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Listening again recently to Curve‘s great take on I Feel Love (as featured in the recent look back at Ruby Trax) got me to look out an equally great bit of music.

Sadly, I didn’t buy the single on its release in March 1995, preferring instead to spend money on the parent LP. If I had, it would have been a candidate for inclusion on my 45 45s at 45 list back in 2008 which would have given Leftfield two entries in the rundown as their collaboration with John Lydon did come in at #19.

mp3 : Leftfield/Halliday – Original (album version)

One of the best bits of dance music ever released.

And listening to it again made me determined to get my hands on a second-hand copy of said single.  And here it is:-

mp3 : Leftfield/Halliday – Original (radio edit)
mp3 : Leftfield/Halliday – Original (live dub)
mp3 : Leftfield/Halliday – Original (jam)
mp3 : Leftfield – Filter Fish

The radio edit has two minutes shorn from the album version but hasn’t been butchered too much; the live dub is largely instrumental, extending out to over seven and a half minutes and containing the occasional note that when played in a live setting goes right through to the depths of your stomach and turns it inside out; the jam is totally instrumental and quite a move away from the original (pun intended) version and is quite unrecognisable for the most part; the new song is a fast frantic dance floor instrumental that will be of appeal to those who are big on the remix treatment often handed out to New Order songs.



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This really should have been written in advance of last week’s piece on The Weather Prophets but I just thought I’d be a bit twisted.

As I mentioned seven days ago, the first two 45s by The Loft had gone down a storm in the music press.  The thing is, I’m bemused as to why a single from September 1984 finds a place an album looking at the class of 86…especially when the band in question had broken up in July 1985.

But mine is not to reason and so as part of the look at the 48 songs on the compilation, here are the two songs that made up the piece of plastic that had the label number Creation 009:-

mp3 : The Loft – Why Does The Rain
mp3 : The Loft – Like

Oh to hell with it, here’s Pete Astor‘s Take 2 version with his next band. This saw light of day on the 1987 LP Mayflower:-

mp3 : The Weather Prophets – Why Does The Rain




Some of you may be wondering how it is possible for a band as little known as The Bathers to have experienced the release of a ‘Best Of ‘ compilation.  The answer partly lies in music label politics…

The Bathers are really a front for the singing/songwriter talents of Chris Thompson, a man whose work I have admired and adored since the early 80s and the emergence of Friends Again.  His indie-pop band had lots of fans in the industry and it was no real surprise that when they split in 1985 that he’d get a number of offers and in 1987 his new band released Unusual Places To Die, a tremendous debut album, on Go Discs only to find that those who had most backed his talents had left the label and the record floundered.

Three years later, the band were on Island Records and history repeated itself as Sweet Deceit flopped despite all sorts of press acclaim.

There then followed a period on which Chris Thompson joined forces with Neil Clark and Stephen Irvine (ex-Commotions) and Mark Bedford of Madness to write and release material under the band name Bloomsday and it was 1994 before The Bathers third album – Lagoon Blues – came out via German based Marina Records with further releases in 1995 and 1977 in the shape of Sunpowder and Kelvingrove Baby.

By now, the music was heavily reliant on lush arrangements and the use of strings, brass and keyboards rather than the guitar focussed work of the earlier material with a range of guest vocalists including most notably Elizabeth Fraser of Cocteau Twins.

By 1999, Thompson was regarded by many as one of Scotland’s greatest unknown talents His quality and diversity of work was winning small numbers of new admirers with every release including the sixth Bathers album, Pandemonia, which came out that year on Wrasse Records.

There was a demand for some sort of career perspective but the problem however, due in part to his continuous shifting around labels, and also that most of his records were only ever released in small quantities and went quickly out-of-print, that doing something along those lines wasn’t an easy task.  The solution lay in the release of Desire Regained in which twenty tracks spanning the career of The Bathers were re-recorded and brought together on one release back in late 2001.

It remains, to the best of my knowledge, the last release by the band although they have never formally broken up.

