The Music Of The 80s - Favorites, Classics And Rarities

[Guest airmax]

hmm. reasons in pasay road, brings back a lot of memories during those times.

 

Kamusta na kaya si Edong? I don't know if anyone of you knows him.

<{POST_SNAPBACK}>

 

Reasons was once owned by Francis Pasia. I got a chance to talk with the owners before. Huling punta ko doon noong 1994 pa. Pero hindi na sila pure jazz bar. At nagtanong ako kung sila Pasia pa may ari iba na raw. Dati kasi ang nag dj doon ung Pasia brothers. Sayang madalas pa naman ako dito nong late 80's.

[Guest airmax]

meron din dating jazz bar sa may amorsolo doon sa may makati cinema square. katabi ng Kudos Disco dati. I forgot the name. Minsan ang dj doon e 12 year old kid. pero sa edad nyang ganoon mahilig na sya sa jazz. anak ata ng may ari ng bar un. sayang at nawala na itong mga jazz bars na ito. madalas pa naman kami dito ng ex gf ko noong college pa kami. nagkaroon din ba ng reasons sa greenhills sa annapolis? ung jazz rhythms ata ang huli sa mga jazz bars na nagsara. kaso nung huli akong nagpunta doon nong 1998 hindi na jazz ang tugtog.

[cruesome]

watched (from dvd iso off bittorent) motley crue's june 4 2005 gig for rock am ring in germany. tatanda na nila. unlike aerosmith's steven tyler, iba na dating vocals ni vince neil, depreciated na

 

they played a decent set tho.

[countrystyle]

huling high profile jazz bar na nagsara yung Monk's Dream sa jupiter, makati. pumupunta ko don a couple of years back pero mga 1 taon na yata sarado yon. sayang talaga wala na tayo mapuntahan. baka meron nakakaalam jan kung san pa meron.

[Tom Babauta]

i think a jazz bar rennaisance here in our country is in order right bros? good!!!

 

so we could lay back, relax, chill, drink super dry and stolich tonic, while listening to the david benoit, tom scott, al jarreau, dave grusin, george benson, willie bobo, shakatak, hiroshima, sea wind, tony benet, earth wind & fire, kenny g, stanley clarke, george duke, spyro gyra, louie armstrong, anita baker, minnie riperton, sergio mendes, pauline wilson, kevyn lettau, dianne reeves, the rippingtons, manhattan transfer, lee retinour

Sir Duke

Stevie Wonder

 

Yup, i agree. Hindi na lang puro videoke bars na lang. :sick:

A place where you can talk, chill out with your San Mig light and

enjoy the music, di ba??? :thumbsupsmiley:

 

P.S. Luv your choice of music dude.

[budhaman]

nice thread.. im a jazz lover myself.

 

would anyone know the title of the bobby cadwell song what you wont do for love na instrumental lang? and luther vandross' never too much?

thanks!

[ice_sp]

Reasons was once owned by Francis Pasia. I got a chance to talk with the owners before. Huling punta ko doon noong 1994 pa. Pero hindi na sila pure jazz bar. At nagtanong ako kung sila Pasia pa may ari iba na raw. Dati kasi ang nag dj doon ung Pasia brothers. Sayang madalas pa naman ako dito nong late 80's.

<{POST_SNAPBACK}>

 

 

i think there's still a jazz rhythms in nakpil street in malate, but i think they don't play jazz anymore.

*wolves

 

yup, spain is a chick corea original, i have a tape of it, and the original instrumental version is really cool!

 

anyone knows what happened to baron barbers?

 

i miss naked ear in malate! the cerveza negra, the songs of malo, the doors!

[Guest airmax]

thats good news. nagsara na kasi ung jazz rhythms sa greenhills.

[kneilmigz]

yung Heart ba glam din?

[flyingdutchman]

Mr. Briefcase by Lee Ritenour, Carly's Song by David Sanborn

and Streetlife ( I forget - The Crusaders ? ). This song

was used in a Burt Reynolds film, Sharky's Machine.

Dito yata nag-debut si Rachel Ward.

 

Sana nga magbalik yung mga jazz bars.

