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So-Lo
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| So-Lo | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | November 1984 | |||
| Recorded | April 1983; July 1984 | |||
| Studio | Ground Control (Santa Monica) | |||
| Genre | ||||
| Length | 38:34 | |||
| Label | MCA | |||
| Producer | Danny Elfman, Steve Bartek, Paul Ratajczak | |||
| Danny Elfman chronology | ||||
| ||||
| Oingo Boingo chronology | ||||
| ||||
| Singles from So-Lo | ||||
| ||||
So-Lo is the debut studio album by American musician Danny Elfman, released in 1984 by MCA Records. Recorded primarily by Elfman,[1] but also featuring the members of his band, Oingo Boingo, it was recorded when Elfman was offered a solo contract with MCA after the band had been dropped from I.R.S. Records.[2] The album marked the band's last release to feature bassist Kerry Hatch and keyboardist Richard Gibbs.
Background
[edit]So-Lo was produced during a hiatus for Oingo Boingo, following the departure of Hatch and Gibbs. Elfman described the album as "a chance to experiment with slower tempos"[3] and added that "it was fun to do some ballads and try to snap out of that image that a lot of people have of me just writing real fast (...) tunes."[1]
While much of the instrumentation features synth programming from Elfman, Oingo Boingo's remaining members all performed on the album,[1] with Flea of the then-recently formed Red Hot Chili Peppers providing "additional bass guitar". Unlike the material for previous Oingo Boingo albums, which had been fully rehearsed and arranged by the band prior to recording, some tracks on So-Lo, such as "Gratitude", were loose ideas that the band brought into the studio and developed into finished songs via improvisation.[4] The tracks "Cool City" and "Lightning" originated from the 1983 sessions for Good for Your Soul.[5]
Despite rumors at the time of the band breaking up, Elfman later stated that So-Lo was "not made out of frustration" and that he was more committed to the group than ever before.[1] However, a 1987 article published in BAM magazine, in which Elfman was interviewed about the band's past, suggested that Oingo Boingo had in fact considered disbanding in 1984.[6] This was underscored by a 1990 interview for Music Connection, where Elfman stated that this period marked the closest the band had ever come to breaking up: "Not only were we between labels, but we didn't know where we were going and weren't earning a living at the time and we had guys in the band who weren't a hundred percent into it."[4]
In 2020, Oingo Boingo guitarist Steve Bartek stated that So-Lo was "mostly a band record", but that MCA "wasn't particularly interested" in Oingo Boingo and so had signed Elfman as a solo artist. However, Elfman wanted to continue the band and convinced MCA to change his recording contract to Oingo Boingo following the release of So-Lo.[2]
"Gratitude" versions
[edit] | This section possibly contains original research. (June 2025) |
 | This section needs additional citations for verification. (October 2025) |
Original vinyl and cassette releases contained an alternate, earlier mix of the opening song, "Gratitude". Among other differences, this 5:04 mix included a spoken verse cut from all other versions; this was also the version used on the soundtrack to the film Beverly Hills Cop (1984).[7] The original CD release contained the full 5:12 album mix.
The missing verse is as follows:
I used to eat people like you for breakfast
I used to fly, high up in the sky
I used to chew up rocks and spit out gravel
I had a heart as cold as ice
This verse was retained for live performances of the song, sometimes with slightly different lyrics,[8][9] and was also featured on the re-recording of the song for Boingo Alive in 1988.
The 12-inch single release for "Gratitude" used a shorter 4:42 mix, parenthetically named the "Short Version", and the accompanying music video featured an even shorter 4:08 edit. Confusingly, CD releases erroneously titled the 5:12 album mix as the "Short Version", while later vinyl reissues replaced the album mix with the 12-inch "Short Version".
