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

[monski_1978]

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!!!

<{POST_SNAPBACK}>

 

heheh nadale mo tol

[hitman531ph]

MADONNA

 

After a star reaches a certain point, it's easy to forget what they became famous for and concentrate solely on their persona. Madonna is such a star. Madonna rocketed to stardom so quickly in 1984 that it obscured most of her musical virtues. Appreciating her music became even more difficult as the decade wore on, as discussing her lifestyle became more common than discussing her music. However, one of Madonna's greatest achievements is how she manipulated the media and the public with her music, her videos, her publicity, and her sexuality. Arguably, Madonna was the first female pop star to have complete control of her music and image.

Madonna moved from her native Michigan to New York in 1977, with dreams of becoming a ballet dancer. She studied with choreographer Alvin Ailey and modeled. In 1979, she became part of the Patrick Hernandez Revue, a disco outfit who had the hit "Born to Be Alive." She traveled to Paris with Hernandez; it was there that she met Dan Gilroy, who would soon become her boyfriend. Upon returning to New York, the pair formed the Breakfast Club, a pop/dance group. Madonna originally played drums for the band, but she soon became the lead singer. In 1980, she left the band and formed Emmy with her former boyfriend, drummer Stephen Bray. Soon, Bray and Madonna broke off from the group and began working on some dance/disco-oriented tracks. A demo tape of these tracks worked its way to Mark Kamins, a New York-based DJ/producer. Kamins directed the tape to Sire Records, who signed the singer during 1982.

 

Kamins produced Madonna's first single, "Everybody," which became a club and dance hit at the end of 1982; her second single, 1983's "Physical Attraction," was another club hit. In June of 1983, she had her third club hit with the bubbly "Holiday," which was written by Jellybean Benitez. Madonna's self-titled debut album was released in September of 1983; "Holiday" became her first Top 40 hit the following month. "Borderline" became her first Top Ten hit in March of 1984, beginning a remarkable string of 17 consecutive Top Ten hits. While "Lucky Star" was climbing to number four, Madonna began working on her first starring role in a feature film, Susan Seidelman's Desperately Seeking Susan.

 

Madonna's second album, the Niles Rodgers-produced Like a Virgin, was released at the end of 1984. The title track hit number one in December, staying at the top of the charts for six weeks; it was the start of a whirlwind year for the singer. During 1985, Madonna became an international celebrity, selling millions of records on the strength of her stylish, sexy videos, and forceful personality. After "Material Girl" became a number two hit in March, Madonna began her first tour, supported by the Beastie Boys. "Crazy for You" became her second number one single in May. Desperately Seeking Susan was released in July, becoming a box-office hit; it also prompted a planned video release of A Certain Sacrifice, a low-budget erotic drama she filmed in 1979. A Certain Sacrifice wasn't the only embarrassing skeleton in the closet dragged into the light during the summer of 1985 -- both Playboy and Penthouse published nude photos of Madonna that she posed for in 1977. Nevertheless, her popularity continued unabated, with thousands of teenage girls adopting her sexy appearance, being dubbed "Madonna Wannabes." In August, she married actor Sean Penn; the couple had a rocky marriage that ended in 1989.

 

Madonna began collaborating with Patrick Leonard at the beginning of 1986; Leonard would co-write most of her biggest hits in the '80s, including "Live to Tell," which hit number one in June of 1986. A more ambitious and accomplished record than her two previous albums, True Blue was released the following month, to both more massive commercial success (it was a number one in both the U.S. and the U.K., selling over five million copies in America alone) and critical acclaim. "Papa Don't Preach" became her fourth number one hit in the U.S. While her musical career was thriving, her film career took a savage hit with the November release of Shanghai Surprise. Starring Madonna and Sean Penn, the comedy received terrible reviews, which translated into disastrous box-office returns.