[Cain N Moko]

THE CARS

 

The Cars were the most successful American new wave band to emerge in the late '70s. With their sleek, mechanical pop/rock, the band racked up a string of platinum albums and Top 40 singles that made them one of the most popular American rock & roll bands of the late '70s and early '80s. While they were more commercially oriented than their New York peers, the Cars were nevertheless inspired by proto-punk, garage rock, and bubblegum pop. The difference was in packaging. Where their peers were as equally inspired by art as music, the Cars were strictly a rock & roll band, and while their music occasionally sounded clipped and distant, they had enough attitude to cross over to album rock radio, which is where they made their name. Nevertheless, the Cars remained a new wave band, picking up cues from the Velvet Underground, David Bowie, and Roxy Music. Ric Ocasek and Ben Orr's vocals uncannily recalled Lou Reed's dead-pan delivery, while the band's insistent, rhythmic pulse was reminiscent of Berlin-era Iggy Pop. Furthermore, the group followed Roxy Music's lead and had artist Alberto Vargas design sexy illustrations of pinups for their record sleeves. One of their first hits was "Shake It Up". These airbrushed drawings were the group's primary visual attraction until 1984, when the group made a series of striking videos to accompany the singles from Heartbeat City. The videos for "You Might Think," "Magic," and "Drive" became MTV staples, sending the Cars to near-superstar status. Instead of following through with their success, the Cars slowly faded away, quietly breaking up after releasing one final album, a greatest hits compilation and one previously unreleased single in 1987 and a final hit "Tonight She Comes"

 

Ric Ocasek eventually married the supermodel Paulina Porizkova, the girl featured in the video of "Drive".

[countrystyle]

Mr. Briefcase by Lee Ritenour, Carly's Song by David Sanborn

and Streetlife ( I forget - The Crusaders ? ). This song

was used in a Burt Reynolds film, Sharky's Machine.

Dito yata nag-debut si Rachel Ward.

 

Sana nga magbalik yung mga jazz bars.

<{POST_SNAPBACK}>

 

Streetlife is by Randy Crawford, don't know if she's the original artist.

[melancholic_g28]

aerosmith comes in mind. gnr, maybe. poison, etc.

[Dr.Love]

Heart is hard rock lang.

[flyingdutchman]

Streetlife is by Randy Crawford, don't know if she's the original artist.

<{POST_SNAPBACK}>

 

Oo nga pala. Thanks for the correction.

[hitman531ph]

Jazz Fusion became widespread in the late 70s up to mid 80s.

 

Some classic hits made it big in the Philippines as well as the US pop charts.

 

It was a time when instrumentalists like David Benoit, Earl Klugh, Alphonse Mouzon, Dave Grusin, Chuck Mangione, Noel Pointer, Lee Ritenour became radio staples as well as becoming adapted into radio or TV commercials with their music on the background.

 

Jazz vocal artists made their mark as well such as Manhattan Transfer, Michael Franks, Patti Austin, George Benson, The Jones Girls became well known too

 

It was a time when Birds of the Same Feather was a popular jazz joint. It later changed its name to Birdland. (And eventually became the site of Ozone Disco)

 

It was also the time of WK-FM (DWWK-101.9FM). The station "Where Jazz Never Sounded Better". The station folded up in late 84 as part of the package of BBC (Banahaw Broadcasting Corp, Ch.2 prior to ABS-CBN's 1986 re-emergence) to then newly pirated acquisition Helen Vela from GMA 7. WK-FM became DWOK where Helen Vela ran the show. It became the first FM staion using Taglish as the language of the broadcasters. It became AM radio on FM. DWLM 105.1 Super Tunog Pinoy (which later changed format to New Wave and a new call sign afterwards) soon followed the footsteps of DWOK

 

After WK-FM closed down, jazz enthusiasts craved for jazz. Some other stations responded partially. In the mid to late 80s, 101.1 KISS-FM featured The Quiet Storm on Sundays. 99.5RT went jazz on Sundays for a brief period. And the former Super Tunog Pinoy now New Wave station Power 105 DZBM (also went jazz on Sundays (which later became 105.1 DWBM Crossover).

