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25 O'Clock
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| 25 O'Clock | ||||
|---|---|---|---|---|
 | ||||
| Studio album (mini-LP) by | ||||
| Released | 1 April 1985 | |||
| Recorded | December 1984 | |||
| Studio | Chapel Lane Studios, Hereford, England | |||
| Genre | ||||
| Length | 26:43 | |||
| Label | Virgin | |||
| Producer |
| |||
| XTC chronology | ||||
| ||||
| Singles from 25 O'Clock | ||||
| ||||
25 O'Clock is the debut record by the English rock band the Dukes of Stratosphear and the eighth studio album by XTC, released on April Fools Day 1985 through Virgin Records. It was publicised as a long-lost collection of recordings by a late 1960s group, but actually consisted of new tracks recorded by Andy Partridge, Colin Moulding, and Dave Gregory of XTC with Gregory's brother Ian.
The project was conceived by Partridge as a one-off excursion into 1960s-style psychedelic music. Three rules were set during its recording: songs must follow the conventions of 1967 and 1968 psychedelia, no more than two takes allowed, and use vintage equipment wherever possible. Virgin gave the group £5,000 and a two-week deadline for the sessions, in which the members adopted pseudonyms and dressed themselves in clothing of the era. Only six tracks were recorded due to time constraints.
Upon its release in the UK, 25 O'Clock sold twice as many copies as XTC's then-latest album The Big Express (1984), even before the Dukes' identity was made public. One single was issued, "The Mole from the Ministry", which was an improvised-in-the-studio Beatles pastiche. 25 O'Clock was followed up in 1987 with the LP Psonic Psunspot, which contained the outtake "Have You Seen Jackie?". Another outtake, "Big Day", was reworked for XTC's 1986 album Skylarking.
Background
[edit]
When guitarist Dave Gregory was invited to join XTC in 1979, bandleader and songwriter Andy Partridge learned that they both shared a longtime passion for 1960s psychedelic music. An album of songs in that style was immediately put to consideration, but the group could not go through with it due to their commercial obligations to Virgin Records.[2] Another consideration Partridge had was the punk movement's antipathy toward pop music of the past.[3] XTC stopped touring in 1982 and immediately began focusing on refining their sound in the studio. During the making of their 1984 album The Big Express, Partridge began writing material he thought could potentially be performed in a psychedelic style, the first being "Your Gold Dress".[4] He recalled "beginning [to be unable] to contain the desire to do this. You can see it leaking out earlier".[4]
In November 1984, one month after the release of The Big Express, Partridge traveled to Monmouth, Wales with engineer John Leckie to produce the album Miss America by singer-songwriter Mary Margaret O'Hara, who had recently signed with Virgin. Partridge and Leckie were dismissed due to conflicts related to their religious affiliations or lack thereof (O'Hara was a devout Catholic).[5] Partridge was feeling inspired by Nick Nicely's 1982 psychedelic single "Hilly Fields (1892)", and devised a recording project to fill the newfound gap in his schedule.[5] The rules were as follows: songs must follow the conventions of 1967 and 1968 psychedelia; no more than two takes allowed; vintage equipment wherever possible.[6] Partridge said: "I didn't really have songs ready, just ideas. I knew I wanted to do something like Syd Barrett. Perhaps a Beatles-esque track. ... I rung up the other guys and said 'Hey, let's put on a show!'; you know, that kind of thing."[2]
Recording
