...ECHO DREAMING,VOUT SHAKERS,GAS DAZZLE,REVERB HUMMING. I'm gone,bye.

departing now folks,but I realise i've left a few good band names by accident,such as TWANG HIROSHIGE,LUCID STATE SOUP,EARWAX SNAKE,...

Goodnight with...JUNGLE ROCK,EARWAX,SNAKE GODDESSES,THE CRAMPS,SMELL OF CRAYONS,SHELLS,JIMI'S SHYNESS,FOOTSIES,JOHNNY THUNDER'S BACK COMBING

alright, a few more,UK SPACE PATROL,CZECH LANGUAGE,ROSE FROM STRAWBERRY SWITCHBLADE,THAT GERMAN BLOKE WHO PLAYED ROBINSON CRUSOE ON 60'S TV

Jeez,i cant stop...CEREAL GIFTS,VIBRATORS,CINNAMON,METAL BUTTONS,DRUMBO,BAD ALBUM ART,PENCILS,LUCID STATE,SOUP,WOODEN BLOCKS,JULIE NEWMAR.

Wait...DAVE GREGORY'S COOKING,when he'll share it,LUCKY BAGS,KID SIZED TOY COWBOY PISTOLS,CHARLIE PARKER,CATALOGUES,DELAY ECHO,DREAMING.

I'm all 'hooray'd out now. Where's me Crunchie?

hooray for...MOULDING'S PLAYING,PAUL ROGER'S BROKEN TOOTH,THE SOUND OF HITTING A BEACH BALL,VOUT,SHAKERS,RINGO SHUTTING HIS FRONT DOOR,DOGS

hooray for...BLUES VAMP HARMONICAS,ALOE VERA LOO ROLL,NEW STRINGS,PATTO,YOUNG QUEEN'S TITS,AMSTERDAM,GIGANTOR,WELL TUNED DRUMS,ROSE OIL BATH

hooray for...MAGNET ENDS PAINTED RED,PETER BLAKE,PUPPETS,SHERBET SAUCERS,THERE'S A HOLE IN MY BUCKET,SMOOTH COINS,TINY BIKINIS,A FUZZ BOX.

hooray for...BAROQUE THEATRE,LAUGHING GAS,DAZZLE SHIPS,HAREMS,SPOT COVER,JEFF KEEN,CHROMOLITHOGRAPHY,ANITA EKBERG,SNOW,NAIVE ART,TOPIARY.

hooray for...SWINDON HOOTER,SMELL OF WET PAVEMENT,JACK KIRBY,TOPPS CARDS,THICK SOCKS,PEPLUM MOVIES,CHARLIE DRAKE,IGGY,JAKI'S DRUMMING,TOYS.

hooray for...DONOVAN'S FIBS,WOUT STEENHUIS,SELF DENIAL,MONTGOLFIER'S BALLOON DESIGNS,BACK POCKETS,HARRISON'S NASAL TWANG,HIROSHIGE,FEEDBACK.

Thanks for all the feedback,there's more,hooray for...FRANCIS ROSSI'S MOD HAIR DO,HOTLEGS,BERTIE BASSETT,RAMESES ALBUMS,LOOK AND LEARN

hooray for...DISNEY BACKGROUNDS,GINGHAM DRESSES,LOUIS JORDAN,SYD'S BAR COUNT,EALING COMEDIES,GARY OLDMAN'S 'COXY',PSYCHE BEE GEES,SPIRIT.

hooray for...BARBARELLA SOUNDTRACK,REVERB,HUMMING TOPS,PROMINENT NIPPLES {mine are!},COSMONAUT CHIC,ERIC BURDON'S ACNE,STAFFORDSHIRE POTTERY

hooray for..PRE 70'S STONES,MUSIC HALL,SKIFFLE,CHIP KIDD,KERMESS HEROIQUE,TATI,POACHED EGGS,FAVOURITE TROUSERS,RUB DOWN TRANSFERS,GERT FROBE

hooray for...SEE THROUGH ANYTHING,BASS PLAYED HIGH,GUITAR PLAYED LOW,KILTS,TINY VOLCANOES,LONE STAR FIGURES,FAUX PAUL,PATRICK MOORES MUM.

hooray for...THE SCOTS,THE WELSH,THE IRISH and yes damn it,THE ENGLISH,LORD ROCKINGHAM'S 11,STARS THAT PLAY WITH LAUGHING SAM'S DICE,ROCK ON

hooray for...SLIM GAILLARD,SLIMBRIDGE,SLIM WHITMAN'S SUITS,our ex roadie SLIM MILLS,SLIM AND SLAM see first entry,SELIM SIVAD,SILAS STINGY.

hooray for...SOUNDIES,THE BONZO'S,JOE MEEK'S ACCENT,LAIKA THE DOG,LES PAUL AND MARY FORD'S 'HOW HIGH THE MOON',CRUNCHIE BARS,BEATNIKS.

THE BIG ERRATUM (or drumming up a misunderstanding)
I see that lots of folks are still misunderstanding about the drumming on the BIG EXPRESS album. A few errors i'd like to correct for you (it's OK CORRECTOR, I can handle this one).
That album is not all Linndrum, which was a programmable drum machine from the era, no, to think that is a big mistake. Most of what you hear was great live playing by drummer Pete Phipps, ex Glitter Band, Random Hold etc., and drummer on MUMMER previously. To blandly state, "Oh I don't like that album because it's all drum machine" is to downgrade Pete's fantastic and rather metronomic contribution.
Let me help. Here's the breakdown.
WAKE UP - Pete.
ALL YOU PRETTY GIRLS - Linn.
SHAKE YOU DONKEY UP - Pete playing standard kit and scrap metal.
SEAGULLS SCREAMING - Linn triggering percussion samples.
THIS WORLD OVER - Linn
SMALLTOWN - Pete.
BOUGHT MYSELF A LIARBIRD - Pete.
REIGN OF BLOWS - Pete.
YOU'RE THE WISH - Pete.
I REMEMBER THE SUN - Pete.
TRAIN RUNNING LOW...- Some areas Linn, some areas Pete.
Other tracks
RED BRICK DREAM - Me hitting a dinner plate. No drums.
WASHAWAY - Pete.
BLUE OVERALL - Pete.
So PLEASE stop referring to it as the 'drum machine album', as you can see, it's mostly live playing. In fact other albums have much more programming, editing and mechanical sequencing on than MUMMER, actually I think all subsequent discs fall into that category?
Pete is a great drummer, give him his credit. All aboard.
AP

CHORD HELP
Noticed a few brave souls struggling with chords on songs like PETER PUMPKINHEAD. Felt I should humanely step in with a little assistance.
I'll use a system where the lowest strings are listed first, ascending order, shown as to which fret to hold them. Open strings are marked as O and strings not used are marked as x.
PETER PUMPKINHEAD
Intro
O.O.O.O.3.O
2.O.O.2.3.2
3.2.2.2.3.2
Verses use the second two of those chords repeated.
Chorus
3.5.5.0.3.3
5.7.7.0.5.5
7.9.9.0.7.7 then move back down those chords quicker
Hooray part is first two of above chords again then...
x.x.2.3.3.2
x.0.2.2.2.x
then back to verse.
Hope that helps? AP

