Your basket is empty

Categories :

Similar artists

Albums

From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

Distinctions The Qobuz Ideal Discography
Following Go 2, keyboardist Barry Andrews left XTC and, rather than finding a replacement keyboard player, the band opted to recruit another guitarist (who could also play keyboards), Dave Gregory. The album that followed the lineup change, Drums and Wires, marks a turning point for the band, 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. Musically, Drums and Wires, titled to reflect the big drum sound they developed for the album, is certainly driven by the powerful rhythms and angular, mainly minimalistic arrangements, but the addition of a second guitarist also allows for some inventive and interesting guitar work (the "wires") that made up for the lack of Andrews' odd flourishes -- the tension between the two sounds creates some truly inspired, nervy pop. Colin Moulding also comes into his own as a songwriter, penning XTC's first substantial hit, the new wave classic "Making Plans for Nigel." © Chris Woodstra /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

Several new instruments within the band -- Dave Gregory's Rickenbacker 12-string, Andy Partridge's new acoustic guitar, and Terry Chambers' new drum synthesizer, along with Colin Moulding's fretless bass -- set the tone for English Settlement, an album that moved away from the pop gloss of Black Sea in favor of light, though still rhythmically heavy, acoustic numbers with more complex and intricate instrumentation. There are plenty of pop gems -- "Senses Working Overtime" stands as one of their finest songs -- but the main focus seems to be the more expansive sound; most of the songs are drawn out to near-epic length, ultimately taking away some of the songs' impact. Despite several terrific tracks, English Settlement seems more a transitional album than anything else, although the textural sound of the album is quite remarkable, indicating the direction they would take in their post-touring incarnation. © Chris Woodstra /TiVo
From
CD€13.99

Rock - Released January 1, 1986 | Virgin Records

Working with producer Todd Rundgren didn't necessarily bring XTC a sense of sonic cohesion -- after all, every record since English Settlement followed its own interior logic -- but it did help the group sharpen its focus, making Skylarking its tightest record since Drums and Wires. Ironically, Skylarking had little to do with new wave and everything to do with the lush, post-psychedelic pop of the Beatles and Beach Boys. Combining the charming pastoral feel of Mummer with the classicist English pop of The Big Express, XTC expand their signature sound by enhancing their intelligently melodic pop with graceful, lyrical arrangements and sweeping, detailed instrumentation. Rundgren may have devised the sequencing, helping the record feel like a song cycle even if it doesn't play like one, but what really impresses is the consistency and depth of Andy Partridge's and Colin Moulding's songs. Each song is a small gem, marrying sweet, catchy melodies to decidedly adult lyrical themes, from celebrations of love ("Grass") and marriage ("Big Day") to skepticism about maturation ("Earn Enough for Us") and religion ("Dear God"). Moulding's songs complement Partridge's songs better than before, and each writer is at a melodic and lyrical peak, which Rundgren helps convey with his supple production. The result is a pop masterpiece -- an album that has great ambitions and fulfills them with ease. The initial release of Skylarking didn't feature "Dear God," which was originally the B-side of "Grass." After "Dear God" became an unexpected hit, "Mermaid Smile" was pulled from the album so the hit single could be added. © Stephen Thomas Erlewine /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

Mummer, the first album to follow Andy Partridge's mental breakdown, which led to XTC's retirement from touring, is very much the work of an eccentric in isolation. The album is a collection that builds on the groundwork of English Settlement with gentle, acoustic songs that evoke pastoral images and peaceful times. There are moments of real inspiration, resulting in some of the band's finest songs to date -- "Love on a Farmboy's Wages," "Great Fire," and "Lady Bird" -- and the sound sets a pleasingly consistent mood, although the sameness tends to work against the lesser material. Only the out-of-place afterthought of "Funk Pop a Roll," a tirade against the music industry, breaks things up, recapturing the abrasive Partridge of past. [When Mummer was reissued on CD, six tracks were added to the middle of the album. While "Jump," "Toys," "Gold," and "Desert Island" are welcome additions of pop confection, the atmospheric instrumentals "Frost Circus" and "Procession Towards Learning Land," from the simply bizarre Homo Safari Series, serve to disrupt the album's flow.] © Chris Woodstra /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

