Genre of the Week 5: New Wave (Part 7)

Continued from Part 6

By the 1980's new wave as a style was beginning to fade as it became quite hard to distinguish it from other styles.

This was especially the case with the arrival of genres such as synth pop and new romantic, which although had direct links to new wave, were not new wave.

In its place rose synth pop, with bands like New Order, OMD and Soft Cell proving very successful.

People confused new romantic with new wave. The simple fact though was that it wasn't, and was really just a genre where record labels capitalized on the success of new wave by promoting bands they thought were "similar", as record companies tend to do.

Because of this, bands like Flock of Seagulls, Spandau Ballet and Duran Duran became very popular and pretty much just wiped out new wave.

And of course like the death of all musical movements and styles, pop has to take some of the blame. But in this case there was some actually good pop, which also in fact had links to new wave.

I am of course talking about bands such as the Eurythmics and Human League, both of whom took the visual and quirky aspects of new wave and put them to good use.

And that then is your New Wave week. New wave peaked between 1977 and 1981 before being overtaken and overrun by the commercial side of the industry.

Its legacy can be seen in that it was one of the first independent music scenes and directly went on to influence the alternative and indie scenes that came after it. It was also a refreshing and quirky music scene for a time where the music industry was a money-making zenith. Some of the best music of the late-70's and early-80's came out of this scene.

Its influence on modern indie and alt rock is also clearly evident, with bands such as the Strokes, Interpol, Arctic Monkeys, Tame Impala and Arcade Fire all owing a massive debt musically to new wave. The term "new new wave" has also been used in recent years to describe scenes.

And with that it seems fitting to go out with a new wave anthem written by Nick Lowe and performed by Elvis Costello.

 - Sam

Genre of the Week 5: New Wave (Part 6)

Continued from Part 5

Today we are gonna look at how new wave branched out into the mainstream and internationally.

One of the first bands to do this was The Cars. Formed in Boston, The Cars new wave style combined a 70's guitar rock sound with a more 80's synth-driven pop sound.

All in all, they combined the best bits of the past and present, and did it very well.

The Pretenders were another band who had mainstream success with their brand of new wave. Their sound had a harder, punkier edge to it than a lot of new wave. However, at other times they also explored jangle pop.

Apart from a couple of hits in the States, the band did better commercially in the UK, but were generally hailed critically by both American and British critics.

The Police were probably the most commercially successful new wave band, if you can call them new wave. Technically they were, but they quickly transitioned into the classic rock/stadium rock goldfish bowl by the time the 80's came along, and in turn were subsequently hated by a lot of their music contemporaries.

But, in saying that, their early material was very much influenced by reggae and punk and you can certainly see this in tracks such as "Roxanne", "So Lonely" and...this track.

New Wave wasn't just a UK-US thing, it also went international, even reaching New Zealand.

Although they formed before new wave, Split Enz quickly developed a quirky-pop sound that combined with a very unique visual look.

Their style and sound was eclectic and it was hard to really pin point them to a particular style, but hey they fitted very well within new wave, because new wave as a movement was eclectic also.

Continued in Part 7!

- Sam

Genre of the Week 5: New Wave (Part 5)

Continued from Part 4

There was a tendency for new wave to take inspiration from punk but move forward musically. However, in England a few bands decided to look back, drawing inspiration from movements and genres long gone.

One of these scenes was Two Tone, a musical movement that looked to Ska and reggae for inspiration. The prime group in this scene was The Specials, and their socially conscious, ska-influenced sound was commercially and critically successful.

Madness were another band that formed part of the Two Tone movement, and, like The Specials at the time, they also had routes in ska.

Dexy's Midnight Runners also looked back, but not to reggae. Instead, they took influence from soul and R&B.

Their horn-driven new wave soul sound combined well with lyrics which explored the social climate of late-70's England.

The last of the British new wave bands which looked back were The Jam. They were part of what was labelled the mod-revival.

They dressed like mods, rode scooters and drew musical inspiration from 60's R&B and pop.

Paul Weller was also a master song-writer and took up the challenge of being a spokesman for his generation, writing for the working class and taking aim against Thatcher England.

 Continued in Part 6!

 - Sam

Genre of the Week 5: New Wave (Part 4)

Continued from Part 3

Day Four of New Wave week, and today we are looking at some of the more quirkier/poppy acts to come from this movement.

I am going to start in the US with Devo, one of the most prominent new wave bands to come out of the states with their discordant take on new wave moving all over the shop sound-wise.

They were also a music video pioneer, with their video of "Whip It" gaining a lot of airplay in the early days of MTV.

Much like Devo, the B-52's were also quite a quirky and visual-oriented group that mixed it up musically with rock and roll, pop and post-punk.

Interestingly, the group is also notable for the fact that four of the original five members were openly gay.

The B-52's also had a very famous fan in one John Lennon, who cited the song "Rock Lobster" as influencing his decision to come back into music.

Heading over to the UK, and like the US they also had some quirky new wave acts, acts that included a band from Swindon in Wiltshire called XTC.

And there was also the Psychedelic Furs, who had more of a synth-oriented new wave sound.

