Archive for the ‘New Wave’ Category

Birthday Wish Granted – Playing DJ for the Night

Posted: May 22, 2016 in Alternative, Goth, Indie Pop, Minimal Wave, New Wave, Playlists, Post-Punk, Punk, Synthpop
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If you had the opportunity to play DJ for a night, wouldn’t you take it? That’s exactly what I did for my birthday this weekend. Decided to rent out a local club for a couple of hours and invited friends to dance the night away before opening to the public. The challenge? The playlist had to be limited to two hours. Fortunately, the DJ gave me a bonus hour, as long as I didn’t play any later-in-the-night favorites. So, for hour three, I had to reel it in a bit but still managed to throw in some favorites while trying to appeal to the masses. The music covered many genres and spanned a few decades but, of course, the bulk of the songs were from the ‘80s.

I started off the night with something relaxing and danceable and then moved into some minimal wave favorites. This was followed by some early ‘80s post-punk, gothy material that flowed into new wave and synthpop. Even managed to slip in some LCD Soundsystem without a hitch. The last part of hour two was a mixed bag of glam rock, indie, and punk. Hour three was filled with ‘80s new wave staples, jangle pop, and some indie classics. All in all, tried to get in a little something for everyone. The dance floor moved all night and there is nothing like hearing your favorite songs on the big speakers. Might have to make this an annual event.

Pretending to work the decks.

Playing DJ v2

Here’s the complete playlist:

Torch – Soft Cell (1982)
The Last Song – Trisomie 21 (1986)
Watching Trees  – Eleven Pond (1986)
Romantic Me – Polyrock (1980)
Disorder – Joy Division (1979)
Primary – The Cure (1981)
Last Year’s Wife – Zero Le Creche (1984)
A Day Without Me – U2 (1980)
Everywhere I Go – The Call (1986)
Ahead – Wire (1987)
Nowhere Girl – B-Movie (1982)
The Damned Don’t Cry – Visage (1982)
I Die: You Die – Gary Numan (1980)
Messages – OMD (1980)
Up All Night – Boomtown Rats (1981)
Lawnchairs – Our Daughter’s Wedding (1980)
I Can Change – LCD Soundsystem (2010)
Dreaming of Me – Depeche Mode (1981)
Angst In My Pants – Sparks (1982)
Sexcrime (Nineteen Eighty-Four) – Eurythmics (1984)
Why? – Bronski Beat (1984)
The Cutter – Echo & the Bunnymen (1983)
Glamorous Glue – Morrissey (1992)
The Jean Genie – David Bowie (1972)
Candy – Iggy Pop (1990)
Dreaming – Blondie (1979)
Janie Jones – The Clash (1977)
Anything Anything – Dramarama (1985)
Sheena Is a Punk Rocker – The Ramones (1977)
Last Caress – The Misfits (1978)
Eighties – Killing Joke (1984)
Mandinka – Sinead O’Connor (1987)
Wishing (If I Had A Photograph Of You) – Flock of Seagulls (1982)
To Look at You – INXS (1982)
The Ghost In You – Psychedelic Furs (1984)
Blue Savannah – Erasure (1989)
Rattlesnakes – Lloyd Cole & the Commotions (1984)
Love Is the Law – Suburbs (1984)
Crash – Primitives (1988)
Chamber of Hellos – Wire Train (1983)
She Bangs the Drums – Stone Roses (1989)
Ceremony – New Order (1981)
Inside Out – The Mighty Lemon Drops (1988)
A Million Miles Away – The Plimsouls (1983)
We Are Not Alone – Karla DeVito – (1985)
Masquerade – Berlin (1983)
Mad World – Tears for Fears (1983)

Band Profile: Cleveland’s System 56

Posted: April 30, 2016 in Band Profiles, New Wave, Synthpop
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Not many recording groups can say they played live only a handful of times in their whole existence, but System 56 was one of those bands. They were referred to as the Howard Hughes of bands, since they only performed live five times. I came across the band only recently, as I continue on my never-ending quest for obscure new wave bands. I was really surprised to discover that they are American, as they have a sound very similar to early ‘80s new wave bands from the UK. Hailing from Cleveland, Ohio, they were another band that had an all-too early demise. Fortunately, in their short career, they released some pretty great songs.

Founded by guitarist and lead vocalist Steve Simenic in 1981, the group was often compared to Ultravox. This was primarily due to their ability to create a seamless mix of synth and guitar-driven music. As for the lack of live performances, this was mainly caused by a revolving-door of band members over their three-year run. It seems when new material was released, internal conflict arose and members left. At one point the band was down to two members. Nevertheless, local radio stations, especially college radio, gave the band generous airplay. In all, the band released three singles and one 6-song EP, 1982’s Beyond the Parade. In 2003, a compilation of the group’s music was released, Retrospective: 1982-1984, which contains some previously unreleased material.

