Read the introduction to this review here.

“English Settlement” was released in 1982, and as opposed to “Black Sea” (the album that preceded it, and an album that was devised as a vehicle for live performances) the double LP hinted at the more pastoral sound the band was to adopt in earnest shortly. Of course, the embracement of such a tone was precipitated by the events that took place while they were touring “English Settlement” – first, Andy breaking down onstage and declaring the band would play live no more, and then the loss of Terry Chambers (the most level-headed member of the band, and someone who basically was in a group because he enjoyed playing live).

As I explained at the end of yesterday’s introduction, it was on “English Settlement” that Andy realized there was nothing wrong with exploring the capabilities that studios offer in terms of instrumentation. He no longer wanted to record only songs that could be replicated live exactly as they had gone down into tape. The record was then freed from a conceptual straightjacket and the results were to be the first true sampler of XTC as most of us love them: zany, daft, zany, wildly unpredictable, and zany. And utterly brilliant.

Each song is a true universe in itself. I think that there are not that many albums in which every note that you are hearing is germane to the actual constituency of a song as in the vast majority of the cuts featured on this double LP. With the exception of “Down In The Cockpit” and “Melt The Guns”, the extended duration of most of the songs is warranted – “Jason And The Argonauts” has an hypnotic instrumental passage that is not really a solo but rather a sagacious way to sustain the tension of the middle eight until the song comes back on track for its conclusion, and “Leisure” has some dissident breaks that amplify the tedium of the lyrics fabulously. Besides “All Of A Sudden” had to run that long if only because that was the only way the music could truly represent the inability to grasp the reality which is expressed in the song.

Discrimination based on race (“No Thugs In Our House” and “Knuckle Down”) and on gender (“Down In The Cockpit “) is a recurrent theme on English Settlement, and Colin sings about modernization in “Ball And Chain”, a song that precedes “Boarded Up” by two decades. The difference is that in “Ball And Chain” something was still standing up and could be ostensibly saved; by the time he wrote “Boarded Up” there was not such a chance. Continue reading →