80's music

Top 10 Songs of 1982

noreply@blogger.com (ajibchelsea) — Sun, 06 Dec 2009 14:29:00 +0000

80s music really began to establish its identity in 1982, forging both an image and a sound that always harbored more substance than anyone believed was there. Rock and pop styles flourished and intertwined to create an impressive display of originality that still resonates today, especially in the signature genres new wave, synth pop and arena rock.

1. The Human League - "Don't You Want Me"

Perhaps the best group in a vast wave of British synth pop exports, the Human League hit the jackpot with this tune, a wonderfully woven tale of a dysfunctional, hard-knocks relationship featuring a classic interplay of male and female vocals to round out the narrative. The melody is intoxicating, the synth parts mesmerizing, and the singers impeccable in their presentation of what amounts to highly accessible lyrical material. Few singles as tight as this have ever been released.

2. Tommy Tutone - "867-5309 (Jenny)"

This confusingly named band (the group's lead singer's first name is Tommy, but his last name is not Tutone) has always been considered somewhat scornfully as one of the quintessential one-hit wonders of the '80s, a viewpoint that tends to suggest novelty regarding this song. But it's a solid rock tune with a brilliant concept and deserves credit as one of the best songs of the modern rock era. Period. And as a stalker song, well, it simply has no equal.

3. Men At Work - "Who Can It Be Now?"

The former Australian bar band's first No. 1 hit is a wonderfully paranoid, hypnotic portrait of a man out of place and out of time in modern society. It also features some tasty saxophone fills that firmly plant it into the sonic realm of the glorious '80s. But what really makes the song tick is the unique combination forged by Colin Hay's spirited, slightly off-kilter vocal style and Men at Work's undeniable rock and roll chops. A brilliantly crafted and ultimately timeless gem.

4. Alan Parsons Project - "Eye in the Sky"

Although at times this song can sound dated with its space-age, hypnotic qualities, at the core of it lies a near-perfect pop/rock song. The fact that one has to dig through layers of production to experience the songwriting prowess is not necessarily all that surprising, given the perfectionist production and engineering past of the band's namesake. Still, what a joy it is to realize that the only thing that really matters is the quality of a song. In this case, high quality indeed.

5. Asia - "Heat of the Moment"

From the band's inception, Asia presented a unique fusion of styles old and new. Blending '70s progressive rock with hard rock guitar and innovative keyboards, this tune particularly ran a musical gamut that allowed it to claim a distinct place in pop music history. Though from the start critics labeled this union of disparate talents as a cynical, commercially minded enterprise, I always felt like this music was actually quite organic and genuine in forging its broad appeal.

6. Laura Branigan - "Gloria"

Branigan's rousing, sing-along anthem is a quintessential '80s classic, but it's far more than a time capsule relic. Impassioned vocals and keyboard flourishes aside, the song's escalating melody takes center stage and delivers with great success across the years. That's also because of the clearly feminist but also authentically modern lyrical perspective of the song. No "I Am Woman" bombast here, just an honest emotional portrait of a woman trying to make it through the darkness.

7. Steve Miller Band - "Abracadabra"

Longtime classic rock icon and axe-man Steve Miller segued into the '80s with both style and substance with the release of this tune. Though it undoubtedly stands as his most singular and successful pure pop song, this hit single also daringly manages to work as space-age guitar rock just as well. Once again, what ultimately distinguishes this and any other classic pop song are melody and presentation, and "Abracadabra" features masterful strokes in both areas.

8. A Flock of Seagulls - "I Ran (So Far Away)"

Many music fans have understandably been distracted by the shocking and famous haircuts of this band, but underneath that surface lies a classic pop song no matter what decade. The melodic verse is even better than the well-known chorus, and the guitar work of Paul Reynolds, I fear, will always remain criminally underrated. This band has always been unfairly classified as a one-hit wonder, but even if that label is valid, this is certainly one hit to be eternally proud of.

9. Jackson Browne - "Somebody's Baby"

Not many artists can transcend era as smoothly as the versatile Jackson Browne, but this song manages to be an essential document of the '80s without sounding dated. Whatever that actually means. Though the tune rose to prominence partly because of its inclusion in the popular film Fast Times at Ridgemont High, it's so memorable mainly because of its infectiously evocative take on the heady emotions of adolescence and first love. Or, maybe it's just a Phoebe Cates thing.

10. Joe Cocker & Jennifer Warnes - "Up Where We Belong"

We all know that '80s music takes a lot of abuse as a showcase for fleeting music that emphasized style over substance, but it most certainly produced as many timeless melodies as any era before or since. This great song from the soundtrack of An Officer and a Gentleman perfectly fits its title and lyrical content, as it surely stands as one of the most soaring ballads in pop music history. A tastefully handled duet that justifiably became a slow dance favorite.

Top 10 Songs of 1981

noreply@blogger.com (ajibchelsea) — Fri, 04 Dec 2009 15:05:00 +0000

1. Hall & Oates - "Kiss On My List"

1981 was a hell of a year for this pop duo, as singles from two different highly successful albums (Voices and Private Eyes) spent significant time near the top of the charts. It's difficult, in fact, to suss out the best Hall & Oates song from even this year much less their entire career, but for my money "Kiss On My List" is a sterling selection. One of the duo's best distillations of its many influences, this tune sparkles and succeeds wildly with a clever and unique lyrical conceit.

2. Rick Springfield - "Jessie's Girl"

Simply one of the best pop songs of all time, Rick Springfield's most well-known tune really stands the test of time and repeated airplays. Armed with a killer guitar riff that is actually quite nifty and dripping with the real but fickle emotions of envy, lust and passion, this song is a tour de force that alone proves Springfield's value as a songwriter. It is also equally effective as both a rock and pop song (pay attention to the guitar), which is a rare feat indeed.

3. REO Speedwagon - "Keep On Loving You"

One of the first '70s classic rock bands to cash in on the new decade's emerging taste for power ballads, REO Speedwagon (and particularly lead singer and songwriter Kevin Cronin) displayed in this tune a tremendous savvy for crafting a memorable and accessible melody. Beyond that, the song stands as a realization of a band's potential that had formerly labored within the shadows of arena rock success. REO's hit album Hi Infidelity became a huge smash this year, helped by similar pop gems.

4. Santana - "Winning"

This entry from Carlos Santana's storied career is undoubtedly the great guitarist's namesake band's strongest and most memorable pop song, but it also functions as a fantastic showcase for some of the decade's best, most blistering guitar leads. The tune itself is a rousing crowd-pleaser that has since found a place in sporting event montages, but structurally and musically it is as sound as can be. Great keyboards at the beginning give it its '80s feel, but the song has much more within.

5. Journey - "Don't Stop Believin'"

Journey's breakthrough album Escape yielded several big hits in 1981, but this combination power ballad/rocker/contemplative examination of lost souls clinging to hope simply has it all. Boasting one of Steve Perry's best, most world-weary lyrics not having to do directly with a relationship, the song features several sublime components, including a great, foundational guitar and bass riff, an unforgettable sing-along chorus, and the introduction of a new phrase in "streetlight people."

6. The Go-Go's - "Our Lips Are Sealed"

Very few bands that started out in the punk scene could ever say they had the ability to craft pop music anywhere near as good as this. In fact, most pop artists have never been able to reach this level, either, and that's really saying something. The song's brilliant groove and inescapable melody should have announced with authority from the start that this all-female band was unique in the annals of rock music, but unfortunately, only lately have the Go-Go's begun to receive proper respect.

7. Squeeze - "Tempted"

While this song is far from the quintessential offering from this great British band, it is undoubtedly a near-perfect pop confection that excels in several compelling ways. Although I've always loved Paul Carrack, the fact that he sings lead on this tune is a bit unfortunate, only because that means the low-voiced, somewhat novelty-sounding Chris Difford sings as much lead as the incomparable Glenn Tilbrook. The song's organ and piano lines buoy the song through its loping progression from chorus to verse to bridge.

8. The Tubes - "Talk To Ya Later"

In a decade full of happy marriages between guitar and keyboards, this underrated classic takes that combination to the promised land. Although most people won't remember it as well as "She's a Beauty", this song crystallized positive '80s rock impulses far more skillfully. Just give a listen to the keyboard break in the middle, the great vocal harmonies during the pre-chorus, or the wonderfully snotty delivery from singer Fee Waybill. As they say in professional wrestling, this song is the total package.

9. Climax Blues Band - "I Love You"

Despite or perhaps because it is such a complete exercise in simplicity, this song strikes a memorable chord as a document of the '80s. Coming from a veteran band that had previously operated as a blues and R&B outfit, this tune definitely feels like a bit of an aberration. But that doesn't make it any less enjoyable, as somewhow the simple lyrical tale of a wayward man set straight by the love of a woman works beautifully. Even the criminally simple guitar solo manages to be effective.

10. Eddie Rabbitt - "I Love A Rainy Night"

In this song that managed the highly impressive feat of hitting No. 1 on the pop, country and adult contemporary charts, Rabbitt proved that his talents were not restricted by being labeled as a country artist. This tune was justifiably everywhere in 1981, and it still works today as a basic rock song that succeeds because it so completely embraces more traditional rock and roll influences that always combined country, R&B and rock styles anyway.

Top 10 Songs of the '80s

noreply@blogger.com (ajibchelsea) — Fri, 04 Dec 2009 14:44:00 +0000

The greatest singles of any era possess the power to change the world in three minutes, or failing that, they at least share the ability to leave their stamp on a musical landscape already filled nearly to capacity. And while chart performance, radio airplay and longevity are all important criteria to choose the best of the best, these essential '80s songs announce themselves as vital through sheer force of gravity. These tunes are simply impossible to ignore in the context of '80s music.

1. The Police - "Every Breath You Take"

Regardless of how many times this song is played, it retains a magic that only exists for the most solidly constructed, universally themed and uniquely presented musical compositions. Sting's songwriting centerpiece from 1983's Synchronicity achieves a rare pop/rock perfection, featuring a top-notch vocal performance, a groundbreaking guitar riff and a highly personal lyrical theme exploring obsession, heartbreak and romantic doom that somehow seems familiar in spite of its fierce originality. Definitely one of the finest moments of the career of the Police as well as the '80s as a whole.

2. Survivor-"Eye of the Tiger"

This Chicago-area mainstream power rock band known mostly for its ballads always had a knack for delivering among the most bombastic lyrics of the decade. But with this song, featured prominently and appropriately in the film Rocky III, Survivor brought fist-pumping arena rock to an entirely new plane of soaring bravado. The somewhat silly overuse of metaphor and cliche is sometimes a little offputting, but the hold of the melody and power-chord opening is undeniable.

3. Foreigner - "I Want to Know What Love Is"

Foreigner enjoyed a number of hits in the '80s, but none reached a level of over-the-top romantic longing as high as this keyboard-heavy love ballad does. Guitarist Mick Jones has always been an underrated songwriter, and his command was never on finer display than when the calmness of this tune's verses explode into a crescendo of a chorus perfectly suited for Lou Gramm's impressively high vocal range. When the gospel chorus kicks in at the end, it's a perfectly appropriate topping for this confection.

4. Van Halen - "Jump"

Some '70s and '80s hard rock bands turned to pop out of desperation or just pure greed as the hair metal phenomenon kicked off. In the case of Van Halen, the stylistic turn seemed as organic as the splendid synthesizer riff that fuels this tune, or David Lee Roth's exuberant leap, or Eddie Van Halen's infectious grin. On this one occasion, the band wrote a nearly perfect pop song, and unfortunately they spent the remainder of their careers rolling downhill from this moment.

5. U2 - "With or Without You"

U2's track to stardom and then its legendary status has been an intriguing one, filled with explorations of a variety of styles and approaches. However, this tune, one of many excellent songs from The Joshua Tree, strikes a perfect balance of pop and rock sensibilities. It's catchy, beautiful and hauntingly memorable, and somehow it remains both a document of its era and a timeless classic. Plus, it doesn't hurt that the song has one of the best bass lines in rock history.

6. Guns N' Roses - "Sweet Child o' Mine"

As raw and unabashed as they were, Axl Rose and his mates knew how to craft intricate and polished rock songs. The band's sound was no happy accident, and this song more than any other reveals the band at its peak collectively and individually. Never has Rose revealed his versatility as a singer more completely than through the calm verses and more fierce chorus sections of the tune. It's a tour de force of rock guitar buoyed by an unexpected lyrical sweetness, and the song's broad appeal helped take 1987's Appetite for Destruction to a mainstream place no one could have expected.

7. Whitney Houston - "So Emotional"

Pop diva Whitney Houston's '80s heyday produced several singles worthy of inclusion on best-of lists, but this one represents the best blend of danceable beats and an irrepressible chorus. Houston was and is a fine singer, but perhaps her best attribute was her ability to select top-notch material. This tune is a celebration of an '80s pluckiness we're not likely to see again, and it's so infectious that even a lot of rock fans were subject to its seduction.

8. Bonnie Tyler - "Total Eclipse of the Heart"

One of the greatest '80s collaborations was undoubtedly this Welsh female singer with the unmistakable gravelly voice and Jim Steinman, songwriter and producer of Meat Loaf fame. It was a match made in heaven, as Steinman's gift for lyrical bombast and over-the-top arrangements to match helped him produce his finest musical moment and Tyler's gritty but sensitive voice perfectly conveyed the longing of this great love song.

9. Lionel Richie & Diana Ross-"Endless Love"

Speaking of ballads and the '80s, it's impossible to go too far without discussing duets pairing male and female singers, and there was no finer example of this than this overwrought but undeniably engaging tune from 1981. Lionel Richie certainly covered this same kind of ground effectively in his solo career, but the addition of a capable female singer with whom to exchange verses raises this song to another level. It helped that Ross was far more than capable.

