Skinny Ties and One Hit Wonders

Tommy Tutone.

Its funny how we often think we know someone or something when we really don’t know them at all.  A band has a huge hit that everyone on earth can recognize, and we think we are all experts on that band.  But actually we only know one or maybe two songs at most of their entire catalog. 

Its also interesting to me how dismissive we all are about bands that we designate as “one hit wonders”.  As I’ve gotten older, this has puzzled me more and more.  First of all, how many of us will ever know what its like to write even a single successful song, a song that moves people, that they enjoy, that thousands or even millions of people are willing to pay money for?  Shouldn’t we CELEBRATE these bands instead of denigrate them?? 

This becomes even more ridiculous when you consider how capricious the music industry, and the market for popular music in particular, is.  Think how rapidly people’s tastes change; in months or even weeks the entire musical zeitgeist can change completely.  What was cool or interesting today is almost ludicrously lame tomorrow.  This is compounded by the very fact that over-exposure can make something seem uncool to many people.  By simply having one hit song, an artist can set up a backlash against themselves that actively works against them ever achieving anything close to the same popularity on subsequent singles and albums.  Really, if you think about it, the rarest of all possible birds is the musical artist who is able to establish long-term popularity for years and decades and continue to either release successful selling albums or who are able to continue to tour in large venues.  In the past 50 years I can honestly only think of a comparatively tiny handful of artists who have managed this feat:  the Rolling Stones, U2, Pearl Jam, and to a lesser extent REM.  But most artists have a much more finite half-life, whether that half-life is measured in years or weeks. 

Whenever the musical culture changes it seems like this volatility increases.  There’s a reason for this:  when a new musical trend becomes dominant, record companies rush to capitalize on it, and will sign, record, and release as many new artists as possible in hopes that one of them will become the next _____ (fill in name with whatever band started the trend).  In addition, in the early phase of the trend the record company personnel will not have the requisite expertise to judge whether acts are “good” or not.  Also, as the trend gains momentum, artists who had nothing to do with this genre before it was popular will flood in to cash in on its popularity, and new acts will form inspired by the act or acts that started the buzz initially.  A wealth of new product and looser filters means a lot of content of widely varying quality gets spewed out onto the public.

An unfortunate consequence of this increased volatility is that most bands are given an even smaller window before the public tires of their sound.   Sadly, this is true even if the band DID have a hit song, perhaps because of the backlash issue mentioned above or perhaps because the public simply has moved on.  It certainly doesn’t mean the band isn’t good, making good music, and so forth.  But capturing that lightning in a bottle becomes even harder.

However, it also meant that a lot more artists were able to slip through the filter whom otherwise might not have had a shot at reaching an audience.  In the new wave era, there were a lot of acts who had nothing more going for them than a funny haircut, weird band name, and a synthesizer but were given a record contract and released a single or an album.  Most of these made only the tiniest impact on most listeners then faded away under the inability to sustain any sort of career success, but many of them made music that was catchy as well as interesting.

In a recent post I discussed the “angry young men” movement that followed punk, which consisted of artists and/or bands characterized not by the amateurishness, sloppiness, and semi-inarticulate rage of punk, but who did however play quirky and passionate music that resonated with both the energy and the independence of punk.  Artists like Elvis Costello, Graham Parker, and others had little in common sonically with punk acts created to scandalize and shock like the Sex Pistols, but they used the flux in the music industry during this period to create records that were cynical, angry, exuberant and exciting.  Lyrically and musically these were not untalented teenagers bashing out their boredom and frustration on cheap guitars, they were adults (in their 20’s or even 30’s) who were literate, intelligent, and experienced and who forged lyrics based on their better informed world view.

Several other bands came out during this period (circa 1978 through 1985 or so) who, while not technically angry young men, were nevertheless talented musicians and songwriters who created catchy, interesting music that might not have ever been recorded or heard had punk not widened the filter.  Most of these bands, however, were only given the briefest of windows for success before the new wave backlash occurred.  If lucky, they might have hit it big with one or two songs before the music buying public moved on.  But many of these so-called “one hit wonders” had much more than one good song, and most have been unfairly delegated to

Say “one hit wonder” and most people over a certain age will often come up with one of two names from this era:  Tommy Tutone or the Knack.  Both came up in the early days of new wave’s ascendancy in the late 70’s/early 80’s.  Both played music that was similar:  Tommy Tutone played new wave flavored rock that had elements of powerpop, and the Knack played powerpop flavored rock that had elements of new wave.  Both are famous primarily for one song:  “867-5309/Jenny” and “My Sharona”, respectively, which of course were MASSIVE hits at the time.  Both songs also generated backlashes, which was particularly vicious in the case of the Knack, and resulted in the “Knuke the Knack” movement that followed on the heels of “My Sharona’s” success. 

