New Wave followed on from punk rock in the 1970s. The definition gets a bit blurred at times. The way I saw it new wave seemed to start out as a term for a broader punk follow-up. Bands with a broader pop or rock style sound than raw punk, but still with a hard edge.
But then I saw a twist in the term being applied to more art rock bands and artists who built in an electronic sound. That often came from keyboards or moogs and synthesizers. It became more musical, but there was still that edginess very prominent. Later, more electronic sound developed as new wave through the early 1980s.
It was kickstarted in the latter part of the 1970s with several artists taking the style forward. We also then had that original new wave rougher and easier approach prevailing too. Some of those earlier songs are now overlooked or forgotten. That doesn't mean you won't remember some of them, it's just that they aren't played as much now. These are five examples of both types of new wave from the latter 1970s.
Five fabulous overlooked 1970s new wave songs
Wreckless Eric - “Whole Wide World”
The Stiff record label in the UK gave us a weird but wonderful range of musicians to hear. Wreckless Eric, real name Eric Goulden, was one of those who got his chance there. He didn't have much in the way of hits but his songs were well marketed by the label via compilation albums and label-led tours.
“Whole Wide World” from 1977 is probably the most recognizable of Eric’s songs. His music was often fairly basic, simply produced, and raw but delivered with spirit and passion. This song is more polished than most. A simple but effective guitar riff, thanks to Nick Lowe, helps underpin a catchy refrain that sticks in your mind and soon has you joining in.
The Flying Lizards - “Money (That's What I Want)”
The song itself is well known, most will recall the version by The Beatles from 1963. It had originated as a Tamla Motown song just a few years earlier. The Flying Lizards took a very different approach to it in 1979.
It’s a bit quirky, with a very stylized voice and almost tinny-sounding electronic backing to transform it from the R&B original. Those vocals from Deborah Evans-Stickland are in a very deadpan, dry, monotone style, but are a standout on the song. The music mixes a bit of early pop and new wave for this very effective deconstruction of the song. Hot tip, if this song works for you, look out for their possibly even better and similarly radical version of “Summertime Blues.”
The Motors - “Airport”
A blend of power pop and new wave as the band transitioned from one to the other. This single was a big hit for the Motors when it was released in 1978. They had some other good songs but it’s “Airport” that comes to mind when you hear the band’s name.
The song is based on seeing a loved one leave at an airport. There’s a slightly haunting or forlorn air about the introduction. The lyrics tell the story of letting someone leave, with an upbeat pace and a catchy almost dreamy chorus. There are synth sounds and keyboards and the use of a half-spoken background “airport” in the chorus helps keep the tune moving along nicely.
Tubeway Army - ”Are ‘Friends’ Electric?”
It is a slightly long radio tune with monologue vocals, not much of a catchy chorus, and a storyline about robotic prostitutes visiting homes. It’s not really shouting big hit is it? Yet this song did catch the public attention and launched Gary Numan from a punk band member to a new wave hero. Tubeway Army broke up after this 1979 single as Numan went solo having been the frontman for the band.
Synth-based electronic songs were becoming fashionable and this song led the way. Yet Numan is said to have written this on an old pub piano, then converted it when he found a deserted Minimoog synth to use instead. The minimalist sound with penetrating vocals gives it a dark sound. There may not be a memorable chorus but the big hook is the underlying theme and the regular blast of a horn-like sound that follows it throughout the song.
Ian Dury - “Sweet Gene Vincent”
Ian Dury’s songs have a certain charm about them. But they don't get the wider recognition they deserve. His ‘Rhythm Stick’ hit with The Blockheads takes all the attention, it’s a decent song but feels more like a novelty at times with the lyrics.
His earlier tunes were often quite explicit and didn't get radio play as a result. Many, though, were magical tales, exquisite rhythms, and not quite punk or funk. They are different from many of the electronic synth-based new wave songs too.
I could have picked several to reference here, “Sex And Rock And Roll” came very close. Instead, it’s “Sweet Gene Vincent” chosen for the variety of styles. Listen to the sweetness of Dury’s soft voice and then the brashness as the song explodes for the latter part. Classic Dury.