new wave

Madness | Coldest Day

“While a keen feature of London’s musical tapestry, Madness seem to have bottled whatever the British spirit is, unmistakably moulded by the nation’s working class households, terraced streets, and enthusiastic embrace of Caribbean cultural import in keeping with the rest of the Two-tone generation,” (Far Out Magazine). “There’s an infectious invite to Madness at their best, which has assured pop ubiquity ever since, any spin of their hits letting you in on the Nutty gang’s weird world.

Fundamentally, Madness are fantastic popsmiths … the lads wielded a strange ability to report on the lay of the land, even with the grey bits left in … Madness can often pull the rug up while still larking about in fezzes, a bouncy ska number can easily jump into a peek at urban malaise, poverty-induced crime, or racial tensions via their tattered, Beano lyrical lens.

As the 1980s rolled by, so did the studio toys. While never completely losing themselves in the decade’s production trends and digital gadgets, a little of that sophistipop gloss trickled into Madness’ sounds … there’s plenty to enjoy from (1985’s) Mad Not Mad’s vivacious offering … Madness dwell in a deeper introspective realm than fans were used to.”

After beginning in G minor, “Coldest Day” a pre-chorus in F major(ish) kicks in at 0:26. The 0:45 arrives as the chorus shifts to E minor via some thoroughly Madness-style flourishes, despite the tune’s prominent synthetic drums and decidedly non-Ska groove. 1:10 brings a return to G minor; more shifts continue from there.

Many thanks to Julianna A., a longtime contributor from Brazil, for submitting this distinctive tune!

The Jam | Absolute Beginners

“The Jam were the most popular band to emerge from the initial wave of British punk rock in 1977; along with the Sex Pistols, the Clash, and the Buzzcocks, the Jam had the highest impact on pop music,” (Qobuz). “While they could barely get noticed in America, the trio became genuine superstars in Britain, with an impressive string of Top Ten singles in the late ’70s and early ’80s. The Jam could never have a hit in America because they were thoroughly and defiantly British … More than any other group, the Jam kept the tradition of the three-minute, hook-driven British guitar pop alive through the ’70s and ’80s, providing a blueprint for generations of bands to come.

Under the direction of guitarist/vocalist/songwriter Paul Weller, the trio spearheaded a revival of mid-’60s mod groups, in the style of the Who and the Small Faces. Like the mod bands, the group dressed stylishly, worshipped American R&B, and played it loud and rough. By the time of the group’s third album, Weller’s songwriting had grown substantially, as he was beginning to write social commentaries and pop songs in the vein of the Kinks … as the Jam grew more popular and musically accessible, Weller became more insistent and stubborn about his beliefs, supporting leftist causes and adhering to the pop aesthetics of ’60s British rock without ever succumbing to hippie values. Paradoxically, that meant even when their music became more pop than punk, they never abandoned the punk values — if anything, Weller stuck to the strident independent ethics of 1977 more than any other punk band just by refusing to change.”

“Absolute Beginners” (1981) begins in D major; at 0:53, the chorus shifts down to B major, but the tune ends decisively in E major. Despite not getting much airplay in the US, the video couldn’t adhere any more closely to the standards of the earliest days of MTV, featuring over-exposed, over-lit footage.

Scritti Politti | Bam Salute

“… to these ears, Provision (1988) is an almost-perfect follow-up to the classic Cupid & Psyche ’85,” (MovingTheRiver). “There’s arguably more cohesion – (vocalist Green) Gartside and keyboard-playing cohort David Gamson co-wrote and co-produced all tracks (no Arif Mardin this time) and the guest spots from Miles Davis, Roger Troutman and Marcus Miller are expertly placed.

‘Sweetness’ is the word that seems to follows Scritti around. And despite containing two classic ballads (‘Overnite’, ‘Oh Patti’), Provision is unashamedly happy music – all the songs are in major keys … And is there a Grammy award for arrangement? If so, Provision should have won. Gamson and Green do some intricate things here with backing vocals (check out ‘Bam Salute’), rhythm guitars and synth syncopation. No-one else has really explored similar areas, including the greats of ’80s R&B. No wonder Miles was a bit obsessed with Scritti.