CRASH! LOOK UP, THERE'S A HUGE HOLE IN THE ROOF...IT''S....THE CORRECTOR
While cruising to correct comment crime in XTC city, I spotted these fallacious 'facts'.
1- The line "and buses might skid on black ice" was not removed from SENSES WORKING OVERTIME because of any BBC insistence about road safety. Virgin told us that SENSES was a too long to be a single (didn't worry Bohemian Rhapsody though did it), they would like to cut out some lines and get it down. So, out went the buses line, and a chunk of the instrumental mid section. Butchery.
2-WHERE DID THE ORDINARY PEOPLE GO was not the last XTC single. It was decided to put out the track merely to test the depth of this oncoming 'download' thing. A new song, to the public anyway, was chosen as we thought we wouldn't get a true reading if we used an already released track. Both Colin and myself never considered it as a 'single' in the usual sense. It was for learning purposes.
3-The track I DON'T WANT TO BE HERE is often erroneously referred to as a 'live' or worse still, 'fake live' version. This is untrue. The two versions, out there on the FUZZY WARBLES discs, were both recorded in my shed in Swindon. The latter recording has Colin playing and singing on it, the earlier version was all myself, and was written for Cathy Dennis.
The later version was made for an aids benefit record, but there was no attempt to make it seem 'live' or that it should be perceived as such. Silly story.
4- Been asked several times who did the backing vocals for EURYDICE on the ORPHEUS album, by Peter Blegvad and myself.
It's mostly Erica and me, tracked up a few times and bounced, as it was an 8 track recording, or by that time maybe a 7 track with one track for SMPTE code.
5- Originally it was planned that the song THIS IS THE END may well finish the ORANGES AND LEMONS album, and we rehearsed it many times with the whole band and drummer Pat M in LA. One morning, in our accommodation at the Oakwood Apartments, I had the TV on to amuse a very young Holly and Harry. They were watching the Muppets.
The song ME GOTTA BE BLUE came on and I thought "Shit, THIS IS THE END is too close to this, in both chords and melody," even though I'd only just heard this Muppet song, I figured I might be mocked for ripping off the Muppets. So, very quickly I suggested we don't record END when I got into the studio that morning. Probably even agreed by the time the car journey to get there was done?
AP

LOOK! THE CORRECTOR SIGNAL IS IN THE CLOUDS...
...and it's time for the CORRECTOR to fight crime, umm,... and a put straight a few fan misconceptions.
Someone said that the 'pubes' sleeve for SKYLARKING was photographed especially for the re-release of the vinyl. This is wrong.
The sleeve session was done at the time of completing the album (all singles were supposed to have parts of male or female body on, hence GRASS, from same session). A mock up was sent to Virgin, who in their weedy concern, took it to high street record retailers. Who, of course, said "No, filth, we won't display it." This freaked Virgin out, and they demanded a quick replacement sleeve. Hence the pastoral couple with flutes.
I have promised not to say who the male and female on the sleeve were, so I won't to preserve their privacy.
There is a post about Thomas Dolby replacing me as vocalist for potential touring. This is a myth. Our manager at the time, Tarquin Gotch, was being pressed by Geffen and Virgin to get us out on the road. I didn't want to go, so he mischievously claimed that he'd asked Tom to stand in for me. This was a fib, to get a reaction out of me...and it did. I merely said no you don't Gotch, as I thought it was wrong to sell it as XTC without me.
A few years ago, a local Swindon guitarist, with no connection to the band, was attempting to put a version of XTC together, consisting of himself, Barry Andrews and two others, to tour the US. This was a totally vacuous and vain vehicle for the guitarist (who shall remain nameless) to make money from the band's good name and to make himself the career he's never had.
Be good kids, and remember...pay your taxes.

THE BASS PLAYING ON EARN ENOUGH FOR US
People have some crossed wires (see what I did there?) about who is playing bass on the song EARN ENOUGH FOR US? Tale goes like this.
During the Skylarking sessions, by the time we got to the Tubes studio, The Sound Hole, in San Francisco, the band were feeling the pinch of the TR regime. We were getting ratty with each other after five weeks, something that was never a problem before, and there were other issues to consider, stirred into the mix.
The water supply at TR's place in upstate New York was from a well. Dave only drank tea or bottled water, whereas Colin and I would just stick our heads under the tap and gulp...giving ourselves urethral infections and medical bills for our trouble. Mine had cleared up by the SF trip, but his hadn't. Colin was also missing his wife rather badly and feeling cut off from his rituals and homelife.
It came to a head in the studio one day, during the recording of the bass part for EARN ENOUGH, a habit we had of putting the finished bass part down last. Colin was playing in the control room and I wasn't happy with the scales he was choosing. I thought he should be linking with more major scales and less of the bluesy minor and seventh runs his fingers were falling to. So I made a few suggestions. Whoops....BANG!!
Colin just snapped. Inviting me to stick the bass up my arse, he threw down his instrument and said "That's it, he was leaving the band and going home."
Colin left the studio and TR chatted with Dave and I saying he'd have a word with him back at the hotel. Not much was said about that day ever again, and Colin never officially left, or re-joined XTC.
Luckily, we'd got 99% of the bass part down, by his departure, ...and yes, it's Colin playing it. ~ AP

THE CORRECTOR : ORDINARY PEOPLE was not last recording as XTC, SPIRAL and SAY IT were. ORDINARY recorded couple of years earlier in my shed by myself and Colin. It was NOT an official XTC single, merely released as stand alone track to test download sales.

THE CORRECTOR - The only person that played on SPIRAL was myself, Colin declined. Drums are by Ralph Salmins. It was mixed by my pal , ex ANT Chris {Merrick) Hughes and his engineer buddy Mark.I'm not on SAY IT. ORDINARY PEOPLE was recorded before this.

THE CORRECTOR-With different music,NEW BROOM was written to be on Drums and Wires.

THE CORRECTOR-Running order for Mummer at one time was...Side one-BEATING, WONDER, FARM, JUMP,CLEO,ANGRY YOUNG. Side two...MOTORCYCLE, LADYBIRD, GOLD, MEMORY, either DESERT or FAMILIES, ELEMENTS.

THE CORRECTOR-XTC's first album was to be a live recording, but we thought the gigs that were taped on mobile truck weren't good enough.

THE CORRECTOR-First choice of title was BLACK MUSIC,as in black humour+vinyl. Virgin forbade it, saying people would think it a 'soul' album

THE CORRECTOR-The missing object in Barry's hand on sleeve of WHITE MUSIC was a half can of lager, airbrushed out at Virgin's insistence. But.....they didn't airbrush out Colin's open fly zipper??

THE CORRECTOR-It's Terry Chambers mocking our then managers clipped tones with 'Take 103', it wasn't, we were still in low single figures.

THE CORRECTOR- Understand folks, this ["I Don't Want To Be Here" (Aids Benefit Version)] is NOT a fake live version, it was recorded in the shed by myself and Colin

Virgin vid compilation was based on Pidgin concept for television,which was BOX BELONG LOOK LOOK.They didn't get it,shortened it,LOOK LOOK

THE CORRECTOR- Oh, and it's not Teller (of Penn and Teller) miming the violin in the DEAR GOD video.

