SURFADELIC POP POWER! vol.7
.
Even more Power Pop & Punk favorites in this brand new volume of POP POWER! series, featuring groups as THE BOYS, 999, BUZZCOCKS, BLONDIE, THE UNDERTONES, THE JAM, RAMONES, SHOES, FLAMIN’ GROOVIES, THE JAM, PLIMSOULS, JOHNNY THUNDERS, THE NOW, BRAM TCHAIKOVSKY, THE LAMBRETTAS, THE ELECTRIC CHAIRS, REAL KIDS, GENERATION X, RADIO STARS, IGGY POP, JUSTIN TROUBLE, STARJETS, THE RUSSIANS, THE LAST,…
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Today’s compilation:
These People Are Nuts!
1989
New Wave / Punk Rock / Alternative Rock / College Rock / Post-Punk / Power Pop / Ska
Here's a nice retrospective rundown of one of the greatest and most eclectic indie labels of the 1980s: I.R.S. Records, which was headquartered in the US, but had a whole lot of UK bands on its roster too. Founded in 1979 by a guy named Miles Copeland, I.R.S. started out primarily as a punk outfit, but as new wave proceeded to develop, it sunk its teeth firmly into that movement too, landing a bunch of acts along the way whose material was considered to be strange, zany, quirky, and campy, like Oingo Boingo and Timbuk 3.
But between all the acts that ultimately end up lending to this album's title being These People Are Nuts! are a bunch of bands who aren't considered to be all that weird too, like The Police, The Go Go's, Buzzcocks, R.E.M., and Fine Young Cannibals. So, what we really have here is a nice blend of genuinely good punk and alternarock with straight-up enjoyably silly and irony-laden new wave.
But this album that celebrates I.R.S.' tenth-year anniversary actually opens with a song that predates the label's existence entirely: it's the B-side of the debut record by the band that Miles Copeland's brother, Stewart, happened to play drums for: "Nothing Achieving," by The Police, a terrific classic rock-punk tune that was released in 1977 on another one of Miles' labels he had founded beforehand, Illegal Records.
And another great tune from those pre-I.R.S. days comes courtesy of a little-known band called The Electric Chairs, who, at the time, were fronted by a performer named Wayne County, who now goes by Jayne County. County is someone who holds the honor of being rock music's first openly trans vocalist, and she ended up working with a lot of famous people throughout her career, including David Bowie. Plus, she was also at the Stonewall Riots. So, she's an absolute legend, to say the least, and her band's punk song, "Thunder," which predates her publicly identifying as a woman, was released on Illegal in 1979.
Also, have you ever wondered where the great Fatboy Slim derived his stage name from? Well, it probably came from Maryland's Root Boy Slim, a brilliant and eccentric rabble-rouser who went to Yale and then came back on homecoming weekend the year after he had graduated and got kicked out and permanently banned from his frat house by none other than future war criminal president George W. Bush himself. His song, "Dare to Be Fat," kinda-sorta answers the question of, "what if Frank Zappa was a black blues-rocker?"
And there's a bunch of other songs from this compilation I could write about too, like The Go Go's’ "We Got the Beat," a landmark new wave tune that convinced the group to head towards a sound that was more new wave than punk; or the Buzzcocks' "Ever Fallen in Love," which presented a pretty perfect mix of late 70s punk rock and power pop; or Fine Young Cannibals' debut single, "Johnny Come Home," which showed the world this band's signature mix of rock and ska, along with Roland Gift's uniquely satisfying and tender voice.
But I think I'm gonna dedicate a few sentences to a deeply misunderstood song instead: "The Future's So Bright, I Gotta Wear Shades," by Timbuk 3. If you've ever heard this top-20 mid-80s hit before, then there's a pretty solid chance that you're among the many people who think of it as quite possibly the dorkiest song that the new wave era ever spat out.
I mean, peep this refrain if you're not familiar:
I'm doing alright
Getting good grades
The future's so bright
I gotta wear shades
Now, is it possible that this song was made in a sort of tongue-in-cheek backlashing kind of way in response to all the live fast-die hard, sex-drugs-and-rock n' roll music that was going around back then? Sure, I guess so. But the song wasn't even really so much as that. It was more about the banality of contributing to an evil system and feeling as though you were on the right path. See, "I Gotta Wear Shades" is told from the perspective of a young nuclear scientist at the height of the Cold War, and that brightness in the future he refers to is actually referencing the potential detonation of the nukes that he's been working on. It's a really cleverly-made song that became a pretty big hit, but people never really seemed to understand the message that was behind it. It certainly wasn't a song to celebrate strait-laced, apple-polishing nerds.
So, there you have it: a nice and varied set of songs from a transcontinental indie label that played a big role in shaping new wave, punk, and alternative rock through its first ten years and change. There wasn't really any other label that was quite like I.R.S. Records. A lot of names that would end up defining eras and styles, along with some real kooks too.
Highlights:
The Police - "Nothing Achieving"
The Go-Go's - "We Got the Beat"
Wayne County & The Electric Chairs - "Thunder"
Root Boy Slim - "Dare to Be Fat"
Buzzcocks - "Ever Fallen in Love?"
Wall of Voodoo - "Mexican Radio"
R.E.M. - "Superman"
Doctor and the Medics - "Spirit in the Sky"
Timbuk 3 - "The Future's So Bright, I Gotta Wear Shades"
Fine Young Cannibals - "Johnny Come Home"
Concrete Blonde - "It'll Chew You Up and Spit You Out"
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