{"id":49801,"date":"2021-03-03T13:53:11","date_gmt":"2021-03-03T18:53:11","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=49801"},"modified":"2021-03-04T11:19:00","modified_gmt":"2021-03-04T16:19:00","slug":"albums-that-changed-music-xtc-english-settlement","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/albums-that-changed-music-xtc-english-settlement\/","title":{"rendered":"Albums that Changed Music: XTC &#8211; English Settlement"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-2862762344\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-2672743907339-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-2672743907339-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-2672743907339-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-2672743907339-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-2672743907339-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]\n<p class=\"p3\"><span class=\"s1\">XTC are one of the most influential British pop bands to have emerged<span class=\"Apple-converted-space\">\u00a0 <\/span>from the punk and new wave eruption of the late \u201870s. They\u2019re known for bucking contemporary trends, due in part to their vast and varied influences, from disco and ska to dub and avant-garde. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">XTC developed a cult following and are recognized for their influence on the post-punk, Britpop, and power pop bands that would follow them. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Today we\u2019re talking all about XTC and their seminal double album, <i>English Settlement<\/i>. <\/span><\/p>\n<p class=\"p7\"><span class=\"s1\">XTC first formed under the name Star Park in 1972, and then Helium Kidz in 1973. The band spent a time trying out different styles, at one point wanting to be like the New York Dolls. Between \u201973 and \u201975, frontman and primary songwriter Andy Partridge wrote hundreds of songs in that vain that failed to gain any real traction.<\/span><\/p>\n<p class=\"p7\"><span class=\"s1\">The group rebranded itself again, finally settling on the name XTC. Partridge at least partially credits hearing the Sex Pistols in 1976 for taking the band in a new direction, saying: <\/span><span class=\"s1\">\u201c[Hearing \u2018Anarchy in the UK\u2019] sort of spurred me on \u2013 watching this stuff that I thought was rather average.\u201d <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">XTC began pursuing their own voice, recording four albums between 1978 and 1980. The group saw their first commercial breakthrough with <i>Drums and Wires <\/i>in 1979, which featured two charting singles written by bassist Colin Moulding: \u201cLife Begins at the Hop\u201d and the breakthrough \u201cMaking Plans for Nigel.\u201d<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">Moulding has said of both tracks, <\/span><span class=\"s1\">&#8220;I wanted to ditch that quirky nonsense and do more straight-ahead pop.\u201d -Colin Moulding<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">The album was also the band\u2019s first collaboration with the powerhouse production\/engineering duo Steve Lillywhite and Hugh Padgham, which introduced a thunderous drum sound to XTC\u2019s arrangements.<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">Padgham\u2019s invention of gated reverb while working with Phil Collins became the quintessential drum sound of the \u201880s.<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\"> This sound was further explored on the band\u2019s fourth album, <i>Black Sea<\/i>, in 1980, again with Lillywhite and Padgham handling production and engineering respectively.<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">Partridge recalls, <\/span><span class=\"s1\">\u201c[<i>Black Sea<\/i>\u2019s production was like] <i>Drums and Wires<\/i> to the Nth degree &#8230; The drums got boomier and bigger and more gated and more aggressive, and the guitars got slashier, with more punch to them.\u201d<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">With two breakthrough albums under their collective belt, 1982\u2019s <i>English Settlement <\/i>marked a departure from their previously successful style. This time, Partridge pushed the group towards pastoral pop, with an emphasis on acoustic instruments, longer songs, and more intricate arrangements. <\/span><\/p>\n<p class=\"p18\"><span class=\"s1\">The ambitious double album would be the band\u2019s highest-charting record, and have a lasting impact on music in the decades that followed. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><b>Writing and Recording<\/b><\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Most of <i>English Settlement <\/i>was recorded in the summer of 1981 after an exhausting touring regimen that left Partridge in poor mental health. He unfortunately suffered momentary amnesia, at times forgetting songs on stage and even his own identity.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">During this period, XTC\u2019s music was so intertwined with touring that <i>Black Sea <\/i>was written and recorded without overdubs, unless they could be performed live. <i>English Settlement <\/i>was partially conceived as<span class=\"Apple-converted-space\">\u00a0 <\/span>an attempt by Partridge to avoid touring altogether: <\/span><span class=\"s1\">\u201c[If I] wrote an album with a sound less geared towards touring then maybe there would be less pressure to tour.\u201d -Andy Partridge<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">The result of <i>English Settlement<\/i> was a concentration on more complex and intricate arrangements, longer songs, lyrics that touched on political<span class=\"Apple-converted-space\">\u00a0 <\/span>and social issues, and generally a wider range of musical styles. <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">This naturally introduced a new range of instruments to their sound as well. Colin Moulding purchased a fretless bass, while guitarist Dave Gregory bought a 12-string Rickenbacker. Partridge, who\u2019d given away his acoustic guitar during a television appearance, bought another one. He also encouraged Terry Chambers to experiment with new percussion, such as timbales.