Nonnie and The Onnies is far from a household name. The group’s singular 12″ release isn’t much more than a relic of an industry in an era, but perhaps we can find new respect for such an album.
I’m in Love With A Rent Boy‘s sound is what’s to be expected from an American pop group only 2 years after the release of Madonna’s self-titled debut, albeit lacking Madonna’s synthetic-disco sound for something straddling the Bangles.
The mix is delightfully punchy, the album’s cover art amusing, and its absurdity somewhat intriguing. Rent Boy may be brief, but that only makes it more consumable.
Titular a-side opening track Rent Boy comes with all the trappings of new wave overindulgence and electronic trend following, much to the anguish of any current listener. The absurdity of I’m in Love With A Rent Boy may be the only thing not somewhat forgettable about this track, unfortunately.
Under all of Rent Boy’s commercial cheese is an extravaganza of American generica. Flavorless, plugged in, and devoid of self-reflective or interpersonal emotion. An overproduced musical jingle reminiscent of over-the-top TV ads.
A swing and a miss perhaps, as following track My Hearts in Bondage (Dance Mix) is so satisfyingly engaging. Hearts inches towards EBM with pounding drum machine rhythms driving under dark synth pads. Choppy self-sampling punches up the song’s pop vocal delivery. Its lyrics may not be particularly inspired, but Nonnie’s performance sells me on the emotions at play.
A shame, really, that a track so good would be hidden behind a pop single so bad. Hearts in Bondage may have been overlooked by a loving audience due to the EP’s titular track, but perhaps our current state of retromania will help unearth previously overlooked gems.
Rent Boy‘s A-side closes out with the instrumental …And The Car Was Stolen. It explores a further industrial element over it’s 42 second runtime before disappearing into the void. Far from a substantial song, Car Was Stolen functions as the perfect cinematic mood-setter for a would-be album of Hearts in Bondage.
The album’s b-side should at least be mentioned as a formality; a radio edit of Hearts in Bondage with an instrumental remix of Rent Boy to close out the EP. Unforgivably 80s in an unlovable way.
There is good work to be found on Rent Boy, if only the right crowd were to find it.
If you’re curious what Nonnie Thompson has been up to since, this article from 2006 will have to suffice. Ariel Powers wracked up some more credits to her name throughout the 90s, and is still playing to this day. Gary Pozner, last I heard, is playing music around the south-west US.
For fans of: Madonna, Bananarama, Ministry (With Sympathy-era)