than 70,000 units. One reason why the group was not selling enough records, Virgin reportedly concluded, was that they sounded "too English". The label forced the group to work with one of their selected American producers. When shown a list of their names, they recognised none except for Todd Rundgren. Gregory was a fan of Rundgren's music, particularly since hearing the 1978 album Hermit of Mink Hollow. His bandmates were not as familiar with Rundgren, but Gregory urged the group to work with him: "I reminded Andy that Todd had produced one of his favourite New York Dolls records [New York Dolls, 1973]. In the absence of any better alternatives, he agreed." Once contacted, Rundgren offered to handle the album's entire recording for a lump sum of $150,000, and the band agreed. In January 1986, Partridge and Moulding mailed Rundgren a collection of more than 20 demo tapes they had stockpiled in advance. Compared to previous XTC albums, much of the material contrasted significantly with its mellower feel, lush arrangements, and "flowery" aesthetic. Rundgren responded with the idea of a concept album to bridge "Colin's 'pastoral' tunes and subject matter and Andy's 'pop anthems' and sly poetry. ... The album could be about a day, a year, or a lifetime. ... Using this framework, I [Rundgren] came up with a sequence of songs and a justification for their placement and brought it to the band." After the group arrived at Utopia Sound recording studio in upstate New York, Rundgren played a large role in the album's sound design and drum programming, providing them with string and brass arrangements, as well as an assortment of gear. However, the sessions were fraught with tension, especially between him and Partridge, and disagreements arose over drum patterns, song selections, and other details. Partridge likened the power struggle to "two Hitlers in the same bunker". He expressed resentment toward Rundgren's contributions when sessions concluded, but later softened his view and praised the result. Rundgren said that in spite of all the difficulties, the album "ultimately ... sounds like we were having a great time doing it. And at times we were having a good time." Skylarking spent one week on the UK album charts, reaching number 90 in November 1986, two weeks after its release. Moulding's "Grass" was chosen as lead single. It was issued exclusively in the UK with the B-side "Dear God", an