Reviewed on this page:
White Music - Go 2 - Drums And Wires - Explode Together - Black Sea -
Live In Concert - English Settlement - Mummer - The Big Express - Skylarking - Chips From The Chocolate Fireball - Oranges & Lemons - Rag & Bone Buffet - Nonsvch - The Greatest Living Englishman -
Apple Venus -
Wasp Star: Apple Venus Volume Two
In my view, XTC is the greatest rock band of the 1980s. But if you're not careful about digging into their catalogue you may be disappointed, because they've got two faces - there's not just the hard-hitting late 70s/early 80s
New Wave XTC, but also the late 80s studio-bound, 60s-retro, pop-happy XTC
(Skylarking, Oranges & Lemons, etc.). Neither formulation
ever scored a major American hit, unlike nominal US counterparts the
Talking Heads. But XTC has built a substantial hardcore fan following anyway, and also unlike the Talking Heads, they've never really lost their edge: they've consistently delivered quality recordings that show increasing sophistication and maturity instead of burnout and boredom.
They don't have a jaw-dropping instrumental virtuoso, but neither do most rock bands, and the three main players are all top-notch musicians - Colin Moulding's bass parts are frequently startling. And XTC easily makes up for any lack of chops with consistency, inventiveness, disregard for passing fads, and almost unerring pop instincts. Guitarist Andy Partridge, who writes about 2/3 of the tunes, delivers clever and engaging lyrics with genuine poetic merit; and the remaining material, written by Moulding, is always solid. Multi-instrumentalist Dave Gregory never drew too much attention to himself, but he's good, and it's a shame he recently left the group during their first serious recording sessions in a half-decade. In any case, despite XTC's lack of major commercial success you've got to grant that they at least rate with Elvis Costello, the Jam, the Police, and U2 among the most enduring and important European New Wave rock acts.
XTC originated in the English town of Swindon in the mid-70s, and quickly jumped on the punk bandwagon once that movement hit. Always more melodic and inventive than pure punk acts, they were a major success in Britain but had trouble breaking through in America, even though they toured internationally and earned a large college audience. At an early stage they replaced their keyboardist (Barry Andrews, later of Shriekback) with Dave Gregory. Eventually Partridge's crippling stage fright made it impossible for them to tour, which led to their drummer quitting the band and moving to Australia (they never replaced him, using a succession of studio players on the records that followed). The lack of public performances blunted their rise to fame, and their madcap songwriting productivity also took a nosedive at about the same time. But their later records sound even better to me, impressively blending the studio gimmickry and
technical expertise of 1980s King Crimson with the pop sensibilities of, well, the Beatles
(ack, I said it).
I have omitted mention of several compilation albums, including Waxworks, Beeswax, and Fossil Fuel, because most of this material is available on the bonus-track augmented CDs. The major exception is Rag & Bone Buffet, which I review below.
Fans should check out the large and interesting XTC web
site, which includes a whimsical record review written by
Barry Andrews (keyboards), Terry Chambers (drums), Colin Moulding (bass, vocals); Andy Partridge (vocals, guitar, some percussion). Andrews replaced by Dave Gregory (keyboards, guitar, backing vocals), 1979. Chambers quit, 1982, not replaced. Gregory left, late 1998, not replaced.
White Music (1978)
The band's debut record after several years of playing live and building a catalogue, produced by John Leckie.
It's mostly fast-paced, danceable pop-punk that spotlights Andrews' buzzing organ and electric piano and Moulding's rubbery bass ("Spinning Top"), mixed up with some deeply weird, shockingly geeky white boy ska music ("I'm Bugged").
Most of Moulding's stuff seems underdeveloped (the herky-jerky "Cross Wires" and goofy "Do What You Do").
But his "I'll Set Myself On Fire" is nicely constructed, and Partridge is already spitting out hummable refrains, snappy dynamic shifts, and snarling riffs ("Into The Atom Age"; "New Town Animal In A Furnished Cage").
"Neon Shuffle" is jammed with clever bits, and the anthemic shout-along "This Is Pop" is his first real masterpiece.
Alas, the grinding, sludgey arrangement doesn't really do it justice.
And the record is so thinly produced and written that the only other key moment is the bizarre, almost unrecognizeable 5-minute cover of "All Along The Watchtower," with a spastic vocal, honking harmonica riffs and a superbly funky bass line.
Uneven, but there are promising signs everywhere.