The song Metro-Metro was the first single released by the band. It was recorded within a month of the group’s formation. It’s a synth-dominated track with a driving rhythm and signature guitar work. Every time I put this song on a playlist, someone rarely fails to ask “who is this?”

 

In 1983, the band released the single “Life on a Cool Curve.” It perfectly showcases the band’s adeptness at merging synth and guitar. They would go on to release one more single in 1984. Later that year, they disbanded.

 

The Plimsouls: Power Pop Heroes

Posted: March 29, 2016 in Band Profiles, New Wave, Post-Punk, Power Pop, Rock, Soundtracks
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Like many, I was first introduced to The Plimsouls through the 1983 movie Valley Girl. They appeared as a club house band in the film, where three of their songs were featured. (If only I were so lucky to have had them as the house band at my regular haunt back in the day). The group’s dynamic power pop, garage sound was hard to resist. Well-known on the thriving L.A. music scene for their energetic lives shows, they seemed primed for bigger things but it was not meant to be. Unfortunately, the band disbanded in the mid ’80s due to solo career pursuits.

The group was formed by singer/songwriter Peter Case in California in 1978, after toiling around in two previous bands. They quickly became favorites on the early ‘80s L.A. club scene, and Case was gaining critical attention for his songwriting. They released their first EP in 1980, Zero Hour, which showed promise and received heavy airplay on the legendary L.A. KROQ radio station. Their first album, 1981’s The Plimsouls, managed to capture the vitality of their live shows but had poor sales. They would go on to record the 1983 LP Everywhere At Once, before parting ways due to Case’s pursuit of a solo career. They did reunite in the mid ‘90s and released the album Kool Trash but it received little notice. Case found some success as a folk-rock artist and continues to tour to this day.

Featured prominently in Valley Girl, “A Million Miles Away” was the song that propelled the band into the spotlight. With no record contract in place, the band self-funded the single. After the song was selected for the movie soundtrack, and with a new contract with Geffen, they quickly re-recorded and included on the Everywhere At Once LP.

 

The song “Everywhere At Once” is the reason I bought the cassette of the LP, and played it to ruin. It also appears in the Valley Girl film. From the first guitar chords I was hooked. The song then builds to a rousing, almost perfect power pop anthem.

 

Classic Video: Tears for Fears

Posted: March 20, 2016 in Classic Videos, New Wave, Synthpop
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I was a fan of Tears for Fears from the beginning but much like OMD, it wasn’t until years later that I truly came to appreciate their music. Although Songs from the Big Chair was their breakout album, it’s 1983’s The Hurting that finds the most play on my IPod. “Mad World” was the third single released from The Hurting, and it was also the band’s first video. The song was originally intended as a b-side and became the group’s first UK hit, reaching #3 on the singles chart. With its driving percussion and playful use of synth (belying the dark lyrics), it was a standout on the LP.

Roland Orzabal wrote the song. Not happy with how he sounded on vocals, he handed singing duties over to Curt Smith. The video was filmed on a country estate in Bath, England and the party scene is made up of family and friends – that’s Smiths’ mom as the birthday girl. About that funny dance, Orzabal made it up while recording the song in the studio. Having been relegated to the sidelines, with Smith on vocals, the record company insisted that he perform it in the video. I think it’s a nice touch.

 

Devo’s Freedom of Choice

Posted: March 11, 2016 in Albums, Classic Videos, Electronic, New Wave, Post-Punk, Synthpop
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I wasn’t a fan of Devo’s in the early ’80s, probably because my older brother would play “Whip It” nonstop. It wasn’t until seeing the video for “Beautiful World” years later that things changed. I’ve since gone back and listened to their early catalog and count them among one of my favorite bands of the ‘80s. Released in 1980, Freedom of Choice was the band’s third and most successful album, reaching #22 on Billboard’s pop album chart. The album is made up of short, polished synth-infused songs. The 12 tracks clock in at just over 32 minutes. Although “Whip It” put the group on the map, I prefer the lesser-known songs off the LP like the electro “Snowball” and “That’s Pep!,” which sounds kind of like a new wave Hand Jive. In my opinion, the album is one of their best and ranks behind only 1978’s Q: Are We Not Men? A: We Are Devo!.

The video for the title track has the group dressed as aliens singing about how ultimately freedom of choice is not what we want. It also has skateboarders, donuts, and Mark Mothersbaugh in a dog costume.

 

“Girl U Want” has the band performing in front of an audience of 1950s teenyboppers. Just as the video for “Freedom of Choice,” it’s quite a low budget affair and relies heavily on color saturation. I’m pretty sure they used up all their video production money on the video for “Whip It.”

