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Wire Train
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Wire Train was a San Francisco-based alternative rock band, who released six albums in the 1980s and 1990s.
Key Information
History
[edit]The band was formed in 1982 as the Renegades by two students from San Francisco State University, Kevin Hunter and Kurt Herr. Their rhythm section eventually stabilized with fellow students Federico Gil Solá (from Argentina) and Anders Rundblad (from Sweden). When they had to change their name, the band became Wire Train in 1983.[1][2] The band's first album features Anders Rundblad (bass guitar, vocals), Federico Gil Solá (drums), Kevin Hunter (vocals, guitar), and Kurt Herr (vocals, guitar). Rundblad had previously played with the Swedish bands Motvind and Gary T'To Band.[3]
In June 1983, Wire Train signed to the local 415 Records label, also home to acts like Translator, Red Rockers and Romeo Void, all of which found themselves with national distribution when 415 entered into a deal with Columbia Records.[4]
Wire Train's debut, In a Chamber, produced by David Kahne at The Automatt in San Francisco, was released late in 1983. It achieved success on the U.S. college charts during 1984, and the band toured as openers for Big Country.
Brian MacLeod replaced Gil Solá prior to their second album, Between Two Words, and Herr left during its recording, replaced by Jeff Trott (ex-the Lifers). The album, produced in Vienna by Peter Maunu, was released in 1985. The band's third album, Ten Women, was recorded by Tim Palmer at Utopia studios in London and released in 1987. Ten Women featured a guest appearance by the Alarm guitarist Dave Sharp on "Breakwater Days" and had its first single "She Comes On" banned by the BBC.[5]
After a 1987 European tour, the band went on a two-year hiatus, extricating themselves from their contract with Columbia. Trott played with World Party.[6] and McLeod with Toy Matinee.
Wire Train (1990) and No Soul No Strain (1992) were issued by MCA Records. The latter, produced by Bill Bottrell, was their fourth album to chart, peaking at No. 43 on the Billboard 200.[4]
In 1993, MCA rejected their next effort, Snug, as "too weird".[7] It was released digitally in April 2009.
In 1996, Columbia released a compilation CD, Last Perfect Thing... A Retrospective. The first pressings mistakenly included an uncredited "Half a Lifetime", substituted on later pressings with the correct track, "Last Perfect Thing".[8]
In 2003, the band reunited for an episode of VH1's Band Reunited, but it was never aired.[9]
In 2009, Hunter, MacLeod, Trott and Rundblad reunited again for a three-gig tour in California, in part, to commemorate the digital release of Snug. According to Hunter another collection of songs was recorded concurrently with Snug under the working title of Electric. No new album has been released at this time.[10]
Band Members
[edit]Most recent members
- Kevin Hunter – vocals, guitar (1983–1993, 2003, 2009)
- Anders Rundblad – bass guitar, vocals (1983–1993, 2003, 2009)
- Jeff Trott – guitar, backing vocals (1985–1993, 2003, 2009)
- Brian MacLeod – drums (1985–1992, 2003, 2009)
Former members
- Kurt Herr – vocals, guitar (1983–1985)
- Federico Gil Solá – drums (1983–1985)
Timeline
Other projects
[edit]McLeod, Trott and Rundblad all later played with Sheryl Crow.[11]
After leaving Wire Train, Gil Solá returned to his native Argentina, where he was a member of Divididos from 1990 to 1995.
In popular culture
[edit]"I Will Not Fall" appeared on the soundtrack for the film Point Break (1991), "I'll Do You" appeared in the game Scarface: The World Is Yours (2006) and "Chamber of Hellos" appeared in the episode "Limbo" (2015) of Halt and Catch Fire.
The band the Action Design covered two Wire Train songs ("I'll Do You" and "Chamber of Hellos") for the soundtrack to Endless Bummer (2009).
