Go 2
Go 2 is the second studio album by the English rock band XTC, released on 6 October 1978 by Virgin Records in the UK and 14 February 1979 by Island Records in the US. Recorded at Advanced Audio Rentals in London, it features a mix of new wave, art rock, and punk influences, with production by the band alongside John Leckie. The album's artwork, designed by Hipgnosis, depicts a "battery-powered" woman, reflecting themes of consumerism and media saturation in its lyrics. It reached number 45 on the UK Albums Chart and includes singles like "Are You Receiving?" and "Battery Path". Critically acclaimed for its experimental sound and witty songwriting, Go 2 has been reissued multiple times, including a 2010 deluxe edition, and is regarded as a cult classic in post-punk history.[1][2]Development and recording
Background
XTC was formed in 1972 in Swindon, England, initially as Star Park by core members Andy Partridge (guitar and vocals), Colin Moulding (bass and vocals), and Terry Chambers (drums). The group renamed to the Helium Kidz in 1973, with keyboardist Barry Andrews joining in 1976.[3] The band signed with Virgin Records in 1977 and released their debut album, White Music, in January 1978, which peaked at number 38 on the UK Albums Chart and established their position in the burgeoning punk and new wave scene.[4] The album's reception, including singles like "This Is Pop," highlighted their energetic, angular style influenced by the era's post-punk energy.[5] Buoyed by White Music's modest commercial performance, XTC decided to follow up swiftly, just nine months later, with ambitions to push toward a more experimental sound that incorporated intricate arrangements and conceptual elements beyond their initial raw punk roots.[5] The band contacted Brian Eno, an admirer of their work, to produce the sophomore effort, but he declined, stating that they were already proficient enough to handle production themselves due to their strong self-sufficiency.[5] John Leckie, who had engineered White Music, stepped in as producer instead. Go 2 was recorded over August and September 1978 at Abbey Road Studios in London, capturing the band's evolving dynamics during a transitional phase. This project proved to be Barry Andrews' last with XTC, as internal creative tensions led to his departure shortly after completion; he subsequently co-founded the post-punk group Shriekback in 1981.[5] Amid these changes, XTC's sound began shifting from straightforward punk and new wave toward art rock experimentation, reflecting broader influences from the progressive end of the British music landscape.[5]Songwriting and recording
The songwriting for Go 2 was led primarily by Andy Partridge, who composed the majority of the album's tracks, including "Meccanik Dancing (Ode to the Meccano)," "Battery Brides (Andy Paints Brian)," and "Beatown."[5] Bassist Colin Moulding contributed several songs, such as "Buzzcity Talking," "Crowded Room," "The Rhythm," and "I Am the Audience," marking his growing role in the band's creative output.[5] Keyboardist Barry Andrews also penned a few pieces, including outtakes "Super-Tuff" and "My Weapon," later released as bonus tracks on reissues, reflecting the collaborative yet tense dynamic among the members during this period.[5][6] Recording sessions for Go 2 commenced in August 1978 at Abbey Road Studios in London, spanning roughly two months until completion in early October.[7][8] The album was produced by John Leckie, who had previously worked with the band on their debut single and White Music, with engineering handled by Haydn Bendall, Pete James, and Andy Llewellyn at various stages.[9] These sessions followed Brian Eno's polite decline to produce, shifting the project to Leckie's more hands-on approach.[7] The production emphasized tight, inventive rhythms from drummer Terry Chambers and bassist Moulding, often captured in few takes due to the band's relative inexperience in the studio, resulting in minimal overdubs and a raw energy.[10] Andrews' keyboard work introduced experimental elements, such as abstract synth patterns and unconventional textures, while Partridge incorporated early rhythmic innovations akin to drum machine precursors through layered percussion and electronic effects.[10] Leckie utilized analog tape manipulation and reverb to enhance the album's angular sound, particularly evident in tracks like "Battery Brides," where gated effects and multitracked elements created a sense of mechanical precision.[7]Composition