 

Band Profile: Polyrock

Posted: February 11, 2016 in Band Profiles, New Wave, Post-Punk, Synthpop
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As I was looking for cold wave bands of the ‘80s on YouTube, I came across the video for Polyrock’s “Romantic Me.” I gave it a listen and immediately recognized the song, although I couldn’t quite place where I had heard it – probably some early ‘80s new wave cable show. I’m not sure why they were lumped in with cold wave on this particular YouTube channel, as they are more minimal new wave. There wasn’t much information available on the band but I’m sure glad I rediscovered them.

Having come out of the same late ‘70s, NYC music scene, Polyrock was often compared to the Talking Heads. It also didn’t hurt that singer Billy Robertson had a unique vocal delivery, somewhat similar to David Byrne’s. Their sound combined stripped down repetitious rhythms and synth that you could move to, as evidenced on “Romantic Me,” the group’s most notable song. Their minimalist sound was no accident, as composer Philip Glass had a hand in producing their first two albums, and also made an appearance on both. The band released two albums in the early ’80s, their self-titled debut in 1980 and Changing Hearts in 1981. They also released a 5-track EP in 1982, Above the Fruited Plain, before calling it quits later that year.

“Romantic Me” is the first track off the self-titled LP. The repetitious beat along with the mechanical keyboards and synth play nicely against Robertson’s emotional delivery.

 

For “Call of the Wild,” backing vocalist Catherine Oblasney takes the lead. The song is included on the EP Above the Fruited Plain. By this time, the group had already moved to a more pop-oriented, melodic sound.

 

Movie Soundtracks: The Last American Virgin

Posted: February 8, 2016 in New Wave, Power Pop, Rock, Soundtracks
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I had a group of friends over for an ‘80s high school movie night this past weekend. Not wanting to go the John Hughes movie route, I chose films not everyone in the group had seen. The playlist for the night consisted of songs solely from the movie soundtracks. The goal was to watch three movies but as conversation and music flowed, time got away and we only got in two movies. The first film up was Valley Girl (which has arguably the best teen movie soundtrack of the ‘80s) followed by Fast Times at Ridgemont High. Unfortunately, we didn’t get to the final film on the agenda, The Last American Virgin. The film has a rather interesting soundtrack, where you’ll find arena rock songs alongside new wave classics and R&B love songs. I first came across the movie on late night cable TV, where my sister and I watched it more times than I care to mention.

A remake of an Israeli movie called Eskimo Limon (a.k.a as Lemon Popsicle), The Last American Virgin was released in 1982, within a month of Fast Times at Ridgemont High. Unfairly dismissed as another teen romp akin to Porky’s, the film has since become a cult classic. Not to say the movie doesn’t have its share of raunch, which it certainly does, it also has some honest coming of age moments. It also has a surprising twist ending, that I won’t give away here. The soundtrack was promoted just as heavily as the movie, with good reason, as it includes songs from The Police, Human League, The Waitresses, Blondie, The Cars, Devo, U2, The Plimsouls, Oingo Boingo, REO Speedwagon, Journey, and the Commodores. I was really looking forward to screening the film for the group because if nothing else, they would have appreciated the soundtrack. Perhaps another ‘80s movie night might be in order.

Besides the heavy hitters, there were also some lesser known bands who contributed to the soundtrack, such as The Fortune Band. Formed in the late ‘70s, the band had some minor success in the early ‘80s and caught the attention of Columbia Records. They decided to include the band’s single “Airwaves” on the soundtrack. The song is a burst of new wave, power pop with plenty of catchy synth. The video for the song is a low-budget affair and has the band performing in a studio with plenty of cheesy visual effects.

 

The Gleaming Spires also appear on the soundtrack with their 1981 song “Are You Ready for the Sex Girls?” (The song also appears on the 1984 Revenge of the Nerds soundtrack). The song was intended to be a B-side but eventually became the group’s only hit. It’s a bouncy, novelty song that wouldn’t seem out of place on a Sparks’ album, a band they would later join. The video has singer Leslie Bohem and drummer David Kendrick making a pie, of all things. After his tenure with Sparks, Kendrick would later drum for Devo in the mid-eighties.

 

Classic Video: Killing Joke

Posted: February 2, 2016 in Classic Videos, Goth, Industrial, New Wave, Post-Punk
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If any song could fill a dance floor back in the day it was Killing Joke’s “Eighties.” The relentless beat combined with an infectious guitar riff made it hard to stay in your seat. The video for the song perfectly matched the frantic pace. It features singer Jaz Coleman behind a presidential podium shouting about the struggles of living in the eighties, interspersed with images of religious and political leaders, war, punk rockers, and the frivolous extravagance of the decade. As I was doing a bit of research on the song, I came across an interesting tie it has to Nirvana that almost resulted in a lawsuit.