10. J. Geils Band - "Centerfold"

Even though I sometimes get the "na-na-na-na-na-na" part mixed up with the Smurfs theme, this song is a highlight for me personally and for the entire decade's musical catalogue. The band's frontman, Peter Wolf, was tailor-made for the '80s with his Mick Jagger swagger and exuberance, even though he had paid his dues before the band went pop. That's why the group reached its highest level of success during the '80s, and this tune's memorable playfulness is a big reason why.

Top Albums of the '80s - The Essential Eight

noreply@blogger.com (ajibchelsea) — Fri, 04 Dec 2009 14:24:00 +0000

The best albums of any decade are always about far more than hit songs, record sales and other stats that can be measured. Scope of influence and breadth of impact are really more about feel, a sense that can be perceived only by experiencing the music. In short, these albums reverberated throughout the decade and became classics, not only of their own time but of all time.

1. Michael Jackson - 'Thriller'

Perhaps no album has ever been as ubiquitous or far-reaching or inescapable as Thriller, Michael Jackson's nearly 60 million-selling monster hit from 1982. This is the one album most of us children of the '80s still have on vinyl at our parents' houses when we go home to visit. The songs are versatile and efficient, but most of all they're skillfully produced and conveyed to fulfill their maximum commercial accessibility. For once a multitude of hits actually reflects consistent quality.

2. Madonna - 'Like a Virgin'

It's difficult to choose a signature album from an artist who produced so many top-selling LPs, but this one wins out probably because it placed Madonna on an entirely different plane than her '80s music cohorts. With this album, mere song titles like "Material Girl" and "Like a Virgin" became key threads in the fabric of '80s culture. While becoming an icon alone does not guarantee a classic album, in this case the impact of the music was as important as image in making that happen.

3. Bruce Springsteen - 'Born in the U.S.A.'

Though Bruce Springsteen successfully transcends any decade in which he has worked, this album, in terms of quality, influence and style, stakes a fierce claim as one of the most signature releases of the '80s. The quality throughout the 14-song set is astounding, filled with irresistible hooks, a remarkable diversity of styles, and Springsteen's artfully rendered socially conscious brand of rock and roll.

4. Prince - 'Purple Rain'

Prince had produced some excellent and diverse music before, but with this 1984 release he synthesized pretty much everything he had to offer into a tight, nine-song LP. The hits were astounding in their efficiency and musical scope, but the lesser-known charting tunes and album tracks like "I Would Die 4 U" and "The Beautiful Ones" were no less skillfully presented. And of course, Prince being Prince, the album stoked controversy with "Darling Nikki", a tune that dealt with (gasp) masturbation.

5. Guns N' Roses - 'Appetite for Destruction'

In the midst of the Los Angeles hair metal scene, Guns 'N Roses exploded with a different kind of music on its 1987 debut release that could beat the hell out of any of the other glossy pop-metal floating around on MTV. Inspired equally by classic hard rock, metal and punk, the band's grimy rock was threatening, aggressive and supercharged with walls of guitar sound. In essence, the album provided a necessary bridge between a time when hard rock had teeth and when it regained them once Nirvana hit.

6. U2 - 'The Joshua Tree'

Also a landmark 1987 release, U2's breakthrough to superstardom is a rare artistic statement that also works extremely well as rousing rock and roll. The Irish band had already become extremely important on the burgeoning college rock/alternative scene, but with this collection the band graduated to something way more far-reaching and intense. While surely notable for its eclecticism, this album has the distinction also of having genuine things to say about faith, despair, loss and doubt.

7. George Michael - 'Faith'

Following the dissolution of the consistent but slight hit machine Wham!, which he had previously led, George Michael surely was not expected to go out and immediately release a masterpiece. But that's just what he did, with this erotically charged collection of dance pop and ballads. The songs "Father Figure" and, of course, "I Want Your Sex", particularly harbored an edge that certainly raised the eyebrows of parents whose teen children wore this record out.

8. Van Halen - '1984'

In stark contrast to its Orwellian title, this album is purely and simply a party record, an ode to a brand of hedonism that only David Lee Roth could accurately convey. As such, it's a particularly effective document of its time, but it's also filled with a number of high-quality tunes, from the very hard-rocking "Hot for Teacher" to the synthesizer-infused "Jump" to the affecting power ballad "I'll Wait". And credit should go to Eddie Van Halen for understanding the lure of the synthesizer.

Top 8 Artists Of The '80s - The Essential Eight

noreply@blogger.com (ajibchelsea) — Fri, 27 Nov 2009 06:12:00 +0000

The length and order could be debatable, but there's no doubt a core list of the most essential '80s artists serves as a fine place to start any exploration of the decade's music. The musicians on the list combined cultural clout with musical talent, image and good timing to shape all things that have come to be described with the adjective "eighties."

1. Madonna

Album Cover Image Courtesy of Sire
So where else should we start? There were a lot of superstars that populated and fueled the '80s, but no one generated his or her stardom as organically and completely within the decade as the Material Girl. Bursting onto the scene with an original sound, bombshell image and overarching confidence, Madonna never needed anything but a one-name moniker to announce her presence. She was the star; everyone else was lucky to stand in the shadow of her light.

2. Michael Jackson

Album Cover Image Courtesy of Epic
Though the King of Pop had been a music star for years before 1982's Thriller, the release of that album launched him so far into the stratosphere that he ended up permanently discolored. Well, maybe that wasn't what happened, but Jackson was certainly the most earth-shattering '80s music phenom, and his overwhelming popularity that took hold in the mid-'80s often overshadows just how good the tunes are on his signature album. The concept of superstardom has never been the same.

3. Prince

Album Cover Image Courtesy of Warner Bros.
Through sheer force of charisma and musical versatility, Prince would have been the top male pop star in any decade not featuring Michael Jackson at the top of his game. As it was, His Purple Majesty recorded several essential albums and produced a stunningly diverse body of work as high in quality as in occasional controversy. Prince would have ruled any decade quite handily in his prime, but the '80s were a perfect fit for his flamboyant and often sensual approach to rock & roll.

4. Whitney Houston

Album Cover Image Courtesy of Arista
This young star with the sterling bloodline was quite simply the purest and best female pop singer of the decade, and though she may have operated most often in the middle of the road artistically speaking, the hit singles and platinum albums don't lie. Houston displayed a savvy sense of self-presentation that helped her perfectly combine technical vocal skill with wholesome good looks to strike gold in the MTV age.

5. The Police

Album Cover Image Courtesy of A&M
One of the decade's premier bands both commercially and artistically, this talented trio cut a swath through the charts and always retained its trailblazer edge. Merging rock, punk, reggae and pop in constantly challenging ways, the band made the most of a brief existence, offering up diverse albums as well as arguably the finest single of the decade in "Every Breath You Take." Sadly, the internal dissension that served as the band's creative fuel prematurely spelled the end of the Police.

6. U2

Album Cover Image Courtesy of Island
This highly consistent but also artistically adventurous Irish band emerged as the first alternative music superstars of the '80s. But Bono & Co. labored long and hard for several years before their breakthrough with The Joshua Tree in 1987. Over the course of the decade, the band skillfully ran the gamut from post-punk hard rock to politically charged electric folk to slick atmospheric pop. And through it all, this breadth of talent has placed them among the most important bands of all time.

7. R.E.M.

Album Cover Image Courtesy of Capitol
America's college rock answer to U2 was this Athens, Ga. band that likewise used a solid, workmanlike '80s output to secure superstardom in the '90s. However, the band's earliest work undoubtedly stands as its most impressive and groundbreaking. Almost single-handedly responsible for the popular spread of guitar-based indie rock that took place in the '90s, R.E.M.'s often gentle, introspective, and dense narrative songs drew their power from precision and a focused vision.

8. John Mellencamp

Album Cover Image Courtesy of Mercury
Starting off the decade with an entirely different, cynically manufactured surname did not stop Mellencamp from posting album after album of high-quality heartland rock. And his stunning consistency did not even reach its peak until his third high-profile release, 1985's Scarecrow, which still stands as not only a career magnum opus but a cornerstone album of all time. To top it off, Mellencamp's folk and rock instincts were always buoyed by a highly literate songwriting sense.

'80s Instrument Spotlight - the Saxophone

noreply@blogger.com (ajibchelsea) — Fri, 27 Nov 2009 05:43:00 +0000

Overview:
Though one of the most versatile musical instruments, found in everything from jazz to funk to rock to orchestral music, the saxophone has generally remained one of the most maligned parts of a pop music ensemble. While this isn't always fair, the disdain may be somewhat understandable, particularly from the perspective of '80s music, in which sax solos often represented the pinnacle of overproduction and cheesy, sickeningly romantic arrangements. It was a time of excess in pop music, which unfortunately meant that some artists overused and misused the saxophone to gaudy if not comical effect.

Saxophone Background:
Though often mislabeled as a brass instrument if not an outright horn, the saxophone is actually in the woodwinds family. The confusion perhaps stems from the instrument's typically brass exterior and its association with jazz and rhythm & blues. There are many types of saxophones and closely related instruments that enjoy a wide variety of uses, but the one most commonly heard in pop/rock circles is the tenor sax. Think Clarence Clemons, longtime Bruce Springsteen collaborator, or Bill Clinton in his famous appearance on The Arsenio Hall Show.

Saxophone in Pop Music:
Following its origins in military band music, big band and jazz, the sax found a bit of a niche in rhythm and blues, early rock and roll, Motown, soul and funk styles from the '50s throughout the '70s. The instrument's popularity rose considerably in mainstream pop/rock during the later part of that period, as Clemons of the E Street Band made major progress toward turning the sax into a showcase piece. In 1978, the sax reached a pinnacle of sorts in terms of prominence, as Gerry Rafferty's classic single "Baker Street" would not have half the impact it does without its central, haunting sax line.

'80s Crimes Against the Saxophone:
As overproduction became an ever-swelling reality with the advent of new wave and MTV, epitomized by synthesizers galore and a penchant for the biggest sounds possible, the saxophone quickly became just another ingredient of pop music. In fact, sax solos showed up so often during the decade that their presence became a cliche, not to mention a glitzy, romanticized exclamation mark for ballads and other pop music ear candy. Though not always used gaudily, the sax often succumbed to the worst impulses of '80s music, many of which are responsible for the degree to which some of it sounds dated and even insincere.

A Stained Legacy Overcome:
Despite the damage undoubtedly done by its '80s reputation, the saxophone has persevered and remains an important part of various musical styles still today, even pop and rock. Part of this can be attributed to the work of post-punk artists who essentially deconstructed the instrument by emphasizing dissonance and cacophony instead of the smooth, slick melodic complements it had been previously known for. Still more responsible for its survival is the enduring versatility of the saxophone, a musical tool that adapts with ease to more styles, arguably, than any other instrument widely used in popular music.
Prominent '80s Songs Featuring Saxophone:

* The Motels - "Only the Lonely"
* Spandau Ballet - "True"
* Wham! - "Careless Whisper"
* Hall & Oates - "Maneater"
* Men at Work - "Overkill"
* Foreigner - "Urgent"
* Breathe - "Hands to Heaven"

What was the longest-running number one U.S. pop hit of the '80s?

noreply@blogger.com (ajibchelsea) — Fri, 27 Nov 2009 05:38:00 +0000

Question: What was the longest-running number one U.S. pop hit of the '80s?
Many pop music milestones of the '80s belong to major artists like Madonna and Michael Jackson. However, it may surprise some to learn the artist responsible for the decade's longest-running number one American pop song.

Answer: Olivia Newton-John had made a name for herself during the '70s as an adult contemporary and country pop artist of some significance, but when she emerged in late 1981 with the unspoiled pop sound of "Physical," music fans embraced her more than ever before. For 10 weeks of the following winter, this playful, conceptual, slow-burning bit of ear candy ruled the charts, buoyed certainly by the sultry music video that established a newly sexy, provocative image for the Australian chanteuse. Though it still ranks as Newton-John's final No. 1 hit, "Physical" helped diversify the singer's appeal as more than a soft rock threat. Feel the burn.

Top 10 Songs of the '80s

noreply@blogger.com (ajibchelsea) — Sat, 21 Nov 2009 19:14:00 +0000

Most Memorable Pop Music Moments of 1980

noreply@blogger.com (ajibchelsea) — Thu, 19 Nov 2009 14:49:00 +0000

With five prominent deaths of major rock music figures, 1980 can seem like a tragic and unfortunate year for pop and rock music. But beyond that obvious impression, the transition from '70s styles like singer-songwriter, progressive rock and disco to new wave, synth pop and arena rock was often a chaotic one, and the seeds of MTV and an increased emphasis on the images projected by musicians were quickly planted. Here's a look at some of the most memorable and arresting musical moments of 1980, a year of transition and cold reminders of the passing of eras.

1. Paul McCartney Tossed from Japan After Drug Arrest

Former Beatle Paul McCartney had spent the '70s as leader of Wings, taking a pop-oriented path many expected but also feared in the years following the Beatles' well-publicized breakup. Still, McCartney had been at the forefront of the '60s counterculture at one time, a fact that probably lessened any possible resulting shock when the singer was arrested January 16 in Tokyo for possession of a healthy amount of marijuana. Not only was McCartney's tour cancelled, but Japanese authorities held him in jail more than a week before releasing him and summarily dismissing him from the country. It was a jarring moment for McCartney's softer Wings image, revealing that the '80s were likely to be full of both the expected and unexpected.

