The Mummerpause Options

[Jeff Truzzi]

I'd quite have to agree. Though perhaps "Wonderland" is the one that doesn't seem to fit in with the whole (soundwise) to my ears.

'Holistic' is an apt description. Speaking purely sonically, I'd say "Funk Pop A Roll" was the most dichotomous to the rest of the album.
But musically, I wouldn't change a thing. ('Funk" was one of my favorites, and 'Wonderland' my least favorite on the album.)

I know a studio owner, drummer, ex-pat Brit and XTC fan (with whom I saw King Crimson in 1995) who says Mummer is the most audiophile recording in their catalogue.
I don't agree, but I get his point.

[spidermage]

Speaking purely sonically, I'd say "Funk Pop A Roll" was the most dichotomous to the rest of the album.

I agree. I seem to recall someone's saying, on the IDEA forum, that Funk Pop A Roll is the moment when Mummer turns into The Big Express.

[The Lost Jockey]

The first XTC I bought with my own hard earned was Mummer and it has that much loved first born quality still. Wonderland is a fine song but the arrangement grates and dates whereas In Loving Memory is fantastic and Deliver Us is appropriately epic.

Andy's songs are heavenly. I love the sound effects in Beating of Hearts, think Farmers is one of the great acoustic folk songs (to which Sixpence None the Richer's Kiss Me is a sister song), Great Fire warms me, Funk Pop a Roll excites me and makes my legs do mysterious things. I don't get Me and the Wind.

As many have said Ladybird is extraordinary. Jazzy, lovely, like a summer's day.

Of the "extras" Desert Island sticks out for me, especially the last "Cast Away..." what is that vocal effect?

The mystery of the cover works for me too.

Weakest schmeakest.

[Chrestus]

I don't get Me and the Wind.

Don't get? really? You mean it just doesn't connect with you on some level or you don't get it musically?

Its one of my fave-os. The great tension of the verses as they wind tighter and tighter until they explode into that major chord with "Have I been such a FOOL?!"

The wonderfully poetic lyrical imagry in the verses, worthy of Keats and Shelley, imo.

The fantastic alliteration with the "s" sound throughout the verses, especially the second verse.

That perfect - perfect- middle break: "Now that I'm out and I'm shouting in doorways, free from a love more like murder..."

The bouncing between the minor and major phrases musically.

Who else was making music that sophisticated at the time, in the pop/rock genre?

This post has been edited by Chrestus: May 10 2012, 06:18 AM

[The Lost Jockey]

Don't get? really? You mean it just doesn't connect with you on some level or you don't get it musically?

Its one of my fave-os. The great tension of the verses as they wind tighter and tighter until they explode into that major chord with "Have I been such a FOOL?!"

The wonderfully poetic lyrical imagry in the verses, worthy of Keats and Shelley, imo.

The fantastic alliteration with the "s" sound throughout the verses, especially the second verse.

That perfect - perfect- middle break: "Now that I'm out and I'm shouting in doorways, free from a love more like murder..."

The bouncing between the minor and major phrases musically.

Who else was making music that sophisticated at the time, in the pop/rock genre?

Maybe just too damned clever for me Chresty.

Actually I like the song but it doesn't suit the album or maybe it's in the wrong place in the sequence. I feel much the same about Miniature Sun.

[donavan]

If you've been through a love/hate relationship/breakup, you get, Me and the Wind.

The ebb and flow of the song captures the different emotions of being free but completely lost at the same time and wanting back what was killing you in the first place..........................................blimey.

This post has been edited by donavan: May 10 2012, 11:40 AM

[Bimble]

If you've been through a love/hate relationship/breakup, you get, Me and the Wind.

The ebb and flow of the song captures the different emotions of being free but completely lost at the same time and wanting back what was killing you in the first place..........................................blimey.

Here lad, come and sit down and have a good strong cup of sweet tea.



Better? Repressed Britishness restored? Gooooood.

[donavan]

Here lad, come and sit down and have a good strong cup of sweet tea.



Better? Repressed Britishness restored? Gooooood.

Thanks, a couple of digestive biscuits to dunk would have been nice though.

[foghorn]

ladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybird
ladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdl
adybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdla
dybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdfunkpoparollladybir
dladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybird
ladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdl
adybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybirdladybird

I really really love ladybird. One time I actually worked out what the words were, possibly by getting in touch with my inner sleeve. I'm glad to say that I have now forgotten what they were, and they once again blur into a fuzzy pile of sound, possibly mentioning cheese at one point (in the middle 8). For me, this is the song that can do no wrong.