THE CORRECTOR-The 'Nigel' character in the video was an actor, he wasn't ever in the band in any way.Same as male extras in WONDERLAND film

THE CORRECTOR-No,the Graham in NO THUGS IN OUR HOUSE is NOT Colin's brother,of the same name.

THE CORRECTOR-Dave G's parts on WASPSTAR album weren't erased,the faders were just not pushed up.I replicated the ones of his I liked,or not

THE CORRECTOR-No,I didn't hold up release of DRUMS 5.1 as I was 'Mr.Fussbucket',We were trying to resolve Colin not wanting demos on it.

THE CORRECTOR-No,I didn't stop/take off/prevent Colin's songs from going on XTC albums.He simply wrote less songs, nothing sinister

THE CORRECTOR- Dave G didn't write notes for SKYLARKING as he said he's just done interviews for Todd R book and was empty on the subject

THE CORRECTOR-I don't tell Steven Wilson how to mix the 5.1 versions of our albums. He is very conscious of making them sound like originals

THE CORRECTOR-Neither version of I DON'T WANT TO BE HERE is 'fake' live. They were both recorded in the shed.No fake in it.Odd rumour??

THE CORRECTOR-We are NOT obsessed with the Fairlight keyboard,XTC has never touched 1..,much{but has been in the same room as one}

THE CORRECTOR - Dave Gregory was certainly not sacked,or given any ultimatum by me.He left of his own volition during the VENUS sessions.

THE CORRECTOR-It is NOT my penis on the new/old SKYLARKING sleeve,nor is the lady side me pulling a 'mangina'.All untrue.

THE CORRECTOR-Auditing Virgin after getting off the label,did not pay for IDEA studio,advances from Japan's Pony Canyon label did.

THE CORRECTOR-It wasn't just 'Mr Difficult' here that didn't like the SKYLARKING mixes on completion,the whole band and record label also

THE CORRECTOR-I WAS payed for doing the Blur productions,I lost heavily on the expenses though,which I was never reimbursed

THE CORRECTOR-TAKEAWAY is not,repeat NOT a solo album,it was a series of dubs and mangles by myself and John Leckie of XTC tracks

THE CORRECTOR-The Squier guitar I play in those supposed youtube 'guitar lessons' is not my guitar.The magazine just turned up with it in NY

THE CORRECTOR-"Partridge took up wearing John Lennon-style glasses at some point in The '80s." WRONG,try 1957

THE CORRECTOR-TR states that he and Greg Calbi mastered SKYLARKING at Sterling and there was nothing wrong with the polarity of tapes,but... ...when Aaron and I at Londons Master Room got the tapes,they sounded very wrong, poor Aaron tore his hair out in attempt 2 get an... ...acceptable result.All members of XTC also heard their was something amiss with the sound,but we weren't tech savvy enough to know what.

THE CORRECTOR-ORANGES original mix bright/brittle sound was not due to "Andy's continual attempts to co-produce",as i've just read.As... ...I wasn't there for the vast majority of the mix.Back in UK fighting original manager/court case.

THE CORRECTOR- we also turned down what went on to be PYRAMID,Alan Parsons and MIRROR STARS by Fabulous Poodles,amongst others

THE CORRECTOR-Before seeing the GO2 cover we were offered many at Hipgnosis,one of them being what ended up as TORMATO by Yes.

THE CORRECTOR-GO2 album title was chosen to keep the black and white visual theme,originally titled GO {after the game},the prosaic 2 was added to please Barry,it being our second attempt at recording an album.His title of choice was Strong and Silent or Second Album.

THE CORRECTOR-NO,Ordinary People was not left off of NONSUCH because Andy was tired of Colin having all the hits". Never read forums/fora. It was left off as nobody in the voting process voted for it. Band/Virgin/Producer.Who d'ya think I am Kim Jong Un?

THE CORRECTOR-Colin's demos are not 'downgraded' by me to 'work tapes'. He simply requested that's how he wants them described and not demos

THE CORRECTOR -Terry was NOT sacked,and he NEVER drummed after any alcohol,always played sober,after gig or album take though,stand back....

THE CHRISTMAS CORRECTOR-There was another seasonal song we never got to record,shame as it was pretty good, called COOL YULE

THE CORRECTOR-MUST stop reading the net,if I see one more"Andy kicked each member of XTC out to take control" I'll go nova.They wereTHE band

THE CORRECTOR-From a recent Guardian article theguardian.com/music/musicblo… Branson,pay our mortgages?!? SUCH A LIE.Where'd they get that from???

THE CORRECTOR-It's a persistent rumour but untrue.I have NEVER written comedy material for Saturday Live or Studio B15

THE CORRECTOR-Drums on SPIRAL are not Chuck Sabo,but rather Ralph Salmins,That's also him on WHERE DID THE ORDINARY PEOPLE GO? +others.

THE CORRECTOR-We THINK our biggest sellers were SKYLARKING,ORANGES,APPLE VENUS,BLACK SEA in that order...we think.

THE CORRECTOR-Some early KIDZ songs were MY BABY WAS A REPTILE{from a horror movie on TV},I'M FROM OUTER SPACE,BABY SMASH MY FACE,SUSANNES IN LOVE WITH A MONSTER MAN,TEENAGE PLANET,A KICK OR A KISS....so bad so bad,no wonder no record deal offers.

THE CORRECTOR-So much crap on Wiki too.We were a live or touring band from 72 until 82,that's 10 years,not 6.We became pro in 77.

THE CORRECTOR-Bands names chronologically were STAR PARK,THE HELIUM KIDZ,THE SNAKES then XTC.The latter was adopted in 1975.

THE CORRECTOR-I was the only person on the Virgin label to object to being sold on to EMI, as they made guidance for missiles etc.

THE CORRECTOR-ORANGES was NOT our biggest selling album.We THINK it was SKYLARKING,but who knows,figures are scant

THE CORRECTOR-Did I say this one?The PUMPKINHEAD song is NOT about christ or Kennedy,we just had some fun with the film to annoy folks.

THE CORRECTOR-Young Cleopatra is not a 'paedo song'.It's me fantasising that my yet to be born daughter would be adored by teen boys.

THE CORRECTOR-So much false crap on net.Dave was never stopped from songwriting.He wrote a song,band didn't like it,he never wrote another.

Had to check all lyrics to BIG EXPRESS album,{don't ask} but I realised what a good album it is...it's just hit me.Bloody hell,we were good

THE CORRECTOR-That same management asked me to tie together broken guitar strings,to save him handing over OUR money for new ones

THE CORRECTOR-In 1977 our management urged me to change my name to ANDY GARBAGE,wear 10 gallon hat and paint Aladdin Sane flash on my face

THE CORRECTOR-MUMMER album was rehearsed in same theatre that Andy's and Colin's mothers went dancing in during wartime, Mechanics Theatre

THE CORRECTOR-I've read that XTC were influenced by Big Star.This is totally untrue,I only got to hear them about a year ago.

