Oingo Boingo is a new wave band, formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous.Oingo Boingo were known for their high energy live concerts and experimental music, which can be described as mixing rock, ska, pop, and world music. The band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include "Only a Lad", "Dead Man's Party" and "Weird Science". As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band changed line-ups and adopted a more pop oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboardist and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.
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The Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called The Mystic Knights of the Sea. This version of the band employed as many as 15 performers at any given time, playing over 30 instruments, including some instruments built by band members. Richard's brother, Danny Elfman joined the band in 1974 and later became its leader. The group gradually moved away from its street theatre origins and transformed into a dedicated musical theatre act. The group performed an eclectic repertoire ranging from Cab Calloway covers to instrumentals in the style of Balinese gamelan and Russian ballet music, and later original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director.
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In 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam 'Sluggo' Phipps and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests and reducing the need for transportation and set-up of multiple stage sets and props. Elfman stated the shift was inspired by ska revival bands such as the Specials, Madness and the Selecter, the new wave band XTC, as well as the "energy and speed" of punk. For some early gigs during the reformation, the band used the shortened name The Mystic Knights (and in the animated short "Face Like a Frog" by Sally Cruikshank, the song "Don't Go in the Basement" is credited to that name). The name Oingo Boingo was settled on in 1979, at which point their early song "I'm Afraid" appeared on the Rhino Records Los Angeles rock and new wave "up and coming" compilation, L.A. In. That same year, the band issued a limited print, promo-only EP record, the Demo EP, intended for distribution to radio stations and recording industry A&R representatives, to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980; the Oingo Boingo EP. The band had now coalesced as an octet: Danny Elfman on lead vocals and rhythm guitar; Steve Bartek on lead guitar; Richard Gibbs on keyboards; Kerry Hatch on bass; Johnny "Vatos" Hernandez on drums; and Leon Schneiderman, Sam "Sluggo" Phipps and Dale Turner on horns. Early success for the group came in 1980 with the song "Only a Lad" from the eponymous EP. The song aired frequently in Los Angeles on KROQ-FM and complemented the station's then-unusual new wave format. Following regional success of "Only a Lad", the group released its first full-length album in 1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982 and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination. In 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had "lost the spirit", but stated, "I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music".
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Elfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records. Shortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, "Weird Science", which was written for the John Hughes film of the same name. The band appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single "Dead Man's Party". The soundtrack to the movie Bachelor Party included a theme song written by Elfman and a song unreleased on any Oingo Boingo album, "Something Isn't Right".
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During this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores. The album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised "live" re-recordings of previous album songs on a studio soundstage, plus a new song, "Winning Side". This new track was also released as a single and became a No. 14 hit on US Modern Rock radio stations. In 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release and including the singles "Out of Control" and "Flesh 'N Blood".
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Oingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction and debuted new material, such as "Insanity", "Helpless" and the unreleased song "Did It There". Shows during these years often included the so-called "Sad Clown Orchestra" providing additional accordion and circus percussion. That same year, Oingo Boingo began recording an eighth studio album for new label Giant Records. The sessions stalled when Elfman became heavily involved writing the music for animated musical The Nightmare Before Christmas with Tim Burton. Of this period, Elfman would later reflect that, after over 15 years, he had begun losing his passion for the band.In 1994, the band consolidated their new musical style and shortened its name to "Boingo". Guitarist Warren Fitzgerald joined while keyboardist Carl Graves and the horn trio were removed. This marked the only year that the band toured without the horn section.
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The previously-shelved album was completed with the new 5-piece line-up, including orchestral instrumentation and several songs improvised in the studio for the first time in the band's history.[14] This was released as Boingo in 1994, and would be the band's final studio album. In 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a "Farewell" tour in 1995, restoring the original horn trio and reverting its name back to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.
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Following the band's dissolution, Danny Elfman continued composing for film and has been nominated for four Academy Awards for his work. While he has provided the scores for Tim Burton's films almost exclusively since Pee-wee's Big Adventure in 1985, Elfman continues to be much sought-after by other directors in the movie business as well. Elfman's other scores have included those for Batman, Edward Scissorhands, Good Will Hunting, Men in Black, Spider-Man, Big Fish, and The Nightmare Before Christmas. Elfman has also written themes for more than a dozen TV series, including The Simpsons, Batman: The Animated Series, Tales from the Crypt and Desperate Housewives. Elfman almost exclusively employs former Oingo Boingo guitarist Steve Bartek as his orchestrator. In early 2007, Danny Elfman said there would not be an Oingo Boingo reunion, due to fears that playing live would exacerbate his, and possibly other band members', hearing loss. Not withstanding this announcement, on Halloween 2015, Danny Elfman, along with two of the other original voices from the movie The Nightmare Before Christmas, Catherine O'Hara and Ken Page, performed at the Hollywood Bowl, singing all of the songs from the movie with a complete orchestra, while the film played in its entirety. Paul Reubens made a special guest appearance in an encore performance of "Kidnap the Sandy Claws," reprising his original role of Lock from the film, and the event culminated in Elfman and Oingo Boingo guitarist Steve Bartek performing "Dead Man's Party" for the first time in twenty years.
