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  Artist Title Label Price

Various

Format: Vinyl Compilation
Genre: New Wave

Stiff Sounds - Can't Start Dancin'

A1 Ian Dury And The Blockheads Sex & Drugs & Rock & Roll
A2 Ian Dury And The Blockheads Razzle In My Pocket
A3 Mickey Jupp Making Friends
A4 Mickey Jupp You Made A Fool Out Of Me
A5 Jona Lewie Denny Laine's Valet
A6 Jona Lewie I'll Get By In Pittsburgh
A7 Wreckless Eric Semaphore Signals
B1 Wreckless Eric I Wish It Would Rain
B2 Rachel Sweet I'll Watch The News
B3 Rachel Sweet Cuckoo Clock
B4 Lene Lovich Monkey Talk
B5 Lene Lovich Momentary Breakdown
B6 The Rumour All Fall Down
B7 The Rumour Loving You Is Far Too Easy

Stiff Records

Cat No: SOUNDS 3
Released: 1978

£5.00

Spandau Ballet

Format: Vinyl Album
Genre: New Wave

Parade

A1 Only When You Leave (5:09)
A2 Highly Strung (4:10)
A3 I'll Fly For You (5:35)
A4 Nature Of The Beast (5:14)
B1 Revenge For Love (4:20)
B2 Always In The Back Of My Mind (4:28)
B3 With The Pride (5:30)
B4 Round And Round (5:30)

Reformation

Cat No: CDL 1473
Released: 1984

£5.00

Spandau Ballet

Format: Vinyl Album
Genre: New Wave

True

A1 Pleasure (3:30)
A2 Communication (3:36)
A3 Code Of Love (5:10)
A4 Gold (4:49)
B1 Lifeline (3:33)
B2 Heaven Is A Secret (4:24)
B3 Foundation (4:04)
B4 True (6:30)

Reformation

Cat No: CDL 1403
Released: 1983

£5.00

The Police

Format: Vinyl 7 Inch
Genre: New Wave

Every Little Thing She Does Is Magic

A Every Little Thing She Does Is Magic (3:58)
B Flexible Strategies (3:42)

A&M Records

Cat No: AMS 8174
Released: 1981

£6.00

Blondie

Format: Vinyl 7 Inch
Genre: New Wave

Heart Of Glass - (Generic Sleeve)

A Heart Of Glass (3:54)
B Rifle Range (3:37)

Chrysalis

Cat No: CHS 2275

£5.00

Blondie

Format: Vinyl 7 Inch
Genre: New Wave

Heart Of Glass - (Generic Sleeve)

A Heart Of Glass (3:54)
B Rifle Range (3:37)

Chrysalis

Cat No: CHS 2275
Released: 1979

£5.00

Icehouse

Format: Vinyl Album
Genre: New Wave

Primitive Man

A1 Uniform (4:10)
A2 Street Cafe (4:10)
A3 Hey' Little Girl (4:22)
A4 Glam (3:20)
A5 Great Southern Land (5:16)
B1 Trojan Blue (4:59)
B2 Love In Motion (3:34)
B3 Mysterious Thing (4:22)
B4 One By One (3:59)
B5 Goodnight, Mr. Matthews (3:58)

Chrysalis

Cat No: 204 980

£8.00

Men Without Hats

Format: Vinyl Album
Genre: New Wave

Rhythm Of Youth

A1 Ban The Game (0:48)
A2 Living In China (3:04)
A3 The Great Ones Remember (4:41)
A4 I Got The Message (4:44)
A5 Cocoricci (Le Tango Des Voleurs) (3:24)
B1 The Safety Dance (2:44)
B2 Ideas For Walls (2:59)
B3 Things In My Life (4:56)
B4 I Like (4:19)
B5 The Great Ones Remember (Reprise) (1:59)

Statik Records

Cat No: STAT LP10
Released: 1982

£5.00

Frankie Goes To Hollywood

Format: Vinyl 12 Inch
Genre: New Wave

Two Tribes (Carnage)

A Two Tribes (Carnage) (7:57)
Surrender
B1 War (Hide Yourself) (4:14)
B2 One February Friday (1:47)
B3 Two Tribes (Surrender) (3:45)
B4 The Last Voice (1:16)

ZTT

Cat No: XZTAS 3
Released: 1984

£6.50

Blondie

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)

Chrysalis

Cat No: CDL 1192
Released: 1978

£5.00

Blondie

Format: Vinyl Album
Genre: New Wave

Eat To The Beat

A1 Dreaming (3:02)
A2 The Hardest Part (3:37)
A3 Union City Blue (3:19)
A4 Shayla (3:51)
A5 Eat To The Beat (2:35)
A6 Accidents Never Happen (4:10)
B1 Die Young Stay Pretty (3:27)
B2 Slow Motion (3:25)
B3 Atomic (4:35)
B4 Sound Asleep (4:12)
B5 Victor (3:19)
B6 Living In The Real World (2:38)

Chrysalis

Cat No: CDL 1225
Released: 1979

£4.50

Lowfinger

Format: Vinyl 12 Inch
Genre: New Wave

The Goodfoot E.P.

A1 Cape Of The Goodfoot [Tim Lover Lee Mix]
A2 Don't Smell Helen
B1 Mexico
B2 Ledfinger

Rodeo Meat

Cat No: RM04

£4.00

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

£5.00

Thomas Dolby

Format: Vinyl 12 Inch
Genre: New Wave

Dissidents

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

Parlophone

Cat No: 12 R6071
Released: 1984

£5.00

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)

EG

Cat No: EGOX 10
Released: 1982

£4.50

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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.