THE CORRECTOR-Drummer Dave Mattacks came to XTC's attention through drummer and brother of Dave, Ian Gregory attending a Faiport's gig

THE CORRECTOR-All of my autographs are genuine,as far as I know.I've never agreed to let anyone else sign anything by proxy

THE CORRECTOR-Titles not used in Budd collaboration include MOUND OF BROKEN PARROT SKULLS,WINDS HAD DAMAGED MUCH OF THE IMPRESSIVE BASKETRY. THE HEIGHT OF THE ANKLE ALONE WAS 2 METRES,THE SPANGLED FERN WHERE BELIAL CROUCHES,and FOSSIL FUEL {well I never?!}

THE CORRECTOR-ROADS GIRDLE...was not the only anti car song I wrote,there was an unfinished one called I'M THE CAR,MAN.With lyrics like..."On your knees,in gas we trust,kiss my pipe and eat my dust,drive by killing,i'll scrap you all,2 by 2 your lungs will fall."

THE CORRECTOR-Wow! Looks like I started writing PLAYGROUND just as I found out I was to be divorced,timing eh?

THE CORRECTOR-Worked on the JAMES songs whilst working on THROUGH THE HILL with Harold Budd,now THAT'S schizophrenic

THE CORRECTOR-I even wrote the theme song to the proposed follow up to JAMES,LETTERS FROM A LOST UNCLE,by Mervyn Peake but producer Harvey Weinstein "didn't get it",so it was never made,thus my involvement nixed

THE CORRECTOR-A JAMES+GIANT PEACH song I never demoed is JAMES IS GUILTY,= aunts accuse James of "smiling once,being shorter than them etc"

THE CORRECTOR-DIDN'T HURT A BIT was left off of NONSUCH at Colin's request,not Dave and I,who were for it....and the guitar solo on that song is myself,not Dave.

THE CORRECTOR-Nothing is a fake 'live version',it's either live or its
not,sorry you youtube experts

THE CORRECTOR-That guitar solo in MY LAND IS BURNING,I don't use a
whammy bar/tremolo arm,never have,it's all bends

THE CORRECTOR-Early titles for ORANGES album were A NATION OF
SHOPKEEPERS,SONGS OF SIXPENCE and BUBBLEGUMBO

THE CORRECTOR-Great unrecorded Dukes PSONIC song was MARTIAN
ENSLAVEMENT 1970,may have rehearsed it in the studio but no take...was
taken

THE CORRECTOR-Potential titles for Psonic Psunspot=KNOBSTICK
NEBULA,CIRCUMVENT AMBERS,THE PERSPEX PALMIST,TANGIBLE CHARIOT MATELOTS

THE CORRECTOR-The order they were written in... MAYOR OF
SIMPLETON,LITTLE LIGHTHOUSE,1000 UMBRELLAS,work that out

THE CORRECTOR-I wrote SEAGULLS SCREAMING as I'd agreed to babysit the
Mellotron,it was in the bedroom

THE CORRECTOR-The man who's father invented the 33 long player,Andy
Goldmark, sang some backing vocals on tracks of ORANGES AND LEMONS

THE CORRECTOR-I had wanted,also as singles,from ORANGES AND LEMONS
album,GARDEN and SKELETON

THE CORRECTOR-Potential Dukes titles were PEBBLES FROM THE SHORE OF
THE SUN,THE TENT,LUNCH EATS MAN,ORCHARDS OF SKIN,ANNABELLA'S KNIFE

THE CORRECTOR-During BLACK SEA Colin had to play in bare/sock feet as
his tapping sandals made too loud a slap in drum room in quieter parts

THE CORRECTOR-MELT THE GUNS was heavily edited,it went on for about
another couple of minutes {or more}.Good call of Hugh's.

THE CORRECTOR-TISSUE TIGERS was one of Terry's favourite numbers to
drum.

THE CORRECTOR-All the babble on NO LANGUAGE was mostly from Whickers
World,we mic'ed up the TV

THE CORRECTOR-Others potential titles for EXPRESS album=HEAD OF
STEAM,COALFACE,BULL WITH THE GOLDEN GUTS,HARD BLUE RAY HEAD,THE KNOWN
WORLD

THE CORRECTOR-The bus request stop button on the sleeve of THIS WORLD
OVER was Colin's idea,the postcards mine.Won some award we never got

THE CORRECTOR-The sleeve design to GO2 had already been turned down by
Pink Floyd and other big bands

THE CORRECTOR-George Harrison was a big fan of the SKYLARKING album

THE CORRECTOR-I had to be restrained from punching one of the
Undertones at TOTP studios as they wrote insults on our dressing room
door

THE CORRECTOR-XTC never saw any money from the sales of any of our
records until 1997,....20 years later

THE CORRECTOR-Terry's shadow in the ALL OF A SUDDEN promo was played
by Ian Gregory,as Terry was in Australia.So that's the Dukes !!

THE CORRECTOR-US record label didn't get iron age horse on SETTLEMENT
sleeve,so painted their own,we left it in bin at the Manor studio

THE CORRECTOR- The Woodentops were embarrassed to put my uncool name
on the productions I did for them,so put me down as ANIMAL JESUS

THE CORRECTOR-We were either going to do CITADEL or ALL ALONG THE
WATCHTOWER for White Music,I tossed a coin and CITADEL lost

THE CORRECTOR-The video that seems to have gone missing is the one for
HANG ON TO THE NIGHT,never been seen since made in Jan 78

THE CORRECTOR-Dave was in line to join BLONDIE,but didn't quite get
his XTC resignation going in time,missed decision by a few days

THE CORRECTOR- In 77 I was asked to join The Pat Travers Band
{Canadian rocker},which I declined

THE CORRECTOR-Experiments WERE done with fruit scented sleeves for
FALLEN FROM THE GARDEN {Mummer early title},but they smelled too bad

THE CORRECTOR-Yes,Colin WAS asked to join the touring Pink Floyd in
lieu of Roger,but declined.

THE CORRECTOR-We flooded London in late 76 with poster/flyers claiming
"...XTC is more ANT MUSIC than human...". Hmmm,I wonder...?

THE CORRECTOR-Terry did not join later in 73,it was he and Colin that
asked me to join them in 72.I said yes as bass/drum teams are rare

THE CORRECTOR-The only reason the band didn't sign to EMI's HARVEST
label was because their A+R man insulted our then managers wife

THE CORRECTOR-XTC did not record under the name of The Spies

THE CORRECTOR-Led Zep's John Paul Jones was approached to produce
NONSUCH,but was FAR TOO expensive,pity,could have been interesting

THE CORRECTOR-I was always encouraged by Terry to join him in drumming
at gigs {partial 2 drummers line up},I never took him up on it sadly

THE CORRECTOR-I didn't,and still don't,take any recreational drugs

THE CORRECTOR-Sadly I do not own a Fano guitar,only momentarily

THE CORRECTOR-WHERE DID THE ORDINARY PEOPLE GO was not an internet
single,nor our last single.Merely a track released to test download
sales

THE CORRECTOR-Dave did not leave the band as string arrangements were
'taken over' by me,nor was anybody given 'points' for arrangements

