Gary Numan’s debut album continues where Tubeway Army’s final album left off; basically it feels like it’s nearly the logical conclusion of what their second album suggested: a fusion of Synthpop and New Wave that sounds far more like New Wave than virtually all other Synthpop music of the time.
Tag: New Wave
Drums and Wires (1979) by XTC
I maintain that the Atlantic created a pretty different sonic difference between American and British New Wave and and, later, American and British Post Punk. With New Wave that gulf is so big that it almost feels silly to call them the same genre; compare to Elvis Costello or the Police to Pere Ubu and …
The B-52s (1979)
I first encountered the B-52s through “Love Shack” and its relative ubiquity. And then I became familiar with Kate Pierson through Out of Time. But I have never really been a fan of camp – or rather I am only a fan of selective camp – and so I thought they would never appeal to …
Candy-O (1979) by The Cars
Did you want to read a hot take about the second Cars record? Well I have one for you: It’s better than their “classic: debut album. (Shock! Horror!)
Replicas (1979) by Tubeway Army
For some reason I skipped over the debut record, even though its anniversary was last year and it was on my “to listen” list. I don’t really know what happened there but here we are, listening to the second record first once again.
New Values (1979) by Iggy Pop
One might be tempted to read into the title of this record, given that it’s Pop’s first record without David Bowie and his backing band in a few years. That might be reading into it too much, though, as I’m not sure this record is dissimilar enough from Lust for Life to really spend to …
Sparkle in the Rain (1984) by Simple Minds
What do you do when you’ve heard one band your whole life and not another, and then you hear the second band and they sound a lot like the first? But, the thing is, the second band was actually first, and really doesn’t sound that much like that first band.
Touch (1983) by Eurythmics
The distinguishing characteristic about the Eurythmics that makes them more accessible to me is that, unlike most synthpop bands from their era, they believe in instruments other than sythesizers and sequencers and the like.
Outlandos d’Amour (1978) by The Police
The Police’s debut album is a bouncy energetic thing, with way better than you’d expect musicianship for their music scene and the kind of performances you would require from that same scene. Much of what initially captivated people about this band, present on this album, would disappear by the end of their career.
Soul Mining (1983) by the The
My main complaint against synthpop is that the majority the bands decided to entirely or mostly drop conventional instruments in favour of synthesizers and drum machines. I have never been a huge fan of either instrument and so it’s an uphill battle for me when an entire album is performed with instruments I don’t like. …
She’s So Unusual (1983) by Cyndi Lauper
I have heard “Girls Just Want to Have Fun” way too many times and seen the video way too many times. I can’t say I’ve ever liked the song but at some point it became annoying. (And it doesn’t help that Weird Al’s “Girls Just Want to Have Lunch” is on the lazy side.) And, …
Parallel Lines (1978) by Blondie
My dad bought a Blondie compilation sometime in my teens. It was a double disc. So I feel like, to the extent I know Blondie, it is through that compilation. Had he bought it 10 years earlier, I would likely know all their hits very well. Alas, he bought it a few years before my …
Real Life (1978) by Magazine
As an album recorded by a band featuring the former lead singer of one of the original British punk bands, but manifestly not playing punk rock, I think there’s a temptation to say this record could be the original post-punk record. (It literally is “post punk” in that sense.) That in itself would make this …
The Cars (1978)
The Cars’ debut album marks the point where, for better or worse, New Wave goes commercial. Basically very previous (American) New Wave album was too arty, too quirky, too herky jerky to connect with the average listener. But Ocasek and company found how to merge New Wave with that basic American need for big dumb …
Adventure (1978) by Television
It’s hard when you’ve only ever listened to one album by a band for so long, you think that that album is the band. Worse, it’s the band’s “classic” and the one everyone knows.
Crossing the red Sea With the Adverts (1978)
I think the thing that so many people find really appealing about this band is that they manage to combine punk attitude with a pretty strong sense of melody, a sense of melody lacking in other punk bands of the sort of second wave of British punk bands, who got record deals in 1977 but …
The Modern Dance (1978) by Pere Ubu
Imagine New Wave at its absolute quirkiest (i.e. Devo) and then add a dose of avant rock from the late 1960s and you get some vague idea of what Pere Ubu sounds like on their debut. All the herky jerky New Wave stuff is here but so are piercing noises, samples of who knows what, …
Special Beat Service (1982) by The [English] Beat
I know virtually nothing about 2 Tone as a genre – I’ve heard maybe one Specials album in my life – and the only thing I knew about this band going in was “Mirror in the Bathroom.” But I must say I’m impressed.
Friend or Foe (1982) by Adam Ant
I don’t know the Ants, which seems to put me at a disadvantage with this record because everything I’ve read about it suggests that the sound is very much in line with that band (or, at least, the second incarnation of that band).
Kissing to be Clever (1982) by Culture Club
I am a real completist. Even though I have been working hard against the impulse as an adult, more often than not the impulse wins out. So, for my podcast, I find myself listening to music I never would have bothered with, because it’s the anniversary of a particular record. Most of the time, my …
No More Heroes (1977) by The Stranglers
I used to think there was only one true British New Wave band: The Police. (Well, and Elvis Costello. But Costello is labeled New Wave primarily due to laziness; too punk to be Pub Rock and too classicist to be Punk, people didn’t know what else to call him.) The Police were the only band …
Peter Gabriel [Melt] (1980)
On December 31, 2008, I wrote the following: This may sound stupid, but this sounds little too much like 1980. They had a good thing going, those Genesis guys… and while I know that version of the band could never have topped The Lamb Lies Down on Broadway, neither Gabriel nor the rest of the …
Talking Heads: 77 (1977)
This is a much rawer version of the band, understandably. They lack a lot of the musical and lyrical polish they had later (even the next year) and they seem to lack as clear an identity. Don’t get me wrong, this is still really, really New Wave compared to, say, Classic Rock of the same …
Talking Heads at the Capitol Theatre November 4, 1980
This is an incredible show which is very illustrative of the the “eras” bands go through. Talking Heads in Stop Making Sense area great band, but they are utter professionals. They are having a great time, and they backed by a unique stage show that ads to the experience, but they are polished and utterly …
So (1986) by Peter Gabriel
I haven’t gotten into solo Gabriel yet really, this is only the third album of his that I’ve heard. But back when I was a Gabriel-era Genesis obsessive I listened to a lot of Gabriel-fronted music. I have always been a little wary of his solo music in part because it is so clearly different …
Q: Are We Not Men? A: We Are Devo! (1978)
Though Devo were perhaps a little late to the party – at least in terms of a major label release – this still seems to be to be a pretty foundational document of new wave.