Gang Of Four

Formed in 1977 by Leeds University students Jon King (vocals), Andy Gill (guitar), Dave Allen (bass), and Hugo Burnham (drums), Gang of Four (along with The Fall, Mekons, and Liliput) produced some of the most exhilarating and lasting music of the early English post-punk era of 1978-1983. Fueled by the fury of punk rock and radical political theory, Gang of Four successfully welded the two in an inspired display of polemics and music that addressed the vagaries of life in the modern world (including love and romance) as matters of political inquiry. Despite the fact that this sounds rife with the potential for being long on rhetoric and short on groove, such was not the case. What made Gang of Four's polemical clang'n'roll so compelling was that it worked as harsh, bracing, and ultimately liberating rock & roll. With Allen and Burnham combining as a formidable and frequently very funky rhythm section, Gill didn't play guitar as much as emit thick wads of semi-tuneful distortion, while King "sang" in a dry, declamatory fashion similar to that of The Fall's Mark E. Smith. The rhythms were stripped down and jagged; at times Gill would dispense with guitar solos entirely and "play" non-solos, which were (surprise!) silence. Song titles sounded like the titles of radical political essays: "At Home He's a Tourist," "Damaged Goods," "It's Her Factory," "Anthrax," "To Hell with Poverty," all of it openly challenging the audience's preconceived notions about rock music, performance, the cult of celebrity, and the nature of politics. And in doing so, GOF conveyed rage, confusion, and loss of identity as well as any band of their time. They have always remained, to the ears of those opened wide by punk rock, an extremely important band. 

After three consecutive sensational albums, as well as a handful of EPs and singles, Allen left in 1982 to form the more danceable and less overtly political Shriekback, while Burnham departed the following year and formed Illustrated Man. King and Gill, the latter of whom had also established himself as a noted producer for other acts, recorded the misguided "radical soul/R&B" record 'Hard' with veteran producers Ron and Howard Albert. A near total disaster, 'Hard' signaled that the end was nigh. The "Gang of Two" released a so-so live album ('At the Palace') and called it quits in 1984. But legends die hard, and Gang of Four experienced a return of sorts in the early '90s with the release of two excellent collections: 'A Brief History of the Twentieth Century' and 'The Peel Sessions Album'). Gill and King put together a new Gang of Four and released the tepid but not disgraceful 'Mall' in 1991. Another reunion, from 1995, yielded 'Shrinkwrapped'. Three years later, a double-disc compilation -'100 Flowers Bloom'- surfaced on Rhino. 

Gang of Four's original lineup reconvened in 2004 to tour extensively and release 2005's 'Return the Gift', featuring re-recordings of their early material. Gill and King continued with a new rhythm section and released 2011's 'Content' with financial support from their fans. King subsequently left, and Gill recruited John Sterry, previously of Gaoler's Daughter, for 2015's 'What Happens Next'. [SOURCE: ALLMUSIC] 

Family Fodder

Family Fodder was less a band than a never-ending collective of musicians messing with tapes in the basement of a London flat. Begun in 1979 by Alig Pearce, a label called Small Wonder released their first 7" when they still went by the name Te Deum (Interestingly, the other two singles released concurrently by the label were the first Cure single and Bauhaus' "Bela Lugosi's Dead"). The band was led by odd splices of tape, dub effects, and Dominique Levillain's chanteuse vocals. Influenced by Syd Barrett, The Kinks, and This Heat, Pearce moved his compositions from psychedelics to drones to proto-electronic music full of cut-up location recordings. The band thought themselves to be very serious musicians but the music takes on a light air due to the splicing and humor throughout. The group toured three times between 1981 and 1982. In 1983, Pearce borrowed some of the band's record advance money from their new label, Fresh, to fund another project's tour. The resulting album, 'All Styles', came out of these diminished funds and was scratchy, ill planned, and home-recorded. It sold only about 100 copies when released. Pearce went on to be a professional accordionist and in 1989 reformed Family Fodder with Levillain, Hobbs, and Wilson. He also tours under the name Johnny Human. With the 1999 reissue by Dark Beloved Cloud, Family Fodder has found a new audience with avant and new wave enthusiasts. [SOURCE: ALLMUSIC] 

8 Eyed Spy

8 Eyed Spy was Lydia Lunch's third band after Teenage Jesus & the Jerks and Beirut Slump. She was joined by Jim Sclavunos, another member of Teenage Jesus who switched from bass to drums, and George Scott, a former member of James Chance & The Contortions. Michael Paumgardhen and Pat Irwin completed the line-up. 8 Eyed Spy were a rather more traditional rock outfit than the experimental and abrasive Teenage Jesus, though. 

