When I showed up to my freshman dorm, I had a number of DEVO albums in my record collection along with an Elvis Costello record and a couple by the Cars. Little did I know that I was on my way to earning my sobriquet, New Wave Dave.
The year was 1982, and the world was just beginning to embrace punk's nerdy cousin, which they referred to as New Wave. It was into this world that I found myself plunged via a hallway full of nerdy young men whose own music tastes spurred my own record renaissance. Across the hall I heard Talking Heads. Four doors down someone else was playing The Pretenders. Most of us laughed at the idea of Flock of Seagulls, whom we referred to as "that haircut band," but that didn't keep us from listening to "I Ran" over and over again. I found myself in a time and place where I could find the new Thomas Dolby album being played right after Def Leppard. It was magic.
Somewhere in there, I encountered the kid at the end of the hall brandishing an album whose cover art was enough to pique my interest: Only A Lad. It was the first full-length release from a band called Oingo Boingo. Listening to it was its own special treat for me. It was fast, and dark, and witty, and you could dance to it. My fascination with this new entry into sounds I needed to hear was confirmed when I purchased my own copy of the album and proceeded to wear it out. Imagine my excitement when that summer rolled around and their second release, Nothing To Fear, appeared in my local record shop. If you can't imagine it, just substitute your appreciation of a musical birthday cake that you could play over and over.
Thus began a love affair that would continue through the 1980s, highlighted by the release of Dead Man's Party in 1985. I have written before of the eerie confluence of events that surrounded the appearance of this record in my life. The songs from this record will forever be linked to my personal introduction to tragedy, and that connection continues to this day.
This past Friday, my wife and I went out to San Francisco to see the lead singer and composer of all those songs from the eighties: Danny Elfman. Some forty years after the events I have described here I was sitting in a crowd, listening to the seventy-three year incarnation of this man who continues to go by the possibly diminutive "Danny." I was pleased at how well he and his music had aged, and glad that there were some new tunes to round out the evening. It wasn't just an "oldies" show.
Not that I wouldn't have enjoyed that. I'm a bit of an oldie myself, these days.
It was fast, and it was loud, and I felt like dancing and singing along. I did more of the latter than the former, and for me it was over far too quickly. Would I have to wait another forty years?
New Wave Dave hopes not.