Reissues
[edit]In 2014, So-Lo was reissued on CD by Varèse Sarabande, with one bonus track.[10] In 2022, a remaster was issued by Rubellan Remasters as an expanded edition CD with five bonus tracks, as well as a colored vinyl LP.[11]
Track listing
[edit]All tracks are written by Danny Elfman.
| No. | Title | Length |
|---|---|---|
| 1. | "Gratitude" (5:04 early vinyl & cassette; 4:42 "Short Version" on later issues) | 5:12 |
| 2. | "Cool City" | 3:26 |
| 3. | "Go Away" | 4:00 |
| 4. | "Sucker for Mystery" | 5:15 |
| No. | Title | Length |
|---|---|---|
| 1. | "It Only Makes Me Laugh" | 4:03 |
| 2. | "The Last Time" | 4:07 |
| 3. | "Tough as Nails" | 4:35 |
| 4. | "Lightning" | 3:44 |
| 5. | "Everybody Needs" | 3:50 |
| Total length: | 38:34 | |
| No. | Title | Length |
|---|---|---|
| 10. | "Gratitude (Single Edit)" (Video Edit) | 4:08 |
| Total length: | 42:42 | |
| No. | Title | Length |
|---|---|---|
| 10. | "Gratitude (Original Version)" | 5:05 |
| 11. | "Gratitude (Extended Dance Version)" | 6:44 |
| 12. | "Gratitude (Single Version)" | 4:04 |
| 13. | "Gratitude (Tornado Version)" | 7:02 |
| 14. | "Gratitude (Short Version)" | 4:47 |
| Total length: | 66:16 | |
Personnel
[edit]"The Cast"
- Danny Elfman – vocals, percussion, programming
- Steve Bartek – guitars, programming
- Rich Gibbs – synthesizers, special DX-7 programming
- Paul Fox – synthesizers
- Kerry Hatch – basses
- John Hernandez – drums, percussion
- Leon Schneiderman – baritone sax
- Sam Phipps – tenor sax
- Dale Turner – trumpet, trombone
Additional musician
- The liner notes on some versions (including the 2014 CD reissue) list "Special Thanx" to "Michael Flea for his extra bass work."
Technical
- Steve Bartek – co-producer, arrangements
- Danny Elfman – co-producer, arrangements
- Paul Ratajczak – co-producer, engineer
- Spozzi the "Spazz" – assistant engineer
- Laura Engel – production assistant
- Greg Fulginiti – mastering
- Georganne Deen – art direction, illustration
- Aaron Rapoport – photography
References
[edit]- ^ a b c d Willman, Chris (January 3, 1985). "Oingo Boingo's Elfman Tries a 'So-Lo' Album". Los Angeles Times. Retrieved July 28, 2019.
- ^ a b Bartek, Steve (October 18, 2020). "Richard Blade interviews Oingo Boingo Former Members". YouTube. Richard Blade. Event occurs at 42m 13s. Archived from the original on December 21, 2021. Retrieved March 17, 2021.
- ^ The Elfman Zone - Denver Post Article 1986
- ^ a b Amicone, Michael (April 16–29, 1990). "Odd Men Out". Music Connection. Vol. XIV, no. 8. p. 21.
- ^ Rubellan Remasters (June 11, 2025). Rubellan Remasters - The Life & Death of a Reissue Label, Episode 8 (YouTube video). Self-published. Event occurs at 1:11. Retrieved June 14, 2025.
- ^ Darling, Cary (May 5, 1987). "Oingo Boingo's Difficult Teenage Years". BAM.
- ^ Beverly Hills Cop I 07. Danny Elfman - Gratitude
- ^ Oingo Boingo - Gratitude - Universal Amphitheatre 1993.01.16
- ^ Boingo at The Palace-Gratitude
- ^ "Danny Elfman's 'So-Lo' album reissued on CD after more than a decade out of print". Slicing Up Eyeballs. December 11, 2014. Retrieved November 5, 2022.