The band's only single was a cover of Captain Beefheart's "Diddy Wah Diddy" as the A-side and the self-penned "Dead You Me" as the B-side. A full-length LP was also released together with a note about a cassette of live recordings the band made between January and August 1980. 

8 Eyed Spy broke less than a year after they formed due to the death of bassist George Scott from a herion overdose. Prior to Scott's death, the band was touring the US on "fly all you want for a month for a flat fee" tickets that they shared with The dB's. The dB's were actually using the Scott's airline ticket when he died and they dedicated 'Stands for Decibels' to him. [SOURCE: RATE YOUR MUSIC] 

The Danse Society

The Sheffield, England-based Danse Society originated in Y?, a band that included bassist Bubble, drummer Paul Gilmartin, keyboardist Paul "Bee" Hampshire, guitarist Dave Patrick, and vocalist Steve Rawlings. After an appearance on the local scene's "Bouquet of Steel" compilation in 1980, Y? annexed with two members of Lips-X (guitarist Paul Nash and keyboardist Lyndon Scarfe) and changed their name to Danse Crazy. Following a recording session and a few gigs -including one at Leeds' Futurama festival with the likes of Public Image Limited, Joy Division, and Cabaret Voltaire- Hampshire and Patrick left. By early 1981, the remaining members became The Danse Society. 

The group made their recorded debut on IKF in July 1981 with the "Clock" single. Just prior to recording a Peel Session, they added bassist Tim Wright to the lineup. Their manager started the Pax label, which released the band's next single. A Pax EP and another Peel Session predated a defection to their own Society imprint for 1982's 'Seduction' EP. Another single closed the year out, and by this point The Danse Society was earning the interest of several major labels. Arista won out, signing the band in early 1983. 

A couple singles were released before the full-length 'Heaven Is Waiting'. Public interest never really caught on, which is evident through another pair of singles that failed to chart successfully. An LP of re-recordings and new songs entitled 'Heaven Again' was ready for release but never issued by Arista due to disappointing album and single sales. Dropped by the label, the band threw together a collection of demos and released 'Looking Through' on Society in order to woo another deal. A self-titled compilation of the band's first three singles was issued as well. Rawlings soon left the group; the remaining members attempted to carry on with a new singer, but they opted to quit within a short amount of time. Rawlings fronted a short-lived band named Society almost immediately after his departure and reappeared a decade later in Meridian Dream. In 2001, Anagram reissued the 'Seduction' EP, adding numerous single tracks. [SOURCE: ALLMUSIC]

Camper Van Beethoven

Back in the day, before alternative rock was invented and indie rock was still shy of roots music and other folk elements, Camper Van Beethoven's merging of punk, folk, ska, and world music was truly a revelation. Singer/songwriter David Lowery's smart-aleck lyrics, delivered in laid-back California style, combined with Jonathan Segel's violin as lead instrument, were the band's instant trademarks. Decades after their inception, CVB's sound is still remarkably fresh and their influence on alternative music undeniable and resounding. 

Self-described as "surrealist absurdist folk," the group had its beginnings in the summer of 1983 when Lowery and boyhood friend Victor Krummenacher (bass) started playing music together around Riverside and Redlands, California. Upon relocating to the Northern California college town of Santa Cruz, they enlisted friends Chris Pedersen (drums) and Chris Molla (guitar) to join the fold; Greg Lisher (guitar) and Jonathan Segel (violins, keyboards, mandolin) were added in 1985, and collectively they created a repertoire built on acoustic and electric, traditional and punky aesthetics. The band released their 1985 debut, 'Telephone Free Landslide Victory', on their own Pitch-A-Tent label; it was soon reissued by Independent Project Records, and thanks in part to the college radio success of the song "Take the Skinheads Bowling," it made the Top Ten in the 1986 Village Voice Pazz and Jop Poll, as did their second album, the confusingly titled 'II & III', along with their self-titled third album, both released in 1986. In addition to punk and ska, 'II & III' dabbled in lo-fi sounds, with touches of country (as in the original "Sad Lovers Waltz" and the twangy cover of Sonic Youth's "I Love Her All the Time"). The band's forte was its ability to switch styles, from Balkan folk to psychedelic rock on alternate takes and sometimes even within the same song. 

