XTC Albums Ranked
One of the few highlights I’ve experienced in the miserable year of 2020 has been discovering and listening through the discography of XTC, an English rock/pop group active from the late 70s to the early 2000s. I love the group’s willingness to experiment with different styles on each of their releases, and the songwriting duo of Andy Partridge and Colin Moulding were able to write great, tuneful tracks that still sound fresh with each subsequent listen. No two of their albums sound alike, and the group’s lush instrumentation and memorable lyrics have quickly made XTC one of my most enjoyed groups in recent memory. With that said, like any group, XTC have had their highs and lows. Today, I’ll attempt to rank their albums from worst to best, based on my personal opinion. Without further ado, let’s begin.
#14: Go 2 (1978)
I must admit, trying to determine the order of these albums was quite challenging, as a good chunk of XTC’s albums are quite similar in quality, even if the musical styles are quite different from album to album. One decision that was not difficult, however, was deciding what to put at the bottom of the list. For me, that is clearly Go 2, the group’s second album, released in 1978. While there are some good tracks on here, the album mostly consists of homogenous tracks that don’t really stand out. It also suffers from grating, generic keyboard contributions from Barry Andrews, who also contributed the two worst tracks on the album (“My Weapon” and “Super-Tuff”). This bland organ problem is also present on another album from 1978 that I reviewed in the past, Elvis Costello’s This Year’s Model. I think listening to Garth Hudson’s awesome contributions to The Band raised my expectations for how rock and roll organ should sound.
On the other hand, Go 2 does have a few stand out tracks. Firstly, “Crowded Room” is an outstanding, high-energy tour de force that reminds me a lot of Nirvana’s “About a Girl.” “Battery Brides” is another cool track that gives off serious Kraftwerk vibes, in both subject matter and Andy Partridge’s vocal delivery. “The Rhythm” and “Are You Receiving Me?” are other good tracks, even though the latter wasn’t technically included on the album’s original release. Overall, Go 2 is a mixed bag, and while it has some good tunes, it’s a far cry from the quality of XTC’s other releases.
#13/#12: 25 O’Clock/Psonic Psunspot (as The Dukes of Stratosphear, 1985/1987)
I decided to lump the two Dukes of Stratosphear albums together due to how similar they are. For those who are wondering what’s up with the name change, the group recorded 1985’s 25 O’Clock under a different name, the Dukes of Stratosphear, as an April Fools Day prank. The band and their record label (Virgin) publicized the 1985 release as a recently unearthed recording from a 1960s psychedelia band, with the songwriting and instrumentation matching the style to boot. The band even instituted rules in the recording of 25 O’Clock, including using recording equipment from the late ‘60s, matching the general songwriting of the era, and using only two takes at most for each track. When you consider the laid-back style of recording, as well as Virgin’s scant budget allotted to the project, it’s honestly pretty remarkable what they were able to come up with. While I can appreciate the tongue-in-cheek songwriting and commitment to the theme, I’m honestly just not the biggest fan of this kind of music, which is why both of these releases rank pretty low for me.
XTC revived the Dukes of Stratosphear name for a follow-up album in 1987, Psonic Psunspot, which is a much more fleshed-out album with greater production value. Standout tracks from 25 O’Clock include the title track and “The Mole From the Ministry,” and standout tracks from Psonic Psunspot include “Vanishing Girl,” “Little Lighthouse,” and “Pale and Precious,” which includes an amazing vocal performance from Andy Partridge reminiscent of the Beach Boys’ Pet Sounds.
#11: White Music (1978)
Coming in at #11 is XTC’s debut album, 1978’s White Music. This album is a very solid release for a group’s first effort, and it contains some incredibly catchy, punk-inspired tracks. Andy Partridge’s guitar tones on “This is Pop” are quite gnarly for the time, and the album features a number of other standout tracks as well. “Radios in Motion” is a fantastic way to start the album with its catchy chorus and attention-grabbing guitar track. “Cross Wires” is a charmingly frantic contribution from Colin Moulding, and “Statue of Liberty” is one of the most memorable tracks from the band’s discography.
