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.
Showing posts with label pop. Show all posts
Showing posts with label pop. Show all posts
Sunday, November 15, 2009
Top 10 Arena Rock Artists of the '80s
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.
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.
Saturday, November 14, 2009
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.
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.
Sunday, November 8, 2009
Top 8 Journey Songs of the '80s
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.
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.
Top 10 Singles of the '80s
By Steve Peake, About.com
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 tunes announce themselves as vital through sheer force of gravity. These songs 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.
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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.
Listen/Download
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.
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 tunes announce themselves as vital through sheer force of gravity. These songs 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.
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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.
Listen/Download
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 10 Michael Jackson Songs of the '80s
By Steve Peake, About.com
Even if he had not released quality music for quite some time and functioned mainly as an occasional tabloid figure in the years leading up to his shocking 2009 death, Michael Jackson was and will always be one of the biggest superstars of music or any other mode of entertainment. He ruled parts of four decades in one form or another, so he certainly deserves due tribute as a hitmaking, calculating talent blessed with an amazing amount of artistic versatility. Witness the following list (in chronological order) of Jackson's top songs of the '80s, and then completists should move on for more '80s Michael Jackson songs.
1. "Off the Wall"
Jackson's fusion of disco, pop, funk and soul on his breakthrough album, Off the Wall, may have been the King of Pop at his most deliciously tuneful and catchy, which is saying a lot when you consider the massive appeal of his follow-up, Thriller. This tune is underrated and underplayed, and its relative obscurity within Jackson's familiar catalogue makes it a welcome treat. A soaring chorus supported by a tight groove in the verse would become the singer's trademark. Here's the prototype.
2. "Rock With You"
This tune offers even stronger evidence that Jackson had very nearly reached his peak before Thriller. At the very least, the singer's 1980 album Off the Wall was only a couple of steps behind where he would end up on his next record, so in that sense maybe the first half of the '80s was really just a comfortable, plateau-like apex for Jackson. But what a glorious period that was, and this song remains a very pure kind of pleasure nearly three decades after its release. Though written by Rod Temperton and not Jackson himself, the song - particularly its buoyant bridge - ultimately sounds so much the singer's own that it's all too easy to put the question of authorship right out of your mind.
3. "Beat It"
Clearly, though, it's difficult if not impossible to argue with the conventional wisdom that Jackson was at the height of his powers on Thriller, as he glided from genre to genre with such ease. The singer particularly dipped into a fresh patch of rock music he'd never drawn from before for this one, and the contribution from Van Halen guitar wizard Eddie Van Halen was a major attribute that made the track stand out. Lyrically it's no masterpiece, but that's nothing new for Jackson. His key strength, after all, has always been his mastery of sound.
4. "Billie Jean"
Jackson rekindles his knack for irresistible beats on this, the third of his amazing nine No. 1 singles of the '80s. It's certainly one of his best tunes, replete with anger, passion and complexity. Musically, it's blessed with a nifty melody and a bridge that trumps anything else the song has to offer. The premise of a woman who may or may not be wrongfully accusing the singer of an unsavory dalliance and a resulting pregnancy is decidedly nasty at times, which makes for interesting listening.
5. "Human Nature"
Though not bearing Jackson's songwriting stamp, this gentle and unique ballad boasts a haunting quality unlike anything released before or since by the King of Pop. It's odd maybe that one of the song's cowriters is one of the founding members of Toto, but whatever the source, there's no denying the magic on this track. Much of that majesty, of course, stems directly from Jackson's stunning, calculated vocal presentation. It's one of the few voices that could do the melody justice.
6. "Say Say Say"
Paul McCartney and Jackson also worked together on "The Girl Is Mine" but this tune from McCartney's Pipes of Peace stands out particularly as an optimizing force for their combined talents. That is, the segments sung in alternating fashion by McCartney and then Jackson not only spotlight each individual singer efficiently but amount to a whole greater than the sum of its components. But ultimately it's up to Jackson to take the song beyond mere pleasantry, with his soaring, one-of-a-kind performance.
7. "Wanna Be Startin' Somethin'"
As with many Jackson songs, it's best not to examine the lyrics too closely here, unless you want to raise your eyebrows in puzzlement or have a chuckle. That being said, Jackson lays down a seductive groove here that cultivates a life of its own within the performance. No one can argue that, at his peak, Jackson was an irresistibly electric performer, and beneath all the generally futile attempts at macho posturing, that dynamism shines through in his greatest talent, his singing.
8. "Thriller"
The famous and theatrical music video with its groovy zombie dancers and cinematic heft certainly overshadowed the song it was there to support, but what always comes through about this epic track is a giddy sense of fun. Oh, for the days when Jackson had and utilized a sense of humor. But the other extraordinary thing about this tune is how much it succeeds as a piece of pop culture excess (Vincent Price, anyone?) far larger than its musical qualities.
9. "Man in the Mirror"
On the one hand, I'm ashamed to include this Bad song on a list meant to celebrate the best in a musical career, but on the other I can't help but give it its due. After all, when you get a message song from Michael Jackson, you can't be too surprised when it's burdened by a broad but shallow sense of right and wrong and good and evil. He's just never really been all that complicated. Still, there's something compelling just the same about this let's-just-stop-fighting-and-fix-the-world-together kind of idealism.