The CD release includes seven fast-paced, solidly enjoyable bonus tracks ("Science Friction"; "She's So Square"; the manic "Traffic Light Rock"), with Moulding's contributions being better than his album cuts ("Dance Band"; the dorky "Heatwave," not the Martha Reeves tune; "Instant Tunes," another elaborate ska number).
Only a couple tracks are trivial ("Hang On To The Night"). (JA)
Go 2 (1978)
By now had settled into the early New Wave mainstream: a slight punk flavor in the breakneck tempo and manic, half-shouted vocals; a touch of reggae in the loping, melodic bass lines; and a creepy humor in the careening organ parts and jaggedly concise guitar lines.
Partridge clearly has bigger ideas even at this point, however.
In the style of Elvis Costello, his lyrics are provocatively cryptic and his arrangements are tight, inventive, and riff-laden
(Moulding's tunes are pretty good too). There's a lot more musical talent
here than in anything else to come directly out of the punk movement, but it's still too spare and quickly recorded to be truly memorable.
The CD includes one bonus track, namely, the exciting single "Are You Receiving Me?" (JA)
Drums And Wires (1979)
This was Dave Gregory's debut with the group, and their first U.S. release, marking it as the closest thing they had to a commercial breakthrough: Moulding's goofy, robotic "Making Plans For Nigel" got some serious airplay, and there are some other first-rate tunes here like the eerie "Millions," the raving, loony "Scissor Man," the danceable "Real By Reel," the echoey, angsty "Complicated Game," and the reggae-influenced, semi-acoustic "Ten Feet Tall." On the down side, the band sounds oddly defused this time around, with most of the songs being driven by subtle rhythm guitar parts.
Only a few selections like "Outside World" are as manic as almost everything on the last record was, and there are only a few flourishes like trumpet ("That Is The Way") and distorted guitars. But it's solidly entertaining, and new producer Steve Lillywhite does in fact push them towards the echoey, stomping sound he later used on U2's recordings.
Not a key effort, but a good addition to any fan's collection. There are three bonus tracks on the CD version, all of which have notably more energy than the LP tracks ("Life Begins At The Hop"). (JA)
Explode Together (rec. 1978 - 1980, rel. 1990)
A compilation of a five-song 1978 EP (GO+) and an early 1980 "solo" Andy Partridge album (Take Away/The Lure Of Salvage), each of which comprises "dub" mixes of contemporary XTC tracks.
On the EP (drawn from Go 2), Partridge literally does little more than remix, dropping out the vocals and dicing up the instrumental tracks to emphasize the rhythm parts.
It's a little trippy and more-or-less danceable, but basically dull, because the band's lyrics, harmonies, and integrated instrumental arrangements are exactly what make them so great.
The album is more interesting: Partridge employs an outtake ("Refrigeration Blues," which becomes "Commerciality") and a couple of B-sides in addition to cuts from the preceding three studio albums.
He reworks some of the material and adds some vocal parts complete with real lyrics ("The Rotary"), so the tracks aren't instantly familiar and they're often dense and bizarre.
On "Forgotten Language Of Light" he scat sings and layers on vaguely Eastern percussion; "Cairo" has a funny, juvenile joke vocal.
But some of this is deathly dull (the languid "Shore Leave Ornithology") and much of it is aggravating ("New Broom"), so it's hard to imagine anyone but an obsessive wanting to hear the disc repeatedly. Produced by John Leckie. (JA)
Black Sea (1980)
This is heavy stuff, and Partridge claims that that the point was to capture the band's raucous live sound. The relentless slew of mechanical rockers is nearly too much to handle, but there are tons of great tunes anyway. Just look at the first three: the irresistably rocking single "Respectable Street"; Moulding's even more popular, slightly goofy "Generals And Majors"; and the brilliantly produced, mechanized ska number "Living Through Another Cuba." The single "Sgt. Rock (Is Going To Help Me)" is more of the same quirky, loping, threateningly jagged ska-influenced pop.
It's true that a couple of the songs are lyrically and musically pedestrian, with Partridge reusing poetic devices on "Rocket From A Bottle" and "Burning With Optimism's Flames," and Moulding just not trying very hard on "Love At First Sight." But that's mere quibbling, and in the end you'll be happy you tracked this record down. Producer Steve Lillywhite returns, and it's not a coincidence that the Ray Davies-like social protest "Paper And Iron (Notes And Coins)" and creepy "Travels In Nihilon" perfectly replicate U2's contemporary big beat sound. Black Sea did decently on the charts, but like all of XTC's efforts failed to crack the U.S. Top 40. (JA)
Live In Concert (rec. 1980, rel. 1992)
The only live XTC record that's been officially released, it's an essential document of their energetic early period. As a separate disc it's only available in the UK and Canada, but it also comes as part of the Transistor Blast collection.
