New wave rises from punk

By the late 1970s, punk's raw energy evolved into new wave, a more sophisticated cousin with musical skills and strong songwriting. Dave Gregory watched his Swindon mates in XTC break through with White Music and Go 2.

The phone call changes everything

In January 1979, Andy Partridge called Dave Gregory out of the blue. Three months later, Gregory was recording Drums and Wires, replacing keyboard player Barry Andrews with a guitarist.

“That's a pretty drastic move. Thank you for being brave, fellas.”

From prog rock to survival mode

Gregory had quit a prog band in 1976 after they couldn't get work. He returned to Swindon broke, took a job, and played country and western gigs until XTC called.

Rehearsing next to a Chinese kitchen

XTC rehearsed in a freezing cellar with the Rendezvous Chinese restaurant next door. The band battled pots and pans and people yelling through the breeze-block wall.

No blues clichés allowed

Andy Partridge rejected rock and roll clichés and blues formulas entirely. He wanted melody-driven songs with hooks, not showmanship. Gregory happily accepted this unwritten discipline.

“He didn't like rock 'n' roll. He didn't like rock 'n' roll clichés.”

Three weeks to record and mix

After recording Making Plans for Nigel as a single in early June 1979, XTC had just 10 days' notice before returning to cut the full album. They recorded two or three basic tracks daily, then overdubs and vocals.

Why the album still holds up

Gregory loves listening to Drums and Wires today because it wasn't fussed over. The speed of recording meant the songs retained their raw energy and spontaneity.

Andy's lateral guitar thinking

Partridge doesn't move his left hand unless necessary, thinking laterally across the fretboard rather than up and down. He creates false nuts with his first finger to generate unique riffs with minimal movement.

Making Plans for Nigel takes shape

Partridge played the iconic dah-dah-dah riff while Gregory locked in with slashing chords, bass, and drums. Gregory related to the song's theme of parents disapproving of a rock music career.

The Sherwood Green Stratocaster

Gregory bought this 1963 Fender Strat used in 1978 for about a year before joining XTC. Originally Sherwood Green metallic, he refinished it with antique violin stain. It's the loudest Strat he's ever played.

A twisted neck becomes an asset

The Strat had a twist in its neck, which made it difficult to set action. Gregory didn't mind because his hands were strong, and the unusual neck gave the guitar a distinctive timbre.

The Gibson SG's long journey

Gregory bought this early 1965 Gibson SG used in 1972. He removed the bridge pickup cover, broke the wrap, and eventually replaced it with a Patent Applied For pickup from a Custom for 60 pounds.

Complicated Game explodes with frustration

Partridge created this song as a massive outburst at things being messed up by others. It starts as a whisper, builds, then features a huge key change and extraordinary guitar solo.

Helicopter's nursery rhyme energy

This playful track had kids pogoing at shows. Gregory played the riff and solo on his Strat through a Fender Tremolux with shimmer, using only the bridge pickup.

Influences from Talking Heads to dub

The band drew from Talking Heads, Television, Iggy Pop, and David Bowie. Andy and Colin loved dub reggae while drummer Terry preferred Hawkwind and Pink Fairies.

Scissor Man doubled and perfected

Steve Lillywhite asked Gregory to double Partridge's riff rather than use slapback echo. Gregory nailed it so well that the two takes sound like one seamless performance.

When You're Near Me I Have Difficulty

Gregory thought this socially awkward love song was a Paul McCartney composition until he realized it was Partridge. He loved his out-of-tune intro so much he prefers the original vinyl to the remaster.

“This is a McCartney song, surely? No, it's Andy. What a joyful noise.”

The Tremolux and a blown speaker fix

Gregory's only amp was a Fender Tremolux piggyback with blown speakers. He replaced them with an old Selmer bass cabinet and a new ATC 12-inch speaker, turning everything up to 7.

Ten Feet Tall's split solo

Gregory played the arpeggios on a 1963 ES-335 directly to the desk. Partridge played the first four bars of the solo, then handed the guitar to Gregory for the second four bars.

A confident album, slow sales, then Nigel

In the studio, Partridge told Gregory the album would be good. Reviews were positive, but sales stayed slow until Making Plans for Nigel became a hit and things picked up.

“It's going to be a good album.”