 

In the late 80s to early 90s, Citylite 88.3 emerged as a champion of jazz featuring jazz as the format of the station. The Intelligent Alternative was its slogan. In the mid-90s, with New Wave all gone, Power 105 became Crossover and played tracks very close to jazz fusion. Citylite later drifted into New Age music and veered away from jazz. Soonafter, 92.3 Joey (formerly DWFM 92.3 Most Requested Song) came close to Crossover 105's format.

 

Citylite was bought out and became JAM 88.3.

 

Nowadays, it's only Crossover and Joey that plays stuff that resembles the WK era. But KOOL 106 recently changed format and called itself Dream FM playing stuff that resembles Joey and Crossover.

 

Check it out

[hitman531ph]

THE LORDS OF THE NEW CHURCH

 

This New Wave underground band, led by Stiv Bator, got their cult status behind WXB102 airplay and also saw airtime in Power 105.

 

Their hits include METHOD TO MY MADNESS, DANCE WITH ME and their own rendition of Madonna's LIKE A VIRGIN all in the mid-80s.

 

Their album cover photographs always featured themes bordering on what others describe as satanic or macabre. Like the featured album below, IS NOTHING SACRED?

[hitman531ph]

THE CHURCH

(this is a different band from The Lords of the New Church)

 

Best known for the shimmering "Under the Milky Way," their lone Top 40 hit, the Australian band the Church combined the jangling guitar pop of '60s icons like the Byrds with the opaque wordplay of frontman Steve Kilbey to create a lush, melancholy brand of neo-psychedelia rich in texture and melody. Formed in Sydney in 1980 by vocalist/bassist Kilbey with guitarist Peter Koppes and drummer Nick Ward, the Church recruited second guitarist Marty Willson-Piper before debuting the following year with Of Skin and Heart, an evocative collection highlighted by the ringing "The Unguarded Moment," a major success down under.

 

After replacing Ward with drummer Richard Ploog, the group resurfaced in 1982 with The Blurred Crusade, a stunning effort featuring mature standouts like "Almost With You" and "When You Were Mine." 1983's Seance continued to refine the Church's atmospheric sound, and the subsequent success of the EPs Persia and Remote Luxury helped earn the band an American deal with Warner Bros., which issued the excellent Heyday in 1986. After moving to Arista, the Church teamed with famed session guitarists Danny Kortchmar and Waddy Wachtel to record 1988's Starfish, their most artistically and commercially successful effort to date. Highlighted by "Under the Milky Way," the album also featured the minor hits "Reptile" and "Spark," a marvelous pop blast penned by Willson-Piper.

[hitman531ph]

U2

 

Through a combination of zealous righteousness and post-punk experimentalism, U2 became one of the most popular rock & roll bands of the '80s. Equally known for their sweeping sound as for their grandiose statements about politics and religion, U2 were rock & roll crusaders during an era of synthesized pop and heavy metal. The Edge provided the group with a signature sound by creating sweeping sonic landscapes with his heavily processed, echoed guitars. Though the Edge's style wasn't conventional, the rhythm section of Adam Clayton and Larry Mullen Jr. played the songs as driving hard rock, giving the band a forceful, powerful edge that was designed for arena rock. And their lead singer, Bono, was a frontman who had a knack of grand gestures that played better in arenas than small clubs. It's no accident that footage of Bono parading with a white flag with "Sunday Bloody Sunday" blaring in the background became the defining moment of U2's early career -- there rarely was a band that believed so deeply in rock's potential for revolution as U2, and there rarely was a band that didn't care if they appeared foolish in the process. During the course of the early '80s, the group quickly built up a dedicated following through constant touring and a string of acclaimed records. By 1987, the band's following had grown large enough to propel them to the level of international superstars with the release of The Joshua Tree. Unlike many of their contemporaries, U2 were able to sustain their popularity in the '90s by reinventing themselves as a postmodern, self-consciously ironic dance-inflected pop/rock act, owing equally to the experimentalism of late-'70s Bowie and '90s electronic dance and techno. By performing such a successful reinvention, the band confirmed its status as one of the most popular bands in rock history, in addition to earning additional critical respect.