The 13 tracks were recorded for BBC Radio 1 in December, 1980.
Seven of them are from Black Sea (inexplicably, they leave out "Sgt. Rock"), and the rest includes some of their strongest older material: a dramatically energized "This Is Pop," "Are You Receiving Me?," "Making Plans For Nigel," "Scissor Man," "Life Begins At The Hop," and a languid version of "Battery Brides" (from Go 2).
Partridge had a head cold, so on some tracks his voice is hoarse ("No Language In Our Lungs" indeed!).
But otherwise the performance is extremely solid, and one can only be impressed by the band's speed, precision, and economy.
Most of the arrangements do stick closely to the ones you'll find on the preceding two albums, but Chambers is ferocious, even getting away with some electronic drumming ("Love At First Sight"); Moulding's backing vocals are effective; and the two-guitar attack of Gregory and Partridge gives them a more substantial live sound than most rock bands.
I can't find much to complain about here, other than the inevitable tonal uniformity (they stick with standard instruments all the way through). (JA)
English Settlement (1982)
Another step up in production standards and another unambiguous shift in sound. It's a definite advance towards the "late period" XTC: harsh and metallic colors and big stomping punk beats are abolished, and there's a much greater emphasis on inventive melodies, layered guitar overdubs, subtle studio trickery, and complex song structures. You can still hear a strong ska influence (Moulding's "English Roundabout"), but it's tempered by gentle, if insistent percussion and jangly semi-acoustic guitar that sometimes recalls the Byrds.
On the down side, there isn't a lot instrumental variety, and many of the arrangements ramble on past five minutes - only a couple tunes are at all concise.
Still, though, the songwriting is superb. The best tracks are probably the irresistably bouncy ska number "Down In The Cockpit" and the band's biggest British hit single ever, "Senses Working Overtime." What works here is tempering the crashing-guitar chorus with loping, druggy verses. But the other tunes also quickly grow on you: masterful dynamics and arrangement on "Jason And The Argonauts," lulling minor-chord repetition on "All Of A Sudden," humorous percussion on "It's Nearly Africa," buzzing synth on "Fly On The Wall."
A double LP of 15 tracks that is available on a single CD, this is a great buy. Co-produced by Hugh Padgham, the engineer on the last record, and Terry Chambers' last album; he lost interest once the band put a complete halt to live performances. A shame, because he's really solid and creative here. (JA)
XTC's first full-blown, hi-tech psychedelic pop record. It's damn good, but don't make it your first XTC acquisition because the weirdness might frighten you off. A lot of the last album's motifs are still around, like the chiming acoustic guitars and near-catatonic energy level - when Partridge condemns the music industry on "Funk Pop And Roll," it's ironically the record's loudest and most danceable moment. But the studio experimentation is much more extreme, with tons of backwards guitars, inventively creepy synth parts, and effect-laden harmony vocals.
It's cleverly chaotic: droning, Arabesque dissonance that's melodically compelling anyway ("Beating Of Hearts"); jangly love songs ("Love On A Farmboy's Wages"); thumping pop driven by a bizarrely arranged string quartet ("Great Fire"); and an early stab at lushly arranged jazz-pop ("Ladybird").
Even the obligate reggae tune ("Human Alchemy") is so deeply strange that it's almost unrecognizeable as such. Pete Phipps filled in on drums, and Steve Nye produced. There are a half-dozen CD bonus tracks, including some flaky instrumentals and some cheery pop songs that are better than most of the album tunes ("Jump"; "Toys"; the brassy "Gold"). (JA)
The Big Express (1984)
After flirting with dreamy 80s pop-rock on the last record, Partridge suddenly veered off course with this moderately loud, semi-industrial concept album. It is an interesting production, with lots of jagged rhythms, scraping percussion sounds, and intricate overdubs; and the characteristically fine lyrics are closer than ever to Ray Davies' insightful, uniquely British social commentary themes. But it's tough going, cluttered with clever and emotionally distant experiments.
For example, "Seagulls Screaming (Kiss Her, Kiss Her)" sports arrestingly impressionistic lyrics, but as elsewhere Partridge's vocal is so overdistorted you can't tell what he's saying. And Moulding is disappointingly absent, contributing only two songs on the original track listing (the CD has three bonus tunes, including his engaging, manically paced "Washaway").
