The Analog Kid’s iTunes music folder contains over 83,000 songs, but even a collection that large has some true one-hit wonders and/or obscurities. In this continuing series, I will feature an artist that has exactly one song in my entire library. After all, one is the loneliest number…
My family moved back to the San Fernando Valley in 1975 after three years in Dallas. My mom got us a cheap apartment in Tarzana, and we had very little money. I entertained myself by shooting baskets at the apartment complex playground (I used to play entire games by myself, usually pitting the 1975 UCLA Bruins against the hated Fighting Irish of Notre Dame), and of course I listened to the radio and played my 45s.
Despite our lack of money at the time, my mother would always give me a couple of dollars for my Saturday ritual: a walk down to The Wherehouse, a giant record store located on Ventura Boulevard. It was probably only about a half-mile from our apartment, but to my little legs it seemed like ten. (Yes, Mom let me walk down one of the busiest streets in the United States alone. At the age of eight. Hey, it was the ’70s. Kids did shit like that.)
I didn’t buy a lot of albums during this time. After all, albums cost a lot of money. 45s, on the other hand, were 99 cents. And trust me, The Wherehouse was THE place to buy 45s. The singles didn’t sit on an open shelf like at other stores– they were actually behind the counter in what looked like a giant mail room. Every week, The Wherehouse put out a printed list with the Top 100 singles. I would stare at the list forever, trying to decide which two precious pieces of vinyl to purchase. When I had finally made my choice, I would approach the counter and order by number.
“I’ll have #3 and #13, please.”
Then I’d run home and play my new treasures (front and back, of course) until the grooves wore out. The next Saturday, I would do it all over again. As you might imagine, I built up quite a 45 collection during our years in Tarzana (1975-1978). I owned just about every hit single of the era, including some truly terrible selections (“Run Joey Run,” anybody?).
I never bought “Feelings.”
Even eight-year-olds know true crap when they hear it.
Beware: I am about to open Pandora’s Box. The Analog Kid blog has featured late ’80s alternative music in the “Songs From The Edge” series, but this is my first official entry about my true love: ’80s new wave. I think I have avoided the genre until now because I almost don’t know where to begin. This is the music of MTV. KROQ. ValleyGirl. Martha Quinn. The Atari 2600. Members Only. Friday Night Videos. Nina Blackwood. Ms. Pac-Man. Night Flight. Richard Blade. Sixteen Candles. Alan Hunter. Jam boxes. Revenge Of The Nerds. Cabbage Patch Dolls. Parachute pants. J.J. Jackson. Live Aid. Mark Goodman. Rubik’s Cube. Donkey Kong.
This is the music that still makes me feel like a perpetual teenager.
Ecstatic ’80s New Wave: 1982
Here are five great new wave cuts from 1982. I am limiting myself to five per post– otherwise, you and I would be here ALL DAY LONG.
Simple Minds: “Promised You A Miracle” [Special Extended Version] (Simple Minds)
“Promised You A Miracle” is the first Simple Minds song I ever heard, and it remains my favorite song from the band. This extended version is taken from a U.S. promotional 12″ single.
Toni Basil: “Shoppin’ A To Z” (Basil/Willis/Roberts)
A few years ago, I found a best-of CD from Toni Basil at a used CD store. Somehow, this supposed “best-of” CD left off “Shoppin’ A To Z.” If you had MTV at the time, you certainly remember the insanely entertaining video. When I finally acquired a turntable with a USB port, this was one of the first songs I ripped. I am still trying to think of a food that starts with the letter ‘X’…
This extended version of “Precious” is taken from the British 12″ single for Town Called Malice. The Jam broke up shortly after this record was released. Bruce Foxton tears this one up on the bass.
Payola$ were a Canadian band who never really made it in the States, although “Eyes Of A Stranger” was featured in the cult classic Valley Girl. Singer/guitarist Bob Rock went on to become one of the top hard rock producers in the business (The Cult’s Sonic Temple, Metallica’s Black Album, Mötley Crüe’s Dr. Feelgood).
The Flirts: “Jukebox (Don’t Put Another Dime)” (Orlando)
The Flirts were a studio creation masterminded by writer/producer Bobby Orlando. The trio usually featured one blonde, one redhead, and one brunette. There were at least 13 different girls in the band during its ten year run. “Jukebox (Don’t Put Another Dime”) was a huge MTV favorite, and the Analog Kid is pretty fond of it as well.
The “Deep Cuts” series digs into an artist’s catalog and pulls out gems that might be unfamiliar to casual fans. After all, the best songs are often found deep on side two or on the back of a 45…
Deep Cuts: Elvis Costello
The Analog Kid blog has been up and running for almost three months now, and yesterday I realized that I have yet to feature even a single song from Elvis Costello. That seems really odd, especially since a search of my iTunes music folder for ‘Elvis Costello’ returns 1,259 songs. I like Elvis.
The first Elvis Costello record I purchased was Spike, his first album after leaving Columbia for Warner Brothers in 1989. I adored “Veronica,” and was a bit put off by the fact that the rest of the album wasn’t nearly as catchy. The same thing happened with “The Other Side Of Summer” in 1991– I loved the single, but most of Mighty Like A Rose just didn’t do much for me. It wasn’t until Rykodisc started reissuing Elvis’ Columbia catalog in 1993 that I began to understand.
The geniuses at Rykodisc released the albums in order, putting out two or three at a time a few months apart. I bought each album upon release, and was able to cram ten years of Costello into twelve glorious months. I shared a house with my friend Dave at the time, a wonderful drummer who dabbled a bit on the guitar. We spent hours learning to play Elvis songs that year, and I can pinpoint that moment as the time that I finally (kinda sorta) learned to sing. Elvis was now a God to me, and has remained one of my most-treasured deities to this day.