The third album, 'Camper Van Beethoven', continued the thread, as blueprint CVB tracks like "Joe Stalin's Cadillac" and "Good Guys and Bad Guys" fused punk-inspired looseness with more sophisticated melody and rhythm patterns. At the same time, they were blowing minds and ears with their prog rock leanings (check their nearly note-perfect version of Pink Floyd's "Interstellar Overdrive"). By the time of their Virgin Records debut (coinciding with the label's U.S. relaunch in 1988), the band took a more serious tack for its fourth album, 'Our Beloved Revolutionary Sweetheart'. With Molla gone by then, the group was officially a five-piece, though a cadre of friends assisted them at recording sessions, including producer Dennis Herring (eventually, touring guitarist David Immerglück, later of Counting Crows, became an honorary sixth member). Stretching out in larger studio facilities and experimenting with sound, 'Sweetheart' was the first CVB release met with mixed critical response. Following the elegiac 'Key Lime Pie' and amid creative and personal strife, the band (then featuring female fiddler Morgan Fichter in place of Segel) called it a night in 1989.

In the '90s, Krummenacher, Pedersen, and Lisher (with Immerglück) continued to play together in Monks of Doom, a mostly instrumental prog rock concern, as well as in other formations that sometimes included Segel. Segel released three albums as Hieronymous Firebrain from 1990-1994, and two with Jack & Jill for the Magnetic label. In 2005 he collaborated with Dina Emerson in Chaos Butterfly. Krummenacher has released six solo albums and has collaborated with Eugene Chadbourne, Bruce Kaphan, and members of Tarnation, among others, also released through Magnetic. Lisher has two self-released solo albums to his credit. In the wake of the band's dissolution, Lowery formed Cracker, by far the most successful of the post-Camper ventures; it served as a vehicle to keep him on the road as well as a way to keep Camper's name in circulation, though he kept a distance from his bandmates and left California for Richmond, Virginia. 

By 1999, Krummenacher, Segel, and Lowery were reunited while compiling an unorthodox rarities collection, 'Camper Van Beethoven Is Dead: Long Live Camper Van Beethoven', a mash-up of rare cuts utilizing the band's back catalog. In 2002, they officially issued their song-for-song version of Fleetwood Mac's 'Tusk', recorded on a lark in 1987. In the process of reissuing and archiving, the original members (sans Pedersen) quietly reunited for a handful of live shows and began work on a new batch of songs. In 2004 they released 'New Roman Times' (a concept album about a Texas teen who joins the military, then leaves the ranks to join an anti-government militia), featuring all-original members including Pedersen on drums and original guitarist Molla sitting in. In 2008 Cooking Vinyl released 'Popular Songs of Great Enduring Strength and Beauty', a collection of fan favorites, followed by an all-new studio album, a concept album about Northern California titled 'La Costa Perdida', in 2013. Its sister release, 'El Camino Real', which focused on Southern California life, appeared a few months later in 2014. CVB continue to tour, often in support of alternative acts that have followed in their groundbreaking indie rock footprints. [SOURCE: ALLMUSIC]

Bad Brains

By melding punk with reggae, Bad Brains became one of the definitive American hardcore punk groups of the early '80s. Although the group released only a handful of records during its peak, including the legendary cassette-only debut, Bad Brains, they developed a dedicated following, many of whom would later form their own hardcore and alternative bands. As for Bad Brains themselves, they continued to record and tour in varying lineups led by guitarist Dr. Know into the late '90s yet never managed to break out of their cult status. 

Dr. Know (born Gary Miller), a former jazz fusion guitarist, formed Bad Brains in 1979, inspired by both the amateurish rage of the Sex Pistols and the political reggae of Bob Marley. Realizing that the lines between punk and reggae were already blurred in the U.K., he set out to replicate that situation in the U.S., and he recruited several similarly minded musicians -vocalist H.R. (born Paul D. Hudson), bassist Darryl Aaron Jenifer, and drummer Earl Hudson- to prove his point. Bad Brains quickly became one of the most popular punk bands on the East Coast, particularly in their hometown of Washington, D.C. Their live performances were legendary, but their recordings were difficult to find. Their debut single, "Pay to Cum," was pressed in limited numbers, and their 1982 debut album was only issued in cassette form by ROIR. In addition to the Bad Brains tape, the group released a handful of other EPs in 1982, finally moving to PVC for 1983's full-length debut, 'Rock for Light', which was produced by Ric Ocasek. 

