England's Dreaming - Fossil Fuel review / interview. Mojo Issue 34, September 1996
Fossil Fuel
The definitive XTC singles compilation.
Arguably the most intense and most intensely English musical experience to have arisen from the brief heyday of the new wave that succeeded punk, XTC have always been too individual to fit in with any passing fashion. Even the early singles, when the band was being touted as part of the new wave, revealed a lyrical intelligence, ironic whimsy and a musical scope that clearly didn't belong anywhere outsideof Andy Partridge's private universe. Rather than fitting into a convenient marketing niche, it was essential for Partridge and Co to appeal to like-minded souls of which, fortunately, there have always been enough to keep the band afloat, even when the record industry didn't know where to find them.
With only three UK Top Twenty entries - Making Plans For Nigel, Sgt. Rock and Senses Working Overtime - there's not a lot here that will be immediately be familiar to anyone beyond existing devotees. As a result, rather than providing the instant nostalgia bath that most singles collections offer, this functions best as a wide open door into a rich and diverse musical mansion than can, otherwise, seem a tad daunting to casual visitors.
Although outrageously quirky and thought-provoking by the standards of most chart-contenders, XTCsingles have nevertheless generally been their most accesible tracks so, if these glorious confections appeal, maybe you're ready for the total immersion in the rest of the back catalogue. All that's missing are the singles recorded under XTC's psychedelic 60's alter-ego, The Dukes Of Stratosphear, and the one-off double A-side with The Ruts, Take This Town.
While other bands were copping Stooges riffs, were following their own whimsically English byway. Johnny Black speaks to the newly-liberated Andy Partridge. Band has now split from Virgin after 19 years with the company.
Mojo.
What has been the XTC singles philosophy?
Andy Partridge.
We never wrote singles as such. We tried to make every track on our albums pointed and succint enough that they could be singles anyway. We'd take the albums to Virgin and they'd pick the singles. I think I disagreed with virtually every single Virgin ever chose for us.
Mojo.
Can you give any specific examples?
AP.
I hated Sgt. Rock, and so did a lot of feminists. They wrote me hate mail, presumably because they couldn't see the funny side of it, that it was just little old bespectacled wimpy me wishing he could be tough and macho like this comic book character. But as a song, I always regarded it as something disposable that should have been left in a dark corner of Dead Sea (sic).
Mojo.
Did Virgin try to influence your musical direction?
AP
When the mechanical era came in they suggested that we might like to include drum machines and sequenced basses andso on, but I've pretty much resisted that. When we delivered Skylarking, they told us it didn't have any singles on it and we should go and write something in the style of ZZ Top. Just crank up the guitars and play simple, loud, bluesy stuff because that's what people like.
Mojo.
Was there a final straw with Virgin?
AP.
It was more like a steady drip drip drip on the centre of the forehead until we had to let out the scream, but I think that finally going into profit after 17 years was the nearest thing to a final straw. Why hadn't we gone into profit in 1977? They'd made huge profits from us for years and we hardly saw any of it. So about four years ago we just went on strike, refused to deliver any more until they eventually agreed to let us go.
Mojo.
Do you have a new deal sorted out?
AP.
No, it's all gloriously and optimistically up in the air. We might go to a smaller label, or start up our own label. Anything's possible...
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