Category: new wave

Eurythmics “Love Is a Stranger” 1982. 12″ single. “Love Is a Stranger” was the third single from the band’s January 1983 album Sweet Dreams (Are Made of This) and it’s one of my all-time favorites from the synthpop/new wave duo. First released as a single in November ‘82, it did relatively poorly (it was their 5th single to date, hitting #54 in the UK. However, after the next single, the title track “Sweet Dreams (Are Made of This)” hit #2 in the UK and #1 in the US (it was their first single released in America), they re-released “Love Is a Stranger” and it, too, became a hit going to #6 in the UK and to #23 in the US (#7 on the US Dance chart). The B-side of the 12″ has two tracks, “Let’s Just Close Our Eyes” which is hypnotic and super-danceable and “Monkey Monkey,” also hypnotic but more mostly just an instrumental track: experimental with lots of techno weirdness.  

Duran Duran “Seven and the Ragged Tiger” released on this date, November 21st, 1983. Limited edition, double vinyl release from 2010. Of course I still have my original album from ‘83 but I couldn’t resist picking up this reissue that has the original record along with a bonus disk with four remixed Duran Duran singles: “Is There Something I Should Know? (Monster Mix),” “Union of the Snake (Monkey Mix),” “New Moon on Monday (Dance Mix)” and “The Reflex (Dance Mix).” 

Seven and the Ragged Tiger entered the UK album chart at #1 in 1983 and went to #8 in the US a bit later. Quoting myself (and others) from a year ago when I wrote about the album for its 35th anniversary: “’Opulently produced, their new romantic origins blooming into lush decadent pop’ from The Telegraph and ‘Restores danger and menace [to Duran Duran]’ from Melody Maker. Danger and menace definitely describes several of the tracks on Seven and the Ragged Tiger including their first single from the album, “Union of the Snake” which hit #3 in both the US and the UK, the non-single tracks “(I’m Looking For) Cracks in the Pavement,” “Of Crime and Passion” and “Shadows on Your Side,” as well as the third and final single “The Reflex” which went to #1 in the US and UK. New romantic, opulent and lushly decadent are apt descriptions for the other songs from Seven and the Ragged Tiger like the instrumental “Tiger Tiger,” sultry and aching “The Seventh Stranger” and the second released single “New Moon on Monday.” “New Moon on Monday” has always been one of my favorites (my Duranie name was La Luna Le Bon – we Duranies had our own special names, a worldwide network of penpals and other nutball schemes only pre-teen and teenage girls could come up with); it went to #9 in the UK and #10 in the US and its video won two Grammy awards though Nick and Andy both hated the video and making it: it was miserably cold and by the end of the shoot the entire band was drunk. On the upside we get to see Nick dance which is a rare occurrence. 

Duran Duran “Arena” released 35 years ago today, November 12th, 1984. My original gatefold copy from ‘84, complete with an 8-page glossy booklet featuring sultry photos of each band member (the one of Nick clutching what looks to be a pole is particularly amusing). 

Arena (which went to #6 in the UK and #4 in the US) was “recorded around the world” when Duran Duran toured in ‘83 and ‘84 promoting Seven and the Ragged Tiger and includes songs from that album performed live like “The Seventh Stranger” and “Union of the Snake” but also many from Rio. Those are the always popular “Hungry Like the Wolf” which Simon introduces by asking the audience “Is anybody hungry??!!” as well as “New Religion” (which fabulously demonstrates the tension between Andy’s desire to be a rock-n-roll (metal???) band, Simon and Nick’s art-rock tendencies and John’s funky disco bass playing), “Save a Prayer” (I love it when Simon sings this live, adding in  “ch-ch-ch” after the word “fire”), and “The Chauffeur.” They also perform the stand-alone “Is There Something I Should Know?” which appears on the US reissue of their debut record Duran Duran, plus “Planet Earth” and “Careless Memories” from that LP. The only non-live track on Arena is “The Wild Boys” (produced by Nile Rodgers) which they released as a single just prior to Arena; it went to #2 in both the US and the UK and became infamous for having the most expensive video ever made up to that point. 

