Working at Toys R' Us in the late 90's was an exciting time. Star Wars, and McFarlane toys were hot properties, and to be surrounded by these daily was awesome. It was while working here that a co-worker first played for me the Farewell Oingo Boingo album. I didn't pay much attention to it.
Around 2002, a long time friend took me deeper down the rabbit hole with the album, Dead Man's Party. It was here that I started to find myself getting hooked. I was working a job that saw me on the road for the majority of the day, and it was during this time that I would stop by the local Tower Records, and grab an album or two for the road. It was through doing this that I bolstered my collection of Oingo Boingo albums, and with each one I got more and more ensnared as a fan.
During one of these record store runs, I picked up Elfman's solo album, aptly titled, So-Lo.
So-Lo came at an interesting time in the career of Elfman. Oingo Boingo's contract had expired with I.R.S., and also saw the departure of bassist Kerry Hatch, and keyboardist Richard Gibbs from the band. This led to a hiatus period for the group, and Elfman used this opportunity to release a solo album through MCA.
It's stated that at first he tried to get MCA to sign Oingo Boingo, but that they were only interested in a contract with the singer. However, since this purported take, interviews have surfaced where members of the group having stated that they almost disbanded in 1984.
Despite being a solo effort, the entire lineup of Boingo, including Hatch and Gibbs were present for the recording of So-Lo. As such, while it is a solo outing for Elman, many fans also consider it to be another group effort.
So-Lo gave Elfman an opportunity to experiment with new sounds, and this is prevalent through the many slower paced, and sometimes ballad tracks. Unlike prior albums which featured predominant horns, So-Lo leans heavily on synthpop. Oingo Boingo was never known for producing commercial music, and this album is no exception, despite its new direction.
That said, there are some familiar sounds to be had. The most noticeable being Lightning, Everybody Needs, and Gratitude. The latter was also included in the soundtrack for Beverly Hills Cop, and with exception of early pressings of So-Lo, is the only way to hear the original cut.
Overall, the album is a solid entry for Elfman as a solo artist, while also offering a sprinkling of Oingo Boingo. It's the best of both worlds, and as a whole comes together well. Until today, it had been ten plus years since I heard the album, and it was great to fire it up today. It reminded me just how much I enjoyed it.
Fortunately, after its release, MCA saw the light through renegotiation, and ultimately signed the entire band. With a new contract, Oingo Boing reemerged on the scene. They hit hard with reinvigorated spirit, delivering their most popular album to date, Dead Man's Party.
Oingo Boingo would formally sign off in 1994 with a massively successful world tour, and since then Elfman continues to stay busy working on soundtrack. Most notably for Tim Burton films.
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Disclaimer: They Toy Box does not endorse or contribute to piracy. Retro Spins posts are intended for educational and entertainment purposes only. None of the music discussed here is available for sale, downloading or distribution.
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| THIS WEEK ON THE CHARTS March 5, 1983 |
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| THIS WEEK ON THE CHARTS March 5, 1988 |
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