. AC/DC's Bon Scott Dies from Alcohol Poisoning

Having never strayed from both an image and genuine practice as hellraiser, charismatic AC/DC frontman Bon Scott surprised relatively few but dismayed many when he turned up dead February 19 in London after a night of alcoholic revelry. It seemed like the end for the Australian hard rock combo, not only because of Scott's death but also because the demand for simple hard rock was waning in the wake of punk rock and the rise of new wave. But although the surviving members seriously considered disbanding, Scott's mother helped convince the group to carry on in an effort to memorialize their bandmate properly. By summer the release of Back in Black ushered in AC/DC's greatest success yet, with Brian Johnson filling in admirably for Scott.

3. Casey Kasem Hits the Tube with 'America's Top Ten'
As far as I'm concerned, '80s music would have never acquired the legitimacy it now enjoys without the voice (and ultimately the face) of Casey Kasem, whose America's Top 10 syndicated TV show debuted in May 1980 and helped pioneer the music video a full year before cable upstart MTV emerged. And for those of us living outside the reach of cable all the way into the late '80s, Kasem's visual supplement to his long-running American Top 40 weekly radio show served as a finger on the pulse of '80s music happenings like no other. I remember many a Saturday afternoon waiting with anticipation for Kasem to count down the biggest hits in America, and the man formerly known as Shaggy's voice on Scooby Doo rarely disappointed his audience.

4. Suicide of Joy Division's Ian Curtis

One of post-punk's earliest bright lights, England's Joy Division pioneered a brooding style of rock that literally no one had ever heard before. That's one of the reasons why the May 18 suicide by hanging of the group's frontman, Ian Curtis, hit the music world so hard. Of course, the troubled but brilliant artist's painfully young age of 23 added plenty of poignancy to the tragedy, especially because Curtis often hinted at such a demise in both his life and work. Joy Division's surviving members formed New Order and achieved plenty of success all their own, but the former group would ultimately stand as one of the most influential acts of the era. Romanticized though it may have been, the death of Curtis was a major '80s music flashpoint.

5. Led Zeppelin Disbands After Drummer John Bonham Dies

Timing can be an extremely mysterious thing, and with each musical death 1980 became progressively cruel and merciless. Unlike its predecessors earlier in the year, the September 25 death of Led Zeppelin drummer John Bonham spelled the sudden end of one of rock music's most visible and beloved groups. The band did not formally announce its breakup until December, but it is a dissolution that has remained nearly constant for the last 30 years. If nothing else, Bonham's death officially patented a monster cliche that the typical "rock star" way to die involved overconsumption of alcohol and vomit-related asphyxiation. This Is Spinal Tap may have been produced without Bonham's death, but it may well have lost some of its resonance.

6. Henley Hits Bump in the Road of Life in the Fast Lane

By the end of the '70s one of that decade's biggest-selling bands, the Eagles, had reached a point of no return in terms of the group's ability to get along with each other and move forward artistically. Having written critical songs about the lure and damaging nature of life in the southern California spotlight, Henley may have set himself up for a stumble as the '70s age of excess melted into a new decade... of perhaps even more excess. That moment came on November 21, 1980, when Henley was arrested in his hotel room with various drugs and a 16-year-old prostitute who had apparently suffered a drug overdose. Whoops. Henley would soon release his solo debut, but not before some minor criminal charges stemming from this incident.

7. Darby Crashes & Burns, as Promised

By December 1980 rock music fans had probably had enough death. But this was to be the worst month of all, initially when legendary but completely underground punk singer Darby Crash committed suicide by heroin overdose on December 7. Mainstream news outlets probably wouldn't have covered this particular death anyway, although certainly some notoriety was bound to emerge from the suicide pact the Germs' Crash had made with a friend (who actually survived). The troubled singer had suggested this kind of flashy demise for himself many times before, but the fact that he made his pledges into reality at such a young age certainly lent the incident further tragic heft. A day later, however, the world's attention would be drastically diverted.

8. John Lennon Senselessly Murdered During Resurgence

1980 had been somewhat of a breakthrough year for ex-Beatle John Lennon's solo career, as Double Fantasy was released to great anticipation and eventual acclaim. But unfortunately most of its success came posthumously after unstable fan Mark David Chapman shot Lennon in the back multiple times as the latter made his way back to his apartment at the Dakota in New York City. In the years leading up to December 8, 1980, America had not necessarily exhibited a great degree of innocence, as a result perhaps of the ongoing fuel crisis and the uncertainty still swirling from the Iranian hostage crisis. But any remaining naivete in the country expired along with Lennon, whose assassination still hurts desperately three decades later.

Top Music Moments of 1981

noreply@blogger.com (ajibchelsea) — Wed, 18 Nov 2009 15:07:00 +0000

For some reason it always takes a year or two for a new decade to kick in musically, as vestiges of the previous decade cling for dear life before fading or morphing into something else. 1981, for example, maintained a bridge not only to the disco sounds of the late '70s but also some of music's biggest stars of the past. At the same time, the stage was clearly being set for a new era, to be dominated by heavy metal and the emerging music video. We didn't realize it then, but space was being cleared for future legends like U2 and Metallica to take the reins. In many ways, 1981 was truly the first year of the '80s.

1. Tough Month for Eric Clapton
""Album Cover Image Courtesy of Reprise
In the midst of his slow recovery from a series of addictions, legendary British guitarist Eric Clapton endured a lengthy brush with mortality starting in March with a hospitalization in Minnesota. Diagnosed with bleeding ulcers, Clapton was forced to cancel his American tour in support of Another Ticket, a record that represented Clapton's move toward more pop-oriented material. After more than a month-long recuperation, Clapton had healed up sufficiently to resume touring, only to appeal to the American health care system once again just days later following a car accident in Seattle. After that, one would presume, Clapton went back to England or at least got the hell out of the apparently hazardous U.S.

2. Eddie Van Halen & Valerie Bertinelli - Signature '80s Celeb Marriage
Although celebrity couples have always attracted plenty of attention for their novelty and glitz, the marriage of hard rock guitar wizard Eddie Van Halen to famed '70s actress Bertinelli was undoubtedly one of the most prominent such unions of the decade. For one thing, it lasted not only throughout the '80s but resulted in a son (Wolfgang, now Van Halen's bassist) and did not end officially until 2007, a rare celebrity example of a silver (if separated) wedding anniversary. Of course, since this April 1981 union, the proliferation of media through TV and now the Internet has made relationships like this seem a dime a dozen. But this is still an important, lasting instance of stars staying married for a good, long while.

3. The Tragic, Mysterious Death of Bob Marley
""Album Cover Image Courtesy of Island Def Jam
May 11, 1981 saw the death of reggae legend Bob Marley after a lengthy battle with relatively untreated cancer, but that was actually a footnote to the gripping yet murky reasons that some believe led to the tragedy. As a Rastafari leader, many within believed, Marley may have appeared as a target to anyone in opposition to the Afrocentric religious movement. Therefore, considerable mystery still surrounds the circumstances that actually caused Marley to be stricken with the cancer that ultimately killed him. Regardless, reggae music and its persistent following around the world owes almost everything to Marley's music as well as his status as a major cultural figure.

4. Changing of the Guard - Diana Ross Leaves Motown
""Album Cover Image Courtesy of Hip-O
Still a major star and massive draw on the pop charts, former Supreme Diana Ross demonstrated the shifting nature of the music business when she signed with RCA Records in May, leaving the legendary Motown Records label that helped make her a phenomenon. The $20 million terms of the contract made it the most lucrative in music history at the time, revealing the undeniable truth that compensation matters could break the deepest loyalties. On the heels of the tremendously popular "Endless Love," Ross did not sustain her chart presence for very much longer, producing only three more American Top 10 hits during the remainder of the decade and failing to return to that lofty position upon subsequent releases. Still, the deal created shock waves.

5. The Launch of MTV & the New Video Age
Before August 1, 1981 the music video may have existed in a cursory, usually concert-oriented form, but the visual role of music would never be the same once MTV began providing an exclusive outlet for interpretive clips. Arguably, the music video became an art form, although many of its trends and patterns could hardly be called artistic. Nonetheless, MTV's tiny cable TV operation demonstrated, against odds, that an audience for music videos both existed and could be grown consistently over time. Network and cable outlets copied the format to varying degrees of success, but the timeline of '80s music - from new wave to arena rock to hair metal and rap - would have likely been very different without the once-little cable network that could.

6. Simon & Garfunkel Reunion Concert Draws Massive NYC Crowd
""Album Cover Image Courtesy of Warner Bros./WEA
As much as the music world was changing in 1981, music lovers clearly demonstrated a solid allegiance to the music stars of old, responding with enthusiastic numbers to a free concert in Central Park by the temporarily reunited duo of Simon & Garfunkel. The September 19 concert drew half a million fans and extended its life into a popular video release and subsequent world tour. The renewed partnership would last only until 1983, but the music industry seemed to realize that the combination of vintage artists with emerging formats could turn into ratings gold. Later mass concerts like Live Aid and Farm Aid certainly fed off the free concert's success, setting the stage for music festivals as viable cash generators.

7. U2 Begins Its Mutual Love Affair with U.S. Audiences
""Album Cover Image Courtesy of Interscope
In 1981, the four members of U2 were barely out of their teens and remained a well-kept secret of the post-punk and college rock underground movements of the period. But with a 1981 slot on Tom Snyder's Tomorrow, the fledgling superstars enjoyed their first American TV appearance, an event that certainly accelerated the band's rise in what would become perhaps its most reliable geographic market. During the next few years, U2 would exert tremendous influence as under-the-radar purveyors of edgy, political rock anthems, but for some reason the group's blend of its Irish background with an affection for American music styles led to unexpected levels of success. 1987's The Joshua Tree would memorably become one of the decade's seminal albums.

8. Many Influential Heavy Metal Bands Form in 1981
Though they wouldn't make their maximum impact until several years later, several bands formed in 1981 that would go on to define hard rock for years to come. And generally I'm not talking about any of the pop metal bands that would dominate the latter '80s, which in most cases didn't qualify as heavy metal in the first place. Here's a pretty strong list for you: Anthrax, Loudness, Masters of Reality, Metallica, Motley Crue, Pantera, Queensryche, Slayer and Suicidal Tendencies. It may have taken a few years for most of these bands to make the climb of success, with the exception of Metallica and Motley Crue, who were instantly noticed. It was no coincidence that more than half of these groups were thrash bands, the "real" metal of the '80s.

What was the longest-running number one U.K. pop hit of the '80s?

noreply@blogger.com (ajibchelsea) — Wed, 18 Nov 2009 15:04:00 +0000

Question: What was the longest-running number one U.K. pop hit of the '80s?

Many pop music milestones of the '80s belong to major artists like Madonna and Michael Jackson. However, it may surprise some to learn the artist responsible for the decade's longest-running number one British pop song.

Answer: British dance-pop group Frankie Goes to Hollywood enjoyed some significant American pop success with the iconic "Relax," a tune that certainly remains its most well-known in the States. However, in the Liverpool band's homeland, "Relax" paled in chart success next to "Two Tribes," which holds the distinction of Britain's longest-running Number One hit of the '80s. Beyond its nine consecutive weeks at the top of the U.K. charts, the summer 1984 "Two Tribes" also provided its single predecessor with a second life as a major hit. At one point, in fact, "Two Tribes" and "Relax" held the top two spots on the U.K. chart simultaneously.

Top 10 ZZ Top Songs of the '80s

noreply@blogger.com (ajibchelsea) — Tue, 17 Nov 2009 16:20:00 +0000

Though there were certainly longtime ZZ Top fans puzzled and possibly enraged by the trio's increasingly electronic sound during the '80s, there can be no denying that the group's two smash albums during the decade made the band one of the era's most distinctive superstar ensembles. Ultimately, the "Little Ol' Band from Texas" stayed partially true to its straight-ahead blues-rock roots, but the group's increasing pop sensibilities proved lucrative. Here's a chronological look at some of the band's most memorable '80s songs, which helped launch the band to an entirely new pop culture level.

1. "I'm Bad, I'm Nationwide"

This is ZZ Top's latest track that serves as an obvious transitional point between the band's previously rugged, simple arrangements and its newly mechanized sound to come. It's true that the trio followed up 1979's Deguello with another record, El Loco, in 1981, and that "Cheap Sunglasses" from the former album is a more well-known track than this tune. Nonetheless, the overall sound of this song clings more intimately to the group's straight-blues past than anything that would follow. It's also a tasty blues jam filled with style and passion, the kind of music that would continue to inform ZZ Top's changing sound.

2. "Gimme All Your Lovin'"

Billy Gibbons took his masterful monster riffing into the new decade on this tune, the lead-off track from the trio's breakthrough 1983 album Eliminator. One of the reasons the song sounded fresh at the time was the jarring combination of big, tough guitars and synthesizers, a bold move that really set the group apart from both its hard-rocking peers and the pop establishment that ZZ Top would soon successfully raid. This track may have merely scraped the Top 40, but it set the stage for the band's brilliant crossover while staying true to its strengths: Gibbons' vocals, riffing and fine, bluesy lead playing.

3. "Sharp Dressed Man"

ZZ Top clung to its previous formula (which really wasn't a formula at all but more of a smartly conceived pop/rock aesthetic) for its next single, this firmly rocking track that helped cement the group's developing image. By now, the long beards, the sunglasses, the vintage car and the stylized pointing from the group members had become staples of ZZ Top. Luckily, these rather superficial elements never seemed to overshadow the music, which still shines through cleanly and simply as prime good-time rock and roll. Gibbons once again takes center stage on this one with his virtuosic riffing and tasty leads.