The handful of indie recordings Bad Brains left behind, as well as their live shows, made the band legendary in American hardcore, yet few potential fans could actually hear the band due to poor distribution and erratic touring. The band took three years to deliver the follow-up to 'Rock for Light', finally releasing 'I Against I' on SST in 1986. In those three years, the group developed more heavy metal leanings, and the resulting record received mixed reviews. More importantly, it divided the band, with Dr. Know and Jenifer wishing to continue to pursue heavy rock, and H.R. and Hudson wanting to devote themselves to reggae. Over the next three years, the latter pair frequently left the band to make reggae albums before finally departing in 1989. They were replaced by Israel Joseph-I (born Dexter Pinto) and Mackie Jayson, respectively. 

In the wake of the alternative rock boom of the early '90s, Bad Brains were finally offered a major-label contract in 1993, releasing 'Rise' on Epic later that year. The album bombed and the group was dropped. Maverick Records offered the group a contract in 1995, provided that the original lineup reunited. They did so and released 'God of Love' that summer, to mixed reviews and poor sales. H.R. and Hudson left the band shortly after the album's release, and the band was dropped by Maverick. In 1998 the band again reunited and began touring under the name Soul Brains. 

In 2002, Reggae Lounge compiled remixes of Bad Brains' '80s hits and released a full-length dub album titled 'I & I Survived'. The following year Caroline released 'Banned in DC: Bad Brains' Greatest Riffs', a solid anthology compiling songs from their first album up to 'Quickness'. For the next few years, the group members concentrated on solo endeavors, with a few scattered guest appearances on other bands' albums or live shows. In 2006, Bad Brains reunited for a few shows at CBGB's, which quickly sold out. With a resurging interest in the band, in early 2007, Megaforce announced that they had signed them to their roster. Under Beastie Boy Adam Yauch's studio supervision, the original band went back to the studio for the first time in over a decade and recorded 'Build a Nation', an inspired attempt at returning to the band's hardcore roots. In early 2011 the band began work on the next record. The record was initially titled "Let's Have Fun", but that title didn't stick and was changed to 'Into the Future', an album which saw release in November of 2012. [SOURCE: ALLMUSIC] 

Absolute Grey

Formed in Rochester, New York in September 1983, the darkly melodic jangle pop quartet Absolute Grey first made a name for themselves performing at local clubs such as Schatzee's, Scorgies, and the Snake Sister's Cafe. The group's commitment to an updated psychedelic sound caught the attention of listeners who compared the band to R.E.M., Dream Syndicate, and Rain Parade, as well as Jefferson Airplane. With two of the members still attending Sutherland High School, the group released a six-song cassette in 1984, and later that same year they recorded and self-released their first full-length album, 'Green House', which was soon reissued by East Coast indie label Midnight Records. In 1986, the band recorded their second album, 'What Remains', which was produced by Tim Lee of The Windbreakers, but not long after the LP was released, percussionist Pat Thomas and guitarist Matt Kitchen left the group. Guitarist/vocalist Beth Brown and bassist Mitchell Rasor continued on as a two-piece, using the group's name for an acoustic EP, 1987's 'Painted Post'. Thomas and Kitchen rejoined the band in time to record the 1989 album 'Sand Down the Moon', which was issued only by a small Greek label, Di Di Records; the same company also released 'A Journey Through the Past', a live album which focused on material which hadn't appeared on the group's studio sets. By 1990, the band had quietly parted ways, though a small trickle of posthumous releases continued to emerge -a two-CD retrospective 'Broken Promise' in 1993, an expanded reissue of 'A Journey Through the Past' in 2002, and in late 2003 a remixed edition of 'Green House: 20th Anniversary Edition' augmented with a bonus disc of live recordings. The new edition of 'Green House' was released as the band announced they were at work on a new album, featuring all four original members, which they hoped to release in 2004. [SOURCE: ALLMUSIC] 

Yo La Tengo

Yo La Tengo are in many respects the quintessential critics' band: in addition to their adventurous eclecticism, defiant independence, and restless creative ambition -three qualities that virtually guarantee music press acclaim- the group's frontman, Ira Kaplan, even tenured as a rock scribe prior to finding success as a performer. So frequently compared to the Velvet Underground that they even portrayed the legendary group in the 1996 film "I Shot Andy Warhol", the Hoboken, New Jersey-based Yo La Tengo have explored the extremes of feedback-driven noise rock and sweetly melodic pop, shading their work with equal parts scholarly composure and fannish enthusiasm. Prolific and mercurial, they have ultimately transcended their myriad influences to ensconce themselves as a beloved institution of the indie community. 

