Although Southern California's hard rock heroes Van Halen made quite a splash in the late '70s when the band debuted, the group certainly built its lasting legacy through its prolific work during the '80s. Even more remarkable is that Van Halen's plentiful accomplishments within the decade generated great success despite a highly publicized lead vocalist change. Here's a look at some of the band's best songs from both the David Lee Roth and Sammy Hagar eras.
1. "And the Cradle Will Rock"
Supported ably by a thumping rhythm section and guitar riff, this 1980 tune spotlights everything that was unique about Van Halen Mark I: Eddie Van Halen's imaginative riffing and electrifying solos and, of course, David Lee Roth's vampy, snarky vocal style. Roth has never been one of my favorite rock singers, but his delivery can never be accused of lacking personality. Ultimately, the most memorable part of the song revolves around its two central guitar solos, and at the core of those is a line from Roth that always brings a smile: "Have you seen Junior's grades?". Theatrical rock well executed.
2. "Everybody Wants Some"
Whatever one may say about Van Halen's limitations, it's difficult to question the band's ability to rock out not only with aggression and conviction but with a singular flair no one else has ever quite matched. Such is the case on this track, which skillfully plays Eddie Van Halen's guitar work against Roth's hammy, exotic style in the verses. And although that contrast of personalities made for a volatile situation for the band, as the story goes, it also resulted in a magic the band was never able to recapture during the Van Hagar years.
3. "Unchained"
There's nowhere to go but down from the introductory riff to this song, a sweeping, transcendent piece of work from Eddie Van Halen indeed. Nonetheless, the band does its best to construct a decent rock song around it, succeeding fairly well by bringing in its trademark harmony vocals during an interesting, syncopated bridge. It's never made a lot of sense to search for much lyrical depth in Van Halen tunes, and that rule holds true here as well. But for fans looking for aggressive, good-time rock and roll, rolling out this song is always mission accomplished.
4. "Secrets"
This is perhaps the band's most underrated gem, a sultry slow burn from 1982's rather disappointing collection of mostly head-scratching covers, Diver Down. Eddie Van Halen's intricate, almost gentle guitar work certainly stands as a highlight, but Roth's vocals demonstrate not only his singing ability and showmanship but his rather left-field stylistic influences that somehow work anyway. After all, Roth was always a spandex-clad lounge singer who seemed to like getting a cardio workout during his performances. What an odd, unique stew the band created from its maverick central creative duo.
5. "Hot for Teacher"
While there's not much that comes out of searching for links between Van Halen and punk rock, the speed and intensity of this song nonetheless have far more in common with that genre than much of the hair metal that followed in the wake of the blockbuster 1984 album. Of course, when you throw in the inherent theatricality of Roth and the rest of the band (I mean, no one held a gun to their heads and made them wear the orange suits with the white gloves in the video, right?), you realize pretty quickly we're dealing with a decadent L.A. hard rock band that still has no equal.
6. "I'll Wait"
Along with "Jump", which doesn't make this list simply because it doesn't need the publicity, this power ballad from 1984 helped introduce a synthesizer-heavy pop sound that would carry Van Halen through the mid-'80s. And while some fans objected to the new direction, it was probably inevitable that an artist as meticulous as Eddie Van Halen would have to evolve in some ways. As for the song itself, it proves that Eddie was as adept with keyboard riffs as guitar riffs, and the melodic sense exhibited here matches Roth's strengths while carving out an ever-expanding audience for the band's music.
7. "Good Enough"
Although many fans are venomously opposed to the band's second, arguably more successful era with Sammy Hagar at the helm, the fact is that 5150 stands up well to scrutiny as a very tight, varied album that measures up favorably with any album the band ever released. Well, maybe it's not strictly a fact, more like a controversial statement from yours truly. Nonetheless, this song kicks off the Van Hagar era with a bang, buoyed by Hagar's playful "Hello, baby" pronouncement. Even better, Eddie Van Halen's riffing and songwriting seem as good as ever here, helping the band to maintain its blistering form.