Discography
[edit]Studio albums
[edit]| Year | Title | US | Label |
|---|---|---|---|
| 1984 | In a Chamber | 150 | 415 / Columbia |
| 1985 | Between Two Words | - | 415 / Columbia |
| 1987 | Ten Women | 181 | 415 / Columbia |
| 1990 | Wire Train | - | MCA |
| 1992 | No Soul No Strain | - | MCA |
| 2009 | Snug | - | Wire Train |
Compilation albums
[edit]- In a Chamber / Between Two Words (1995, Oglio Records)
- Last Perfect Thing... A Retrospective (1996, 415/Columbia/Legacy)
- In a Chamber / Between Two Words / Ten Women (2020, BGO Records)
Singles
[edit]- "Chamber of Hellos" (1983)
- "I'll Do You" (1984)
- "Last Perfect Thing" (1985)
- "Skills of Summer" (1985)
- "She Comes On" (1987)
- "Diving" (1987)
- "Should She Cry?" (1990)
- "Stone Me" (1992) - US Modern Rock #23
References
[edit]- ^ "Rock 'n Roll Case Study: Wire Train". Earcandymag.com. March 2005.
- ^ "Wire Train - Chamber Of Hellos". Pastemagazine.com. Archived from the original on September 16, 2016.
- ^ "Anders Rundblad". Discogs.com. Retrieved May 20, 2019.
- ^ a b "Wire Train Biography". Wiretrain.co.uk. Archived from the original on July 29, 2012.
- ^ "Wire Train - Ten Women". Discogs.com. Retrieved May 20, 2019.
- ^ "Solo Page". Wire Train. Archived from the original on July 12, 2014.
- ^ "Wire Train - Unreleased Material". Wiretrain.co.uk. Archived from the original on July 29, 2012.
- ^ "Wire Train Discography". Wiretrain.co.uk. Archived from the original on July 29, 2012.
- ^ Sendra, Tim. "Wire Train Biography". AllMusic. Retrieved July 23, 2023.
- ^ Matsumoto, Jon (September 1, 2009). "Wire Train reunites". The Mercury News. Retrieved July 20, 2021.
- ^ "Sheryl Crow - Sheryl Crow - Signature Tour Edition". Discogs.com. Retrieved May 20, 2019.
External links
[edit]| International | |
|---|---|
| National | |
| Artists | |
Wire Train
View on Grokipediafrom Grokipedia
History
Formation and Early Career (1983–1985)
Wire Train originated in 1982 when San Francisco State University students Kevin Hunter and Kurt Herr formed the band initially known as the Renegades. The group renamed itself Wire Train in 1983, drawing inspiration from a desire to evoke a sense of motion and energy in their sound.[5] Seeking to solidify their rhythm section, Hunter and Herr recruited Swedish bassist Anders Rundblad and Argentine drummer Federico Gil-Solá, completing the early lineup of Hunter on vocals and guitar, Herr on vocals and guitar, Rundblad on bass and vocals, and Gil-Solá on drums.[6] This configuration allowed the band to begin performing live shows in the San Francisco area, building a local following through gigs at venues like the I-Beam and the Stone.[7] In 1983, Wire Train signed with the independent San Francisco label 415 Records, which was distributed by Columbia Records, marking a key step in their professional development. Their debut single, "Chamber of Hellos," followed later that year, introducing their jangly new wave style to a broader audience.[8] The band's first album, In a Chamber, arrived in early 1984 and peaked at number 150 on the Billboard 200 chart.[9] Produced by David Kahne, it featured tracks like "I'll Do You," which received early airplay on MTV through its accompanying music video, helping to boost the band's visibility in the alternative rock scene.[10] Other singles from the album included "Never," contributing to its regional success and prompting initial national touring alongside acts like Berlin and The Psychedelic Furs.[11] Following the debut, drummer Federico Gil-Solá left the band to pursue opportunities in Argentina, and Brian MacLeod joined on drums. By 1985, Wire Train released their second album, Between Two Words, continuing their association with 415/Columbia.[12] The record highlighted evolving songwriting with singles "Last Perfect Thing" and "Skills of Summer," the latter benefiting from a promotional music video that extended their presence on MTV and supported expanded live performances across the U.S.[13] These efforts solidified their reputation as a promising act in the mid-1980s post-punk landscape, with frequent shows in San Francisco clubs transitioning to broader circuits.[7]Mid-Period Developments and Hiatus (1986–1989)