The first thing to understand about Tommy Tutone is that it is not the name of a person, it’s the name of the BAND.  Granted, lead singer Tommy Heath’s first name is the same but Tommy Tutone was a band first and foremost.  The second thing to keep in mind is that they, like the Knack, were not in fact technically a one hit wonder at all:  “Angel Say No”, from their first album, hit #38 on the Billboard charts in 1980, two full years before “Jenny’s” popularity. 

I’ll admit, though I LOVED (and still DO love) “867-5309/Jenny” back in the day (and it was one of the first songs I, uh, “found”, on the internet back in ’99), I never bought anything by Tommy Tutone then and never saw them in concert.  Well, I actually SORT OF saw them in concert, though “saw” isn’t the right word.  In the mid-80’s—well past their popular time—I happened to be in Avalon on Catalina Island off the coast of Southern California for spring break and Tommy Tutone was playing the one club in Avalon and my friends and I, being poor students, couldn’t afford tickets but we stood around outside listening through the wall.  Lame, I know, and I don’t even recall hearing anything I recognized or particularly liked, but I think of it a lot now because I recently went back and re-explored Tommy Tutone’s music and I ABSOLUTELY LOVE IT.  Granted, “Jenny” is far and away their best song—hell, in my opinion it one of the catchiest and most likeable songs ever recorded—but pretty much the rest of their music from this time is utterly fantastic guitar-based new wave rock. 

In a previous post, I commented on how new wave is like pornography—its hard to make an all-inclusive definition of it, but you definitely know it when you see/hear it.  There are, of course, a few fairly common markers, including crisp guitars, a prominent (often dominant) synthesizer element, quirky time signatures and/or stop/start rhythms, often an emphasis on the bass guitar as a driving force rather than drums or guitars, distinctive vocals that often have a geeky or suburban feel, quirky lyrical subject matter, a de-emphasis on the blues as a musical starting point, and so forth. 

Tommy Tutone’s music did not have all of these elements but it definitely had a bass-heavy feel with unusual rhythm meters and a crunchy guitar sound.   But these aspects were mere accents to their music, which was really just excellent bar band rock with a new wave feel.

One thing they did have was distinctive vocals.  Singer Tommy Heath may well have the most unique and interesting voice in the history of rock.  High pitched but with a bluesy growl, his voice veers between Steve Winwood on one hand and Bob Seger on the other, with elements of Bruce Springsteen,  Tom Petty, Elvis Costello, Tonio K., and John Mellencamp.    What’s more, Heath pours his heart and soul into the singing of each song; he never seems to give anything but his all and never takes a track or even a chorus off, belting out every word with as much feeling and soul as is possible.

As mentioned, “Angel Say No” off their eponymous first album was their first hit, reaching #38 in 1980, and this is a magnificently simple song with a basic, pulsing beginning that reminds me a little of “Hit Me With Your Best Shot” by Pat Benatar, then builds to a big, catchy chorus highlighted by Heath’s wonderfully unique and soulful vocals on the chorus.  This is a phenomenal song, but its just one of many on this first album that are similarly, uniformly excellent.  Right now, “Rachel” is my favorite, with its catchy riff and Heath’s incredible voice.  My next favorite is “Dancing Girl”, which has a similar riff and structure and slow tempo to “Rachel”; I love Heath’s shouted line “She’s my dancing girl!!!”  This song ends with an extended instrumental jam that’s very pleasant.  Finally, “The Blame” is another slow/mid tempo rocker with a big, pulsing, bass-driven riff and shouted chorus.  Along with “Angel Say No”, these three songs all are similarly, consistently catchy and fun. 