I thought I’d offer up a song that was recorded three times in the band’s career, in 1987, 1990 and 2001:-

mp3 : The Bathers – Perpetual Adoration (1987)
mp3 : The Bathers – Perpetual Adoration (1990)
mp3 : The Bathers – Perpetual Adoration (2001)





The Shoebox of Delights

Regular readers will remember that some time ago I was given a box of CD’s by my Dad. These were CDs that I left in a box in his house in 1998 when I graduated from university and moved to Devon. Every week I picked one at random and wrote about the music, some of this music was quite good, some was terrible.

Well, brace yourself, because at the weekend, I found another box. It wasn’t at my Dads, it was in my own house. In the loft. There is a story behind this box, if you will indulge me….

Mrs S-WC asked me to go in the loft and move some bits and pieces and to bring down a few other items that we were taking to the charity shop and the tip, domestic life is bliss in S-WC towers. So up in the loft I went, I found the items that were being thrown out, a pink surfboard (not mine or for that matter Mrs S-WC’s), a hoover box full of small pieces of foam (no idea), a piece of spare carpet (not the same colour as the rest of the carpet in the house), and some books, ignored baby toys and clothes for the charity shop. I moved them one by one towards the loft hatch.

Now, all my CDs are loving stored in waterproof, childproof, bombproof, dampproof, and animalproof boxes in the loft, there are quite a few of them (far less than there used to be, but a lot never the less) and I pretty much know what is in each box. Underneath or behind all the stuff that I had just moved was a shoebox, (Duffs Shoes, and for the record I have never owned a pair of Duffs Shoes) inside this shoebox was roughly 35 CD’s.

I scratched my head. Not because I was perplexed but I thought a spider fell on it about ten minutes ago and I’ve been jumping at the slightest itch ever since.  But this was strange…..I went over to the CD boxes, and opened up one of them, and where these CDs should have been were four books. About cats. Now our cat, died about two years ago from Kidney failure, and it was a horrible thing to see and to go through and each of these books was about caring for a terminally ill pussycat. Mrs S-WC took the death of the cat very badly, so I do the right thing, I leave the books where they are and shut the box lid.

But strangely Mrs S-WC chose the CD Box full of the CDs that I have not yet got round to converting to mp3 – she couldn’t have possibly known this, so I take the box downstairs and put it to one side. I make Mrs S-WC a cup of tea and pull a CD out…..

‘The Magic Treehouse’ Ooberman is, as you expect by the name of both the band and the album, a bit twee. They are a band with strong indie, folk and progressive tendencies that sadly split in 2003 after their second album ‘Hey Petrunko!’ failed dismally. I think they might have since reformed but I may wrong in with that.

Their debut album was the ‘The Magic Treehouse’ and the opening line of the entire album is ‘A star in heaven knows my name’ and it kind of sets the tone. If you don’t mind a little (ok a lot) tweeness in your music, then Ooberman are for you. If you own even one Slipknot record then its probably not for you. The Magic Treehouse is so twee it is dressed in pastel colours and wearing sandals.

They hailed from Bradford originally but didn’t really gel as a band until they moved to Liverpool and started releasing records in the late nineties. I first heard Ooberman when I was sitting in an office at work and Jo Whiley played ‘Shorely Wall’. In 1998 it was named Single of the Year by the Times Newspaper. It is that kind of song, catchy, adorably sweet and contains this spoken word bit at the end by Sophie Churney the band’s keyboard player in which I’m pretty sure she is close to tears.