Following the release of their second album Between Two Words in 1985, Wire Train underwent significant lineup changes. Guitarist Kurt Herr departed shortly after the album's recording sessions, citing personal and creative reasons.[7][14] The group recruited guitarist Jeff Trott, formerly of The Lifers, to replace Herr and maintain touring momentum.[7][4] In 1987, Wire Train released their third album, Ten Women, under the 415 Records imprint distributed by Columbia Records. Produced by Tim Palmer in London, the record featured a more refined and mainstream-oriented sound compared to the band's earlier psychedelic-tinged new wave style, emphasizing crystalline pop production and layered guitar arrangements.[7][15] Key singles included "She Comes On," which highlighted the album's melodic hooks, and "Diving," alongside tracks like "She's a Very Pretty Thing" and "Breakwater Days" (the latter featuring guest guitar from Dave Sharp of The Alarm).[16] Despite positive critical notes on its accessibility, Ten Women achieved only modest commercial success and failed to build on the band's prior momentum.[15] The album's underperformance, coupled with growing frustrations over creative control and distribution support from 415/Columbia, led to internal tensions and a formal hiatus announcement in late 1987.[7] The band navigated legal disputes to extricate themselves from their contract, effectively halting group activities for the next two years.[17] From 1987 to 1989, Wire Train entered a period of inactivity with no official releases, though core members continued informal songwriting and exploration of new material. During this time, Trott contributed to World Party's sessions, while MacLeod worked on various production projects, allowing the group space to regroup amid the industry's shifting landscape.[7][14] By 1989, Wire Train re-emerged with a renewed deal at MCA Records, positioning the band for a potential revival and their next phase of recording.[7][4]Final Albums and Dissolution (1990–1993)
Following their signing with MCA Records after a period of hiatus, Wire Train released their self-titled fourth studio album in 1990, marking a shift toward a more polished rock sound with elements of folk and classic influences.[18][19] The album was produced by Don Smith and David Tickle at Rumbo Recorders in Canoga Park, California, and featured tracks like "Should She Cry?," which served as the lead single accompanied by a music video directed by David Fincher.[20][21][22] To promote the self-titled release, the band embarked on an international tour, including dates in the United Kingdom where they opened for The Alarm.[2] This period of activity revitalized their presence, building on the momentum from their MCA deal. In 1992, Wire Train issued their fifth and final MCA album, No Soul No Strain, produced by Bill Bottrell and continuing their evolution into alternative rock with pop sensibilities.[23] The record peaked at number 43 on the Billboard Heatseekers Albums chart, reflecting modest commercial traction in the alternative scene.[24] Its lead single, "Stone Me," reached number 23 on the US Modern Rock Tracks chart, providing one of their last notable radio successes.[5] The band supported No Soul No Strain with further touring, including a performance at the 1992 Reading Festival in the UK alongside other international engagements.[11][7] These efforts underscored their commitment to live shows during this phase. In 1993, MCA rejected the band's completed album Snug, deeming it unsuitable for release. This label dispute proved pivotal, leading to the band's official disbandment after a decade of activity, as creative frustrations and the rejection eroded their momentum.[14][17][7]Reunions and Later Releases (2003–2009)
In 2003, Wire Train reunited for a one-off performance as part of the pilot episode for VH1's Bands Reunited series, which ultimately did not air. The lineup included vocalist Kevin Hunter, guitarist Jeff Trott, bassist Anders Rundblad, and drummer Brian MacLeod for the event, held at the Whisky a Go Go in West Hollywood, California, on January 13.[7][25] This brief reformation highlighted lingering fan enthusiasm for the band's 1980s new wave sound but did not lead to further group activities at the time.[11] The band achieved a more substantial reunion in 2009, driven by renewed fan interest and the possibilities of digital distribution in the music industry.[17] Hunter, MacLeod, Trott, and Rundblad regrouped for a short tour consisting of three California performances, including shows at the Knitting Factory in Los Angeles on September 3 and Slim's in San Francisco on September 5, with the latter shared with fellow 1980s act Translator.[26] This outing was partly motivated by retrospective appreciation for 1980s new wave and jangle pop acts, allowing the group to connect with audiences nostalgic for their era-defining style.[17] Coinciding with the 2009 reunion, Wire Train independently released the album Snug on January 27 via digital platforms, marking the first public availability of material recorded during 1992–1993 sessions for MCA Records, which had previously rejected it.[27] The 13-track collection, featuring songs like "Who Gives a Shit" and "I Was Wrong," captured the band's evolving sound from their final active period but remained a limited archival effort without physical distribution.[28] The release underscored the digital era's role in reviving overlooked recordings, though it did not spur new compositions.[10] Following the 2009 tour and Snug's debut, Wire Train produced no new original material and undertook no major tours, entering an indefinite hiatus that has persisted without further official group endeavors.[25]Musical Style and Influences