- ^ Duquette, Mike (November 4, 2022). "Rubellan Puts Flesh N' Blood Into Next Wave of Oingo Boingo Reissues on CD, Vinyl (UPDATED PRE-ORDER LINKS)". The Second Disc. Retrieved November 5, 2022.
So-Lo
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Background
Development
Following the release of Oingo Boingo's third album Good for Your Soul on A&M Records in 1983, which failed to achieve significant commercial success, Danny Elfman opted to pursue a solo project as a means to continue his musical output under a new deal with MCA Records.[8] This decision was driven by contractual constraints with A&M Records that prevented the band from recording as Oingo Boingo at the time, prompting Elfman to release the material under his own name.[9] Elfman's primary motivation for So-Lo was to experiment with a more laid-back and personal sound, incorporating slower tempos and ballads to contrast the high-energy, frantic new wave style that defined Oingo Boingo's earlier work.[10] He described the album as "a chance to experiment with slower tempos," allowing him an outlet for material that did not fit the band's typical format while complementing rather than replacing his group efforts. The project was conceptualized in early 1983, amid Elfman's burgeoning interest in film scoring, building on his prior contributions to soundtracks such as the 1980 cult film Forbidden Zone. The album's development involved key members of Oingo Boingo, including guitarist Steve Bartek, bassist Kerry Hatch, and keyboardist Richard Gibbs, who provided instrumentation and shared in the royalties; this marked the final collaboration with Hatch and Gibbs before their departure from the band. Elfman's songwriting for So-Lo evolved from the band's previous albums, shifting toward introspection while retaining collaborative elements from his longstanding creative partners.[10]Recording
The recording of So-Lo took place in sessions during April 1983 and July 1984 at Ground Control Studios in Santa Monica, California.[11] The album was produced by Danny Elfman, Steve Bartek, and Paul Ratajczak, who collectively oversaw the arrangements, instrumentation, and final mixing.[11] Elfman contributed vocals, percussion, and synthesizer programming, while Bartek handled guitar and additional programming; the production emphasized a blend of synthesizers and live instrumentation performed primarily by Oingo Boingo band members.[11][10] Sessions featured guest contributions from bassist Flea (of the Red Hot Chili Peppers) providing additional bass on select tracks.[3] The project faced challenges in establishing Elfman's solo identity separate from Oingo Boingo, as the album was recorded under a solo MCA contract yet relied heavily on band involvement for its sound—Elfman shared royalties with the group to reflect this collaboration.[10][8] Final mixing wrapped up in time for the album's release on November 11, 1984.[1]Musical content
Style and themes
So-Lo exemplifies new wave and synthpop as its predominant genres, infused with ska and art rock influences that manifest through prominent 1980s synthesizer textures and infectious, hook-driven melodies.[3][11][12] The album's sound leans into electronic elements, including drum machines and the Yamaha DX7 synthesizer, creating a polished yet quirky production that diverges from more organic rock arrangements.[12] Lyrically, the album explores personal introspection and complex relationships, alongside societal critique delivered through snarky, dark observations. For instance, "Gratitude" delves into the uncertainty and confusion of a surreal romantic entanglement, while "Tough as Nails" deconstructs macho stereotypes to highlight themes of perceived resilience amid vulnerability.[13][14][15] These themes reflect Elfman's penchant for blending emotional depth with wry commentary on human frailties. Structurally, So-Lo features slower tempos and a focus on melodic grooves compared to the frenetic energy of Oingo Boingo's work, allowing greater emphasis on Elfman's distinctive, reedy vocal delivery that conveys both menace and whimsy.[10][16] Clocking in at a runtime of 38:14, the album maintains cohesion through Elfman's signature "prickly" aesthetic, which merges shadowy undertones with accessible pop sensibilities, toning down Oingo Boingo's experimental edge for a more mature solo expression.[2][12][16]Notable tracks
