New Wave for the New Week #45 BY REQUEST!

[All throughout the month of November, all NW4NW entries have been based on requests made by you, dear readers. I want to take a moment to thank all of you who submitted requests. I hope that you were pleased with my efforts. The NW4NW series will resume its regularly once-a-week schedule in December. Although NW4NW All Request Month comes to a conclusion with this post, I am always open to your suggestions and requests for future entries - your feedback is greatly valued!]

Image via Wikipedia

The final entry in NW4NW All Request Month comes from an old friend, Dave Demmin. Dave's was the last request I received, but I don't know that I could have chosen a better band to end the month on myself!

The Plasmatics were formed in New York City in 1977 by Yale Art School graduate Rod Swenson and the inimitable and highly confrontational Wendy O. Williams (which actually was her given name: Wendy Orleans Williams). They began auditioning band members for what was initially a conceptual art project that quickly evolved into one of the most controversial bands in any genre, much less the burgeoning Punk Rock scene. By mid-1978, the earliest incarnation of the band, which included guitarist Wes Beech (who, along with Williams, would be the only band members to be there from the beginning to the end of The Plasmatics), were regularly selling out CBGBs with their stunningly antagonistic performances. By 1979, they had amassed so large a following that CBGBs was no longer a large enough venue. In the fall of that year, The Plasmatics sold out the legendary Palladium Theater in NYC, becoming the first band to ever do so at full ticket price. That show was also where Wendy first blew up a car onstage.

Destructive visuals were part and parcel of The Plasmatics' live shows: exploding cars, chainsawing guitars in half, taking sledgehammers to walls of television sets, and blowing up amplifiers were regular occurrences, and were actually integral parts of many of their songs. They scared the bejeesus out of the mainstream media, and more and more clubs refused to allow them to perform. In fact, at one point the were banned completely from playing in England, where they were branded as anarchists. Williams would often explain that the message behind the destruction was that these things were just that - things, and things should not be worshiped. We have become too materialistic, but at the end of the show, despite all of the destruction of things, the world goes on.

Williams herself quickly became infamous as much for her onstage attire - or, often, lack thereof - as for her terrifying vocals. Sporting a mohawk and often appearing dressed in little more than a g-string and some strategically-placed duct tape, Williams pushed the boundaries of acceptability. She found herself arrested after a show in Milwaukee for allegedly simulating a sex act on stage with a sledgehammer; two nights later she was arrested in Cleveland for appearing onstage wearing nothing but shaving cream.

Their 1980 debut album, New Hope For The Wretched, remains one of the most jaw-droppingly fantastic Punk Rock albums ever recorded. Whipping along at hyper-speed, the band is remarkably tight and powerful. Songs like "Monkey Suit," "Living Dead," "Sometimes I...," and the first single from the album, "Butcher Baby," stand up remarkably well 30 years later. The only time the band falls apart is intentional: during the middle section of their cover of Bobby Darin's "Dream Lover," each band member was locked in a separate room, unable to hear what the other band members were playing. It's a moment of brilliant hilarity as the otherwise perfectly synced musicians suddenly sound like a roomful of chimpanzees slashing and pounding on tuneless instruments!

By the time their second album, Beyond The Valley Of 1984, was issued a year later, the band had gone through numerous legal battles, defenses of their image, and rotations of band members, and the wear and tear showed. Also, the band's overall sound was moving more towards heavy metal, a transformation that was fully realized with 1982's Coup D'Etat.

Williams released a remarkably good solo album, WOW, in 1984, but the final Plasmatics album, Maggots: The Record, released two years later, was a sad footnote to a once awesome band. Over the next several years Williams would make occasional appearances, but despite the urging of many, a Plasmatics reunion tour never materialized. Sadly, Williams committed suicide in 1998.

Many people hated The Plasmatics in their day, but many more loved them - and continue to do so. That first album remains one of my all-time favorites, and still sees regular airplay in my household. So, my thanks to Dave for this request - a fantastic call, and a great way to bring the month to a close. Our final entry in NW4NW All Request Month is The Plasmatics appearing on the TV show Fridays in January of 1981, performing "Butcher Baby" complete with chainsaw-guitar solo. Enjoy!

New Wave for the New Week #44 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]

Throwing Muses via last.fm

Two more requests to fill in what has been a very successful NW4NW All Request Month! Up next comes a request from Jay Marshall, who submitted the only request I received for neither a specific band nor a specific song, but for a record label! Jay suggested any of the 4AD bands, and listed a couple of his favorites. From his list, I chose one of mine.

The 4AD Records label started up in in England in 1980, originally as Axis Records, an offshoot of the successful Beggar's Banquet label. After releasing a handful of singles, they discovered another label was already called Axis, and so changed their name to 4AD Records, from the caption on a poster that label founder Ivo Watts-Russell had seen.

