XTC: Skylarking Uncovered

It’s only natural that a young(ish) man’s fancy should turn to Skylarking at this time of year. And though I must have listened to it tens of times (and recently wrote a detailed piece about it here), Steven Wilson’s instrumental mix uncovers many of the album’s sonic secrets. You might even say that it’s like listening to a whole new thang.

Though lead songwriter/vocalist Andy Partridge had a somewhat ‘strained’ relationship with producer Todd Rundgren during the recording (in recent book ‘Complicated Game’ Partridge occasionally – tongue firmly in cheek, of course – refers to him as ‘Herr Rundgren’ and states that he would only allow one or two takes per overdub), this version demonstrates once and for all that Todd played a blinder on Skylarking, as arranger, sound designer, occasional keys player and backing vocalist. And the others (Dave Gregory, Colin Moulding, Prairie Prince, sundry guest players) weren’t too shabby either.

Things to listen out for: the charmingly ramshackle 12-string guitars and Mellotron underpinning ‘Summer’s Cauldron’, the dramatic cello gracenotes that punctuate ‘Grass’, Partridge’s Stax-flavoured guitar and Todd’s synths on ‘That’s Really Super Supergirl’, Gregory’s superb piano on ‘Ballet For A Rainy Day’ and ‘Season Cycle’ and intricate guitar on ‘Earn Enough For Us’, the mad mariachi trumpets that kick off ‘Big Day’, Prairie’s subtle drums on ‘Mermaid Smiled’, and…well, you get the idea.

It seems unlikely that this will appeal to any but the most hardcore XTC fans, but who knows? The top-notch songcraft and synaesthetic textures may even draw in some new punters.

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XTC’s English Settlement: 35 Years Old Today

r-1455277-1313625163-jpegVirgin Records, released 12th February 1982

Produced by Hugh Padgham and XTC

Recorded at The Manor, Oxfordshire, October/November 1981

Working titles: Rogue Soup, Motorcyle Landscape, World Colour Banner, Explosion Of Flowers, Knights On Fire

Album Chart position: #5 (UK), #48 (US)

Singles released: ‘Senses Working Overtime’ (UK #10)
‘Ball And Chain’ (UK #58)
‘No Thugs In Our House’ (did not chart)

Andy Partridge (vocals, guitar, keyboards, percussion, co-composer): ‘We spent the summer of 1981 rehearsing at Terry “Fatty” Alderton’s Tudor Rehearsal Studio and it was very sweaty. All the Swindon heavy rock bands would rehearse there, drink cider and piss in the corner. Terry (Chambers) had forgotten how to drum. He had spent the early summer working on a building site and when he set up his drum kit it was more like scaffolding. He was just useless (but apparently improved pretty quickly… Ed.). I forced him to buy a new snare drum and timbale. I bought a Yamaha acoustic. It opened up possibilities for new sounds where the live arrangements mattered less. I’d become unhinged a couple of times on tour and wanted a break. The album cover (by Ken Ansell)? I think it was just that we were fascinated with the Uffington Horse. The Americans thought it was a duck…’

Dave Gregory (guitar, keyboards, backing vocals): ‘I’d always dreamed about owning a 12-string Rickenbacker but it had seemed like a frivolous folly until now. I fell totally in love with the sound. English Settlement was a watershed record for us. We’d made a couple of guitar records and then the acoustic side came out. It was definitely a progression. There weren’t too many songs, just not enough time…’

Colin Moulding: (vocals, bass, keyboards, percussion, co-composer): ‘I bought a fretless bass. I thought it would fit in with the acoustic stuff we were doing but it was impossible on tour. You have to have a flair for playing something without frets and I haven’t. As soon as the lights went out…the rest is history…’

For much more info on English Settlement, check out Neville Farmer’s book ‘XTC Song Stories’.