THE CORRECTOR-My sweety heart Erica Wexler is in no way related to
record producer Jerry Wexler

THE CORRECTOR-Much is made of my 'stage fright',that was only one
symptom of withdrawal,the memory loss and limb seizures were worse

THE CORRECTOR-I was not prescribed valium because of my parents
divorce,they never divorced,I was put on after my mothers mental home
spells

THE CORRECTOR-Thomas Dolby NEVER auditioned for XTC,he was interested
but Dave was already picked in preference to another keys player

THE CORRECTOR-Despite the rumours,I have never contributed comedy
scripts to Armstrong and Miller,Saturday Live or Studio B15

THE CORRECTOR-TAKEAWAY/LURE OF SALVAGE was not a solo album,merely a
dub record of XTC tracks,the band never attended

THE CORRECTOR-The Dukes full name was to have been THE DUKES OF
STRATOSPHEAR LAWNS

THE CORRECTOR-During original mix of WONDERLAND at Air studios,George
Martin is in control room advising Steve Nye on use of sub bass device

THE CORRECTOR-The drummers they never mention,Brian Doherty on CHERRY
IN YOUR TREE and Chris Sharrock on THE GOOD THINGS

THE CORRECTOR-...and Colin does not appear on the Viz record BAGS OF
FUN WITH BUSTER

THE CORRECTOR-Dave declined to participate in the Beefheart tribute
recording of ELLA GURU

THE CORRECTOR-Most of BIG EXPRESS is NOT Linndrum drum machine,but
Pete Phipps

THE CORRECTOR-Of course,Terry's only lead vocal was GOODNIGHT SUCKER

More THE CORRECTOR soon folks,so much duff stuff on the net that
needs...CORRECTION

THE CORRECTOR-Dave recorded,during Mummer, a Homo Safari instrumental
that was never used,called THEME FOR AN IMAGINARY SCI FI MOVIE

THE CORRECTOR-I sadly,was also the one who started the rumour about
David Byrne being a scatologist,he isn't,and I apologise David

THE CORRECTOR-I gave Davis Byrne the title for the Heads album MORE
SONGS ABOUT BUILDINGS AND FOOD in a sports hall in Groningen,Holland

THE CORRECTOR-The only times that Terry sang backing vocals were
THINGS FALL TO BITS,{GO2} ROADS GIRDLE... and ORANGE DUST {as Fat
Fruit}

THE CORRECTOR-George Martin was asked to produce XTC's SKYLARKING,but
declined due to deafness.

THE CORRECTOR-THE HELIUM KIDZ were asked to back Jet Harris{Shadows
etc} on his 70's 'come back'

THE CORRECTOR-That early XTC manager was also the manager of Culture
Club,Tony Gordon

THE CORRECTOR-The DUKES were born on the SETTLEMENT sessions,in
impromptu jams,as FAT FRUIT,the name that an early manager wanted to
call us

THE CORRECTOR-COMPLICATED GAME was written for GO2

THE CORRECTOR-Most of the sound of the guitars on SETTLEMENT was
electric guitar close mic'ed as acoustic,blended with it's electric
send

THE CORRECTOR-The ONLT time Terry spoke to an audience was at close of
a duff gig in Canada,"we've got your money...and we're fuckin off."

THE CORRECTOR-The gong sounds on GREENHOUSE {in ramp section} are
actually the Abbey Road studio 3 hanging lamps,struck with Terry's
mallets

THE CORRECTOR-When Barry did his keyboard overdubs for GO2 he barred
the rest of the band from the studio {Abbey Road}

THE CORRECTOR-most of the drone in G on COMPLICATED GAME comes from
Colin's electric shaver

THE CORRECTOR-Colin and I blend our voices together on THANKS FOR
CHRISTMAS and VANISHING GIRL to blur the identity IE:both on lead
together

THE CORRECTOR-Terry NEVER left the band because of the acoustic
direction/new songs,he was given an emotional ultimatum by his the new
wife

THE CORRECTOR-Dave wrote a song for DRUMS AND WIRES,the band didn't
like it so we didn't record it,shame,as I saw him as our George

THE CORRECTOR-I'm playing bass on VANISHING GIRL,Colin is leading the
band through the recording

THE CORRECTOR-Our original XTC key player Jonny Perkins was in the car
smash that killed the WONDERLAND mixer Alex Sadkin,Jonny survived

THE CORRECTOR-DEAR MADAM BARNUM was written for the Russell Crowe film
THE CROSSING

THE CORRECTOR-Yours truly mixed LIFE IS GOOD IN THE GREENHOUSE,as poor
old John Leckie got..too .....stoned

THE CORRECTOR-That's our Colin playing rhythm guitar on WHAT IN THE
WORLD,they were cut 'live',so he is leading the band

THE CORRECTOR-I don't do a great job,but I'm drumming on PALE AND
PRECIOUS

THE CORRECTOR-That's me on bass on WHAT IN THE WORLD

THE CORRECTOR- Dave is on bass on THEBES IN A BOX

THE CORRECTOR-That's Colin playing rhythm guitar on VANISHING GIRL

THE CONFESSOR-80% or so of the guitar parts I played on WASPSTAR were Dave's parts,rehearsed or recorded by him,though unused,before he left

THE CONFESSOR-The inspiration for the title APPLE VENUS can be found on page 143 of Painted Books of Mexico by Gordon Brotherston. I should have added,that was for volume 2,WASP STAR,sorry for confusion.The wasp star is what Venus was known as by ancient Mexican races.

THE CONFESSOR-Colin never explained to us why he wanted work on DIDN'T HURT A BIT dropped,we thought it was coming on well??

THE CONFESSOR-But I do think Colin's single as THE COLONEL was him dipping his toe to test the temperature of a potential solo career

THE CONFESSOR-In early 79 Barry tried so hard to persuade Colin to leave XTC and form a band with him.Thankfully he didn't.

THE CONFESSOR-I HAVE actually done a 'spinal Tap' like signing session in a Vienna record store.Nobody,I repeat NOBODY turned up to it.

THE CONFESSOR-Of all the music rags that ignored/ignore us,the biggest offender was/is Rolling Stone.I detest the fucking weasels.

THE CONFESSOR-Part of me regrets giving up touring,but the other part knows that big tour bands don't write great songs.Think it through.

THE CONFESSOR-I regret Colin gave up competing with me musically,seemingly after Skylarking.His songs were a good spur to me.

THE CONFESSOR-I'm not a musician,i'm a visual artist. How the fuck did I get known for making noises? It's all pictures for me.

THE CONFESSOR-I mistakingly had it in my head that audiences were the enemy to be killed.Oddly, read that Pete Townsend thought that too.

THE CONFESSOR-I used to have a fantasy that Vic Reeves{Jim Moir} would come to my house and sing FREE songs.We met at Groucho,he snubbed me.

THE CONFESSOR-I try not to be photographed these days,as in my head i'm still 25.Shop windows and mirrors betray this fantasy.

THE CONFESSOR-John is not my favourite Beatle...it's probably Paul {sorry dad}.

THE CONFESSOR-None of us knew how to be in a pro band,we were clods.We couldn't dress,talk,get haircuts,be cool,act like 'stars',nothing.