4AD swiftly became one of the top UK indie labels, signing bands like Dead Can Dance, The Wolfgang Press, The The, Dif Juz, and Cocteau Twins. Their signature sound was what you might call goth-light: swirling, ethereal, and melancholy. The label often sent their bands out on packaged tours and developed an almost cult-like following. It wasn't until 1986 that 4AD reached across the pond to sign their first American bands, snatching up The Pixies, who have been covered in this series here, and the band I picked to fill Jay's request, Throwing Muses.

Stepsisters Kristin Hersh and Tanya Donnelly had formed the band five years earlier when they were in high school in Newport, RI, and had even managed to self-release an EP in 1984. With the name-value of the 4AD label behind them, though, Throwing Muses quickly became darlings of college radio. Their sound was a little more jagged than the typical 4AD band to that point in time, and their melodies and arrangements tended toward the unorthodox. Singing songs about alienation, distress and psychosis, Throwing Muses found an audience who adored them.

1989's Hunkpapa album saw the band hit their apex, with the single "Dizzy" reaching the Top Ten on Billboard's Modern Rock charts; they maintained that momentum through 1991's The Real Ramona, which contained their finest moment, "Not Too Soon." Tanya Donnelly was swiftly becoming the "star" of the band. Her adorable alterna-chick image was played up by the media; that image coupled with her poppier melodic tendencies made her of the early 1990s' alternative music scene's icons. Having already begun to do some side-project work (including joining Pixies' guitarist Kim Deal in The Breeders), Donnelly split from Throwing Muses after 1991. Eventually, she would form her own band, Belly, who had a minor hit in 1994, "Feed The Tree."

Kristen Hersh and the rest of Throwing Muses soldiered on through three more albums before calling it a day in 1996, but with Donnelly gone it wasn't the same. Occasional reunion shows popped up now and again, becoming more frequent in 2000-2001. Donnelly even appeared onstage with the band at one point, and in 2003 a new self-titled Throwing Muses album appeared. Donnelly was not officially part of the band, but did provide some backing vocals on the LP. Nothing more has been heard from the band since then.

Thank you, Jay, for your request! I hope you will enjoy my pick for this NW4NW entry, Throwing Muses' clip for "Not Too Soon" (with Tanya Donnelly on vocals).

New Wave for the New Week #43 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]

Devo via last.fm

NW4NW All Request Month heads into the last weekend of the month with a final flurry of three requests, the first of which comes from Luke Bunting.

There are certain bands that seem to come to everybody's mind when you mention New Wave, bands who even the most casual mainstream listener associates with the term. Some people immediately think of The B-52's while others immediately start mimicking Gary Numan's "Cars." But everyone's short list of New Wave bands includes the world's favorite Spudboys from Akron Ohio!

Clad in matching yellow radiation suits, matching red flowerpot hats, or matching Ken-doll plastic hairpieces, Devo has epitomized New Wave for most people since they first achieved national notoriety cranking out their spastic rendition of "(I Can't Get No) Satisfaction" on Saturday Night Live in 1978. Within two years they would be bringing De-Evolution to the masses via their worldwide hit, "Whip It."

Sadly, most people only remember Devo for those two songs (plus "Jocko Homo," which most folks don't know by title - they just remember the chorus of "Are we not men?/We are Devo/Are we not men?/D-E-V-O"), and in mainstream history they have been relegated to novelty-band status. Even though they never again hit the charts, Devo recorded several excellent albums, as well as a few toward the end of the 1980's that might have been better left unreleased. After taking a hiatus following the Smooth Noodle Maps LP in 1990, Devo reunited a few years back to tour. They have even begun recording again, with their first album of new material in two decades, Fresh, set for a 2010 release.

Devo's influence on contemporaries and on those who came after can hardly be overstated: they helped to pioneer the music video, especially the long video format, via their 1974 production In the Beginning Was the End: The Truth About De-Evolution; they staked out early synthesizer territory from the start and continued to use electronic instruments in new ways throughout their career; they have been the direct impetus for two sequel bands: Dev2.0, an all-kid band; and DEVA, a female-fronted take on the Spudboys' music. Not a bad run for a band of art-school geeks who have been going since 1973, always looking and sounding quite unlike anyone else.

In his request, Luke wrote, "Devo will always be the new wave kings for me." You're not alone in that, Luke - we're ALL Devo! Here they are as the current entry in NW4NW All Request Month performing "Secret Agent Man" from The Truth About De-Evolution (try to ignore the goofy kid intro-ing the clip):

HAPPY THANKSGIVING!

I am continually thankful for my Family and Friends, and the love, support, and friendship you all bring. Whether we get to talk daily or whether we rarely communicate outside of the occasional email, whether you are part of my Family, or I know you through Visions Marketing Services, online, or wherever, know that you and yours are in my thoughts this Thanksgiving. If you are traveling this weekend, please be safe. May your Thanksgiving be a happy one indeed!