Echo & The Bunnymen were one of the more critically acclaimed new wave bands, while four of their 80's albums made it into the top ten in the UK charts.

Originally from Liverpool, the Echo's had quite a melodic sound post-punk/new wave sound that garnered quite a cult following at the time, and that has also ensured that they continue to be held in high regard to this day.

Continued in Part 5!

- Sam

Genre of the Week 5: New Wave (Part 3)

Continued from Part 2

While new wave was emerging out of the CBGB scene in New York, in the UK, at the same time some new wave artists were staying true to their musical roots.

One of these was Elvis Costello, who with his band the Attractions bought a rock and roll feel to this supposed "new" "underground" music. Costello was hard to box into a genre and during the time was called both pub rock and punk.

In reality though, he didn't fit into either of those scenes and pretty much just relied on good songwriting and a good musical knowledge to produce some of the best new wave music of the time.

Nick Lowe had a massive influence on British new wave and his foot print is all over the scene. He produced Elvis Costello's first five albums and also had success himself as a solo artist in a similar vein musically to Costello.

This was good old fashioned song-writing that was based on melody and staying true to one's routes. His song "Cruel To Be Kind" was an early new wave anthem.

The Stranglers had closer links to both pub rock and punk than a lot of their contemporaries, and in many ways sprang out of those scenes.

The band were also very successful commercially for a new wave band, garnering 14 top 40 singles between 1977 and 1983.

And last but not least on day three of new wave week, Ian Dury is back, but this time he had his own band called Ian Dury & The Blockheads.

Now Dury was not your typical front man in that he had polio which prohibited his movement. But he was one of the most charismatic performers and gifted songwriters of the new wave scene.

His songwriting in many respects was continuing on from Ray Davies work with the Kinks, with Dury's lyrics a mix of lyrical poetry, word play, observations of British everyday life, character sketches, and sexual humour. This can be seen in this song from 1979 "There Ain't Half Been Some Clever Bastards".

Continued in Part 4!

 - Sam

Genre of the Week 5: New Wave (Part 2)

Continued from Part 1

Now initially new wave was connected to punk before it began branching out as a more distinctly identifiable genre on its own. 

This is when small sub-genres or movements within new wave were born, starting with a darker form of post-punk in England of which Joy Division were at the heart of.

The Cure also emerged along with Joy Division in embracing a darker and at times Gothic feel to new wave.

Gary Numan's synth-based new wave hinted at where things would go with synth pop. But, at the time this was part of the underground new wave scene that was emerging independently in the UK.

Britain was not alone when it came to the emergence of new wave, and in fact this new underground music was also taking off in New York.

Talking Heads were one of the bands that came out of a scene at a club called CBGB. If ever there was one place where new wave emerged Stateside it was here.

And although Talking Heads would go on to have superstar mainstream success in the 80's, at this early stage they were just another emerging act on the new wave scene.

Television also emerged out of CBGB, but with their twin lead guitar attack took on a more classic rock feel compared to other bands on the scene. 

Their debut album Marquee Moon is considered a classic guitar album and one of the greatest new wave records.

And finally, rapping up the early-New York new wave scene there was Blondie.

Fronted by Debbie Harry, Blondie had a pop feel musically and also placed more emphasis on rhythm than other New York acts on the scene at the time.

This led to some great Billboard success for the band, who were probably the first US new wave band to break the mainstream.

Continued in Part 3!

- Sam

Genre of the Week 5: New Wave (Part 1)

Genre of the Week is back again this week. In this edition I am looking at New Wave, a musical genre of pop/rock which began in the late-1970s and had strong ties to 1970s punk rock.

The wide range of bands categorized under this term has been a source of confusion and controversy, and as a term new wave perhaps represents yet another genre label which musically speaking is quite meaningless.

The term originated in New York in the early-70s and was used to describe bands such as the Velvet Underground. However, it wasn't until 1976 that it began gaining wider currency, and by 1977 "new wave' as a term was replacing punk as the way of describing new "underground" music in both the UK and US.

Music historian Vernon Joynson said that new wave emerged in 1976 when many bands began to disassociate themselves from the punk rock scene, branching out artistically and musically.

From my perspective, musically speaking, new wave was used to label the bands that were outside the classic rock mainstream and that came in the aftermath of punk.

The new wave sound moved away from the more traditional blues and rock & roll sounds of mainstream rock to create music with a more agitated feel, complete with choppy rhythm guitars and fast tempos.

Common characteristics of new wave music, aside from its punk influences, include the use of synthesizers and electronic productions, the importance of styling and the arts, as well as a great amount of musical and stylistic diversity.

 

The actual musical origins of new wave came before the term was even invented, as well as before punk rock.

New wave actually began with pub rock in the UK during the early-70s. Pub rock was a working class music scene that saw bands playing rhythm and blues and rock and roll-styled music in pubs and clubs, a lot of the time to audiences loaded up on beer.

Now this may sound a bit grim, but this scene actually produced some very good music starting with a band called Dr. Feelgood whose high-energy rhythm and blues was a big influence on later British punk and new wave bands.

