Tag: new wave

Orchestral Manoeuvres in the Dark | If You Leave

“When you hear the swirling synths and clattering beat that open ‘If You Leave’ by Orchestral Manoeuvres in the Dark (OMD, for short), you just might be transported to some long-ago theater, or maybe back to nights at home with the VCR running,” (American Songwriter). “Or maybe, just maybe, you’ll recall the nervous excitement of a high school dance. This ‘80s anthem has a way of evoking nostalgia for that era like few other songs. In fact, the song is such a perfect example of desperate romanticism that you might imagine it to be one that was toiled over for weeks in an effort to make it the perfect fit for what would turn out to be an iconic movie scene. But what if we told you it actually was written and recorded in the span of an evening or so?

… Luckily, one of (OMD’s) U.S. fans was John Hughes, the noted writer and director … He contacted OMD to submit a track for his 1986 film Pretty in Pink … In around 14 hours, Andy McCluskey and Paul Humphreys wrote ‘If You Leave’ and created a rough mix. Once Hughes heard it the next morning, he was blown away, which meant that OMD had to get back to the studio on just a few hours sleep to polish up the track for an official recording … Even though it was rushed and put together without any kind of forethought, ‘If You Leave’ delivered just what OMD wanted. The song went to the Top 5 in the U.S., and it hasn’t ever quite departed from the public consciousness since … they ended up with a stone-cold classic …”

The tune is built around such a simple melodic idea (re-mi-do) carried from the verses into the chorus, paired largely with a cliché chord progression (I-vi-IV-V or I-IV-V-IV), that it’s difficult to imagine how this tune could work without a key change. No need to worry — there are ten! Starting with a shift from F major to D major before the vocal even makes an appearance (0:17), various sections of the tune shift among the keys of F, D, G, and E major.

Nik Kershaw | L.A.B.A.T.Y.D.

After his polished New Wave/sophistipop sound gave him a fast ascent to the top of the UK pop charts and some notoriety in the US as well, Radio Musicola (1986) “was Nik Kershaw’s chance to … deliver a big-budget, endlessly-fussed-over studio ‘project’…” (MovingTheRiver). “Perhaps unsurprisingly, given his meteoric rise to fame, the main themes of the album are press intrusion and tabloid sensationalism … in a neat irony, the rise of technology-led, assembly-line music was also in Kershaw’s sights, despite Musicola making liberal use of all the latest sampling and synthesizer technology …

An interesting album which clearly fell between the stools of art and commerce, Radio Musicola reached a barely believable #46 in the UK album chart, just over a year after Kershaw had played Live Aid. It disappeared without trace in the US … But Kershaw didn’t seem bothered about his new ‘selective’ popularity; in fact, he seemed genuinely relieved, but wondered how MCA were going to sell him now that he was focused on being a musician rather than a pop star.

‘LABATYD’ (Life’s a Bitch and Then You Die) is pure class, a half-time shuffle …” Starting in E minor and marching in place for nearly an entire minute, the track’s initial focus is its infectious groove. But at 0:53, Kershaw throws a spanner in the works, tumbling the chorus into an improbable Eb major. 1:21 brings us back to E minor for another relatively static verse, this time dressed up with a few additional flourishes from the horn section. At 2:13, we jump the tracks again into Eb major for the next chorus. At 2:48, an instrumental chorus wafts up into E major; as the groove is finally extinguished, a C lydian chord closes the tune at 4:00.

XTC | Sgt. Rock (Is Going to Help Me)

“For decades, British art-rock chameleons XTC occupied an awkward space in the musical landscape; underappreciated songwriting geniuses too quirky for mainstream success but not edgy enough for alternative acceptance,” (LouderSound). “Slowly, over the years, this opinion changed. Dozens of artists began to list them among their songwriting inspirations, and their music became accepted as some of the most influential and innovative in rock’s history. Now, thanks to a glut of glorious sounding remasters courtesy of prog posterboy Steven Wilson, along with recent Sky documentary XTC: This Is Pop, XTC and their catalogue of incredible music have been propelled back into the public eye.”

“Sgt. Rock (Is Going to Help Me)” was included on XTC’s best-of compilation Waxworks (1982) and otherwise available only as a single. Andy Partridge, XTC’s lead vocalist and a principal songwriter, provided this capsule review for the album: “Spooky, unreal, dripping and unstable. The thrills and horrors of modern life in three-minute scenarios,” (Chalkhills.org). “Sgt. Rock” doesn’t inspire any affection from Partridge: ” … All the instruments in the track mesh nicely enough, but the lyrical sentiment, oh dear. It was supposed to be ironic, you know, nerdy comic fan imagines two-dimensional hero can help him with his unsuccessful chat-up technique. It did not work.”