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Over 20 years since their Farewell concert, Oingo Boingo were honored with a resolution at the LA City Hall in April 2016. Popular LA radio & television personality Richard Blade gave a speech describing Oingo Boingo. Several members attended the meeting from across the band's changing line-ups, including Johnny "Vatos" Hernandez, founding keyboardist Richard Gibbs, John Avila, Carl Graves and Sam "Sluggo" Phipps. In 2003, former keyboardist Richard Gibbs scored the Battlestar Galactica miniseries with composer Bear McCreary. In 2005, John Avila, Johnny "Vatos" Hernandez and Steve Bartek began contributing to the subsequent McCreary-scored Battlestar Galactica television series. During the 2006 Halloween season, there were two Johnny Vatos Tribute to Halloween shows, one in Los Angeles and one in Orange County, California, with Vatos, Bartek, Avila, Phipps, and Legacy. Since the 2005 Halloween season, former drummer Johnny "Vatos" Hernandez has regularly put together an Oingo Boingo tribute band for performances at different venues, mainly throughout Southern California and Arizona, including The Grove of Anaheim. Initially billed as the "Johnny 'Vatos' Tribute to Halloween, Featuring Former Members of Oingo Boingo,"[18][19] Hernandez eventually titled the project Boingo Dance Party and then Oingo Boingo Former Members. The group is joined intermittently by former Oingo Boingo members such as Steve Bartek, Carl Graves, John Avila and Sam "Sluggo" Phipps, while vocals are usually provided by singer Brendan McCreary, also known as Bt4.
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John Avila and Johnny "Vatos" Hernandez were two members of the trio Food For Feet. They also formed the rhythm section of Tito & Tarantula, a Los Angeles band fronted by Tito Larriva of The Plugz and the Cruzados. Avila and Hernandez also joined Larriva and guitarist Stevie Hufstetter in a one-off project band called Psychotic Aztecs. The Aztecs released one album on the Grita label called Santa Sangre. Doug Lacy (Boingo live keyboardist and percussionist) recruited bassist John Avila, guitarist Steve Bartek, drummer Johnny "Vatos" Hernandez, and saxophonist Sam Phipps (among other musicians) for a band called Doug & The Mystics. They recorded one album, New Hat, which included a cover of the Oingo Boingo song "Try to Believe", as well as original songs and covers of songs by Frank Zappa and other artists. Doug had released one solo album previously.
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Most of us are familiar with Danny Elfman from his scores for Tim Burton’s films, Jack’s singing voice in Nightmare Before Christmas, or the theme music for The Simpsons. Or maybe through his new wave band Oingo Boingo’s hit songs “Dead Man’s Party” or “Weird Science.” But that’s not what this article is about. This piece is here to document and honor the weird, wild and wonderful work made by Danny and his 12-piece avant-garde old-wave performance art troupe. Scarcely documented, hard to explain, and too eclectic for mainstream success, The Mystic Knights of the Oingo Boingo carved a unique spot for themselves with their caffeinated ragtime, garish makeup, monster costumes and rejection of all things modern.
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In 1970, Danny’s older brother Richard was living in Paris and performing as a percussionist with Le Grand Magic Circus. The group needed a violinist, and eighteen-year-old Danny jumped at the chance, touring Europe with the group for the summer. Shortly after, Danny headed to Africa to study polyrhythms and percussion by wandering from town to town and playing with local musicians. He traveled from the west end of the continent to the east for a solid year before coming down with malaria. He was flown back to the U.S. for treatment and recovery. By then, Richard had married the lead performer of Le Grand Magic Circus, Marie Pascale. The two had moved to Los Angeles to form their own musical theater troupe. They called it The Mystic Knights of the Oingo Boingo, a mixture of an Amos n’ Andy reference and phonetic gibberish. Danny was immediately enlisted as their musical director. Richard recalls: “My guiding musical vision for the group was ‘nothing contemporary.’ We faithfully re-created GREAT music that audiences could no longer hear live anymore — Cab Calloway, Duke Ellington, Django Rheinhardt, Josephine Baker, and did totally original, off-the-wall compositions by Danny, including numbers using an array of percussion instruments that he and saxophonist Leon Schneiderman created for the group.”