New Wave for the New Week #42 BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]

Gayle Fedele, who authors the always entertaining snapshot-of-life blog mom 3 crazy girls, has been a very good friend since our days as undergrads at the University of Richmond, where we became "big brother" and "little sister" to one another through my fraternity, KA. One of Gayle's most endearing qualities is her sometimes dry but often mischievous sense of humor, which is apparent in the exchange we had on Facebook regarding her *ahem* request:


As you can see by my closing admonition, I knew immediately that I would have to figure a way to appropriately respond to this request. I determined there to be only three possible ways to do so:

1. Do a completely straight NW4NW entry, completely ignoring the fact that neither band she asked for have anything remotely to do with New Wave or Punk. Now - confession time - I could do that for ABBA because I actually do like some of their songs: "S.O.S." is one of the catchiest songs ever written. Also, Agnetha and Frida's tendency towards miniskirts is a major plus for the band in my book. But, there is no way I could bring myself to write about Air Supply without tasting bile. Their wimpy soft-rock is, to me, the very antithesis of what music should be. I also imagined the backlash from other readers if I were to write a straightforward post about either band, and quickly decided this was not going to be an option.

2. Write up what appeared to be a straightforward NW4NW entry, but was actually a "rickroll." Don't ask me why, but I always thought the whole rickrolling meme was funny - you expect one thing, but instead get this awful, cheesy '80s video of one of the more insipid songs ever written, and hilarity ensues. But, rickrolling had its moment in the sun and is now kind of passé. If this were 2007, maybe I'd go with this option; since it's almost 2010, I voted against it.

3. Find appropriate cover versions of each band's songs to post, thereby filling Gayle's request while maintaining the integrity of the NW4NW series. Aha! Here was my out of this jam! I knew that there were plenty of excellent covers of ABBA tunes, but I didn't know if I'd be able to find any for Air Supply. As luck would have it, I did find an exceedingly rare Air Supply cover!

So, for my little sister, Gayle, I present the newest entries in NW4NW All Request Month: First, psychedelic power-pop punks Redd Kross covering ABBA's "Dancing Queen;" and then, very rare footage of Blondie performing Air Supply's "All Out of Love!" Hope you enjoy these, Gayle, and thanks for your request!

New Wave for the New Week #41 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]

NW4NW All Request Month continues with our first "repeat performance." When Tom Quinn submitted his request for The Plastics, I replied that it was a fantastic choice! So good of a choice, in fact, that I had already done an entry on them - in fact, they were the very first entry in the series! So, I gave Tom the choice - either he could pick another band, or we'd make them not only the first band covered in the series, but also the first band repeated in the series.

"Go ahead and replay the Plastics." Tom wrote. "They are worthy."

Indeed they are, Tom. Indeed they are! No need to rewrite background info - you can read the original post here, or check out their MySpace page . Instead, here's a variety of Plastics clips to enjoy, including "Copy," "Good," and "Peace":

The Plastics - Copy
Uploaded by guadaloupe. - Music videos, artist interviews, concerts and more.

Now then, didn't they make you smile? Thanks, Tom, for a great request!

(By the way, Tom makes some music himself, as one half of The Mud Pie Sun. Check out their site and their music, especially their cover of X-Ray Spex's classic "Germ Free Adolescents" - great stuff!)

New Wave for the New Week #40 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]

Image by Slick Vic via Flickr

NW4NW All Request Month has hit the halfway mark! My thanks again to all of you who have contributed - many great choices already posted, and many more to come before we're done! We kick off the second half with a request from Jay Sweeney, who asked for what is, to this point, the most recent band to make the NW4NW series.

A fresh blast of musical ideas came out of Boston in the mid-1980s via Charles Thompson IV's band. Along with his University of Massachusetts Amherst roommate, Joey Santiago, Charles began writing songs and creating a band who would become one of the most influential acts on the blossoming college rock/indie scene of the late '80s and early '90s. Charles changed his name to Black Francis, and he and Joey posted an ad looking to hire a bass player who enjoyed both Peter, Paul & Mary and Hüsker Dü. Exactly one person responded to the ad, and even though Kim Deal showed up without a bass guitar (and had never played one before), she was in the band. The addition of drummer David Lovering completed the group, who initially called themselves Pixies in Panoply.

Soon enough, the name was shortened to The Pixies, and before long Francis' choppy, shrieking, aggressive music and Deal's poppier-yet-still-askew melodies were gaining a lot of interest. An initial salvo of three records between 1987 and 1989, Come On Pilgrim, Surfer Rosa, and Doolittle, traced the bands ascension to underground icon status. Juxtaposing loud-and-scratchy with soft-and-gentle years before Nirvana smelled the teen spirit, their sound was startling different from just about everyone else making records at the time. Indeed, Kurt Cobain cited The Pixies as a strong influence on Nirvana's sound; it's hard to imagine much of the 1990s grunge/alternative sound existing without the first three Pixies' records having been recorded.