[edit]Leckie agreed to take on production and searched for a cheap studio for the band. Partridge invited his XTC bandmates to participate; they were augmented on drums by Dave Gregory's brother Ian, since the group did not have a drummer at the time. The song "25 O'Clock" was quickly written as they waited for the project to be greenlit by Virgin.[4] After the label reluctantly loaned the group £5,000, two weeks were spent on the album's recording and mixing at Chapel Lane Studios in Hereford, England.[6] The project was planned as a full-length LP, but only six songs were completed due to time constraints.[4] The album was produced so cheaply that the band refunded £1,000 back to the label.[7] Partridge looked back on its making as the "most fun we ever had in the studio."[8]
Each musician adopted a pseudonym: "Sir John Johns" (Partridge) "Lord Cornelius Plum" (Dave), "The Red Curtain" (Colin Moulding) and "E.I.E.I. Owen" (Ian). Partridge's moniker was inspired by the Martian Manhunter's name,[10] while Moulding's was derived from an old nickname referring to the length of his hair.[11] The band dressed themselves in Paisley outfits for the sessions and lit scented candles. Partridge: "Dave Gregory took to the Dukes a bit too much. Elephant jumbo cord flares, big white belt, beads - we were a bit worried."[5] In contrast to himself and Gregory, "Colin was more of a heavy metal kid. He was more into Black Sabbath and Uriah Heep and people like that. So he didn't really have much of a grasp on psychedelia."[4]
"25 O'Clock" and "Bike Ride to the Moon" were reimaginings of the Electric Prunes' "I Had Too Much to Dream (Last Night)" (1966) and Tomorrow's "My White Bicycle" (1967), respectively.[12] One of the "best bits on the EP," Partridge later said, was Moulding's "What in the World??...", which featured tape manipulation akin to the Beatles' "Only a Northern Song" (1969).[2] Moulding offered another song, "Big Day", but the group deemed it good enough for the next XTC album. He explained: "The Dukes thing was written in an air of 'Well, it doesn't really matter, we'll tart it all up in the mix.'"[13] "Have You Seen Jackie?", a Pink Floyd–Tomorrow–Keith West–Rolling Stones amalgamation, was also left off the album, later being included on Psonic Psunspot.[11]
Release
[edit]| Retrospective reviews | |
|---|---|
| Review scores | |
| Source | Rating |
| AllMusic |   [14] |
| The Encyclopedia of Popular Music | [16] |
| Pitchfork | 7.7/10[15] |
Released exclusively in Britain on April Fool's Day 1985, the mini-album was presented as a long-lost collection of recordings by a late 1960s group.[17] Partridge designed its cover art on his kitchen table using colored pens and photocopied 19th-century lettering.[9] Virgin Records publicised the Dukes as a mysterious new act,[18] and when asked about the album in interviews, XTC initially denied having any involvement.[19] A music video set to "The Mole from the Ministry"—the first in which they were allowed total creative input—was produced for BBC West's RPM music programme.[9] Partridge: "That's the only one of our videos that I've liked, the only one I can watch ... every little [promo] film [from 1967] we could find, we put ideas from them in there."[20]
In England, 25 O'Clock sold twice as many copies as The Big Express, even before the Dukes' identity was made public. The album also achieved considerable sales in the US.[21] On XTC's next album Skylarking (1986), the Dukes were mentioned in its liner notes, where they were thanked for the loan of their guitars.
Track listing
[edit]Original mini-album
[edit]All tracks are written by Andy Partridge except "What in the World??...", by Colin Moulding.
| No. | Title | Length |
|---|---|---|
| 1. | "25 O'Clock" | 5:01 |
| 2. | "Bike Ride to the Moon" | 2:24 |
| 3. | "My Love Explodes" | 3:54 |
| No. | Title | Length |
|---|---|---|
| 1. | "What in the World??..." | 5:01 |
| 2. | "Your Gold Dress" | 4:38 |
| 3. | "The Mole from the Ministry" | 5:50 |
Expanded edition
[edit]A remastered and expanded version of 25 O'Clock was released on 20 April 2009 by Partridge's Ape House record label. This edition of 25 O'Clock is credited to "XTC as The Dukes of Stratosphear". It also included the promotional video for "The Mole from the Ministry" as a QuickTime file.