Core Musical Elements
Wire Train's signature sound fused new wave jangle-pop with atmospheric psychedelia, characterized by layered, ringing guitars that evoked a sense of spacious urgency. This blend featured prominent jangly guitar work, often drawing from folk-derived melodies, paired with echoey, reverb-drenched vocals that created an immersive, haunting texture. The rhythmic foundation relied on a driving bass and propulsive drums, delivering upbeat tempos that contrasted with the music's underlying emotional depth.[29][15][30] Production techniques evolved notably across the band's catalog, beginning with a raw, reverb-heavy approach in early works like the 1983 debut In a Chamber, produced by David Kahne to emphasize psychedelic atmospheres and hook-laden songcraft. By the mid-period, such as on 1987's Ten Women under Tim Palmer, the sound incorporated crystalline pop polish with added textures, while the MCA era, exemplified by 1992's No Soul No Strain produced by Bill Bottrell, shifted toward a more radio-friendly cohesion and danceable alternative rock drive. Key sonic trademarks included harmonized backing vocals for melodic lift, influences from 12-string guitar tones in the jangle, and subtle synth undertones enhancing the new wave edge during transitional albums.[6][15][7] Lyrical themes centered on personal relationships and emotional vulnerability, often exploring love, alienation, and the introspective nuances of urban life through concise, melodic structures. Delivered via Kevin Hunter's conversational drawl, these themes masked deeper unease beneath upbeat rhythms, as seen in tracks addressing relational tension and fleeting connections. This approach maintained an "uneasy emotional perspective" that aligned with the band's folk-pop roots, prioritizing evocative brevity over narrative sprawl.[15][30][31]Key Influences and Evolution
Wire Train's primary musical influences drew from the jangly guitar textures of the Byrds, the introspective alternative rock of R.E.M., and the anthemic post-punk energy of early U2, blending these elements into a distinctive folk-pop foundation characterized by echoing vocals and propulsive rhythms.[15][1] These inspirations manifested in the band's early work through shimmering, arpeggiated guitar lines and melodic hooks that echoed the West Coast psychedelia of the 1960s while adapting to 1980s new wave sensibilities.[30] The band's ties to the San Francisco music scene significantly shaped its identity, particularly through its association with the independent 415 Records label, home to contemporaries like Romeo Void and Translator. This connection fostered a West Coast new wave aesthetic, emphasizing intelligent pop structures and regional indie ethos amid the broader post-punk landscape of the early 1980s.[32][15] Over time, Wire Train's sound evolved from the psychedelic-tinged pop of its 1983–1985 releases, such as the debut In a Chamber, to harder rock edges on 1987's Ten Women, incorporating fuller guitar attacks and edgier propulsion. By the early 1990s, with MCA Records albums like the self-titled 1990 effort, the group shifted toward mainstream alternative rock, featuring polished production suited for MTV video rotation while preserving core melodic hooks.[1][15] This adaptation reflected broader industry trends but maintained the band's songwriting consistency.[7] Critics praised Wire Train for its steadfast folk-pop identity and strong compositions across phases, yet noted critiques for not fully leveraging its 1980s indie momentum, with later works sometimes appearing routine or lacking the debut's spark.[15]Band Members
Core and Long-Term Members
The core and long-term members of Wire Train formed the band's stable lineup from 1985 until its dissolution in 1993, defining its sound through consistent collaboration on recordings and live performances, and later reuniting in 2003 for a VH1 special and in 2009 for a series of California shows.[4][7][17] This quartet—Kevin Hunter, Anders Rundblad, Jeff Trott, and Brian MacLeod—spanned the majority of the band's active years, contributing to all major studio albums from Between Two Words (1985) onward and establishing Wire Train's blend of new wave energy and melodic rock textures.[4] Kevin Hunter, the band's lead vocalist and rhythm guitarist, was a founding member in 1983 and remained central through 1993, as well as in the 2003 and 2009 reunions.[4][17] As the primary songwriter, Hunter shaped the melodic core of Wire Train's catalog, penning lyrics for key tracks and driving the band's songcraft with his distinctive vocal delivery and rhythmic guitar work.