Disco de XTC: “Mummer”

Mummer is a weird, weird album. Some people are put off by it, leaving my enthusiasm for it squarely in the minority. The story goes: following "English Settlement," Andy Partridge's stage-fright became totally unbearable, so XTC pulled a Beatles maneuver and swore they'd never tour again. From then on, they'd be strictly a studio band. Drummer Terry Chambers left, and instead of finding a replacement, they shifted their quirky style down new, unchartered roads that led to one of their most challenging, invigorating, and meticulously crafted albums. They veered enough from the path that it doubtlessly scared some people away. But given time to sink in, Mummer reveals itself as an innovative, beautiful record, marking the start of a new era for the band.

What immediately struck me is how good it sounds. Everything is crystal clear without sounding slick, big without being bombastic, and very organic. Lot's of acoustic guitar, piano, string sections, creating a wonderfully rich, baroque, pastoral texture. Even the lush synths that color Moulding's "Wonderland" evoke images of blooming flowers rather than cold metal and disco lights. XTC play with odd rhythmic and dynamic changes and eclectic, lush arrangements in ways that wouldn't have been possible with Chambers' pounding, post-punk style.

"Love on a Farmboy's Wages" begins quietly with a folksy verse and minimal percussion, before building to a beautiful, catchy, yet manic chorus. "Great Fire" bursts at the seams with the energy and tension its name suggests: pummeling, crisp drums and walloping bass set a primal foundation for scratchy, sideways guitar, tensely bowed strings, and Partridge's mad yelps about love that's burning him feverishly with desire. The chorus comes together with tightly wound energy and an infectious melody.

"Ladybird" shows a strong Pet Sounds/Smile-era Brian Wilson influence with playful, sophisticated, rich melodies set to a rolling piano and shuffle-y, brushed drums; a subtle pop gem. Moulding's "In Loving Memory of a Name" is led by bouncy, hook-filled piano, while wire-y acoustic guitar melodies snake their way in and out. Mummer ends with "Funk Pop A Roll," a scalding post-punk rocker with sharp guitar and Partridge's hiccupping, cynical rants about the record industry.

Mummer does have its weak spots but most of it holds up remarkably well. It's a fascinating change of direction that really works. Besides, this kind of risk-taking keeps bands - and music in general - interesting in the first place.

It's rarely mentioned by fans as an essential purchase, but this xtc collection has always been one of my favorites. Mummer is unassuming - - it doesn't smack you in the face and scream "I am important." Its charms instead lie waiting patiently to be discovered. Aside from the songs mentioned in an earlier review, "Ladybird" and "Me And The Wind" are outstanding. And among the bonus tracks, "Desert Island" and "Gold" are delights. "Elements" sounds as freakishly astonishing today as it did the first time I heard it.

This, and three other XTC albums are my must-have, absolutely essential XTC works to own. Because of sheer diversity, focus and songwriting beauty. The other 3 are Black Sea, Oranges and Lemons, and Apple Venus Volume 1.

What is so beautiful about MUMMER is it's distance from other XTC works. And that what becomes the XTc sound here, crops up later in other releases. Mummer and what it does never truly left XTC, and both songwriters (Partridge & Moulding) changed their writing styles on this album and never looked back.

Many here have mentioned the troubled tour of English Settlement, and why XTC withdrew from the public arena, so I guess I'll try and encapsulate what makes this one of my favourite XTC albums . . .

For one, this album sounds pristine, whether its the remastered version, the vinyl or its original CD release. It is one of the best sounding XTC albums they released. Despite the loss of Terry Chambers (though he appears on a few tracks) replacement studio drummer Peter Phipps suits XTC to a T. His drumming, and the engineering on this album truly shine, no more so on 'Ladybird', one of the best songs Partridge has written to date. There is no possible way Chambers could have played 'Ladybird' in its style, and though he's a great drummer and suited XTC pre-Mummer, his loss was somewhat XTC's gain. A fuller pallette of rhythms is explored and used, and each suit every song. Phipps would have been a great replacement for the long haul.

Moulding changes the most on this album. His songwriting style that is present to this day, surfaces on Mummer. By Oranges & Lemons, Moulding was a completely different songwriter, and far better for it. The often maligned 'Wonderland' is the first of his songs to actually employ instrumentation that augments the lyric or tone of the song, and by Oranges & Lemons he became so good at it, that people stopped noticing how great a songwriter he is. Deliver Us From The Elements and In Loving Memory of a Name are probably two of his least known tracks, but by far two of his best, particularly 'In Loving . . . ' What is surprising, is the amount of material Moulding had available for inclusion on this album, that was every bit as good as what made it in the end. Two songs, 'Spare A Penny' and 'The World Is Full of Angry Young Men' should have been included with the CD release. (..Angry Young Men can be found on 'Rag & Bone Buffet', and BOTH versions of 'Spare A Penny' you'll just have to look around for -- its the reggae tinged 'Penny' that I think is such a strong song, but its message is probably what stopped Colin from going ahead with it)

Partridge is by no means a slouch on this album either. Song after song he just produces wonderful pieces of art. That he thought 'Great Fire' was single potential is possibly what stops this band from wider monetary success. It is a great song, but this album really is an 'album's album'. I can't really hear many singles coming from this, though a load were released from it, and videos exist for practically all of the songs (barring 'Me & The Wind', 'Great Fire', and 'Deliver Us From The Elements').

The three man XTC (Gregory / Moulding / Partridge) come off the touring-go-round and produced an incredibly peaceful, yet disturbing work. And I honestly have to give Andy Partridge some much deserved credit. 'Human Alchemy' will always remain for me, a song that just had to be. That a person of 'caucasian race' actually had the nerve and courage to say what he says in this song, will always garner my respect. Kudos Andy. Thank you for saying it, and meaning it. I wish there were more like you.

Again, not the first album for a 'newbie' to buy from XTC. In fact, I can't actually recommend that first album to get by them! You'll just have to take a chance on one of them, and see where it takes you. (If you're obsessive compulsive, please join the queue . . . )

This shouldn't be the first XTC CD you buy. Get Skylarking or English Settlement first. The work "pastoral" gets tossed around, but I think it's just brilliant pop.

By 1983 I was sold on XTC. I anxiously awaited each new release. After several promised release dates that never came about it finally landed in June 1983. It is my understanding that this one almost did not get released in the U.S and all you need to do is listen to the lyrics of "Funk-Pop-A-Roll" to find out why. If anyone thought 1982's "English Settlement" was out of steps with the times imagine this release. For the most part a dark, brooding record even though it has a pastoral feeling. Certainly the single "Wonderland", a beautiful keyboard driven ballad from a faceless ordinary English Band was certainly not going to go anywhere with record buyers more focused on what Boy George's new look would be. Such deep songs as "Human Alchemy" which likens the slave trade to gold trade and the forementioned "Funk-Pop-A-Roll" a scathing attack on the hand that feeded XTC, the music industry, were brilliant but not many except for us rabid XTC fans were listening. For those of us rabbits who were not interested in getting fixed up, with our musical feed, or anyone selling us stuff we really did not need, thank goodness XTC was there, and that they did not die from being poisoned by the industry.