After XTC’s career came to a slow and somewhat unceremonious end, with Andy Partridge recording ‘Spiral’ and Colin Moulding recording ‘Say It’ for, in Moulding’s own words, “the XTC album that never was”, Colin retreated even further from the limelight. Fans wouldn’t hear any more from him for almost a decade. In 2015, he appeared as a guest performer on Billy Sherwood’s ‘Citizen’ album before he withdrew again, seemingly having no interest in fame or re-igniting his career on a full time basis.
The previously unthinkable happened three years later, when ex-XTC drummer Terry Chambers returned from Australia and recorded new material with Moulding, instigating new musical project TC&I. Their sole studio recording was a little scrappy, but somewhere within its DIY style, Colin’s gift for melodies remained obvious. The TC&I project really came into its own the following year when the duo took to the stage for three nights of shows in Swindon, resulting in an excellent live document placing the new material in context with some old XTC classics. A few weeks after those shows, Moulding announced his retirement, effectively putting fans back in the mindset of 2006: was that it? Would we never hear from him again?
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.
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.