With its textured guitars, U2's sound was undeniably indebted to post-punk, so it's slightly ironic that the band formed in 1976, before punk had reached their hometown of Dublin, Ireland. Larry Mullen Jr. (born October 31, 1961; drums) posted a notice on a high-school bulletin board asking for fellow musicians to form a band. Bono (born Paul Hewson, May 10, 1960; vocals, guitar), the Edge (born David Evans, August 8, 1961; guitar, keyboards, vocals), Adam Clayton (born March 13, 1960; bass), and Dick Evans responded to the ad, and the group formed as a Beatles and Stones cover band called the Feedback, before changing their name to the Hype in 1977. Shortly afterward, Dick Evans left the band to form the Virgin Prunes. Following his departure, the group changed its name to U2.

 

U2's first big break arrived in 1978, when they won a talent contest sponsored by Guinness; the band were in their final year of high school at the time. By the end of the year, the Stranglers' manager, Paul McGuinness, saw the band play and offered to manage them. Even with a powerful manager in their corner, the band had trouble making much headway -- they failed an audition with CBS Records at the end of the year. In the fall of 1979, U2 released their debut EP, U2 Three. The EP was available only in Ireland, and it topped the national charts. Shortly afterward, they began to play in England, but they failed to gain much attention.

 

U2 had one other chart-topping single, "Another Day," in early 1980 before Island Records offered the group a contract. Later that year, the band's debut, Boy, was released. Produced by Steve Lillywhite, the record's sweeping, atmospheric but edgy sound was unlike most of its post-punk contemporaries, and the band earned further attention for its public embrace of Christianity; only Clayton was not a practicing Christian. Through constant touring, including opening gigs for Talking Heads and wet T-shirt contests, U2 were able to take Boy into the American Top 70 in early 1981. October, also produced by Lillywhite, followed in the fall, and it became their British breakthrough, reaching number 11 on the charts. By early 1983, Boy's "I Will Follow" and October's "Gloria" had become staples on MTV, which, along with their touring, gave the group a formidable cult following in the U.S.

 

Released in the spring of 1983, the Lillywhite-produced War was U2's breakthrough release, entering the U.K. charts at number one and elevating them into arenas in the United States, where the album peaked at number 12. War had a stronger political message than its predecessors, as evidenced by the U.K., college radio, and MTV hits "Sunday Bloody Sunday" and "New Year's Day." During the supporting tour, the band filmed its concert at Colorado's Red Rocks Amphitheater, releasing the show as an EP and video titled Under a Blood Red Sky. The EP entered in the U.K. charts at number two, becoming the most successful live recording in British history. U2 had become one of the most popular bands in the world, and their righteous political stance soon became replicated by many other bands, providing the impetus for the Band Aid and Live Aid projects in 1984 and 1985, respectively. For the follow-up to War, U2 entered the studios with co-producers Brian Eno and Daniel Lanois, who helped give the resulting album an experimental, atmospheric tone. Released in the fall of 1984, The Unforgettable Fire replicated the chart status of War, entering the U.K. charts at number one and reaching number 12 in the U.S. The album also generated the group's first Top 40 hit in America with the Martin Luther King Jr. tribute "(Pride) In the Name of Love." U2 supported the album with a successful international tour, highlighted by a show-stealing performance at Live Aid. Following the tour, the band released the live EP Wide Awake in America in 1985.

 

While U2 had become one of the most successful rock bands of the '80s, they didn't truly become superstars until the spring 1987 release of The Joshua Tree. Greeted with enthusiastic reviews, many of which proclaimed the album a masterpiece, The Joshua Tree became the band's first American number one hit and its third straight album to enter the U.K. charts at number one; in England, it set a record by going platinum within 28 hours. Generating the U.S. number one hits "With or Without You" and "I Still Haven't Found What I'm Looking For," The Joshua Tree and the group's supporting tour became the biggest success of 1987, earning the group the cover of respected publications like Time magazine. U2 decided to film a documentary about their American tour, recording new material along the way. The project became Rattle & Hum, a film that was supported by a double-album soundtrack that was divided between live tracks and new material. While the album Rattle & Hum was a hit, the record and film received the weakest reviews of U2's career, with many critics taking issue with the group's fascination with American roots music like blues, soul, country, and folk. Following the release of Rattle & Hum, the band took an extended hiatus.