Still, devotees will find some classic XTC in here somewhere, like Partridge's pop masterpieces "This World Over" and "You're The Wish You Are I Had," and Moulding's gorgeous, jazzy ballad "I Remember The Sun." If XTC hadn't recorded anything after this point I'd rate this much higher, but it's just not the right place to start with their catalogue. David Lord co-produced with the band, and Phipps returned on drums. (JA)
25 O'Clock (1985)
This was the first "Dukes of Stratosphear" record. As an EP it didn't amounted to much running time, so it was paired with Psonic Psunspot on the 1987 CD Chips From The Chocolate Fireball - see my review below. (JA)
The best single effort by the most talented rock band of the 80s, as solidly written as anything they did but more stylistically diverse than usual. The producer was Todd Rundgren, and he pulls out all the stops with dizzying sound effects, loony orchestration, subtle link tracks, and layered overdubs. The end result is quiet and trippy, but the songwriting never stays in place - there's even a big-band jazz number ("The Man Who Sailed Around His Soul").
And everything works. Standout tracks include the jangly atheist anthem "Dear God," with its disturbing child's vocal intro/outro and loopy string quartet; the fascinating, maturely meditative "Another Satellite"; and the peppy radio hit "Earn Enough For Us," whose inspired chord changes, thrilling bass line, and clanging guitars evoke XTC's high-powered early 80s sound. Although Partridge complains that his relationship with Rundgren was rocky, he agrees that the music is first-rate. The drummer was Prairie Prince. (JA)
Chips From The Chocolate Fireball (1987)
On Chocolate Fireball, XTC fully satisfies the secret longings of every Beatles fan by openly imitating their peak psychedelic sound of 1966/1967 - and adding a good dollop of Hendrix and Pink Floyd. The original EP 25 O'Clock is a heartfelt, ingeniously crafted effort, with consistently outstanding tunes like "The Mole From The Ministry."
All five tracks make impressive use of "dated" elements like mellotrons, phasing, backwards instruments, echoey piano, primitive feedback and distortion, keening harmonies, stereo panning, and swooping, McCartney-esque bass lines.
The CD includes Psonic Psunspot, the follow-up "Dukes of Stratosphear" album that consists of 10 new tunes recorded to fill it out ("the Dukes" was an assumed name). The newer tracks do deviate from the plan, but only with broader pop homages like the joyful "Vanishing Girl" and the marvelous "Good Vibrations" sendup "Pale And Precious," and with harder-to-pin down psychedelia like a series of "Alice In Wonderland"-like voiceovers. The sum total is a ripoff, but a brilliant one, matching the rich experimentation of the 60s with XTC's impeccable songwriting instincts and total mastery of 80s recording technology. Crank it up and enjoy. On both sets of recordings Dave Gregory's brother Ian drummed and John Leckie produced. (JA)
Oranges & Lemons (1989)
A fine record, although it sags in the middle and should have been trimmed. At its best it's wildly inventive, with
unobtrusive synth parts, subtle sound effects, tricky bass lines,
jaw-dropping dynamics, mind-bending chord progressions, etc.;
there's even a late-period Hendrix-style
guitar solo ("Merely A Man"). At its worst, it's bland to the point
of nearly being generic, even though there's at least one good idea lurking in every track ("King For A Day").
The lyrics are outstanding, be they gently psychedelic
("Chalkhills And Children"), sarcastically political ("Here Comes President Kill Again"), anthemic a la Lennon ("The Loving"), or downright bizarre (the hysterically crude "Pink Thing"). On the other hand, that's true of almost everything XTC does. With 15 tracks (enough for a double LP), you'll get plenty of value for your money, but might find your patience wearing thin. Famous movie soundtrack composer Mark Isham adds some horn parts; future King Crimson member Pat Mastoletto drummed, and Paul Fox produced. (JA)
Rag & Bone Buffet (1990)
A 24 track compilation of hard-to-get B-sides, uncollected A-sides, movie soundtrack donations, and the like. It's hard to generalize about something like this; it's full of off-beat experimentation, some of it downright silly, some of it dull, and a lot of it brilliant. Some of the tunes are fragments built out of bizarre, repetitive grooves, and there's an elaborate, but corny Christmas single that you could do without. But XTC fans can't possible go wrong: there's not too much duplication of album tracks other than a dance mix ("Cockpit Dance Mixture"), an alternate mix of "Respectable Street," and slightly different versions of "Ten Feet Tall" and "Scissor Man," all of which are well worth hearing again.