Duran Duran “Save a Prayer” 1982. I’m spinning the most perfect 80′s new wave/synthpop ballad today for Simon Le Bon’s 61st birthday (b. Oct. 27th, 1958). Released in the UK as their third single from Rio (it wouldn’t be released in the US until ‘85), “Save a Prayer” was a massive hit, going to #2, their biggest hit to that date. In ‘85 it went to #16 in the US, though American audiences had a ton of exposure to the track before then as it had heavy rotation on MTV. The video is gorgeous, shot in Sri Lanka, and I vaguely remember reading or hearing an interview with one of the other band members – maybe Roger? – lamenting that Simon always got to dance with the pretty girls in Duran Duran videos. Side B of this 12″ has “Hold Back the Rain (remix),” the regular version of which is also on Rio

The Boomtown Rats “The Fine Art of Surfacing” released 40 years ago today, October 9th, 1979 (at least I’m pretty sure it was – Wikipedia’s date of June 2nd 1979 is most definitely incorrect as virtually every other website says October). Post-punk/new wave with a heavy dose of organ and sneer, The Fine Art of Surfacing was Boomtown Rats’ third album and it went to #7 on the UK charts. The record has the Rats most famous track, “I Don’t Like Mondays,” which went to #1 in the UK and to #73 in the US as the lead single from the album. It received pretty decent airplay on US radio stations, though not so much in San Diego as the subject of the song was a 1979 school shooting that occurred in that city by Brenda Ann Spencer, who gave the reason for her violence as “I don’t like Mondays.” That song is a classic, but also great are “Someone’s Looking at You” (#4 UK), a song about Bob Geldof’s burgeoning infamy with political activism; “Diamond Smiles” (#13 UK), a track about suicide; and the spacey new wave song “Wind Chill Factor (Minus Zero).” Our version of The Fine Art of Surfacing seems to be an original as it has hidden tracks – Side A is a bunch of creepy laughing that goes through the run-out groove and Side B has a weird voice saying “That concluded episode three. We will return…” with then a door or something closing. 

vinylfromthevault:

Depeche Mode “Some Great Reward” released on this date, September 24th, 1984. Mute Records. I bought this album in either late ‘84 or early ‘85 during the height of my Brit new wave/synth pop obsession and while not my favorite Depeche Mode album, it certainly still gives me all the feels with its dark industrial beats, minor chords and borderline sinister content. 

Some Great Reward was Depeche Mode’s fourth album and it reached #5 in the UK and #54 in the US. The first single, “People are People,” was released about six months prior, in March of ‘84, and became DM’s breakthrough in the US market where it hit #13 (and #4 in UK) with the support of its video on heavy rotation on MTV – where I saw it and was instantly in love. The sado-maschocistic industrial dance track “Master and Servant” was the second single from Some Great Reward and, despite the controversy surrounding its material and ban on many US radio stations (I guess the synthesized whips and chains were a bit too over the top for our tender ears), it made it to #87 on the US charts and #9 in the UK. The last two singles were actually a double A-side of “Blasphemous Rumors” and “Somebody.” “Blasphemous Rumors” is, to me, their most disturbing song and one that I often find unlistenable, not because it’s bad but because it’s ridiculously painful. “Somebody” – notable for being the first DM single sung by Martin Gore (reportedly recorded nude) is also painful, but in a completely different way – it’s the desperate agony and ache of love vs. the devastation of depression, sickness, death and loss of faith.  

Allmusic says about Some Great Reward “The peak of the band’s industrial-gone-mainstream fusion, and still one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band’s ever-evolving musical and production skills matching even more ambitious songwriting from Martin Gore. “People Are People” appears here, but finds itself outclassed by some of Depeche Mode’s undisputed classics, most especially the moody, beautiful “Somebody,” a Gore-sung piano ballad that mixes its wit and emotion skillfully; “Master and Servant,” an amped-up, slamming dance track that conflates sexual and economic politics to sharp effect; and the closing “Blasphemous Rumors,” a slow-building anthemic number supporting one of Gore’s most cynical lyrics, addressing a suicidal teen who finds God only to die soon afterward. Even lesser-known tracks like the low-key pulse of “Lie to Me” and the weirdly dreamy “It Doesn’t Matter” showcase an increasingly confident band. Alan Wilder’s arrangements veer from the big to the stripped down, but always with just the right touch, such as the crowd samples bubbling beneath “Somebody” or the call/response a cappella start to “Master and Servant.” With Reward, David Gahan’s singing style found the métier it was going to stick with for the next ten years, and while it’s never gone down well with some ears, it still has a compelling edge to it that suits the material well.”

Re-blogging myself – Depeche Mode “Some Great Reward” released 35 years ago today, September 24th, 1984.