Provision missed the top 100 in the States but made the top 10 in the UK (selling over 100,000 copies) and produced one top 20 hit in ‘Oh Patti’. Writer Nick Coleman gave the album a 9/10 rave in the NME, calling its songs ‘sweeties to rot your teeth and detonate your heart.'”

Starting in C major for the verse, “Bam Salute” both tumbles and climbs(!) into its D major chorus at 0:54. At 1:17, the next verse returns us to the original key. The pattern continues from there. Throughout the track, the solid reggae-inspired groove fights for top billing with polished synths effervescing with syncopated kicks.

Devo | Girl U Want

(In 1980), American art-rock band Devo released their breakthrough record, Freedom of Choice,” (Variety). “The album not only spawned the new wave smash ‘Whip It,’ but the full-length still stands the test of time, with singles such as ‘Girl U Want’ and especially the title track, still resonating today with fans … “

Devo member Gerald Casale: “‘Whip It’ was a fluke. Warner Brothers put all their chips on the first single, ‘Girl U Want.’ They released that first, and it just stiffed. Then suddenly this guy named Kal Rudman [the founder of Friday Morning Quarterback, a noted radio trade publication that covered the radio and broadcast industry] — he was a regional programmer, he had a tip sheet, and this was a guy who had ears — he actually listened to the albums people sent him. And on his own, he decided that he loved “Whip It” and started playing it. Warner Bros. wasn’t sending him money to play it; he just loved it. And it took off down south first, then quickly spread up the east coast and by the time it hit New York, it was over. We had to recalibrate our whole tour that year, and we suddenly were no longer playing 400-seat clubs; instead, we were playing 2000-5000 seat venues.'”

During the verses of “Girl U Want,” the melody is in an ambiguous, colorless key of “E” (outlined by the persistently spiky flatted seventh in the melody co-existing with the prominent natural seventh in the accompaniment). 1:16 brings a shift to a more settled C major for the bridge. The pattern continues from 1:26 — until the unresolved ending suddenly drops off a cliff.

The Style Council | You’re the Best Thing

“In 1982, Paul Weller disbanded The Jam at the height of their popularity, citing a desire to pivot toward using a more soulful approach to his music,” (Albumism). “He felt The Jam were stuck in a rut and not growing as a band. Bassist Bruce Foxton and drummer Ric Buckler did not share this opinion and the split took them by surprise. To this day, Buckler and Weller are not on speaking terms.

In 1983, Weller enlisted keyboard player Mick Talbot, who previously had stints in Dexys Midnight Runners and The Merton Parkas to form The Style Council. To round out the lineup, The Style Council used a rotation of studio musicians and guest stars like Tracey Thorn and Ben Watt from Everything But the Girl, forming a unit known as the Honorary Councilors. With this new group, Weller was able to branch out and experiment with soul, jazz and pop in a way which was not possible with The Jam.

‘You’re the Best Thing’ is The Style Council’s homage to the ‘70s soul, slow jam era. It borrows themes from popular R&B songs from the previous decade and puts Weller’s spin on it.” After an intro and two breezy verses in E major, 1:18 brings a whole-step shift upwards to F# major. At 1:41, an interlude returns us to E major. The pattern continues from there.

The Cars | Panorama

“Fans were expecting more upbeat new-wave hits on The Cars’ 1980 LP Panorama. What they got was something far darker and more exciting,” (Goldmine). “After achieving commercial success with their first two albums, The Cars (1978) and Candy-O (1979), American new wave/pop combo The Cars decided to take a left turn when it came time to begin work on their third album, 1980’s Panorama … while the music still had its inherent pop-iness, it was much darker in sound and lyrical matter … the band won the ears of both fans and critics alike with their first two albums … but fans and critics were left scratching their heads, particularly with the more avant-garde sounds on Panorama that were unlike anything heard on the band’s previous outings.

