Chicago's Hounds did not look new wave: Too much hair, wrong kind of leather trousers, more like the kind of cock-rock thugs who'd beat new wavers up. First album — Unleashed, from '78 — had a woman with a dog collar around her neck on its cover. Follow-up from '79 — Puttin' On the Dog — had a woman in black underwear, in a lavish hotel room surrounded by shaggy dogs. But Hounds are nouns, so Columbia naturally stuck their "Do Wah Diddy Diddy" remake on a 7-inch promo EP called The Now Wave Sampler, alongside the Beat, Sinceros, and Jules and the Polar Bears. The first album had the Mott the Hoople-ish "Drugland Weekend" ("Your city looks like someone took a dump" — long spun at Friday drive-time on Chicago rock radio); "Bad Blood Between Us" (starts close to "Blitzkrieg Bop," then gets heftier, and it's about getting into a fight with a "punk," though not a punk rocker — just a greasy-haired bar creep who won't shut up); and "The Alleys of Love" (teen groupie "doing the pogo," then a recommendation that Jimmy Carter snort cocaine.) Puttin' on the Dog was, amazingly, even better, despite three '60s British invasion covers, a fairly new-wave move for '79 suggesting that (perhaps at behest of label A&Rs with Cars in their eyes), Hounds were indeed "Working on My Cool," as another track puts it. There's also some extremely arch-sounding art-glam called "Spiders" that could pass for 1971 Alice Cooper crossed with 1973 Sparks, plus all these crazy synths that can't decide whether they're new wave or prog or disco. But it's all still superb charging heavy rock, peaking back-in-the-saddle-wise with a bucking disco-metal bronco called "Horses." Robert Christgau ("not punk rock") and Dave Marsh ("Woof") both hated it! How's that for consensus?