The Pixies continued on into the '90s themselves, but the working relationship between Francis and Deal soured quickly. Both began exploring side projects: Black Francis underwent another name change, becoming Frank Black and releasing some excellent solo records; Kim Deal formed The Breeders with her sister Kelley Deal and Tanya Donnelly of The Throwing Muses and recorded some fantastic material. But they frankly just didn't like each other very much, and the fractures showed on subsequent Pixies records. In 1993, Francis dissolved the band.

Because their rabid fan base demanded it, The Pixies reunited around 2005 and played intermittently over the next two or three years before splintering again, having not recorded any new material.

Jay's specific request was for one of The Pixies finest songs, the wonderful "Where Is My Mind?" from the must-have Surfer Rosa album. Not only a great song, "Where Is My Mind?" is also an excellent representation of the The Pixies basic sound: electric and acoustic guitars clashing in a scratchy melody, Black Francis howling out alienated image-heavy lyrics, Kim Deal keeping whole thing from careening off into an atonal mess. And so, I present it here as the current NW4NW All Request Month entry. Thank you for this pick, Jay - good choice!

New Wave for the New Week #39 BY REQUEST!

[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]

Image via Wikipedia

Had to smile when I read Patrick Foltz's request, if only because it brought to mind one of the greatest stage names for any band member ever: Fee Waybill (who will forever, in my mind, be battling it out for the "Greatest Name" crown with the keyboard player from The Producers, Wayne Famous.)

It was in 1969 that John Waldo Waybill changed his name to Fee and began assembling a troupe of musicians/performers to create the band that would become The Tubes. With as much focus on their stage show as there was on their music, The Tubes took a little bit from Alice Cooper, a little bit from the emerging UK Glam scene, a little bit from the New York city underground, and created something that was always interesting if somewhat uneven in quality. Over the years since their debut album was released in 1975, The Tubes have hit some incredible highs, but have also bottomed out more than once with crap that should probably have been left in recording studio waste basket.

Still, when they were on the mark, few bands could touch them. Their first splash was the epic six-and-a-half minute single from their self-titled debut album, "White Punks On Dope." A searing parody of the mid-70s rich suburban rock-n-roll kid, it's an awesome record for its time - one of the last gasps of clever rock and roll before the disco malaise set in.

Over the second half of the 1970s, The Tubes released three more studio albums, a live album, and a thoroughly unnecessary "best of" - unnecessarily because beyond "White Punks On Dope" and 1979's stab at radio acceptance, "Prime Time," the rest of their output ranged from poor to mediocre.

By 1981 they found a new record label (Capitol), and had tapped into the New Wave market. They released The Completion Backward Principle, which contains their finest moments: "Sushi Girl" and "Talk To Ya Later" remain staples of New Wave retrospective compilations to this day, and with good reason - both are great songs filled with witty lyrics and classic pop hooks. The album also saw the first Tubes visit to the American Top 40, with the ballad "Don't Want To Wait Anymore" reaching #35.

Two years later The Tubes would have their biggest hit, 1983's "She's A Beauty," which cracked the American Top Ten. Reverting more to their '70s foundation, but with a clear '80s sound, the song guaranteed The Tubes a permanent slot on classic rock formatted radio playlists for eternity. A follow-up album bombed miserably, and The Tubes called it a day.

Patrick specifically asked for the "She's A Beauty" video, and so I am happy to provide it here as the current entry in NW4NW All Request Month - thank you for your request! I'm also including the video for the wonderful "Talk To Ya Later," my favorite Tubes song by far:

She's A Beauty／The tubes
Uploaded by gaimon5656. - Explore more music videos.

New Wave for the New Week #38 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]

Image via Wikipedia

Can you name the hit song recorded in 1984 by Robert Rosen and Ned Liben?

Nancy Foltz can, and she made it her request for NW4NW All Request Month! Nancy was a fellow DJ on our college radio station (WDCE, University of Richmond. ) She wrote, "I was trying to think of something quintessentially new wave (as opposed to an 80s tune that's more dear to my heart)..." She managed to to choose a song that scores on both counts - well done!

Yes, I said she chose a song, not an artist, because in this case, the two are inextricably linked. Rosen and Liben collaborated on one album in support of their massive hit song, and although a follow-up single was released, it went nowhere. No, these guys were simply one-hit wonders, but oh what a hit!

Would it help if I flipped the names around? Ned Liben and Robert Rosen. Still can't name the band? How about if I write it as their names would be listed on the songwriting credit? Liben/Rosen. Not yet? Well, do what they did. Drop the leading consonants from their names and phoneticize the remainder using three letters each:

EBN-OZN.

Remember them? Well, even if the name doesn't ring a bell, if you were anywhere near a radio in the summer of 1984, you know their song: "AEIOU Sometimes Y."