8. "Dreams"
Like it or not, as the '80s wore on, Eddie Van Halen began to reveal a growing affinity for the versatility of keyboards and a thirst for branching out musically. He combined these elements to become an ever more skillful purveyor of the power ballad, and this song may be Van Halen's most soaring, compelling moment in that department. Ready-made for uplifting sports montages, the tune begged the question of fans, whether or not they were able or willing to handle a Van Halen with pop sensibilities as strong if not stronger than its ass-kicking rock and roll tendencies of the past. So which side are you on?
9. "Best of Both Worlds"
Appropriately titled to match the ambitions of the new Van Halen, this rocker spotlights all the best tools at the band's disposal, featuring a classic Eddie Van Halen riff and some of the guitarist's most subtle, textured playing. It also boasts a great, arena-ready sing-along chorus, and though he can be as annoyingly blustery as Roth, two things that can't be questioned about Hagar are the strength and precision of his pipes. So even if this expanding pop sensibility never translated into another No. 1 hit for Van Halen, it's certainly possible it helped buy the band some additional years.
10. "Finish What Ya Started"
Maybe it's my teenage memory of the hot '80s chicks from the video, but I continue to have a bit of a soft spot for this interesting tune from 1988's OU812. Musically, the track certainly takes a cross-genre approach, maximizing the harmony vocals of Michael Anthony and Eddie Van Halen against a nearly Southwest-sounding guitar shuffle. In addition, Hagar delivers some of his most nuanced, soulful singing yet, and the result is an endlessly interesting if somewhat jarring departure from the power-chord rock fans had been accustomed to from Van Halen. Or, maybe it's just the hot gunslinging women after all.
Showing posts with label rock. Show all posts
Showing posts with label rock. Show all posts
Wednesday, November 18, 2009
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.
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.
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 Bon Jovi Songs of the '80s
By Steve Peake, About.com
Although 1986's classic Slippery When Wet unquestionably represented Bon Jovi at its peak both commercially and artistically, the band actually enjoyed some of its finest moments on its first two albums. While the group's early efforts are not as well known, the songs display a better grasp of heartland rock melody and passion than most of the songs on 1988's New Jersey. Perhaps by then a certain amount of cynicism had set in for the band, sapping some of its earlier positive energy. Still, here's a take on Bon Jovi's 10 best '80s tunes.
1. "Runaway"
it may be a bold statement to say that a band's first sniff at a hit may have been its finest moment, but I feel just about that strongly about this great, keyboard-heavy rocker from Bon Jovi's 1984 debut. The product of some of Jon Bon Jovi's earlier demo sessions, the song clearly had been shaped to near-perfection. Fueled by E Street Band member Roy Bittan's excellent keyboard riff, the tune stands as prototypical mainstream rock: melodic, hard-driving and passionate. This one should have launched immediate stardom for the band but was instead criminally overlooked upon initial release.
2. "She Don't Know Me"
Here is the sleeper of all sleepers from Bon Jovi's '80s catalogue, an early song that has traditionally received little airplay or attention. But I have a feeling the band's fans cling to this one as a special favorite, a sort of best-kept secret only they know about. And for good reason: This mid-tempo gem plays to the band's strengths, spotlighting Jon Bon Jovi's soaring vocal style (which was especially prevalent during the band's early years) and a fist-pumping, crowd-frenzy-inducing chorus. Bryan Adams must still be envious over this one.
3. "In and Out of Love"
On its second album, 1985's puzzlingly titled 7800 Fahrenheit (the temperature at which rock melts, according to Jon Bon Jovi the geologist), the band amped up the hair metal trappings, possibly to keep up with the Ratts and Def Leppards of the world. Fittingly, the song employs vocal effects that suggest a veritable army of harmonies in the chorus, and the lyrics focus on party-time-excellent sorts of concerns: parties and women and the importance of boys' night out. Still, it's a highlight of the record, full of the compelling anthemic qualities the band would soon perfect.
4. "Let It Rock"
as the lead-off track to Bon Jovi's megahit 1986 album, Slippery When Wet, this tune worked hard to set a new standard for the essence of arena rock. Richie Sambora's muscular rhythm guitar really sets the stage well for some of his most blistering leads, and the empty-headed but lively chorus takes the notion of anthemic clear to the rafters of any stadium Bon Jovi ever played. It's a fitting start to a classic album that still fell short of anticipating the heights the rest of the album would reach.