XTC’s Skylarking: 30 Years Old Today

xtcVirgin Records, released 27th October 1986

10/10

Produced by Todd Rundgren

Recorded at Utopia Studios, Woodstock, upstate New York

UK album chart position: #90 (!)
US album chart position: #70 (!)

terry-thomas

Terry-Thomas in ‘School For Scoundrels’

Side One:

1. ‘Summer’s Cauldron’

Andy Partridge (composer): ‘Something about the words reminded me of Dylan Thomas. Not that I’m saying I’m a Dylan Thomas. More of a Terry-Thomas, really…’

2. ‘Grass’

Colin Moulding (composer): ‘A lot of people think the song’s about marijuana – it isn’t. Todd said: “Don’t sing so deep. You sound like a bit of a molester.” So I just did the Bowie thing and added an octave above it…’

3. ‘The Meeting Place’

Moulding: ‘Because the riff was a bit like “Postman Pat”, we were just figures on a Toytown landscape viewed from above. It was me meeting her (future wife Carol) at the gates for a sandwich in The Beehive pub, embroidered with the suggestion of a lunchtime quickie…’

4. ‘That’s Really Super, Supergirl’

Partridge: ‘I’d go into his (guitarist Dave Gregory) little room, smelling of aftershave and guitar wax and dead mice, and he’d be rehearsing this solo over and over again. I can still see him playing it. I remember when we were recording the song that Todd was trying to master it on keyboard, and Dave whispered to me, “He’s got the chords wrong!” He thought the chords were major, and they’re not. I was hearing it a lot more clangorous…’

5. ‘Ballet For A Rainy Day’ (Partridge)

6. ‘1000 Umbrellas’

Partridge: ‘There was very little time to do the strings. They had one run-through and then recorded it. Their balls were on the line but they turned in a pretty fine performance…’

7. ‘Season Cycle’

Partridge: ‘I felt that I had maybe laid the ghost of Ray Davies ‘fore me and written a song that could stand up against “Shangri-La” or even, dare I suggest, “Autumn Almanac”.’

Side Two:

8. ‘Earn Enough For Us’ (Partridge)

9. ‘Big Day’

Moulding: ‘I’d been messing around with the chords of Labi Siffre’s “It Must Be Love” and, with a little moving around, it became this sort of fanfare to a big event, a ticker-tape parade for a big day.’

10. ‘Another Satellite’

Partridge: ‘I regret writing it because things turned out so marvellously with the person (Erica Wexler) it’s all about. The story had a happy ending because Erica and I finally got to express the emotional bond that was always there.’

11. ‘Mermaid Smiled’ (Partridge)

12. ‘The Man Who Sailed Around His Soul’

Partridge: ‘It just says you’re born, you live and you die. Why look for the meaning of life when all there is is death and decay? Todd said, “Let’s do a John Barry thing” and, literally overnight, came up with his arrangement with brass and flutes. It’s bang on. Cod spy music.’

13. ‘Dying’ (Moulding)

It frightens me when you come to mind
The day you dropped in the shopping line
And my heart beats faster when I think of all the signs, all the signs
When they carried you out your mouth was open wide
The cat went astray and the dog did pine for days and days
And I felt so guilty when we played you up
When you were ill, so ill
What sticks in my mind is the sweet jar on the sideboard
And your multicoulored tea cozy

What sticks in my mind is the dew drop hanging off your nose
Shrivelled up and blue
And I’m getting older, too
But I don’t want to die like you
Don’t want to die like you, don’t want to die like you

14. ‘Sacrificial Bonfire’

Moulding: ‘There was a touch of “The Sorcerer’s Apprentice” and a bit of Arthur Brown’s “Fire” in it, I suppose. But I wasn’t moralising. It was just that this was an evil piece of music and good would triumph over it. (The strings) were a bit too Vivaldi for me, but it had to go somewhere, I suppose…’

Further reading: ‘XTC Song Stories‘ by Neville Farmer

Complicated Game‘ by Todd Bernhardt/Andy Partridge

9 More Great Album Covers Of The 1980s

Check out the first instalment here in case you missed it.

9. XTC: Oranges & Lemons (1989)

Artwork and Design by Andy Partridge, Dave Dragon and Ken Ansell

orangeslemons

8. David Sylvian/Holger Czukay: Plight And Premonition (1988)

Photography and Design by Yuka Fujii

david_sylvian_holger_czukay_plight_premonition

7. Anderson Bruford Wakeman Howe (1989)

Artwork by Roger Dean

anderson-bruford-wakeman-howe-52a0c65177b8a

6. Grace Jones: Nightclubbing (1981)

Photography and Design by Jean-Paul Goude

grace-jones240214-jpg

5. Debbie Harry: KooKoo (1981)

Photography by Brian Aris, Design by HR Giger

debbie

4. Steve Khan: Eyewitness (1981)

Artwork by Jean-Michel Folon

khan

3. King Crimson: Three Of A Perfect Pair (1984)

Artwork by Peter Willis

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2. Donald Fagen: The Nightfly (1982)

Photography by James Hamilton

fagen

1. Tackhead: Friendly As A Hand Grenade (1989)

Artwork by Gee Vaucher.