… Around the same time as the band began working on the album … synth pop was in its infancy and would soon come to dominate the early 1980s climate, with bands such as Ultravox, Devo, and Gary Numan all leading the charge in experimenting with the new sounds of synthesizers. The Cars were tapping into the zeitgeist; Panorama would see Easton’s previously upfront guitar take a back seat to the keyboard and synthesizer sounds of The Cars’ Greg Hawkes … Panorama was released August 15, 1980 … and reached #5 on the Billboard chart in September of that year … it was systematically panned by critics … (But as guitarist) Elliot Easton affirmed, ‘I look at it as our third album. Honestly, we just made this stuff up as we went along. There was no grand plan beyond making the best music we could.'”

Right out of the gate, the title track’s harmonies teeter between Bb major (with an emphasis on the flatted seventh degree of the chord, Ab, in the guitar line) and a colorless G chord during the intro — with no clues as to which chord should predominate. The verse then falls down into F# minor at 0:27. The brief chorus arrives at 1:11 in B mixolydian, followed by the next verse (1:22) in F# minor. The pattern continues from there. A long outro starts at 3:24 with a few shifts back and forth between B major and Bb major. The track ends by dropping off a cliff with a colorless E chord at 5:39. But these key changes, low in traditional harmonic progressions, speed by without much impact. Instead, the relentless groove, angular melody, and uniquely American slice of New Wave’s sonic palette and visual style were clearly the stars of this show.

Wang Chung | To Live and Die in L.A.

“… A strong case can be made that To Live and Die in LA is (director William) Friedkin’s masterpiece … Friedkin (director of The French Connection and The Exorcist) gave the British pop group, Wang Chung, near free rein and the results chime perfectly with the gritty neon tinted vision of a city enslaved by Reagan era greed,” (Sense of Cinema). “The title track lays down the unsparing tone in the pre-credit opening. A presidential motorcade moves through the sun scorched streets towards a Beverly Hills hotel. Cut to night time; President Reagan can be heard giving a speech advocating tax cuts to a well-heeled banquet room crowd as his security team warily moves through the hotel …

With its fatalistic lyrics (‘I wonder why we waste our lives here / When we could run away to paradise / But I am held in some invisible vise’), the title track is not so much a love theme as a requiem for the casualty rate that ensues in the film. The song makes clear that Los Angeles in the mid-‘80s is a place whose glamour is out of reach for most inhabitants, but addictive all the same … Wang Chung’s music makes the film’s resonance with the grotesque Malthusian tenor of Trump’s America all the more haunting, but mercifully tinged with a hint of grace and absolution.”

Within the overall bounds of 1980s pop, the film’s atmospheric theme song “To Live and Die in LA” (1985) couldn’t be much more different from Wang Chung’s marquee hits (the relentlessly energetic “Dance Hall Days” and “Everybody Have Fun Tonight”). The intro starts in F minor and transitions to a verse in Bb minor (0:32), punctuated by a rapid-fire, percussive keyboard hook. After a grand pause grants us a moment to breathe, a gentler chorus begins at 1:09, shifting among several tonalities. At 1:31, the pattern repeats with another verse, followed by another chorus at 2:16. In the middle of an interlude (2:42), the track climbs up a whole step to G minor, for another verse and chorus (3:05). From 3:27 to the track’s end, we’ve returned back to the original F minor for an outro/chorus.