A slinky mish-mash of synthesizer bloops, vocal processing, and danceteria rhythms, the song's insidiously catchy playground-rhyme chorus connected with seemingly everyone that year. It was one of those records that came out of nowhere to conquer the world, even though it sounded like nothing else to make the charts before or since.

Robert Rosen's affected spoken-word vocals tell the story of a date with an "incredible looking Swedish girl" that just doesn't end up well (culminating in the most wonderful usage of the word "Damn!" in music history), while an intertwined lesson about global languages hints at the miscommunication that must have caused the disaster. Brilliant.

As the song raced up the charts, EBN-OZN released a full album, Feeling Cavalier, which will go down in history as the first American album to be recorded completely on a computer. Armed with noting but synthesizers, they created an album that strived to be too many things at once: they flirted with hip-hop, they enlisted mambo legend Tito Puente to play drums on one song, they unnecessarily covered "Rockin' Robin." Resultantly, the album is frustratingly unfocused. The larger problem, though, was underscored by the follow-up single, "Bag Lady (I Wonder)" - they really only had one great song in them, and everything else they did was simply awful. (One exception: the Devo-esque "I Want Cash.")

Thankfully, they didn't take another crack at it. After that one album, they went their separate ways. Robert Rosen changed his name officially to Robert Ozn, formed a club band called Dada Nada (the less said about them, the better), and then got involved in the movie business as a screenwriter and producer. Ned Liben went into record production, working most notably with Scritti Politti. Liben passed away in 1998 after suffering a heart-attack.

But, as EBN-OZN, they had their one shining moment, and thanks to Nancy's request, they are the current entry in the NW4NW series. Enjoy the video for "AEIOU Sometimes Y":

New Wave for the New Week #37 BY REQUEST!

[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]

Next up on the list for NW4NW All Request Month is a request that takes us a little bit outside the boundaries of what you might normally think of when you think Punk and New Wave, although this artist certainly has had influence on many bands who fall under the wide umbrella of the genre. Over on Facebook, when I put the call out for requests, Bruce Laudenberger piped up with this:


I think I caught Bruce a bit by surprise when I replied that I not only knew the song well, but was a fan of Tom Waits and would be more than happy to add him to the request list. But should it be so surprising?

Since 1973's Closing Time LP, Waits has been staking out his own musical ground. The evolution of his acid jazz casualty persona from the gentle singer/songwriter sound of that debut to the crazed, maniacal rantings of his work over the past decade or two has made him an icon to both his admirers and his peers. I won't go into a detailed biography or discography here - there's far too much to cover in both areas, and a few minutes with Google will bring you plenty of information.

What surprises most people, I think, is how familiar they are with Tom Waits songs even if they've never heard Waits himself. "Jersey Girl" was hit for Bruce Springsteen; "Downtown Train" charted for both Rod Stewart and Patty Smyth. More in the vein of the artists considered in this series, his songs have been covered by The Violent Femmes ("Step Right Up"), The Ramones ("I Don't Wanna Grow Up"), Lydia Lunch ("Heart Attack and Vine"), and Elvis Costello ("Innocent When You Dream" and "More Than Rain") among others. Perhaps most stunningly, the actress Scarlett Johansson recorded an entire album of Tom Waits songs with members of The Yeah Yeah Yeahs, TV On The Radio, and even David Bowie helping out!

Waits' signature sound can be found not far off a straight line drawn from Captain Beefheart to Sonic Youth. Swampy blues and whiskey-soaked jazz and folky sensibilities are filtered through a raspy voice harshed by too many unfiltered cigarettes; the eccentrics and oddballs Waits introduces us too in his lyrics and the stories he tells about them are cut from the same cloth as Nick Cave's later character studies. Beginning with 1992's Bone Machine LP, he released a string of jaw-droppingly incredible albums, all of which are highly recommended: The Black Rider in 1993, Mule Variations in 1999, Alice and Blood Money in 2002, and 2004's Real Gone (which includes what be my personal favorite Tom Waits song, "Dead And Lovely"). Waits even appears on Primus' Sailing The Seas Of Cheese LP, supplying the vocals for the title character on the cut "Tommy The Cat."

So, Bruce, I don't think it too far afield to include Tom Waits in this series, and I thank you for your request! In an effort to stay within the spirit of the series, I've chosen a clip of Waits doing a cover of The Ramones song "The Return Of Jackie And Judy." And, since you named a particular song in your request, I've included a clip of Waits performing his classic "Pasties And A G-String" on German television back in 1977. Enjoy!

New Wave for the New Week #36 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]

Virgin Prunes via last.fm

NW4NW All Request Month continues with the first non-Twitter request, courtesy of my brother Marcus. His request also is the first entry in the entire NW4NW series that ventures into the Goth subgenre; in fact, in making his request he points out that "kids these days have NO IDEA what Gothic is until they've experienced these guys," and i daresay I am in full agreement. This ain't The Cure, kiddos...

