Maybe it’s the trajectory that Make It New has travelled over the past half-dozen entries, but there’s something refreshingly straightforward about The Bangles. For as much as New Wave is a genre defined by playing against Top 40 expectations, there have been bands that straddled the line effortlessly that found something innovative in the familiar. Many bands have turned to the 1960s for personal influence, but the argument could be made that The Bangles were one of the groups who did it the most successfully. Whereas The Knack failed to have long-term success, The Bangles have been unstoppable. While not the most prevalent chart-toppers on this list, they’re still ubiquitous enough that even the most casual of fans will know a few of their songs.
They’re also a band whose career had a lengthy backstory by the time of their 1984 debut “All Over the Place.” This doesn’t necessarily mean that they were riled in controversy or were an underground success. It was more that this was the second, or often third or fourth, act for the musicians. Everyone had come from somewhere else and the years of honing craft could be heard in their style. For as much as this record plays like straightforward pop-rock, there’s still a collective focus that is undeniable. Their hooks may be premature compared to later works, but they still captured a liveliness that was undeniable. It’s the type of promise that earned them fans like Prince and would land them on some buzzworthy tours.
Before delving into the success after 1984, it is important to dig into the origins. Many members got their start in a Los Angeles movement called Paisley Underground. While every band had their own sound, they were generally considered fans of 60s groups like Love and The Byrds. The group in question was Rainy Day, made up of members who would go on to form groups like Dream Syndicate, The Three O’Clock, and The Bangles.
Members Susanna Hoffs and Vicki Peterson had been in various bands before deciding to start a personal band around December 1980. This came about when Hoffs, Vicki and sister Debbi Peterson had answered classified advertisements in The Recycler. It ended up being a storied journey. Bassist Annette Zilinskas was the only person to answer. While Zilinskas would eventually leave the band, she would become a more permanent member upon reuniting decades later. In fact, while there would be small changes throughout the years, the original agreed upon group would be the contemporary line-up. Former Runaways member Michael Steele would replace Zilinskas in 1982 following an E.P. release.
The group had originally called themselves The Colours in 1981. They would update their name to The Bangs. While named after the hairstyle, they were also intrigued by how suggestive it could be. They would be signed to The Police’s manager Miles Copeland’s Faulty Products label where they released their early material. However, copyright infringement caused them to change the name or risk having to pay them for every release. Around this time, Faulty Products also folded. They would eventually move over to I.R.S. Records and received distribution. It was around then that Zilinskas went on to do work with Blood on the Saddle and was replaced by Steele.
Unlike a lot of these records, there’s isn’t a lot of great behind the scenes stories. The most interesting one came around their single “Going Down to Liverpool.” It was a cover of a song by Katrina and the Waves. Having received permission by Kimberley Rew, they recorded it as their second single. It wasn’t that successful, though their music video became noteworthy for one particular cameo.
Prior to her music career, Susanna Hoffs was an actress in her mother Tamar Simon Hoffs’ films. These included Stony Island (1978), The Haircut (1982), and The Allnighter (1987). Tamar would also direct the music video for “Going Down to Liverpool,” which featured a unique family connection. Since The Hoffs were friends with The Nimoys, Star Trek actor Leonard Nimoy would play a chauffeur who was disinterested in the band’s sound. It was a simple role, but one that added buzz to the young band’s career. This would help land the video on MTV and inspire a steady amount of attention from younger fans who gradually bought “All Over the Place.”
The worst that can be said is that this isn’t The Bangles’ most defining work. Even their next record would have numbers that withstood the test of time better. However, this is one of those albums of pure energy that is undeniable. What it lacks in diversity, it more than makes up for with what made The Bangles essential. They could’ve easily been pitted as the girl band who was never more than novelty. Given that this was the time of The Go-Go’s and Bananarama, there was a chance for them to get mixed up and never establish much of an identity. Even if they all came from similar new wave backgrounds, there had to be something that gave The Bangles an edge.
For as difficult as it is to break down this record with meaningful insight, there is something to be said for how perfectly condensed the greater execution is. “Hero Takes a Fall” opens the record with a loud, rebellious cry. The guitars have an aggression without losing their clean-cut sound. The lyrics may detail a difficult relationship, but the tone is far from the typical vindictiveness that most would give it. On top of everything, there’s the harmonies that elevate the chorus into an infectious crescendo. Everything comes together in less than three minutes and presents a vision that is clear and to the point. They may be inspired by bands like The Byrds, but they’re still youthful and vibrant.
