First incarnation
Formed in 1971 in Berkeley, California, the band (then called The Warfield Foxes) moved to Los Angeles by 1973 seeking a record deal. The band consisted of Martha Davis on vocals and guitar, Dean Chamberlain on lead guitar, Chuck Wada on 2nd lead guitar and others. While in L.A., the band changed its name to "The Motels" and the line-up consisted of Martha Davis, Dean Chamberlain, Chuck Wada, Robert Newman on drums and Richard d'Andrea on bass. Both Martha Davis and Chuck Wada contributed original songs to the repertoire.
The Motels and two other local bands, The Pop and The Dogs, kicked off the local band scene with a hallmark concert at a self-produced show, 'Radio Free Hollywood' held at the venerable old theatre, Troupers Hall. (Prior to this show, few if any unsigned bands played local high profile clubs like the Whisky and The Roxy.) The band guested on Rodney Bingenheimer's popular radio show.
After recording a demo for Warner Brothers, which was turned down, they were offered a contract with Capitol but the band turned that down by disbanding in 1976. Dean Chamberlain was soon heard again in his band Code Blue and signed to Warner Brothers Records. Richard d'Andrea joined The Pits and later enjoyed almost three years with The Know. Robert Newman is a successful art director and designer. Chuck Wada still writes and performs and is a financial advisor.
Second, most successful incarnation
In March 1978, Martha Davis was approached by lead guitarist Jeff Jourard to form a new Motels. Extensive auditions resulted in a new lineup consisting of Jourard's brother Marty Jourad who played both saxophone and keyboards, Michael Goodroe on bass, and Brian Glascock on drums.
Short on funds, they shared rehearsal space with The Go-Go's at L.A.'s notorious punk basement, The Masque. Playing in Chinatown at Madame Wong's restaurant/nightclub so many times they were nearly the house band, they began to draw a faithful crowd around the L.A. music scene. By Mother's Day 1979, The Motels had signed with Capitol Records and released their first album in September of that same year. Their first single, "Closets and Bullets," made no impact on the charts, but their second single, "Total Control," found its way to the Top 20 in France and the Top 10 in Australia.
In 1980 Jeff Jourard was replaced with Martha's boyfriend Tim McGovern as lead guitarist. The band went back into the studio to record their second album, entitled "Careful." Released in June of 1980, the album made it to the #45 spot on the US album charts. In Europe and the UK, the songs "Days Are OK" and "Whose Problem?" were Top 50 hits, and the latter was also a top hit in Australia. "Danger" was a Top 20 hit in France.
The band hired record producer Val Garay for their next album. The album, "Apocalypso." was scheduled to be released in November 1981, but after hearing the final product Capitol Records rejected it. Frustrated, the band attempted to go back and rerecord the entire album. In the process, Davis and McGovern's relationship had gone sour. By December of 1981 McGovern was no longer in the band. The rest of the members forged on and finished recorded the new album with Val Garay producing. Using studio musicians to fill in for the vacant guitar spot, the band was able to finish the album by March of 1982. Having auditioned several guitarists to take McGovern's place, Guy Perry finally was given the job. The album, now titled "All Four One," was released in March of 1982.
Before any singles were released, the song "Mission of Mercy" had made enough airplay to land the #33 on the Billboard Rock Album Cuts chart. Their first single from the album, "Only the Lonely," found its way into the Top 10 in the U.S. by June. Other hits included "Take the L" and "Forever Mine." Their first successful U.S. album coincided with the emergence of MTV, which led to music videos for both "Only the Lonely" and "Take the L." Martha Davis won a "Best Performance in a Music Video" award in 1982 for her performance in the "Only the Lonely" video. By now, the band had added a sixth member, Scott Thurston.
The Motels returned in 1983 with the album "Little Robbers." Garay by now not only was producing their albums, but their videos as well; and, he became the band's manager. The first single from the album, "Suddenly Last Summer," made its way to the Top 10 in the U.S. The album went gold in the U.S., Canada, and several other countries. Despite their success, the band cancelled their tour and fired Garay as manager for personal reasons.
With new management, the band forged on in 1984. They appeared on Saturday Night Live in January. They recorded songs for two movie soundtracks: "Long Day" was recorded for Moscow on the Hudson and "In the Jungle" was recorded for the movie Teachers.
In 1985 the band released their sixth album "Shock." The first single "Shame" became a Top 30 hit on the pop charts and a Top 20 on the dance charts. Two other singles were released, "Shock," and "Icy Red."