[33] His interplay with Trott's lead guitar became a sonic signature, adding layered dynamics to songs like those on Ten Women (1987) and Wire Train (1990). Anders Rundblad, bassist and backing vocalist, joined as a founder in 1983 and provided continuity through 1993, participating in the 2003 and 2009 reunions.[4][17] He delivered the rhythmic foundation for the band's sound, with his steady basslines anchoring tracks such as "Chamber of Hellos" from In a Chamber (1983), where his contributions complemented the dual guitars and propelled the song's driving pulse.[34] Rundblad's harmonies further enriched the vocal arrangements across albums like No Soul No Strain (1992). Jeff Trott, lead guitarist and backing vocalist, joined in 1985 and stayed until 1993, rejoining for the 2003 and 2009 reunions.[4][17] He added textural layers through his guitar work, co-writing later tracks on releases such as Wire Train (1990) and No Soul No Strain (1992), where his contributions helped evolve the band's polished rock edge. Brian MacLeod, the drummer, came aboard in 1985, serving through 1992 and returning for the 2003 and 2009 reunions.[4][17] His energetic style drove the band's live performances, providing propulsion for albums like Between Two Words (1985) and co-writing material that underscored Wire Train's rhythmic intensity.[12]Early and Former Members
Wire Train's early lineup, formed in 1983 while its members attended San Francisco State University, included co-founders Kevin Hunter and Kurt Herr on vocals and guitar, alongside bassist Anders Rundblad and drummer Federico Gil Solá.[10] Herr, who shared lead vocals and guitar duties with Hunter, contributed to the band's raw, dual-vocal harmonies on their debut single and the full-length album In a Chamber (1983), helping define its atmospheric new wave sound. His guitar work, described as featuring soaring leads, added a distinctive edge to tracks like "I'll Do You" and "Chamber of Hellos."[7] Gil Solá, an Argentine immigrant, provided the percussion for the same early recordings, delivering tight, fast beats that supported the band's danceable, psychedelic-inflected rhythms during live performances and studio sessions.[35] Gil Solá departed after the release of In a Chamber, prior to the recording of the follow-up album Between Two Words (1985), where he was replaced by Brian MacLeod.[2] Herr remained for parts of the Between Two Words sessions but left shortly before its release, with Jeff Trott taking over guitar duties.[4] Neither member rejoined the band in any capacity following their exits.[4] Post-departure, Herr briefly joined the San Francisco band Missile Harmony before transitioning to a career in advertising, where he applied his creative background from music.[7][36] Gil Solá remained in the U.S. music scene initially but relocated to his native Argentina in 1990, becoming a key member of the rock band Divididos from 1990 to 1995 and later releasing solo work, and guesting with Divididos in 2024.[7][37]Post-Band Activities
Solo Careers and Collaborations
Following the dissolution of Wire Train in 1993, guitarist Jeff Trott established a prominent career as a songwriter, guitarist, and producer, most notably through his long-term collaboration with Sheryl Crow beginning in the mid-1990s. Trott co-wrote several of Crow's major hits, including "If It Makes You Happy" from her 1996 self-titled album, which reached number 10 on the Billboard Hot 100, and "Everyday Is a Winding Road" from her 1996 album Sheryl Crow. He also contributed guitar and production to tracks on her albums The Globe Sessions (1998) and C'mon C'mon (2002), earning a Grammy for Best Rock Album for the latter. Beyond Crow, Trott has produced and co-written for artists such as Stevie Nicks and James Blunt, while maintaining a solo career with releases like his 2001 album Dig Up the Astroturf.[38][39][40] Drummer Brian MacLeod transitioned into a highly sought-after session musician after Wire Train, contributing drums to Sheryl Crow's debut album Tuesday Night Music Club (1993), including the hit "All I Wanna Do," as well as her subsequent records like Sheryl Crow (1996). His session work extended to artists such as Madonna on I'm Breathless (1990), Ziggy Marley on Dragonfly (2003), and James Blunt on Back to Bedlam (2004), showcasing his versatility across rock, pop, and reggae genres. MacLeod also collaborated with Toy Matinee on their 1990 self-titled album and continued performing on high-profile projects into the 2000s.[41][42][43] Bassist Anders Rundblad pursued session bass work on the West Coast rock scene post-Wire Train, appearing on albums by Sheryl Crow, David Baerwald, and Cracker during the 1990s. He also toured as a bassist with the alternative rock band Green on Red in the early 1990s, contributing to their live performances and recordings amid their shift toward a more polished sound. Rundblad's projects remained limited in visibility, focusing on supporting roles rather than leading endeavors.