| No. | Title | Length |
|---|---|---|
| 7. | "25 O'Clock (Demo)" | 2:25 |
| 8. | "Bike Ride to the Moon (Demo)" | 1:30 |
| 9. | "My Love Explodes (Demo)" | 1:54 |
| 10. | "What in the World??... (Demo)" | 3:40 |
| 11. | "Nicely Nicely Jane (Demo)" | 1:17 |
| 12. | "Susan Revolving (Demo)" | 1:24 |
| 13. | "Black Jewelled Serpent of Sound (Radio Caroline Edit)" | 2:17 |
| 14. | "Open a Can of Human Beans" | 4:44 |
| 15. | "Tin Toy Clockwork Train" | 3:17 |
Personnel
[edit]Credits adapted from the album's liner notes.[22]
The Dukes of Stratosphear
- Sir John Johns (Andy Partridge) – vocals, guitar, bass on "What in the World??...",[23] sleeve art
- The Red Curtain (Colin Moulding) – vocals, bass, rhythm guitar on "What in the World??..."[23]
- Lord Cornelius Plum (Dave Gregory) – mellotron, piano, organ, fuzz-tone guitar
- E.I.E.I. Owen (Ian "Eewee" Gregory) – drums
Technical
- John Leckie – producer, engineer
- Swami Anand Nagara – producer
- The Dukes of Stratosphear – producer
("Swami Anand Nagara" is an alternate identity of Leckie; both are credited as producers.)
References
[edit]- ^ Grimstad, Paul (4 September 2007). "What is Avant-Pop?". Brooklyn Rail. Retrieved 1 October 2016.
- ^ a b c Gibron, Bill (14 February 2010). "Parcels from a Patchouli Past: An Interview with Andrew Partridge". PopMatters.
- ^ Partridge, Andy; Bernhardt, Todd (2016). Complicated Game: Inside the Songs of XTC. Jawbone Press. ISBN 978-1-908279-78-1.
- ^ a b c d e Bernhardt, Todd; Partridge, Andy (12 April 2009). "Sir John Johns discusses "25 O'Clock"". Chalkhills.
- ^ a b c Ingham, Chris (March 1999). "XTC - 'Til Death Do Us Part". Mojo.
- ^ a b Rachel, Daniel (2014). The Art of Noise: Conversations with Great Songwriters. St. Martin's Press. p. 203. ISBN 9781466865211.
- ^ John Leckie on producing XTC, Dukes of Stratosphear, Be-Bop Deluxe, Stone Roses, and full Q&A. Retrieved 31 March 2024 – via www.youtube.com.
- ^ Amorosi, A.D. (28 March 2016). "The Making of XTC's "Skylarking"". Magnet. Retrieved 13 March 2017.
- ^ a b c Ramon, Gary (November 1990). "XTC Recording History". Record Collector. No. 130.
- ^ Evans, Stewart. "We've Forgotten Part Four!". Chalkhills. Retrieved 10 January 2025.
- ^ a b Allen, Richard (1987). "The Dukes of Stratosphear". Freakbeat. No. 4.
- ^ Ham, Robert (15 September 2014). "XTC Albums From Worst To Best". Stereogum.
- ^ Bernhardt, Todd (23 May 2000). "Working from the Inside". Chalkhills.
- ^ Erlewine, Stephen Thomas. "Review: The Dukes of Stratosphear - 25 O'Clock". Allmusic. Rovi Corporation. Retrieved 7 November 2018.
- ^ Dahlen, Chris (2 April 2009). "Review: The Dukes of Stratosphear - 25 O'Clock". Pitchfork. Retrieved 18 June 2011.
- ^ Larkin, Colin (2007). The Encyclopedia of Popular Music (5th ed.). Omnibus Press. ISBN 978-0857125958.
- ^ Erlewine, Stephen Thomas. "25 O'Clock". AllMusic.
- ^ Erlewine, Stephen Thomas. "The Dukes of Stratosphear - Biography". AllMusic. Retrieved 28 July 2009.
- ^ Brelhan, Tom (25 February 2009). "XTC to Reissue Dukes of Stratosphear Side Project". Pitchfork.
- ^ Benjamin, Kent H. (1999). "The Jetsons Meet Captain Beefheart: The Wonderful World of XTC". Pop Culture Press.
- ^ Hunt, Chris (1989). "Andy Partridge Interview". Phaze 1.
- ^ 25 O'Clock (liner notes). The Dukes of Stratosphear. Virgin Records. 1985.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b Bernhardt, Todd (7 January 2007). "Andy discusses 'Mayor of Simpleton'". Chalkhills.