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The Mystic Knights lineup would vary from show to show; often having as many as 15 performing members swapping up to thirty musical instruments during their set. The show took a classic cabaret format, mixing theatrical bits and comedy skits with the songs. Absurdist narratives and homemade creature costumes were woven into the musical performances. Danny would lead the band dressed as Satan, welcoming the audience into ‘Hotel Hades’ for the evening. Recordings from this period are rare, usually live, and poor in fidelity, but the crowning achievement of this era of the group would be the raunchy art-house film Forbidden Zone. Written and directed by Richard Elfman, the film encapsulates the spirit of Mystic Knights’ live show, mixing in inventive stop-motion, video collage and dadaist comedy bits. This would be Danny’s first film score, arranged by guitarist Steve Bartek and performed by The Mystic Knights of the Oingo Boingo.
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“We were very successful doing that multi -media cabaret twisted show that we ran, and we were offered backing from a major theatrical family to take it on the road. It was what I was working for, but unfortunately at the same time I was losing my inspiration for the show. I was writing this stuff, getting waves of inspiration, but it just wasn’t fitting in.” From this point, Richard stepped away from the group to pursue a film career, and left his brother Danny in at the helm. In 1979, Danny would eventually reformat the project to being a musically focused band, leaving the theatrics and costumes in favor of a more lightweight, flexible and sustainable music project. The name was shortened to Oingo Boingo, the lineup reduced to an octet, and they quickly became a critical pillar in the Los Angeles new wave scene.
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Both Tim Burton and Paul Reubens (Pee-wee Herman) were fans of Oingo Boingo, and approached Elfman to score Pee Wee’s Big Adventure. “I had no connection with Tim. I had never met him before the interview for he called me for an interview and I didn’t know why. I don’t know how someone could see this rock band [Oingo Boingo] and think, ‘This dude could do my orchestral film score.’ It defies logic, as far as I’m concerned. It’s one of the great mysteries of my life — I would never have had the guts to ask someone with my background to do that job. And when I did it, I fully expected to screw it up.”
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The Mystic Knights of the Oingo Boingo lasted for nearly a decade, and consistently defied definition, categorization, and general common sense. That ends up being the fate for most projects as eclectic, collaborative and inventive as this one — they can only happen in a certain time and under certain cultural climate. For now, we can just absorb the little documentation we have of this wild musical theater troupe, and hope for spiritual successors in the future. I’ll leave you with the finale song of the original show, featuring a wonderful accordion-backed farewell serenade by Danny himself.
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I’ve compiled my favorite Mystic Knights bootleg recordings I’ve found into one YouTube playlist if you’d like to dive into what’s available of their music. If I’ve missed any from this era, or if you’ve found better quality recordings, definitely send them my way and I’d be happy to add them to the bucket. The video above is a great representation of the group’s earlier performances and appearances. Context for each song and performance is unclear, other than the black-and-white film clip, which is cut from Hot Tomorrows.
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For decades, Danny Elfman has been behind some of the most distinctive music created for film and television, a body of work that’s both impressive in its magnitude and surprising in its variation—all while still retaining a sound that is unmistakably his. Even more astonishing is where it came from: the former leader of the confrontational cabaret act turned ska-tinged new wave act Oingo Boingo, whose earliest aspirations were to stage the bizarre performance art pieces immortalized in Elfman’s film debut, Forbidden Zone. In the years since, Elfman has become one of film scoring’s most sought-after composers, thanks largely to his work with director Tim Burton (an extensive collaboration we covered in this previous interview). For this Set List—which can only begin to scratch the surface of his long list of credits—we tried to look at both the major milestones and a couple of the forgotten corners of an unusual, unusually prolific career. Elfman’s latest score is Mr. Peabody & Sherman, which was released on DVD and Blu-ray on October 14.
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I don’t even remember what my motivation was other than being silly. That was like, at the height of silliness. I had a cabaret/musical/theatrical troupe. At that point, we rarely did anything with a contemporary, current feel—meaning beyond 1938. Almost our entire repertoire was pre-1940, and our original stuff was in the style of way earlier stuff. And this was a rare, rare venture into the second half of the 20th century as a style to work in. Even if it was a very dated style in the ’70s to do something in the ’50s, for us that was a huge leap from where we stood, which was 1933.
