The Cage Featuring Nona HendryxDo What Ya Wanna Do

Label:Warner Bros. Records – 0-29969, Metropolis (7) – 0-29969
Vinyl, 12", 45 RPM
Genre:Electronic, Funk / Soul


ADo What Ya Wanna Do (Long Version)
Written-ByT. Coakley*
B1Do What Ya Wanna Do (Dub Version)
RemixJohn Luongo
Written-ByT. Coakley*
B2The Slammer
Written-ByG. Barnacle*, R. Egan*, S. Barnacle*

Companies, etc.



℗ 1982 Warner Bros. Records Inc.

Barcode and Other Identifiers

  • Other (Side A Label): AAA 1546
  • Other (Side B Label): AAA 1547, AAA 1548
  • Matrix / Runout (Runout Side A Etched & Stamped): 0-29969-AAA-1546-S-SR1 SP 1-1 SM 1-1 STERLING
  • Matrix / Runout (Runout Side B Etched & Stamped): 0-29969-AAA-1547-S-AAA-1548-S-SR1 SP 1-1 SM 1-1 STERLING

Other Versions (5 of 17)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Do What Ya Wanna Do (12", 45 RPM)Metropolis (7)12WIP 6769UK1982
Recently Edited
Do What Ya Wanna Do (12", Maxi-Single)WEA Musik GmbHMET 28 338Germany1982
Recently Edited
Do What Ya Wanna Do (12", 45 RPM)Warner Bros. Records92 99690Canada1982
Recently Edited
Do What Ya Wanna Do (12", 45 RPM, Promo)Warner Bros. Records, Metropolis (7)0-29969US1982
Do What Ya Wanna Do (7", 45 RPM, Stereo)Metropolis (7), Metropolis (7)MET 19 138, MET 19 138 - NGermany1982



  • postpunkmonk's avatar
    Edited 2 years ago
    The Cage was a project built around Ms. Nona Hendryx and the studio band Visage as they existed in 1982, following the exits of Dave Formula as well as Midge Ure and Billy Currie following the lawsuit to extricate the band from Morrison/O’Donnell management [who were also representing Ultravox]. That meant Rusty Egan on drums with Steve Barnacle on guitars and synths with brother Gary on sax and synths. Production and remix via the great John Luongo. So yeah, this slotted nicely right next to the harder edged Visage revealed on “Pleasure Boys.”

    The song was a cover of a T-Connection disco track from 1977 that was very much in the traditional mold of the day. This one was much tougher with the full complement of Visage’s sonic vocabulary that they’d already established on their two albums. Drum machines kept the time while Egan drummed around them on acoustic percussion. Providing lots of vibrant fills and percussive volleys. Steve Barnacle played mostly extreme funk bass here with brother Gary adding sax interjection.

    The drum solo breakdowns on this one were bold and hard and lasted as long as they wanted even as hints of the Mororder sound gave it all a machine-led energy that the more traditional instruments used as a foundation. Of course, Ms. Hendryx was more than capable of matching the toughness of the musicians. This one felt right at home adjacent to the “Pleasure Boys” single and I wonder how and why I’d never heard of this when it was released. This single came to my attention [sadly] decades late on Trevor Jackson - Metal Dance (Industrial Post-Punk EBM Classics & Rarities 80-88).

    I was interested in the B-side, “The Slammer” because a title like that one took no prisoners. I have to admit that finally hearing it didn’t let me down. This was a rock hard jazz-funk that made the likes of Level 42 sound like milquetoast dilettantes. And when I say jazz-funk, there were plenty of complex chord changes here to earn that title, which can be dispensed fairly liberally on much weaker material, but not here.

    This time, Steve Barnacle leaned heavy on the the maximum funk bass. We can duly proclaim "The Slammer" to be smoking hot. Hearing this makes me wish that the Visage players had done more extracurricular activity of this nature back in the day when they were legally stymied by their management lawsuit and needed to get some work done. As for Nona Hendryx, anything she sings on is worth investigating. This single was like an amazing gift to finally encounter decades after its release. Records like this are why I keep mining for 40 year old gold nuggets!
    • esteban_morientes's avatar
      Edited 19 years ago
      John Luongo did a hell of a remix job here. Compared to the original, this is even rawer, funkier and deeper. Especially the bridge is pure electro/disco madness. If you liked T-Connections' original, you certainly gonna like this one!


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