Skylarking was an ambitious yet concise record, one that recalled such graceful concept albums as Pet Sounds and Sgt. Pepper, so it wasn't entirely a surprise that XTC embraced psychedelia on its double-album follow-up, Oranges & Lemons, especially if their celebrated Dukes of Stratosphear side project was taken into consideration as well. Oranges & Lemons lacks the singular focus of Skylarking, but at its best, it's just as impressive as its predecessor. Instead of revelling in the form of psychedelic pop, as they did with the Dukes, XTC bring the genre's sensibility to the mature pop of Skylarking, spiking it with a wry, occasionally absurd sense of humor missing from its predecessor. The result is a record exploding with details, not the least of which are backward guitars, sound effects, and head-spinningly eclectic arrangements. It's sonically rich and filled with immaculately crafted songs, but Oranges & Lemons falls just short of being a tour de force, since each song feels like an island -- they work well as individual tracks, but they don't form a cohesive statement. However, that's a minor complaint, because Colin Moulding and Andy Partridge in particular are in peak form, contributing some of their very finest songs in "Garden of Earthly Delights," "The Loving," "One of the Millions," "Merely a Man," "Pink Thing," and the elegiac "Chalkhills and Children." Such songs make the relative weaknesses of the album well worth enduring. © Stephen Thomas Erlewine /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

XTC took full advantage of their studio-bound status with The Big Express, creating their most painstakingly detailed, multi-layered, sonically dynamic album to date. The more upbeat material and brighter sound recall some of the band's earlier moments, but most of all, The Big Express signals a turning point for the band, setting the blueprint for their later approach -- a combination of studio perfection matched with impeccable songcraft that results in a thoroughly consistent and enjoyable album beginning to end. Skylarking, the album that followed, gets much more glory, and certainly its impact was greater (this one was virtually ignored), but really, The Big Express covers much of the same territory and is just as strong an album in many ways. [Three songs were added to the middle of the CD reissue -- "Red Brick Dream," "Washaway," and "Blue Overall" -- but they fit seamlessly into the complete picture.] © Chris Woodstra /TiVo
From
CD€19.49

Rock - Released January 1, 2009 | Virgin Catalogue

Fossil Fuel: The XTC Singles 1977-1992 is a splendid double-disc set that runs through every one of the group's 31 A-sides, from the nervy "Science Friction" to the lush, sighing "Wrapped in Grey." Between those two songs, XTC's craftsmanship grows remarkably fast -- based on the edgy pop of their new wave singles "Statue of Liberty," "This Is Pop," "Are You Receiving Me?," and "Life Begins at the Hop," it's hard to believe that they would later write the subtle, near-pastoral Beatles, Kinks, and Beach Boys pastiches of "Love on a Farmboy's Wages," "Great Fire," and "Grass." And those songs just scratch the surface of the terrific pop singles available on Fossil Fuel: "Making Plans for Nigel," "Ten Feet Tall," "Generals and Majors," "Towers of London," "Respectable Street," "Sense Working Overtime," "This World Over," "Dear God," "The Mayor of Simpleton," "King for a Day," and "The Ballad of Peter Pumpkinhead" are wonderful songs and forgotten classics. Although XTC continually made carefully constructed albums, they were a dynamite singles band, releasing songs that were tightly constructed and impossibly catchy. They never had hits, because their unabashed pop was never in fashion; plus, Andy Partridge's voice was too pinched and his lyrics frequently too cerebral. But XTC's music stands as some of the best and most influential pop of their era, and nowhere is that more evident than on Fossil Fuel. © Stephen Thomas Erlewine /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