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In Oingo Boingo days, things were a little simpler to grasp where I was coming from. Because in Oingo Boingo, I was really just functioning as a brat, and I liked to provoke. A lot of people hated us, and I kind of liked that. So I wrote that as another little way to provoke reactions. Nobody at that point was doing counter-left-wing rock ’n’ roll that I was aware of, and even though I consider myself very left, I wrote something that was very satirical of the left—for no other reason than being a brat. I didn’t know that. It was written completely as being facetious. “Little Girls” wasn’t written from the perspective of a pedophile either. They were both written as in-your-face facetious jabs. If anything, it was right-wing in the way that they may embrace Stephen Colbert as an icon of the right—if you didn’t look or listen too hard. That was coming from a similar motivation. I don’t think Stephen Colbert is as right-wing as he appears—one can assume. “Capitalism”—I was thinking from a very similar sort of point.
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I just basically make fun of everybody, and I didn’t see anybody as being protected from that. So even if my politics were left, I still would really mock political correctness and kind of organized left-wing politics as frequently as I would the right. To me, all organized, political groups have a sense of absurdity to them. It’s open to be mocked or satirized. If anything, I consider myself part of nothing, and any organized group was fair game to mockery, from my vantage point. I can’t even remember what I was thinking at the time I wrote it. It certainly wasn’t political. Probably a lot of what I was writing came from a somewhat—I felt at that moment—surrealistic relationship I was having. But I don’t think I wrote it about a breakup or something specific. “Only A Lad” and “Little Girls” and “Capitalism” would come from reading an article in the paper, and I would just get irritated and write a song. But most of my stuff, like “Gratitude,” didn’t come from a specific situation that I can recall.
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On the soundtrack, right. And that was my first placement on a soundtrack, I believe. I knew Marty [Brest, director] really well. Marty was a friend of mine, and music I wrote for him was in his AFI student film years earlier. So I was kind of around him for this whole debacle that happened for him, where a movie he’d been working on for quite a long time—the producers dumped him on the first week of shooting and left him kind of destitute and depressed. And all of a sudden, Beverly Hills Cop popped up and he grabbed it. And at the time, I wasn’t a composer, and I think it was through our record label—Kathy Nelson at Universal—there was connection about getting a song on the soundtrack. So it was just a random thing among friends.
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No, not really. It didn’t have any effect that I could see. Oingo Boingo, we kind of grew a local popularity based on doing a lot of live shows, and the only single thing that I ever noticed that made a single jump in attendance and reaction was opening for The Police, for a bunch of shows when we were first starting off. At the end of that, our shows got a lot bigger quickly. It was a sideways jump. It was the only song we ever had that was on popular radio. And it, again, was a random thing. There were a couple of pieces I wrote that became very popular that I wrote in my car. One of them was “Weird Science.” I got a call from John Hughes talking about the movie, and wouldn’t it be fun, and I literally wrote it [in my head] while I was talking to him. I got home—I live in L.A., so there’s a lot of driving—up in Topanga Canyon, and I probably had a 45-minute drive. And by the time I got home, I pretty much had it in my head. I ran down to my studio and recorded it and sent it out. That and The Simpsons were created the same way. I mean, literally from a conversation that was in my head, I managed to not lose it or turn on the radio and have it erased long enough to get down to my studio and record it. In that case and in The Simpsons, I heard the whole thing in my head. I heard the arrangements, I heard the brass lines, I heard the bass lines. I had half the lyrics written by the time I ran down my stairs. It was a goof. Any time I’m talking to a director, even now about scores, when they’re talking about it, that’s when I get ideas and hear stuff. It’s not uncommon to screen the movie when I’m talking to a director, and I’ll run out of the room with my iPhone and quickly make some notes, because I don’t want to forget it—especially when I’m at a screening, and I’m liable to hear a piece of music that will come on and erase it. So in both of these cases, I happened to have these conversations and be right in the car and it kind of was instantaneous. It’s usually not that easy. But “Weird Science” was a goof. I wanted to do it for fun, and John was a nice guy, and while he was describing the spirit of the thing, I got the song in my head. I can’t say it made a huge difference for Oingo Boingo, because on the other hand, it was the only kind of pop tune like it that we did. And I found myself quickly onstage not wanting to perform it, so it was a dilemma after the first year or so. Because it was like, “Oh that was fun, but now I don’t want to do it.” It just didn’t feel like it was really a part of our repertoire. It felt too poppy to me. And I think the video was what really soured me. I hated the video. It was the only video I did that I didn’t have anything to do with. I was, at that point, getting busy with other stuff, and I had agreed to show up on a set and, you know, lip synch the song. Everything else I did, I was a part of creating it, or I would even co-direct it. But here I just didn’t, and I was horrified. Years later when it appeared on Beavis And Butt-Head, I just figured, like, justice was served. Like they deserved that. That was kind of the nail in the coffin for me. Like, they were right, and I never want to play this song again. But what can I say? I asked for it. The video was pretty in-your-face, pop awful.
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