They’re also inspired by jangle rock, which could be heard on songs like “James” where the guitars waver. Something appealing about their lyrical component can be heard in this song where they cleverly detail their frustration in relationships. It’s far from the sensitive and delicate nature that most girl groups had been known for. Instead, the rawness allows for a shocking honesty as Hoffs sings about how James has caused her problems.
The greater achievement of The Bangles in the class of new wave is that they sing about being young and in love without it being saccharine. They are fine doing covers of “Going Down to Liverpool” where they discuss the aimlessness of youth. Every song presents something that is more reminiscent of punk without really fitting into that box. While the harmonies and chord progressions are more likely to recall 60s rock, their substance is contemporary in such a way that it creates something discordant. Luckily, Hoffs and co-writer Vicki Peterson were experts at capturing what worked best for the band and leaned into it for a solid 31 minute record. These were strong, confident women and nobody was going to stand in their way.
If there was one problem from the beginning, it was the media’s handling of them. While there was acclaim for their work, many attributed it mostly to Hoff. Given that everyone contributed to harmonies as well as playing instruments, this notion was confusing and would eventually lead to their initial demise. The public wanted to believe that Hoffs was the reason the band was successful for many reasons. It was in part being the lead singer, but also possibly because she had the most public profile. She had starred in movies as well as being seen as the most conventionally attractive. In a lot of ways it was distracting from the music, which would lead to their initial demise in 1989 when the discourse became too much.
However, the immediate success following “All Over the Place” could be seen. They were hired to be the opening act for Cyndi Lauper’s Fun Tour. They would also perform with Huey Lewis & The News. This would only help to expand their fan base and build anticipation for their next album. This would include a collaboration with Prince, who offered them “Manic Monday”: a song originally written for his group Apollonia 6. As suggested, the records to come would only find them going bigger than ever before. Their sound would also incorporate more piano and pop hooks while maintaining their four-part harmonies that made them stand out.
Their upward success was upset by the media’s focus on Hoffs. Given that they were pushing her into a solo career, the group decided to go in their own directions. Vicki Peterson would join Continental Drifters and a fill-in member for The Go-Go’s. Steele was in the short-lived Crash Wisdom. Meanwhile, Hoffs released “When You’re a Boy” in 1991 to mixed reviews. While her career would continue with a solo release as recently as 2023’s “The Deep End,” it was clear that The Bangles’ legacy would overshadow anything she did.
If this was any other New Wave band, the 1989 disbanding would mark the end of their career. Maybe there’s be a short reunion tour in the early 2000s, but the glory days were behind them. Instead, the end hasn’t officially happened as of this publication. Following a nine year break, the band reunited for the most unlikely of reasons. Hoffs had married filmmaker Jay Roach and had co-starred in the Austin Powers movies as part of a fictional band called Ming Tea. For the release of The Spy Who Shagged Me, Roach encouraged Hoffs to reunite the band. This resulted in the song “Get the Girl” and lead to an upcoming tour and several years of reassessment and acclaim. Since then, they have released two albums with the second being “Sweetheart of the Sun” in 2011. Zilinskas would rejoin in 2014.
What “All Over the Place” lacks in greater nuance it more than makes up for in being one of the most electric and enjoyable records that Make It New has covered in a long time. Whereas most bands are high concept and esoteric, The Bangles are straightforward rock that appeals to youthfulness and carefree emotions. They presented a new style of girl groups that could be tough without resorting to shtick. They could express emotions without being seen as too sensitive. Everything came together and made a band that is just fun to have around. It’s the type of record that at most alludes to the promise that comes. Even then, the hooks are infectious and it’s difficult to not hear “Hero Takes a Fall” and not want to hear more. It’s an addictive listen.
They are a group that confidently busted down the door and claimed their stakes. They became one of the quintessential 80s bands by sticking to their guns. While “All Over the Place” is maybe not the most recognizable record in their collection, there’s a good reason that they would attract big name collaborators down the line. For what they lack in being traditionally “odd,” they made up for in ushering in a sound that was simultaneously nostalgic and fresh. Short of listening to the other records, this is a great entry into the new wave canon that influenced generations. The record may be “All Over the Place,” but that’s just because everybody should give it at least one listen. They won’t be sorry.
Coming Up Next: Duran Duran – “Rio” (1982)
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