There are some tracks that leave a little to be desired, unfortunately. Their cover of “All Along the Watchtower” isn’t bad, but it goes on for a little too long and isn’t very memorable apart from Colin Moulding’s bass track. Not to mention that “All Along the Watchtower” is already a track that every band seems to cover at some point. Also, “Do What You Do” is a very short track that really serves no purpose on the record. Overall, White Music is a solid release that helped pave the way for future releases by the group.
#10: Nonsuch (1992)
Every entry from this point on I would classify as a very good album, and trying to decide which releases are better than others is essentially splitting hairs. With that in mind, I decided to place XTC’s 12th studio album Nonsuch in the #10 slot. This album does feature one of the group’s most popular songs, “The Ballad of Peter Pumpkinhead,” which is one of the band’s very best tracks. From the moment Partridge shouts “let’s begin!” as the track gets going, you know you’re in for something special, and the greatness doesn’t stop there. “My Bird Performs,” “Dear Madum Barnum,” “The Disappointed,” “Rook,” “Omnibus,” “War Dance,” and “Then She Appeared” are other marvelous tracks found on this release. Nonsuch is a very solid album from beginning to end, and I’d recommend it to anybody looking for a musically varied yet accessible pop album.
#9: Wasp Star (Apple Venus Volume II) (2000)
Despite this record being the follow-up to Apple Venus Volume I, which was released the year before, Wasp Star has little in common with its predecessor. This album eschews the orchestral backings of Volume I and instead focuses on simple, guitar-driven pop rock tunes. And the stylistic change definitely worked, with Wasp Star being a highly consistent, exciting album to listen to from beginning to end. The guitar riffs of “Playground” and “Stupidly Happy” are some of the most memorable of XTC’s discography. “Boarded Up” is a refreshing change of pace, matching dark lyrical content to a very chilled out acoustic guitar track. But the true standout of Wasp Star is “We’re All Light,” one of the catchiest and brightest songs the band ever produced. This album is a true delight from start to finish — check it out if you haven’t!
#8: The Big Express (1984)
Upon its release, The Big Express was maligned by critics for being an over-produced mess. I personally enjoy the lush, vibrant instrumentals present on this release, and Andy Partridge’s songwriting really takes front and center on the album. Tracks like the sea-shantyesque “All You Pretty Girls,” the apocalyptic “This World Over,” “Wake Up,” and “You’re the Wish You Are I Had” are some of the best tracks here. However, the very best song on The Big Express has to be “Seagulls Screaming Kiss Her, Kiss Her,” which seamlessly intertwines a synth-heavy instrumental track with a marvelous vocal performance from Andy Partridge. Seriously, this has to be one of my very favorite XTC tracks — I’ve never heard anything else quite like it. The Big Express is one of XTC’s most polarizing releases among critics and fans, but I highly enjoy this record.
#7: Mummer (1983)
Stylistically, this album is somewhat similar to its successor, The Big Express. Both feature musically dense instrumental tracks with lyrical subject matter on the darker side of the spectrum. However, Mummer is a bit more folksier, with the instrumentation being a tad more traditional. The album starts off with four great tracks in a row: “Beating of Hearts” and “Wonderland,” which are keyboard-driven tracks with great vocal performances by Andy Partridge and Colin Moulding, respectively, “Love On A Farmboy’s Wages,” a lovely pastoral folk tune from Partridge, and “Great Fire,” an intense orchestral love song with vivid imagery.
The second half of the album isn’t quite as good as the strong opening, but it still features some great tunes. “Ladybird” is a pretty pop song reminiscent of the Beatles, and “Funk Pop a Roll” is a fun romp to end the album with. Also, I must give a shout-out to “Frost Circus,” an outtake that gives me serious SNES RPG vibes. It would also sound right at home in an icy setting in a Pokemon game.
