As alter egos go, there aren’t too many as psychedically pspot-on as THE DUKES OF STRATOSPHEAR. The nom de plectrum of Swindon, England’s XTC, it was used as the name of a pfictitious rock group circa mid/late ’60s that was actually a mid/late ’80s “tribute” to the music that Andy Partridge, Colin Moulding and Dave Gregory grew up on. Thirty years ago this month the Dukes released the second of their two records, Psonic Psunspot; as the successor to 1985’s 25 O’Clock it was the logical conclusion of an exercise that started out as a lark and ended as a favorite pair of platters by both band and fans alike.
By 1985 XTC, a nominally successful new wave/alternative rock group started in the late ’70s, were starting to run out of psteam. The band’s last two albums (Mummer and The Big Express) had failed to capitalize on the momentum gained by hit singles “Making Plans for Nigel” and “Senses Working Overtime,” and their label (Virgin Records) was noticeably worried. To keep their creative juices flowing, the record company agreed to give the band a tiny budget to record what became the 6-song 25 O’Clock EP and for them a fun break from the pressure of trying to write and record a proper XTC LP. Partridge, Moulding & Gregory enjoyed themselves immensely. Free to do basically whatever they wanted (within the reported £6,000 budget), the musicians fuzzed-up their guitars, played tapes backward and did anything else they felt psuited the concept. What they created in 25 O’Clock was not only a half dozen great tunes, but a virtual Trivial Pursuit of Psychedelic Rock. Here there’s a mellotron like the one on “Penny Lane,” there there’s a guitar lick recalling The Pink Floyd. Though the Dukes didn’t do actual cover versions of the psych and pop songs they got their inspiration from, they clearly channeled their heroes in a wholly believable manner.
25 O’Clock did so well for the band and Virgin Records that XTC had a new mandate (and pressure) to make a successful record under their own name. Their 1986 album Skylarking was just that, with the song “Dear God” becoming a ubiquitous track on alternative and college radio in the USA. By 1987 XTC was given the go-ahead to do another Dukes of Stratosphear record, with a larger budget than the first release. Psonic Psunspot, a 10-track album, expanded the Dukes’ influences so much that it actually comes off as more of a hybrid Dukes/XTC album—too current-sounding to be believable as a ’60s release, but too psychedelically inclined to be credited to XTC. Still, some of the songs, such as the Beach Boys-influenced “Pale and Precious” and single “Vanishing Girl,” are XTC in all but name.
In 2009, frontman Andy Partridge’s record label, Ape House, reissued the albums separately on both vinyl and CD (and in a super deluxe box set called The Complete & Utter Dukes). The 180-gram vinyl versions sound even better than the original UK records do (I still have mine), and the CDs added bonus demos and unreleased tracks to fill in the rest of the picture. These days the band members look back at the Dukes fondly, if maybe a little jealously—after all, if it weren’t for them, XTC may have never had another chance to dazzle us with the likes of Skylarking, Oranges & Lemons and 1992’s Nonsuch. Declaring, on their debut record, that “it’s time to visit the planet smile… it’s time the love bomb was dropped… it’s time to drown yourself in soundgasm,” the Dukes of Stratosphear were both of their time and of all time.
4/5 (Ape House APELP023 [25 O’Clock] and APELP024 [Psonic Psunspot])