But even a throwaway track, by XTC’s standards, still made for catchy college/indie radio material. The stiff guitar-driven swing somehow fits the mockingly martial lyrics. The track begins in F major but shifts to a bridge in Ab major between 2:10 and 2:27. The performers are miming to the studio track, not playing live, in this Top of the Pops-style performance.

The Tubes | Let’s Make Some Noise

“… I was happy to hear the band cash in on their talent,” (Propography.com). (The band’s 1981 album) “The Completion Backward Principle benefits from good packaging (the band re-envisioned as a business, which wasn’t much of a stretch at this point) and great production from David Foster, who also co-wrote many of the songs. It isn’t a concept album … just a collection of songs that seem to take their inspiration from a bad day of TV programming (are you getting the sense they were watching too much television?): serial killers, giant women, amnesia.

Is The Completion Backward Principle a sellout? The answer probably depends on who you ask. Capitol didn’t bring in David Foster to make another convoluted concept album, yet The Tubes weren’t ready to become Toto 2.0 just yet. That said, lampooning the business side of the music business doesn’t change the fact that The Completion Backward Principle is (good) product.”

The album’s closing track, “Let’s Make Some Noise,” represents the glossiest New Wave/pop edge of the veteran band’s broad sonic range. The synth-heavy arrangement also makes good use of the band’s strong vocal firepower, with nearly all the personnel pitching in on backing vocals behind frontman Fee Waybill’s lead. After an intro and verse in D major, the verse shifts to C# minor (0:43). The pattern holds for verse 2 and chorus 2. At 2:04, the chorus shifts up a whole step to D# minor.

for Eric

This second video shows the band in the full simulated corporate regalia which was the centerpiece of the album’s concept. Album promotion via simulated industrial film(?) Why not?

Thomas Dolby | Radio Silence

“In popular culture, the term ‘renaissance man’ can often be overused or even misused, but in the case of Thomas Dolby, the term has a lot more validity than the casual fan could ever imagine,” (PopMatters).”His (2016) memoir, Speed of Sound: Breaking the Barriers Between Music and Technology, goes a long way in making a case for Dolby to adopt this title.

In the early ‘80s, Dolby was an inescapable fixture of MTV’s playlists, with his novelty techno-pop hit ‘She Blinded Me With Science’ ruling the video airwaves and pop charts.” Setting the scene for his later career, the UK native saw early gigs by “everyone from the Clash to Elvis Costello to XTC” as a teen. He later played keyboards with the Camera Club, Lene Lovich, Herbie Hancock, and George Clinton; co-wrote and produced the first platinum 12” hip hop single, “Magic’s Wand” by Whodini; was chosen by David Bowie as the keyboardist at the UK half of Live Aid; created original music for feature films produced by George Lucas, Steven Spielberg and Ken Russell; and his keyboard work was a central feature of Foreigner’s smash hit album IV (most notably the single ‘Waiting for a Girl Like You’).

Illustrating Dolby’s bleeding-edge vantage point in terms of 1980s tech, “while riding his tour bus through the Nevada desert, (he was) forced to pull over and use a gas station phone booth as a primitive modem for uploading demo files to Michael Jackson.” Dolby was “an ‘80s pop culture Zelig, dropped into the zeitgeist with a bit of a deer-in-the-headlights attitude.” After retiring from the pop music business, he founded a company which was pivotal in the early days of the development of cell phone ringtones; served as the Music Director for TED Talks for over a decade; and is now a professor of Music for New Media at Johns Hopkins University.

“Radio Silence,” a track from The Golden Age of Wireless (1982), pivots around in terms of its tonality throughout. Meanwhile, the video treats us to a neighborhood tour of decades-old radios as we hear synthesis that was state-of-the-art for its time: retrofuturism sets Dolby’s stage here as usual. The harmonic shifts are perhaps the clearest during the outro, when the panoply of shiny synth textures has settled down a bit. 2:59 is in F# mixolydian, shifting at 3:12 to D mixolydian; the two keys alternate as the track fades.

Bleachers | I Wanna Get Better

“I Wanna Get Better,” released in 2014, was the debut single of the indie band Bleachers, fronted by Jack Abramoff. ” [I see this song as] the story of my existence so far and a lot of the things I struggled with,” Abramoff said in an interview with Rolling Stone. “A lot of things on the album, including this song, are about loss…It feels joyous, but for me it’s very desperate.”

Abramoff recorded all the instruments himself in addition to singing the lead vocal. The track was critically acclaimed and remains the group’s #1 song. It begins in E and modulates very briefly up a step to F# major at 1:52 before returning to E at 2:02.