 

At the beginning of 1987, she had her fifth number one single with "Open Your Heart," the third number one from True Blue alone. The title cut from the soundtrack of her third feature film, Who's That Girl?, was another chart-topping hit, although the film itself was another box-office bomb. 1988 was a relatively quiet year for Madonna, as she spent the first half of the year acting in David Mamet's Speed the Plow on Broadway. In the meantime, she released the remix album You Can Dance. After withdrawing the divorce papers she filed at the beginning of 1988, she divorced Penn at the beginning of 1989.

 

Like a Prayer, released in the spring of 1989, was her most ambitious and far-reaching album, incorporating elements of pop, rock, and dance. It was another number one hit and launched the number-one title track, and "Express Yourself," "Cherish," and "Keep It Together," three more Top Ten hits. In April 1990, she began her massive Blonde Ambition tour, which ran throughout the entire year. "Vogue" became a number one hit in May, setting the stage for her co-starring role in Warren Beatty's Dick Tracy; it was her most successful film appearance since Desperately Seeking Susan. Madonna released a greatest-hits album, The Immaculate Collection, at the end of the year. It featured two new songs, including the number one single "Justify My Love," which sparked another controversy with its sexy video; the second new song, "Rescue Me," became the highest-debuting single by a female artist in U.S. chart history, entering the charts at number 15. Truth or Dare, a documentary of the Blonde Ambition tour, was released to positive reviews and strong ticket sales during the spring of 1991.

 

Madonna returned to the charts in the summer of 1992 with the number one "This Used to Be My Playground," a single featured in the film A League of Their Own, which featured the singer in a small part. Later that year, Madonna released Sex, an expensive, steel-bound soft-core pornographic book that featured hundreds of erotic photographs of herself, several models, and other celebrities -- including Isabella Rossellini, Big Daddy Kane, Naomi Campbell, and Vanilla Ice -- as well as selected prose. Sex received scathing reviews and enormous negative publicity, yet that didn't stop the accompanying album, Erotica, from selling over two million copies. Bedtime Stories, released two years later, was a more subdued affair than Erotica. Initially, it didn't chart as impressively, prompting some critics to label her a has-been, yet the album spawned her biggest hit, "Take a Bow," which spent seven weeks at number one. It also featured the Björk-penned "Bedtime Stories," which became her first single not to make the Top 40; its follow-up, "Human Nature," also failed to crack the Top 40. Nevertheless, Bedtime Stories, marked her seventh album to go multi-platinum.

 

Beginning in 1995, Madonna began one of her most subtle image makeovers as she lobbied for the title role in the film adaptation of Andrew Lloyd Webber's Evita. Backing away from the overt sexuality of Erotica and Bedtime Stories, Madonna recast herself as an upscale sophisticate, and the compilation Something to Remember fit into the plan nicely. Released in the fall of 1995, around the same time she won the coveted role of Evita Peron, the album was comprised entirely of ballads, designed to appeal to the mature audience that would also be the target of Evita. As the filming completed, Madonna announced she was pregnant and her daughter, Lourdes, was born late in 1996, just as Evita was scheduled for release. The movie was greeted with generally positive reviews and Madonna began a campaign for an Oscar nomination that resulted in her winning the Golden Globe for Best Actress (Musical or Comedy), but not the coveted Academy Award nomination. The soundtrack for Evita, however, was a modest hit, with a dance remix of "Don't Cry for Me Argentina" and the newly written "You Must Love Me" both becoming hits.

 

During 1997, she worked with producer William Orbit on her first album of new material since 1994's Bedtime Stories. The resulting record, Ray of Light, was heavily influenced by electronica, techno, and trip-hop, thereby updating her classic dance-pop sound for the late '90s. Ray of Light received uniformly excellent reviews upon its March 1998 release and debuted at number two on the charts. Within a month, the record was shaping up to be her biggest album since Like a Prayer. Two years later she returned with Music, which reunited her with Orbit and also featured production work from Mark "Spike" Stent and Mirwais, a French electro-pop producer/musician in the vein of Daft Punk and Air. The year 2000 also saw the birth of Madonna's second child, Rocco, who she had with filmmaker Guy Richie; the two married at the very end of the year

Edited September 19, 2005 by hitman531ph

[hitman531ph]

MR. MISTER

 

A product of the L.A. session-musician community (which also produced the harder-rocking Toto), Mr. Mister enjoyed a brief but massive burst of popularity during the mid-'80s, crafting an atmospheric, vaguely progressive variation on slick, radio-ready pop/rock. While they disappeared almost as quickly as they arrived on the scene, their two number one hits, "Broken Wings" and "Kyrie," remain enduring classics of '80s mainstream pop.