The Cars “Shake It Up” 1981. I’m spinning The Cars’ fourth LP in honor of Ric Ocasek who died yesterday at age 75 (b. Richard Otcasek 1944, d. September 15th, 2019). Ocasek wrote almost all of the tracks on Shake It Up (he shares writing credits with Cars’ keyboardist Greg Hawkes on “This Could Be Love”) and was the lead vocalist on six of the nine tracks on the album. Those tracks include all of the US-released singles (Benjamin Orr sings lead on the UK-only single “Think It Over”): “Shake It Up” was the first single and became their first US Top 10 hit (#4 on Billboard’s Hot 100, also charting at #2 on the Top Tracks chart and #14 on the Disco Top 80 chart) and its B-side, “Cruiser” (sung by Orr) also charted, going to #37 on the Top Tracks chart. Other singles from Shake It Up included “Since You’re Gone” (#41 US, #37 UK) and “Victim of Love” (#39 on the US Mainstream Rock chart). Those singles are my favorite songs from Shake It Up – it’s a pretty decent album overall: I also like the non-single, Tubeway Army-ish track “A Dream Away” and the swirling, almost Cure-like post-punkish (never thought I’d compare The Cars and The Cure) “Maybe Baby,” but I’m not crazy about the ballad “I’m Not the One,” which is a somewhat sappy simplistic synth light pop track.

The Stranglers “6 Songs” 1986. Comp EP, Liberty Records, Greek import. Today, August 28th, is Stranglers’ vocalist/guitarist Hugh Cornwell’s 70th birthday (b. 1949). UK pub rock goes punk goes new wave/post punk, this EP is a collection of singles from the 70′s through 80′s. On Side A: “Nice ‘n’ Sleazy,” which went to #18 in the UK in ‘78 and appeared on their LP Black and White; “Strange Little Girl,” a single from ‘82 that hit #7 (UK) and was originally written back in ‘74, the year The Stranglers formed; and “No More Heroes,” one of my favorite Strangler songs, all swirly keyboards, which went to #8 and was the title track from the 1977 album No More Heroes. On Side B: “Golden Brown,” a decidedly unpunk single that hit #2 in the UK in early ‘82 (their highest chart hit), it’s a sweet Donovan-esque lilting number with baroque harpsichord, some psychedelic guitar and saxophone; “Hanging Around,” definitely more of a rocker which appeared on their 1977 debut Rattus Norvegicus; and “La Folie,” an ephemeral 1982 single from their album of the same name (released in late ‘81) which went to #47 in the UK and was sung in French by bassist Jean-Jacques Burnel.

Elvis Costello “This Year’s Model” 1978. Today, August 25th, is Elvis Costello’s 65th birthday (b. Declan Patrick MacManus, 1954). This Year’s Model was his second album and the first he recorded with the band the Attractions. It’s considered one of the best albums of all-time; it went to #4 in the UK and #30 in the US. Early new wave power pop, it certainly is one of my favorite Costello records (disclaimer: I’m really not that big a fan but I like him OK), especially the track “Pump It Up” which is a super-catchy upbeat song that he released as a single. Also released were “(I Don’t Want to Go to) Chelsea” (#16 in the UK) and “Radio Radio” which did not appear on the UK release of This Year’s Model but is on the US version, which this copy is. It’s really too bad because that track is pretty great. The US version also dropped “Night Rally.” Another track, a non-single, that I like is “You Belong to Me” with its 60′s-style organ and rockin’ beat. 

Depeche Mode “Everything Counts and Live Tracks” 1983. Vogue Records/Mute Records, French import mini album. Today, August 22nd, is the release anniversary of Depeche Mode’s third album Construction Time Again (1983) and “Everything Counts” was the lead single, hitting #6 in the UK and #17 on the US Hot Dance chart. Side A, or the Studio Side, has two versions of “Everything Counts” – the 7″ original single mix and the 12″ single mix. The B-side, or the Live Side, has four live tracks (recorded at Hammersmith Odeon in October ‘82) including two Vince Clarke songs, one of my absolute favorites, “New Life,” as well as “Boys Say Go!” – both from their 1981 debut LP Speak and Spell. Also appearing are live versions of the Martin Gore-penned “Nothing to Fear” and “The Meaning of Love,” both from Depeche Mode’s 1982 album A Broken Frame. I left the price tag on the Mini Album because this is an acquisition from my friend Jason who bought it and literally imported it from France in early ‘86.