These selections and the others span a decade; the earliest is a Go 2 reject ("Strange Tales, Strange Tails"), and the latest few are from 1986 - 1988, like a live version of Skylarking's eerily beautiful "Another Satellite." But most of them date from the band's productive peak during 1979 - 1983, and anyone who likes that period will have fun. The bad news is that the track listing is scrambled; I got so fed up with trying to figure it out that I compiled a chronological track listing, which is appended at the bottom of this page. (JA)
The band is in a pensive mood here, with plenty of angry politics and artistic exhortations, and several bitter breakup tunes. But the lyrics are far from heavyhanded, and in fact Partridge is stunningly poetic in places. The music, though, is a letdown; there's less energy than ever before, with lots of mid-tempo pop balladry carried by heavy doses of synth, piano, strings, and trumpet. Partridge is so dreary and oblique that Moulding's few tunes come as a breath of fresh air ("The Smartest Monkeys" and "War Dance," both with rousing and direct political themes).
Of course Partridge comes through with a few really great rockers anyway, like "The Ballad Of Peter Pumpkinhead," plus a couple of memorable up-beat songs like the wittily metaphorical, beautifully harmonized "Omnibus." And the clever production often brings a smile - Gus Dudgeon was brought in here, and his experience shows. There's also tons of music, with 17 full songs, and all of them have some point of interest. It's mature and relaxing enough to bear repeated listenings, unlike XTC's occasionally grating, overenergized early-period records. But don't start here if you want to see what makes this band great. The drummer this time was Dave Mattacks of Fairport Convention. (JA)
The Greatest Living Englishman (Martin Newell/Andy Partridge: 1993)
It's that Andy Partridge, alright. Newell (ex-Cleaners From Venus, and no, I haven't heard of them either) handles vocals, guitar, bass, keyboards, and all the songwriting. Partridge only produces and plays drums, adding a brief guitar solo on "We'll Build A House" and arranging the synth strings on "Before The Hurricane."
But it does sound like an XTC record: slick, crafted, 60s-retro pop music with Beatles-y tunes, Ray Davies-y proletarian lyrics, Byrds-y 12-string and harmonies, and extremely intricate production - sound collage link tracks, unexpected breaks, floating mixes, psychedelic orchestration, harpsichord, backwards tracks, the works.
And although Partridge sounds amateurish in places, often his percussion bits are downright clever. They don't rock as hard as XTC, Newell's vocal phrasing, bass playing, and solos are conventional, and his tunes aren't as startlingly imaginative as Partridge's. But it's still the kind of record you'll find yourself spinning repeatedly - if you can find it. Newell's brief bio is interesting reading. (JA)
Drums And Wireless: BBC Radio Sessions 77-89 (1994)
This is an official compilation of 17 live-in-the-studio tracks, most of them recorded before 1985, that is only available in the UK. However, the collection is duplicated on the Transistor Blast set. (JA)
Transistor Blast (1998)
This is a four-CD collection of live recordings, mostly from 1977 - 1982 (there are a few cuts from 1984 and 1989 as well).
Disc 4 is the entire 1980 BBC show that comprises Live In Concert, and all of the cuts on Drums And Wireless are duplicated on the other discs.
That would leave another 22 tracks not previously released.
I've got a promo disc that compiles nine of them, and they're not terribly different from the respective studio versions.
So if you've got the two earlier live records I'm not sure you'll want to blow more money on the set - much of the "new" material is from the late 70s, before the band really hit its stride. If I were you I'd probably be satisifed with the 1980 concert alone. (JA)
Apple Venus (1999)
A new studio album, their first release after finally resolving a lengthy dispute with their previous record company.
Alas, it's even more lifeless and ponderous than Nonsvch, with lots of elaborate string and horn arrangements, and inconspicuous guitar and drum parts ("Easter Theatre" and the florid, melodramatic "I Can't Own Her," like Pete Townshend's late 70s orchestral experiments).
In some places the amps are turned so far down you can hardly believe XTC used to be a rock band (the dreamy, luminous "Knights In Shining Karma"; "The Last Balloon," with tripped-out trumpet and harpsichord).
Moulding is still totally hung up on his elaborate Sgt. Pepper's homages ("Frivolous Tonight"; the goofy, smile-inducing "Fruit Nut").