The core of Yo La Tengo (Spanish for the outfielder's cry of "I've got it!") is comprised of singer/guitarist Kaplan and his wife, drummer/vocalist Georgia Hubley. After forming the band in 1984, they placed an advertisement seeking other musicians to round out the lineup, requesting applicants who shared their fondness for The Soft Boys, Mission of Burma, and Arthur Lee's Love. A number of bassists and lead guitarists passed through the band's roster during its formative years, but after bowing in late 1985 with the single "The River of Water," backed by a cover of Love's "A House Is Not a Motel," Yo La Tengo's membership appeared to stabilize with the additions of guitarist Dave Schramm and bassist Mike Lewis prior to the sessions for 1986's full-length roots pop debut, 'Ride the Tiger', produced by former Mission of Burma bassist Clint Conley. 

However, both Schramm and Lewis exited in the wake of the record's release, leaving Kaplan to assume lead guitar duties. Bassist Stephan Wichnewski signed on for 1987's 'New Wave Hot Dogs', a more assured outing that brought the group's Velvet Underground obsession to the fore via a cover of the early VU composition "It's Alright (The Way That You Live)." Not only did Kaplan's introverted, half-spoken vocals and buzzing guitar work closely recall Lou Reed, but Hubley's rock-steady drumming and breathy backing turns simultaneously conjured memories of vintage Maureen Tucker. Even better was 1989's 'President Yo La Tengo', recorded with producer and guest bassist Gene Holder; opening with the droning squalls of the stunning "Barnaby, Hardly Working," the record spotlighted the group's sonic schizophrenia by including two Jekyll-and-Hyde versions of the track "The Evil That Men Do" -one a gorgeous instrumental, the other a blistering feedback freakout. 

Schramm returned to the fold for 1990's 'Fakebook', a remarkable acoustic folk-pop journey through Kaplan's record collection and a virtual family tree of Yo La Tengo reference points. A wonderfully low-key collection of covers ranging from forgotten nuggets (The Kinks' "Oklahoma U.S.A.," The Flamin' Groovies' "You Tore Me Down," Gene Clark's "Tried So Hard") to absolute obscurities (Rex Garvin & the Mighty Cravers' "Emulsified," The Escorts' "The One to Cry," The Scene Is Now's "Yellow Sarong"), 'Fakebook' also included a handful of outstanding new originals as well as luminous retakes of the previous record's "Barnaby, Hardly Working" and 'New Wave Hot Dogs'' "Did I Tell You?" The superb 'That Is Yo La Tengo' EP previewed 1992's 'May I Sing With Me', the first effort to feature permanent bassist James McNew (formerly of Christmas). A return to noise typified by the hot-wired nine-minute feedback saga "Mushroom Cloud of Hiss," the record balanced out its extremist tendencies with the occasional sidestep into melodic beauty ("Detouring America with Horns") and infectious indie pop ("Upside-Down"). 

A move to the Matador label predated the release of 1993's 'Painful', another winner informed by the atmospherics of shoegazer drones and dream pop. Bookended by radically opposed renditions of the track "Big Day Coming" -the first an organ-driven mood piece, the other an edgy guitar outing- the record pushed Yo La Tengo in a multitude of new directions, significantly expanding the trio's palette of sounds and textures. Released in 1995, 'Electr-O-Pura' continued the progression, zigzagging from dead-on British Invasion re-creations (the sparkling "Tom Courtenay") to shimmering folk (the Hubley-sung "Pablo and Andrea") to bracing sonic experimentation ("Decora"). After 1996's 'Genius + Love Equals Yo La Tengo', a two-disc compendium of B-sides, compilation tracks, rare singles, and unreleased material, the trio resurfaced in the spring of 1997 with 'I Can Hear the Heart Beating as One'; 'And Then Nothing Turned Itself Inside Out' followed in early 2000. 