4. "Legs"

As the unexpected success of the Top 10 smash Eliminator carried over into 1984, ZZ Top was set to enjoy its biggest pop hit yet, again on the strength of a stylish, memorable music video and the band's propulsive, newly popular contemporary sound. Of course, these elements do seem extremely dated today, which is a key problem with listening to the track now: the use of synthesizers tends to overpower the organic nature of Gibbons' riff here and the trio's overall blues-rock sound. Nonetheless, the listener can still easily access Gibbons' smooth vocals and this No. 8 pop hit's fine melodic and lyrical hooks.

5. "Sleeping Bag"

At the start of this track, it's clear that ZZ Top got a taste of its '80s success and eagerly wished to keep going. The song's opening, after all, with its electronically produced sounds and almost dance-oriented beat, has basically nothing to do with the earthy sound that brought the band to prominence during the '70s. Nonetheless, when Gibbons' guitar blazes its trail and the rhythm section of Dusty Hill and Frank Beard kick in behind him, this music's status as dirty rock and roll somehow still seems convincing. Also, don't forget how much Gibbons' soulful vocals helped take this tune to another Top 10 showing.

6. "Stages"

Although this song embraces the mainstream '80s sound so much that it almost sounds like Bryan Adams, it qualifies as one of ZZ Top's sleeper classics of the era. That is to say, what we have here is very much a pop song, but since it's built on a great verse melody it turns into quite a decent listen. And for ZZ Top fans who need a bit more than pop accessibility, Gibbons once again delivers some tasty lead guitar that follows through on his typically precise sonic approach. This one didn't quite crack the Top 20 on the pop charts, but it probably should have as a top-tier example of mainstream pop/rock at the time.

7. "Rough Boy"

If ZZ Top was going to operate effectively during the '80s, the blues-rock trio was going to have to make some concessions to the time. Ultimately, Gibbons, Hill and Beard became quite flexible on that front, a move that earned them stratospheric success but perhaps seemed to compromise their status as genuine rockers. This slow-dance favorite from 1986, one of the several standout tracks on 1985's Afterburner, certainly fits into that willingness to adapt, but even better, its synthesized foundation coexists beautifully with some impressive, textured lead guitar from Gibbons that more than keeps things interesting.

Top 10 Van Halen Songs of the '80s

noreply@blogger.com (ajibchelsea) — Tue, 17 Nov 2009 16:14:00 +0000

Although Southern California's hard rock heroes Van Halen made quite a splash in the late '70s when the band debuted, the group certainly built its lasting legacy through its prolific work during the '80s. Even more remarkable is that Van Halen's plentiful accomplishments within the decade generated great success despite a highly publicized lead vocalist change. Here's a look at some of the band's best songs from both the David Lee Roth and Sammy Hagar eras.

1. "And the Cradle Will Rock"

Supported ably by a thumping rhythm section and guitar riff, this 1980 tune spotlights everything that was unique about Van Halen Mark I: Eddie Van Halen's imaginative riffing and electrifying solos and, of course, David Lee Roth's vampy, snarky vocal style. Roth has never been one of my favorite rock singers, but his delivery can never be accused of lacking personality. Ultimately, the most memorable part of the song revolves around its two central guitar solos, and at the core of those is a line from Roth that always brings a smile: "Have you seen Junior's grades?". Theatrical rock well executed.

2. "Everybody Wants Some"

Whatever one may say about Van Halen's limitations, it's difficult to question the band's ability to rock out not only with aggression and conviction but with a singular flair no one else has ever quite matched. Such is the case on this track, which skillfully plays Eddie Van Halen's guitar work against Roth's hammy, exotic style in the verses. And although that contrast of personalities made for a volatile situation for the band, as the story goes, it also resulted in a magic the band was never able to recapture during the Van Hagar years.

3. "Unchained"

There's nowhere to go but down from the introductory riff to this song, a sweeping, transcendent piece of work from Eddie Van Halen indeed. Nonetheless, the band does its best to construct a decent rock song around it, succeeding fairly well by bringing in its trademark harmony vocals during an interesting, syncopated bridge. It's never made a lot of sense to search for much lyrical depth in Van Halen tunes, and that rule holds true here as well. But for fans looking for aggressive, good-time rock and roll, rolling out this song is always mission accomplished.

4. "Secrets"

This is perhaps the band's most underrated gem, a sultry slow burn from 1982's rather disappointing collection of mostly head-scratching covers, Diver Down. Eddie Van Halen's intricate, almost gentle guitar work certainly stands as a highlight, but Roth's vocals demonstrate not only his singing ability and showmanship but his rather left-field stylistic influences that somehow work anyway. After all, Roth was always a spandex-clad lounge singer who seemed to like getting a cardio workout during his performances. What an odd, unique stew the band created from its maverick central creative duo.

5. "Hot for Teacher"

While there's not much that comes out of searching for links between Van Halen and punk rock, the speed and intensity of this song nonetheless have far more in common with that genre than much of the hair metal that followed in the wake of the blockbuster 1984 album. Of course, when you throw in the inherent theatricality of Roth and the rest of the band (I mean, no one held a gun to their heads and made them wear the orange suits with the white gloves in the video, right?), you realize pretty quickly we're dealing with a decadent L.A. hard rock band that still has no equal.

6. "I'll Wait"

Along with "Jump", which doesn't make this list simply because it doesn't need the publicity, this power ballad from 1984 helped introduce a synthesizer-heavy pop sound that would carry Van Halen through the mid-'80s. And while some fans objected to the new direction, it was probably inevitable that an artist as meticulous as Eddie Van Halen would have to evolve in some ways. As for the song itself, it proves that Eddie was as adept with keyboard riffs as guitar riffs, and the melodic sense exhibited here matches Roth's strengths while carving out an ever-expanding audience for the band's music.

7. "Good Enough"

Although many fans are venomously opposed to the band's second, arguably more successful era with Sammy Hagar at the helm, the fact is that 5150 stands up well to scrutiny as a very tight, varied album that measures up favorably with any album the band ever released. Well, maybe it's not strictly a fact, more like a controversial statement from yours truly. Nonetheless, this song kicks off the Van Hagar era with a bang, buoyed by Hagar's playful "Hello, baby" pronouncement. Even better, Eddie Van Halen's riffing and songwriting seem as good as ever here, helping the band to maintain its blistering form.

8. "Dreams"

Like it or not, as the '80s wore on, Eddie Van Halen began to reveal a growing affinity for the versatility of keyboards and a thirst for branching out musically. He combined these elements to become an ever more skillful purveyor of the power ballad, and this song may be Van Halen's most soaring, compelling moment in that department. Ready-made for uplifting sports montages, the tune begged the question of fans, whether or not they were able or willing to handle a Van Halen with pop sensibilities as strong if not stronger than its ass-kicking rock and roll tendencies of the past. So which side are you on?

9. "Best of Both Worlds"

Appropriately titled to match the ambitions of the new Van Halen, this rocker spotlights all the best tools at the band's disposal, featuring a classic Eddie Van Halen riff and some of the guitarist's most subtle, textured playing. It also boasts a great, arena-ready sing-along chorus, and though he can be as annoyingly blustery as Roth, two things that can't be questioned about Hagar are the strength and precision of his pipes. So even if this expanding pop sensibility never translated into another No. 1 hit for Van Halen, it's certainly possible it helped buy the band some additional years.

10. "Finish What Ya Started"

Maybe it's my teenage memory of the hot '80s chicks from the video, but I continue to have a bit of a soft spot for this interesting tune from 1988's OU812. Musically, the track certainly takes a cross-genre approach, maximizing the harmony vocals of Michael Anthony and Eddie Van Halen against a nearly Southwest-sounding guitar shuffle. In addition, Hagar delivers some of his most nuanced, soulful singing yet, and the result is an endlessly interesting if somewhat jarring departure from the power-chord rock fans had been accustomed to from Van Halen. Or, maybe it's just the hot gunslinging women after all.

Top 5 Cover Versions of '80s Songs

noreply@blogger.com (ajibchelsea) — Mon, 16 Nov 2009 13:47:00 +0000

80s music has long held a nostalgic appeal for those who came of age during the era, but in recent years new fans and up-and-coming artists are grasping that an appreciation of the period's pop music need not be an embarrassing enterprise. A cover can always serve as a demonstration of pop culture parody, but these particular versions generally focus on respect for quality material. Here's a look (in no particular order) at some of the best cover versions of '80s songs to be found on record.

1. The Butchies - "Your Love"

Lesbian queercore band the Butchies (which just so happens to hail from my home state of North Carolina, in an unsolicited and unrelated aside) take the Outfield's wonderfully catchy mainstream rock tune and give it an absolutely hypnotic sheen in this 2003 cover. In its original form, the song skillfully communicates romantic longing, but the Butchies' somewhat slowcore, acoustic take really ramps up the emotional immediacy. Lyrically, the song is lustful without ever crossing over to sleazy, and the Outfield's power pop style certainly helped provide a measure of class. However, this cover's gender-switch deconstruction of the tune makes the song feel even more tortured and moving.

2. Robert Forster - "Alone"

Most compositions from songwriters for hire such as Tom Kelly and Billy Steinberg lack the capacity to demonstrate much range in versatility, even when they're not recorded by mainstream pop artists. But this tune, originally recorded in a delightfully bombastic style by Heart back in 1987, holds up really well in this stark and quiet solo version from one-half of the creative core of Australia's Go-Betweens. The song's bridge - "Until now I always got by on my own, I never really cared until I met you..." - boasts melodic hooks strong enough to support a variety of performance styles. Even better, Forster provides an earnest if slightly ironic male perspective on music that had previously seemed suitable only for the talents of Ann Wilson.

3. Everything but the Girl - "Time After Time"

Sometimes the value and appeal of a cover has nothing to do with new approaches or divergent styles. On rare occasions a beautiful song that's perfectly lovely the first time around (Cyndi Lauper's original can hardly be improved upon, after all) shines just as brightly if not more resplendently in an interpretation that is quite reminiscent of the original. Perhaps the secret to this cover's success (to my ears, anyway) lies most in the vocals of Tracey Thorn, who pretty much makes me want to hear her take on practically any song I've ever enjoyed. But this British duo boasts an ethereal sound that has serious staying power, which might explain why I uncharacteristically dig even the electronica remix of "Missing."

4. Jonatha Brooke - "Eye in the Sky"

In the case of this stripped-down, emotive version of the Alan Parsons Project's 1982 hit, sometimes a great cover can newly reveal the brilliance of a song too long encased in precise production. Before I heard Brooke's stunning version of this song, I had indeed forgotten why the Eric Woolfson-sung original had climbed to No. 3 on the pop charts in the first place. I happen to enjoy Woolfson's vocal style quite a bit, but the strange thing is that I probably would never have realized that truth had Brooke not jarred me into reconsideration with her stark and soulful acoustic version from 2004. These two particular artists may not have a hell of a lot in common, but none of that matters when a song works this well in such disparate forms.

5. David Mead - "Human Nature"

Rarely do cover versions done purely for novelty reasons work in any but the most superficial ways, and that may be one reason I respond so strongly to singer-songwriter Mead's version of this Thriller-era Michael Jackson classic. Because he never seems to be performing this song for any other reason than to celebrate the quality of a timeless pop tune, Mead avoids the typical pitfall that has claimed so many other artists over the years: the clumsy but smug attempt to communicate self-aware coolness. Despite its status as a smash hit single back in 1983, "Human Nature" has always seemed to me one of Jackson's most underrated efforts from his peak era. Mead takes a shot at rectifying that here.

Top 10 Most Notable Band Splits of the '80s

noreply@blogger.com (ajibchelsea) — Sun, 15 Nov 2009 16:21:00 +0000

By Steve Peake, About.com

Whether they broke up as the result of artistic differences or were ripped apart by tragedy, many major and essential artists called it quits during the '80s, even if only for a while. Still, most reunions result in rather depressing shadows of former superstars, so in most cases the first break is the only one that really matters. Here's a look at some of the most notable band dissolutions that took place during the '80s and the particulars of each special case.

1. Led Zeppelin

Regular visitors to this site already know I'm not the world's biggest Led Zeppelin
fan. In fact, I'm frequently underwhelmed by the group even as everyone else kneels at the shrine. Still, it's impossible for me to ignore the significance of the band's unplanned dissolution in 1980 upon the alcohol-related death of drummer John Bonham. The remaining band members' unified decision to disband was undoubtedly the right one, even as other bands like the Who and AC/DC soldiered on after similar losses. After all, no rock drummer has ever brought the thunder quite as convincingly as Bonham, whose contributions were always a major element of the Led Zeppelin sound. Ongoing reunion or not, this band actually ceased to exist on September 25, 1980.

2. Minutemen

So now we go from one of the world's most overrated rock bands to one of its most underrated and criminally unknown. However, perhaps the only thing this eclectic punk rock band from San Pedro, California had in common with Led Zeppelin was that it also came to a sudden, irreversible halt after the accidental death of a member. 27-year-old lead singer, guitarist and primal force D. Boon was the victim of an auto accident at the close of 1985, ending a great American underground band just as it approached its artistic peak. Surviving members Mike Watt and George Hurley have never even attempted a reunion, in full realization that anything subsequent they accomplished musically could be great but would never again be the Minutemen.

3. The Jam

Luckily for the momentum and tone of this list, most '80s band splits didn't involve death, instead arising typically from band conflicts that grew into far more than mere competitive rivalries. Such was the case with one of Britain's greatest first-wave punk bands, the Jam, a group that distinguished itself through a mod fixation and the singular, eclectic talents of leader Paul Weller. Unfortunately for us, by 1982 Weller felt it was time to leave the group behind for different musical explorations, and it's not like bandmates Bruce Foxton and Rick Buckler could even dream of going on without him. The band's relatively brief existence belies its massive influence and staying power, whether Weller would now like to admit it or not.