 

U2 reconvened in Berlin 1990 to record a new album with Eno and Lanois. While the sessions for the album were difficult, the resulting record, Achtung Baby, represented a successful reinvention of the band's trademark sound. Where they had been inspired by post-punk in the early career and American music during their mid-career, U2 delved into electronic and dance music with Achtung Baby. Inspired equally by late-'70s Bowie and the Madchester scene in the U.K., Achtung Baby was sonically more eclectic and adventurous than U2's earlier work, and it didn't alienate their core audience. The album debuted at number one throughout the world and spawned Top Ten hits with "Mysterious Ways" and "One." Early in 1992, the group launched an elaborate tour to support Achtung Baby. Dubbed Zoo TV, the tour was an innovative blend of multimedia electronics, featuring a stage filled with televisions, suspended cars, and cellular phone calls. Bono devised an alter ego called the Fly, which was a knowing send-up of rock stardom. Even under the ironic guise of the Fly and Zoo TV, it was evident that U2 were looser and more fun than ever before, even though they had not abandoned their trademark righteous political anger.

 

Following the completion of the American Zoo TV tour in late 1992 and before the launch of the European leg of the tour, U2 entered the studio to complete an EP of new material that became the full-length Zooropa. Released in the summer of 1993 to coincide with the tour of the same name, Zooropa demonstrated a heavier techno and dance influence than Achtung Baby and it received strong reviews. Nevertheless, the album stalled at sales of two million and failed to generate a big hit single. During the Zooropa tour, the Fly metamorphosed into the demonic MacPhisto, which dominated the remainder of the tour. Upon the completion of the Zooropa tour in late 1993, the band took an extended break. During 1995, U2 re-emerged with "Hold Me, Thrill Me, Kiss Me, k*ll Me," a glam rock theme to Batman Forever that was produced by Nellee Hooper (Björk, Soul II Soul). Later that year, they recorded the collaborative album Original Soundtracks, Vol. 1 with Brian Eno, releasing the album under the name the Passengers late in 1995. It was greeted with a muted reception, both critically and commercially.

 

Many hardcore U2 fans, including drummer Larry Mullen Jr., were unhappy with the Passengers project, and U2 promised their next album, to be released in the fall of 1996, would be a rock & roll record. The album took longer to complete than usual, being pushed back to the spring of 1997. During its delay, a few tracks, including the forthcoming first single "Discotheque," were leaked, and it became clear that the new album was going to be heavily influenced by techno, dance, and electronic music. When it was finally released, Pop did indeed bear a heavier dance influence, but it was greeted with strong initial sales, as well as some of the strongest reviews of U2's career. In late 1998, the group returned with Best of 1980-1990, the first in a series of hits collections issued in conjunction with a reported 50 million dollar agreement with Polygram.

[Cain N Moko]

TALK TALK

 

With the exception of a handful of common threads -- chief among them the plaintive vocals and haunting lyrics of frontman Mark Hollis -- there is little to suggest that the five studio LPs which make up the Talk Talk oeuvre are indeed the work of the same band throughout. After beginning their career with records which virtually epitomize the new wave era which spawned them, the British group never looked back, making significant strides with each successive album on its way to discovering a wholly unique and uncategorizable sound informed by elements of jazz, classical, and ambient music; their masterful final recordings, while neglected commercially, possess a timelessness rare among music of any genre, and in retrospect they seem the clear starting point for the post-rock movement of the 1990s.

The story of Talk Talk begins with singer/songwriter Hollis, the younger brother of Ed Hollis, a disc jockey and producer who went on to manage such punk-era bands as Eddie & the Hot Rods. Mark originally planned to become a child psychologist, but in 1975, he left university to relocate to London, eventually forming a band called the Reaction; Ed Hollis called in a few favors, and in 1977, the Reaction recorded a demo tape for Island Records. Among the tracks was a Hollis original titled "Talk Talk," which later surfaced on the Beggars Banquet punk compilation Streets. After just one single, 1978's "I Can't Resist," the Reaction disbanded, and through his brother, Hollis was first introduced to bassist Paul Webb, drummer Lee Harris, and keyboardist Simon Brenner, with whom he formed Talk Talk in 1981.