\u00a0<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">XTC recorded the album in six weeks at <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Manor_Studio\"><span class=\"s9\">The Manor Studio<\/span><\/a> in Oxfordshire with producer <a href=\"https:\/\/en.wikipedia.org\/wiki\/Hugh_Padgham\"><span class=\"s9\">Hugh Padgham<\/span><\/a>. The group opted to co-produce the record alongside Padgham without Lillywhite\u2019s oversight, as they found Padgham to be most responsible for exploring new sounds with the band. <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">As Padgham remembers, <\/span><span class=\"s1\">&#8220;I just let the band be themselves. I&#8217;ve always been that kind of producer. &#8230; they had quite a clear idea of what they wanted and I just made sure that this could be translated as easily and as clearly as possible.\u201d -Hugh Padgham<\/span><\/p>\n<p class=\"p22\"><span class=\"s1\">This philosophy helped XTC create what many consider to be their very best work.<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">This was XTC\u2019s highest charting single ever, reaching #10 on the UK singles chart. It was actually a deliberate attempt at writing a commercial single, and was inspired by Manfred Mann\u2019s \u201c5-4-3-2-1\u201d from 1964. <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">At the time, Partridge didn\u2019t think it was good enough to be a single. To his surprise, the label picked the song and it performed remarkably well. Moulding likens it to something Queen or Genesis would have done.<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\"><i>English Settlement<\/i> spawned two additional singles in \u201cBall and Chain\u201d and \u201cNo Thugs in Our House.\u201d<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">True to the band\u2019s intent to cover social issues of the day, Moulding wrote \u201cBall and Chain\u201d in response to Margaret Thatcher\u2019s economic policies. <\/span><span class=\"s1\">&#8220;The whole Swindon area seemed to be under the hammer. Mrs. Thatcher had come to power a couple of years before, and everything was kind of being battered to the ground. 3 million unemployed &#8212; it was a difficult period.\u201d -Colin Moulding <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">This four-on-the-floor rock song was musically inspired by Eddie Cochran\u2019s \u201cSummertime Blues.\u201d Lyrically, it tells a very different story of a couple wrestling with the idea that their son is a violent racist. <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">From a production standpoint, there\u2019s a slapback echo on Partridge\u2019s vocals to capture some of that \u201850s rockabilly vibe. <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">The following song, \u201cYacht Dance,\u201d is a complete shift in style and rhythm, highlighting XTC\u2019s genre explorations within <i>English Settlement.<\/i><\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">Top to bottom, <i>English Settlement <\/i>covers so much sonic territory while always sounding like XTC. Take a track like \u201cDown in the Cockpit\u201d for example.<\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">The song flirts with reggae while still retaining the upbeat, dance-y energy found in many of the album\u2019s other tracks. <\/span><\/p>\n<p class=\"p13\"><span class=\"s1\">XTC\u2019s ability to weave in and out of various influences and styles, while still creating a cohesive work, is a huge part of what makes <i>English Settlement <\/i>such an important album. <\/span><\/p>\n<p class=\"p2\"><span class=\"s1\"><b>Release and Reception<\/b><\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><i>English Settlement <\/i>was released February 12th, 1982. XTC made many TV appearances in support of the release, including a performance on <i>The Old Grey Whistle Test \u2014 <\/i>Partridge\u2019s first experience with stage fright! Four music videos were made for the three singles, as well as for \u201cAll of a Sudden (It\u2019s Too Late).\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">The album was the band\u2019s best ever chart showing in the UK, peaking at #5. It additionally spent 20 weeks on the US <i>Billboard <\/i>200, peaking at #48.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">As the first single, \u201cSenses Working Overtime\u201d reached #10 on the UK singles chart \u2014 the highest for any XTC song. \u201cBall and Chain\u201d came in at #58.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Overall, <i>English Settlement <\/i>was met with widespread acclaim. In an article for <i>Rolling Stone<\/i>, Parke Puterbagh perfectly summarized the work: <\/span><span class=\"s1\">&#8220;Once again, XTC has managed the difficult feat of sounding accessible even while moving into evermore abstruse and adventuresome territory. &#8230; The result is a program of numbers that resonate across all manner of invigorating wordplay with a jazzy, stoned ambiance.&#8221;<\/span><\/p>\n<p class=\"p7\"><span class=\"s1\">XTC\u2019s status as a cult band should not minimize the impact that <i>English Settlement <\/i>had on pop music. They were one of the progenitors of Britpop, with Partridge himself considered the godfather of the movement. They further influenced power pop and eventually the indie\/art rock of the early 2000s. <\/span><\/p>\n<p class=\"p7\"><span class=\"s1\">Nearly 40 years after its release, <i>English Settlement <\/i>still garners praise as XTC\u2019s finest work and a distinguished part of \u201880s pop music. <\/span><\/p>\n<p><strong>Watch the video below to learn more about English Settlement by XTC!<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGTVR2TkNGa253ZWslMjIlMjBmcmFtZWJvcmRlciUzRCUyMjAlMjIlMjBhbGxvdyUzRCUyMmFjY2VsZXJvbWV0ZXIlM0IlMjBhdXRvcGxheSUzQiUyMGNsaXBib2FyZC13cml0ZSUzQiUyMGVuY3J5cHRlZC1tZWRpYSUzQiUyMGd5cm9zY29wZSUzQiUyMHBpY3R1cmUtaW4tcGljdHVyZSUyMiUyMGFsbG93ZnVsbHNjcmVlbiUzRSUzQyUyRmlmcmFtZSUzRQ==[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text] XTC are one of the most influential British pop bands to have emerged\u00a0 from the punk and new wave eruption of the late \u201870s. They\u2019re known for bucking contemporary trends, due in part to their vast and varied influences, from disco and ska to dub and avant-garde. XTC developed a cult following and are&hellip;<\/p>\n","protected":false},"author":3,"featured_media":49804,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-49801","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Albums that Changed Music: XTC - English Settlement - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/albums-that-changed-music-xtc-english-settlement\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Albums that Changed Music: XTC - English Settlement - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_column_text] XTC are one of the most influential British pop bands to have emerged\u00a0 from the punk and new wave eruption of the late \u201870s. 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