THE CONFESSOR-I'm embarrassed by my dorky behaviour on early XTC TV things. I was SO nervous.Time went on,and I just try to b friendly later

THE CONFESSOR-Like a pompous git,I sometimes think I could resurrect the careers of some,with my songs,if only they'd call me.Bowie,Weller..

THE CONFESSOR- I STILL can't play the intro to Last Train To Clarksville {one of the first things I 'learned' on guitar}...properly.

THE CONFESSOR- I cringe at the thought of being asked in BIG media about about so called famous bands,as I don't like most of them.

THE CONFESSOR- I secretly think that most bands that ever came out of the UK {and US} are not as good as XTC were.Including so called giants

THE CONFESSOR- I used to stroke the cherry tree in the garden and thank it for being such a protective 'swing' branch for my children.

THE CONFESSOR-I Tried to get my hair like Status Quo's MATCHSTICK MEN era Francis Rossi for the DUKES photo session/film.Height of modadelic

THE CONFESSOR- I stole Macca's plectrum AND Ringo's drumsticks when they were at AIR studios recording the Regards To Broadstreet soundtrack

HTSXTC-They're Hardly The Rolling Stones Are They=Always in high vicious voice,used as comically self deprecating line.Heard in NY as we were returning to the stage after one gig.

HTSXTC-THE Michael Shrieve=Used as joking enquiry as to who owned a particular object."who's is this,does it belong to THE Michael Shrieve?".After NY gig,stranger backstage screamed "don't touch that coat {on the chair} it belongs to THE Michael Shrieve".

HTSXTC-Don't Be Amateur=Joking disapproval,always in broad northern accent.Came from theatre stagehand who fordid us from going on too quickly for an encore,stating "make 'em wait,don't be amateur." {See also Come On You Cunts.}

HTSXTC-Delical=Word meaning great,fantastic etc.Shortening of PSYCHEDELICAL."how did it sound tonight?" "Delical,delical"

HTSXTC-B.O.T.M.=Abusive acronym,used when XTC required feeding in studios or touring.Stands for 'Bitches On The Move.' {Let's get some BOTM}

HTSXTC-Widge=Band name for a sandwich

HTSXTC-The Wanker-Terry's name for bed.As in "what d'ya mean getting me out of the wanker so early?' etc

HTSXTC-Speak To Me When You're Sober=A phrase uttered inter band on
cracking open the first beer.After Terry,being told this by manager
as he requested the whereabouts of the money while opening his first
backstage beer.The manager said this immortal line to him.

HTSXTC-Didn't Get The Shirts=A phrase denoting any
disappointment.After a line from a documentary about a dejected rent
boy who after promising a hand job to a client for shirts,says downheartedly,"but
I didn't get the shirts." XTC and success,we didn't get the shirts

HTSXTC-Old Mans=Any baggy trousers,not tight jeans.After "they look
like my bleeding old man's trousers"."what you wearing tonight,old
mans?

HTSXTC-The Postbag=Sack like hessian container that Dave carried all
his clothes in,to much derision

HTSXTC-Breats=Band name for tits,after badly translated and spelled
German porn mag labelling them such,"cor,look at the breats on that!"

HTSXTC-Trouser Problem=Any reference to the bands poor dress
sense.From BONZO'S quip on Gorilla.Always sung to the tune of David Bowies BREAKING GLASS,"your such a wonderful person,but you
got a trouser problem".

HTSXTC-Reggie Sounds=Bands name for any reggae artist,after actual
roadie requesting naively to know who this "Reggie Sounds" was.

HTSXTC-Dunbendin'=Our name for Dave's house. {See Squintdown}

HTSXTC-Could Be Film Stars These Boys=Sarcastically uttered at every
photo session,after one photographer genuinely used this phrase

HTSXTC-Wombat=Band name for RESPECTABLE STREET,after it's bass/drum
intro figure WOMBAT WOMBAT

HTSXTC-Dance Of The Lenscap=mad stomping movements from fans quick to
snap you who then realise that the lenscap is still on {orig. Tokyo}

HTSXTC-Come on You Cunts=Our phrase for an encore,after this line was
enticingly yelled by a punter at gig who burst into the dressing room

HTSXTC-Your Fat Neck=A band retort in most arguments,"your fat
neck","NO,YOUR fat neck" from Terry's father abusing an Italian shop
owner

HTSXTC-Kill The Poodle=A sticker and badge campaign we had urging
comic murder of {can't tell you,gagging order etc}

HTSXTC-Partridge's Mob=XTC basically.Actual despairing cry heard from
a Swindon audience member early on, "Oh no,it's Partridge's mob!"

HTSXTC-It's Going Now, Don't Touch It=Any lazy/badly repaired
thing,after a phrase used by roadie after waggling a faulty cable back
to life

HTSXTC-Brian Hatred+Brenda Bondage=Description of any punky
couple,after actual names sprayed on dressing room wall

HTSXTC-You Guys=Phrase uttered when BS spouted by record label{or
anyone} is imminent.After actual exec said simply "you guys...GLOBAL"

HTSXTC-Into The Cassonsphere=Used to describe any bad
BB/Hotel/thing.After Cassons, Liverpool."How was it?","It was into the
Cassonsphere."

HTSXTC-Get A Fretted Bastard-Anytime Colin made an error,this was
called out.After his earlier having fretless basses.

HTSXTC-George The Dogcatcher=A Manchester born lighting man tasked
with sweet talking/selecting groupies.

HTSXTC-Get Your Net Out George=A request for George {see above} to
round up some groupies post show.

HTSXTC-No Want To Make Rove=Any intrusive phonecall.After the phrase
most Japanese female fans would use when ringing you awake in a hotel

HTSXTC-Curtains=Nickname for Colin,after his earlier VERY long hair

HTSXTC-POD=Any lighting man.After acronym Prince of Darkness

HTSXTC-He's Galloping=Any nerve inducing situation,after us waiting in
the wings until the 'galloping' part of BUSHMAN PRESIDENT,which
was our pre stage music.Signalling 'be nervous NOW'.Phrase could be
use in any similar edgy situation.

HTSXTC-Finder=Any large object{drum flightcase,speaker cabs,piano
etc}.Terry said that they seem to 'find' weight,ie:get heavier.

HTSXTC-The Dogs of Doncaster=Any rough looking groupie of a punky
countenance.Named after a memorable gig in the city

HTSXTC-Dobbin=Bands affectionate name for the Uffington white horse,as
used on album sleeve/drum head etc

HTSXTC-Titnests=Any frivolous underwear purchase for wives/girlfriends
from around the touring world."D'ya get any titnests,s'ave a look?"

HTSXTC-A'do {always said in broad cockernee}=After Barry's OVER eager
desire to end any song ASAP and move on to the next.Used in all places

HTSXTC-Just the £25 wasn't it=Regarding any paltry sum of money.this
demeaning phrase was uttered by managers wife as we collected our
wage.Thus this was used with a sneer anytime anyone questioned any
sum of money.

