Archive for the ‘Fay Ray’ Category

Song About Serial Killers and Nuclear War

Sunday, October 27th, 2013

I wrote a thing about soundtracks (again) at Mostly-Retro if you’re interested. And I also did a quick write-up about an awesome arcade in San Francisco that you should check out.

Now for awesome songs by bands you’ve probably never heard of.

The Hitmen
Bates Motel
After exhausting the rarities collections of just about every well-known new wave artist worth my time, I think I’m finally going to have to start crate digging for the forgotten side-notes of the era. I’m sure there were a ton of great new wave acts out there that got lost in the shuffle, and I intend on finding them. I’ve already done this a bit in the past. I’ve written numerous times on the brilliance of Polyrock, and about half of Urgh! is a who’s who of “who’s that?” from the 80s post-punk and new wave scenes, but I really have to start digging deeper. So if anyone has any suggestions, please shoot them my way. And yes, I am aware of Lost Bands of the New Wave Era, and am currently combing their archives. I’m also on the lookout for every band that’s tangentially related to my favorite unsung new wave act, The Wild Swans, so I’m already on the aware of Care, Teardrop Express, Lotus Eaters, The Woodentops and The Lightning Seeds.

And of course there are The Hitmen, a band I already kind of knew thanks to their appearance on one of the 101 Records compilations I found a few years back (which I’ll be re-uploading as well as a third compilation in the coming months). From the comments that post got, I know that The Hitmen put out two albums, and that at one point Depeche Mode’s Alan Wilder was in the group, but I don’t think he recorded anything with them either than a single. Their track on the 101 album is “She’s All Mine,” and while it’s a pretty good tune, it’s also pretty generic. It sounds like a pub rock reject from a Dave Edmunds jam session, or like I said back when I wrote about I the first time, an Elvis Costello b-side.

“Bates Motel,” on the other hand, is pretty great. It was a single off of the band’s second (and last) LP and even had a video that made it to MTV at some point.

There aren’t a lot of horror-themed new wave tracks, in fact I can’t think of any at the moment (although I’m sure I’ll be corrected on that shortly), so “Bates Motel” is a pretty unique track that’s worth a listen. It definitely makes me want to track down a copy of the album from which it came to see if there’s anything else on it worth hearing.

Fay Ray
Heatwave
Modern Lovers
Fay Ray are another band who should have made it big but didn’t. They only released one album, Contact You, in 1982 and that was it. Like The Hitmen, I discovered them on a 101 Live compilation, but unlike The Hitmen, I can tell I’m not the only person on the Internet to become someone obsessed with them. They were showcased on Lost Bands of the New Wave era, and they continue to pop up on other blogs dedicated to lesser-known acts (this one included). I routinely read rumors that Contact You is going to get a CD re-release with bonus cuts, but after reading that for six years, I’m starting to have doubt that will ever happen. Still, I don’t want to post the entire album in case it does, so I thought I would post these album highlights instead.

“Heatwave” is the clear standout track on the LP, and was the closest thing the group had to a hit, probably in part to their awesome video for the tune. As new wave tracks about nuclear war go, it’s pretty great. Not as great, but still killer is “Modern Lovers.” It’s the most upbeat track on the album, and it also has a video, one that is also sublimely 80s in all the best ways.

A 101 on 101 Club

Thursday, January 26th, 2012

I first posted this album eons ago, and it sounded like complete dogshit. In my ongoing effort to redeem myself for my ceramic needle USB-turntable early days, here it is again, re-recorded with decent equipment.

Live Letters – Bands Featured Live at the 101 Club


This is a very interesting record, and I wish I knew more about the people who made it. Apparently the 101 Club was a venue in  South London in the early 80s, but I don’t know for how long, who owned it, or if it was important to any scene or style of music. It’s long gone, and since the Sex Pistols probably never played there, no one seems to care about it today. In addition to being a club, 101 was also a label, putting out recordings of shows performed at the venue.

Of the 101 records I have, Live Letters is the best. It has the perfect combination of bands you probably know with bands you probably don’t, and it also does a great job of showcasing the crossroads of new wave music at the time. In one corner, you have bands like Endgames, who were sticking firmly to the Kraftwerk/David Bowie/Gary Numan ideal of the late 70s. And then in the other you have acts like Wang Chung and The Fixx, who were actively embracing pop music and the conventions of mainstream rock. Then there are bands like Fay Ray, who seem to be trying to do both.

It also has a hysterical back cover full of bizarre little news articles. Click on the pics to read them, and enjoy the tunes.

Wang Chung
You’ve Taken Everything
I Don’t Believe A Word
Journey Without Maps
By far the biggest band in Live Letters is Wang Chung, which were still going by Huang Chung here. In a humorous bit before the first song, one of the members actually tells the audience how to pronounce the band’s name. Here’ s a protip for all you kids out there in bands with wacky names: if you need to tell your fans how to pronounce it, then you should change the name.

None of these songs were ever released on any studio albums by the group, which is a real shame. “You’ve Taken Everything” has a great hook and bridge and “I Don’t Believe A Word’ is late-70s new wave at its best, high intensity and just about two steps away from punk when it gets to the fast-paced chorus (maybe five steps away when you consider the saxaphone). Speaking of the sax, “Journey Without Maps” might have one of the best opening sax melodies of the 80s outside of “Careless Whisper.”

As much as I love me some “Everybody Wang Chung Tonight,” it would have been interesting to have seen more music like this from the group.

Intermission – 101 Records Commercial
A silly faux-commerical for 101 Records

Endgames
Works
Visions Of
Stare 
Endgames never made it. They were an also-ran band in the over-crowded new wave scene of the greater UK/Scotland/Ireland/Wales areas, released two albums, and quickly vanished. However, if their Wikipedia page is accurate (and we all know Wikipedia is always right), they were sampled by Heavy D. Which means they win at life, at least a little bit.

Of all the bands on Live Letters, Endgames is the most stereotypically synthpop. No saxaphones to be found here, just cold, cold keyboards and dark, brooding vocals. These dudes liked David Bowie a lot.

The Fixx
Acrobat
Soho Alley
Eye For Design
Credited as “The Fix” here, this live recording shows a band in transition. “Acrobat” is a semi-experimental tune with some obvious Joy Division influence, while “Eye For Design” is a poppy, fun, upbeat pop tune that could have easily been the B-side to The Fixx’s megahit “One Thing Leads To Another,” and “Soho Alley” is a little bit of both. All are good tunes, but none are “Red Skies” quality.

Intermission – 101 Records Commercial No. 2
Another goofy promo extolling the awesomeness of 101.

Fay Ray
Do What You Want To Do
Dreams of Heart
Modern Lovers
No, not the actress who was in King Kong (that’s Fay Wray). And no, not the Japanese singer Fayray. This is Fay Ray, a new wave band that completely fell off the face of the Earth. I know next to nothing about them, but they did release one album, and if it’s anything like these tracks then I’m totally going to have to track down a copy.  Lead singer Sheila Macartney’s voice is very unique, with an odd wavering aspect that really gives her a feeling of vulnerability and emotion you rarely heard in new wave music at the time. Both “Do What You Want To Do” and “Modern Lovers” have an upbeat feeling that almost give them a 60s British Invasion vibe, while “Dreams of Heat” is a haunting ballad that best shows off Macartney’s stunning vocals. A great way to close the album.