Trust me if you haven’t heard this before it will be all over you from the first second you hear it. Seriously if you don’t think this in an incredible piece of pop music then you were born with something missing.

mp3 : Ooberman – Shorley Wall

I’m guessing that Ooberman’s closest musical peers would be Belle and Sebastian in that they rarely gave interviews and live shows were few and far between – but they kept in touch with their fans through their Internet site and as such grew an audience that were devoted and dedicated. Personally after listening to it I think its sounds like it comes from the same asylum for the musical insane as Gorkys Zygotic Mynci. Either way its all a bit lovely and gorgeous.

mp3 : Ooberman – Sugar Bum
(this was the bands first record released on Graham Coxon‘s Transcopic Label)

mp3 : Ooberman – Blossoms Falling
(The bands first Top 40 record on Independiente)

mp3 : Ooberman – Tears from A Willow
(The follow up single – it reached number 62)

mp3 : Ooberman – Roll Me in Cotton
(A soppy ballad from the album – perhaps the dictionary definition of ‘Twee’)

So – one down 34 to go. Actually 28 to go, 6 were compilation albums from the NME so I’ve put those to one side (one had So Solid Crew on it and we don’t need to hear that). I’ve numbered each one, some are singles, some are albums. Pick me a number folks…………….




A guest contribution from Alex G.  It features a band that I’m proud to say I caught playing live at the Glasgow Apollo when they opened for Roxy Music on the Flesh & Blood tour back in 1980..


Here’s an imaginary album by a band that I might, were I being insultingly reductive, call Toronto’s answer to Talking Heads. Which I just did. Sorry. Of course most people know them as the band who did Echo Beach: one great song, three and a half minutes in the spotlight, then gone. Whatever happened to Martha and the Muffins? All of the following…

This imaginary album Cooling The Medium is a selection from seven LPs, from The One With Echo Beach On It (Metro Music, 1979) to The Kind Of Folky One (Modern Lullaby, 1992). They did release a comeback album in 2010 but I never got into that, and besides, covering these seven albums in ten tracks was hard enough.

Side one

1. Swimming (from This Is The Ice Age, 1981)
2. About Insomnia (from Trance And Dance, 1980)
3. Cooling The Medium (from Mystery Walk, 1984)
4. One Day In Paris (from This Is The Ice Age, 1981)
5. Black Stations / White Stations (from Mystery Walk, 1984)

Side two

1. Was Ezo (from Trance And Dance, 1980)
2. Everybody Has A Place (from Modern Lullaby, 1992)
3. Echo Beach (from Metro Music, 1979)
4. Song In My Head (from The World Is A Ball, 1985)
5. Several Styles Of Blonde Girls Dancing (from Danseparc, 1983)

From the beginning, then… Martha and the Muffins formed in Toronto in 1977 and within a year had settled down to a line-up of Martha Johnson (vocals, keyboards), Mark Gane (guitar), Carl Finkle (bass), Andy Haas (sax), Martha Ladly (backing vocals, keyboards) and Tim Gane (drums). A self-financed 7”, Insect Love, brought them to the attention of Virgin Records, who signed them up to their new DinDisc label and brought them to the UK to cut a debut album Metro Music (Canada 1979, UK release 1980). The first single lifted from the LP was Echo Beach (side 2, track 3).

I nearly didn’t put Echo Beach on this compilation. After all, you already know it, you’ve probably got it, and if you want to hear it, you can just hang around any supermarket with an in-store radio station and it’ll turn up soon enough. But it’s here anyway, for a couple of reasons. Firstly, because inevitably nothing else on “Metro Music” really comes close. I was going to use the follow-up single Saigon, but the write-up came down to “it’s pretty good, but it’s not Echo Beach”, so what’s a diligent compiler to do? More importantly, if we’re going to pretend that this could be a proper vinyl album, then let’s face it: there’s no way on Earth that you’d ever do a Martha And The Muffins compilation and NOT put Echo Beach on it. Apart from anything else, it’s just too damn good. So good, in fact, it was very nearly a career killer.

Desperate to cash in, Virgin sent the Muffins on a lengthy promotional tour and then demanded a second album, pronto. Recorded in between live commitments, Trance and Dance (1980) was the typical rush-released follow-up and drew upon songs rejected from the first album, revisited B-sides and a cover of Chris Spedding‘s  Motor Bikin’ which must surely be taken as a joke, albeit a somewhat inscrutable one. Barrel-scraping notwithstanding, I actually think “Trance and Dance” is a stronger album overall, and it’s represented here by two of its singles, both written by Ladly and appearing here in their re-recorded 7” forms.

