (apologies for the pretentious cack) and wonder, with closed eyes (tricky if I’m playing it while I’m driving the car) what possessed me to have shit for brains on that first day.
And for no other reason than I love it, here’s another less complex example but no less beautiful, from one of Scotland’s finest. David Scott has been around for three decades now, but is criminally under-appreciated outside of his homeland. He records and occasionally appears live with a fluid troupe of musicians as The Pearlfishers, his music consisting of classic Scottish pop with emphasis on melody and harmony, and with the Brian Wilson influence prominent throughout. He used to be a member of several Beach Boys forums as well as the almost defunct Prefab Sprout site but now concentrates on his duties as Senior Lecturer at the University of The West of Scotland where he leads the Songwriting and Performance programme.
This starts off as a simple rendition of the traditional Christmas carol but he introduces two more different songs at the beginning of the second verse and a further element of wordless harmony into the third, which shifts the whole thing into another place. Taken from their 2004 festive mini album A Sunflower at Christmas.
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