On February 13, 1987, Davis decided to dissolve the band and go solo.She reformed a version of the band called Martha Davis & The Motels, in 1998; as of 2006 she continues to appear under that name with various lineups.
Three members of the 1978 version of the band reunited with Davis in 2004 for an appearance on Bands Reunited; rejoining Davis were Michael Goodroe, Marty Jourard, and Brian Glasscock. Also appearing in that group was Adrian Peritori (aka "Guy Perry.") The Motels also appeared on the U.S. version of Hit Me Baby One More Time in 2006, and on the Nick at Nite reality program "Class Reunion" in 2007.
Albums
Motels (1979) #175 US
Careful (1980) #45 US
Apocalypso (1981) never released
All Four One (1982) #16 US
Little Robbers (1983) #22 US
Shock (1985) #36 US
Policy (1987) #127 US
Edit description
Anthologyland (2001)
So the Story Goes (2004)
There are also other The Motels:
2) The Motels are an alternative/indie rock band consisted of four 15-year-old members formed in Rio de Janeiro, Brazil in 2006. The Motels have composed five songs, however, only one ("Under Street Lights") has been professionally recorded, and "Knapsack" is still in progress. Their music has influences from bands such as The Strokes, Arctic Monkeys, Radiohead, Bloc Party, The Libertines, The Velvet Underground, Moptop, Legião Urbana, and Franz Ferdinand.
The band, who has debuted their single Under Street Lights in two New York radios, is made up of Pedro Paulo Ferraz (vocals), Lucas Feith (lead guitar), Antonio Pedro Ferraz (bass guitar), Carlos Eduardo (Kauai) Moliterno (rhythm guitar), and Beto Damazio (drums).
Two versions of Under Street Lights and the demo of Knapsack can be previewed in their website, www.myspace.com/themotelsrio.
(3)The Motels were formed by rock/jazz guitarist Cliff Hanley in 1976, based in Glasgow, Scotland. They mixed funk with punk and added reggae to the mix, with even some bebop creeping in. An extended fill-in by Ronnie Teape for Al Kerr on keyboards also added a bit of prog-rock,too. An early incarnation of the band included Danny Thomson on piano and Louie Rose (of Georgie Fame's Blue Flames) on congas. A lead guitarist, Tam Kerrigan, typical of Glasgow's fine tradition in rock, joined the front line for some months. Several bass players joined, notably the Pastorious-influenced Billy Lang, and Gordon Blank, from another Glasgow band, The Khyber Trifles.There was darkness as well as humour in their music, and they influenced other Scottish bands of the 70s. They eventually split up in London (1981) and the members joined other bands or moved on to session work, Hanley and frontman Craig Lockhart forming a production company.
One Album: Lo-Fi (2008) UK - to hear and download tracks by this band, look for 'Lo-Fi' in Albums.
tag: punkfunk, male vocals, new wave
Only The Lonely
The Motels Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We smile without any style
We kiss all together wrong
No intention
We lie about each other's drinks
We live without each other
Thinking what anyone would do
It's like I told you
Only the lonely can play
So hold on here we go
Hold on to nothin' we know
I feel so lonely
Way up here
You mention the time we were together
So long ago well I don't remember
All I know is it makes me feel good now
It's like I told you only the lonely can play
Only the lonely only the lonely can play
Only the lonely only the lonely can play
It's like I told you only the lonely can play
Only the lonely
Only the lonely can play
The Motels' popular 1982 song "Only the Lonely" speaks about a couple who seem to have lost their way in their relationship, walking a "loneliest mile." Despite their bodies close together, their style of smiling and kissing is not on point, without any intention behind it. The lyrics go on to say how they lie about each other's drinks, and whilst they may live together, they're not living together anymore. They wonder what anyone would do without each other, implying the unhealthy codependency they have developed.
The chorus, "It's like I told you, only the lonely can play" speaks to the sense of isolation that has developed between the two of them. They're alone together, and the only ones who understand the struggle are themselves. The song conveys the sadness of realizing that the relationship is no longer fulfilling, however, they still hold onto the memories of when it was. Towards the end of the song, the lyrics illustrate the effect those memories have on the singer, the mere mention of the time they were together makes them feel good, even if they don't remember much about it. The final verses of the song repeat the chorus, implying that the loneliness felt in relationships is a common, yet often overlooked experience.
Line by Line Meaning
We walked the loneliest mile
We have experienced a deep sense of loneliness, as if we have been walking an incredibly long and isolated path without any companionship.
We smile without any style
When we try to put on a happy face, it comes across as forced, lacking any kind of genuine charm or charisma.