Lead single About Insomnia (side 1, track 2) features a lyric full of words like “viaduct”, “nonchalant” and “tableaux”, half a verse in French for no discernible reason, a saxophone solo to make your ears bleed (the one on the album version is comparatively well-mannered), and no chorus. Well, there’s something resembling a chorus but they only do it once so I’m not sure it counts. All surprisingly good fun and of course it made no impact whatsoever. Was Ezo (side 2, track 1) delves into Japanese history and revolves around the wonderfully rhyming fact that “Hokkaido / was Ezo”. You will be singing it!

“Was Ezo” was Ladly’s finest moment with the group; shortly afterwards, she quit to pursue other ventures, including a spell working with Peter Saville Associates (the design on the front of the 1981-82 EP by New Order  is hers). Finkle quit too, and fatefully, Jocelyne Lanois became the new bassist. With “Trance And Dance” failing to produce any hits, Virgin’s plan for making a return on their investment was to impose a name producer on the group, but the Muffins chose instead to retreat to Toronto and record with Jocelyne’s brother who owned a little studio there, to which the label responded by slashing their budget.

You wouldn’t know it, though, because the then-unknown Daniel Lanois proved to be hot stuff, and the resulting album This Is The Ice Age (1981) doesn’t sound at all cheap – in fact it’s widely considered to be the Muffins’ magnum opus, and its opening track Swimming (side 1, track 1) is the opening track here. Representative of the more experimental, expansive sound of “Ice Age”, the Mark Gane-sung “Swimming” is undoubtedly one of their finest moments, and set the bar for a trilogy of albums with Lanois at the controls. The intro is supposed to sound like that, by the way.

Also here from that album is the piano ballad One Day In Paris (side 1, track 4), which if I’m honest I’m not that fond of, but a lot of reviews pick it as a highlight, and I need a gentler song at around track 4, so here it is. Were I not sticking to the “ten tracks” restriction, I would certainly have included more from This Is The Ice Age. I know the idea of this series isn’t necessarily a “greatest hits” or “ten very best songs”, but I do wonder whether I’m doing the right thing by leaving out Women Around the World at Work. Oh well…

Fourth LP Danseparc (1983) was the end of the road for Martha and the Muffins as a full band. The “Ice Age” line-up remained largely in place (though Haas dropped out in acrimonious circumstances), but creatively the group was really now Martha Johnson, Mark Gane and Who Cares?. The album wore its transitional nature on its sleeve: shifting away from the new wave whimsy of “Martha and the Muffins”, Mark and Martha had settled on the minimalist moniker “M+M”, and put both the old and new names on the front cover. Showcasing Gane as both vocalist and guitarist, the angular funk of Several Styles Of Blonde Girls Dancing (side 2, track 5) is the album’s longest, grooviest and arguably funniest track (what the hell is going on at 1.58?). And it allows this compilation to start and end with Mark Gane vocals. Which is nice.

The dancier Mystery Walk (1984, under the M+M name) completed the shift to a duo + session players format, and surprisingly enough actually seems to have had the reinvigorating effect Gane and Johnson hoped for, spawning an unexpectedly popular single in Black Stations / White Stations (side 1, track 5). This made it to number 2 on the US dance chart (a song lambasting radio stations for refusing to play black dance records was always going to be more popular in the clubs) and came tantalisingly close to a top 40 placing in the UK (it made #46), making it their second-biggest hit here, although obviously quite a lot smaller than you-know-what. It did somewhat kill its chances of being covered for years to come by making rather a big deal of the fact that “This is 1984!”.

Alas, there was no room on this compilation for other great “Mystery Walk” tracks like the ethereal Garden In The Sky (which I initially pencilled in for the closing track) or the anthemic Rhythm Of Life (on which Lanois gets to deploy his stadium rock tricks), but Cooling The Medium (side 1, track 3), another pop-dance track with just a smidgen of “tribal” flavour, had to go on – if only because it provides the perfect title for the whole collection. And besides, I just really like this song, so there.