Musical style
Go 2 is classified within the new wave and punk/new wave genres, incorporating elements of alternative/indie rock through its sophisticated arrangements that blend punk energy with rhythmic complexity.[11] The album's sound features noisy, jittery tracks that are danceable and poppy, drawing on punk influences while experimenting with avant-pop structures, often following a verse-chorus-explode pattern.[12] Key influences reflect the late-1970s new wave scene, with XTC frequently compared to Talking Heads for their quirky, confrontational style marked by jagged pacing and repetitive motifs, representing a shift from raw punk toward post-punk angularity.[13] Instrumental elements are central to this identity, including prominent keyboards from Barry Andrews that pierce the mix like a "hockey rink-style organ," driving drums by Terry Chambers providing a whoomping rhythm section, and angular guitars from Andy Partridge adding rhythmic tension.[12][14] Production hallmarks emphasize herky-jerky rhythms, minimalism in select tracks, and hypnotic repetition, creating a sense of urgency and experimentation despite the album's rushed recording process.[12] Compared to their debut White Music, Go 2's rushed production yields a raw yet experimental tone, bridging punk's immediacy to post-punk's structural innovations.[12]Lyrics and themes
The lyrics of Go 2 predominantly feature the contributions of Andy Partridge, whose witty and surreal style employs wordplay, abstract imagery, and nonsense elements to explore themes of alienation, fractured relationships, and everyday absurdity. In tracks like "I'm Bugged," Partridge draws on onomatopoeic sounds and insect-like metaphors inspired by comic book visuals, creating a disjointed portrayal of irritation and disconnection that prioritizes phonetic fun over linear narrative.[15] Similarly, "Red" confronts alienation through the lens of manipulated anger, with Partridge describing it as an "anger song" about resisting external control that divides people, using explosive, abstract visions to critique societal polarization.[16] This surreal detachment extends to relationship dynamics in "Are You Receiving Me?," where paranoia over infidelity is rendered in nonsensical, call-and-response lyrics that mask personal guilt with ironic absurdity. Colin Moulding's songwriting on the album offers a counterpoint, delivering more straightforward and personal themes rooted in observational everyday life. For instance, "Life Begins at the Hop" captures the mundane excitement of youthful social rituals with direct phrasing and relatable vignettes, reflecting Moulding's preference for lyrics that align closely with melody to convey clear, biographical undertones. The songs' structures reinforce these lyrical approaches, featuring short, punchy formats—often under three minutes—with immediate hooks, fragmented verses, and rhythmic urgency that amplify the themes' ironic edge; some incorporate chant-like vocals or spoken interjections, as in the mechanical incantations of "Meccanik Dancing," which satirizes urban mating rituals in discotheques as robotic and detached. Collectively, Go 2 achieves conceptual unity as a commentary on modern existence, blending Partridge's absurd detachment with Moulding's grounded insights to highlight opposition and strategy in social navigation, much like the album's title evokes tactical maneuvering. The terse, hook-driven arrangements briefly enhance lyrical delivery by underscoring the detachment with propulsive energy.Artwork and packaging
Cover art
The cover art for Go 2 was designed by the art collective Hipgnosis, founded by Storm Thorgerson and Aubrey Powell.[17] The design features a minimalist, text-only layout on a white background with black typography, presenting a dense block of copy that satirically explains the purpose of album artwork as a marketing tool to attract buyers.[17] The bold "GO 2" title appears in large, sans-serif black letters at the top, emphasizing the self-referential nature of the cover, which breaks the fourth wall by directly addressing the viewer about its own commercial intent.[18] This black-and-white color scheme carries symbolic weight, referencing the ancient board game Go—evoked in the album title—to imply the oppositional dynamic of black and white stones on the board, continuing the monochromatic theme from XTC's debut White Music.[18] The simple, typographic layout creates a stark, bold aesthetic that contrasts sharply with the album's intricate and experimental musical structures, such as the layered rhythms and unconventional song forms.[19] Editions varied slightly by region, with the UK release on Virgin Records featuring the standard Hipgnosis design and red/green labels, while the US version on Virgin International included the same artwork but with different label logos and catalog numbering.[9]Booklet and inserts
