Though based on the West Coast for logistical reasons (San Francisco’s underground culture was their oyster) most of The Tubes were actually high school and college friends from Phoenix and neighbouring Scottsdale, Arizona. They were an amalgamation of two groups – The Beans and The Red, White and Blues – spending five years working up an act with songs to match their grandiose visions. Lead singer Fee Waybill, would be Kway Lewd, the obnoxious, drugged and drunken rock star wannabe, while his female accomplice Re Styles strutted like a leading actress in an adult movie. With Prairie Prince on drums, future Grateful Dead pianist Vince Welnick the MC, Roger Steen and Bill Spooner in charge of axe work and stellar riffs, and Michael Cotton lending an Eno-like synthesiser charisma (let’s not forget bassist Rick Anderson, butt of many an on-stage prank), The Tubes built such a reputation that Al Kooper (Bob Dylan, Blood Sweat and Tears etc) was hired as producer and made a damn fine job of it. The Tubes (1975) starts with a sublime bubbling melody for ‘Up From The Deep’ and the moods change constantly, all to the good. ‘Mondo Bondage’ and guitarist Bill Spooner’s ‘Boy Crazy’ are further highlights.
Follow ups Young and Rich and Now coincided with The Tubes turning their attentions to the European market and the superb ‘What Do You Want from life?’ (recorded at London’s Hammersmith Odeon in 1977) collates all the goodies to date with a class and élan that is beyond the ken of lesser mortals and predicates the rise of New Wave as the coming dawn. Definitely one of the great overlooked live doubles is this. It even includes a version of John and Paul’s ‘I Saw Her Standing There’. Way cool.
The Todd Rundgren produced Remote Control was hailed as a masterpiece in some quarters and slagged in others, but if you were on message and on trend there was nothing to dislike here. Same goes for The Completion Backward Principle where they work with Toto’s David Foster and Steve Lukather on a smart pastiche of management jargon and motivational syndrome, then sweeping the world via Japan. The re-mastered version is the way to go here. This album spawned the monster hit ‘Talk to Ya Later’, showing everyone that The Tubes were also masters of the multi-media video in long or short form.
Outside Inside (1983) is widely considered to be another classic. Boasting a cast of dozens, including specialists like Lukather, Bill Champlin, Jay Graydon, Curtis Mayfield and Chuck Finley, Tubes recouped with ‘She’s A Beauty’ (number one) and ‘The Monkey Time’ and embarked on a successful world tour. Their final album from this original era is another Todd Rundgren gem, Love Bomb, a quasi-satirical concept about relationships. Ironically, soon as it was done, Todd nicked Welnick and Prairie Prince for his own band.
We also have a slew of top compilations. These include The Best of The Tubes, a handy primer of all later the creamy stuff, and companion disc, equally slick. The Best of the EMI Years which taken together should give you extra insight into this truly eccentric outfit. When you see their name on an album you’re guaranteed entertainment and enlightenment. Great music, plenty of humour. Exactly what you want from The Tubes. Best advice here is start at the beginning. Up from the deep and off you go.
Words Max Bell
The Tubes is the debut album of The Tubes. Songs from this album which received significant airplay include "What Do You Want From Life" and "White Punks On Dope". The latter song peaked at number 28 on the UK singles chart.
Outside Inside is a 1983 release on Capitol Records by The Tubes. The album was produced by David Foster. The Tubes had their biggest radio hit with the single "She's a Beauty" (flipside of single was non-album track "When You're Ready to Come").
What Do You Want from Live is the fourth album released by The Tubes. It is a live album, recorded at the Hammersmith Odeon, London.
The Completion Backward Principle is the sixth studio album from the rock group The Tubes. It is the group's first for Capitol Records. It was accompanied by a long form music video release of the same name, although it did not contain all of the songs from the album. It is a concept album presented as a motivational business document.