Mr. Mister was formed in 1982 by bassist/lead vocalist Richard Page and keyboardist/vocalist Steve George, boyhood friends from Phoenix, AZ, and accomplished session men. The two had previously played together in a jazz fusion outfit called Pages, which recorded three major-label albums from 1979-1981 (the final one being more pop/rock-oriented). Plagued by a lack of sales, an abundance of personnel shifts, and an uncertainty over direction, the group disbanded by the end of 1981, and Page and George returned to their session careers (they'd previously done vocals on Village People records, among others). The two wrote songs and offered backup for artists including REO Speedwagon, John Parr, Chaka Khan, the Pointer Sisters, Donna Summer, Al Jarreau, and Kenny Loggins, and conceived the idea for their own band while on tour with Andy Gibb. The first to join was guitarist Steve Farris, who had been working with Eddie Money; next was drummer Pat Mastelotto, who had done numerous sessions for producer Mike Chapman. Page's cousin, lyricist John Lang, was invited to collaborate on material as he had done for Pages, and the group quickly landed a deal with RCA on the strength of several showcase concerts.

 

Mr. Mister's debut album, I Wear the Face, was released in 1984, producing one chart single, "Hunters of the Night," which failed to reach the Top 40. It didn't sell very well, which made the band's breakthrough with their sophomore effort all the more surprising. Welcome to the Real World, issued in May 1985, perfected the band's blend of Genesis-style pop, swirling keyboard textures, slightly spiritual lyrics, and polished studio craft. Page had turned down offers to join Toto and Chicago, and his faith in Mr. Mister was justified with the release of the album's first single, "Broken Wings." It took a few months to catch on, but helped by the band's prominent tour slots, it climbed all the way to the top of the pop charts before year's end, and was nominated for a Grammy for Best Pop Vocal Group. The follow-up, "Kyrie," duplicated that feat in March 1986, and Welcome to the Real World topped the album charts the same week, on its way to platinum sales. Third single "Is It Love" reached the Top Ten, and the band consolidated their success with appearances at several awards shows and benefit concerts.

 

Work on their third album was slowed by Mastelotto's back problems, and once song selection was completed, lyricist Lang moved to New York to attend graduate school. The album, Go On, was released in fall 1987; its lead single, "Something Real (Inside Me/Inside You)," barely scraped the Top 30, despite its appearance on Miami Vice. Second single "Healing Waters" was released only in Europe, yet still managed a Grammy nomination for Best Gospel Performance, Duo or Group. "Stand and Deliver," originally intended for Tina Turner, was used in the Edward James Olmos film of the same name; still, Go On simply couldn't catch hold the way its predecessor had. Disagreements between Page and Farris led to the latter's departure from the group in July 1988. Mr. Mister never settled on a permanent replacement, using Trevor Rabin and Buzzy Feiten in their subsequent recording sessions. Those sessions were dedicated to what was to be the band's fourth album, Pull; however, an RCA roster purge left them homeless, and the record was deemed too proggy and uncommercial to be picked up by any other label (it still has not been officially released). Before the end of 1989, Mr. Mister decided to break up.