With Lanois increasingly in demand elsewhere (his next project was U2‘s The Unforgettable Fire), “Mystery Walk” would be his last collaboration with M+M. The World Is A Ball (1985), largely produced in the UK by David Lord (previous credits: The Korgis, Peter Gabriel, XTC) was a disappointing collection with one spectacular standout, Song In My Head (side 2, track 4). In a world where “Echo Beach” didn’t exist, one could imagine this incredibly catchy pop song being the megahit they would never shake off instead. You’ll hate it, but you’ll have it in your head for the rest of the week.

After six albums in as many years, it took as long again for the seventh to appear. 1992’s Modern Lullaby saw the return of the Martha and the Muffins name, and yet another new sound. Its folk/country leanings may put some people off (it certainly seems to have had that effect at the time), but I genuinely like it. Not as much as Ice Age or Mystery Walk, but… it’s pretty decent. There were no singles released from the album, though videos were made for three songs, including the mellow Everybody Has A Place (side 2, track 2). I think thematically and musically this song sits well next to Echo Beach, and I like the idea of the newest track on the collection leading into the oldest. In fact, were I compiling this album for real, I’d probably do a little crossfade between them. As an aside, the sound of this track and “Modern Lullaby” in general owe a lot to session violinist Stuart Gordon, who died last year. An obituary can be found here:


So there you have it, ten songs from seven albums by Martha and the Muffins, disparate enough for everybody to hate at least one. Ah well, at least it’s got Echo Beach on it.

Alex G

JC adds………….

When this arrived in my inbox the other week I was really interested to download the songs and have a listen.  As I said, I did see the band some 35(!!!!) years ago and remember them being a great live act who were afforded a superb reception from what was a notoriously difficult audience to please.

The other thing that intrigued me was to listen to the Martha Ladly tracks as she, in addition to joining Peter Saville (and that was a new one to me as was the revelation that she was behind a New Order Cover), was to briefly be a member of Associates, a band that is much-loved round these parts and it is her keyboards and backing vocals that are such a major part of the hit single 18-Carat Love Affair.

I’ve had the advantage of listening to the songs for a few days and I’m happy to say that this is a band that deserves a much wider recognition than they have generally been given.  They are far too good and far too talented to be thought of merely as one-hit wonders…..

mp3 : Martha and the Muffins – Swimming
mp3 : Martha and the Muffins – About Insomnia
mp3 : Martha and the Muffins – Cooling The Medium
mp3 : Martha and the Muffins – One Day In Paris
mp3 : Martha and the Muffins – Black Stations/White Stations
mp3 : Martha and the Muffins – Was Ezo
mp3 : Martha and the Muffins – Everybody Has A Place
mp3 : Martha and the Muffins – Echo Beach
mp3 : Martha and the Muffins – Song In My Head
mp3 : Martha and the Muffins – Several Styles Of Blonde Girls Dancing



I’m assuming that all regular readers will be aware of The Jam and so I’m not going to insult anyone’s intelligence by doing any potted history or bios. Instead, I’m going to use this new series as a way of giving myself a bit of an occasional rest by simply re-producing the sleeve, posting up the tracks and offering small bits of trivia and the occasional alternative version.

The debut single was released on 29 April 1977 and reached #40 in the singles charts, the first of 18 successive chart hits for the band.

It would go onto be re-released as a 7″ single by Polydor Records on three more occasions – in 1980, 1983 and 2002, hitting #40,, #47 and #36 respectively, meaning that its best chart performance was a full 25 years after its initial release.

mp3 : The Jam – In The City
mp3 : The Jam – Takin’ My Love

A live version, recorded at the 100 Club in London on 11 September 1977 was later made available on the live LP Dig The New Breed:-

mp3 : The Jam – In The City (live)

Two other versions on offer today.  The first is an alternative mix (possibly a demo) released as part of the Direction, Reaction Creation box set:-

mp3 : The Jam – In The City (version)

And finally, from a session recorded for John Peel on 26 April 1977 and broadcast six days later:-

mp3 : The Jam – In The City (Peel Session)





Absolutely chuffed that Johnny the Friendly Lawyer has popped up with this particular contribution. He’s another who has contributed to both blogs on numerous occasions offering his views and thoughts on many a posting.  And unusually for an American legal eagle, he’s never once invoiced me!!!