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So what is the tenth (or 20th) greatest cover of the ’80s? Suggestions below, please…

Aces Of Bass in Early-’80s Britpop

mark_king_1988_tel_aviv_israelWatching the superb reruns of ‘Top Of The Pops’ recently, it’s apparent how many great bass players stormed the UK charts during the early/mid-’80s.

Everywhere you looked, there were hip, young four-stringers with good haircuts and some nifty licks (or ‘kids with a riff’, as Robert Palmer called them).

Though very much under the twin influences of Chic’s Bernard Edwards and Jaco Pastorius, a whole host of ’80s players managed to forge some truly original sounds while clearly utilising the feels and techniques of both American bassists.

Here’s a smattering of great British players of the period (more from across the pond soon) with a few of their enduring performances. Make sure your subwoofer is turned on…

9. Mick Karn

By Japan’s 1979 Quiet Life album, the man born Andonis Michaelides had become one of the most original fretless players of all time, effortlessly bypassing the Jaco template. His lines were also absolutely integral to the band’s formula and eventual success. This minor hit demonstrates his melodic approach (though somehow he was denied a songwriter credit) and his playing reveals new discoveries even 35 years on.

8. Tony Butler

Shepherds Bush-born Butler brought something very unique to ’80s rock and pop with his band Big Country. He also formed a key rhythm section alongside drummer Mark Brzezicki. Check out his bouncy, almost dub-style rhythmic approach on this beautifully structured bass part.

7. Derek Forbes

The hyperactive Glaswegian just couldn’t stop coming up with classic early-’80s basslines. After his departure from Simple Minds in 1984, he also added some quality low-end work to Propaganda’s touring band.

6. Guy Pratt

The Artful Dodger of the early ’80s bass scene, Guy cut his teeth with Icehouse before breaking out to play with everyone from Madonna to Pink Floyd. This quirky 1984 hit is a compilation of all his licks and tricks – producers seemed to like his ‘more is more’ approach…

5. Graham Edwards

According to Pratt’s great ‘My Bass And Other Animals’ book, Edwards was always going up for the same gigs as him back in the mid-’80s. Now an almost forgotten name, he played some excellent stuff in Go West’s live band and also shone on this underrated gem:

4. Pino Palladino

Pino’s highly melodic fretless style had already graced megahits by Gary Numan and Paul Young by the mid-’80s, but this always seemed like his most intense, distinctive groove, with more than a hint of Bernie Worrell/Parliament’s ‘Flashlight’ about it.

3. Mark King

Mr King has to be in this list. Though best known now for his formidable slap technique, his crisp, fluid fingerstyle lines were just as distinctive, not least this Eastern-tinged salvo which really sums up the spirit of 1982 (though one wonders if he’d like another go at the vocal…).

2. Colin Moulding

The XTC man’s flowing, melodic style showed that he was a worthy heir to Paul McCartney. No matter how ‘standard’ the chord changes, you could rely on Moulding to come up with something memorable.

1. John Taylor

Like or loathe Duran Duran (I have to say I was usually of the latter persuasion), Taylor certainly came up with some memorable if somewhat samey grooves (as gleefully parodied by Mr Pratt), finding a pleasingly-understated style on this minor classic.

Any more for any more?

Three Angry 1980s Songs About Managers

Grey_Double-Buttoned_Suit_JacketManagers, eh? In 1997, David Bowie said, ‘They’re a species I really have nothing to do with’, an unsurprising position considering his disastrous earlier experiences with Tony Defries. By the late ’70s, he’d sworn off them forever.

But, in the rock and pop world, it’s almost a rite of passage to be ripped off by a manager. As the old music biz saying goes: where there’s a hit, there’s a writ.