Released as a single in 1984, “Eighties” would later be included on Killing Joke’s fifth album Night Time. The song didn’t chart in the US but did appear on the soundtrack for the 1985 John Hughes’ movie Weird Science. It also had minor success in the UK, peaking at #60 on the singles chart. The song would come into the spotlight again in 1992, when the band claimed Nirvana plagiarized the riff of the song (at a slowed down pace) for the single “Come as You Are.” There are disputes of whether a lawsuit was ever filed but by 2003 all was forgiven, as Dave Grohl took leave from the Foo Fighters to record with the band. As I listened to both songs, there is a definite similarity but I’ll take “Eighties” over “Come as You Are” any day.

 

More ’80s Protest Songs

Posted: January 24, 2016 in Alternative, New Wave, Protest Songs, Punk, Rock
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It’s time for another installment of ‘80s protest songs. In my last post, I focused on the anti-apartheid movement and how artists helped bring this issue to a broader audience. This time around I’ll be focusing on songs that dealt with the backlash against Ronald Reagan and his policies. There were countless artists who spoke out against the administration’s policies, such as cuts to social programs and taxes for the wealthy, deregulating the EPA, and the rise of capitalism. It would take another post to cover protests over the administration’s military policies.

The B-52s’ song “Channel Z” is pretty much an indictment of the Reagan administration as a whole wrapped up in a fun, upbeat tempo. But mostly this song is a condemnation of the deregulation of the media under the administration and the constant feeding of mass information to an all too eager public. It was the debut single off the 1989 album Cosmic Thing. Although not achieving the success of other songs from the album, such as “Love Shack,” and “Roam,” it did reach #61 on the UK Singles Chart.

 

One of my favorite songs off R.E.M.’s 1987 album Document is the opening track, “Finest Worksong.” The song is basically a rousing call to arms against Reagan capitalism delivered in an almost sermon-like form. It was the third, and last, single to be released off the album. It reached #50 in the UK but failed to chart in the U.S. A slightly lighter-sounding version of the song is included on the greatest hits compilation, Eponymous. It’s the brighter version that Pete Buck felt should have been on Document but I think I’ll have to disagree with Mr. Buck on this one.

 

The Ramones also joined the fray with their song “Bonzo Goes to Bitburg.” The single, released in 1985, was a protest to a visit Ronald Reagan paid to a military cemetery in Bitburg, Germany. Along with members of the German army, there were also several members of the Waffen SS (a branch of the Third Reich) buried there. The Ramones were joined in protest by holocaust survivors, US politicians from both sides of the aisle, and many countries in Europe. To stem the tide of criticism, a visit to a concentration camp was added to Reagan’s agenda. The single was not released in the US and as an import became a minor success on college radio. Retitled “My Brain is Hanging Upside Down (Bonzo Goes to Bitburg),” the song was included on the 1986 album Animal Boy.

 

Band Profile: Modern Eon

Posted: January 20, 2016 in Band Profiles, New Wave, Post-Punk
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Like many, I discover new music through music blogs and social media. (There’s still nothing like coming across a great find). This is how I first heard of Modern Eon, a post-punk band out of Liverpool. A page I follow – The 80s Underground – posted their song “Euthenics.” I took a listen and immediately wanted to find out more about the group. It turns out that they were a short-lived band, producing a handful of singles and only one full-length album. It’s no wonder I’d never heard of them before. Their dark and atmospheric sound drew comparisons to Joy Division but the use of offbeat drum rhythms and bursts of electronics and horns gave them a sound all their own.

Founding members Alix Plain and Danny Hampson started the band in 1978. At the time they were called Luglo Slugs but after a few lineup and band name changes they decided on Modern Eon. The group gained a following within the “New Wave Liverpool Scene,” which produced other notable acts such as Echo & the Bunnymen, OMD, and The Teardrop Explodes. After some success with the EP “Pieces” and the single “Euthenics” (and after more lineup changes), they released their only album, Fiction Tales, in 1981. Although the album didn’t do well commercially, it did receive critical acclaim. Later that year they were set to tour with The Stranglers when drummer Chris Hewitt critically injured his wrist. They went on with the tour but eventually had to replace Hewitt with drum tracks. After Hewitt’s recovery, they recorded demos for a second album that were never completed. By the end of 1981, the group had disbanded. It’s unfortunate, since it would’ve been interesting to see how their music would have evolved.

The song “Euthenics,” originally released as a single in 1980, also appears on the Fiction Tales album. It’s a soaring, atmospheric song with Hewitt’s off-kilter drumming on full display, along with a shot of special effects they were known for. The band was a big fan of composer Ennio Morricone, and he was asked but declined to produce their album. You can definitely hear his influence on this song.

  

“Mechanic” is another single off the Fiction Tales album. It’s a more melodic song off the LP with a steady bassline and great guitar work by Tim Levers, who would later go on to find success with Dead or Alive.

 

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