 

Still, the individual members' musical pedigrees ensured that they wouldn't be wanting for work. Mastelotto played drums on XTC's Oranges and Lemons (among many other albums), and joined King Crimson in 1994; he also plays in the progressive/experimental rock band Mastica. Page co-wrote Madonna's 1994 hit ballad "I'll Remember," which led to his forming the group Third Matinee with Madonna producer Patrick Leonard. They released an album in 1994 but broke up the following year, and Page issued his solo debut, Shelter Me, in 1996; he eventually moved into Disney musicals, among other vocal gigs. Lang formed the post-grunge band Djinn, which released Radio Beirut in 1995. George served as Kenny Loggins' music director from 1991-1997, and subsequently toured with Jewel. Farris toured with Whitesnake in 1997, and recorded with Tori Amos, 4 Non Blondes, and others

[nelsanzibar]

Amen to that...

 

Here are the artist that catches my fancy to date. You might want to check them out...

 

Chris Botti, Jeff Golub, Craig Chaquico

[countrystyle]

May nadiskubre ako kagabi! There's a jazz night at Freedom Bar, Anonas, Cubao every Monday. If you like the heavy stuff - hardcore jazz ala Chick Corea - you wil definitely enjoy the music here. It's probably the best live jazz you can find in the Philippines, they're some of the best jazz musicians in the country right now. The pianist is Elmir Saison, brother of the once famous Ella May. I don't know the name of the others. Truly world class. Sadly wala yata silang ibang regular gigs.

[Cain N Moko]

THE BANGLES

 

Originally "Colours," "the Supersonic Bangs" and "the Bangs", the all singing/all performing four-woman the Bangles formed in 1981 and sprung from the L.A. paisley underground scene. Later they traded their garage band roots for a slick, heavily-produced pop sound that turned them into one of the most successful chart groups of either gender during the '80s.

In the beginning, the group played original, '60s-based guitar rock, and were fond of covering Big Star, the Merry Go Round and Love. Sisters Debbi and Vicki Peterson on drums and bass respectively, and singer/guitarist Susanna Hoffs started the group when the sisters responded to a want-ad placed by Hoffs; later they added Annette Zilinskas on bass.

 

The scruffy girl group self-released the single "Getting Out of Hand," which sounded like a lost song by the Mamas and the Papas and followed it with a loose, four-song pop EP on IRS before getting signed to Columbia. All Over the Place was produced by David Kahne and released in 1984, once the band had been given an all-over clean-up. By that time, Zilinskas had left the fold to join Blood on the Saddle and former Runaway Michael Steele was added to the lineup.

 

For the second album, 1985's Different Light, the band were aided by Prince (or "Christopher," as he was known during that phase) with his song "Manic Monday," which charted at number two, a Top 20 hit "If She Knew What She Wants" and a follow-up smash, "Walk Like an Egyptian," which went to number one and sent the album to the top of the charts. There was a sexist assumption among some critics that the successful female group couldn't really play and needed studio and live assistance, but as with any slick chart band, sessionmen were in fact credited, beginning on the second album. Future Black Crowes' producer George Drakoulias was enlisted to play the guitar lead for their next single, a cover of Simon & Garfunkel's "Hazy Shade of Winter," from the Less Than Zero soundtrack which reached number one in 1987. At the same time, Hoffs appeared in a b-movie, The Allnighter, and it garnered the band some undesirable attention, but the follow-up album, Everything, spawned another number one, "Eternal Flame," in 1988.

 

The band packed it in due to the usual artistic differences in 1989 -- the Peterson's sibling harmonies were what gave the group their unique sound, but singer Susanna Hoffs was often considered the focal point and it contributed to the tension. Vicki Peterson sang with the Continental Drifters and filled in for Charlotte Caffey during 1994's Go-Go's reunion tour; Hoffs recorded two solo albums since the band's breakup, When You're a Boy in 1991 and a self-titled record in 1996, while Debbie Peterson and Steele continued to work with various alternative pop groups. The Bangles officially re-formed in the summer of 2000, announcing tour dates and plans for a new studio album.

