While I am a lot older, I've learned more about Oingo Boingo after their disbanding in 1995. I've become familiarized with The Mystic Knights Of Oingo Boingo, along with their myriad assortment of bootlegs, b-sides and many, many soundtrack songs.
What I appreciate about Oingo Boingo was (at that time) a mystery (my first introduction), and I've come to appreciate that more now. I genuinely believe and like what the band did. They were an essential attitude, and character in a field of variety we don't see very much of now. But, I have my favorite records, and not so favorite records, either way I am confident in my respect of Oingo Boingo, and their place in my musical journey.
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E.P. (Demo)1978 and 10' E.P. 1980
Provides a newcomer to the foundation of Oingo Boingo. Songs such as Forbidden Zone (rough cut), I'm So Bad, Ain't This The Life, and Only A Lad. Whereas the 1980 10' EP has better production, omitting Forbidden Zone and its place Violent Love(Willie Dixon), These two early chapters refine what 'the sound' Oingo Boingo were shaping. Though they are over 30 plus years old, the studio production has a tunnel sound, yet the overall 'meat' of the band is very well clear.
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Members: Danny Elfman, Steve Bartek, Johnny Vato's Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, Richard Gibbs, and Kerry Hatch.
This record has insane crazy hooks in each of the songs. Its sarcastic, inventive, inquisitive, and unique. The booming horns with Little Girls sets up the listener with all the pep, and bounce. The verbiage is acerbic, and cuts straight through the bullshit. The cadence, and presentation is memorable because how disjointed it is. It stays with you because its removed from the trappings of what is expected.
When I listen to this I'm immediately thrust into a jubilant mood, even with its sardonic tone, its edgy based on the frustrations its conveying. Rhythmically its overdubbed, as it twinges on the every edge of electronic. All of the elements of production push this record in places that I think hadn't been attempted. Songs have a thrombotic presence, because it feels hypnotic, and alluring. Its cadence is in the ballsy attitude it is portraying.
What I like about this first record is its bizarreness, and off the cusp gravitas. It doesn't really follow anything that one would expect. It grabs with its novelty, and does a remarkable job of keeping the pressure up until finally relenting with Nasty Habits. Only A Lad gives the listener all these crazy sounds to fit its unique identity.
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Members: Danny Elfman, Steve Bartek, Johnny Vato's Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, Richard Gibbs, and Kerry Hatch.
The second record makes its concerted effort to be a little more mellower, but still have the deft its conveying. Some of the songs tend to drift a little bit, but there is a construction to the motif. Guitar wise its different because it has a lot of punk like riffs, and memorable solos. The brass section is bristly, with a consistent mix of electronic overdubbing, and keyboards. A lot of Nothing To Fear sticks with you.
Like the first record, there is a lot of studio trickery here, especially with the drums because they sound premeditated (programmed). I won't fault that part because its album number two. Opening with Grey Matter, and closing with Reptiles And Samurai.
Both albums jangle around in my head. When I first heard these records, the notes would rumble about, lay dormant, and then pop out when I'd least expect them. Both these records still have had a profound impact on me as a listener.
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Members: Danny Elfman, Steve Bartek, Johnny Vato's Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, (final record for Richard Gibbs, and Kerry Hatch).
This record pairs down some of oft crisp zaniness, and moves them into a wiser arena. Its poignant, its sharp, and hangs with a twinge of sweaty sarcasm, while underneath it eliciting an eclectic contradiction.
Lyrically, its mustering a bit of observation. Message or not, the overdubs are even more pronounce, along with more oddity of their instrument compositions. Many of the songs themselves mystified me. The guitar tone lay in on the periphery but bordering on contemporary. Opening with Who Do You Want To Be?, and closing with Little Guns.
But, Good For Your Soul borders on a eclectic feel, yet it tries to break out, but is controlled. Sure its mystical, and transcendent. Though I felt it was genuine, I kept having this underlying feeling it was unsure of its presence. The best analogy I can give Good For Your Soul it is bipolar.
Don't get me wrong, Good For Your Soul is memorable, but what it is projecting is questionable. I still frequent this record for its use of wit, and disruptive attitude. The cleverness though would see a sizable shift in the membership of the band, as both Richard Gibbs and Kerry Hatch left, along with their leaving I.R.S. records.
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Members: Danny Elfman, Steve Bartek, Johnny 'Vatos' Hernandez, Dale Turner, Sam 'Sluggo' Philips, Leon Schneiderman,
I've included this record because in my opinion this is a genuine Oingo Boingo record. Their first with MCA, many of the members are present, and though it has a different look, song wise So-Lo is crafted with monstrous overdubbing. Behind all the wizardry there are new instruments, weaving rhythmic passages, and staccato compositions.
So-Lo sounds sad, introspective, a tad reclusive. Picking out the main idea, there is a lot soul searching, and questioning going on. Underneath the surface though there is heft and emotional sting. It is a personal record on a profound level. I've uncovered truths along with each listen. What sells it though is how memorable, and clever wordplay are. I think So-Lo is powerful because of its brute assessment of being alienated, and never gaining acceptance which is a result of how vicious the music industry is. I don't think it took that much work to get that interpretation. Overall it is an inquisitive, and off the cusp honest record.
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Dead Man's Party Released 1985
Members: Danny Elfman, Steve Bartek, Johnny 'Vatos' Hernandez, John Avila, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, Mike Bacich
Dead Man's Party is turbulent, glossy, and embraces everything cliche. It dives in, doing a remarkable great job of being accessible at every level. Opening with Dead Man's Party and finishing with Weird Science. The problem I had with this record was it's blatant hooky happenstance. I will not deny this was their quintessential peak.
That shouldn't really be a deciding factor on whether the average fan cares, but for me, this record is not one my favorites. It bores me because of its obnoxious presentation, and borders upon complete dullsville.
Much of the construction to these songs bottoms out after a few listens. Its catchy sure, but underneath there isn't longevity for repeated listens. This is one record that has the fewest spins in my collection. Both Dead Man's Party, and Weird Science are the go-to songs that many remember, but I was completely annoyed, and grew very, very, very tired of this record.
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Boi-ngo Released 1987
Members: Danny Elfman, Steve Bartek, John Avila, Johnny 'Vatos' Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, and Mike Bacich
By this release it was this disjointed, and a contradiction within Oingo Boingo itself. Opening with Home Again, and closing with Pain. The flow of this record especially, has had a very unsettled tone, it is militant, forceful, and schizophrenic. It kind of undoes what Dead Man's Party did, and knocked it on its ass.
It straddles between mocking the status quo, and then needing to find inner solace. Two completely different viewpoints sharing the same record. Music wise its tight, and doesn't fray too much. My only quibble though is the song order on Boi-ngo. It feels chopped, as the tracks themselves were rearranged which don't fit cohesively.
Though jagged, and sharp witted, the thing I came to understand with this record was undoing what was already done. Boi-ngo tried to recapture time in a bottle, unleash what was left of the zaniness and give true fans something genuine. Though it works because of the honesty, I felt that something else was changing, Oingo Boingo's next iteration Dark At The End Of The Tunnel. Thanks for reading.
B.
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