1980's Original Pressing Release Vinyl Classic Indie New Wave LPs

XTC 5x Lot - Promo pressings  1980's classic Indie New Wave LPs

1.  White Music   1978 - Virgin Records Vinyl:  VG+ to NM- Jacket:  VG (Promo cut out - otherwise really nice)

2.  Go 2  1978 - Virgin Records Vinyl:  VG+ to NM- Jacket:  VG (Promo cut out - otherwise really nice)

3.  The Big Express  1984 - Geffen Records Vinyl:  VG+ to NM- Jacket:  VG (Promo stamp - otherwise really nice)


4.  The Black Sea  1980 - RSO Virgen Records Vinyl:  VG+ to NM- Jacket:  VG (Promo stamp - corner bend)

5.  Mummer  1983 - Geffen Records Vinyl:  VG+ to NM- Jacket:  VG (Promo stamp)



These will be a great additions to your vintage vinyl collection.
Good luck and good bidding!
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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, 's music has always been driven by the hook-laden songwriting of guitarist  and bassist . 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.

, , and drummer  formed the first version of the band in Swindon, Wiltshire around 1976, calling themselves Star Park. As punk rock took off in 1977, the group changed their name to  and added keyboardist . After being turned down by CBS Records, the band changed their name to  and secured a record contract with Virgin; they released their first EP, , in October of 1977. , 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,  (1978).

After returning from a brief U.S. tour,  quit the band; he would eventually form  as well as  (the latter with ) and also pursue a solo career. Instead of another keyboard player, the band decided to hire guitarist (and fellow Swindon resident)  was added to the lineup after ' departure and the group recorded their first charting single, "Life Begins at the Hop."  released their third album, the steadier, more pop-oriented , that summer; the record climbed to number 37 on the charts, thanks to the hit single "Making Plans for Nigel."

 continued to smooth out their edges on 1980's , bringing in elements of mid-'60s  and  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,  featured more complex arrangements, as well as more intellectual lyrics, particularly from . Nevertheless, the album was '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,  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  to leave the group. In November,  announced that  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  was released at the end of the year.

, the first album the studio-bound  recorded, appeared in the summer of 1983; former  member  recorded the drum tracks for the record.  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 group released the holiday single "Thanks for Christmas" at the end of the year.

Released in the fall of 1984,  essentially followed the same pattern as , yet it charted higher in the U.K.  released a psychedelic parody album, , under the name  in 1985. After a difficult recording session with producer , the pastoral  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.  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.

 recorded another  album, , in 1987; the two  albums were collected on one disc the following year.  (1989) reworked the psychedelia of the  side-project, leaving out much of the loopy humor and replacing it with a -inspired nostalgia. The album was a minor hit in both Britain and America, reaching number 28 and number 44, respectively; "Mayor of Simpleton" became 's only charting U.S. single, reaching number 72 while peaking at number 46 on the British charts. Three years later, the group released , an album that recalled both  and . Like every  record, its critical acclaim was greater than its sales -- the album dropped out of the British charts after two weeks. In America,  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  album, , finally appear.  followed in mid-2000.

'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  is the great lost pop band.

MUSIC  were one of the most creative bands to emerge from New York's punk scene of the mid-'70s, creating an influential new guitar vocabulary. While guitarists  and  liked to jam, they didn't follow the accepted rock structures for improvisation -- they removed the blues while retaining the raw energy of garage rock, adding complex, lyrical solo lines that recalled both jazz and rock. With its angular rhythms and fluid leads, 's music always went in unconventional directions, laying the groundwork for many of the guitar-based post-punk pop groups of the late '70s and '80s.

In the early '70s,  began as , a group featuring guitarist/vocalist , drummer , and bassist . At the end of 1973, the group reunited under the name , adding rhythm guitarist . The following year, the band made its live debut at New York's Townhouse theater and began to build up an underground following. Soon, their fan base was large enough that  was able to persuade CBGB's to begin featuring live bands on a regular basis; the club would become an important venue for punk and new wave bands. That year,  played guitar on 's first single, "Hey Joe"/"Piss Factory," as well as wrote a book of poetry with the singer.

 recorded a demo tape for Island Records with  in 1975, yet the label decided not to sign the band.  left the band after the recording of the demo tape, forming the Heartbreakers with former  guitarist ; the following year, he began a solo career supported by , releasing a debut album, , in 1977.  was replaced by ex- bassist  and  recorded "Little Johnny Jewel," releasing it on their own Ork record label. "Little Johnny Jewel" became an underground hit, attracting the attention of major record labels. In 1976, the band released a British EP on Stiff Records, which expanded their reputation. They signed with Elektra Records and began recording their debut album.

, the group's first album, was released in early 1977 to great critical acclaim, yet it failed to attract a wide audience in America; in the U.K., it reached number 28 on the charts, launching the Top 40 single "Prove It."  supported  on the group's 1977 tour, but the shows didn't increase the group's following significantly.

 released their second album, , in the spring of 1978. While its American sales were better than those of , the record didn't make the charts; in Britain, it became a Top Ten hit. Months later, the group suddenly broke up, largely due to tensions between the two guitarists.  rejoined , while  and  both pursued solo careers;  also played on 's first solo album, as well as joined 's supporting band with the 1991 album .

Nearly 14 years after their breakup,  re-formed in late 1991, recording a new album for Capitol Records. The reunited band began its comeback with a performance at England's Glastonbury summer festival in 1992, releasing  a couple months later. The album received good reviews, as did the tour that followed, yet the reunion was short-lived -- the group disbanded again in early 1993. In 2001,  again reunited for a handful of shows in the U.K., as well as an appearance at the Noise Pop Festival in Chicago. CLOSE