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  Artist Title Label Price

Captain Sensible

Format: Vinyl 7 Inch
Genre: New Wave

Glad It's All Over / Damned On 45

A Glad It's All Over (4:06)
Damned On 45 (7:20)
AA-1 Damned On 45
AA-2 Love Song
AA-3 Dozen Girls
AA-4 The Dog
AA-5 New Rose
AA-6 Can't Be Happy
AA-7 Burglar
AA-8 Plan 9 Channel 7
AA-9 Lively Arts
AA-10 Disco Man
AA-11 Smash It Up
AA-12 Brenda
AA-13 Stranger On The Town
AA-14 Happy Talk
AA-15 Blackout
AA-16 Lovely Money

A&M Records

Cat No: CAP 6
Released: 1984


Thomas Dolby

Format: Vinyl 12 Inch
Genre: New Wave


A Dissidents: The Search For Truth Part I (7:17)
B1 Dissidents: The Search For Truth Part II (5:53)
B2 Urges (3:42)


Cat No: 12 R6071
Released: 1984


Killing Joke

Format: Vinyl 12 Inch
Genre: New Wave

Birds Of A Feather

A1 Birds Of A Feather (3:46)
A2 Sun Goes Down (4:19)
B Flock The BSide (3:46)


Cat No: EGOX 10
Released: 1982


Joe Jackson

Format: Vinyl Album
Genre: New Wave

Night And Day

Night Side
A1 Another World
A2 Chinatown
A3 T.V. Age
A4 Target
A5 Steppin' Out
Day Side
B1 Breaking Us In Two
B2 Cancer
B3 Real Men
B4 A Slow Song

A&M Records

Cat No: AMLH 64906
Released: 1982


Gary Numan

Format: Vinyl Album
Genre: New Wave

Living Ornaments '80

A1 This Wreckage
A2 I Die : You Die
A3 M.E.
A4 Everyday I Die
A5 Down In The Park
B1 Remind Me To Smile
B2 The Joy Circuit
B3 Tracks
B4 Are 'Friends' Electric?
B5 We Are Glass

Beggars Banquet

Cat No: BEGA 25
Released: 1981


Joe Jackson

Format: Vinyl Album
Genre: New Wave

I'm The Man

A1 On Your Radio (4:01)
A2 Geraldine And John (3:13)
A3 Kinda Kute (3:30)
A4 It's Different For Girls (3:42)
A5 I'm The Man (3:57)
B1 The Band Wore Blue Shirts (5:03)
B2 Don't Wanna Be Like That (3:41)
B3 Amateur Hour (4:04)
B4 Get That Girl (3:02)
B5 Friday (3:34)

A&M Records

Cat No: AMLH 64794
Released: 1979


Joy Division

Format: Vinyl 12 Inch
Genre: New Wave

Unknown Pleasures

A1 Disorder (3:36)
A2 Day Of The Lords (4:43)
A3 Candidate (3:00)
A4 Insight (4:00)
A5 New Dawn Fades (4:47)
B1 She’s Lost Control (3:40)
B2 Shadowplay (3:50)
B3 Wilderness (2:35)
B4 Interzone (2:10)
B5 I Remember Nothing (6:00)

New inc download code


Cat No: FACT 10R
Released: 2015



Format: Vinyl Compilation
Genre: New Wave

Boogie Fever

A1 The Motors Airport
A2 Clout Substitute
A3 Renaissance (4) Northern Lights
A4 Dan Hill Sometimes When We Touch
A5 ABBA Take A Chance
A6 Andrew Gold Never Let Her Slip Away
A7 Foreigner Cold As Ice
A8 Scott Fitzgerald & Yvonne Keeley If I Had Words
A9 Child (2) Its Only Make Believe
A10 Love Childs Afro Cuban Blues Band Rhythm Of Life
A11 Gladys Knight Come Back & Finish What You Started
B1 Sheila & B. Devotion Singin' In The Rain
B2 Eruption (4) I Can't Stand The Rain
B3 The Real Thing Rainin' Through My Sunshine
B4 Karen Young Hot Shot
B5 Mick Jackson Blame It On The Boogie
B6 Raydio Is This A Love Thing
B7 Belle Epoque Black Is Black
B8 The Trammps Disco Inferno
B9 Linda Clifford If My Friends Could See Me Now
B10 Stargard Which Way Is Up
B11 Chic Everybody Dance


Cat No: RTL 2034
Released: 1978


Pete Wylie & The Oedipus Wrecks

Format: Vinyl 12 Inch
Genre: New Wave

Sinful! (Tribal Mix)

A Sinful! (Tribal Mix) (8:09)
B1 Sinful! (4:11)
B2 I Want The Moon, Mother (3:23)

MDM Records

Cat No: MDM 7-12
Released: 1986


The Icicle Works

Format: Vinyl 12 Inch
Genre: New Wave

Who Do You Want For Your Love?

A1 Who Do You Want For Your Love? (3:51)
A2 Understanding Jane (Live) (4:11)
B1 Should I Stay Or Should I Go (Live) (3:00)
B2 Roadhouse Blues (4:44)

Beggars Banquet

Cat No: BEG 172T
Released: 1986


Any Trouble

Format: Vinyl Album
Genre: New Wave

Any Trouble

A1 I'll Be Your Man
A2 Please Don't Stop
A3 Touch And Go
A4 Foundations
A5 Party In The Streets
B1 Northern Soul
B2 Man Of The Moment
B3 Time Does Not Heal
B4 You'd Better Go Home
B5 Falling In Love With You Again

EMI America

Cat No: ST 17096
Released: 1983



Format: Vinyl 12 Inch
Genre: New Wave


A Ieya (8:14)
B Helium Song (Spaced Walking) (3:36)

Safari Records

Cat No: SAFE L 28
Released: 1980



Format: Vinyl Album
Genre: New Wave

Last Night A D.J. Saved My Life!