An Imaginary Compilation Album: Colin’s Ecstacy

Of all the UK post-punk bands that should have hit it big in the States but didn’t—The Jam, Elvis Costello, the Bunnymen, Smiths, Magazine, and countless others—Swindon’s XTC are among the most criminally overlooked. Maybe it’s because they stopped touring in 1982, when principal singer-songwriter Andy Partridge was overcome by stage fright. Maybe it’s because they didn’t get the label support they needed from Virgin. Maybe it’s because American radio was then and remains to this day absolute crap. In any event, the reason is NOT because XTC didn’t have the tunes.

And the man responsible for some of the band’s best tunes is founding bassist and co-vocalist Colin Moulding. Partridge fronted the band and wrote the majority of its songs, including some all time classics (‘Senses Working Overtime’, ‘Respectable Street’ and ‘Mayor of Simpleton’ come to mind). But the less quirky, unprepossessing bassist wrote more than his share of classics. This imaginary compilation offers a modicum of recognition to one of the most unsung heroes of the era, Colin Moulding.

Side A

1. Life Begins at the Hop

Although the band had been around for a while and had already released two albums, XTC really clicked into gear when original member Barry Andrews jumped ship to join Robert Fripp and his League of Gentlemen (decamping soon thereafter to form Shriekback). In came guitar wiz/fellow Swindonian Dave Gregory and XTC’s two-guitar, pop-focused sound was nailed down. 1978’s White Music and Go 2 contained several Moulding songs, but nothing that compares to this masterpiece. It was released as a non-album single in 1979 but was included as the lead track on the American version of Drums and Wires, the band’s 3rd LP, but first minus Andrews and plus Gregory. Instantly catchy like all good pop songs, ‘Hop’ is the true beginning of XTC and the perfect re-introduction of Mr. Moulding.

2. Making Plans for Nigel

Another single and the opening track of the UK version of Drums and Wires. One of the band’s best known and loved songs, but what is it about, exactly? Parents planning their child’s future? A comment on English society’s emphasis on steady employment? Never been able to work that out, but I do love this number. Interesting to note that ‘Nigel’, ‘Life Begins at the Hop’ and the Moulding-written ’10 Feet Tall’ were all included on the American release, and were the only singles from the album.

3. Generals and Majors

The lead single from XTC’s 4th release, Black Sea. I was lucky enough to see the band during this tour, in a tiny club in my suburban hometown of Roslyn, Long Island, New York. A true shame that they stopped touring; they were an outstanding live act and were talented enough to play to perfection anything they recorded. (Although I was a tad disappointed to see that the ‘whistling’ on this track is played on a synth!)

4. Love at First Sight

XTC are, for lack of a better word, a singable band. This track, also from Black Sea, only has a few chords but the vocal line is so melodic it makes the song irresistibly catchy. Even the middle eight (“Mouse takes the bait…”), with its standard C-G-A-D progression, sounds fresh with Moulding singing lead, as he does on most (but not all) of the songs he wrote.

5. Ball and Chain

The second single from the band’s 5th LP, English Settlement. XTC have often been called ‘Beatle-esque’ and it’s sort of true with this track, which to my ears bears a passing resemblance to ‘Getting Better’.

Side B

6. English Roundabout

One of the charming things about XTC, for us in the colonies anyway, is how profoundly English they are. Maybe that’s the reason they never made it over here. I don’t know—I hear the opening line “People rushing round with no time to spare” and it reminds me of millions of people, swarming like flies round Waterloo underground. The pace of the song, the intricate guitar figures, the vocal melody—all these show a band at the top of its game. But, soon after this record, Partridge shut down the touring machine, drummer Terry Chambers left, and they lost the plot. It took them years to get it back.