Duran Duran | The Reflex

“All too often, transformative acts don’t score their first #1 singles until the party is almost over,” (Stereogum). “Duran Duran may have been the peak early-MTV group, the band whose flashy and pouty and colorful visual presence came to stand in for a generational shift in pop-music tastes. Perhaps because of that radical newness, it took a little while for American radio to embrace Duran Duran — or, at least, to embrace them tightly enough that one of their singles finally fought its way to #1. By the time that happened, Duran Duran had already started to bloat, and the giddy charge of their best records had begun to dissipate … already well into their tax-exile phase, spending too much money to overthink their drum sounds and to wonder whether they really wanted to cause any more teenybopper mob scenes …

Readers of this column have informed me that Birmingham, the town that birthed Black Sabbath and Electric Light Orchestra and Dexys Midnight Runners, is not, in fact, a Northern town, that it’s really a Midlands town. But wherever Birmingham exists on the English map, it’s not a particularly glamorous place. Thankfully, nobody told Duran Duran … ” (The band’s third studio album, 1984’s Seven and the Ragged Tiger), “isn’t breezily, gloriously ridiculous, the way that Rio was. Instead, it was ridiculous in some of the wrong ways.”

“The Reflex” begins in G minor, shifting to D major for the chorus (first heard from 1:22 – 1:51. Well, D major … more or less, since at several points during the section, there’s a prominent F major chord. In fact, F major is the final chord of the chorus, functioning as a bVII to the G minor verse as the bass line walks chromatically back up into its original key. As Stereogum summed it up: “… grand, ultra-produced, too big to fail.”

Dexys Midnight Runners | Come On Eileen

“Context is a funny thing. In the UK, Dexys Midnight Runners were a troubled institution — a chaotic young band who couldn’t stop breaking apart and reforming and who still managed to tap into some dizzy zeitgeist more than once,” (Stereogum). “In the US, Dexys are classic one-hit wonders: Scraggly and goofy-looking British weirdos in overalls who were all over MTV for a couple of months and who then disappeared forever. On two sides of the Atlantic, this one band has two vastly different legacies.

But where ‘Come On Eileen’ is concerned, the greater context of Dexys Midnight Runners almost doesn’t matter. The effect was the same. ‘Come On Eileen’ was a #1 hit in both countries, and it remains a fondly remembered piece of pop-music history. You could revere ‘Come On Eileen’ as a classic, or you could see it as an embarrassing little short-lived gimmick. Either way, when you’re three drinks deep and ‘Come On Eileen’ comes on at the bar, you’re singing along.

A big part of the charm of ‘Come On Eileen’ (1983) is Rowland’s voice. He’s clearly not the soul singer that he wants to be, but he doesn’t let that stop him. He yelps and wails as hard as he can, and his Northern English honk bulldozes through all the strings and horns around him. When ‘Come On Eileen’ turns into a big mass singalong, it finds a certain drinking-song grandeur … it’s an elegantly written song about real, intense feelings, and it’s got a monster hook. Besides that, a mass singalong remains a joyous thing. I’ve had nights that were greatly improved by the existence of ‘Come On Eileen.’ You probably have, too.”

After beginning in C major for the intro and first verse, the chorus shifts up to D major at 1:07. At 1:28, the original key returns for an interlude mirroring the intro, then another verse. The two keys continue to alternate from there. Our regular contributor JB suggested this tune, but first-time contributor David J. did as well. Many thanks!

Nik Kershaw | Wild Horses

“Rushed to market to capitalise on the white-hot momentum of his debut, Kershaw had just two weeks to write and record the demos for Human Racing’s follow-up (The Riddle, 1984). While The Riddle has its flaws, it’s a tribute to the songwriter that he managed to get this over the line at all,” (Classic Pop Magazine). “The fact that album two is amongst the most consistent of his career is even more noteworthy.

The success of Human Racing had spread across the Atlantic, too, with its jazz-pop-prog stew turning the heads of Miles Davis and Herbie Hancock … However, Nik’s jazzy background remained at odds with the marketing department’s teen heart-throb vision of him at MCA – Smash Hits called him ‘the thinking man’s Limahl’ and that’s Kershaw looking all moody at Chesil Beach in Dorset on the cover, a cut-price The Joshua Tree (U2) if you like.”

After a verse built in C major, the chorus shifts up to D major at 0:57. But between the two is some unsettled key-of-the-moment territory (0:41 – 0:57). The patterns continue from there until 3:17, when the a late half-step key change closes the tune.