10. "Smooth Criminal"
Maybe it's appropriate that a few years back a short-lived band called Alien Ant Farm reminded us how much fun this rather silly tune can be. By the time Bad came out in 1987, Jackson was already clearly in a subtle state of decline. Yes, more No. 1 singles for the singer came from that album than any other, but only the most die-hard fans would argue that Bad is a better record than either Thriller or Off the Wall. "Smooth Criminal" is a last hurrah, where Jackson said goodbye to the decade he ruled.
Even if he had not released quality music for quite some time and functioned mainly as an occasional tabloid figure in the years leading up to his shocking 2009 death, Michael Jackson was and will always be one of the biggest superstars of music or any other mode of entertainment. He ruled parts of four decades in one form or another, so he certainly deserves due tribute as a hitmaking, calculating talent blessed with an amazing amount of artistic versatility. Witness the following list (in chronological order) of Jackson's top songs of the '80s, and then completists should move on for more '80s Michael Jackson songs.
1. "Off the Wall"
Jackson's fusion of disco, pop, funk and soul on his breakthrough album, Off the Wall, may have been the King of Pop at his most deliciously tuneful and catchy, which is saying a lot when you consider the massive appeal of his follow-up, Thriller. This tune is underrated and underplayed, and its relative obscurity within Jackson's familiar catalogue makes it a welcome treat. A soaring chorus supported by a tight groove in the verse would become the singer's trademark. Here's the prototype.
2. "Rock With You"
This tune offers even stronger evidence that Jackson had very nearly reached his peak before Thriller. At the very least, the singer's 1980 album Off the Wall was only a couple of steps behind where he would end up on his next record, so in that sense maybe the first half of the '80s was really just a comfortable, plateau-like apex for Jackson. But what a glorious period that was, and this song remains a very pure kind of pleasure nearly three decades after its release. Though written by Rod Temperton and not Jackson himself, the song - particularly its buoyant bridge - ultimately sounds so much the singer's own that it's all too easy to put the question of authorship right out of your mind.
3. "Beat It"
Clearly, though, it's difficult if not impossible to argue with the conventional wisdom that Jackson was at the height of his powers on Thriller, as he glided from genre to genre with such ease. The singer particularly dipped into a fresh patch of rock music he'd never drawn from before for this one, and the contribution from Van Halen guitar wizard Eddie Van Halen was a major attribute that made the track stand out. Lyrically it's no masterpiece, but that's nothing new for Jackson. His key strength, after all, has always been his mastery of sound.
4. "Billie Jean"
Jackson rekindles his knack for irresistible beats on this, the third of his amazing nine No. 1 singles of the '80s. It's certainly one of his best tunes, replete with anger, passion and complexity. Musically, it's blessed with a nifty melody and a bridge that trumps anything else the song has to offer. The premise of a woman who may or may not be wrongfully accusing the singer of an unsavory dalliance and a resulting pregnancy is decidedly nasty at times, which makes for interesting listening.
5. "Human Nature"
Though not bearing Jackson's songwriting stamp, this gentle and unique ballad boasts a haunting quality unlike anything released before or since by the King of Pop. It's odd maybe that one of the song's cowriters is one of the founding members of Toto, but whatever the source, there's no denying the magic on this track. Much of that majesty, of course, stems directly from Jackson's stunning, calculated vocal presentation. It's one of the few voices that could do the melody justice.
6. "Say Say Say"
Paul McCartney and Jackson also worked together on "The Girl Is Mine" but this tune from McCartney's Pipes of Peace stands out particularly as an optimizing force for their combined talents. That is, the segments sung in alternating fashion by McCartney and then Jackson not only spotlight each individual singer efficiently but amount to a whole greater than the sum of its components. But ultimately it's up to Jackson to take the song beyond mere pleasantry, with his soaring, one-of-a-kind performance.
7. "Wanna Be Startin' Somethin'"
As with many Jackson songs, it's best not to examine the lyrics too closely here, unless you want to raise your eyebrows in puzzlement or have a chuckle. That being said, Jackson lays down a seductive groove here that cultivates a life of its own within the performance. No one can argue that, at his peak, Jackson was an irresistibly electric performer, and beneath all the generally futile attempts at macho posturing, that dynamism shines through in his greatest talent, his singing.
8. "Thriller"
The famous and theatrical music video with its groovy zombie dancers and cinematic heft certainly overshadowed the song it was there to support, but what always comes through about this epic track is a giddy sense of fun. Oh, for the days when Jackson had and utilized a sense of humor. But the other extraordinary thing about this tune is how much it succeeds as a piece of pop culture excess (Vincent Price, anyone?) far larger than its musical qualities.
9. "Man in the Mirror"
On the one hand, I'm ashamed to include this Bad song on a list meant to celebrate the best in a musical career, but on the other I can't help but give it its due. After all, when you get a message song from Michael Jackson, you can't be too surprised when it's burdened by a broad but shallow sense of right and wrong and good and evil. He's just never really been all that complicated. Still, there's something compelling just the same about this let's-just-stop-fighting-and-fix-the-world-together kind of idealism.
10. "Smooth Criminal"
Maybe it's appropriate that a few years back a short-lived band called Alien Ant Farm reminded us how much fun this rather silly tune can be. By the time Bad came out in 1987, Jackson was already clearly in a subtle state of decline. Yes, more No. 1 singles for the singer came from that album than any other, but only the most die-hard fans would argue that Bad is a better record than either Thriller or Off the Wall. "Smooth Criminal" is a last hurrah, where Jackson said goodbye to the decade he ruled.
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