Five overlooked but fabulous 1970s new wave songs worth hearing again

In the ’70s, I found myself immersed in the music scene post-punk rock explosion, and new wave was the fresh wave that swept through. To be honest, it could get a bit hazy defining it at times. But from my perspective, new wave seemed to kick off as a label for punk’s more diverse successors. These bands had a pop or rock sound that was a little more polished than raw punk, but they still packed a punch with their edgy vibe.

Initially, the term was used to describe bands and artists who blended art rock with electronic sounds, often produced by keyboards, moogs, or synthesizers. This sound became increasingly melodic but retained a strong edge. As time progressed, new wave music emerged in the early 1980s, further developing the electronic sound.

The new wave movement originated towards the end of the 1970s, with many artists pushing the genre forward. It retained an original raw and accessible feel as well. Unfortunately, some of the earlier songs have fallen out of favor or are no longer widely recognized. However, you might still recall a few of them; they simply aren’t played as frequently now. Here are five examples representing both types of new wave from the late 1970s.

Five fabulous overlooked 1970s new wave songs

Wreckless Eric – “Whole Wide World”

On the UK’s unconventional Stiff Records label, we discovered an eclectic mix of talented musicians, among them was Eric Goulden, better known as Wreckless Eric. Despite not achieving many hits, his music was effectively promoted by the label through compilation albums and tours organized by them.

1977’s “Whole Wide World” by Eric is likely his most identifiable tune. Known for his straightforward, raw music with an infectious spirit and emotion, this song exhibits a more refined touch. A memorable guitar riff, courtesy of Nick Lowe, serves as its foundation, bolstering a catchy chorus that lingers in your thoughts and encourages you to sing along.

The Flying Lizards – “Money (That’s What I Want)”

The iconic tune you’re thinking of is likely to be recognized, often bringing to mind the rendition by The Beatles from 1963. However, this song actually originated as a Tamla Motown track just a few years prior. In a remarkable departure from its original style, The Flying Lizards reinterpreted it in 1979.

This remix has an unusual charm, boasting a distinctive, almost metallic electronic tone that sets it apart from its R&B roots. The vocals by Deborah Evans-Stickland are uniquely deadpan and dry, yet they shine brilliantly in the track. The music blends elements of early pop and new wave, resulting in a compelling deconstruction of the original song. If you’re feeling it, keep an eye out for their potentially even more exceptional and equally groundbreaking rendition of “Summertime Blues.

The Motors – “Airport”

The band’s music style shifted between power pop and new wave, with this specific song being a massive success when it was debuted in 1978. This hit single is often associated with the Motors; mention their name, and the tune “Airport” is likely to spring to mind.

The melody of the song is inspired by watching a cherished person depart from an airport. It carries a subtle, melancholic or wistful ambiance in its opening. The verses narrate the act of letting someone go, with a lively rhythm and a captivating, almost ethereal refrain. Electronic sounds like synthesizers and keyboards are used, while the repeated “airport” phrase in the chorus, delivered in a half-spoken style, contributes to its smooth progression.

Tubeway Army – ”Are ‘Friends’ Electric?”

The radio track in question features spoken vocals over a somewhat lengthy melody, lacks a memorable chorus, and narrates a story about robotic prostitutes making house calls. At first glance, it may not appear destined for chart-topping success; however, this song managed to captivate the public, propelling Gary Numan from a punk band associate into a new wave icon. The band Tubeway Army disbanded following the release of this 1979 single, as Numan embarked on a solo career after serving as the group’s lead vocalist.

Electronic tunes created using synthesizers were gaining popularity, and this particular song paved the way for this trend. However, it’s interesting to note that Numan originally composed this piece on an old pub piano, later adapting it when he stumbled upon an abandoned Minimoog synth to work with instead. The music maintains a sparse feel with powerful vocals, giving it a haunting quality. While there may not be a catchy chorus, the song’s main appeal lies in its deep theme and the recurring horn-like sound that accentuates it throughout the track.

Ian Dury – “Sweet Gene Vincent”

Ian Dury’s tunes possess a unique appeal that doesn’t always receive the broader acclaim they merit. However, his “Rhythm Stick” hit alongside The Blockheads often steals the spotlight, and while it’s an enjoyable track, it occasionally feels like a novelty with its lyrics.

Back in the day, my early compositions were rather bluntly explicit, which made them a no-go for radio airplay. Yet, they were enchanting narratives, intricate beats, and something other than typical punk or funk. They differ from most of the new wave songs that rely heavily on electronic synths as well.

Among various options I considered, “Sweet Gene Vincent” was the one I ultimately selected due to its diverse musical styles. Appreciate the gentle melodies in Dury’s voice at first, only to be followed by the boldness as the song intensifies later on. A quintessential Dury touch.

2025-01-26 14:00