[17][7] Vocalist and guitarist Kevin Hunter maintained a low-profile career centered on songwriting and composition after 1993, with credits including contributions to Sheryl Crow's early work and productions for Billy Idol and Simple Minds. He shifted toward television and film scoring in the 2000s, composing for shows like MTV series, without releasing major solo albums. Hunter's output emphasized behind-the-scenes songwriting, represented by publishing firms for his Wire Train-era and later material.[17][44][6] Original drummer Federico Gil Solá returned to his native Argentina in 1990 and joined the rock band Divididos as their drummer from 1990 to 1995, contributing to their albums Acariciando lo áspero (1991) and La era de la boludez (1993), which helped solidify the band's status in Latin rock with hits blending hard rock and alternative elements. After leaving Divididos, Gil Solá released a solo album and continued sporadic session work in the Argentine music scene. In March 2024, he rejoined Divididos for a one-off reunion performance at Estadio Obras Sanitarias in Buenos Aires.[7][45][46] Founding guitarist Kurt Herr, who departed Wire Train in 1985, briefly fronted the band Missile Harmony in the late 1980s, releasing independent material and performing in the San Francisco area before largely withdrawing from the music industry. His post-band activities focused on non-musical pursuits, with minimal documented public projects thereafter.[7][47]Media and Licensing Usage
Wire Train's music has seen notable usage in film soundtracks, particularly during the band's active years. The track "I Will Not Fall," contributed exclusively to the soundtrack for the 1991 action film Point Break, directed by Kathryn Bigelow, underscored key action sequences. Similarly, "Moonlight Dream" appeared in the 1991 crime thriller Stone Cold, contributing to its atmospheric score. In television, Wire Train's songs experienced a resurgence in the 2010s. "Chamber of Hellos," originally from the 1984 album In a Chamber, was prominently featured in season 2, episode 8 ("Limbo") of the AMC series Halt and Catch Fire, which aired on July 19, 2015, and helped evoke the era's tech-driven nostalgia.[48] The band's catalog has also been licensed for video games. "I'll Do You," from In a Chamber, was included in the 2006 video game Scarface: The World Is Yours, a sequel to the 1983 film, where it played during gameplay radio stations. Early in their career, Wire Train benefited from music video exposure. The video for "I'll Do You" received significant rotation on MTV in 1984, aiding the single's promotion from the In a Chamber album. Covers of Wire Train's material have appeared in media compilations. The punk band The Action Design recorded versions of "Chamber of Hellos" and "I'll Do You" for the 2009 soundtrack to Endless Bummer, a comedy film anthology.[49] These sync placements, spanning film, TV, and gaming, have sustained interest in Wire Train's new wave sound without reliance on new band output.[1]Discography
Studio Albums
Wire Train's debut studio album, In a Chamber, was released in 1984 by 415 Records and Columbia Records. Featuring 10 tracks, the album showcased the band's early psychedelic new wave sound, blending echoing guitars and atmospheric vocals typical of San Francisco's alternative scene. It peaked at number 150 on the US Billboard 200 chart. The key single "I'll Do You" highlighted the record's catchy, upbeat energy.[33][50][9] The follow-up, Between Two Words, arrived in 1985, also on 415 Records and Columbia, with 10 tracks that refined the band's jangle pop style through stronger songwriting and rhythmic drive. Singles including "Last Perfect Thing" and "Skills of Summer" emphasized its melodic folk-pop influences with robust guitar arrangements. Unlike its predecessor, the album did not chart on the Billboard 200.[12][51][52] Ten Women, issued in 1987 by 415 Records and Columbia, marked a transitional phase with a rockier edge, comprising 10 tracks that incorporated more direct pop rock elements. It reached number 181 on the US Billboard 200. Notable singles were "She Comes On" and "Diving," which supported the album's North American tour promotion.[53][54] The band's self-titled fourth album, Wire Train, came out in 1990 on MCA Records and featured 11 tracks, representing a revival after their label shift with polished alternative rock production. The single "Should She Cry?" received a music video directed by David Fincher, adding visual flair to its introspective themes. The album did not chart prominently.[55][21] No Soul No Strain, released in 1992 by MCA Records, served as the band's final major-label effort with 11 tracks exploring mature alternative rock territory, produced by Bill Bottrell. It peaked at number 43 on the US Billboard 200. The lead single "Stone Me" climbed to number 23 on the Billboard Modern Rock Tracks chart.[56][57] In 2009, Wire Train independently released Snug digitally, drawing from unfinished sessions originally recorded around 1993 that had been rejected by their prior label. The album contains 13 tracks and received no commercial charting, serving as a retrospective capstone to the band's output.[27][28][58]Compilation Albums