5. "You Give Love a Bad Name"
I wrote a raunchy parody to the tune of this classic back in ninth grade, but that's not the whole story of why I recall it so fondly. From the rousing a cappella beginning to the tantalizing pre-chorus, the song is simply mid-tempo rock nirvana, delivered five years before a band of that same name almost spelled the end for arena rock once and for all. But a song this good can never die, and the deft songwriting touches that help form the nifty groove in the verses confirmed the rising talents of a true blue-collar rock band.
6. "Livin' on a Prayer"
Although the band's lyrical deficiencies become a bit more obvious on this decidedly more serious tune - which tackles adult concerns the band had not really considered previously - the winning template for rootsy pop metal was forever forged through its passionate glory. Jon Bon Jovi's justified obsession with Bruce Springsteen's world-changing, working-man rock had always been somewhat apparent, but the tale of Tommy and Gina stands reputably in the long shadow of the Jersey legend's hard-hitting if more complicated story songs. Sambora's talk box intro remains unforgettable.
7. "Wanted Dead or Alive"
The band spreads out and reveals a folky, even slightly countrified strand of its sound with this acoustic guitar-heavy ballad that is as haunting as it is ultimately exhilarating. Still, the song's fresh elements don't detract in the least from the band's expected and beloved anthemic sound, as Jon Bon Jovi offers some of his most convincing vocals and Sambora some of his most spirited lead guitar work here. Bon Jovi himself would later explore Western themes further, but this is the band's legendary gunslinger moment.
8. "Never Say Goodbye"
Perhaps the band's first true power ballad smash hit, this song suggests prom memories even before you realize that precise rite of passage actually receives direct lyrical treatment. Indeed, the band's slowed tempo and lilting instrumental approach create a nostalgic cloud so thick the listener almost has to wipe it away from his or her face. But let's be honest, it's probably the ladies who get into this one the most, though the guys happily tolerate it in hopes of "losing the keys," and possibly "more than that," after the show.
Listen/Download
9. "Born to Be My Baby"
For my money, Bon Jovi's slightly disappointing 1988 album, New Jersey, is most certainly at its best when it indulges the heartland rock impulses only hinted at previously. Where "Bad Medicine" is schlocky and silly, this straight-ahead tune benefits from its very depth of earnest innocence. The Springsteen influence certainly remains, but the band's unique way of building up to transcendent choruses makes for a pretty entertaining listen. As always, Sambora's rhythm work builds a nifty foundation, especially in the verses.
10. "I'll Be There for You"
The slightly Eastern feel of this song's guitar intro somehow melts perfectly into the sultry slow burn of the verse, and that provides a fine showcase for some great singing from both Bon Jovi and Sambora in the chorus. In fact, most rock bands would be very lucky to have their lead singers sound half as good as Sambora does in a backup role. Anyway, the theme of passionate devotion has possibly never fit a band as well as Bon Jovi, and this tune provides further evidence of that notion.
Although 1986's classic Slippery When Wet unquestionably represented Bon Jovi at its peak both commercially and artistically, the band actually enjoyed some of its finest moments on its first two albums. While the group's early efforts are not as well known, the songs display a better grasp of heartland rock melody and passion than most of the songs on 1988's New Jersey. Perhaps by then a certain amount of cynicism had set in for the band, sapping some of its earlier positive energy. Still, here's a take on Bon Jovi's 10 best '80s tunes.
1. "Runaway"
it may be a bold statement to say that a band's first sniff at a hit may have been its finest moment, but I feel just about that strongly about this great, keyboard-heavy rocker from Bon Jovi's 1984 debut. The product of some of Jon Bon Jovi's earlier demo sessions, the song clearly had been shaped to near-perfection. Fueled by E Street Band member Roy Bittan's excellent keyboard riff, the tune stands as prototypical mainstream rock: melodic, hard-driving and passionate. This one should have launched immediate stardom for the band but was instead criminally overlooked upon initial release.