The group also performed a three-night stint as the backing band for Ray Davies on his 2000 U.S. tour, and in 2002 released 'The Sounds of the Sounds of Science', a soundtrack to the undersea documentaries of French filmmaker Jean Painleve. That fall, they released the 'Nuclear War' single, which featured several versions of Sun Ra's epic, and that winter performed their second annual Hanukkahpalooza, an eight-night musical festival at Hoboken, New Jersey's Maxwell's, which also led to a special limited-edition EP of Christmas songs. Yo La Tengo released 'Summer Sun' in spring 2003, and that year Georgia Hubley performed in "Mirror Man", an avant-garde rock opera by Pere Ubu's David Thomas. 

In 2005, Matador Records paid homage to Yo La Tengo's 20th year as recording artists with the career-spanning compilations 'Prisoners of Love: A Smattering of Scintillating Senescent Songs: 1985-2003' and 'A Smattering of Outtakes and Rarities 1986-2002'. The band returned the following year with the strong all-new album 'I Am Not Afraid of You and I Will Beat Your Ass'. 'Fuckbook', a covers album that the band released under the alias Condo Fucks, arrived in 2009, followed several months later by the full-length 'Popular Songs'. The following year, the 'Here to Fall' EP, which featured remixes by De La Soul, Rjd2, and Pete Rock, arrived. The group's 13th album, 'Fade', was released in 2013. This album marked a departure for the band, as it was the first record since their 1993 breakthrough, 'Painful', not recorded with producer Roger Moutenot, but instead tracked with Chicago scene veteran and Tortoise member John McEntire. [SOURCE: ALLMUSIC] 

XTC

XTC was one of the smartest -and catchiest- British pop bands to emerge from the punk and new wave explosion of the late '70s. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTC's music has always been driven by the hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding. While popular success has eluded them in both Britain and America, the group has developed a devoted cult following in both countries that remains loyal over two decades after their first records.

Partridge, Moulding, and drummer Terry Chambers formed the first version of the band around 1976, calling themselves Star Park. As punk rock took off in 1977, the group changed their name to Helium Kidz and added keyboardist Barry Andrews. After being turned down by CBS Records, the band changed their name to XTC and secured a record contract with Virgin; they released their first EP, '3-D', in October of 1977. 'White Music', the band's first full-length album, was recorded in a week and released by the end of the year. Critics praised the angular yet melodic pop, and the album reached number 38 in the U.K. charts. However, none of the singles released from the album charted (including "This Is Pop"), nor did "Are You Receiving Me?," the teaser single for their second album, 'Go 2' (1978). 

After returning from a brief U.S. tour, Andrews quit the band; he would eventually form The League of Gentlemen with Robert Fripp, as well as pursue a solo career. Guitarist David Gregory was added to the lineup after Andrews' departure and the group recorded their first charting single, "Life Begins at the Hop." XTC released their third album, the calmer, more pop-oriented 'Drums and Wires', that summer; the record climbed to number 37 on the charts, thanks to the hit single "Making Plans for Nigel." While 'Drums and Wires' began to climb the U.S. charts, Partridge released his first solo album early in 1980; outside of the band's devoted fans, the record appeared without much fanfare. 

XTC continued to smooth out their edges on 1980's 'Black Sea', bringing in elements of mid-'60s Beatles and Kinks to their guitar-driven pop; thanks to the singles "Generals and Majors" and "Towers of London," it was the group's most successful American album, peaking at number 41 while reaching number 16 on the British charts. Released the following year, 'English Settlement' featured more complex arrangements, as well as more intellectual lyrics, particularly from Andy Partridge. Nevertheless, the album was XTC's biggest success in the U.K., reaching number five on the album charts and launching the Top Ten single, "Senses Working Overtime." 

While on tour in March of 1982, Partridge collapsed while on-stage, suffering from exhaustion. Less than a month later, he collapsed again with a stomach ulcer. The band canceled the tour shortly after his second collapse, prompting Chambers to leave the group. In November, Partridge announced that XTC would never play live again, concentrating on recording instead; he also blamed his collapses on intense stage fright. As the band completed their new album, a compilation called 'Waxworks: Some Singles (1977-1982)' was released at the end of the year. 

'Mummer', the first album the studio-bound XTC recorded, appeared in the summer of 1983; former Glitter Band member Pete Phipps recorded the drum tracks for the record. XTC refused to tour for the record, which caused some tension between the band and Virgin, and was presumably the reason why "Love on a Farmboy's Wages" didn't make it past number 50 on the charts. Recording under the name The Three Wise Men, the group released the holiday single "Thanks for Christmas" at the end of the year. 

