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  Artist Title Label Price

Toto Coelo

Format: Vinyl 12 Inch
Genre: New Wave

Dracula's Tango (Sucker For Your Love)

A Dracula's Tango (Sucker For Your Love) (Extended Dance Version) (6:01)
B Mucho Macho (Extended Dance Version) (5:03)


Cat No: TIC 11-12
Released: 1982


Culture Club

Format: Vinyl 12 Inch
Genre: New Wave

Karma Chameleon

A Karma Chameleon (4:11)
B I'll Tumble 4 Ya (U.S. 12" Remix) (4:38)


Cat No: VS 612-12
Released: 1983


Crowded House

Format: Vinyl 12 Inch
Genre: New Wave

Don't Dream It's Over (Extended Version)

A Don't Dream It's Over (Extended Version) (6:10)
B1 Don't Dream It's Over (Album Version) (4:03)
B2 That's What I Call Love (Album Version) (3:37)

Capitol Records

Cat No: 12CL 438
Released: 1987


The Mood

Format: Vinyl 12 Inch
Genre: New Wave

Passion In Dark Rooms

A Passion In Dark Rooms
B The Munich Thing (Remix)


Cat No: RCAT 276
Released: 1982



Format: Vinyl 12 Inch
Genre: New Wave


A1 Weekends (How Come We Always End Up Here?)
A2 Shambeko — The Original Orchestral Arrangement
B1 Body And Solo
B2 The Truth About Eddie

Beggars Banquet

Cat No: BEG 117T
Released: 1984


Altered Images

Format: Vinyl 12 Inch
Genre: New Wave

I Could Be Happy

A I Could Be Happy (5:40)
B1 Insects (3:33)
B2 Disco Pop Stars (2:33)


Cat No: EPC A13 1834
Released: 1981


Roman Holliday

Format: Vinyl 12 Inch
Genre: New Wave

Don't Try To Stop It

A1 Don't Try To Stop It (Extended Club Mix) (4:40)
A2 Beat My Time (1:54)
B1 Don't Try To Stop It (Dub) (3:50)
B2 Don't Try To Stop It (Acapella) (2:34)


Cat No: JIVE T 39
Released: 1983


The Bloomsbury Set

Format: Vinyl 12 Inch
Genre: New Wave

Hanging Around With The Big Boys

A Hanging Around With The Big Boys
B Getting Away From It All


Cat No: STLT 13
Released: 1983


Deborah Harry

Format: Vinyl 12 Inch
Genre: New Wave

French Kissin' In The USA

A French Kissin' In The USA (Dance Mix) (7:25)
B1 French Kissin' In The USA (Dub Version) (8:02)
B2 Rockbird (3:09)


Cat No: CHS 12 3066
Released: 1986



Format: Vinyl Album
Genre: New Wave


A1 Night Nurse (3:00)
A2 Luxury (3:20)
A3 Swinging With The Reptiles (3:50)
A4 Drive Away (3:30)
A5 Super Heroes (3:59)
A6 Movies (3:04)
B1 Robberoni (3:47)
B2 Private Lives (3:50)
B3 TV Times (5:07)
B4 Muscle Culture (6:06)

The Electric Record Company

Cat No: TRIX 12
Released: 1979


Savage Progress

Format: Vinyl 12 Inch
Genre: New Wave

Heart Begin To Beat

A Heart Begin To Beat (An Extended Mad Mix) (6:35)
B Dark Town (4:47)

10 Records

Cat No: TEN 22-12
Released: 1984


Kim Wilde

Format: Vinyl Album
Genre: New Wave

Kim Wilde

A1 Water On Glass (3:25)
A2 Our Town (3:49)
A3 Everything We Know (3:44)
A4 Young Heroes (3:12)
A5 Kids In America (3:21)
B1 Chequered Love (3:16)
B2 2-6-5-8-0 (3:09)
B3 You'll Never Be So Wrong (4:14)
B4 Falling Out (4:01)
B5 Tuning In Tuning On (4:23)


Cat No: SRAK 544
Released: 1981



Format: Vinyl Album
Genre: New Wave

Zap The Universe

A1 Theme From "The Polkaholics"
A2 Isn't Life Funny
A3 A.M. Mayhem
A4 (In Memory) Of Rondo Hatton
A5 Oh! What A Beautiful Lovely Piece Of Shit
A6 Story
A7 Do You Wanna Know A Secret
A8 The Grand Route
A9 Beautiful Terrorist Girls
A10 Raking Ants
A11 Poop On A Coupon
A12 Take
A13 Satanic Litany
A14 Trial
A15 Zap The Universe
B1 Surfin' Thru The Swamp
B2 Pop Squids
B3 Another Dirge
B4 A Case In Point
B5 Hate Music
B6 Joan Of Arc Handpuppet
B7 Slow Song
B8 The Incredible Half-Step
B9 Fuck The People

Utility Grade Records

Cat No: UG2
Released: 1985



Format: Vinyl 12 Inch
Genre: New Wave

Dancing With Tears In My Eyes (Special Re-Mix)

A Dancing With Tears In My Eyes (Special Re-Mix) (10:02)
B1 Dancing With Tears In My Eyes (4:07)
B2 Building (3:10)


Cat No: UVX 1
Released: 1984


Zaine Griff

Format: Vinyl Album
Genre: New Wave


A1 The Proud Ones (5:07)
A2 The Vanishing Men (3:48)
A3 Flowers (4:26)
A4 Hot (4:36)
A5 Fahreinheit 451 (5:50)
B1 Figures (3:04)
B2 The Stranger (2:41)
B3 Time Stands Still (3:18)
B4 83rd And 4th (3:25)
B5 Chance Of A Dance (3:48)
B6 The Beating Of Wings (5:34)


Cat No: 2311 160
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.