 

After recording a number of demos with producer Jimmy Miller, Talk Talk signed to EMI, who assigned Duran Duran producer Colin Thurston to helm their first two singles, "Mirror Man" and "Talk Talk." Clearly, EMI's intent was to mold the band in the spirit of the new romantic movement, and toward that end, they also tapped Talk Talk as the opener on Duran Duran's 1982 U.K. tour. Their debut LP, The Party's Over, was indeed a product of its times, defined by contemporary synth pop sensibilities but with an honesty and lyrical depth absent from most other records of the moment. In 1983, Talk Talk resurfaced with the single "My Foolish Friend," which in itself marked a major leap from the first record with its denser and more mature sound; the subsequent dismissal of Brenner made it plain that the band's days of relying on synthesizers were over for good.

 

The remainder of 1983 was spent writing and recording It's My Life, Talk Talk's breakthrough recording. The turning point was the arrival of producer and multi-instrumentalist Tim Friese-Greene, who was to remain an unofficial fourth member of the band for the remainder of its existence. In Friese-Greene, Hollis found the ideal partner to realize his ambitions; It's My Life made major strides away from The Party's Over, rejecting the debut's new wave trappings in favor of richer, more natural textures. The gambit worked, with the title track becoming a hit on both sides of the Atlantic. 1986's The Colour of Spring continued the trend, and on the strength of the smashes "Life Is What You Make of It" and "Give It Up," it became Talk Talk's best-selling album to date. A major world tour followed, with EMI allotting an enormous budget for the group's next effort.

 

In 1987, Talk Talk settled into an abandoned Suffolk church to begin working on their fourth LP; EMI executives eagerly awaited the finished product -- and they were to continue waiting, as the group worked far past its deadline, seemingly with no end in sight. Already well over budget, Hollis refused to allow label heads any advance tapes, and informed EMI that not only would there be no singles from the record, but that the group would be unable to recreate the complex arrangements on-stage and, as a consequence, would perform no live dates in support of the disc's release. Finally, after some 14 months in the studio, Spirit of Eden was issued to thunderous critical acclaim, albeit little commercial interest; an intricate, meditative work, it bore little resemblance to standard pop music, with its lengthy songs and spacious, organic arrangements perhaps closest in theme and texture to jazz.

 

With relations between EMI and Talk Talk already at their breaking point, the label made the decision to issue an edited single version of the Spirit of Eden track "I Believe in You" without the band's consent; EMI then attempted to drop the group from their roster, although their contract had not yet expired. Talk Talk then sued the label; improbably enough, EMI countersued, claiming breach of contract. The band eventually prevailed in court, later signing to Polydor to begin work on its next LP; Paul Webb subsequently left Talk Talk, and the masterful Laughing Stock was recorded primarily with guest musicians. Issued in 1991, the LP marked a complete break from convention, adopting an almost free-form aesthetic; however, it was also Talk Talk's final work -- in 1992, Webb and Harris reunited in 'O'Rang, while Hollis disappeared from view, finally issuing his self-titled solo debut in early 1998. A live Talk Talk release, London 1986, appeared in 1999.

[Cain N Moko]

CROWDED HOUSE

 

An institution in their homeland, a two-hit wonder in the U.S., and, during the last half of their ten-year career, bona fide stars in the U.K. and most of Europe, Crowded House recorded some of the best pop music of the late '80s and early '90s. Leader Neil Finn's carefully crafted songs, meticulous eye for lyrical detail, and gift for melody are matched by few other songwriters.