There were certainly a number of dodgy characters hanging around in the 1980s, generally wearing cheap suits and deafening aftershave. Japan/Wham! manager Simon Napier-Bell knows where all the bodies are buried: he told all in ‘Ta-Ra-Ra-Boom-De-Ay’, his jaw-dropping account of record business skulduggery. And Giles Smith’s hilarious ’80s memoir ‘Lost In Music‘ outlined his doomed-to-fail attempts at pop stardom whilst being hamstrung every step of the way by chronically-inept ‘career adviser’ Pete The Bastard.

Basically, for every Bruce Findlay (Simple Minds), Ed Bicknell (Dire Straits) or Paul McGuinness (U2) – the nominal ‘fifth member of the band’ – there’s probably a Colonel Tom Parker or Defries in the wings.

Here are three prime 1980s acts who turned on their ex-managers in the best way they knew how.

3. XTC: ‘I Bought Myself A Liarbird’ (1984)

For many years, songwriter Andy Partridge was unable to discuss this song due to ‘legal issues’ with the band’s former manager Ian Reid (the sticking points seemed to be a huge unpaid VAT bill and also work/life balance, or lack of it…). Partridge delivers a pretty caustic portrait of the ‘starmaker machinery behind the popular song’, as Joni Mitchell called it. XTC settled out of court with Reid in 1989.

I bought myself a liarbird
He came with free drinks
Just to blur the lies falling out like rain
On an average English summer’s afternoon

I bought myself a new notebook
Sharpened my guitar and went to look
If this biz was just as bongo as the liarbird made out

All he would say is ‘I can make you famous’
All we would say: ‘Just like a household name’
Is all he would say

Methinks world is for you
Made of what you believe
If it’s false or it’s true
You can read it in your bible
Or on the back of this record sleeve

I bought myself a liarbird
Things got more and more absurd
It changed to a cuckoo
And expanded, filling up with all I gave

I bought myself a big mistake
He grew too greedy, bough will break
And then we will find that liarbirds
Are really flightless on their own

Methinks world is for you
There’s no handing it back
If it’s false or it’s true
You can read it in your prayer book
Or on the side of a cornflake pack

I gave away a liarbird
A couple less drinks
And now I’ve heard the truth shining out like sun
On an average English winter’s afternoon

2. John Martyn: ‘John Wayne’ (1986)

This Eastern-tinged, dramatic doom-ballad was initially written as a diatribe against Martyn’s early-’80s manager Sandy Roberton. The main problem seemed to be ‘cashflow’, judging from the lyric below… After a rewrite and the adding of a soupçon of humour (as well as some of John’s ‘strangled duck’ vocals, as he called them), it also became a cheeky portrait of the type of ball-busting, all-American bullyboy represented by Duke Wayne and Martyn’s old favourite Ronald Reagan. He even managed to include a classic Pinteresque euphemism: ‘I’ll measure you – fit you up!’

You know you’ve got it coming
I’ll tell it to you straight
I’m coming for you very soon
I’ll never hesitate
I’ll measure you
And fit you up

I am John Wayne
I do believe I’m John Wayne
I am John Wayne
Drink your milk!

Don’t you dare look behind you
You know I will be there
You’ll feel my breath on your neck
Turn, face me if you dare

I am John Wayne
I believe I’m John Wayne
Get on your horse!

You felt the money flowing
You watched the beast arrive
Watch the money going away
Time to skin the lamb alive

1. Prince: ‘Bob George’ (1987)

Black Album curio ‘Bob George’ was recorded at LA’s Sunset Sound as a present for Sheila E, and premièred at her Vertigo club birthday bash on 11th December 1986. Engineer Susan Rogers explained the genesis of this bizarre, self-mocking, X-rated piece: ‘Prince felt (Billboard music critic) Nelson George had become very critical of him all of a sudden, at a stage in his career where he needed all the help he could get. (Manager) Bob Cavallo also ticked him off.’ Roots of this discord may have lain in Prince’s wish to release the triple-album Crystal Ball as the follow-up to Parade, a wish that fell on deaf ears during negotiations with Prince’s record company Warner Bros. Maybe Prince felt that Cavallo hadn’t pushed hard enough on his behalf, terminally affecting their working relationship – Cavallo was given the push just after the release of the Batman album 18 months later. (Is ‘Bob George’ also a homage to/pastiche of Miles Davis? Ed.)