| XTC Discography | |
| Revision 5.83s (26 July 2025) |
This discography copyright © 1988-2025 by John Relph.
Contents:
- Summary
- A concise list of everything ever released.
- Recent Updates
- A short list of recent updates.
- Albums
- Regular XTC album releases.
- Singles and EPs
- Regular XTC singles and EPs.
- Collections, Retrospectives and More
- Collections of album and non-album tracks.
- Promotional Releases and Giveaways
- Radio station and record store stuff that collectors love.
- Interviews and Radio Shows
- For radio broadcast only.
- Unauthorized Releases
- Bootlegs, pirates, and counterfeits.
- The Dukes of Stratosphear
- The psychedelic alter-egos.
- Other Extracurricular and Solo Activity
- Solo works and releases in disguise with diamonds.
- Guest Appearances and Collaborations with Other Artists
- From cameos to co-writing.
- Compilations of Various Artists
- XTC: one-hit wonders.
- Rumoured and Future Releases
- I can neither confirm nor deny.
- The Fine Print
- Copyright and key to abbreviations.
This discography compiled, edited, and formatted by John Relph. Much information has come from the wonderful Wonderland XTC discography compiled by Shigemasa Fujimoto (Thanks!). Some information was also found in and/or verified by Brad Nelson's (Bremerton, Washington) XTC Discography.
I am indebted to the maintainers of these other discographies for additional information:
Dave Gregory (Mark Strijbos and Debie Edmonds)
The Big Dish (Simon Young)
Clark Datchler (John Berge)
Louis Philippe (Mr. Sunshine)
Dr. Demento (Jeff Morris)
Hüsker Dü (Paul Hilcoff)
Discogs (you and me)
Thanks go out to these additional contributors:
Sebastián Adúriz, Stephen Arthur, Klaus Bergmaier, Todd Bernhardt, Philippe Bihan, Fredrik Björklund, Allan Blackman, Patrick Bourcier, Barry Brooks, Jean-Christophe Brouchard, David Brown, Chris Browning, Stephen Bruun, Darryl W. Bullock, Justin Bur, Giancarlo Cairella, James Robert Campbell, Justin Campbell, Pedro Cardoso, Damon Z Cassell, Alberto M. Castagna, Jean-Philippe Cimetière, Chris Clark, William Alan Cohen, Britt Conley, Doug Coster, Al Crawford, Paul Culnane, Ian Dahlberg, Michael Dallin, Gary L Dare, David Datta, Adam Davies, Duane Day, Stefano De Astis, André de Koning, Simon Deane, Marcus Deininger, Tom Demi, Kevin Denley, Chris Dodge, Morgan Dodge, Chris Donnell, Charlie Dontsurf, François Drouin, Jon Drukman, Johan Ekdahl, Charles Eltham, Remco Engels, Stewart Evans, John C Falstaff, Mark Fisher, Peter Fitzpatrick, Martin Fopp, Dave Franson, Mitch Friedman, Martin Fuchs, A. J. Fuller, André Garneau, Greg Gillette, George Gimarc, Giovanni Giusti, David Glazener, Mark Glickman, Mike Godfrey, Marshall Gooch, Ben Gott, John Greaves, Robert Hawes, Jude Hayden, Scott Haefner, Reinhard zur Heiden, Phil Hetherington, Paul Hosken, Toby Howard, Bill Humphries, Johan Huysse, James Isaacs, Naoyuki Isogai, Joe Jarrett, Shane Johns, Owen Keenan, Tom Keekley, Howard Kramer, Augie Krater, Philip Kret, Jacqueline Kroft, Marcus Kuley, Mark LaForge, Kai Lassfolk, Matthew Last, Dom Lawson, Peter E. Lee, Steve Levenstein, Björn Levidow, Christer Liljegren, Thomas R Loden, Holger Löschner, Peter Luetjens, Joe Lynn, Delia M., J. D. Mack, Claudio Maggiora, Emmanuel Marin, Don Marks, Marc Matsumoto, Yoshi Matsumoto, Niels P. Mayer, Scott A. C. McIntyre, Gary Milliken, Derek Miner, Pål Kristian Molin, Martin Monkman, Bill Moxim, Rolf Muckel, Brad Nelson, Lazlo Nibble, Gary Nicholson, Pär Nilsson, Gez Norris, Todd Oberly, Jefferson Ogata, Marc Padovani, Barry Parris, Mike Paulsen, David A. Pearlman, Richard Pedretti-Allen, Joe Perez, Barbara Petersen, Dan Phipps, John J. Pinto, Joe Radespiel, Martin van Rappard, Robert R Reall, Melissa Reaves, Joachim Reinbold, Ola Rinta-Koski, Dougie Robb, Paul Pledge Rodgers, Michael Rose, Jon Rosenberger, Ira Rosenblatt, Shawn Rusaw, Mark Rushton, Egidio Sabbadini, Annie Sattler, Steve Schechter, Timothy M. Schreyer, Erich Sellheim, Steven L. Sheffield, Tetsuya Shimizu, Hisaaki Shintaku, Jim Siedliski, Chris Sine, Dean Skilton, Christopher Slye, Frédéric Solans, Ian C Stewart, Bill Stow, Ken Strayhorn Jr., Mark Strijbos, Jeffrey Thomas, Jon Thomas, Robert C Thurston, Patrick Trudel, Adam Tyner, T P Uschanov, Maurits Verhoeff, Tim "Zastai" Van Holder, Jonas Wårstad, Duncan Watson, Jeff White, Bill Wikstrom, Wes Wilson, Kim E. Williams, David Wood, Paulo X, David Yazbek, Brett Young, Takada Yuichi, Jim Zittel.