We kiss all together wrong
When we embrace, our kisses are not passionate or romantic, but instead awkward and devoid of any real feeling.
No intention
Our actions towards each other lack any real purpose or meaning, as if we are simply going through the motions without any real connection or emotion.
We lie about each other's drinks
We fabricate stories and make up false details about one another's lives, maybe to appear more interesting or to hide our true selves from each other.
We live without each other
Despite being in each other's lives, we seem to be fundamentally alone and disconnected, as if we each exist in separate worlds that never truly intersect.
Thinking what anyone would do
We ponder what others would think of us and our situation, perhaps because we don't really know how we should be feeling or what we should be doing in this lonely state.
Without me and you
We imagine what life would be like without each other, almost as if we are tempting fate or daring each other to leave and break the loneliness we have created.
It's like I told you
As if to emphasize a previously discussed point or confirm a suspicion, the artist asserts that their loneliness is a unique experience that only certain people can truly understand.
Only the lonely can play
The artist suggests that only those who have experienced deep loneliness can truly understand and relate to their situation, as if it is a kind of exclusive and isolating club.
So hold on here we go
Perhaps a plea for togetherness or a desire to hold on to whatever small moments of connection they can find, the singer urges their partner to stay despite the difficulties.
Hold on to nothin' we know
As if acknowledging that their relationship isn't built on anything solid, the artist encourages their partner to hold on despite the uncertainty and lack of any real foundation.
I feel so lonely
The singer's loneliness is overwhelming and all-encompassing, a pervasive feeling that colors everything they do and think.
Way up here
As if physically separated from others or somehow elevated from the rest of the world, the singer feels completely isolated and alone.
You mention the time we were together
The singer's partner brings up a time when they were happy and connected, as if trying to remind them of what they used to have or what they might still be able to find.
So long ago well I don't remember
Despite the small glimmer of hope their partner offers, the artist cannot remember the connection they once shared, suggesting that they have become fully consumed by their loneliness.
All I know is it makes me feel good now
Although they can't remember their past, the artist finds comfort in their present state of loneliness, perhaps because it is a familiar feeling that they have grown used to over time.
Only the lonely only the lonely can play
Repeating the earlier sentiment, the singer suggests that their loneliness is still an exclusive and unique experience, reserved for those who can understand and relate to their isolation.
Only the lonely can play
A final affirmation of their repeated argument, the singer suggests that their loneliness is not something that can be easily shared or understood, leaving them forever separated from others despite their deep desire for connection.
Lyrics © Reservoir Media Management, Inc.
Written by: Martha Emily Davis
Lyrics Licensed & Provided by LyricFind
@DRourk
@@lazyway4555 Untrue...
The answer is complex, but it's not that. Music was dying long before people stopped buying records or CDs.
The 80s was the last of 3 amazing decades of music and the last of 6 amazing decades of movies. Yes, there's some good stuff since, but there's a marked decline in the quality of creativity coming out of Hollywood and the music world since.
There are more amazing songs and more amazing movies in any given year between ~1960-1990 than there is in an entire decade since 2000. The early 90s through the mid 00s is when the sharp decline occurred.
The why is indeed complex, but corporate greed and the propensity of the average Joe to fall for the corporate media marketing nonsense had quite a lot do with it.
@jonpaul3866
IT'S ALMOST 2024 WHO IS STILL LISTENING TO THIS 1982 CLASSIC?
@armorup10
Loved the Motels still listen to them .My Favorite 80's Music So Timeless....
@microminiskirt
ME TOO AND IT'S NOW 2024 AND THIS SONG IS BETTER THAN ANY OF THIS NEW NOISE THEY CALL MUSIC.@@armorup10
@matthewkeating5963
Yep, and on vinyl.
@microminiskirt
YES YOU GOT THAT RIGHT!
@@matthewkeating5963
@jonpaul3866
IT'S 2024 AND THIS SOUNDS BETTER THAN ANYTHING TODAY WHICH IS THAT NOISE TODAY THEY CALL MUSIC.🤢🤮@@armorup10
@shawnstarks1743
Unless you lived it, you will never understand what the early days of MTV meant to so many people. This is a song that makes you stop what your doing, listen, reminisce, and sometimes tear up about an era long ago. (SMH)
@user-yu9gl6zo6w
Rigth on
@sylvia22772
I’m listening to this ‘80’s classic in 2024 🎉
@joncabotxox9389
It’s still not the same as actually living in that awesome era. I miss it soooo much!!!