A1 Buffalo Bill
A2 Love Is Like A Gun
A3 Last Night A D.J. Saved My Life
B1 Slow Down
B2 Lipstick Politics
B3 When Boys Talk
B4 There It Is

Sound Of New York

Cat No: SNYLP 1001
Released: 1983
Out Of Stock


Format: Vinyl Album
Genre: New Wave

Parallel Lines

A1 Hanging On The Telephone (2:17)
A2 One Way Or Another (3:31)
A3 Picture This (2:53)
A4 Fade Away And Radiate (3:57)
A5 Pretty Baby (3:16)
A6 I Know But I Don't Know (3:53)
B1 11:59 (3:19)
B2 Will Anything Happen? (2:55)
B3 Sunday Girl (3:01)
B4 Heart Of Glass (3:54)
B5 I'm Gonna Love You Too (2:03)
B6 Just Go Away (3:21)


Cat No: CDL 1192
Released: 1978
Out Of Stock


Format: Vinyl 12 Inch
Genre: New Wave

You Talk We Talk

A You Talk We Talk
B Shoot

Anagram Records

Cat No: 12 ANA 2
Released: 1982


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Information on the New Wave genre

New Wave is a genre of music that emerged in the mid to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, and disco and 1960s pop music, as well as much of the original punk rock sound and ethos, such as an emphasis on short and punchy songs. The 1990s and 2000s have seen revivals, and a number of acts that have been influenced by a variety of New Wave styles.

The term "New Wave" itself has been a source of much confusion and controversy. It was used in 1976 in the UK by punk fanzines such as Sniffin' Glue, and then by the professional music press. In a November 1976 article in Melody Maker, Caroline Coon used Malcolm McLaren's term "New Wave" to designate music by bands not exactly punk, but related and part of the same musical scene. For a period of time in 1976 and 1977 the two terms were interchangeable. By the end of 1977, "New Wave" had replaced "Punk" as the definition for new underground music in the UK.

In the United States, Sire Records needed a term by which it could market its newly signed bands, who had frequently played the club CBGB. Because radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "New Wave". Like those film makers, its new artists, such as the Ramones and Talking Heads, were anti-corporate and experimental. At first most American writers exclusively used the term "New Wave" to describe British punk acts. Starting in December 1976, The New York Rocker, which was suspicious of the term "punk," became the first American journal to enthusiastically use the term starting with British acts, and later appropriating it to acts associated with the CBGB scene.
Talking Heads performing in Toronto in 1978.

Music historian Vernon Joynson states that new wave emerged in the U.K. in late 1976, when many bands began disassociating themselves from punk.[9] Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity, or more polished production, came to be categorized as "New Wave". This came to include musicians who had come to prominence in the British pub rock scene of the mid-1970s, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods and Dr Feelgood; and according to allmusic "angry, intelligent" singer-songwriters who "approached pop music with the sardonic attitude and tense, aggressive energy of punk" such as Elvis Costello, Joe Jackson, and Graham Parker. In the U.S., the first New Wavers were the not-so-punk acts associated with the New York club CBGB, such as Talking Heads, Mink DeVille and Blondie. CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have originally been classified as punk were also termed New Wave. A 1977 Phonogram Records compilation album of the same name (New Wave) features US artists including the Dead Boys, Ramones, Talking Heads and The Runaways.

Talking Heads set the template for the New Wave sound of this era. This sound represented a break from the smooth-oriented blues and rock & roll sounds of late 1960s to mid 1970s rock music. According to music journalist Simon Reynolds, the music had a twitchy, agitated feel to it. New Wave musicians often played choppy rhythm guitars with fast tempos. Keyboards were common as were stop-and-start song structures and melodies. Reynolds noted that New Wave vocalists sounded high-pitched, geeky and suburban.

Power Pop, a genre that started before punk at the very beginning of the 1970s, became associated with New Wave at the end of the decade because their brief catchy songs fit into the mood of the era. The Romantics, The Records, The Motors, Cheap Trick, and 20/20 were groups that had success playing this style. Helped by the success of the power pop group, The Knack, skinny ties became fashionable among New Wave musicians.

A revival of ska music led by The Specials, Madness and the English Beat added humor and a strong dance beat to New Wave.

Later still, "New Wave" came to imply a less noisy, often synthesizer-based, pop sound. The term post-punk was coined to describe the darker, less pop-influenced groups, such as Gang of Four, Joy Division, The Cure, and Siouxsie and the Banshees, some of which did later adopt synths. Although distinct, punk, New Wave, and post-punk all shared common ground: an energetic reaction to the supposedly overproduced, uninspired popular music of the 1970s.

Allmusic explained that New Wave's stylistic diversity occurred because New Wave "retained the fresh vigor and irreverence of punk music, as well as a fascination with electronics, style, and art". This diversity extended to the numerous one hit wonders that came out of the genre.

The term fell out of favour in the United Kingdom during the early 1980s because its usage had become too general. Conventional wisdom holds that the genre "died" in the middle of the 1980s. Theo Cateforis, Assistant Professor of Music History and Cultures at Syracuse University, contends New Wave "receded" during this period when advances in synthesizer technology caused New Wave groups and mainstream pop and rock groups to sound more alike.