2. "She Don't Know Me"
Here is the sleeper of all sleepers from Bon Jovi's '80s catalogue, an early song that has traditionally received little airplay or attention. But I have a feeling the band's fans cling to this one as a special favorite, a sort of best-kept secret only they know about. And for good reason: This mid-tempo gem plays to the band's strengths, spotlighting Jon Bon Jovi's soaring vocal style (which was especially prevalent during the band's early years) and a fist-pumping, crowd-frenzy-inducing chorus. Bryan Adams must still be envious over this one.
3. "In and Out of Love"
On its second album, 1985's puzzlingly titled 7800 Fahrenheit (the temperature at which rock melts, according to Jon Bon Jovi the geologist), the band amped up the hair metal trappings, possibly to keep up with the Ratts and Def Leppards of the world. Fittingly, the song employs vocal effects that suggest a veritable army of harmonies in the chorus, and the lyrics focus on party-time-excellent sorts of concerns: parties and women and the importance of boys' night out. Still, it's a highlight of the record, full of the compelling anthemic qualities the band would soon perfect.
4. "Let It Rock"
as the lead-off track to Bon Jovi's megahit 1986 album, Slippery When Wet, this tune worked hard to set a new standard for the essence of arena rock. Richie Sambora's muscular rhythm guitar really sets the stage well for some of his most blistering leads, and the empty-headed but lively chorus takes the notion of anthemic clear to the rafters of any stadium Bon Jovi ever played. It's a fitting start to a classic album that still fell short of anticipating the heights the rest of the album would reach.
5. "You Give Love a Bad Name"
I wrote a raunchy parody to the tune of this classic back in ninth grade, but that's not the whole story of why I recall it so fondly. From the rousing a cappella beginning to the tantalizing pre-chorus, the song is simply mid-tempo rock nirvana, delivered five years before a band of that same name almost spelled the end for arena rock once and for all. But a song this good can never die, and the deft songwriting touches that help form the nifty groove in the verses confirmed the rising talents of a true blue-collar rock band.
6. "Livin' on a Prayer"
Although the band's lyrical deficiencies become a bit more obvious on this decidedly more serious tune - which tackles adult concerns the band had not really considered previously - the winning template for rootsy pop metal was forever forged through its passionate glory. Jon Bon Jovi's justified obsession with Bruce Springsteen's world-changing, working-man rock had always been somewhat apparent, but the tale of Tommy and Gina stands reputably in the long shadow of the Jersey legend's hard-hitting if more complicated story songs. Sambora's talk box intro remains unforgettable.
7. "Wanted Dead or Alive"
The band spreads out and reveals a folky, even slightly countrified strand of its sound with this acoustic guitar-heavy ballad that is as haunting as it is ultimately exhilarating. Still, the song's fresh elements don't detract in the least from the band's expected and beloved anthemic sound, as Jon Bon Jovi offers some of his most convincing vocals and Sambora some of his most spirited lead guitar work here. Bon Jovi himself would later explore Western themes further, but this is the band's legendary gunslinger moment.
8. "Never Say Goodbye"
Perhaps the band's first true power ballad smash hit, this song suggests prom memories even before you realize that precise rite of passage actually receives direct lyrical treatment. Indeed, the band's slowed tempo and lilting instrumental approach create a nostalgic cloud so thick the listener almost has to wipe it away from his or her face. But let's be honest, it's probably the ladies who get into this one the most, though the guys happily tolerate it in hopes of "losing the keys," and possibly "more than that," after the show.
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9. "Born to Be My Baby"
For my money, Bon Jovi's slightly disappointing 1988 album, New Jersey, is most certainly at its best when it indulges the heartland rock impulses only hinted at previously. Where "Bad Medicine" is schlocky and silly, this straight-ahead tune benefits from its very depth of earnest innocence. The Springsteen influence certainly remains, but the band's unique way of building up to transcendent choruses makes for a pretty entertaining listen. As always, Sambora's rhythm work builds a nifty foundation, especially in the verses.
10. "I'll Be There for You"
The slightly Eastern feel of this song's guitar intro somehow melts perfectly into the sultry slow burn of the verse, and that provides a fine showcase for some great singing from both Bon Jovi and Sambora in the chorus. In fact, most rock bands would be very lucky to have their lead singers sound half as good as Sambora does in a backup role. Anyway, the theme of passionate devotion has possibly never fit a band as well as Bon Jovi, and this tune provides further evidence of that notion.
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