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The Tubes are a San Francisco-based theater rock band, popular in the late 1970s and early 1980s, legendary (and/or infamous) for early live performances that combined lewd quasi-pornography with wild satires of media, consumerism and politics.The Tubes are a collection of high school friends from Phoenix, AZ . The Beans and The Red, White and Blues Band eventually merged after relocating to San Francisco in 1969. The core band membership remained largely intact for more than a decade: Fee Waybill (vocals), Re Styles (real name Shirly MacLeod) (vocals), Bill "Sputnik" Spooner (guitar, vocals), Roger Steen (guitar), Prairie Prince (drums), Michael Cotten (synthesizer), Vince Welnick (piano), and Rick Anderson (bass). Ex-Santana percussionist Mingo Lewis was also a fixture for much of the band's history.Showbiz excess was a common theme of the band's early work, with Waybill sometimes assuming the onstage persona of Quay Lewd, a drunk, drugged-out, barely coherent lead singer, decked out with flashing glasses and impossibly tall platform shoes. "White Punks on Dope," from their debut album, was an absurd anthem of wretched excess, and a tribute to their rich, white teenage fanbase in San Francisco. The song was covered as "TV Glotzer" by Nina Hagen as the opening track of her band's first album.The Tubes first album was produced by Al Kooper. The 2nd album for A&M, "Young and Rich" was produced by Ken Scott and features the hit "Don't Touch Me There". The Tubes 3rd album for A&M gave way to thematic experimentation with Now and after the classic live record "What do you want from Live," (recorded during their recordbreaking run at the Hammersmith Oden) their fourth for A&MRemote Control was a concept album produced by Todd Rundgren about a television-addicted idiot savant. The cover of Remote Control is also a classic, showing a baby watching Hollywood Squares in a specially made "Vidi-Trainer."One critic noted that with their media savvy and theatrical skills, The Tubes were born to create rock video, but arrived several years too early. Instead, they put their creativity and art skills into their live performances, in which songs could be full-fledged production numbers, from a beach-movie parody for "Sushi Girl," to leather-clad S&M hijinks in "Mondo Bondage," to the game show antics of "What Do You Want From Life?" At their peak, their act featured dozens of other performers, including tap dancers and acrobats
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