Crowded House formed in 1985 when Neil Finn dissolved Split Enz rather than carry on after his brother Tim, the group's founding member, left to pursue a solo career. Instead of carrying through with the new wave direction of latter-day Split Enz, Neil moved in favor of a stripped-down, back-to-basics combo featuring ex-Enz drummer Paul Hester, bassist Nick Seymour, and guitarist Craig Hooper. Initially, the group dubbed itself after Finn's middle name, touring Australia and recording demos under the name the Mullanes; Hooper was dropped shortly after this formative period. In June of 1985, the group headed to Los Angeles to shop for a record label, eventually signing with Capitol Records. Capitol requested that the band change its name and the group settled on Crowded House, a reflection of the bandmembers' living conditions in L.A. They began work on their debut, enlisting the help of then-unknown producer Mitchell Froom. A partnership between the band and the producer formed, making Froom nearly a fourth member. The partnership benefited both the band and the producer -- the band was helped by Froom's direct approach and more "American" sound as well as his input as a musician, and Froom was able to build a career as a high-profile producer.

 

Crowded House's self-titled debut didn't gain much attention upon its release in the summer of 1986, due to insufficient promotion from Capitol Records. In wake of the weak support from Capitol, the bandmembers took matters into their own hands. Rather than setting out on an expensive large-scale tour, the group took a more low-profile route, playing acoustic sets for industry insiders and for small crowds at ethnic restaurants and in record stores. This unorthodox approach began a buzz within the industry. On the talk-show circuit, they won over American and Canadian audiences with their charm and wit as well as their wacky antics. By February of 1987, the album broke into the American Top 40, eventually peaking at number 12. The album spawned the number two hit single "Don't Dream It's Over" and "Something So Strong," which reached number seven. In Australia and New Zealand, multi-platinum success followed.

 

Released in 1988, Temple of Low Men was anything but a sophomore slump -- Neil Finn's new songs were among his finest, showcasing a notable progression in his songcraft. The album's slightly darker material, however, made for a more difficult listen and, although the material was stronger, the record lacked the immediate appeal of the debut. This, coupled with Capitol's lack of promotional support, led to disappointing sales -- the album barely broke the U.S. Top 40 and the single, "Better Be Home Soon," stalled at number 42. Since hope had basically run out for the album, they abandoned plans for a major U.S. tour. A three-month break in touring revitalized the band for a well-received Australian and Canadian tour, but by mid-1989 the band had effectively broken up.

 

Late in 1989, Neil reunited with his brother Tim and the duo began writing songs together for the first time, with the intention of releasing the material on a proposed Finn Brothers album. The collaboration was successful and the duo was prolific, writing 14 songs in a very short time. After the initial sessions with Tim, Neil began working on a new set of songs, designed for the next Crowded House album, but he soon found the new material unsatisfactory. Neil decided to combine the better moments of the Finn Brothers project and the scrapped third album, adding his brother as a fourth member of Crowded House

[Cain N Moko]

INXS

 

INXS hailed from the pubs of Australia, which is part of the reason they never comfortably fit in with new wave. Even when the band branched out into synth pop on its early recordings, they were underpinned by a hard, Stonesy beat and lead singer Michael Hutchence's Jagger-esque strut. Ultimately, these were the very things that made INXS into international superstars in the late '80s. By that time, the group had harnessed their hard rock, dance, and new wave influences into a sleek, stylish groove that made their 1987 album Kick into a multi-million-selling hit. While that sound was their key to stardom, it also proved to be their undoing; the group became boxed in by their Stonesy pop-funk in the early '90s, when their audience became entranced by harder-edged alternative rock. In spite of declining sales, INXS soldiered on, continuing to tour and record for a dedicated fan base into the late '90s until Hutchence's 1997 death brought the band to a close.

Appropriately for a band that featured three brothers, INXS had its roots in a family act, the Farriss Brothers. The group came together while Andrew Farriss (keyboard, guitar), the middle brother, was in high school with Michael Hutchence (vocals). The two formed a band with Gary Beers (bass). Simultaneously, Tim Farriss (guitar) was playing in various groups with his friend, Kirk Pengilly (guitar, saxophone). Eventually the two groups merged in 1977, with Jon Farriss joining as drummer. Two years later, when Jon graduated from high school, the band renamed itself INXS, moved from Perth to Sydney, and began to play the pub circuit. Within a year, the group landed an Australian record contract, releasing an eponymous debut on Deluxe in 1980.