External links
[edit]
25 O'Clock
View on GrokipediaDevelopment
Background
25 O'Clock was conceived by Andy Partridge as a side project for XTC to explore 1960s psychedelic music, driven by his and guitarist Dave Gregory's shared passion for the era's sounds and artists such as Syd Barrett, Roy Wood, and Steve Marriott.[4][5] Partridge and Gregory, who bonded over extensive discussions of psychedelic records after Gregory joined the band in 1979, sought to create material that diverged from XTC's established post-punk style.[4] The project was conceived in 1979 but delayed throughout the late 1970s and early 1980s due to XTC's pressing commercial obligations and the prevailing disdain for psychedelia within the punk movement, which dominated the music scene at the time.[6] This timing contrasted with XTC's more angular and experimental albums like The Big Express (1984), highlighting the side project's deliberate departure into nostalgic territory.[5] To distance it from XTC's contemporary image, Partridge decided to release the recordings under the pseudonym The Dukes of Stratosphear, framing 25 O'Clock as a collection of "lost" 1960s tracks by an obscure band, with members adopting aliases such as Sir John Johns (Partridge) and Lord Cornelius Plum (Gregory).[5][2] Virgin Records allocated a modest budget of £5,000 for the endeavor, and Partridge imposed a strict two-week deadline to replicate the rapid pace of typical 1960s recording sessions.[5][2]Recording
The recording of 25 O'Clock took place over two weeks in December 1984 at Chapel Lane Studios in Hereford, England.[7] The sessions operated under a £5,000 budget provided by Virgin Records, with a strict two-week deadline.[2] To capture an authentic 1960s psychedelic aesthetic, the band established self-imposed production rules: all songs had to conform to the conventions of 1967–1968 psychedelia, no more than two takes were allowed per track, and vintage equipment was used wherever possible, including a Mellotron borrowed from prior XTC sessions.[6] These constraints encouraged a spontaneous, imperfect approach that mirrored the era's lo-fi charm. The core lineup consisted of Andy Partridge as Sir John Johns on vocals and guitar, Colin Moulding as The Red Curtain on bass and vocals, and Dave Gregory as Lord Cornelius Plum on Mellotron, piano, organ, and fuzz-tone guitar; Dave's brother Ian Gregory joined as E.I.E.I. Owen on drums.[2] Production was handled by John Leckie, credited under the pseudonym Swami Anand Nagara, alongside the band itself.[8] Among the outtakes from these sessions were "Have You Seen Jackie?", which later appeared on the 1987 follow-up Psonic Psunspot, and "Big Day", reworked by Moulding for XTC's 1986 album Skylarking.[9]Release and Commercial Performance
Initial Release
25 O'Clock was released on 1 April 1985, coinciding with April Fools' Day, by Virgin Records in the United Kingdom as a 12-inch mini-LP vinyl record.[1][10] The release was formatted as a six-track EP pressed at 33⅓ RPM in stereo, catalogued under Virgin WOW 1, with an initial pressing intended for limited distribution but selling out quickly.[11] The launch strategy employed a deliberate marketing ploy, positioning the mini-album as a rediscovered artifact from 1967 by the fictional 1960s psychedelic band the Dukes of Stratosphear, thereby concealing its origins as a project by XTC members Andy Partridge, Colin Moulding, and Dave Gregory.[2][12] The liner notes reinforced this fabrication with an elaborate fictional backstory.[13] Virgin Records fully participated in the ruse, distributing promotional materials that treated the Dukes as a genuine historical act to heighten the April Fools' intrigue.[6] Packaging further enhanced the retro illusion through a custom sleeve design mimicking 1960s psychedelic aesthetics, featuring swirling colors, ornate typography, and staged black-and-white photographs of the "band" members in period attire, alongside pseudonymous credits such as "Sir John Johns" for Partridge's contributions.[11][13] The initial rollout was confined primarily to the UK market, with no domestic U.S. edition produced by Virgin at the time; American availability came later through specialty import channels for vinyl enthusiasts.[1][14] This targeted distribution aligned with the project's experimental, low-key intent, allowing the hoax to unfold organically among British music circles before wider recognition.Singles