4. The Police

The Police is the first band on our list that has mounted a full-scale reunion, and most of us thought that would happen about as soon as George W. Bush studies philosophy while waiting for the Shindig for Same-Sex Unions 2008 to start at the Republican National Convention. But I guess stranger things can always happen, a statement proven unequivocally when Sting rejoined Andy Summers and Stewart Copeland earlier this year for a lengthy North American tour that actually didn't blow up in anyone's face. Although the revered, beyond-new wave group never officially disbanded, Sting, like Weller, seemed to have moved on forever from his former band by the mid-'80s. But good things sometimes happen to those who wait a very long time, it seems.

5. The Eagles

For many fans, the phrase "when Hell freezes over" has come to describe not just any general unlikelihood but instead feels synonymous with the eventual reunion of '70s superstars the Eagles. Don Henley may not have invented this phrase, but he might as well have. Following 1979's release of The Long Run and its huge success, the group appeared to be headed for serious trouble, fighting constantly and even bickering onstage famously in 1980 while fulfilling contractual obligations for a live album. Like many superstars, the Eagles had many reasons to stay together, mostly green ones made of paper with presidents' faces printed on them. But they hated each other so much at the time that the inevitable payoff would have to wait 14 years.

6. The Clash

So far we've focused on bands that, by choice or not, made a relatively clean break when they dissolved and never looked back for many years, if ever. However, one of rock's most revered groups of all-time, England's first-wave punk, working-class heroes the Clash, actually staged a rather pathetic, cringe-inducing and lengthy collapse. Original drummer Topper Headon had already been ushered out by 1982 for persistent drug problems, and guitarist Mick Jones had also been dismissed by the fall of 1983. Even so, Joe Strummer and Paul Simonon tried to continue as the Clash for far too long, struggling, rather embarrassingly, all the way into 1986 before finally throwing their hands up. Somehow, the band avoided much damage to its legacy.

7. Husker Du

This legendary indie rock trio helped build the template for alternative rock of the '90s, but it's a wonder they stayed together for any time at all given the tremendous tension, both creative and personal, between leaders Bob Mould and Grant Hart. Warring parties within bands has become a total cliche over the years, but these guys really took the phenomenon into uncharted territory. Bassist Greg Norton must have the patience of Job to have been caught in the middle for nearly a decade of furor, but the music the three created together bristles with shattering immediacy even when Mould and Hart appeared to be pursuing solo careers within the band as the '80s came to a close. For now Hell remains safely toasty.

8. Bad Company

One of the most successful supergroups of the '70s (sometimes vilified as the cynical epitome of such unions), Bad Company may not seem like an obvious choice for this list. But the decision by drummer Simon Kirke and Mick Ralphs to continue as Bad Company after the departure of golden-voiced frontman Paul Rodgers stands, to me, as one of the most ill-advised, futile attempts to stave off retirement in rock history. Some of the songs the duo produced with Brian Howe at the helm are quite decent, but none bore a recognizable stamp as anything resembling the power and passionate intensity of Bad Company. I would ask why bands refuse to let go of a brand name when they truly should, but we all know a certain green entity always prevails.

9. Journey

To continue my meditation on a theme, Journey's work minus Steve Perry over the last decade has been a sad little chapter of rock history indeed. I can understand musicians wanting to continue doing what they do, but it's utterly and completely an indisputable fact that Journey was an insignificant, struggling American prog rock shambles before Perry's vocals and pop sensibility dramatically recharted the band's earlier course toward irrelevance. That's not to say the songwriting and musicianship of Jonathan Cain and Neal Schon had nothing to do with the band's success, but let's face it, Journey is a minor player without Perry's presence. Couldn't someone make a law that Perry-free tours must be termed the Band Formerly Known as Journey?

10. Blondie

Perhaps nothing is quicker or more efficient in ending a band's run at the top than the obvious emergence of one member as darling of the moment, especially when that moment becomes permanent. At her stylish prime, Deborah Harry looked and behaved like a fashion model with a nihilistic streak, so the fact that she would get major attention was no secret from the start, I'm certain. Still, Chris Stein and the rest of the band surely heard more times than they wish to acknowledge some fan or another spreading the rumor that Blondie was secretly dating Lynyrd Skynyrd. What a cute couple! In essence, a very solid proto-new wave band with enough toughness to earn the occasional label as punk rock was doomed from the start to a brief shelf life.

Top 10 '80s Songs of Self-Pity & Self-Absorption

noreply@blogger.com (ajibchelsea) — Sun, 15 Nov 2009 16:19:00 +0000

Just like John Cusack might tell you, pop music has always been one of life's greatest excuses to retreat into the deepest recesses of one's self. Whether for the purpose of wringing every possible bit of drama out of a failed love affair or inflating our problems beyond any resemblance to reality, self-absorption through music has a long and storied history. So let's lock ourselves into our figurative rooms and indulge the spoiled brat lacking all perspective in all of us.

1. Moving Pictures - "What About Me"

Starting with its perfectly straightforward and universal title, this tune strikes a chord of lyrical bombast that perfectly matches the overwhelming emotions we feel when we lose perspective on our own situations. The one shining moment of this Australian band's brief career, "What About Me" is chock full of memorable lines, ranging from the catchy and highly identifiable chorus to the song's eventual move toward gaining some perspective. A haunting ballad nonetheless.

2. Gino Vannelli - "Living Inside Myself"

This song is such a fist-clencher that it can really only be done justice by a singer with four hands. Equating the loss of love with a personal prison created by himself, Vannelli has fashioned a portrait that is at once familiar and pretty laughable if observed from a distance. But if you allow yourself to step inside that world, you can easily become drenched by an existential flood of self-doubt and desperate confusion. And you know how quickly laughter can dissolve into tears.

3. The Police - "Can't Stand Losing You"
Album Cover Image Courtesy of A&M Records
Aside from being one of the Police's most criminally underrated singles, this song perfectly encapsulates a rather extreme fantasy that most of us have probably had at one time or another. You know the one, when you approach your beloved in public so the world can see you off yourself on account of the hurt and rejection he or she has caused you. Oh, it's just me? Oh well, anyway, the staccato lurch of this song is a perfect mode of presentation for the lyric, "You'll be sorry when I'm dead, and all this guilt will be on your head."

4. Rod Stewart - "Some Guys Have All the Luck"

Buoyed by a simple melody that is nothing short of sublime, this Rod Stewart '80s pop classic perfectly captures the "woe-is-me" philosophy when it comes to matters of the heart. "Alone in a crowd," after all, never feels quite as lonely as when heartache has set in and every couple somehow seems like the most blissfully happy romantic pair on the face of the earth. Stewart takes the mundane happenings of every day and imbues them with an intense longing that comes only from internal sources.

5. The Smiths - "Heaven Knows I'm Miserable Now"

Perhaps no '80s band fit better with a locked-in-your-room angsty aesthetic than the Smiths, but lead singer Morrissey and his plaintive moan puts things over the top with his delivery that threatens to wrap the listener in a smothering blanket of internalized agony. Throw on top of that slacker lyrics like "I was looking for a job and then I found a job, and heaven knows I'm miserable now," and you have an eye-roll-inducing but simultaneously affecting portrait of enabled despair.

6. Violent Femmes - "Kiss Off"

Leave it to the jittery, frenetic brilliance of Violent Femmes, alternative music's one-of-a-kind trailblazers, to inject something particularly dangerous into self-involved wallowing. With its usual blend of paranoia and bottled-up anger, the band hurtles toward a crescendo that mirrors the downward spiral of someone who not only threatens suicide but is damn ready to follow through. The classic countdown manages to make Gordon Gano's plight seem far worse than anyone else's. "Everything, everything!"

7. Husker Du - "Too Far Down"

More of a Bob Mould solo acoustic offering than a full band track, this tune nonetheless packs a powerful emotional punch. Lyrically, it's probably the most eloquent treatise on suicidal despair in the annals of rock history. Granted, there may not be too many such musical documents, but consider these lines: "When I sit and think I wish that I just could die, or let someone else be happy by setting my own self free." Only a deep, dark retreat into the self can result in that perspective.

8. The Call - "I Don't Wanna"

Now don't get me wrong, I'm a big fan of Michael Been and the one-of-a-kind anthemic rock he made with his band. But I must say I have never seen a more extreme use of the first-person singular in a piece of music than we get in this tune. Lyrically composed of a lengthy series of declarative sentences regarding how the singer feels, what he wants and doesn't want, and what he's simply not willing to do, this rousing song is a celebration of the self even Walt Whitman might think is excessive.

9. Glass Tiger - "Don't Forget Me When I'm Gone"

In the span of the first verse of this Canadian band's gem of a pop song, the mood goes from devotion to simpering insolence, and that kind of bipolar swing is what self-absorption is all about. The singer essentially reports, to borrow from an old standard, that "nobody knows the troubles I've seen," and then he complains that not only does he wake up and his beloved isn't there but that she also doesn't care. The rhyme is free, but tears are not included.

10. Culture Club - "Do You Really Want to Hurt Me?"

Boy George delivers an unforgettable pitiful puppy plea in this well-known '80s hit. Ultimately, the song drowns in teenage girl diary sentiment, but somehow, in the context of this piece of music, that's not even an insult. The dime store poetry actually works. Exhibit A: "In my heart the fire's burning, Choose my colour, Find a star." Exhibit B: "Wrapped in sorrow, Words are token, Come inside and catch my tears." The verdict? Guilty of self-involved brilliance, Your Honor.

Top Melodic Pop Songs from '80s College Rock Artists

noreply@blogger.com (ajibchelsea) — Sun, 15 Nov 2009 16:15:00 +0000

If the mainstream pop charts during the '80s had paid a bit more attention to the activity from artists deemed college rock, post-punk or alternative acts, they might have boasted a few more eventual classics instead of quite so many calculated but forgettable hits. When it comes to melodic, usually guitar-based rock of the era, these genres feature nothing less than a multitude of worthy offerings. Here's a look at some of the finest pop songs of early alternative.

1. Echo & the Bunnymen - "Bring on the Dancing Horses"

One of alternative rock's finest British prototypes of the early '80s, this legendary post-punk band benefits highly from the rich, textured vocals of frontman Ian McCulloch. However, the group also managed to compose songs that not only sported a haunting, semi-Gothic quality revered within the genre but also produced direct, achingly melodic pop songs. "Shiver and say the words of every lie you heard" follows the tune's strong chorus and somehow pulls off the feat of taking an already nuanced single to an even higher level. As one of the best songs of 1985 that you never heard on American Top 40 radio, this track showcases Echo & the Bunnymen's knack for covering large amounts of musical ground within the context of a simple pop song.

2. Husker Du - "Sorry Somehow"

Though these foremost underground rock heroes of Minneapolis drew the ire of some by signing a major-label record deal before the 1986 release of Candy Apple Grey, the album contains an impressive amount of thoroughly engrossing music. Along with "Don't Want to Know If You Are Lonely," this Grant Hart-penned track communicates maximum passion and reminds us just how talented the group's drummer was even if he was frequently overshadowed by bandmate Bob Mould. No matter which creative leader took songwriting and vocal duties, Husker Du always delivered smart, penetrating guitar pop that could not be obscured by Mould's buzz-saw guitar attacl. I wonder if the band might not have preserved its mystique had this tune reached a wider audience.

3. The Jesus & Mary Chain - "April Skies"

Another U.K. band that took time for American audiences to embrace, Scots alternative rockers the Jesus & Mary Chain broke new ground with their innovative guitar pop. Capable of rocking out in jagged, unpredictable fashion, the group nonetheless based its output on straightforward songwriting always built on solid, accessible melodies. Brothers Jim and William Reid did not gain widespread attention stateside for their band's efforts until the late '80s and early '90s, when alternative music reached vogue. But this 1987 track from Darklands skillfully blends a dark, brooding vocal approach with the band's signature guitar tapestry of taste and intricacy. Mainstream pop radio didn't know what it was missing by ignoring this one.

4. The Replacements - "Little Mascara"

Listening to this song for about the millionth time, my primary impulse is to thank the heavens or whatever forces may be responsible for providing us with the combination of Bob Stinson's breakneck, dangling-from-the-ledge guitar sound with the consummate pop music mastery of Paul Westerberg. This brilliant track from one of the Minneapolis quartet's seminal mid-'80s releases, 1985's Tim, sounds consistently as if it's preparing to jump the rails at any moment. But somehow Westerberg's immense gift for melody miraculously averts disaster, ultimately making for one of the most enjoyable pop music rollercoasters you'll ever have the thrill of riding. "All you ever wanted was someone to take care of ya." Indeed.

5. The Lightning Seeds - "Pure"
Album Cover Image Courtesy of Epic
Perhaps no modern rock song of the late '80s is more innocently pleasing to the ears than this delectable 1989 track from British singer-songwriter Ian Broudie's wonderfully named group. Pop music during the '80s - particularly of the guitar-based and rocking varieties - may not have seemed as varied and fruitful as it was, probably because mainstream radio rarely recognized its impressive expanse. But this tune sparkles with a confident Beatlesque sheen that's laced also with alternative rock's signature ironic detachment. Built on a lovely, repeated synth riff instead of the electric guitar base featured on most of the songs on this list, "Pure" nonetheless lives up to its title in its grasp and enthusiastic embrace of pop melody.

Top Songs from MTV's First Day of Music Video Broadcasting

noreply@blogger.com (ajibchelsea) — Sun, 15 Nov 2009 15:32:00 +0000

By Steve Peake, About.com

Almost everyone remembers that the Buggles' "Video Killed the Radio Star" was the inaugural music video shown on MTV at its August 1, 1981 launch. Many also know that Pat Benatar's "You Better Run," a cover version of a Rascals classic, was next on the playlist. But what about the remaining several dozen tunes that made up the fledgling network's first day of programming? Here's a look at some of the best songs if not necessarily the most groundbreaking video clips from that landmark day in TV history.