 

INXS and Underneath the Colours (1981) became Australasian hits, leading the band to an American contract with Atco Records. In 1983, they released their U.S. debut, Shabooh Shoobah, and embarked on an extensive tour which, thanks to the hit single "Don't Change," made them minor new wave stars. For their next album, INXS recorded a few sessions with producer Nile Rodgers, which resulted in the sleek, funky "Original Sin," the first inclination that the band was making a move toward a fusion of Stonesy rock and dance music. "Original Sin" made 1984's The Swing a minor hit, yet the group didn't have a genuine mainstream breakthrough until 1985's Listen Like Thieves, which climbed to number 11 in the U.S. on the strength of the single "What You Need."

 

Listen Like Thieves laid the groundwork for Kick, the album that made INXS international superstars. Released late in 1987, Kick worked its way to multi-platinum status over the course of 1988, as four singles -- the number one "Need You Tonight," "Devil Inside," "New Sensation," and "Never Tear Us Apart" -- climbed into the U.S. Top Ten. In the wake of the album's success, Hutchence was hailed in some quarters as the heir to Jagger's throne, and the group was considered to rival U2 in terms of international popularity. However, such success went to the group's head. Hutchence released the "experimental" side project Max Q in early 1990, and the record tanked. X, INXS' follow-up to Kick, appeared in the fall of 1990 to mostly negative reviews. While the album generated several hits, including "Disappear" and "Bitter Tears," only its first single, "Suicide Blonde," reached the Top Ten in the U.S., and the sales of X were disappointing when compared to Kick.

 

X hurt INXS' momentum considerably. Although the group was still quite popular on its accompanying tour -- the 1991 live album Live Baby Live was recorded at Wembley Stadium -- the group could no longer be considered in the same league as U2 or R.E.M. Hutchence continued to live a jet-setting lifestyle, dating Kylie Minogue and various supermodels, which did not wear well in the wake of alternative rock's commercial breakthrough in 1992. By the time INXS released Welcome to Wherever You Are, the group's most adventurous record, they were out of date in 1992, and even a rash of reviews that compared the record favorably to U2's Achtung Baby couldn't make it a hit. Full Moon, Dirty Hearts followed in 1993, and it was generally ignored. Following its release, the group left Atlantic, releasing Greatest Hits as its last album for the label.

 

INXS signed with PolyGram in 1994, yet it took them three years to release a new album. During that time, Hutchence was involved in several tabloid scandals, most notably his love affair with British TV personality Paula Yates (which brought an end to her marriage to Bob Geldof), and he hinted that he was recording a solo album. That record didn't materialize, but INXS returned in the spring of 1997 with Elegantly Wasted. While the album was greeted with poor reviews, its hedonistic dance-rock was better suited to the late '90s than the early '90s, which made the record the group's biggest hit since X. On November 22 of that year, Hutchence was found dead in his Sydney hotel room, the victim of an apparent hanging; his long-in-the-works solo debut was posthumously issued in late 1999.

 

INXS is probably the most successful Australian band and has been identified as a national symbol. The band played at the farewell party of the 2000 Summer Olympics at Sydney. Even without Michael Hutchence, the world partied to the music of INXS.

 

Today, INXS is looking for a new vocalist with the TV show Rockstar: INXS

[grecogrec]

Ahh! just loved East St. Louie melody by Noel Pointer!

[moymoy]

Crazy for you by Madonna

[revi]

Here's my fave list of Glam Bands:

 

1) GN'R :evil:

2) Skid Row

3) Def Leppard

4) Poison

5) Slaughter

6) Mr. Big

7) Extreme

8) Motley Crue

9) Aerosmith

10)White Lion

11)Kix

12)Damn Yankees

13)Van Halen

14)Black Crowes

 

:evil: GN'R, for me, made "heavy metal" a household term.. kaya nga hard rock heroes ang tawag sa kanila noon.

 

High School/College days ang mga ito.. but I usually listen to thrash/speed metal at that time.. (e.g. Sepultura, Slayer, Megadeth..) Kapag gusto makinig ng mellow music that when I listen to Glam..

 

Peace, peeps!!!