Life is capable of dealing out a surprise or two. One of the biggest musical surprises came in 2017 when ex-XTC drummer Terry Chambers returned from Australia and it subsequently announced he’d been writing and recording new material with his old bandmate Colin Moulding. The likelihood of any XTC members recording together had seemed about as likely as Roger Manning, Jr reforming Jellyfish, but it had quickly become a reality. Fans were, understandably, ecstatic. The resultant EP was good rather than great, but the fact that Moulding had seemingly returned to something resembling full time recording was good news enough.
TC&I then unleashed bigger news when they told the world they’d be playing a handful of live shows to support the release at Swindon Arts Centre. There was more at stake here than just a few new songs, of course; XTC had abruptly stopped touring in 1982 and Colin had a legacy of great material that had never been played in front of an audience. It was time to right that wrong.
When drummer Terry Chambers left XTC in the early eighties, gave up music and subsequently emigrated to Australia, few people expected him to ever return to the UK; fewer still expected him to return to the recording studio. Upon his return, he rekindled an old friendship with bassist Colin Moulding, who had since resigned from the inactive XTC in 2007 and was “not interested in making music any more”. It came as an even bigger surprise when XTC’s classic rhythm section unveiled an EP of new recordings towards the end of 2017, without so much as a word hinting that anything was genuinely afoot.
1977 saw a change on the UK music front as punk made a fairly grand entrance. It wasn’t the giant new broom that revisionists will have you believe, as disco and pop still had a strong grip and the prog rock bands remained a fixture in the album charts.
Perhaps the greatest thing the punk movement brought was the idea that such energy could be used to create great three minute songs. In 1978, utilising the energies of punk and a firm grasp of radio friendly pop choruses, bands like Blondie and The Jam went from strength to strength.
In 2015, multi-instrumentalist Billy Sherwood found himself ahead of a rather daunting task. He was hand picked by his close friend, Mr. Chris Squire, to be the bass man for progressive rock legends Yes, after Squire – founder member and only constant – discovered his ongoing fight against leukemia would soon be lost. It was obviously a job he’d would rather not have, but given the circumstances, he was the most obvious and sympathetic choice. In many ways, the only choice. Sherwood’s links with Yes go back a long way, of course: he’d previously been involved with the band in an on/off role since the turn of the 90s, if anyone could fill the void and at least have half a chance of fan acceptance, it would be Billy Sherwood. Looking back even farther, Sherwood’s own music with Lodgic and World Trade had showed parallels with the more commercial sounds of Yes. The 1989 World Trade debut, especially, often sounded like the album Yes might have unleashed after ‘Big Generator’ had they continued along the shiny, techy, AOR-prog path.