1. Rod Stewart - "She Won't Dance With Me"

Many distinctions mark this unheralded Rod Stewart tune as a worthy selection for this list, not the least of which is its apparent uncensored use of the "F" word. Oh, for the maverick days of MTV, when so few watchdogs, advertisers and industry heavies were paying attention that "anything goes" genuinely served as the network's mantra. Beyond that superficial detail, however, the tune's selection as just the third to have its music video shown on MTV on August 1, 1981 reminds us clearly of Stewart's past as a full-tilt rocker with the Faces. The clip may reveal conscious fashion conformity to the emerging new wave era (check out the guitarist's suit and skinny tie, but let's not even talk about Rod's jumpsuit), it's vintage retro Stewart.
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2. The Who - "You Better You Bet"

It may seem blasphemous to classic rock junkies for me to say this, but this 1981 post-Keith Moon nugget from one of rock's most legendary bands stands as one of my all-time favorites. After all, it features typically dense, literate lyrics from guitarist Pete Townshend, but where that's always been commonplace for the Who, the energy of this new wave-tinged track rises to a particularly giddy level. The video itself, like many of the early-'80s music video prototypes, presents nothing special beyond basic performance, even if it features a minor black-and-white novelty. The real attraction never wavers from the music, and this fourth-ever video shown on MTV continued to reinforce the network's early, almost exclusive focus on rock music.

3. Cliff Richard - "We Don't Talk Anymore"

If nothing else, MTV's scrambling efforts to find video clips to feature on its 24/7 programming probably gave Generation X-ers their only excuse to know who the hell Cliff Richard is. Famous in his native England as a '50s and '60s teen idol, Richard experienced a mild revival during the late '70s that helped him cash in on the era's distinctive blend of synthesizer and guitar foundations. This 1979 track would be a lost classic without the primitive video that overdoes smoke machine effects and Richard's curious choice of a fitted grey tee-shirt with colorful collar. So the most important contribution of this tune rightfully remains its distinctive melody, convincing performance from Richard, and its savvy ability to bridge pop/rock eras.

4. Robin Lane & the Chartbusters - "When Things Go Wrong"

This song offers jangly rock guitar nirvana through its tight performance and arrangement, but it also represents one of music video's earliest attempts at a conceptual narrative piece. The setting of a gothic castle combined with throwback lighting and dulled color goes perfectly with the track's lovelorn lyrical subject matter, and Lane should have been a female vocalist of great acclaim and demand based on this effort alone. The seaside locale certainly feels appropriately mysterious even if it sometimes flirts with the nonsensical. But doesn't that pretty much make it groundbreaking in terms of the state of music video to come? Take or leave the video, as far as I'm concerned, but don't discount the masterpiece of the song.

5. Juice Newton - "Angel of the Morning"

I must say that when I think of this tune these days, I immediately imagine a half-dressed Emily Blunt descending the stairs during a memorable scene of the Tom Hanks-Philip Seymour Hoffman acting showcase Charlie Wilson's War. But I suppose I digress. This delightful country-pop crossover hit packs a lot of punch for a soft rock song as commercially viable as it is, and even if the video takes a fairly generic performance-based approach, Newton's bangs and flowing auburn tresses certainly do a fine job of recalling the early-'80s in all its evolving but still '70s-tinged glory. In addition, the interspersed somber bedroom scenes foreshadow the dramatic narrative style of the music video form at its mid-'80s peak.

Top 8 Def Leppard Songs of the '80s

noreply@blogger.com (ajibchelsea) — Sat, 14 Nov 2009 16:23:00 +0000

By Steve Peake, About.com

While the surviving members of Def Leppard have continued into the new millennium as hard rock survivors, their greatest legacy will always be the band's tuneful, fully relevant pop metal of the '80s. This is a fine mainstream arena rock band, whose best songs persist in the hearts and minds of music fans ultimately because they are well-crafted and deftly orchestrated. That's why the tunes below should continue to please old fans and attract new ones for many years to come.

1. "Let It Go"

his underrated rocker marks the transitional point between Def Leppard the full-tilt hard rock band and the latter-day pop metal outfit to come. Sure, there's plenty of melodic sense in this tune, but more than anything else this is a scorching rock song, built upon a muscular, nimble riff and supported well by forceful, metallic solos. Joe Elliott's voice is at its screechy best here, opening up doors (for better and worse) for much of the hair metal to follow later in the decade. And, of course, there's not much substance here, but as straight-ahead rock tunes go, this one's well worth remembering.

2. "Bringin' on the Heartbreak"

It's no shock to learn that 1981's High 'N Dry was Def Leppard's first album produced by Robert John "Mutt" Lange, the architect of the band's late-'80s mainstream superstardom. This track establishes the highly melodic formula that would carry the band to the top but also spotlights some raw, old-school rock guitar that links with Def Leppard's glam and metal origins. The twin-guitar opening sets the stage perfectly and then bleeds into the haunting arpeggio of the verse, leaving lots of room for Elliott's signature, passionate vocal style. This is the band's first great tune and possibly one of its best all-time.

3. "Photograph"

Although it's been played nearly to its saturation point, this catchy rocker stands as both an early prototype of '80s pop metal and the form's possible pinnacle. Bands attempting to follow in the path cleared by Def Leppard must have bristled daily at just how impossible it would always be to match this song's central guitar riff, energetic urgency and pure pop hooks. And though some may scoff at what I'm about to say, the band projected through this tune a significant amount of intelligence, little seen before or after in hard rock, that was exemplified by this thoughtful, conceptual take on romantic fantasy.

4. "Too Late for Love"

This one's my personal favorite, but I would also argue, in an empirical sense, that this tune offers up in layers the best elements of Def Leppard's sweeping and melodic yet forceful sound. The band has always had a knack for terrific openings, and the slow-burn guitars that lead into the verses here create a mysterious, moody and even slightly menacing atmosphere. Elliott's whispery vocals turn appropriately into a throaty scream during the chorus, and the twin-guitar attack of Phil Collen and the late Steve Clark always sounds distinct yet thoroughly accessible.

5. "Foolin'"

I suffer from a love-hate relationship with this tune, also from 1983's smash Pyromania album. I've always loved the arpeggiated, textured acoustic guitar opening as it melts into Elliott's mournful musings on "Lady Luck" and such. I really love the bridge that brings in pounding guitars, harmonies and Rick Allen's big, big drums. However, I quite detest the song's overly simplistic chorus, which to me represents the often-present negative side of the coin, on which the band rolls out dumbed-down arena rock posturing. Still, as a total package, this clearly comes through as one of the band's finest '80s offerings.

6. "Animal"

Though it took four years and some significant personnel roadblocks, Def Leppard returned to the top of the charts and exceeded its previous success with 1987's Hysteria. Certainly, much of that success was owed to the tuneful brilliance exhibited on this mid-tempo tune, even if the band did sound a bit mechanical and particularly overproduced this time around. Collen and Clark still sound great, after all, and the songwriting, while by no means unpredictable, carefully and precisely weaves gentle verses into the anticipated chorus payoffs.

7. "Love Bites"

Computerized flourishes notwithstanding, Elliott & Co. succeeded here in crafting one of the decade's most perfectly haunting power ballads. Even if you're not inclined toward mullet rock in any shape or form, I find it difficult to believe you don't buy in when the slow verses explode into yet another sterling bridge. The chorus, for me, may be a bit of a letdown, but that doesn't take away from the song's ability to encapsulate with surgical precision the emotional helplessness of infatuation. Lange should have probably steered the boys away from the "Mr. Roboto" blips and bleeps, but this is still great stuff.

8. "Hysteria"

Even if the band's blockbuster album of the same name may have been its most homogenous effort (I always used to get this track mixed up with "Animal," maybe because of the somewhat plodding beats in each tune), the craftsmanship of the band remains thoroughly intact here. I don't know if it can often be said with a straight face that many pop metal bands have the capacity to be consistently evocative, but Def Leppard's substantial skills have always accomplished that feat. It's possible, in fact, that the Sheffield band was the first, last and only great pop metal band of the era.

Top 10 Arena Rock Artists of the '80s

noreply@blogger.com (ajibchelsea) — Sat, 14 Nov 2009 16:17:00 +0000

By Steve Peake, About.com

Because the genre occupied such a significant space within the fabric of '80s music, arena rock artists tend to pop up quickly in a discussion of the era's pop music offerings. This kind of straightforward, mainstream rock music - even sometimes disdainfully referred to as middle-of-the-road (MOR) rock - has gone by other names, of course: stadium rock, album rock, even the painfully broad, generic moniker pop/rock. But the bottom line is that this was music blessed with maximum appeal across the record-buying, concert-going age demographic of 15 to 50. Here's a list of the genre's most essential artists.

1. Journey

There's certainly an argument to be had here about whether or not this Bay Area progressive rock band-turned arena rock/soft rock purveyors of the power ballad should own the top spot on this list. But there is little doubt that this group stands as the genre's most quintessential artist of the first half of the '80s, arena rock's peak period. Fusing the powerhouse guitar work of Neal Schon with Jonathan Cain's sensitive keyboard melodicism was magical enough, but with Steve Perry as pipes-working-overtime lead vocalist, the Journey formula struck gold in a myriad of ways music fans are still trying to understand today. This is bombastic, heartfelt power rock that both defined its era and holds up surprisingly well almost 30 years later.

2. Foreigner

Having already established itself as one of the leading bands of album-oriented rock (AOR) radio during the late '70s, Foreigner transformed itself from an outfit that erred on the side of rocking guitar anthems in its early days to one specializing in keyboard-driven, somewhat neutered pop ballads as the years wore on. This isn't necessarily a criticism, as "I Want to Know It Love Is" still epitomizes pop songcraft perfection despite its notable lack of guitar punch. Like Journey, Foreigner appealed to the universality of the power ballad instead of trying to merely maintain a modest fan base of dudes partial to rock guitars. The best arena rock bands learned quickly that attracting women to their shows was the key to true superstardom.

3. REO Speedwagon

Another hard-working bar band that sunk its hooks into the masses of Middle America, REO Speedwagon likewise entered the '80s not quite satisfied with a successful but so far unremarkable career as just another hard rock band. So frontman Kevin Cronin and bandmates streamlined and refocused to downplay the improvisational blue-collar style of the past in favor of hooks and more hooks. "Keep on Loving You" remains one of arena rock's most perfect singles, successfully blending a world-class guitarist (in Gary Richrath) with Cronin's increasing propensity to croon love songs of great mainstream appeal. The salad days wouldn't go on forever, but while the good times lasted REO competed nobly for the title of America's most popular band.

4. Loverboy

Unlike many of its more experienced contemporaries, Canada's Loverboy simply didn't know any better than to try and pursue simultaneous success in the typically oppositional worlds of hard rock, pop and the emerging sound of new wave. Few other bands tried this impressive stunt, much less accomplished it, but for the first few years of the '80s Loverboy reigned supreme as the arena rock band consistently casting the widest net into the raging waters of the music business. A fierce guitar-keyboard attack played a major role in Loverboy's best tunes, but frontman Mike Reno and company also understood with uncanny precision that power ballads could not only be the key to a young girl's heart but also a season pass into her boyfriend's wallet.

5. Heart

Although it took a glossy metamorphosis of this band's harder-edged '70s sound to achieve '80s superstardom, Heart undoubtedly became one of arena rock's core artists of the era on the strength of an amped up pop sensibility. Sisters Ann and Nancy Wilson surrendered some of the songwriting and guitar-centered aspects of the group they built from scratch, but songs like "Never" and "What About Love?" epitomized this popular style and lent it much of its shape. Ann Wilson was, is and perhaps will forever be one of pop/rock's most powerhouse vocalists and, along with her guitarist sister, helped make a significant dent in the male gender's general dominion over arena rock and its other forms of accessible hard rock derivatives.

6. Def Leppard

One of pop metal's most significant originators, England's throwback hard rock quartet Def Leppard did more to enhance the quality of arena rock than it ever did to promote hair metal. And that's why the massive success of this band and its glossy evolution during the '80s somehow falls short of crass commercialism. Classic tunes like "Photograph" and "Animal" had an uncanny ability to cast a long musical shadow, and that's at least as much thanks to solid songcraft as it's ever been to Mutt Lange's domineering if highly efficient production. And as far as power ballads go, find me a song that boasts a level of formulaic yet joyful perfection anywhere close to 1988's "Love Bites."

7. Pat Benatar

'80s hard rock and arena rock most certainly exhibited a rather typical male domination, but the decade also featured its fair share of heavy-hitting female rockers. Joan Jett, Chrissie Hynde and Patty Smyth may not quite make the cut for this particular list, but that's only because Pat Benatar unleashed such an impressive stream of driving stadium rock specimens. "Treat Me Right," "Heartbreaker" and "Hit Me With Your Best Shot" practically invented the sound of arena rock: muscular riffs, sparkling melodies and kick-ass vocals. Most successful arena rock artists found a way to overlap into as many pop/rock genres as possible, for obvious commercial reasons. But Benatar never seemed to be faking it with her sensitive but tough persona.

8. .38 Special

Though .38 Special initially carried on the boogie/Southern rock tradition so memorably set during the '70s by Lynyrd Skynyrd, the rise of Don Barnes as the former's pop-friendly frontman transformed the group into something surprisingly satisfying. Stripped of much of its down-home regional charm, the band actually found itself solidly occupying a melodic guitar rock niche that desperately needed to be filled. Purists may complain that the very clean '80s sound of .38 Special amounted to a commercial capitulation, but I've always felt songs like "If I'd Been the One" and "Like No Other Night" play to not only Barnes' strengths as a vocalist but also the group's accessible but intense twin guitar attack.

