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.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Sunday, November 15, 2009
Saturday, November 14, 2009
Top 10 Canadian Artists of the '80s
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.
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
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.
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.
Sponsored Links
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
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.
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.
Monday, November 9, 2009
True One-Hit Wonders of the '80s
'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.
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.
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