7. Grass

Four years and two more albums to be exact. XTC released Mummer in 1983 and The Big Express in 1984, both of which sank without a trace. ‘Wonderland’ was a Moulding single from Mummer which many people liked (not me). But XTC found their feet again in 1986 with the brilliant, Todd Rundgren-produced Skylarking. Often described as a ‘pastoral’ album, Skylarking is terrific start to finish. Widely considered Partridge’s tour de force, the LP nonetheless contained four great Moulding tunes, including this one, the album’s lead single.

8. The Meeting Place

“And here’s yer other album single”, as our host might say. Little known fact: XTC made headlines with the controversial Partridge tune ‘Dear God.’ It’s a great song with an interesting video to match, but it first came out as the B-side to Moulding’s ‘Grass.’ It was only after U.S. college radio stations picked up on the song that it got its own single release, eventually replacing ‘Mermaid Smiled’ on later pressings of the LP. More trivia: the drummer on Skylarking was Prairie Prince, the original drummer of American corporate rock perpetrators Journey and later a member of art/glam/goof band the Tubes.

9. King For A Day

Second single off Oranges & Lemons, whose title I only recently learned was from an English nursery rhyme. Notice how we’re up to song 9 of the Moulding compilation and seven of the tracks were singles? Not bad for the band’s auxiliary songwriter.

10. One of the Millions

Here we are at the end of the set and I’ve yet to mention how great a bassist Moulding is! If it wasn’t obvious from the previous tracks it should be from this one, on which his melodic, fretless lines are themselves little songs. Had Moulding never written a note or sung a word, XTC wouldn’t have been complete without his exceptional bass-playing. I bought my first bass in 1980 at aged 17, and Moulding quickly became a personal hero, ranked only behind the remarkable Graham Maby (from Joe Jackson’s band) and the all-time best bassist of the era, the Attractions’ Bruce Thomas.

XTC followed Oranges & Lemons with Nonsuch in 1992, then went quiet for seven years, eventually releasing Apple Venus and Wasp Star in 1999 and 2000, respectively. Then they packed it in. Moulding wrote songs for all of the last three albums, but none, I think, that merits inclusion in place of any of my chosen ten. Haven’t a clue as to what Mr. Moulding is up to now.

Bonus Tracks

Indulging their 60’s psychedelia fetish to the extreme, XTC released an excellent EP and LP under the pseudonym The Dukes of Stratosphear.

What In The World??…, written under the name The Red Curtain (Partridge called himself Sir John Johns) appeared on 1985’s 25 O’Clock, his bass front and center in a McCartney/Taxman bounce.

The Dukes returned in 1987 with Psonic Psunspot, on which Moulding/Curtain’s Vanishing Girl appeared. The Dukes’ two releases were later compiled together as Chips from the Chocolate Fireball. This kitschy homage to Barrett-era Pink Floyd, the Beatles and the Beach Boys contains some of the band’s best work and is well worth a listen.


mp3 : XTC – Life Begins At The Hop
mp3 : XTC – Making Plans For Nigel
mp3 : XTC – Generals and Majors
mp3 : XTC – Love At First Sight
mp3 : XTC – Ball and Chain
mp3 : XTC – English Roundabout
mp3 : XTC – Grass
mp3 : XTC – The Meeting Place
mp3 : XTC – King For A Day
mp3 : XTC – One of the Millions
mp3 : Dukes of Stratosphear – What In The World??…
mp3 : Dukes of Stratosphear – Vanishing Girl

JC adds…..

There’s another good friend of mine called John who is also a huge fan of XTC.  He was a very regular contributor to the old blog and one of the annoying things about it being taken down without advance warning a few years back is that almost all the musings of Mr John Greer were lost.  But I was able to salvage his piece on XTC and Dukes of Stratosphear for re-posting in May 2014.  It’s well worth a read:-



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