#6: Oranges & Lemons (1989)
This album features the group at their most stylistically diverse, with many different musical influences being present from track to track. “Mayor of Simpleton,” for example, is one of the group’s most uplifting tracks, matching humorous and thoughtful lyrics to a jangle pop backing that would make R.E.M. blush. “The Loving” is a sunny psychedelic piece that would sound right at home on the Dukes of Stratosphear releases. “Here Comes President Kill Again” is a dark, politically-tinged track that sounds like an army march. “King For A Day” is another highlight, featuring a brilliant dual guitar track from Andy Partridge and Dave Gregory, and excellent bass and vocals from Colin Moulding. Moulding contributed many great songs over the group’s tenure, but “King For a Day” may be his greatest contribution as a songwriter.
There are other killer tracks on this album too, such as the opener “Garden of Earthly Delights,” “Scarecrow People,” on which Andy Partridge really shows off his singing chops, the goofy “Pink Thing,” and the beautiful closer “Chalkhills and Children.” There’s truly something for everyone on this album, and not to mention the gorgeous album cover suitable for framing in an art museum.
#5: Drums and Wires (1979)
The first two XTC albums featured the lineup of Andy Partridge on vocals/guitar, Colin Moulding on vocals/bass, Terry Chambers on drums, and Barry Andrews on keyboards. As I mentioned earlier, Andrews’s contributions to the band distracted more than they enhanced. So, before recording their third album, Barry Andrews was replaced by Dave Gregory, an additional guitarist who really helped the band come into their own. On Drums and Wires, many songs feature excellent guitar work that really was ahead of its time. The riff and pounding drums on “Making Plans for Nigel” sound like something out of an industrial album. Other tracks like “Roads Girdle the Globe” and “Complicated Game” are much heavier than anything from other punk-inspired new wave groups of the time. “Helicopter” features slick guitar work and a tight drum track from Chambers. “Ten Feet Tall” is another excellent contribution from Colin Moulding, and the ominous “Millions” is a highlight on the second half. Suffice it to say that every track on his album is memorable, and it runs the gamut from laid back pop tunes to absolutely demented art rock. Drums and Wires was the first truly great release from the band, and helped put the band on their path towards greatness.
#4: Black Sea (1980)
Most bands would view Drums and Wires as a tough act to follow up on, but XTC instead decided to create a record even better than its predecessor. Black Sea continues the hard-rocking tone established on Drums and Wires, but the song structures are more reserved. This means that Black Sea isn’t as wild as Drums and Wires, but the songs are more traditional. Partridge and Moulding used this stylistic change to their advantage, crafting simple rock songs with memorable choruses and superb instrumentation. “Respectable Street” is the best opener on any XTC album, led by a simple riff and an intense vocal delivery from Partridge. “Generals and Majors” is the catchiest XTC track and is one of Colin Moulding’s most memorable songwriting contributions. “Living Through Another Cuba” and “No Language in Our Lungs” are also killer tracks from the first side.
The second side kicks off with “Towers of London,” one of my very favorite XTC tracks that reminds me of The Byrds’ “The Bells of Rhymney” in song structure and lyrical content. “Burning With Optimism’s Flames” and “Sgt. Rock (Is Going to Help Me)” are other excellent tracks. The only dud here is the album’s closer, “Travels in Nihilon,” which is a pretty cool change of pace upon first listen, but doesn’t offer much on repeated listenings. Apart from the final track, Black Sea features some of the group’s most memorable guitar work and greatest tracks. This album would be a great place to start with the band’s catalogue, so definitely check it out!
#3: Apple Venus Volume I (1999)
I honestly don’t really know where to start with this one. When I first heard this album, I was dumbfounded from beginning to end — the uniqueness, the creativity, the orchestral arrangements, the array of emotions it evokes! This isn’t just an album, it’s a genuine work of art. And they were able to pull it off after a seven-year break.