Kilburn & the High Roads was Ian Dury's first band (later of the Blockheads) and like Dr. Feelgood they played a uniquely British style of rhythm and blues but with a quirky tongue and cheeky feel. The presence of a sax in their music was also not the norm in rock music at the time let alone pub rock.

Completing the trifecta of influential pub rock bands is Graham Parker & The Rumour.

Again like the other two groups I have mentioned, they had a very classic rhythm and blues/rock and roll sound, and really just wanted to play good old fashioned music that was set apart from what pub rock bands considered the over the top pretentious nature of progressive rock. Yes I am looking at you Rick Wakeman.

Continued in Part 2!

- Sam

The Favorites Series: Blog 1 - "The 1980's"

This is the first blog post in a new series that I will do for the blog looking at some of my favorite albums from different decades, genres, periods of music, etc. At the same time, I will attempt to pick albums which often get overlooked in the best of the decade lists, or best of all time lists, I guess just because some of my favorites will be all too obvious from each period, or theme I focus on.  

Post One: The 1980's

Yeah so I was born in the 80's, the late-80's if you must know and I am proud of it. And, although many people are quick to turn their noses up at the decade for its fashion, and for its politics, there was some great music produced and indeed some great albums.

So here are some of my favorites from the decade

The Clash – Sandinista – 1980

This album is an eclectic mix of all different styles, from hip hop to new wave to reggae to dub. It has everything, and amazingly is a triple album, something that is quite ambitious for most music acts, let alone a punk band. The Clash were at their very best during this period both musically and stylistically and this album catches this fact in a big way.

Key tracks – Hitsville UK, Lose This Skin, The Magnificent Seven.

The Jam – Sound Affects – 1980

This is pop art set to music and is also the moment where The Jam came full circle musically. There’s funk influences emerging on this album, with Off the Wall a definite influence, while the Beatles homage is still there. This is The Jam’s Revolver, with Weller’s lyrics also exploring more the state of British society as Thatcher settled into no.9.

Key tracks – Pretty Green, Set The House Ablaze, Start.

Queen - Hot Space – 1982

This album has been panned by everyone, while the surviving members of Queen paint it as being a blip on their radar and a “Freddie creation” mainly. It is this universal hatred of an album that explores disco, funk and new wave which makes me like it even more. In comparison to some of Queen’s other 80's releases which to me are quite dull in places, this album stacks up and is definitely of its time. Hot Space also happens to be the one genuine Queen album you can really dance to. To be fair, I have never quite understood why it is so hated as an album.

Key tracks – Staying Power, Back Chat, Cool Cat.

Dexys Midnight Runners – Searching for the Young Soul Rebels – 1982

Soul had begun to go out of fashion by the 80's and in the States it was meshing into modern R&B with mixed results. Here though, the Dexys produce a raw sounding, proper soul record complete with a full horn section and some thumping rhythms.

Key tracks – Burn it Down, The Teams that Meet in Caffs, Seven Days Too Long.

Talking Heads – Stop Making Sense – 1984

This is the soundtrack to the great film from 1984, you know the one where David Byrne moves around the stage in an over sized suit? The music is good to, in fact I have always though Talking Heads music was so well suited to being played live and this album shows that. It is a pity they are no longer around today, as even now I am sure they would sell out arenas all over the world.

Key tracks – Girlfriend Is Better, Life During Wartime, Once in a Lifetime.

The Smiths – The Queen is Dead – 1986

Many people just think of The Smith as a singles band. But, in fact, they released some stunning albums and this one is their best. Lyrically and musically it is perfect, with Morrissey’s lyrical genius dotted throughout, while Marr’s guitar is as jangly as ever. An indie classic if ever there was one.

Key tracks – Frankly Mr Shankly, Big Mouth Strikes Again, There Is a Light That Never Goes Out.

Gipsy Kings – Gipsy Kings – 1987

These guys were part of the so-called world music explosion which began in the 80s. They play a style of Spanish rumba flamenco music of which during some stages of the album there are six Spanish guitars being played at once. An outstanding album to entertain to, to drink to, well… to do anything to. These guys brought Flamenco to the western masses and they did in style and indeed with passion.  

Key tracks – Bamboleo, Bem, Bem Maria, Djobi Djoba.

The Pogues – If I Should Fall from Grace with God – 1988

This is Celtic punk/folk at its raw best. McGowan is one of the most underrated songwriters of all time, while the instrumental talents of his fellow Pogues is undeniable and it shows on this fantastic album. This folk punk album was completely before its time and proceeded the various folk revivals which followed in its wake.

Key tracks – Turkish Song of the Damned, Lullaby of London, Fiesta.

New Order - Technique – 1989

This is synth pop/dance pop at its finest and New Order were pretty good at it. These songs on their own are good pop songs both melody-wise and lyrically, but when you add in the synths and the funky beats they also become perfect dance tracks. Part of a blueprint which would prove successful for future dance and house acts, and as an album helped contribute to the creation of entirely new genres within the dance scene. A great 80's album, as the sun set on the decade.

Key tracks – All the Way, Love Less, Guilty Partner. 

- Sam