"Gratitude" opens the album with a reflective exploration of unrequited love and emotional confusion, drawing from a surreal relationship in Elfman's life that inspired its off-kilter lyrics and imagery.[13] The track features a distinctive spoken verse that adds a narrative intimacy, blending new wave energy with personal vulnerability, and its single version was notably included on the Beverly Hills Cop soundtrack, enhancing its cultural reach.[13] This song exemplifies Elfman's ability to infuse pop structures with introspective depth, setting a tone of gratitude amid relational turmoil.[13] "Cool City" shifts to an upbeat new wave vibe, characterized by sparkling synth riffs reminiscent of DEVO's textural style, while evoking the urban alienation of 1980s Los Angeles through lyrics depicting icy concrete skyscrapers and superficial social dynamics.[17] The track's rhythmic intensity and grinding synth layers capture a sense of hopeful ambition clashing with city isolation, making it a standout for its danceable yet commentary-driven energy.[18] "Sucker for Mystery" adopts a ballad-like form, delving into themes of intrigue and existential search, with lyrics pondering the allure of enigmas that erode hope and pride in pursuit of meaning.[19] This atmospheric piece highlights Elfman's vocal range, from brooding lows to soaring expressions of fascination, supported by mid-1980s synth-heavy production dominated by DX7 keyboards and drum machines.[4] "It Only Makes Me Laugh" offers a humorous perspective on life's absurdities, with witty lyrics embracing laughter in the face of misfortune and downfall, structured around a resilient pop framework that underscores themes of endurance.[20] The song's upbeat rocksteady beat and prominent horns blend levity with underlying emotional release, providing a counterpoint to the album's darker moments.[20] These tracks interconnect through recurring motifs of emotional vulnerability, from the relational uncertainties in "Gratitude" to the introspective quests in "Sucker for Mystery" and the defiant wit in "It Only Makes Me Laugh," all framed within the album's brooding new wave sound that showcases Elfman's songwriting versatility.[4]Release
Singles
The lead single from So-Lo, "Gratitude", was released by MCA Records in late 1984 as a 12-inch vinyl single in various configurations, including promotional pressings at 33⅓ RPM and commercial editions at 45 RPM.[21] The single featured multiple versions, including the album's original 5:04 mix, a 4:42 short version, and a 4:08 video edit tailored for promotional use.[21] Additional remixes on select pressings included an extended dance version running 6:44 and a tornado version at 7:05, emphasizing the track's synth-pop and new wave elements with layered synthesizers and driving rhythms.[21] A 7-inch single format was also issued in regions such as the US and Australia, often pairing the short version with instrumental or alternate mixes.[21] "Gratitude" gained further exposure through its inclusion on the soundtrack for the 1984 film Beverly Hills Cop, where an alternate mix appeared, boosting the single's visibility beyond the album's initial promotion.[22] A music video directed by Graeme Whifler accompanied the release, featuring surreal imagery and performances by Elfman alongside Oingo Boingo members, which aired on MTV to highlight Elfman's transition to solo work while maintaining ties to his band.[23] MCA Records promoted the single as part of a broader strategy to establish Elfman's individual profile separate from Oingo Boingo, though no other tracks from So-Lo received official single releases.[24]Commercial performance
So-Lo was released in November 1984 by MCA Records, initially available in vinyl LP and cassette formats.[6][3] The album achieved limited chart success and did not peak on major Billboard rankings such as the Billboard 200. Its lead single, "Gratitude," provided modest visibility by reaching number 17 on the Billboard Dance Club Songs chart in early 1985.[25] Commercial performance was modest overall, with the album receiving little fanfare upon release and failing to generate significant sales or widespread attention. Its impact was later overshadowed by Elfman's burgeoning success in film scoring.[26] Several factors contributed to its subdued market reception, including its release amid a highly competitive 1984 new wave landscape and as an experimental solo venture following Oingo Boingo's departure from A&M Records, which positioned it outside the band's established branding. The album's more laid-back style also risked alienating core Oingo Boingo fans accustomed to the group's high-energy performances.[10]Reception