9. Night Ranger

Starting off as one of arena's rock's most metallic hard rock combos on the strength of guitars from Brad Gillis and Jeff Watson, Night Ranger produced some of the strongest songwriting of the era as well. Adept at both mid-tempo rockers and power ballads, bassist Jack Blades and drummer Kelly Keagy tended to take the lead in terms of vocals and composing, and this combination proved to find much favor commercially if not critically. "When You Close Your Eyes" and "Goodbye" still work efficiently as powerhouse tunes, even if the band's reputation has never recovered from a widespread estimation of softness. The best arena rock artists demonstrate a refusal to trade in simple rock and roll for cooler trends. Night Ranger: Guilty as charged.

10. Survivor

When it comes to bombast - one of the key aspects of arena rock's core essence - it doesn't get much more blatant than the aptly named Survivor. And while normally that would be an adjective followed by negative commentary, in this case the very nature of that excess is what makes this band so irresistible. Sly Stallone knew what he was doing in selecting Survivor to provide theme songs for his '80s Rocky sequels, but highly listenable tracks like "I Can't Hold Back" and "High on You" prove that this is a band capable of shining in other arenas besides the movie soundtrack. Lead singers Dave Bickler and then Jimi Jamison displayed the soaring, clear tenor that defined arena rock, and they always conveyed genuine fist-pumping passion.

Top 10 Canadian Artists of the '80s

noreply@blogger.com (ajibchelsea) — Sat, 14 Nov 2009 11:57:00 +0000

By Steve Peake, About.com

Our neighbor to the north has always produced an impressive array of entertainers, from movies to TV and, of course, music. The '80s were a particularly kind decade to Canadian artists, as the U.S. mainstream rock and pop charts often left plenty of room for them spread out and get comfortable.

1. Bryan Adams

Regardless of the derision that has sometimes been leveled at him, Bryan Adams is simply the best mainstream rocker of the '80s hailing from north of the border. And don't crinkle your nose, either. His output, particularly over the course of hit albums Cuts Like a Knife and Reckless, is eminently listenable and full of hooks, and it even rocks pretty hard on occasion. And the best part is Adams' biggest hits are not even always his best, as prime album tracks such as "Lonely Nights" and "The Only One" await the patient listener.

2. Loverboy

No Canadian band took the '80s marriage of pop and hard rock to greater heights than this Toronto quartet. While "Working for the Weekend" tends to get the most attention, Loverboy was undoubtedly most adept with the power ballad, including classics like "When It's Over" and "This Could Be the Night". Ultimately, when the hits dried up in the latter part of the decade, Mike Reno & Co. had a lot to show from their catalogue, headbands and spandex be damned.

3. Corey Hart

This Montreal native was one of the few shining lights for male pop singers in the '80s, a solid singer, songwriter and performer blessed with good looks and a mastery of pop hooks. Most people don't know he continued to release some pretty decent music late in the decade and into the '90s, remembering instead his great '80s singles like "Never Surrender", "Sunglasses at Night", and "It Ain't Enough". Those three tunes are better than many careers, so Hart hasn't done too shabbily indeed.

4. Triumph

Though often compared unfavorably to the similar-sounding but better-known power trio Rush, Triumph is actually far more a product of the '80s than their more expansive and prolific forebears. And while Triumph released several albums in the '70s, it was not until their second decade that the band forged its effective stew of power guitars and melodic keyboards. Tunes like "Fight the Good Fight", "A World of Fantasy", and "Somebody's Out There" perfectly embody the band's signature sound.

5. Glass Tiger

Utterly perplexing moniker notwithstanding, this band enjoyed a short-lived but impressive heyday in 1986 with the release of two bona fide '80s classic singles, "Don't Forget Me (When I'm Gone)" and "Someday". And while the band will never be mistaken for a major artist in any decade, these two songs remain respectable and highly listenable relics of a time when fragile wildcats held sway on the earth. Or something like that, anyway.

6. The Kings

Speaking of Canadian relics that could never quite break through in the States, I must shamefully admit that I only recently discovered this power pop/new wave gem of a band. I deeply regret what I missed all those years because the band's dual centerpiece "This Beat Goes On"/"Switchin' to Glide" is simply one of the best things the decade had to offer in any music genre. Beyond that, I think "Don't Let Me Know" is even better. This is great party music and a delightful find in any era.

7. The Pursuit of Happiness

Down this far on the list, we're getting into one-hit wonder territory, I suppose, but that doesn't mean the music is not well worth seeking out. This quirky, harder-rocking predecessor of Barenaked Ladies released one great tune, "I'm an Adult Now," in 1986 that injected a much-needed sense of humor into '80s pop/rock. It's wry, a little goofy and undeniably Canadian in the best sense of the adjective.

8. Honeymoon Suite

When a song occupies an organic space in your brain and you can call up the chorus instantly without knowing the band's name or having heard the song in years, it's safe to say you're in the presence of some kind of greatness. That's the case with me and this Niagara Falls band's best song, "Feel It Again". The band's rather unfortunate name doesn't detract from this tune's perfect marriage of keyboards, romantic verses and a powerhouse chorus. It's '80s nirvana, pure and simple.

9. Aldo Nova

Montreal guitar wizard Aldo Nova certainly bestowed his finest pop music upon us with the sublime '80s snapshot "Fantasy", but he really offered a significant output full of guitar-based, hook-filled rock. An originator of the decade's pop metal sound (for better or worse), this artist pumped out solid straight-ahead rock

10. Saga

Another progressive rock band that made the most out of the emerging '80s sensibility, the bombastically named Saga had a sound to match, reaching its commercial and artistic peak with the thoroughly enjoyable single "On the Loose". If overwrought vocal delivery and keyboard excess can be considered good things, then this band was pretty good at deciding on its strengths. For the record, I think these things can be quite good indeed.

Top 10 Irish, Scottish & Welsh Artists of the '80s

noreply@blogger.com (ajibchelsea) — Sat, 14 Nov 2009 11:53:00 +0000

While the British Isles have always produced a bevy of musical artists since the advent of modern pop and rock music, most of the time the world audience has focused quite heavily on England, sometimes completely ignoring all the great rock and pop music that has come out of Ireland, Scotland and Wales. I seek to remedy any such past omissions here, as I attempt to spotlight the top 10 '80s artists from these three countries. See if you agree that they deserve their own category.

1. U2

Well, we have to start here, don't we? Besides being the most famous and influential Irish rock band in history, it's arguable that this quartet from Dublin could also hold that title in a more broad, completist sense. Starting off in the wake of punk rock, U2 became a fixture on the post-punk and college rock scenes both in the British Isles and across the Pond. Its jangly, energized and politicized rock made an immediate impact, but the band evolved by 1987 into a world-class pop/rock band.
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2. Annie Lennox of the Eurythmics

Before stepping out into a successful solo career, Scottish chanteuse Annie Lennox found massive success in the synth pop group Eurythmics she formed with Dave Stewart in 1980. Using Lennox's powerful, commanding vocals as a foundation and her notably androgynous image as a quirky path to distinction, the group forged major hits on both sides of the Atlantic with such '80s staples as "Here Comes the Rain Again" and "Would I Lie to You?". As always, Lennox was front and center.

3. Mark Knopfler of Dire Straits

Best-known as leader of the eclectic British roots rock band Dire Straits, which itself is probably most remembered for its MTV-friendly video and song "Money for Nothing", Scotsman Mark Knopfler worked during the '80s and throughout his career quite often as a solo artist as well. And while the band's commercial peak pretty much began and ended with the aforementioned single and its top-selling album Brothers in Arms, Knopfler himself was always busy with film soundtracks or side projects.

4. The Jesus & Mary Chain

These college rock darlings, like Knopfler, hailed from Glasgow, but those Scottish roots are about the only thing the two artists share. The band, led by brothers Jim and William Reid, helped lay a solid foundation for the explosion of modern/alternative rock in the late '80s and into the '90s. Musically, the group indulged quite an experimental side, showing a penchant for thrusting together melodic pop and wall-of-noise aggression to see what results. The combination was often enlightening, especially on standout tracks "Just Like Honey" and "April Skies".

5. Bonnie Tyler

I don't want the Welsh to develop a complex or anything, so it's a good time to give due time for this raspy-voiced songstress responsible for one of the foremost '80s epics in "Total Eclipse of the Heart". Tyler found a great match for her big vocal sound when she paired up with former Meat Loaf collaborator Jim Steinman, and although this song undoubtedly stands as her crowning achievement, "Holding Out for a Hero" remains a worthy nugget of '80s bombast as well.

6. Simple Minds

It may be frustrating at times for lead singer Jim Kerr and the rest of this still-active Scottish band that they are remembered almost exclusively in the States for "Don't You (Forget About Me)", the tuneful, bombastic theme from the classic American teen film The Breakfast Club. Or maybe not, as that one great tune has certainly brought positive things for the band. Still, it's a shame that not as many people know about the band's punk origins and continuing exploration of eclectic pop.

7. Sheena Easton

I waited as long as I could, but you couldn't doubt Sheena Easton would make this list. After all, my philosophy is to maximize opportunities for Sheena content. The photogenic Scottish singer and actress made frequent appearances onscreen during the '80s, for obvious physical reasons. Even so, she revealed a versatility that took her from country-tinged pop on "Morning Train (Nine to Five)" to sultry dance-pop on "Sugar Walls". Through it all, she remains an undeniable icon of sexiness.

8. The Alarm

Although sometimes unfairly characterized as U2 clones, Mike Peters and the Alarm actually churned out a form of anthemic rock that is underrated both in terms of its originality and its forceful impact. While 1987's soaring, driving "Rain in the Summertime" was emblematic of the Welsh band's sound, it's not accurate to say that the group followed a too-strict formula of passionate, guitar-driven performances. In fact, it seems the band has always been unfairly penalized for being melodically accessible.

9. Boomtown Rats

This Irish band emerged from the post-punk new wave and distinguished itself with the popular and controversial single, "I Don't Like Mondays", which chronicles one of the earliest publicized schoolyard rampages, which took place in San Diego in 1979. The title reflects Brenda Spencer's explanation for the shootings, a concept that frontman Bob Geldof used to attempt and succeed at providing biting social commentary. Still, as an '80s icon, Geldof is better known for organizing Ethiopian famine relief efforts Band Aid and Live Aid.

10. Roddy Frame/Aztec Camera

Another native of Glasgow, Scotland, Roddy Frame formed Aztec Camera and has comprised the core of the group ever since, churning out a charismatic, alluring sort of gentle pop that has always had its share of admirers if not chart success. Frame operated within a somewhat familiar new wave guitar pop structure on the band's first release, 1983's High Land, Hard Rain, but his distinctive brand of aching romantic crooning helped set Aztec Camera apart from may of its contemporaries.

Top 10 Obscure & Underground Artists of the '80s

noreply@blogger.com (ajibchelsea) — Sat, 14 Nov 2009 11:49:00 +0000

By Steve Peake, About.com

While it’s impossible to do a list like this justice, it’s as vital to make the attempt as it was for alternatives to the mainstream to exist and thrive during the glitzy, image-obsessed '80s. Luckily for all of us, the pool from which to draw the cream of the underground was always overflowing with possibilities during the decade, even if many music fans couldn’t detect any activity whatsoever. Here’s a look at 10 of the '80s most interesting under-the-radar contributors to popular music, many of whom have ultimately attained the attention they deserved but didn’t receive the first time around.

1. Minutemen

This Southern California trio may have been inspired by punk and hardcore, but the band’s music may stand as the most unique, organic and unclassifiable of any artist active during the '80s. The late, great D. Boon played guitar, sang and wrote politically charged, thoughtfully independent songs in ways not seen before or since. And along with his childhood friend Mike Watt on bass and George Hurley on drums, D. Boon worked confidently without the aid of boundaries to create a band that, for me, endures as one of the very best of the rock era. It’s just too bad more people don’t know that.

2. Marshall Crenshaw

While a band like the Minutemen embraced its underground status and in many ways made a conscious choice to work in the shadows of pop culture, the fact that an accessible, melodic singer-songwriter like Crenshaw toiled in obscurity was far more accidental. Early on the artist’s tuneful pop/rock found a significant if short-lived mainstream outlet, but Crenshaw probably should have been one of the biggest-selling artists of the '80s. Instead, his fiercely independent determination to make music his way forced the singer rather quickly away from a vague association with the new wave scene.

3. Descendents

For better and for worse, the punk pop explosion of the last decade or so can be traced back to one common earliest ancestor, and it’s not Green Day. The Descendents first arose during the very early '80s, sporting a definite link to SoCal hardcore through their speed and aggression but also a pop sensibility not shared or matched by any acts in that scene. Vocalist Milo Auckerman raised the bar not only for punk energy and anger but injected a cerebral, self-deprecating and even geeky edge to the band’s music. The Descendents never wanted to be Green Day, but the latter would

4. BoDeans

Perhaps no band from the Milwaukee area is cosmically allowed to achieve much in the way of mainstream success, as the only other '80s group I can think of from that upper Midwest town, Violent Femmes, certainly resisted normalcy in every way. But the BoDeans took a very different path from other college rock brethren, drawing deeply from '50s and '60s styles to forge a unique roots rock sound. Kurt Neumann and Sam Llanas were a blue-collar, underground Lennon & McCartney for music fans who had little use for MTV. As such, these guys were around for a whole decade before their Party of Five flash of fame.