A group of kids growing up together in 1970s Ireland formed an insular gang of sorts, and gave each other new identities - nicknames by which they would forever be called. Eventually, they all found themselves drawn to musical expression, and from their clan two bands were formed: one band would go on to worldwide fame and global pop-chart domination while the other...well, the other is the band we feature here.

"The Other" is also a pretty good place to start in trying to describe The Virgin Prunes. Going by their adopted names Gavin Friday, Guggi, Dave-Id, Dik, Strongman and Pod (and later involving the equally oddly-monikered Haa-Lacka Binttii and a male drummer/guitarist calling himself Mary), The Virgin Prunes began performing around Dublin in 1977. Their approach was a wildly unconventional mix of performance art, noise, imagery, music and shock theater. Their purposeful blurring of the lines of melody, vulgarity and gender sent many away from their early shows with heads reeling and stomachs churned. By the time the released their first recorded work in 1980, a self-produced single called "Twenty Tens (I've Been Smoking All Night)," their reputation was set as confrontationalist performers. The single was more listenable than most expected, but definitely difficult sonic territory (think of a rougher version of Metal Box-era Public Image Ltd.) Given their name, their sound, and their style, The Virgin Prunes were not going to be a mainstream band by anyone's definition!

A follow up single, "In The Greylight," followed in similar fashion. A bit more structured, it was still far enough out there as to be pretty much inaccessible to anyone not already accepting of their quirkiness. In 1981, the first attempt to capture the live performance aspect of the band in a recording resulted in what one reviewer likened to "a party in Hell." The four-part A New Form of Beauty series (initially released as four separate recordings on 7", 10" and 12" vinyl and a cassette, respectively, then combined as whole for a double LP released in Italy) built on a tense counterpoint between bizarre/ugly and charming/beautiful. Even their quickly growing cult following had difficulty sitting through the whole thing.

Commissioned by the French L'Invitation au Suicide label to create a work based around the theme of insanity, The Virgin Prunes delivered Heresie in early 1982. A boxed set containing two 10" records and half a dozen or so booklets with unsettling prose and imagery that would have shaken Salvador Dali, Heresie is a masterpiece. The first record finds the band making a horrific racket, playing out the roles of lunatics escaped from the asylum and finding themselves in a recording studio, culminating in the majestic and frightening "Rhetoric" and interspersed with childlike sing-songy vignettes and an odd recurring flute; the second record finds the band performing five of their more straightforward songs live in front of a Parisian audience. Stunning, and again difficult, but highly recommended.

Later that same year, The Virgin Prunes released their first formal LP, ...If I Die, I Die. In some ways, it's hard to believe this record came from the same band. It's downright danceable in places! This is The Virgin Prunes at their most accessible, with some of their most well-known songs found within it's grooves: "Baby Turns Blue," "Caucasian Walk," "Sweet Home Under White Clouds" and more. For anyone unfamiliar with the band, this is the place to start, even though it does not contain their biggest single, "Pagan Love Song."

"Pagan Love Song" was also released in 1982, and quickly became a dance club staple in Europe and among the hipper clubs in the US. The unsettling quirks that were the hallmarks of the band's sound are still there, though now buried deeply beneath a chugging bass line and wobbly guitar riff.

After their creative explosion in 1982, The Virgin Prunes began to falter. A second album, Sons Find Devils, was worked on but never released; a collection of rare tracks called Over The Rainbow appeared in 1985; a year later their final studio album, The Moon Looked Down And Laughed, was pretty much panned by even their most ardent fans. A remarkably good live album, The Hidden Lie, was issued in 1987, and The Virgin Prunes were no more. Gavin Friday has since released several solo works in a very non-Virgin Prunes vein, heavily influenced by cabaret music in the tradition of Kurt Weill.

Oh, that other band that was formed from the same group of Irish kids? Well, two of them kept their nicknames as well: one was the brother of Virgin Prunes guitarist Dik, who was given the name The Edge; the other was initially given the name Bono Vox, but he shortened it to just Bono. You may have heard of them. They're called U2.

Marc, I thank you for this request - a great call! For your listening and viewing pleasure, this week's NW4NW is a live clip of The Virgin Prunes performing "Pagan Love Song." Additionally, for those of you feeling particularly adventurous, I'm including the full seven-and-a-half minute "Rhetoric" clip. Enjoy!

"We Will Be Back"

Image by Brian Wilson Photography via Flickr

Those of you who know me well know that this is a tough day, on two counts. First, it's the first of the roughly 100 days between the end of one baseball season and the next year's spring training. Win or lose, it's a down time for me. I can watch and enjoy other sports on a certain level, but I don't care about them the way I care about baseball; there are no teams or players that I love or hate the way there are in baseball; the ability to armchair-manage, to argue strategy, to revel in the intricate detail of the statistical minutiae and grand history of the game just is not there in any other sport. People who don't "get" baseball or dismiss it as boring are missing out on an unparalleled joy!