The album starts with “River of Orchids,” an orchestral-driven track that begins with a calming string section. Out of nowhere, a horn section appears that sounds like it shouldn’t mesh with the strings at all, but it completely works. Andy Partridge’s lyrics on this track are reminiscent of Talking Heads’ “Nothing But Flowers,” and there is no percussion whatsoever, making “River of Orchids” an immediate attention-grabber for the album. The second track is “I’d Like That,” a beautiful acoustic track. Other highlights include “Easter Theatre,” which Partridge believes is one of the “perfect” songs of his career, and he certainly gets no argument from me. Also, the somber “Knights in Shining Karma,” the remarkable and grandiose “Greenman,” the devastating “Your Dictionary” and “I Can’t Own Her,” and the emotional closers “Harvest Festival” and “The Last Balloon” are other dazzling tracks. Honestly, this album probably isn’t for everybody — it’s a bit too different and maybe too unique for its own good. But I believe it’s one of the most beautiful albums I’ve ever heard, in both lyrical and musical content. It certainly stands out from the rest of XTC’s discography, and I have to include it as one of their finest achievements.
#2: Skylarking (1986)
Another remarkable musical achievement from XTC has to be their ninth album, Skylarking, released in 1986. This is certainly the most well-known release from XTC’s catalogue, and what sets its apart from their other releases is the overarching theme of the cycle of life, as well as the overall outstanding quality of songwriting from both Andy Partridge and Colin Moulding. The transitions between songs are also ace — “Summer’s Cauldron” and “Grass” flow together wonderfully, as do “Ballet For A Rainy Day” and “1000 Umbrellas.” Colin Moulding’s contributions on Skylarking are probably his best contributions to any album, with “Grass,” “The Meeting Place,” “Big Day,” “Dying,” and “Sacrificial Bonfire” being some of the best tracks here. Let’s not forget Andy Partridge’s contributions, which include the gloomy “1000 Umbrellas,” the Beach Boys pastiche “Season Cycle,” the Britpop-esque “Earn Enough For Us,” and of course “Dear God,” the most famous and controversial XTC track of all. Even though the lyrical content is benign by today’s standards, “Dear God” is still a highly effective track featuring very angry and heartfelt lyrics.
As a complete package, Skylarking may be XTC’s finest album. The songwriting here is completely ace, as is the singing of both Partridge and Moulding. This album is essential listening for anyone who want to give XTC a shot, so I highly recommend it.
#1: English Settlement (1982)
It was really tough to decide which album should go at #1 between Skylarking and English Settlement, but I gave the edge to English Settlement. As a cohesive package from beginning to end, Skylarking is probably a better album, but I think English Settlement contains a bunch of XTC’s very best tracks. “Runaways” and “Ball and Chain” are excellent emotional contributions from Colin Moulding, and get the album off to a great start. “Senses Working Overtime” was one of the group’s biggest hits for a reason — it’s great! The chorus is incredibly catchy and Partridge’s vocal performance really puts it over the top as one of the great pop songs from the 1980s. “Jason and the Argonauts” and “No Thugs in Our House” are excellent as well. “Yacht Dance” is a really cool change of pace, and “All of a Sudden (It’s Too Late)” is one of the best ballads the band ever produced. Andy Partridge’s vocals are simply superb on this track.
“Melt the Guns,” “Leisure,” and “Knuckle Down” feature some of the groups’s most effective social and political commentary, and “Down in the Cockpit” and “English Roundabout” are terrific as well. In sheer volume of great songs, I think English Settlement has more to offer than perhaps any other XTC release, although that is of course helped by it being a double album. That’s another remarkable thing about this album — normally double albums have a tendency to go on a bit too long and drag near the end, but English Settlement is just rapid fire: great songs from beginning to end. This is 1980s pop rock at its very best: great instrumental work, great vocals, and memorable songwriting. For these reasons, English Settlement takes the top spot in my list.
If you disagree with my picks, let me know in the comments what you think! I hope you enjoyed the article, and I sincerely hope you give some of these excellent albums a try in the near future. Everyone always needs more great music to listen to, and I hope you all enjoy some of these albums as much as I have. Thanks for reading and have a great day.