Critical response
Upon its 1984 release, So-Lo received mixed contemporary reactions, with critics appreciating Danny Elfman's distinctive vocal style and melodic hooks while noting the album's shift to a more relaxed, synth-driven sound compared to Oingo Boingo's energetic output. In a review published that year, Trouser Press lauded the opening track "Gratitude" as a "brilliant construct combining Elfman’s best melody and absurd vocals in a wacky tour de force," highlighting how the song exemplified his unique, theatrical delivery amid the album's synthesized new wave production.[27] However, the same review critiqued Elfman for a perceived lack of focus, suggesting his "grandiose, theatrical instincts" overshadowed deeper vision, resulting in tracks that felt like extensions of Oingo Boingo's quirky style without sufficient innovation, evoking "Wall of Voodoo B-movie aspirations."[27] The synthpop elements, while catchy, were seen as emblematic of mid-1980s trends but potentially lacking the raw edge of the band's prior work.[27] In a January 1985 Los Angeles Times profile, Elfman himself addressed the mellow evolution, describing So-Lo as "much more laid-back than an Oingo Boingo album" and an opportunity to explore ballads and slower tempos, though he anticipated resistance from fans accustomed to the group's frenetic pace, stating, "I knew a lot of Oingo Boingo fans wouldn’t like the album because of that."[10] This self-assessment aligned with early feedback portraying the record as a personal experiment rather than a bold departure. Overall, initial responses positioned So-Lo as a solid effort showcasing Elfman's growth as a songwriter, though not groundbreaking in the new wave landscape.Retrospective views
In the 21st century, So-Lo has garnered praise as an underrated gem within the new wave genre, often highlighted for its quirky synthpop elements and melodic introspection. On Rate Your Music, the album holds an average rating of 3.61 out of 5 from 864 user reviews, positioning it as a strong but overlooked entry from 1984. Similarly, Album of the Year aggregates a user score of 75 out of 100 based on 60 ratings, with reviewers frequently describing it as a polished extension of Oingo Boingo's sound that bridges Elfman's rock roots to his emerging film scoring career.[3][7] Fan discussions in online communities have emphasized the album's vibrant, "sparkly" summer vibe and lack of filler tracks, solidifying its status as a favorite among dedicated listeners. On Reddit's r/OingoBoingo subreddit, users in 2023 threads ranked So-Lo in their top three Oingo Boingo-related releases, praising its bright new wave production and no-skip playlist appeal. Recent blog reviews from 2023 to 2025 echo this sentiment, with enthusiasts calling it a hidden favorite that captures Elfman's energetic songwriting at its peak.[28] The album's cultural reevaluation has been bolstered by the broader revival of 1980s synth music, where So-Lo's heavy reliance on synthesizers and funk-infused rhythms aligns with renewed interest in that era's sound. Elfman's enduring legacy as a composer for films like The Nightmare Before Christmas has further amplified this attention, drawing new audiences to explore his pre-scoring work.[3] Recent coverage underscores So-Lo's strong ties to Oingo Boingo, framing it as a de facto band album despite the solo billing. A 2018 review on Post-Punk Monk described it as "the last great album that Oingo Boingo ever made," highlighting its post-new wave dance rock and quirky DNA. Similarly, a 2025 retrospective on The Toy Box blog revisited the record as a pivotal moment in Elfman's career, emphasizing its Oingo Boingo personnel and synth-driven evolution.[12][29]Reissues
2014 edition