It was on their second album, Tommy Tutone-2, that the band achieved their big breakthrough, with “867-5309/Jenny” becoming a top 5 hit in America and charting nearly everywhere else.  On this album the band definitely moved away from the signature new wave aspects of the first album and toward a more general rock sound that is saved from being derivative by Heath’s as-always excellent vocals.  But the sound of the band definitely veers toward a more mainstream rock sound similar to that of Bob Seger or John Mellencamp; in fact, “Baby Its Alright” is perhaps the best song Bob Seger never recorded, and Heath’s vocals sound eerily similar to those of Bob on his hits like “Against the Wind” or “Main Street”.  Only the boppy chorus of “Its alright, you know, I’ll never leave you alone” does this song even sound remotely new wave-ish.    This Midwest/heartland feel continues on “Shadow On the Road Ahead”, which again sounds like mid-era Bob Seger circa “Hollywood Nights” (which I personally love) .  The fourth and final song I adore off this album is “Why Baby Why”; Heath’s voice has a yowl to it here that almost sounds like the bayou twang (by way of California) of John Fogerty, particularly on his work off Centerfield.    

Both Tommy Tutone and Tommy Tutone-2 are available on iTunes, but one song that is not is “Teen Angel Eyes”, which was featured in the 80’s teen sex comedy “The Last American Virgin”.  This song sounds very similar to the mid-tempo songs from their first album but has a Caribbean lilt to it as well and a very memorable chorus.  There is a version of this up on YouTube (accompanying a video tribute to said “Virgin”), plus there’s a version up on the Tommy Tutone official web site : http://www.tutone.com/, go to “Songs” then “video and bonus tracks”).

Most people remember Tommy Tutone fondly, harboring at most a mild resentment for his hit “Jenny” because it was so relentlessly catchy.  However, at the time no band was more reviled than the Knack, who for many middle America meatheads became a whipping boy for the entire new wave movement.  The Knack also got knocked for their sophomoric, almost misogynistic lyrics and their arrogant demeanor (they had a famously prickly relationship with the press, often refusing to give interviews; in addition, their album cover, which was modeled on that of the Beatles’ first album, struck many as pompous).  But they made some outstanding new wave inflected powerpop, and “My Sharona” remains one of the catchiest songs of the entire new wave era.  The big, pounding drum beginning, the heavy bass-driven rhythm, the Who-inspired stutter of the chorus, even the extended, indulgent guitar solo middle—its hard to deny that this was what music was supposed to be like—catchy, fun to dance to, etc.  I have to admit, when it was featured in the movie “Reality Bites” in the mid-90's, I rolled my eyes, but now I think of that scene and smile, because, as much as it pains me to admit it, that’s EXACTLY something my friends and I would do if it came on in a convenience store too (feel free to make fun of me endlessly for this).  I’m sorry, but for anyone who grew up in that time, that songs was SUCH an era-defining song and its still just so marvelously fun to pogo around to. 

As good as “My Sharona” was, the Knack had several other outstanding songs.  Not quite as popular but still a big hit (it hit #11 in 1979), “Good Girls Don’t”, their second single, was nearly as catchy, with its harp intro and the twangy guitar almost sounding vaguely country-ish.  The lyrics have been a point of controversy since its release, with lines about girls sitting on your face and so forth, but the band was singing these with a wink and a smile.   And while they weren’t released as singles, other songs on the album are similarly memorable.  “Your Number Or Your Name” is an excellent example, with its rumbling rhythm (drummer Bruce Gary’s skin pounding is particularly propulsive here) and sweet guitar; the bridge harkens back to the pulsing throb of “My Sharona”.  This is actually my (second) favorite Knack song.   “Let Me Out” is up-tempo and reminds me of “Tonight Tonight” by Cheap Trick, which came out around this time.  “She’s So Selfish” almost sounds like something off Led Zeppelin’s Houses of the Holy, with its syncopated rhythm and funky guitar flourishes.  “Heartbeat” has the big bass of “Sharona and shimmering guitars and is another fave.

The Knack’s followup to their debut Get The Knack, But The Little Girls Understand, mostly tried to follow the same formula.  “Baby Talks Dirty” has a jerky rhythm and bass punch similar to “My Sharona” and lyrics similar to “Good Girls Don’t” but only made it to #38 on the charts.   But the song I like is “I Want Ya”, which contains bass flourishes but has a more Who-like sound and feel.  “Tell Me You’re Mine” has a quirky structure and here singer Doug Fieger’s vocals sound like a warped homage to Elvis Presley, with the King’s trademark Memphis sneer to most lines.  This is a strange and fun song; it reminds me of some of the stuff Blondie was doing around this time, which was an update on 50’s/60’s songs with a new wave twist.  “The Hard Way” has a frenetic new wave tempo and alliterative lyrics and is probably the next best song to “I Want Ya” on this album, though it was never released as a single.