The primary single released to promote 25 O'Clock was "The Mole from the Ministry", backed with "My Love Explodes" on the B-side. Issued in April 1985 in the UK by Virgin Records on 7-inch vinyl (catalogue number VS 763), it featured an edited version of the A-side track running 4:14 and the B-side at 3:49.[15] The single's picture sleeve maintained the mini-album's conceit of a "lost 1960s" artifact, incorporating psychedelic visuals such as swirling colors and retro-futuristic imagery to evoke era-specific album covers, while deliberately omitting any reference to XTC to preserve the Dukes of Stratosphear pseudonym. Although the single did not enter the UK Top 100, it received notable airplay on alternative and college radio stations, contributing to cult interest in the project.[16] No additional official singles were issued from the mini-album at the time of its release, though several tracks, including those from this single, later appeared on compilations such as Chips from the Chocolate Fireball (An Anthology) in 1987.[17]Sales and Chart Performance
Upon its 1985 release, 25 O'Clock achieved surprising commercial success as a limited-edition mini-LP, selling approximately three times as many copies as XTC's preceding album The Big Express (1984) within a year or two, prior to the revelation of the Dukes of Stratosphear's true identity as XTC.[18] XTC frontman Andy Partridge confirmed this outperformance in a 2008 interview, noting that the EP outsold the contemporary XTC release despite being a side project under XTC's Virgin contract.[18] In the United States, 25 O'Clock generated strong import sales, exceeding those of XTC's recent albums Mummer (1983) and The Big Express.[19][20] The mini-LP did not qualify for the UK Albums Chart due to its format—too many tracks for a single but too few for a full album—nor did it appear on any major international charts.[18] Instead, it built a dedicated cult following through word-of-mouth promotion, amplified by its marketing as rediscovered 1960s recordings.[19] The EP's appeal stemmed from its April Fools' Day launch gimmick and nostalgic psychedelic sound, which resonated amid growing fatigue with the era's angular new wave trends.[20]Music and Lyrics
Style and Influences
25 O'Clock is a psychedelic pop and rock mini-album that meticulously emulates the late-1960s acid-rock era, employing vintage instrumentation and effects to achieve a retro authenticity devoid of contemporary production sheen. The sound draws heavily on period-specific tools such as the Mellotron for orchestral swells, sitar for exotic textures, and tape loops for ethereal layering, creating a hazy, immersive atmosphere reminiscent of the Summer of Love. These elements combine to form a sonic palette that prioritizes whimsy and experimentation over precision, capturing the unpolished exuberance of 1960s psychedelia.[2][13] The album's primary influences stem from iconic British acts of the era, including the Beatles' Sgt. Pepper's Lonely Hearts Club Band-period innovations in studio experimentation, Syd Barrett's whimsical and avant-garde Pink Floyd, the Zombies' melodic psychedelia, and the Small Faces' mod-infused rock with psychedelic flourishes. XTC frontman Andy Partridge, under the Dukes pseudonym, explicitly cited these bands as inspirations, aiming to blend their styles into a "sonic tapestry" rather than parodying any single group, while deliberately steering clear of the more elaborate progressive rock tendencies that emerged in the 1970s. Additional nods appear to American garage-psych outfits like the Electric Prunes, contributing to tracks with a raw, spacey edge.[13][2][13] Production techniques further enhance the 1960s mimicry, featuring layered vocal harmonies akin to those of the Beach Boys, backward tapes for disorienting effects, and non-traditional rock elements like autoharp, harpsichord, and even didgeridoo to evoke the era's eclectic instrumentation. Partridge emphasized simplicity in arrangements—no virtuosic solos or complex chops—mirroring the straightforward yet inventive approach of influences like the Beatles, with effects such as phasing and stereo panning adding spatial depth without modern digital clarity. The result is a cohesive six-track suite clocking in at approximately 26:43, conceived as an interconnected mini-album rather than a collection of standalone singles, recorded swiftly in first takes to preserve spontaneous energy.[2][13][13][21]Songwriting and Themes
