Mummer [ORIGINAL RECORDING REISSUED] [ORIGINAL RECORDING REMASTERED]

XTC

Product Details

• Audio CD (August 6, 2002)
• Original Release Date: August 30, 1983
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Caroline
• ASIN: B00005ATHL
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 4.3 out of 5 stars  See all reviews (38 customer reviews)
• Amazon.com Sales Rank: #67,219 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com

Mummer, from 1983, was the first fruit of the British pop combo's "pastoral" period, but merely proved to be the inaugural chapter in XTC's mercifully brief midlife crises. A commercial flop, stalling outside of the U.K. Top 50--a major setback considering the bridgeheads established in both the British and American charts by the preceding Black Sea and English Settlement albums--Mummer was considered something of an artistic disappointment at the time. Even so, any record that contains such moments of delicious rural innocence as the folksy "Love on a Farmboy's Wages" ("shilling for the fellow who brings the sheep in") or the mangled, chamber orchestra pyromania of "Great Fire" is worth a listen, while the addition of several alternately odd and poppy B-sides only adds to the intrigue. The poorer cousin of the subsequent Skylarking, perhaps, but well worth reassessing now that time has passed. --Kevin Maidment

Product Description

Remastered reissue of 1983 album. Virgin Records. 2001.

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

5.0 out of 5 stars Incredibly Bold, August 16, 2002

By	Carl Mack (Palm Springs, CA United States) - See all my reviews

This is when I became a certified fan of XTC. They effectively stuck thier nose up at the music industry and said screw you we are going to do what we want. Since they no longer were touring at this point and English Settlement proved to be an artistic move forward but a commercial move backward you might have expected XTC to deliver a commercial record to lure the masses. Fat chance and thank goodness.This is as bold and brilliant as it gets. Here is the breakdown:

Beating Of Hearts- Middle Eastern Flavored joyous feel good song. Please note that no matter how upbeat the songs on this release, they all seem to have a dark, brooding underbelly.

Wonderland- Pastoral perfect Pop from Colin. Complete with lilting keyboards and soothing bird noises.

Love On A Farmboys Wages- Folky love song from Andy.

GreatFire- Kind of an attempt at Senses Working Overtime Part II. Enough Said.

Deliver Us From The Elements- the whole proceedings are turning dark. The most somber, dark, eerie song Colin has ever written. Kind of spooky.

Human Alchemy- Really spooky. Dark and brooding. Sounds like it should be the theme to a horror movie while Andy rants about the practice of selling slaves to being alchemy.

Ladybird- Cut to an absolute classic love ballad. This song is so atmospheric and pretty. Got to be one of the top XTC songs ever.

In Loving Memory Of A Name- Pastoral English Pop heavy on Drums and Keyboards.

Me and The Wind- Quirky song about breaking up.

Funk Pop A Roll- Let em have it. Andy sticks it to the industry with a XTC style straight forward rocker (the only one here I might add)

Frost Circus- Pointless Instrumental Drivel-Next

Jump- Nice catchy pop tune

Toys- Another catchy little ditty about how playing with Toys relates to us later in life.

Gold- Bold and brassy pop number. The happiest cut among the bunch.

Procession Towards...-See Frost Circus...next

Desert Island- Nice analogy of England being a Desert Island. Perfect Pop.

2 of 2 people found the following review helpful:

5.0 out of 5 stars Brilliant songwriting and studio wizardry., July 20, 2006

By	Michael Stack (North Chelmsford, MA USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

In 1982, after a collapse on stage, Andy Partridge pulled the plug on XTC's touring and the band entered the studio to record their sixth album, 1983's "Mummer". Early in the sessions, drummer Terry Chambers quit the band (contributing only to three songs-- "Beating of Hearts", "Wonderland" and b-side "Toys"), leaving Partridge, Colin Moulding and Dave Gregory to soldier on as a trio (and with session drummer Peter Phipps). The freedom from touring and from any notions of having to play this material on-stage allowed the band to begin to experiment with the studio as a tool, and with producer Steve Nye on hand (who had recently helped Japan produce their masterwork and final album in "Tin Drum"), the band put together an album that far outshines everything they had done before.

The drastic changes are apparent right from the onset-- "Beating of Hearts" shows a level of detail and arrangement that was totally absent, even from the material on "English Settlement"-- Middle Eastern-inspired strings doubling and supporting Partridge's thick vocal, skanking guitars and tribal drums, hints at raga... this is something completely unprecedented. Likewise, "Great Fire" with its screeching sax and ragged guitars, synth-laden tension piece "Deliver Us From the Elements" and grunting, groaning, throbbing avant-rock of "Human Alchemy" all point to a band pushing and exploring.

When XTC sticks to more conventional sounds, their work is still detailed and fantastic-- Partridge's "Love on a Farmboy's Wages" is a fine example. Among the best material he's ever written, it's insistent acoustic guitars and muted drums (the latter apparently inspired Chambers' leaving the band) provide a support for Partridge's voice, which manages anxiety, desperation and hope all together. A handful of other great pop songs continue to fill out the album (Moulding's synthy "Wonderland", Partridge's lovely "Ladybird") and help prevent the distinct lack of subpar material that seemed evident in most of the earlier XTC albums. Even the songs that aren't quite as good as the rest ("Me and the Wind") are still quite intriguing and very listenable.

This reissue finds the album remastered and the depth of the arrangements and productions really shine. In addition, it's augmented by no less than six b-sides from the era. It's actually quite amazing some of these tracks didn't make the album-- four of them are pop songs similar in feel to the album tracks. Of particular note are "Jump", a delicate little pop song with an unnervingly catchy chorus and "Desert Island", a tropical, breezy song about a castaway in paradise, featuring a superb arrangement of growing vocal harmonies and a honking accordian lying over acoustic guitars and a slithering bass. The album also includes two ambient instrumentals, one of them is nice enough, though not particularly noteworthy ("Procession Towards Learning Land"), the other is a simply fantastic array of rising and falling synthesizers layered on top of each other. Fans of Brian Eno's work with find this brilliant.

One thing I have left out in talking about this is that as fantastic as the record is, it's probably not a good introduction to the band-- it can be a bit more quirky than can be easily digestable, nonetheless, once one is familiar with XTC, this is definitely one worth seeking out-- it's among the best in their catalog. Highly recommended.

2 of 2 people found the following review helpful:

4.0 out of 5 stars Challenging but Highly Rewarding, August 16, 2002

By	Lypo Suck (Hades, United States) - See all my reviews

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.