HTSXTC-More Barker Than Dobson =Meaning any bass sound that had too
much treble on it.After the sweet makers Barker and Dobson

HTSXTC-Further ref... Squintdown for XTC,after Countdown to Ecstasy by
Steely Dan {see Squintdown}

HTSXTC-Hook Hall,in lieu of 'fuck all',Hook Hall was an early XTC
rehearsal venue in the village of Hook near Swindon

HTSXTC-I wants a Jack Russell out of you = Any demand for something
owed,heard by Terry in a pub,one man had promised said dog to
another but had given him a very un Jack Russell type dog instead.Not what
was agreed.

HTSXTC-You wants to put a tea towel on it=After a comment overheard by
retainer of manager offering advice to HEADS Chris on improving sound
thus,if any sound wasn't right from then on,the cry "you wants to
put a tea towel on it" was heard from someone.

HOW TO SPEAK XTC-Boom Boom...bass = Said in a very high voice,after a
critical dwarf that would show up at early gigs.His vehemence+pitch

HOW TO SPEAK XTC-Bassual Surround =Colins insistence to
engineers,producers etc that there be enough 'essence of deepness' to
the sound.

HOW TO SPEAK XTC-Squintdown = Any gathering at Dave's house to thrash
out music/contracts etc {getting down to it at Squinty's}

HOW TO SPEAK XTC-Squinty Two Strats = After Dave's nickname Squinty
and his owning of two Stratocaster guitars

HOW TO SPEAK XTC-Ernie = The lame bending of guitar strings beloved of
lame guitarists. Onomatopoeic."Was he good?" "Nah,he just Ernied"

HOW TO SPEAK XTC-A Kingston = After Kingston Bagpuize,the town."going
for a Kingston" meant you had a bag of piss/Bagpuize

HOW TO SPEAK XTC-Rex Hotel = Terry's touring, hotel signing in book
descriptive pseudonym

RATHER BE YOUR TRANSPLANT...
Are there any XTC songs on albums that you really think belong on, or would sit well on, a different album? For example, I always thought that FUNK POP A ROLL would have maybe fitted better on THE BIG EXPRESS? Due to it's noise and metallic crunch factor. What would be your choice of a transplant track and tell me why? - AP

PARE 'EM DOWN SCISSORMEN
OK, game goes like this. Take any, or all XTC albums, Dukes too, and pare them down...to a four song EP. Not only that, you have to give the order the remaining songs will be in. Snipping snipping snipping. - AP

This is SO wearing, but I feel I can't let this go unanswered.
A Todd quote apparently...
"It was a great album, and my attempts at making it accessible infuriated Andy. He thought it was another Andy Partridge solo album, with the help of the two other guys in the band. The problems probably started when I insisted that Colin [Moulding]'s material was as important as his..."
Oh, where to start. Let's dive in. There never was any Andy Partridge solo album, they were all XTC records, with everybody playing an important role in our sound, the XTC sound. Even the TAKEAWAY album was not a 'solo' disc, the other chaps gave John Leckie and I their blessings to pull that material apart. XTC was a band, nobodies 'solo act'. The reason that TR had been hired was to find something in our music that might appeal to Americans and their dollars, it was not the 'accessible' thing that got to me, it was TR's bullying .
His sarcasm was really counter productive. Demeaning the band at every turn. it was obviously his modus operandi. Just ask Joey Molland of BADFINGER, or SPARKS, or THE BAND, or PATTI SMITH etc etc. Phrases of his like "I'm going back to the house for an hour, while you dick about with the song, your way, which is the wrong way. Call me, and i'll come back and we can play it the right way...which is my way." That doesn't make anyone feel good. Or, "I'll record your vocal to your song how you should be singing it, and you can copy my vocal in your headphones". That sort of thing does wonders for your confidence. Or just "Morning Andy, where d'ya get your jeans?...Russia?" Laugh, I almost couldn't start.
There was NEVER any talk about any 'importance' of anybody's material, as he'd already picked which songs he wanted on the album before we'd even boarded the plane. TR's ego is gigantic, and the quick way of processing you through his mill, so he can move on to the next money making project, is to break you, like a mischievous horse. It's humiliating for the artists, and creates a bad vibe, but that's TR. Ask other artists, always the same story.
Interesting that he's the only producer that we fell out with, (apart from Gus Dudgeon, who was hired at the last minute to replace Lillywhite and Padgham. He'd read an interview with TR saying that Andy was 'difficult' * in the studio, so he'd already decide to sit on me before we started in case TR was right).
No one in XTC liked TR's mixes when we heard them, (we'd been sent back to the UK), nor did Virgin. He DID NOT like being asked to remix things either, a dent to his ego no doubt. I bear TR no malice, as I think SKYLARKING came out OK, but i've held my tongue for too long on all this.
Translation-'Difficult' means the writer knows how he wants his own songs to go.

Oh yeah, rest of SUMMERS CAULDRON, 'miss moon' bits'
B
5.4.6.4.4.x round twice
B
Gb min 7
Db min 7 then in quick succession...
x.0.4.5.5.x.
x.0.4.5.4.x.
x.0.4.6.4.x
x.0.4.5.4.x.
hang on 0.7.7.7.0.x.

OK, last one tonight, SUPERGIRL, or some of it.
6.8.8.0.6.6.
6.8.7.0.6.6.
Eb
Ab6
F7
then chord 1 again, then...
x.0.1.2.2.1.
Chorus lifts up into C

First 3 chords ,often got wrong, on EARN ENOUGH

3.5.5.0.3.3
1.3.3.0.1.1.
3.3.0.0.1.1.
then back to chord 2

COLLIDEASCOPE chorus
Chords D, G a few rounds, then
A, C
repeat that section, then end out on A, and A + add note of Bb.
Back to verses.
Got that?

COLLIDEASCOPE verses
E minor, then on B string add a C note, then add Db note, then a D note
Same principle on Gb minor, then add D note, then E b, E
Up to B minor, add G,Ab,A.
Gb minor 7 sus
Gb 7
E minor 7 sus
B 7

SCARECROW PEOPLE basics.
intro
x.5.2.2.2.x
x.4.2.2.2.x
F 7

x.4.2.4.4.4.
x.0.2.4.4.4.
x.5.4.6.0.x
`G7
Chorus is
D
A

B sus
A sus
you'll get it from there.
If in doubt, watch the fingers on the acoustic tour films from MTV etc.

Let's play MAYPOLE Chord E, then B, then these two again. E again.Then in ascending...
11.9.9.11,9.9.
9.7.7.9.7.7.
and back to B

Chord E
x.6.5.6.5.7.
Chord D
x.4.3.4.3.4.
Chord C
x.2.1.2.1.3.
Low chord of E

Gb minor
B
E
above twice over, then
A
4.2.2.4.2.2.
Gb 7
7.9.7.9.7.7.

The rhythm guitar part to MILLIONS? It's only 3 notes. See if I can explain.
A, D and G strings only. Hold down E on A string, Db on G string. 7.0.6.
Hit 7. Hammer off 6 to open G string. That's the only motion. Rock between E note and open A and G string.
Make sense?

What's that opening chord in THIS IS POP? Ascending notes...
F. A. D. G. C. Gb or
1.0.0.0.1.2.