XTC continue on with the big drum sound of Drums and Wires, adding more polish and an even heavier-hitting approach for Black Sea -- their arrangements are fuller and they rock harder than ever before. Where Drums and Wires implied social commentary, Black Sea more directly addresses sociopolitical concerns, handling them not strictly in a theoretical sense, but rather showing a human response to the circumstances. Of course, the band's skewed outlook and mid-'60s pop sense keeps things from becoming too heavy -- included are some of their finest songs, like "Respectable Street," "Generals and Majors," and "Towers of London," as well as the thoroughly enjoyable pop fluff throwaway "Sgt. Rock (Is Going to Help Me)" to keep the mood light. All in all, there isn't a bad song in the bunch -- Black Sea is their most consistent album to date -- and although XTC always operated on the fringes, the album is their most commercial-sounding, fitting in perfectly with the new wave of the late '70s/early '80s. [The 1987 CD reissue adds three tracks -- "Smokeless Zone," "Don't Lose Your Temper," and "The Somnambulist" -- to the middle of the album. And while the extras are welcomed (especially "Don't Lose Your Temper"), they really should have been tacked on to the end rather than disrupting the original.] © Chris Woodstra /TiVo
From
CD€34.99

Rock - Released January 1, 2010 | Virgin Catalogue

XTC fans are a dedicated lot. There may not be many of them, but nearly all of them need to hear everything the group ever recorded. They'll happily spend hundreds of dollars on rare singles and bootlegs, or buy official releases of demos, even when they sound nearly identical to the official release, so a four-disc box set of rarities, demos, alternate takes, and live versions like Coat of Many Cupboards is essentially manna from heaven. If there's any problem with the set, it's that Virgin and XTC didn't go far enough and dedicate the set entirely to unreleased material; they hedged their bets, devoting 41 of 60 tracks to previously unreleased cuts, with the lion's share of the rest -- a full 14, actually -- being album tracks any XTC fan already has. No matter how good these songs are -- and they include such masterpieces as "Chalkhills and Children" and the Dukes of Stratosphear's "Vanishing Girl" -- their presence on a lovingly assembled rarities set is a fairly major irritant (even if the band is reportedly working on an even larger archival release, provisionally titled Fuzzy Warbles, that may span as many as eight volumes). Still, if this set had just one disc of rarities, XTC fans would have purchased it anyway, and they'll overjoy in the sheer volume of unheard music here. And rightly so, since even if there aren't that many demos and alternate takes that are radically different from the finished product -- there's an acoustic run-through of "Senses Working Overtime" and an embryonic version of "Mayor of Simpleton" that are fascinating rough drafts, while an early version of "Life Begins at the Hop" is appealingly awkward -- this is still rich listening, filled with such delights as three White Music outtakes showcasing Barry Andrews (who would leave not long afterward), Colin Moulding's Nonsuch reject "Didn't Hurt a Bit" (which should have been on the album), and the live "Atom Medley," one of several in-concert performances that illustrate how good the band was on-stage, no matter Andy Partridge's stage fright. These moments and the uniform high quality of music, along with the track-by-track annotation by Partridge and Moulding, make the repetition of album tracks easy to forgive, since this is as close to a perfect gift for fans as imaginable (until Fuzzy Warbles materializes, that is). Although fans would have settled for anything rare, XTC has returned their affection with a box that shows as much love as the fans have shown over the years. It doesn't get much better than that. © Stephen Thomas Erlewine /TiVo
From
CD€14.99

Punk / New Wave - Released January 1, 1986 | UMC (Universal Music Catalogue)

Working with producer Todd Rundgren didn't necessarily bring XTC a sense of sonic cohesion -- after all, every record since English Settlement followed its own interior logic -- but it did help the group sharpen its focus, making Skylarking its tightest record since Drums and Wires. Ironically, Skylarking had little to do with new wave and everything to do with the lush, post-psychedelic pop of the Beatles and Beach Boys. Combining the charming pastoral feel of Mummer with the classicist English pop of The Big Express, XTC expand their signature sound by enhancing their intelligently melodic pop with graceful, lyrical arrangements and sweeping, detailed instrumentation. Rundgren may have devised the sequencing, helping the record feel like a song cycle even if it doesn't play like one, but what really impresses is the consistency and depth of Andy Partridge's and Colin Moulding's songs. Each song is a small gem, marrying sweet, catchy melodies to decidedly adult lyrical themes, from celebrations of love ("Grass") and marriage ("Big Day") to skepticism about maturation ("Earn Enough for Us") and religion ("Dear God"). Moulding's songs complement Partridge's songs better than before, and each writer is at a melodic and lyrical peak, which Rundgren helps convey with his supple production. The result is a pop masterpiece -- an album that has great ambitions and fulfills them with ease. The initial release of Skylarking didn't feature "Dear God," which was originally the B-side of "Grass." After "Dear God" became an unexpected hit, "Mermaid Smile" was pulled from the album so the hit single could be added. © Stephen Thomas Erlewine /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