Dave Gregory does appear, but he quit the band at a late point during the recording sessions.
So he's vaguely credited, and the energy and instrumental virtuosity that he brought to the band are just not audible.
Still, though, some of Partridge's lyrics this time are remarkably bitter, and that's a good distraction (the devastating "Your Dictionary").
More importantly, his melodic ideas are as quirky and uplifting as ever, so every track eventually grows on you and several are standouts.
"I'd Like That" has not just the usual clever harmonies, but a galloping beat.
"River Of Orchids" has a fascinating, slow-building orchestral arrangement.
"Harvest Festival" is a majestic masterpiece.
And "Green Man" is a total winner, with a burbling Middle Eastern beat, sinuous strings, and a joyous melody.
Another record I'm rating way too low because the band's high points are so much higher.
The drummer is Prairie Prince again, and producers Nick Davis and Hayden Bendall play some keyboard parts. (JA)
For reasons unclear to me, the band released the complete set of highly polished eight-track demo recordings for the songs that appeared on their last album.
I have the disc, and it manages to beg two devastating questions at once: why put out what's essentially the same album twice in one year, and why drag in a professional orchestra to re-record a bunch of synth parts that sounded fine in the first place? (JA)
Wasp Star: Apple Venus Volume Two (2000)
Another set of material stockpiled over the preceding seven years, this time ever-so-slightly harder-rocking, but still very close to the lethargic sound of Nonsvch ("Church Of Women").
There's less orchestration, the guitars are moderately distorted, and some of the tracks are even mid- instead of down-tempo (!).
It doesn't help to have Gregory out of the picture, but the harmonies are still wonderful, and a lot of the songs have a strong beat (the joyful, speeded-up reggae tunes "We're All Light" and "You And The Clouds Will Still Be Beautiful"), in addition to irresistably singable melodies ("Playground").
Oddly, Partridge often seems content to ride a simple, repeated guitar riff, which would be a problem if the riffs weren't so good ("Stupidly Happy"; clever mini-pop-symphony "The Wheel And The Maypole"; "Wounded Horse" - yeah, Partridge is still pissed off at his ex).
Meanwhile, Moulding's stuff is as plodding, if interesting, as ever (the harmonica-driven "In Another Life"; the creepy "Boarded Up"; the propulsive "Standing In For Joe").
The record is kind of off-putting at first, but Partridge's daffy humor and Beatles influence work instantly on "My Brown Guitar," and "I'm The Man Who Murdered Love" is especially fun.
Here we go with the artificial underrating again... great stuff, but go buy the 80s records first.
Producer Nick Davis adds some keyboard parts; Prairie Prince and Chuck Sabo alternate on drums. (JA)
Inevitably, Partridge and Moulding also complemented Wasp Star with that record's demos.
As before, they're remarkably fleshed out, so unless you're a serious fan like me, it's not clear why you'd want to own both versions. (JA)
Here's a chronologically reordered Rag & Bone Buffet track listing, indicating track numbers and approximate original recording dates (in most cases these are based on release dates, indicated with an r).
15 (Sep 1978). "Strange Tales, Strange Tails"
19 (r Sep 1979). "Pulsing Pulsing"
17 (8.10.1979). "Scissor Man"
2 (r Feb 1980). "Ten Feet Tall"
4 (r Oct 1980). "Too Many Cooks In The Kitchen"
13 (r Oct 1980). "I Need Protection"
23 (r Oct 1980). "Take This Town"
24 (r Oct 1980). "History Of Rock 'N' Roll"
16 (r Dec 1980). "Officer Blue"
5 (r Mar 1981). "Respectable Street"
12 (r Jan 1982). "Tissue Tigers (The Arguers)"
22 (r Jan 1982). "Blame The Weather"
6 (r Feb 1982). "Looking For Footprints"
8 (r Feb 1982). "Heaven Is Paved With Broken Glass"
10 (r Feb 1982). "Punch And Judy"
18 (r Feb 1982). "Cockpit Dance Mixture"
7 (r May 1982). "Over Rusty Water"
9 (Aug 1983). "The World Is Full Of Angry Young Men"
11 (r Nov 1983). "Thanks For Christmas"
21 (r Nov 1983). "Countdown To Christmas Party Time"
1 (r Aug 1986). "Extrovert"
3 (r Oct 1986). "Mermaid Smiled"
14 (22.2.1987). "Another Satellite"
20 (r Feb 1988). "Happy Families"
Looking for more on the history of rock 'n' roll?