Released in the fall of 1984, 'The Big Express' essentially followed the same pattern as 'Mummer', yet it charted higher in the U.K. XTC released a psychedelic parody album, '25 O'Clock', under the name The Dukes of Stratosphear in 1985. After a difficult recording session with producer Todd Rundgren, the pastoral 'Skylarking' appeared in the fall of 1986. Upon its release the album was hailed as a masterwork by critics, even though the band were claiming they were unsatisfied with the production. 'Skylarking' was a bigger hit in the U.S. than it was in the U.K., spending over six months on the charts and peaking at number 70. 

XTC recorded another Dukes of Stratosphear album, 'Psonic Psunspot', in 1987; the two Stratosphear albums were collected on one disc the following year. 'Oranges and Lemons' (1989) reworked the psychedelia of the Stratosphear side-project, leaving out much of the loopy humor and replacing it with a Ray Davies-inspired nostalgia. The album was a minor hit in both Britain and America, reaching number 28 and number 44, respectively; "Mayor of Simpleton" became XTC's only charting U.S. single, reaching number 72 while peaking at number 46 on the British charts. Three years later, the group released 'Nonsuch', an album that recalled both 'Pet Sounds' and 'Revolver'. Like every XTC record, its critical acclaim was greater than its sales -the album dropped out of the British charts after two weeks. In America, 'Nonsuch' was more successful, reaching number 97 and staying on the charts for 11 weeks. Years of internal difficulties and label battles kept the group from releasing any new material for much of the decade, however, and not until 1999 did the next XTC album, 'Apple Venus, Pt. 1', finally appear. 'Wasp Star (Apple Venus, Pt. 2)' followed in mid-2000. 

XTC's lack of commercial success isn't because their music isn't accessible -their bright, occasionally melancholy, melodies flow with more grace than most bands- it has more to do with the group constantly being out of step with the times. However, the band has left behind a remarkably rich and varied series of albums that make a convincing argument that XTC is the great lost pop band. [SOURCE: ALLMUSIC] 

The Walkabouts

Despite their background (punk), geography (Seattle), and label affiliation (Sub Pop), The Walkabouts were anything but a grunge band; dark, haunting, and elegiac, their work instead sprung forth from the storytelling traditions of American roots music and the kinetic excitement of rock & roll. The Walkabouts were formed in 1984 by Chris Eckman and his brothers Curt and Grant, all of whom had previously played together in a number of punk-pop outfits, along with singer Carla Torgerson, a veteran of folk and street singing. The group's lineup proved fluid, although Chris Eckman and Torgerson remained The Walkabouts' driving forces; a later roster including bassist Michael Wells, multi-instrumentalist Glenn Slater, and drummer Terri Moeller did hang together for a number of years. 

After issuing a self-titled cassette in 1984, The Walkabouts released the EP '22 Disasters' a year later. A full-length LP, 'Weights and Rivers', was planned for 1987, but the record was never released -a harbinger of music industry problems to come. Instead, the group offered 'See Beautiful Rattlesnake Garden' in 1988, which not only marked the continued maturity of Eckman and Torgerson's songwriting but also earned The Walkabouts a contract with the fledgling Sub Pop label. The deal resulted in upgraded production values, as evidenced by 1989's 'Cataract' and its follow-up, the next year's six-song EP 'Rag & Bone', which featured the keyboard work of the newly added Slater. 

Released in 1991, 'Scavenger' proved to be the last Walkabouts record issued in their native land for some time; however, while the deal with Sub Pop's American division went sour, the label's European division, Glitterhouse, hung on to The Walkabouts, where the band's following had been steadily growing. Between 1993 and 1995, the group issued a staggering seven full-length records in Europe -three by the full band, a limited-edition live collection, and three more released by the duo of Chris & Carla. Finally, in 1995 the three aforementioned Walkabouts albums -the double-LP set 'New West Motel', the all-covers 'Satisfied Mind', and the more rock-oriented 'Setting the Woods on Fire'- all appeared domestically. A year later, the band issued two more albums, the all-new 'Devil's Road' (recorded with the Warsaw Philharmonic Orchestra) and 'Death Valley Days: Lost Songs and Rarities, 1985-1995', a collection of odds and ends. In November 1996, Wells left The Walkabouts to devote himself to his side project, Pluto Boy; he was replaced by bassist Baker Saunders. 'Trail of Stars' followed in 2000. [SOURCE: ALLMUSIC]