XTC's first full album, White Music shows the band going full-throttle in true punk spirit. More dissonant than their latter period, the young band shines with directionless energy and a good sense of humor. Highlights include the catchy singles "This Is Pop" and "Radios in Motion" as well as a jumpy version of "All Along the Watchtower." Their first release, 3D EP, has been appended to the CD version. © Chris Woodstra /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

Since Skylarking, each XTC album was carefully composed and crafted, and Nonsuch is no different. Working with producer Gus Dudgeon (Elton John), XTC crafted their most immaculate album to date with Nonsuch. A measured and reflective record, recalling the Beach Boys more than the Beatles, the album retains some of their late-'80s psychedelic flourishes, but those have been integrated into an elaborate, lush pop setting that falls somewhere between Skylarking and Oranges & Lemons. While it lacks the thematic unity of Skylarking, as well as the grandstanding eclecticism of Oranges & Lemons, Nonsuch is in many ways more musically consistent, presenting a set of 17 wonderfully detailed and immediately catchy pop songs, ranging from the relatively rocking "The Ballad of Peter Pumpkinhead" to the sweet "Holly Up on Poppy." Occasionally, the album dips slightly lyrically -- Colin Moulding's "The Smartest Monkeys" and "War Dance" are a little too preachy -- but never musically, making Nonsuch a modest, minor masterpiece. © Stephen Thomas Erlewine /TiVo
From
CD€13.99

Rock - Released January 1, 2001 | Virgin Records

Recorded in a rush, less than a year after White Music, Go 2 predictably suffered. The album, while slightly more melodic, reprises much of the quirky, high-energy playing of White Music, but the material is considerably weaker this time out. Aside from a couple of standout tracks like "Mechanic Dancing," Go 2 is probably most memorable for its witty, word-heavy cover art. © Chris Woodstra /TiVo
From
CD€13.99

Rock - Released January 1, 1986 | Virgin Records

An expanded version of 1983's excellent singles compilation Waxworks, Compact XTC: The Singles 1978-1985 is simply that: all of the group's singles from 1978's White Music to 1985's The Big Express, in chronological order and including the misbegotten attempt at writing a proper hit single, 1980's "Wait Till Your Boat Goes Down," which wisely never appeared on any XTC album. Even more so than Waxworks, Compact XTC makes plain the remarkable transformation that took place in XTC's first five years, from the jittery new wave pop of "Science Friction" to the defiantly '60s-inspired acoustic-based neo-psychedelia of "Wonderland" and "Love on a Farmboy's Wages." There are many brilliant pop songs here, including Andy Partridge's "Senses Working Overtime" and "This Is Pop" and Colin Moulding's "Making Plans for Nigel" and "Life Begins at the Hop." Completely solid though this 18-track sampler is, it doesn't tell the complete story of how XTC got from point A to point B; for that, refer to the seven original albums this compilation is drawn from. © Stewart Mason /TiVo
From
CD€4.99

Rock - Released January 1, 1987 | Virgin Catalogue

From
CD€0.99

Hip-Hop/Rap - Released June 3, 2018 | Blow Ya Mind Entertainment

From
CD€0.99

Hip-Hop/Rap - Released March 22, 2021 | Blow Ya Mind Entertainment LLC

From
CD€0.99

Hip-Hop/Rap - Released March 22, 2021 | Blow Ya Mind Entertainment LLC

From
CD€1.79

Trance - Released December 22, 2010 | Atomic Digital Recordings

From
CD€0.99

Hip-Hop/Rap - Released November 7, 2019 | Blow Ya Mind Entertainment LLC