Elvis Costello & The Attractions: “The Loved Ones” (Costello)
From the album Imperial Bedroom
Columbia Records, 1982
Imperial Bedroom was hailed as a “masterpiece” by Columbia Records upon its release, but I think that may be pushing it a bit. It’s a very good record and contains some fabulous songs, but it’s hardly Elvis’ best album. I suppose any record that contains a song as catchy as “The Loved Ones” must be pretty damn good, though. How was this song not released as a single?
Elvis Costello & The Attractions: “Strict Time” (Costello)
From the album Trust
Columbia Records, 1981
Trust just might be my favorite Elvis record with the Attractions, and “Strict Time” really shows off the power of one of the best backing bands in rock history.
The Costello Show: “Indoor Fireworks” (Costello)
From the album King Of America
Columbia Records, 1986
In the late ’90s, Elvis did a short solo tour with only keyboardist Steve Nieve for accompaniment. They played a version of “Indoor Fireworks” that I will never forget. King Of America is a masterpiece.
Elvis Costello: “Tiny Steps” (Costello)
From the 7″ single Radio Radio
Radar Records, 1978
My favorite Elvis b-side.
Elvis Costello & The Attraction: “Love Field” (Costello)
From the album Goodbye Cruel World
Columbia Records, 1984
In his liner note to the Rykodisc reissue, Elvis says, “Congratulations. You’ve just purchased our worst album.” That may be true, but Elvis at his worst is still pretty damn amazing sometimes.
Elvis Costello: “So Like Candy” (McCartney/MacManus)
From the album Mighty Like A Rose
Warner Brothers Records, 1991
In 1987, Elvis got together with Paul McCartney and wrote a large number of songs. Some ended up on McCartney albums (“My Brave Face”), and some on Costello albums (“Veronica”). “So Like Candy” is easily my favorite of the McCartney/MacManus compositions. Someone needs to gather up all of the demos from these sessions and put out a proper record…
Elvis Costello & The Attractions: “Goon Squad” (Costello)
From the album Armed Forces
Radar Records, 1979
Bruce Thomas is one hell of a bass player. It’s a shame that he and Elvis just can’t seem to get along.
Elvis Costello & The Attractions: “Uncomplicated” (Costello)
From the album Blood & Chocolate
Columbia Records, 1986
I am still boggled that Elvis released King Of America and Blood & Chocolate in the same year. The records couldn’t be more different, but both are still pure Costello. “Uncomplicated” may be the nastiest thing the Attractions ever put on vinyl.
Elvis Costello & The Attraction: “Shipbuilding” (Costello/Langer)
From the album Punch The Clock
Columbia Records, 1983
“Shipbuilding” may be pushing the definition of a “deep cut” (it was released as a single in Japan), but I have to include what I think is Elvis’ finest moment. This beautiful song (written shortly after the Falklands conflict) features the great Chet Baker on trumpet.
Elvis Costello & The Attractions: “Riot Act” (Costello)
From the album Get Happy!!
Columbia Records, 1980
Can I channel High Fidelity for a moment? OK, thank you.
Top five album closers of all time– go! “Riot Act” just might make my list. I started to include my top five here, but I think I’ll save mine for a future post…
Every Tuesday, the Analog Kid blog goes back in time and features some groovy R&B/soul songs from a specific year. Sometimes you’ll hear songs from individual artists, and other times you’ll get an entire full-length classic LP ripped directly from the Analog Kid’s vast vinyl vault. Warning: by R&B/soul, I also mean disco. I could go Patrick Hernandez on your ass at any given moment, so just be ready!
You knew this one was coming at some point, didn’t you?
The Black Album was supposed to be Prince’s follow-up to 1987’s Sign O’ The Times, but Prince changed his mind and pulled the release at the last moment. Some promotional copies had already been distributed, though, and TheBlack Album soon became one of the most infamous bootlegs in music history.
I remember taping a vinyl copy from my friend Dave in the late ’80s, and to say that the sound quality was poor would be an insult to poor people. Still, I played that cassette until I wore it out. Luckily for me, Warner Brothers decided to legitimately release The Black Album in 1994. Is it a coincidence that Prince changed his name and started wearing the word SLAVE imprinted on his face around this time? Probably not.
The CD version of The Black Album was only in print for about a year, so copies are now very hard to come by. I purchased an extra about five years ago when I found a used copy at my local record store, and that was the last copy I’ve seen for sale. If you see one, BUY IT. If not, just come back to the Analog Kid blog for future listenings– it will be here until Prince sends me a cease and desist order. Rockhard in a funky place!
The first rule of The Analog Kid blog is that if you write about a song on the Analog Kid blog, you share the song on the Analog Kid blog. Sometimes, you add tracks that you didn’t even mention just because you’re one hell of a nice guy…
I wore a lot of Cure t-shirts in college. Sure, I loved the band. I also loved the cute goth girls who would tackle any guy they saw wearing a Cure t-shirt on the UT campus. I miss college.
One of the first Cure items I ever acquired was the cassette version of Standing On A Beach, The Cure’s 1986 greatest hits release. Why the cassette version, you ask? The second side of the tape contained most of the band’s b-sides up to that point, and the compilation was unique to the cassette version. I miss cassettes.
Of course, I had the CD version as well. It was called Staring At The Sea, and contained four songs that were not on the a-side of the cassette. There was also a video called Staring At The Sea, but it didn’t have any of the b-sides on it. I also own the LP version, which was also called Standing On A Beach. It doesn’t have the four extra songs that were on the CD, and it doesn’t have the b-sides either (and obviously no videos). I miss being taken advantage of by greedy record company executives.
Most of all, I miss the cute goth girls.
The Cure: Standing On A Beach: The Singles (And Unavailable B-Sides)
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