The original UK vinyl edition of Go 2 included a gatefold insert as the principal supplementary printed material, expanding on the album's innovative packaging concept. This insert featured a full-color photograph of the band members—Andy Partridge on guitar and vocals, Colin Moulding on bass and vocals, Terry Chambers on drums, and Barry Andrews on keyboards—positioned alongside additional black-and-white photographs that captured the group's dynamic during their 1978 sessions.[20] One side of the insert continued the satirical text from the back cover, maintaining the typewritten font that defined the entire package and critiquing the manipulative role of visual design in consumer marketing. The other side incorporated a stylized map of Swindon, the band's Wiltshire hometown, overlaid with cryptic annotations and images to evoke themes of locality amid alienation. This layout reinforced the album's meta-commentary on perception and media influence, positioning the packaging as an extension of the record's conceptual framework rather than mere decoration.[20][21] Produced by Virgin Records in collaboration with designer Hipgnosis, the insert utilized standard 1970s glossy cardstock for durability and visual impact, printed in England to align with the label's emphasis on tactile, collectible formats. While the original release omitted printed lyrics—focusing instead on visual and textual provocation—subsequent CD reissues, such as the 1991 Geffen edition, added booklets with lyrics rendered in a similar typewriter-style font, alongside band photos and liner notes.[20][22] A 2023 Ape House vinyl reissue replicated the original gatefold sleeve and insert design as a limited edition 2-disc set including the Go+ EP.[23]Release and formats
Initial release and promotion
Go 2 was released on 6 October 1978 by Virgin Records in the United Kingdom and by Virgin International in the United States and Canada.[24][9] The album was issued primarily as a vinyl LP, with the initial UK pressing limited to 15,000 copies, each bundled with the Go+ EP containing dub remixes of select tracks.[25] This packaging strategy aimed to enhance value for early buyers and highlight the band's exploratory approach to production.[9] Promotion for the album eschewed traditional UK singles releases, focusing instead on live performances and media exposure to build momentum within the emerging new wave scene. XTC supported the launch with a UK tour in late 1978, performing tracks from Go 2 alongside material from their debut, which helped solidify their reputation for energetic, angular live shows.[26] In the US, Virgin International issued the single "Are You Receiving?" on 27 October 1978 to capitalize on growing interest, accompanied by a promotional music video.[24] Marketing efforts emphasized the album's experimental elements through band interviews, where members like Andy Partridge discussed their shift toward more intricate rhythms and unconventional structures compared to White Music.[27] Radio play targeted new wave-oriented stations, particularly in the US, where the single and album cuts gained airtime on college and alternative formats, aiding crossover appeal.[11] The strategy contributed to immediate commercial traction, with Go 2 peaking at number 21 on the UK Albums Chart during its three-week run starting 28 October 1978.[28]Singles