The magic was starting to run out by the Knack’s third album, 1982’s Round Trip, which only cracked the top 100, despite the fact that it still had the same signature features of previous Knack releases.  “Boys Go Crazy” has the same Elvis-inspired drawling vocals as “Tell Me You’re Mine” and a similarly countrified guitar sound.  “Just Wait And See” is sweet and pleasant, like a G-rated version of “Your Number Or Your Name”, and “Another Lousy Day In Paradise” is a standout track, punchy and catchy and downright fun.  Soon after this album was released, the Knack broke up, but they reformed several times over the ensuing three decades.  Sadly, vocalist Doug Fieger passed away last year after a battle with cancer. 

At the same time that the Knack and Tommy Tutone were crafting intelligent but catchy new rock in America, a much lesser known band was exploring similar musical territory in Britain.  Fischer-Z’s music was more prog rock influenced and had occasional reggae undertones but was most noted for their thoughtful, well crafted new wave songs highlighted by frontman John Watts’ extremely distinctive high register vocals.  One of their first minor hits is a fascinating song called “Pretty Paracetemol (First Impressions)”, which has a minimalist sound, with a repetitive keyboard riff and softly thrumming bass and guitar leading to a burst of sound on the chorus.  This is another fun romp of a song.  I first fell in love with Fischer-Z about a decade ago when I discovered their “big” hit, “So Long”, while surfing around.  This song, like “Pretty Paracetemol” is very low key and minimalist, with a very mellow bass and guitar strumming punctuated by shimmering keyboards and Watts’ fey, affected vocals, but the chorus is large and ear-grabbing, with Watts’ shrieking vocals.   I still love this song a lot; it walks the line between early Police and Tommy Tutone’s work in America.  “Red Skies Over Paradise” has more of that early Police reggae feel of Regatta De Blanc, and is the title track from their third album.  "Going Deaf For a Living” (perhaps a reference to Pete Townsend, who’s 70’s solo work seems to have been a source of inspiration for FZ?) has staccato bursts of guitar and a country backbeat but the vocals aren’t quite as enjoyably quirky as on their other songs.  And finally, “I Smelt Roses (In The Underground)” is much catchier and enjoyable, with its grandiose, pleasing chorus.  Sadly, none of Fischer-Z’s many albums (they continued making albums throughout the 80’s and even 90’s) are available on iTunes, but these and other songs are posted on YouTube, often as the original music videos.

Unfortunately, I haven't been able to find many other guitar-driven new wave bands who's music holds up as well as these three. Two of my other favorite new wave songs from the early 80's are "Jukebox (Don't Put Another Dime) by the Flirts, and "Goodbye To You" by Scandal, but not much by either band sticks out like these two hits.  "Love's Got A Line On You" by Scandal off their first EP (which contained "Goodbye"), is catchy but more of a ballad and has a mellower energy than "Goodbye".  You should check out the video for this on YouTube though; famously made for 20 dollars, it got them signed to their first contract (talk about a good return on your money!) and features John Bon Jovi on guitar.  "Never Enough", the title cut off former Scandal frontwoman Patty Smyth's first solo album (i.e., her album after the horrible one with "The Warrior" on it) is catchy and has that big 80's arena rock feel (you can see why Van Halen asked her to join their band after parting ways with David Lee Roth around this time); I remember this song mostly because my girlfriend at the time's sister Leslie was OBSESSED with Patty Smyth at this time and attended the shoot for this video; Leslie later corresponded with Patty after this album sank without a breakout hit, during the period in which she was dating Richard Hell, THE Richard Hell of Television, Heartbreakers, Voidoid fame, and Leslie passed along to Patty my appreciation for Richard's music, so I very indirectly have a minor connection to this legendary NY punk pioneer!!!  The song I REALLY like off this album is Patty's incredible, high energy version of "Downtown Train" by Tom Waits; her huge, brassy vocals kick the flabby old ass of Rod Stewart's much later cover of this same song.  The Flirts had other flashes of chart success, but these were typically very cheesy disco songs that had none of the flair or spunk of "Jukebox".