[Jersey Joker]

It was XTC's 'chill out' album, lowering the energy level to something more pastoral. Loved "Farmboy" and "Funk Pop A Roll." And gorgeously recorded. But kind of their "Beatles For Sale" or "Wild Honey."

And I may be the only person in the world who hears "Great Fire" as a re-write of "Senses Working Overtime." For a band that never repeated themselves, I felt this was the only instance of them repeating themselves. (As in "Benjamin Franklin: the only President of the United States...who was never President of the United States.") It's not so much them being in the same tempo and key as using the same structural outline and arrangement form. Like different chords and words plugged into the same structure. Like there was pressure on Andy to come up with another "Senses" (which was their biggest hit in the US until "Dear God") and "Great Fire" was the result. For that reason, it's probably my least favorite XTC single...although I admit it IS a better song than "Sgt. Rock." (IMG:style_emoticons/default/wink.gif)

Wow, I never thought of "Great Fire" as a re-write of "Senses....". For one, it's in 3 (well, till you get to the bridge, but the bridge has all that stringy stuff, which also makes it very different from SWO.)

The general structure, I suppose, makes it similar (they both got that cool bridge). It's funny, though -- "Great Fire" was one of those songs that took me years to really appreciate. I LOVE it now, but initially, I just didn't get it (although I thought the B-side "Jump" was excellent!)

[EDIT: oops, I just realized "Gold" was the B-side for "Great Fire" -- and THAT song took me awhile to warm up to, too. "Jump" was the B-side for "Wonderland". It's almost a double A-side to me, I love that track. End of EDIT.]

That's one of the amazing things about XTC music -- sometimes, you just gotta let it stew a little ...

This post has been edited by Jersey Joker: May 26 2012, 06:34 AM

[Jersey Joker]

I LOVE Mummer.

The thing about Mummer, to me, is that it just sounds like a collection of songs. And that kind of makes sense, in that it was such a transitionary (is that a word??) period for The Band and for Andy. You've got Terry leaving halfway through, and only on 3 songs. You've got such a diversity of styles. The B-sides, too, add to that diversity, with Desert Islands & Toys.

But that's what I like about the album. There's no overall concept -- it's just a collection of some really great tunes.

[marcus h]

I can understand that the sound of EXPRESS {lots-o-Linndrum} and ORANGES {shiny LA} are somewhat locked in time production and mix wise,but why is MUMMER in the same bag for you? I think it's sound is very holistic and the mixes are generally decent.

Talk about a delayed reply from me. Looks very ignorant. Sorry.

I felt Mummer had a flat feeling to it, the tracks were good but lacked depth, listening wise not quality. To my teenage ears at the time, the strongest songs were Funk pop a roll, Wonderland, Farmers Boy. My perception has changed over the years. Now the stand out tracks are Beating of Hearts, Human Alchemy, Deliver us from the Elements and Me and the Wind. Funk pop a roll still feels tagged on. Its an album I dip into.

After checking Discogs website, it states Sadkin and Thornally only remixed three tracks, perhaps thats where the problem lies for me (if the info is correct). As you say Andy, the overall mixes are decent but maybe it lacks continuity over the whole album. Did Steve Nye mix the rest of the tracks.

Tellingly If I was your Virgin A & R at the time, I would have thrown out Funk pop a roll and replaced it with Desert Island. It has a dreamy end of album feel and the flange fade out is great. fitting in wonderfully with the whole ambience of the album. A controversial and radical alternative history moment!

Shiney LA is perfect description for ORANGES and bizarrely EXPRESS I have no problem with the Linn drum sound.

[Dr Hugbine]

Deliver Us From The Elements is awesome. Literally.

[MXYZPTLK]

Tony Visconti bigs up 'Mummer' in the Quietus!
Baker's Dozen

[spidermage]

The older I get, the higher Mummer climbs up my XTC album liking scale.

[Dr Hugbine]

Sinister, mysterious, cyclical, cyclonic and quietly beautiful, and clatteringly strident by turn - it still sounds fresh and daring.

[Kendley]

Here lad, come and sit down and have a good strong cup of sweet tea.



Better? Repressed Britishness restored? Gooooood.

Man, that was a close one.