Squeeze | Up the Junction

Squeeze’s “Up the Junction,” released in 1979, “is an unusual song in that it has no chorus, and the title appears only in the last line.” (Songfacts). “When Chris Difford wrote it, the song had about 16 verses. Glenn Tilbrook, Squeeze’s other guitarist: ‘The lyric was a story that had no obvious repeats, and I thought it read perfectly well as it was. I was thinking of something like Dylan’s ‘Positively 4th Street‘ as a template when I wrote the music.’ Difford explained: ‘I imagined it would never be a hit and we’d have to take it off the album. And the record company said that they disagreed, and it was that second #2 record (after ‘Cool For Cats’)…’

‘Up The Junction’ is a British phrase meaning you’re screwed. In this song, a guy gets his girl pregnant, becomes a drunk, and is left on his own when the girl leaves him and takes the child. The song begins with the couplet I never thought it would happen/ With me and the girl from Clapham. Difford recalled to Q magazine: ‘I still can’t believe we rhymed that, but the language in the song reflects the way we used to talk to each other. Glenn’s is an extraordinary collection of chords and the riff is unforgettable. The first time we played it I remember thinking, God, this is great. It was everything I loved in music – Bob Dylan in a sweet wrapper.’

After a start in E major for the first group of the long collection of verses, the bridge arrives at 1:10, shifting to D minor halfway through (1:19). At 1:30, the next verse enters in D major before rising back to E major at 1:50.



Lene Lovich | Blue Hotel

Lene Lovich, born Lili-Marlene Premilovich, “is an American singer, songwriter, and musician of Serbian and English descent based in England,” (Sputnik Music). “Back in the autumn of 1978, when Stiff Records mounted its second major assault on the British music biz, Lovich stood out … with her outlandish dress, colourful coiffure and mannered, theatrical delivery, using her voice no differently than the sax she occasionally tooted,” (StevePafford.com) … (She was a) one time sculpture student at London’s Central School of Art … Lene’s leftfield output was at the perfect foundational example of the burgeoning New Wave. An amalgam of baroque and Euro-cabaret, her slightly pixilated pop arrangements laced with splashes of synthesizer and organ …

… What at the time seemed a bit outre, even gauche was, by the early Eighties, adopted whole or in part by rafts of aspiring bands. Where once Lovich was likened to Patti Smith for lack of even vaguely comparable new wave female singers, she now had her own ‘school’ of followers – although many people have no idea she was there first.”

Following on a cover of “I Think We’re Alone Now” (1978), “Lucky Number”
(1978), and the Thomas Dolby-penned “New Toy” (1981), “Blue Hotel” was released in 1983 on Lovich’s album No Man’s Land. The video for the track was certainly not among those with the highest production values, but joins “New Toy” as a high point of the New Wave while capturing much of early-80s music video’s visual aesthetic. After a brief intro (and a hearty greeting to all) in A major, the tune shifts into A minor for the first verse; an A major interlude echoing the intro follows from 2:03 – 2:16); and a triumphant whole-step modulation up to B major hits at 2:40. At 3:30, the outro finds Lovich yodeling adroitly and proudly, as one does. No need to file a flight plan; Lene was there first, and knows the way.

for Maureen

Berlin | Take My Breath Away

Written by Giorgio Moroder and Tom Whitlock for the 1986 film Top Gun, “Take My Breath Away” was recorded by the American new wave band Berlin.

There was tension within the group about whether to go forward with the song; lead singer Terri Nunn was all in, but John Crawford (the band’s founder, keyboardist and primary songwriter) was very resistant, not wanting outsiders to encroach on his turf. Ultimately the tune became one of their most popular hits, and won the Academy Award and Golden Globe for Best Original Song.

In 2017, ShortList named the song as having one of the best key changes in history. The unusual modulation, up a minor third from Ab to B, comes at 2:51.

Culture Club | Time (Clock of the Heart)

“Time (Clock of the Heart)” wasn’t released on the debut Culture Club album Kissing to be Clever; “it was a stand-alone single that proved another smash hit and was later added to the album in America.” (Diffuser.FM) “In the process, Culture Club pulled off a pretty amazing feat, becoming the first UK band since the Beatles to have three singles from a debut album make the Top 10 in America. Despite the grand success of the music, for many the look often overtook the sound as the media began a love affair with the band, and George in particular. ‘People felt there was something really happening,’ said Culture Club drummer Jon Moss. ‘I think that was the main thing. People would look and say, Blimey, what is this?‘”

In a GQ interview, George recalls he “was obsessed with music as a little kid, that was where I escaped to. I shared a room with my four brothers and most of the time I didn’t have the room to myself, so whenever I could I would have the record player on. I’d listen to everything from Irish show tunes to early Bowie, T. Rex and disco. Discovering Bowie was the ‘Whoa, that’s what I want to be’ moment. I was 11 and somehow my dad got me a ticket to see Ziggy Stardust.”

“It was kind of almost overnight for us,” he said in a 2015 interview. “You know, one minute we were an unknown band that literally couldn’t get signed, but once we got on TV, it was the public, more than anything, that decided they liked us and I think that’s always been the case.”

Starting in G minor, the 1982 single features a short instrumental bridge at 2:26 in Bb minor before settling into the next chorus at 2:43.