But this year, there is a second reason today is a tough one. The Repeat (capital "R") didn't happen. The debt was not repaid. The Philadelphia Phillies - my Philadelphia Phillies - lost the World Series.

First of all, congratulations to the New York Yankees. They and their fans are celebrating their 27th World Series victory in the history of their franchise. They came to the Fall Classic this year determined and driven, and they played like champs. Though I cannot stand A-Rod or Jeter, I have to tip my cap to their team.

But do note my wording: I didn't say the Yankees won the Series; I said the Phillies lost it. The Phils' two victories, both with Cliff Lee on the mound, were played the way the Phillies played all year: like a team destined for glory, but realizing they better not slack off lest that glory be snatched from them. But for the other four games, the Phils played like a team that could barely be bothered to show up. They were sluggish and unexcited. Their defense was questionable (how can third base be left unmanned on a ninth inning play at the Major League level, much less in the World Series?), their pitching was unreliable (Cole Hamels and Brad Lidge, who both dominated last year's World Series, were horrible in their respective outings this time around), and their offense seemed to be stepping into the batter's box without bats. It was excruciatingly hard to watch, and almost a blessing to see it finally end.

The Phillies are still my team, and though I may be critical of how they played in this Series, I gotta say the past few years taken as a whole have been a fun ride: three straight NL East Championships, two consecutive National League Pennants and their first World Series Victory in nearly three decades (and only their second World Series win EVER) is not too shabby a run. This team has a lot to be proud of. They have surpassed the legendary late-seventies Phillies of Schmidt, Luzinski, Bowa, Boone, Carlton and McGraw. They have already been more successful than any other Phillies team in history, and the team is still young! The core players - Utley, Rollins, Howard, Werth, Victorino - all have prime years ahead of them. The veterans like Ibanez and Lee have at least one or two good seasons left in them. And Charlie Manuel may be the best manager the club has ever had; at the very least, he knows how to motivate this particular team. This run is not over yet!

So, yes, it's a tough day today, but it's not a sad one. In his post-game press conference last night, Manuel said, "I'll tell you something, we will be back. As MacArthur said, I guess, we will be back." I have no doubt they will, and I'll be cheering them along the whole way. And I hope the Yankees will be back, too, for the rematch, and so we can finally repay the debt of the 1950 Series - and maybe make up for this year's as well.

New Wave for the New Week #35 BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]

Our second entry for NW4NW All Request Month comes to us via Michael Esposito (@esposimi), who chimed in on a Twitter music discussion recently with a link to the song "Straight Lines" by the band New Musik.

The American music industry never really did quite figure out how to market all of the new artists and new sounds bubbling up from the underground in the late 1970s and early 1980s. Sure, some records found their way to the mainstream (Devo's "Whip It," Gary Numan's "Cars," The Vapors' "Turning Japanese," etc.), but despite their popularity, they were generally relegated to novelty one-hit status. In 1980, CBS Records came up with an innovative marketing campaign launched through their Epic label that, had it been better focused, might have been the perfect vehicle to liven up commercial tastes: a series of releases called NU-DISKS.

NU-DISKS were 10" records with fewer songs than an album, priced at $5.00 per record rather than the going price for full LPs at the time, which was in the $8.00 - $10.00 range. The theory was that people would be more likely to part with a fiver to try a band they hadn't yet heard on the radio than they would be to plunk down for a whole album. The odd size of the records, coupled with their futuristic neon graphics, would set them apart from the stale old formulaic albums stuffing the record racks. This would be CBS's outlet for their New Wave acts!

Unfortunately, CBS was not adept at defining "New Wave." Nina Hagen and Propaganda (the British power-pop band, not the more well-known German synth group) each released NU-DISKS - they certainly fit the bill. The best known of the NU-DISKS were The Clash's Black Market Clash and Cheap Trick's Found All The Parts. But then there were also NU-DISKS by glamster Gary Glitter and old British rockabilly fogie Shakin' Stevens - hardly "new" much less New Wave! After about a dozen releases, the NU-DISKS campaign collapsed.

One of the real gems of the NU-DISK series, though, was an unassuming four-song set from the South London band New Musik called Straight Lines. New Musik had recently released a full album, From A To B, and two singles from that album had made a small dent on the UK charts: "Straight Lines" and "Living By Numbers". Their NU-DISK combined those two singles with their respective b-sides into a handy little introduction to the band's sound.

That sound was rather indicative of frontman Tony Mansfield's day job as a record producer and sometime session musician. Fundamental pop song structures with odd little studio tweaks surfacing now and again to give a just slightly off-kilter feel was New Musik's approach, and while they may never have had huge success themselves, Mansfield would later take that formula into production work for other artists like Naked Eyes, Aztec Camera and After The Fire and see great chart success both here and abroad.

