The Waitresses (American new wave band)

Musical approach and personnel

Originally conceived by songwriter and guitarist Chris Butler as a recording project, The Waitresses evolved into a performing group centered on lead vocalist Patty Donahue. The band's sound often featured spare guitar patterns, rhythmic bass lines, and occasional saxophone or keyboard accents; the delivery emphasized witty storytelling more than virtuosic display. Key collaborators and rotating musicians supported Butler and Donahue through studio recordings and live dates.

Career and releases

Their single "I Know What Boys Like" was first released around 1980 and found broader success after being reissued and promoted in 1982. The Waitresses released two studio albums, Wasn't Tomorrow Wonderful? and Bruiseology, and toured to support those records. They performed the opening theme for the television comedy Square Pegs (1982–1983), which helped introduce the band to a mainstream TV audience. The group formally disbanded in 1984 after a brief but impactful run.

Legacy and later developments

Despite a short lifespan, The Waitresses made a lasting mark on early 1980s pop culture. "I Know What Boys Like" and "Christmas Wrapping" continue to appear on compilations and radio retrospectives, while the Square Pegs theme links the band to a specific moment in youth-oriented television. Lead singer Patty Donahue died of lung cancer in 1996; obituaries and music histories remember her distinctive vocal persona and the band's eclectic contributions to post-punk and new wave scenes.

Notable recordings

• Wasn't Tomorrow Wonderful? — debut studio album (early 1980s).
• Bruiseology — second studio album (early 1980s).
• "I Know What Boys Like" — breakthrough single; charted after reissue (single).
• "Christmas Wrapping" — seasonal favorite still included on holiday compilations.
• Theme song for the TV series Square Pegs (1982–1983).

Further context

For readers seeking background on the environment that produced The Waitresses, the Akron music scene and broader studies of new wave and experimental pop are useful starting points. Local histories that document Akron's post-punk and DIY networks place the band alongside contemporaries and help explain how regional scenes influenced national trends. Additional regional and genre-focused resources discuss the band's formation in Akron and their role within the early-1980s alternative pop landscape.