Note: This document is available as both a multi-part document (more appropriate for web surfing), and a single document (suitable for printing). A plain text version is also available. A concise XTC discography (more of an overview) is also available. Recent changes to this document are indicated by type, are listed in the Recent Updates section of the Summary, are available in unified diff format, and are also available as an RSS feed.
This era proved that when access to media increases, so does the intimacy of the relationship. People didn’t just read about fictional characters; they fell in love with them. The serialized novels of Charles Dickens in the 19th century created the first modern "fandoms." When the ship sank in The Old Curiosity Shop , dockworkers in New York reportedly shouted to incoming ships, "Is little Nell dead?" This emotional investment shows that we have because we see our own lives reflected in the drama of others. The Golden Age of Analog: Radio and the Living Room Theater The 20th century introduced velocity. Radio turned the world into a listening room. Families who had never traveled further than their county line suddenly heard the swing music of Duke Ellington or the horror of Orson Welles’ War of the Worlds . Radio was the first truly "live" popular media, creating a simultaneous shared consciousness.
This is not a bug; it is a feature of humanity. We have because we are storytelling animals. Stories are the safest way to simulate dangerous situations, practice empathy, and explore taboo desires without real-world consequences. The Future: Immersion and Integration As we look toward virtual reality (VR), augmented reality (AR), and artificial intelligence (AI)-generated narratives, the "closeness" will only intensify. We are moving away from watching content to living inside it. AI companions that mimic deceased loved ones, infinite procedural TV shows tailored to your exact mood, and holographic concerts are not science fiction—they are the next step. always been close pure taboo 2022 xxx webdl exclusive
However, the fundamental nature of the relationship has not changed—only the intensity has. Streaming services like Netflix and Spotify use algorithms that learn our tastes better than we know them ourselves. This is the logical conclusion of a species that has : we have now reached a point where the media anticipates us. This era proved that when access to media
Furthermore, the rise of participatory culture (YouTube, TikTok, fan fiction) has collapsed the wall between producer and consumer. The audience no longer just consumes Game of Thrones ; they remix it, critique it, and create memes about it. Popular media is no longer a lecture; it is a conversation. Why do we insist on being this close? Psychologists point to the concept of "parasocial relationships." We form one-sided bonds with media characters and celebrities because our brains are not wired to distinguish between a real person and a well-written character. When we watch a beloved character die on screen, the same neural pathways fire as when we lose a friend in real life. The Golden Age of Analog: Radio and the
In the digital age, where streaming algorithms predict our moods and social media trends dissolve within 48 hours, it is easy to assume that our relationship with entertainment is a modern invention—a byproduct of smartphones and high-definition screens. However, to look at history is to realize a fundamental truth: human beings have always been close entertainment content and popular media . This isn't a contemporary addiction; it is the defining characteristic of cultural evolution.
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Revision 5.83s (26 July 2025)