(Kate Fagan by John von Dorn, Hi-Res) 

BROOKLYN, NY -- Captured Tracks is thrilled to release I Don’t Wanna Be Too Cool (Expanded Edition) by Kate Fagan, legendary punk and ska pioneer from Chicago. Originally a coveted self-released single put out in 1980, today’s release is a full-length remastered collectible white vinyl album featuring four previously unreleased tracks from Fagan’s 1986 “Kissing Concept” rock opera. Wired magazine calls the LP “a compilation of equally strong singles by a parallel-world ‘80s superstar.”

Earlier this week Bandcamp named I Don’t Wanna Be Too Cool (Expanded Edition) their Album of the Day: “Somewhere between Suzi Quatro’s rock ’n’ roll sizzle and the give-no-fucks attitude of Corinne Burns in the 1982 film Ladies and Gentlemen, The Fabulous Stains lies the new wave firebrand Kate Fagan…If properly released forty years ago, {“Master of Passion”}, would have certainly been a dance chart hit. The complimentary track ‘Come Over’ is reminiscent of the cute, pastel-soaked punk perfected by The Go-Gos…With the 1980s amplitude of an aerobic workout, ‘Cover It Up’ bursts with a hyper beat and extravagant chorus—while ‘Say It’ is awash in lo-fi sincerity with its organ stabs and reverberated guitar lines… I Don’t Wanna Be Too Cool captures a moment in time when punk guitars clashed with electronic machines, when the upper class mingled with Lower East Side artists amidst the fog and lasers of the club.” Read the full review here. 

Today NPR covered the reissue by making it one of their lightning round picks for New Music Friday, saying: "One release out today that I'm really into is the expanded edition of Kate Fagan's '80s cult new wave single 'I Don't Wanna Be Too Cool'... It's a full-length reissue of that song and a bunch of other unreleased songs. She was this incredible punk artist in the '80s…and it's just nice to see a cult classic like that get expanded and have a new life in a new era."

Fagan was given a chapter in the book “Hit Girls: Women of Punk in the USA, 1975-1983” by Jen B. Larson (released Jan 10, 2023). The Chicago Reader printed a feature with an excerpt from the book focusing on Fagan’s career. Jen and Kate recently spoke with one another for Talkhouse, their lively conversation is available to read here.

Fagan wrote “I Don’t Wanna Be Too Cool” after moving to Chicago from New York City in the late ‘70s. “The idea of ‘cool’ seemed shallow to me, cheap, store-bought, and manipulated. My song responded with a whoop, plucky bass line, heavy backbeat, and lyrics poking fun at elements of what was becoming hip in the celebutante era,” Fagan said. 

Fagan found the authenticity she was searching for in Chicago’s punk scene. She dove in headfirst, opening for The Ramones as the frontwomen of BB Spin (“Chicago’s first punk band” -Chicago Reader), and organizing a series of “Rock Against Racism” concerts. She met artists with whom she would form the Disturbing Records label, which released the "I Don't Wanna Be Too Cool" single and thirty new wave and punk records.

“I Don’t Wanna Be Too Cool” was engineered by Mike Rasfeld at Southport Records in Chicago with multi-instrumentalist Ron Rutherford. Fagan played bass. The B-side “Waiting For The Crisis” remains relevant as a warning about the power of the military-industrial complex and was recently added to MOJO’s monthly playlist column. The single stands as the best selling local record at the influential Wax Trax Records. 

The reissue announcement came in January with the single “Cover It Up.” Fagan describes the song as “about a stalled seduction, the vocal expresses the potency and stamina of sexual ambition.” Second single “Say It,” followed Jan. 31 featuring production from reggae legend Peter Tosh and Bob Marley’s guitarist Donald Kinsey. The duo flew from Jamaica to record with Heavy Manners (the seminal ska group that Fagan co-founded) after witnessing their impassioned live show opening for Tosh at the Aragon Ballroom. Said Fagan of the production, “Peter and Don locked in the groove, doubled the bass with guitar and accentuated the reggae bubble. They intended to make these tracks the bottom floor of a dancehall dub mix.” 

Both singles were accompanied by new videos featuring archival footage from The Vic Theatre in Chicago.

WATCH: “Cover It Up” VIDEO | “Say It” VIDEO

(Stills from the new video for “Say It” edited by Timothy Watson with archival footage by James Pasta)

In 1980, Fagan broke new ground again as co-founder of the enormously popular two-tone ska band Heavy Manners (whose dance parties are still legendary), and opened shows for The Clash, Jimmy Cliff, Third World, Grace Jones, Peter Tosh, The English Beat, and many more. The band’s popular single, “Flamin’ First,” written by Fagan, is included in many ska compilations and playlists. With her arresting live performances and passionate songwriting, Fagan was voted Chicago’s top female performer numerous times.

After Heavy Manners dissolved, Fagan began exploring solo performances. At the suggestion of her vocal coach, she explored singing classic country to further develop her vocal chops. She portrayed Patsy Cline, was understudy in the role of June Carter Cash in the “Johnny Cash Show” and opened for Dwight Yoakam. She also joined the staff of The Chicago Academy for the Arts (private arts high school) for four years. “At the Academy, I became interested in learning jazz chords and making collaborative art with faculty in art, dance, and theater and departments.” Kate said.

Fagan again collaborated with Ron Rutherford in 1986 for “The Kissing Concept” rock opera, which premiered at Chicago’s Park West and Limelight venues. In an interview for I Dream of Vinyl, Fagan described the rock opera’s premise as “about being seduced by the late night urban universe of disco, punk, sex, and drugs, and finding an edgy amorous playmate.”

Fagan was among the founders of the Lotus World Music and Arts Festival in Bloomington, Indiana, and helped shape new generations of musicians through her leadership in several chapters of Girls Camp of Rock. “It gave me unspeakable joy to hand a young girl an electric guitar for the first time and teach her three chords - the sense of freedom they get is thrilling,” Fagan said. She also helped organize five-years of the AIDS benefit, “A Dance of Love.”

Fagan remains active in the music scene and continues to perform and create events in her adopted home of New Orleans. Last year she self-released the fun and funky The Hohoho Holiday Party album, recorded with some of New Orleans most prestigious musicians. “It was a bucket list project I could get to during the COVID lockdown,” Fagan said.. A review in New City proclaimed, “The album has the feeling of a party that’s been going on several hours before you arrived.”

While the Manufactured Recordings EP re-established Fagan’s cult-classic status for a new audience in 2016, the new expanded album released today on Captured Tracks solidifies her place as a compelling storyteller, charismatic vocalist, and trailblazing, powerhouse frontwomen.