5. Black Flag

One of the originators of Southern California hardcore punk, this legendary band with a constantly revolving lineup was always primarily the brainchild of founder Greg Ginn. Although lead singer Henry Rollins became arguably the most visible member after he joined the band in 1981, it was Ginn’s independent spirit and record label SST that fueled an entire movement of like-minded underground artists and fans across America. Like the Minutemen, Black Flag explored many different styles of music throughout its decade-long existence, even if they ultimately leaned toward metal, of all genres.

6. Fugazi

Led by Ian MacKaye, a childhood friend of Rollins from the Washington, DC suburbs where both grew up, Fugazi took the DIY aesthetic of punk and hardcore to its far reaches of possibility. With his legendary straight-edge hardcore outfit Minor Threat, MacKaye had always demonstrated an unwillingness to allow corporate influences to impact his music, and he had always insisted upon all-ages access to his band’s shows as a sign of solidarity. But beyond this fiercely underground aesthetic, Fugazi created an entirely new form of post-punk that led to the wildly popular emo style of the '90s.

7. The Smiths

So as to avoid seeming too ethnocentric or provincial, let me include a seminal British band known as much for its underground aesthetic as its odd collaborative team of guitarist Johnny Marr and singer Morrissey. Whereas Marr’s meticulous, layered and ringing guitars created an almost traditional rock sound, Morrissey’s dreamy crooning contrasted intriguingly with Marr’s playing. This give-and-take may have led to a relatively early demise for the Smiths after only five productive years, but the volatile partnership of the two musicians also kept the music fresh.

8. Husker Du

Though this Minneapolis-based trio got its start also as a hardcore punk outfit, the band ultimately took an indie rock path that laid down the template for much of the alternative rock to follow in the '90s. As is often the case with successful bands, a songwriting partnership between wildly different personalities in Bob Mould and Grant Hart fueled the group creatively. While Mould employed an aggressive presentation both vocally and in his guitar playing, Hart often took a softer, clear-voiced approach, sometimes even adding piano parts. The band was also one of the first indie bands to sign a major label contract.

9. Sonic Youth

This New York City group was informed by punk rock but rarely sounded like it, choosing instead to explore dissonant sonic landscapes at the expense of traditional song structures and melody. The band’s early-'80s noise rock seemed to deliberately embrace the avant-garde side of things, but by the mid-'80s Sonic Youth began to make a larger impact on college rock and early alternative. By 1988’s double album, Daydream Nation, any music fans put off by the mainstream’s hair metal fixation found a hip and certain alternative in Sonic Youth.

10. G.G. Allin

Those looking for a truly underground alternative found an extremist jackpot if they knew of Allin during the '80s. Known for defecating on stage and consuming his own waste, Allin took his confrontational performance art beyond all boundaries during controversial and dangerous gigs at small clubs throughout the U.S. Musically, Allin got his start as a fairly straightforward if unexceptional punk rocker, but after years of substance abuse and all manner of hard living his voice deteriorated to the point that his music often took a backseat to his onstage antics. Still, Allin’s shock rock was often the real deal.

True One-Hit Wonders of the '80s

noreply@blogger.com (ajibchelsea) — Mon, 09 Nov 2009 15:04:00 +0000

'80s Artists Whose Only Pop Hit Went All the Way to No. 1

By Steve Peake, About.com

The term "one-hit wonder" has been applied to dozens of artists over the years, sometimes even to performers that have enjoyed multiple stays on Billboard's Hot 100 singles chart. I don't mind a slightly broader definition of the term, but I thought it would be revealing to find out which '80s artists earned the designation in the truest and most complete sense, by posting only one hit ever on that most famous of charts but managing to take it all the way to No. 1. Ladies and gentlemen, here's a chronological list of the only '80s artists to satisfy the strictest definition of one-hit wonder. Don't you forget it.

1. Lipps, Inc. - "Funkytown"

Pardon me for secretly hoping that this disco group would not qualify as an '80s one-hit wonder in the strictest sense of the term; I've simply never been a fan of "Funkytown" in any way, shape or form. Nevertheless, it did spend almost a month as the No. 1 pop hit in America during the early summer of 1980, so for that accomplishment alone it has earned its spot on this exclusive list. A novelty single in just about every way, this tune cashed in nimbly on the disco craze that was just beginning to lose its hold after a late-'70s surge into 1980. In many ways it's a '70s tune that found itself delayed by some kind of eerie musical time warp, but it always takes a year or more for a decade to forge its own style anyway.

2. Vangelis - "Theme from 'Chariots of Fire'"

Some one-hit wonders undoubtedly qualify as aberrations, finding their way onto the pop charts in a notably inexplicable fashion. How else can the massive, slow-building success of this 1982 instrumental motion picture theme be summed up than to throw up one's hands in salute to a genuine pop culture mystery? A rousing piece that sets itself up nicely as emotionally fortifying but also exceedingly suited for parody, this composition from the well-established Greek instrumentalist found its way into the pop culture zeitgeist and has really never let go in the 30-plus years since the movie appeared. Perhaps few children of the '80s have ever actually watched the movie, but we sure as hell remember its bombastic theme.

3. Patti Austin - "Baby Come to Me" (duet with James Ingram)

Although she enjoyed multiple successes in the niche music genres of R&B, dance and jazz, singer Patti Austin became the truest example of a one-hit wonder on Billboard's pop charts on the strength of an unexpected soap opera smash duet with James Ingram in 1983. "Baby Come to Me" may have fallen by the wayside as a minor hit in 1982 if not for its use as romantic theme on General Hospital, but the song achieved an impressive second life, catapulting Austin into the one-hit wonder category many artists probably dread. As a respected singer with an ongoing career, perhaps Austin has less to be bitter about than most, even claiming a Grammy in 2008 for best jazz vocal album.

4. Dexy's Midnight Runners - "Come on Eileen"

This UK band enjoyed an impressive number of major hits in its homeland during the early '80s, but for some reason or another only the quirky, worthy "Come on Eileen" gained attention on the Billboard charts. It didn't mess around in making its presence known, either, becoming a worldwide top hit in 1983 as well as one of the most memorable singles of the '80s. I hate to be so ethnocentric and focus exclusively on the American charts, but I suppose I did make the rules in my introduction. This great Celtic-inflected tune fully deserves its notoriety, but it remains a small but notable tragedy that the band responsible for it could not turn that success into at least one more appearance on the American Hot 100.

5. Jan Hammer - "'Miami Vice' Theme"

Czech-born Hammer joins Vangelis on this list as one of a very select group of composers able to turn pop culture instrumental pieces into chart-topping pop hits. Hammer enjoyed additional success in Europe with some of his other contributions to Miami Vice, but the TV show's main theme distinguished itself in the States by becoming the last instrumental piece to date to reach No. 1. Iconic and genuinely entertaining, the rambunctious theme exploits keyboards within an inch of their lives, but it also showed something significant about pop culture's ability to spread like wildfire in multiple media. Few entities betray their '80s link more thoroughly than the fashion sense and music of Miami Vice, and that is truly saying something.

6. Gregory Abbott - "Shake You Down"

Abbott may just stand among the world's most worthy one-hit wonders of all-time, as this 1986 chart-topper works as an R&B slow burn easily as well as it does as a genuine pop music classic. It's also one of those songs that I never get tired of hearing, perhaps partially because it never seemed to get overplayed back when it was a bona fide smash. In addition, it's always seemed like a tune perfectly suited for an acoustic, singer-songwriter remake or even a guitar-based hard rock interpretation. No matter what style in which it's performed, I feel confident that "Shake You Down" can never lose its appeal as successful musical seduction, and for that reason among many, Abbott shines as one of pop's most respectable one-hit wonders.

7. Bobby McFerrin - "Don't Worry, Be Happy"

While I refuse to include blatant novelty songs on this list (Stars on 45, anyone?), I have decided - after much sober reflection - that I cannot in good conscience omit Bobby McFerrin's "Don't Worry Be Happy" from a countdown of "true" one-hit wonders. After all, if the term does not apply to that particular tune, then it has no practical use whatsoever. It's not particularly fair to the multi-talented McFerrin that he will always be best-known for this somewhat vapid effort, but in his defense I'm sure he didn't expect the playful ditty to saturate radio like it did. Anyway, McFerrin is an established success in jazz and a cappella music circles and a multiple Grammy winner for reasons not immediately apparent in this track.

8. Sheriff - "When I'm With You"

This otherwise bland adult contemporary throwaway song features one of the strangest chart-topping histories of any Billboard hit in history. Originally released in 1983 by a struggling Canadian band that broke up shortly after failing to secure a hit at that time, the song somehow re-emerged and climbed the ultimate pop music ladder in early 1989. An apparently non-descript Las Vegas disc jockey began playing the tune at a level that convinced the defunct group's record company to re-release the track, and next thing you know "When I'm With You" was permanently inflicted upon the greater listening public. It's a fairly embarrassing, toothless ballad - no question about it - but a number one hit is a number one hit, after all.

Top 8 Journey Songs of the '80s

noreply@blogger.com (ajibchelsea) — Sun, 08 Nov 2009 15:02:00 +0000

By Steve Peake, About.com

Over the course of only three albums, former progressive rock band turned rock balladeers Journey churned out an impressive array of hit singles and prime album tracks. Almost all are worthy of praise, but it's also notable that a handful of these tunes have not only withstood the test of time but stand up well to focused scrutiny. The best of the best of Journey may be up for debate, but the fact that the band still matters as a key arena rock prototype has by now become a matter of certainty. Here are eight reasons why.

1. "Any Way You Want It"

Despite the recent use of this tune in annoying TV advertising, this full-tilt rocker most definitely stands as one of Journey's finest moments as a band. After all, it serves as definitive proof that the quartet had the capacity to rock with some serious authority. I don't know why people tend to forget that Neal Schon was not only a guitar prodigy but also possesses one of the most distinctively scorching guitar styles in rock. This is one of the few Journey classics on which Steve Perry's vocals take a bit of a backseat; it's all about Schon's killer riff and his commanding solos. And what's more rock than that?

2. "Don't Stop Believin'"

A few years back I went through a fairly prolonged "I hate Journey, they're so lame" phase, the kind that could be put to an end only through well-placed logic. I have a friend of mine to thank for that; when she offered me a viable explication of the "streetlight people" lyric, I lost my reason to criticize this rock masterpiece. A graceful combination of muscular guitars and haunting melody, this song just works down to its core, in a way as magically mysterious as the Internet or a car engine to those of us not inclined to understand the workings of such things. So just sit back and enjoy the majesty.

3. "Stone in Love"

Again, anyone inclined to dismiss Journey as a cream puff band overly fond of ballads and sorely lacking rock and roll cred should give another listen to this underrated classic from 1981's Escape. In terms of rock guitar riffage, this tune earns major points for its scorching opener, but beyond that it showcases the general tightness of Journey's core quintet of members during the band's peak period. I mean, if even Ross Valory's bass playing shines during the irresistible chorus of this nearly perfect mainstream rock song, Journey must have pretty well known what they were doing.

4. "Separate Ways (Worlds Apart)"

This song is essential in a total-package sort of way, from the unmistakable, energizing synth opening all the way across the spectrum to its impossibly cheesy music video chock full of '80s missteps. Whatever the angle, "Separate Ways" is valuable, central '80s music listening. After all, what makes Journey's best music so constant is the consistent quality of band components, from Steve Perry's vocal showcase to Neal Schon's aggressive, solid guitar work to, of course, the efficient and skilled songwriting necessary to produce this song's utterly transcendent bridge and chorus. A glorious '80s moment.

5. "After the Fall"

Perhaps the most underappreciated vital track from Journey's peak '80s period, this tune doubles effectively as a power ballad and mid-tempo rocker. The band happened to be a master of that format during this era, but here the lines are blurred wonderfully between lighter-worthy romantic balladry and a melodic guitar-hero sing-along. Steve Augeri, Jeff Scott Soto and Arnel Pineda notwithstanding, no one ever has sounded or probably ever will sound quite like Steve Perry at his powerfully emotive best, and this distinctiveness always will be the fuel that drives Journey's greatness.

6. "Faithfully"

Of Journey's two blockbuster slow-dance power ballads, I've always preferred this one for its proper appropriation of Neal Schon's nimble lead guitar work into the winning formula. That's not to say that "Open Arms" doesn't have its charms, but it's certainly one of the few occasions in which the band did not use all its positive attributes for maximum impact. "Faithfully," on the other hand, authentically tackles a subject - the impact of time apart on romantic relationships - with equal amounts of universality and specificity. This soft rock classic is perhaps the epitome of Journey's wide-ranging appeal.

7. "Girl Can't Help It"

Despite the odd move of ditching drummer Steve Smith and bassist Ross Valory for the 1986 album Raised on Radio, the music on the last release from Journey's most successful phase maintained the band's successful formula of guitar, keyboards, and, of course, Steve Perry. This song didn't disappoint longtime fans even if they were tired of waiting for a follow-up to 1983's Frontiers, and the reason it struck such a chord is, again, solid song structure and familiar if not groundbreaking lyrical treatment of the inherent pitfalls of romance. It's not Perry's fault his voice soars in such an irresistible way; the boy just can't help it.

8. "I'll Be Alright Without You"

The good thing about Journey going on hiatus following the Raised on Radio tour is that the best music on that disc measured up quite favorably with the band's highest-quality earlier material. That's actually a pretty rare occurrence, when bands exit before inevitable decline sets in. This fine mid-tempo track arguably stands as one of the band's most impressive achievements of the '80s, blessed as it is with a compelling keyboard groove, some of Schon's tastiest lead guitar work of his long career, and another forehead-vein-protruding but thoroughly engrossing vocal performance from Mr. Perry.