Wire Train's compilation albums primarily consist of reissues and retrospectives that repackage their early work for renewed accessibility, often combining multiple studio albums with additional material. The 1995 release In a Chamber / Between Two Words, issued by Oglio Records in collaboration with Sony Music Special Products, serves as a two-for-one reissue merging the band's debut album In a Chamber (1983) and follow-up Between Two Words (1985).[59] This single-disc collection totals 20 tracks, preserving the original sequencing without alterations, and aimed to reintroduce their jangle-pop sound to mid-1990s audiences amid growing interest in 1980s alternative rock.[59] In 1996, Columbia/Legacy published Last Perfect Thing... A Retrospective, a career-spanning hits collection spanning the band's active years from 1983 to 1992.[60] Featuring 16 tracks, it highlights key singles and album cuts such as "Chamber of Hellos," "Never," and "I'll Do You," selected to encapsulate their evolution from new wave influences to more polished pop-rock.[61] This Legacy imprint edition focused on commercial highlights, providing a concise overview for both longtime fans and newcomers.[60] A more expansive reissue arrived in 2020 with In a Chamber / Between Two Words / Ten Women from BGO Records, a two-disc set remastering three early albums—In a Chamber (1983), Between Two Words (1985), and Ten Women (1987)—alongside five bonus tracks including "It's Only Dark," "Personne Jamais," "Mr. Soul," "Flowers," and "The Hollow Song."[62] Comprising over 30 tracks in total, this edition enhances audio quality and adds rarities to appeal to collectors, reflecting ongoing archival interest in the band's foundational catalog.[63]Singles
Wire Train released several singles primarily through 415 Records and Columbia in the 1980s, transitioning to MCA in the 1990s, with most achieving modest success on alternative and college radio rather than mainstream charts. These singles often served as promotional vehicles for their albums, featuring energetic new wave and alternative rock tracks that garnered airplay on MTV and radio formats. Below is a summary of key singles, including release details and notable context.| Title | Year | Label | From Album | Notes |
|---|---|---|---|---|
| Chamber of Hellos | 1983 | 415 Records / CBS | In a Chamber | The band's debut single, released to promote their first album; it did not chart on major Billboard lists but helped establish their presence in the San Francisco new wave scene. B-side not specified in primary releases.[4][10] |
| I'll Do You | 1984 | 415 Records / Columbia | In a Chamber | Received significant early airplay on MTV, contributing to the album's visibility as an alternative rock staple, though it did not achieve major chart success. B-side not specified.[4][64] |
| Last Perfect Thing | 1985 | 415 Records / Columbia | Between Two Words | Experienced minor airplay on alternative radio; the single featured a B-side titled "L'Adresse De L'Ete (Skills of Summer)," an alternate version of the track emphasizing live-like energy. Did not chart prominently.[4][65][7] |
| Skills of Summer | 1985 | 415 Records / Columbia | Between Two Words | Issued as a standalone single with a focus on live and alternate mixes in some pressings, building on the album's touring promotion; no major chart performance. B-side not specified separately.[4][60] |
| She Comes On | 1987 | 415 Records / Columbia | Ten Women | Gained traction on alternative radio, appearing in year-end lists of top modern rock tracks; paired with B-side "Compassion" (a collaboration with The Waterboys). No Billboard chart entry.[4][66][7] |
| Diving | 1987 | 415 Records / Columbia | Ten Women | Released as a 7-inch single with B-side "Mercy Mercy," primarily for radio and promotional use in markets like the UK; did not receive widespread commercial push or chart.[4] |
| Should She Cry? | 1990 | MCA Records | Wire Train (self-titled) | Promoted through a music video directed by David Fincher, which aired on MTV and alternative outlets to drive album sales; no chart success noted. B-side not specified.[4][22] |
| Stone Me | 1992 | MCA Records | No Soul No Strain | The band's highest-charting single, peaking at No. 23 on the US Modern Rock Tracks chart; featured driving guitars and received alternative radio support. B-side not specified.[4][67] |