[Cain N Moko]

THE GO-GO'S

 

The Go-Go's were the most popular all-female band to emerge from the punk/new wave explosion of the late '70s and early '80s, becoming one of the first commercially successful female groups that wasn't controlled by male producers or managers. While their hit singles -- "We Got the Beat," "Our Lips Are Sealed," "Vacation," "Head Over Heels" -- were bright, energetic new wave pop, the group was an integral part of the Californian punk scene. And they did play punk rock, even if many of their rougher edges were ironed out by the time they recorded their first album, 1981's Beauty and the Beat. Even as they became America's darlings, the Go-Go's lived the wild life of rockers, swallowing as many pills and taking as much cocaine as possible, trashing hotel rooms, and just generally being bad. More importantly, their earliest music -- now collected on Return to the Valley of the Go-Go's -- was raw and rocking; it may not have directly inspired the female alternative rockers and riot grrrls of the '90s, but it certainly foreshadowed it.

Originally formed in 1978 as the Misfits, the group featured Belinda Carlisle (vocals), Jane Wiedlin (guitar, vocals), Charlotte Caffey (lead guitar, keyboards), Margot Olaverra (bass), and Elissa Bello (drums); the group soon changed their name to the Go-Go's and began playing local parties and small clubs in California. In 1979, Gina Schock became the group's drummer. During that year, the band recorded a demo and supported the British ska revival group Madness in both Los Angeles and England. The Go-Go's spent half of 1980 touring England, earning a sizable following and releasing "We Got the Beat" on Stiff Records. An import copy of "We Got the Beat" became an underground club hit in the U.S., which meant the band was popular enough to sell out concerts, yet they had a difficult time landing a record contract.

 

At the end of 1980, bassist Olaverra became ill and had to stop performing; she was replaced by Kathy Valentine, a guitarist who had never played bass before. Early in 1981, the Go-Go's signed with IRS Records. Released in the summer of 1981, their debut album, Beauty and the Beat, became one of the surprise hits of the year, staying at number one for six weeks and selling over two million copies; "Our Lips Are Sealed" hit number 20 and a re-recorded version of "We Got the Beat" spent three weeks at number two.

 

The following year, the group released Vacation. Although it sold well -- the album made the Top Ten and it went gold, spawning the Top Ten hit single "Vacation" -- it failed to keep the momentum of the first record. During the next year the band was unable to perform as Caffey recovered from a broken wrist. In 1984, the Go-Go's returned with Talk Show, their most musically ambitious album. While it had two Top 40 hits -- the number 11 "Head Over Heels" and "Turn to You" -- it failed to even go gold. By the end of the year, Wiedlin had left the band; the Go-Go's broke up in May of 1985. Belinda Carlisle became the most successful solo artist, scoring a string of mainstream pop singles in the late '80s, including the number one single "Heaven Is a Place on Earth." For a while, Charlotte Caffey was in Carlisle's backing group; she eventually formed the Graces, who released Perfect View in 1990. Jane Wiedlin recorded two solo albums and acted in a few films. Wiedlin also organized the group's brief 1990 reunion, where they performed at a benefit for People for the Ethical Treatment of Animals; they also recorded a version of "Cool Jerk" for their 1990 Greatest Hits album. The Go-Go's reunited once more in 1994, recording three new songs for the double-disc compilation Return of the Valley of the Go-Go's; after recording the songs, the group decided to continue as a full-time unit. In 2000, they appeared on VH1's Behind The Music series and released an accompanying best-of album, VH1 Behind The Music: Go-Go's Collection

 

Photos: Go-Go's Talk Show album in 1984 (right)

Go-Go's reunion 2001 (left)

Edited September 22, 2005 by Cain N Moko

[hitman531ph]

SWING OUT SISTER

 

Although Swing Out Sister's music is unashamedly commercial pop, their impeccable indie credentials (keyboardist Andy Connell and drummer Martin Jackson were formerly of A Certain Ratio and Magazine, and singer Corrine Drewery had no professional experience at all before joining), jazz-tinged arrangements, and knack for clever hooks move them closer to the indie dance territory of St. Etienne or late period Everything but the Girl than to the cookie-cutter dance-pop of Kylie Minogue or Paula Abdul.