The songwriting for 25 O'Clock was predominantly handled by Andy Partridge, who penned all tracks except "What in the World??...", which was written by Colin Moulding.[13] Partridge also took on most lead vocals, infusing the material with his distinctive style during the rapid five-to-six-day recording sessions at Chapel Lane Studios in Hereford, England.[13][7] Thematically, the mini-album delves into surreal psychedelia, often exploring love through altered states and absurd scenarios that parody 1960s counterculture. In the title track, "25 O'Clock," Partridge crafts a narrative of obsessive, time-manipulating romance, where the protagonist smashes watches to seize control over a reluctant lover, evoking melodramatic teenage fixation amid clock-ticking sound effects that distort temporal reality.[13] Similarly, "The Mole from the Ministry" introduces espionage-tinged absurdity, depicting a secretive, animal-like operative in a whimsical spy thriller laced with drug-induced haze, complete with piano scrapes mimicking hallucinatory onset.[13] These vignettes highlight altered perceptions of love and reality, blending whimsy with darker undertones of possession and intrigue. Partridge's composition approach emphasized brevity and melodic simplicity, favoring short, vignette-like structures—typically around 2.5 minutes—that prioritize catchy hooks over intricate arrangements, as a deliberate homage to compact 1960s psychedelic pop.[22] Songs like "Bike Ride to the Moon" and "Your Gold Dress" unfold as playful, narrative-driven sketches, with Partridge drawing from childhood fantasies of the era to create "fancy dress ball" recreations that correct perceived historical shortcomings in psychedelia.[13] Collaborative elements added contrast, with Moulding's "What in the World??" providing a lighter, pop-inflected counterpoint to Partridge's denser, more surreal ideas, enhanced by sound effects that evoke Beatles-esque experimentation.[13] Guitarist Dave Gregory contributed solos and Mellotron parts, supporting the improvisational first-take ethos that kept the process spontaneous and true to the pseudonymous band's "lost 1960s" conceit.[22]Reception and Legacy
Critical Reception
Upon its release in 1985, 25 O'Clock received positive coverage in the UK music press, with reviewers praising its authentic evocation of 1960s psychedelic pop while expressing some bewilderment at the fabricated backstory of it being a lost album from that era.[23] In retrospective assessments, the album has been lauded for its skillful parody that transcends mere imitation, capturing the whimsical and experimental spirit of 1960s psychedelia without descending into empty nostalgia. AllMusic awarded it 4.5 out of 5 stars, commending its "brilliant" homage to bands like the Beatles and the Zombies through swirling effects, melodic hooks, and layered arrangements that feel genuinely inspired rather than derivative.[3] Pitchfork, in a 2009 review of the reissue, gave 25 O'Clock a 7.7 out of 10, describing it as "more fun and more loyal to its sources" than its follow-up, with standout tracks demonstrating XTC's songwriting prowess in a retro guise.[2] Critics have consistently applauded the EP's balance of humor and musicality, though some noted occasional excess in its psychedelic effects, such as over-the-top phasing and reverb that could verge on indulgence. Over time, perceptions evolved significantly after the XTC connection was revealed, positioning 25 O'Clock as a liberating creative outlet during the band's challenging 1980s period marked by label disputes and stylistic shifts, ultimately cementing its reputation as one of their most endearing works.[2]Cultural Impact and Reissues