I still get asked this so much. 'What is the 2nd chord in RESPECTABLE STREET?' So eyes down.
First chord is a B on 7th fret, then...2nd, in ascending notes, on 9th fret...
Db. F. B. open G. Gb. open E or
9.8.9.0.7.0

That little clip reminded me of the phrases that Barry would spray on the back of his Lawrence piano, facing the audience.Amongst others, things like...
DOMINANCE AND SUBMISSION
DOG BREATH
DIANE FLUCK, THE LEGEND
FORBIDDEN OR COMPULSORY
a great idea in early tweeting/social media

Firstly,I'm a group person. I lived and breathed the group dynamic of XTC,they were my band. Everything I wrote had those fellas in mind.... ...and not me. I thought like a musketeer,couldn't imagine being outside of the XTC bubble. So, not having my band around me,I felt very.... ,,,much like a chief without his Indians,a general with no army etc. I genuinely didn't think about me,it was always ALWAYS us. Of course,.. ...when 'us' disappeared,it was tough to readjust my thinking. My whole mental template had been built on the ethic and feel of 60's bands.. ...the comical camraderie,the 'all for one ethic. SO,I had no group, perhaps I can write for others? Ha ha,this was easier said than done... ...I wrote SO many songs with others in mind,that never got covered. It was a heart breaker. What do I do with all these songs that .... ...aren't me as such? (more of that later). Well,there is no 'rescued by the cavalry' at this point as I have maybe 3-400 ideas for proto... ...songs,that would have grown into full things,but no band, so I just thought,"why bother to finish them'? It's a state of mind, a .... ...mental block if you will. NOW,these songs i had written for others,I really feel like I need to clear the brain decks and get these... ...demos out.So i've been thinking lately along these lines.Perhaps when the heads (and computer) is clear I can move on, but where to?.... ...as I don't want to go backwards on myself,just to please others. I'm a bit stuck, as they say. That's it for now. A reason with no reason, and an excuse for which there is no excuse.I'm stuck with a talent that doesn't seem to be... ...of any use to me? I really don't want to be in the sort of 'musical gang' that I did as a teen and young man,but need a wall to bounce ideas off of. That's .. ...what I am, an ideas man.It finally made me a humble living, but where to now?

Don't know how many posts it'll take, but the question to myself is "Andy, why haven't you made a solo album?" OK,here we go.....

TR is getting bitchy at me.He is SO wrong,and misinformed {shall we say}.Everything he says is WRONG.Where to start? http://ultimateclassicrock.com/todd-rundgren-xtc-skylarking-feud/ … Let me answer back here.TR-“Essentially, it was kind of preordained by me – what the record was going to be" AP-We had little or no say. TR-"which was something that they never had endured before,” AP-sadly,ENDURED was to be an apt phrase much of the time. TR-“I think 60 percent of the band trusted me, but Andy never trusted me." AP-I trusted him,as he showed that he was a very capable arranger AP-But Dave and Colin,along with me,came to find his sarcasm,and monstrous ego,something to bear.He got us fighting,nobody had done that. TR-"Partridge came back with a demand to pull the song." AP-After a meeting with Virgin in UK,they said album is too long,you'll have to ... ...lose something.It was then suggested that the song DEAR GOD would upset the US and that should be the one to go.I reluctantly agreed... ...because I thought I hadn't written a strong enough take on religion.I thought i'd kind of failed. TR-“He was afraid that there would be repercussions personally for him for taking on such a thorny subject,” AP-nothing of the sort,all ... ...to do with TR's 'Long and quiet' albums syndrome,something we were concerned about from the off. Right where were we? TR-“What a pussy." AP-Now now,insults,first resort of someone with no argument.TR-"I called them and said, ‘This is a mistake.”AP-Not to me AP-I have no recollection of any such call TR,talking of GOD,“It saves their career,” AP-Yes,gave us a lot more attention in US,i'm grateful TR-“We have to go and remaster the record again, and put ‘Dear God’ back on it.” AP-This is at the demand of the US label,not XTC. TR-Partridge “went back to England, immediately after we finished the record, and took every press opportunity to say it was the worst.... TR...TR-record they ever made,” AP-True,we were ALL upset with the experience,not just specs here.We all thought the mix poor and thin... AP...including Virgin. TR-“He hated me at that point, and he was willing to sabotage his own career through his vitriol over me and ... TR...the fact that I did not give up what I said I was going to do at the beginning of the record.” AP-Any vitriol was not about TRs ... AP...doggedness,it was about how unpleasant he made the experience,and how shoddily he acted at the end of the project.Getting arsey... AP...about getting the mixes right,to all concerned.Nobody was happy with the initial end result. So let's carry on TR? But even today, Rundgren says Partridge has never taken responsibility for reworking the album AP-I guess he means the GOD thing,I answered. instead saying the decision to leave “Dear God” off initial pressings of Skylarking were related to a problem in the mastering process.... AP-I have never said such a thing.The GOD saga is completely unrelated to the poor sound quality that TR presented us with. TR-“He’s such a brat, even at his age,” AP-tut tut TR,bitchiness ill becomes you.So,back to the 'quality' issue.TR-“I think it’s total bull TR-"But if such a thing existed, it’s because they changed the running order on it and had to remaster it" AP-The running order was .... AP-...changed for several reasons,as explained.The mastering was done in the UK by a lovely fellow called Aaron at London MASTER ROOM studio AP...I attended the cut.Poor Aaron was aghast that anybody would send him so sonically bad sounding record.There was no bass on it,... AP-...no high tops,and the middle sounded muddy.At that point in time,neither he nor I knew that the tapes sent over had incorrect polarity? AP-This was something that had to come from the US,either TRs studio,or the US mastering.We suspect the wiring in TRs studio,due to new digi AP-machine that he plumbed in when we arrived.Let's see what TR says about this issue?.... TR-"...and I had nothing to do with it. What a prick.” AP-Methinks the lady doth protest too much. OK,so that's the interview,now a few... ...thoughts of mine. TR is a great arranger.Really talented,we were lucky to work with him.He is a mediocre engineer at best. As producer... ...his 'bedside manner' is appalling. He was bullying,hectoring,divisive to the band,and if you think that's sour grapes from me just ask... ...anyone else who has worked with him.I've met several and they all have the same stories.Ask Sparks,the Dolls,Meatloaf and on and on. Even his ex wife Bebe said 'he is smart,he can take a computer apart and put it back together so it works better,but his manner with other.. ...people is absolutely terrible.TR,a good album came out eventually.I tried to smooth over the waters and say nice things to be grown up... ...but if the gloves are off,then they are off.

So many have asked,I just have to tell.The first 2 chords in RESPECTABLE STREET are ...the first is a B on the 7th fret.2nd chord is, in... ...ascending order these notes...Db.F,B.Open G.Gb.Open E. Get working out the rest,they are all straight forward. Strum on.

The only contact we had with George Harrison was when Dave wrote to
him about his Rickenbacker guitar,George replied

Couldn't figure why the Undertones would be nasty at TOTP as we
previously loaned them our amps on an Irish tour when they supported
us.

Now to answer a few questions.We survived on a small wage from
advance,PRS money and post 1985 on publishing income,which went in the
black