My favorite of the two singles New Musik released in 1980 is the second, "Living By Numbers." Thanks to Mike's request, it is the newest NW4NW entry! Enjoy:

New Wave for the New Week #34 BY REQUEST!

[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]

Image via Wikipedia

Ken Mueller (@kmueller62 on Twitter) was, quite inadvertently, the impetus for NW4NW All Request Month when he provided me with a list of suggestions for NW4NW entries - some I already planned to write up, and some I hadn't thought of, but good choices all. I asked him to select the one he wanted to choose as his "official" request, but he could not decide between two of his favorites. I flipped a coin, and we now kick off NW4NW All Request Month with Ken's request, the wonderfully goofy Klark Kent...er, Klerk Kant...er, well, let's see if I can explain:

"Klerk Kant", as appears to be his name, first came into my life as he was sitting next to me on the Concorde flight from Washington, D.C., to London. Speaking in what he claimed to be his native Sanskrit, he explained that he had been in Washington testifying before a congressional committee on church politics. His expertise in this subject had been attained while studying in a Moslem seminary in India. He underlined his religiosity (he claimed to be a "Sufi", a kind of Islamic mystic that is rarely seen on the Indian sub-continent) by saying his noonday prayers in the aisle of the jet airplane, jostling the stewardesses as they were trying to serve lunch, and annoying the passengers with his shouts of "Which way is Mecca? Which way is Mecca? Which way is Mecca?" while shifting his body to accommodate to the turns in the direction of the aircraft.

Later, he confessed, in sub-standard broken English, that he was "a mere computer programmer", currently out of work but living on the sum of one million four hundred thousand dollars which he had won from I.B.M. in a successful suit against the company for stealing his "invention". He was most secretive about the invention ("Do you want me to sue you?" he asked coyly when I questioned him about it), but he adumbrated the notion that it had to do with capturing radio signals from distant galaxies, systematizing them through computer analysis, and reducing them to simple melodies which he played on the various instruments on which he is proficient.

So sayeth the liner notes to the debut album by the artist known as Klark Kent, Music Madness From the Kinetic Kid, released on the I.R.S. label in 1980. Consisting of eight cuts of hyperkinetic lightweight New Wave bubblegum, the 10" record was pressed on green vinyl and released in a 12" sleeve die-cut to the shape of the letter K. Well, wait, I need to clarify: the album was released in the US and the UK by Klark Kent; in Japan, it was released with the artist credit going to Klerk Kant, as a full 12" record in a non-die-cut sleeve, and with two additional songs added. Seems there were some copyright issues to be dodged in Tokyo...

A single, "Don't Care," had appeared two years earlier and quickly shot up the UK charts, peaking at #28 there. Almost nothing beyond the bizarre bio retold in the album's liner notes was known about this Klark Kent/Klerk Kant fellow when he was invited onto the BBC's Top of the Pops program to lip-synch his hit, which he did in an odd green mask, supported by a band of masked mates. "You're probably wondering why I'm wearing this mask," he intoned toward the end of the performance. "Well, because underneath the mask, the true identity is revealed!" Indeed, something seemed awfully familiar about this guy...just what was going on here?

Further mucking up the waters, the I.R.S. label released a wonderful compilation album of their own artists, I.R.S.'s Greatest Hits Vols. II & III, which included two songs from this mysterious persona: one of which, "Office Girls," was only available on the Klerk Kant version of the Music Madness From the Kinetic Kid album but was now being credited to Klark Kent; the other, "Thrills," was on the original Klark Kent version but was now being credited to Klerk Kant - both variations of the name on the same compilation! No other artist had more than one track on the two-record set, so the label was clearly indicating that Klark Kent and Klerk Kant were not the same, even though they obviously were.

Of course, it was all hooey. The names, the bio, the supposed confusion and mystery - all a big loony joke perpetrated by Stewart Copeland, drummer for The Police. Looking for an outlet for songs he had written that didn't fit the ever more pretentious Sting's view of what The Police were as a band, Copeland created the whole Klark Kent identity with his brother, Miles Copeland, who just happened to be the head of I.R.S. Records. Word got out (was intentionally leaked?) that Mr. Kent was Mr. Copeland in disguise, and a second single, "Too Kool to Kalypso," which was not found on any version of the album, began getting all sorts of airplay. A third single, "Away from Home," was released, this one from the LP, but the goof was over. Or was it?

In 1995, all of the original Klark Kent/Klerk Kant tracks were compiled into a retrospective CD, Kollected Works, which nowadays goes for a pretty penny if you can find it. Around the same time, a new Klark Kent recording appeared, a Christmas song called "Yo Ho Ho." Will Copeland ever revive the Klark Kent name again? Who knows?

In the meantime, enjoy the first in a string of requested entries to the New Wave for the New Week series, Klark Kent performing "Don't Care" on Top of the Pops. My great thanks to Ken for this excellent request!