The success of 25 O'Clock prompted the Dukes of Stratosphear to release a follow-up mini-album, Psonic Psunspot, in 1987, which expanded on the psychedelic homage with stronger songwriting and influences drawing closer to XTC's core sound.[2] Both projects were compiled that same year into the anthology Chips from the Chocolate Fireball, preserving the pseudonym while showcasing the full scope of the Dukes' output. The Dukes' work, including 25 O'Clock, contributed to the late-1980s and 1990s resurgence of psychedelic and neo-psychedelic styles, influencing revival efforts through its meticulous recreation of 1960s aesthetics. An outtake from the sessions, "Big Day," was later reworked by XTC for their 1986 album Skylarking, where it addressed themes of marriage and was dedicated to bassist Colin Moulding's son.[24] In 2009, Ape House issued a remastered and expanded edition of 25 O'Clock, crediting it to "XTC as The Dukes of Stratosphear" and adding nine previously unreleased tracks, including demos such as "Open a Can of Human Beans." A vinyl remaster followed in 2019, pressed on 200-gram heavyweight stock with updated mastering by John Dent for enhanced fidelity.[8][25] In 2025, the album's 40th anniversary was marked by a special episode of the What Do You Call That Noise? The XTC Podcast, celebrating its enduring legacy.[26] The project bolstered XTC's cult following by demonstrating their innovative range beyond post-punk, with 25 O'Clock outselling their prior album The Big Express and underscoring the band's enduring appeal among niche audiences. It also highlighted Andy Partridge's production versatility, as he enforced strict rules like limiting takes to two per song and using period-specific equipment to evoke 1967–1968 psychedelia.[5]Track Listing and Personnel
Original Mini-Album
The original 1985 vinyl release of 25 O'Clock by the Dukes of Stratosphear consists of six tracks divided across two sides, forming a cohesive mini-album that flows as a unified psychedelic suite reminiscent of 1960s rock experimentation.[1]| No. | Title | Writer(s) | Duration |
|---|---|---|---|
| Side A | |||
| 1. | "25 O'Clock" | Andy Partridge | 5:01 |
| 2. | "Bike Ride to the Moon" | Andy Partridge | 2:24 |
| 3. | "My Love Explodes" | Andy Partridge | 3:54 |
| Side B | |||
| 4. | "What in the World??..." | Colin Moulding | 5:01 |
| 5. | "Your Gold Dress" | Andy Partridge | 4:38 |
| 6. | "The Mole from the Ministry" | Andy Partridge | 2:42 |
Expanded Edition
The 2009 edition of 25 O'Clock, released by Andy Partridge's Ape House label on April 20, 2009, expanded the original mini-album by including the six core tracks alongside previously unreleased demos and additional bonus material. This remastered CD version features multiple demos offering insight into the early recording process while preserving the psychedelic essence.| No. | Title | Duration |
|---|---|---|
| 1. | "25 O'Clock" | 5:01 |
| 2. | "Bike Ride to the Moon" | 2:24 |
| 3. | "My Love Explodes" | 3:54 |
| 4. | "What in the World??..." | 5:01 |
| 5. | "Your Gold Dress" | 4:38 |
| 6. | "The Mole from the Ministry" | 2:42 |
| 7. | "25 O'Clock (Demo)" | 2:25 |
| 8. | "Bike Ride to the Moon (Demo)" | 1:30 |
| 9. | "My Love Explodes (Demo)" | 1:54 |
| 10. | "What in the World??... (Demo)" | 3:40 |
| 11. | "Nicely Nicely Jane (Demo)" | 1:17 |
| 12. | "Susan Revolving (Demo)" | 1:24 |
| 13. | "Black Jewelled Serpent of Sound (Radio Caroline Edit)" | 2:17 |
| 14. | "Open a Can of Human Beans" | 4:44 |
| 15. | "Tin Toy Clockwork Train" | 3:17 |
Personnel
The 25 O'Clock mini-album was performed by members of XTC under pseudonyms, with additional drumming by Dave Gregory's brother, and no guest musicians contributing; all instrumentation was handled by this quartet.[1] Band membersSir John Johns (Andy Partridge) – vocals, guitars, keyboards, production[1][31]
The Red Curtain (Colin Moulding) – bass, vocals[1][31]
Lord Cornelius Plum (Dave Gregory) – guitars, keyboards, vocals[1][31]
E.I.E.I. Owen (Ian Gregory) – drums[1][31] Production
Swami Anand Nagara (John Leckie) – producer, engineer[1][32]
The Dukes of Stratosphear – production[1] The original 1985 release attributed sleeve design and collages to fictional 1960s-era credits, such as those by Dave Dragon and Ken Ansell, to enhance its faux-vintage aesthetic; later reissues updated these to credit Andy Partridge for collages and Phil Smee for additional artwork.[12][1]