The only single directly associated with Go 2 was "Are You Receiving Me?", released on 29 September 1978 in the United Kingdom, the Netherlands, and Australia as a non-album track ahead of the LP's launch. Backed with the non-album B-side "Instant Tunes", it was issued primarily in 7-inch vinyl format (Virgin VS 231 in the UK), including white-label promotional copies featuring an alternate mix. The single achieved modest success, peaking at number 86 on the UK Singles Chart, its quirky new wave energy providing an early preview of the album's experimental style but failing to break into higher positions.[29][30] No singles were extracted from the main tracks of Go 2 in the UK, a deliberate strategy by XTC and Virgin Records to position the band within the album-oriented rock landscape of the late 1970s, emphasizing cohesive listening over radio-friendly excerpts. In the United States and Canada, "Are You Receiving Me?" appeared as a bonus track on the album itself (as side A, track 6), rather than a standalone single, which helped boost initial exposure during the LP's North American rollout on 6 October 1978 without achieving notable chart performance. This approach garnered some radio play and critical notice but resulted in limited commercial impact, underscoring the band's emerging cult status over mainstream breakthrough.[9][25]Go+ EP
The Go+ EP is a 12-inch, 45 RPM vinyl record containing five dub-style remixes of tracks from XTC's second album, Go 2. Produced by John Leckie, it was released on October 13, 1978, and bundled free with the first 15,000 copies of the Go 2 LP (catalogue V 2108) in the United Kingdom.[31][25][31] The EP's instrumental remixes deconstruct and extend the originals through echo, reverb, and rhythmic manipulation, reflecting the band's early experimentation with dub techniques to expand their production palette.[32] This approach highlighted XTC's versatility beyond punk and new wave, aiming to attract dub enthusiasts while previewing future studio explorations.[23] The tracks, all written by band members Andy Partridge or Colin Moulding, are as follows:- "Dance With Me, Germany" (3:29), a dub remix of "Meccanik Dancing (Oh We Go!)"[33]
- "Beat the Bible" (2:16), a dub remix of "Jumping in Gomorrah (Sodom and Gomorrah)"[33]
- "A Dictionary of Modern Marriage" (2:36), a dub remix of "Battery Brides (Andy Paints Brian)"[33]
- "Clap Clap Clap" (2:25), a dub remix of "I Am the Audience"[33]
- "We Kill the Beast" (2:17), a dub remix of "The Rhythm Mix"[33]
Track listing
Standard album
The standard edition of Go 2 features 12 tracks divided across two sides on the original UK vinyl LP (Virgin V 2108), with a total runtime of approximately 41 minutes.[35] All songs were written by band members Andy Partridge, Colin Moulding, or Barry Andrews, reflecting their collaborative songwriting contributions at the time.[9]Side one
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Meccanik Dancing (Oh We Go!)" | Partridge | 2:36 |
| 2. | "Battery Brides (Andy Paints Brian)" | Partridge | 4:37 |
| 3. | "Buzzcity Talking" | Moulding | 2:41 |
| 4. | "Crowded Room" | Moulding | 2:55 |
| 5. | "The Rhythm" | Moulding | 3:08 |
| 6. | "Red" | Partridge | 3:02 |
Side two
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Beatown" | Partridge | 4:35 |
| 2. | "Life Is Good in the Greenhouse" | Partridge | 4:42 |
| 3. | "Jumping in Gomorrah" | Partridge | 2:04 |
| 4. | "My Weapon" | Andrews | 2:22 |
| 5. | "Super-Tuff" | Andrews | 4:25 |
| 6. | "I Am the Audience" | Moulding | 3:50 |
Go+ tracks
The Go+ EP consists of five dub remixes of tracks from the standard Go 2 album, offering experimental, stripped-down interpretations that emphasize rhythm and echo effects. Produced by John Leckie, these versions transform the original songs into minimalist dub excursions, each lasting between 2 and 3 minutes.[31][31] The track listing is as follows:| No. | Title | Duration | Original track from Go 2 | Writer(s) |
|---|---|---|---|---|
| 1 | Dance With Me, Germany | 3:29 | Meccanik Dancing (Oh We Go!) | Andy Partridge |
| 2 | Beat the Bible | 2:16 | Jumping in Gomorrah | Andy Partridge |
| 3 | A Dictionary of Modern Marriage | 2:36 | Battery Brides (Andy Paints Brian) | Andy Partridge |
| 4 | Clap Clap Clap | 2:25 | I Am the Audience | Colin Moulding |
| 5 | We Kill the Beast | 2:17 | The Rhythm | Colin Moulding |
Personnel
Band members
The lineup for XTC's Go 2 (1978) consisted of the band's core members during their early new wave phase.[9]- Andy Partridge provided lead vocals and played guitars.[9]
- Colin Moulding contributed vocals and bass guitar.[9]
- Barry Andrews handled keyboards, marking his final album with the band before departing shortly after its release.[9][5]
- Terry Chambers performed on drums.[9]