The 2014 reissue of Danny Elfman's So-Lo was released on November 24 by Varèse Sarabande Records as a compact disc edition, marking the album's return to print after over two decades of unavailability following its original 1984 MCA Records pressing.[9][30] This edition retained the nine tracks from the original album while adding a single bonus track: the single edit of "Gratitude," an alternate mix originally issued on the Beverly Hills Cop soundtrack in 1984 and produced by Mark Kamins and Jay Burnett.[30][9] The audio was remastered at HollywoodTrax for this release, providing enhanced sound quality over prior versions, while the packaging preserved the original album artwork and liner notes for a faithful reproduction of the 1984 design.[30] Issued amid renewed interest in Elfman's early solo work, the reissue aligned with Varèse Sarabande's efforts to digitally revive his catalog during a period of sustained popularity for his film scores, including recent projects like The Amazing Spider-Man 2 (2014).[9][31]2022 remaster
In 2022, Rubellan Remasters released an expanded edition of So-Lo, Danny Elfman's 1984 solo album closely tied to Oingo Boingo, as part of the label's ongoing series of remastered Oingo Boingo catalog titles following their initial 2021 batch. The label ceased operations in 2024.[32] The CD version launched on November 18, 2022, with the colored vinyl (blue and black marble) following in early 2023, both featuring a full remaster from the original tapes to enhance audio clarity and dynamics.[33][32] This edition includes the original nine-track album plus five bonus tracks, all alternate mixes of the single "Gratitude": the original LP version, Extended Dance Mix, Single Version, Tornado Mix, and Short Version, sourced from the 12" single and related releases like the Beverly Hills Cop soundtrack.[33] The remastering process, handled in-house by Rubellan, aimed to preserve the album's electronic new wave sound while improving overall fidelity, and the package features updated packaging including gatefold sleeves for vinyl and revised artwork.[33] The reissue received attention as part of Rubellan Remasters' Oingo Boingo revival efforts, highlighted in the label's 2025 YouTube series "The Life & Death of a Reissue Label."[34]Track listing
Original release
The original 1984 release of So-Lo by Danny Elfman on MCA Records (MCA-5535) was issued on vinyl and cassette formats, divided into two sides with a total runtime of 38:05. All tracks were written by Danny Elfman. Note: The duration of "Gratitude" varies by pressing; early vinyl and cassette versions are 5:04, while later issues feature a 4:42 short version.[11][35]| No. | Title | Duration |
|---|---|---|
| Side A | ||
| 1. | "Gratitude" | 5:04 |
| 2. | "Cool City" | 3:26 |
| 3. | "Go Away" | 4:00 |
| 4. | "Sucker for Mystery" | 5:15 |
| Side B | ||
| 5. | "It Only Makes Me Laugh" | 4:06 |
| 6. | "The Last Time" | 4:08 |
| 7. | "Tough as Nails" | 4:36 |
| 8. | "Lightning" | 3:42 |
| 9. | "Everybody Needs" | 3:48 |
Bonus tracks
The 2014 compact disc reissue of So-Lo by Varèse Sarabande appends a single bonus track to the original nine-song lineup: an alternate mix of the album's opening number "Gratitude," titled the Single Edit and running 4:08. This version, remixed by Mark Kamins and Jay Burnett, originates from the 1984 MCA Records 7-inch single (catalogue 52560) and appears on the Beverly Hills Cop soundtrack album.[9][30] The 2022 remastered and expanded edition from Rubellan Remasters adds five bonus tracks, exclusively comprising variants of "Gratitude" drawn from contemporaneous singles and soundtrack appearances. These mixes, which do not introduce any new original material, underscore the track's adaptability across formats, from extended club-oriented edits to condensed radio and video cuts. The bonuses are as follows:| Track | Title | Duration | Origin |
|---|---|---|---|
| 10 | Gratitude (Original Version) | 5:05 | Beverly Hills Cop soundtrack (MCA 5553, 1984) |
| 11 | Gratitude (Extended Dance Version) | 6:44 | MCA 12-inch single (23532, 1984) |
| 12 | Gratitude (Single Version) | 4:04 | MCA 7-inch single (52560, 1985) |
| 13 | Gratitude (Tornado Version) | 7:02 | MCA 12-inch single (23532, 1984) |
| 14 | Gratitude (Short Version) | 4:47 | MCA 12-inch single (23532, 1984) |