Connell and Jackson formed Swing Out Sister in their hometown of Manchester, England, in 1985 as a studio-based partnership set to refine the jazzy funk of A Certain Ratio and Magazine's quirky reimaginings of old-fashioned middle-of-the-road pop. Nottingham-born singer Drewery joined the duo just in time for their first single, "Blue Mood," in late 1985. That single didn't do much, but the follow-up, "Breakout," was a Top Ten hit in Great Britain and Japan in the fall of 1986. The trio belatedly completed their debut album, It's Better to Travel, in 1987; its U.S. release scored a pair of hits with "Breakout" and "Twilight World." Jackson demoted himself to a partial contributor on 1989's Kaleidoscope World, which emphasized the remaining duo's debt to lush '60s pop by hiring the legendary Jim Webb to arrange and conduct the orchestra. Though the singles "You On My Mind" and "Waiting Game" were U.K. hits, the album didn't attract much attention in the U.S. In Japan, however, both albums were big enough hits that a special Japan-only collection of remixes, Another Non-Stop Sister, was released in late 1989, followed by the similar Swing 3 in 1990, which also collected early B-sides and other rare tracks.

 

1992's Get In Touch With Yourself returned Drewery and Connell (Jackson had by this time bowed out completely) to the U.S. and U.K. charts with their cover of Barbara Acklin's "Am I the Same Girl," a '60s pop hit based on the famous instrumental "Soulful Strut" by Young-Holt Unlimited. The single was even bigger in Japan, where Swing Out Sister was by this time one of the most popular acts in the country. Another remix compilation, Swing Out Singles, and a live album, Live at the Jazz Cafe, were released in Japan that year. After 1994's The Living Return failed to chart in Great Britain, the U.K. office of Mercury Records put out 1996's The Best of Swing Out Sister but failed to release 1997's Shapes and Patterns, 1999's Filth and Dreams, or 2001's Somewhere Deep in the Night in the duo's native country. This despite Swing Out Sister's continued success in Japan and a devoted cult following in the U.S. and Europe. EMI was the worldwide label for 2004's Where Our Love Grows

[Guest airmax]

i think they became famous in the mid 80's

[Cradle of Filth]

GNR IN DA VINCI CODE MOVIE SOUNDTRACK

 

According to a recent article published by the Canyon News, GUNS N' ROSES frontman Axl Rose told a fan in Malibu, California a few weeks ago that the group's long-awaited new album, "Chinese Democracy" will be released early next year. In addition, he allegedly revealed that GUNS N' ROSES are looking to put a new song on "The Da Vinci Code" movie soundtrack. The film (more information), based on Dan Brown's controversial best-selling novel, is currently in production and stars Tom Hanks.

[Immortal666]

Tagal na niyang "Chinese Democracy" album ng GNR di pa rin mailabas labas a. Mga five years ko na yata narinig na ilalabas na yan pero hanggang ngayon wala pa rin.

[cruesome]

di na yata ako excited. may track sila na kinanta sa VMA awards yata yun, sagwa, di ko ma take, ewan ko lang siguro na badtrip lang ako sa attitude na axl (though one of my faves yung GNR). anyway mag release nito locally siguro bibilhin ko pa din

[revi]

di na yata ako excited. may track sila na kinanta sa VMA awards yata yun, sagwa, di ko ma take, ewan ko lang siguro na badtrip lang ako sa attitude na axl (though one of my faves yung GNR).  anyway mag release nito locally siguro bibilhin ko pa din 

<{POST_SNAPBACK}>

 

Dude, di ba Velvet Revolver na sina Slash and Duff McKagan? Sino kasama sa GNR ni Axl?

 

Sayang ang Guns N' Roses.. when they kicked out Izzy Stradlin --- they lost their focus.. parang hindi na sila makapagsulat ng mga magagandang music. According to some reports, Stradlin was their glue.. E syempre attitude wise.. sira ulo si Axl eh.. napunta yata sa utak niya ang kasikatan.. Buti pa ang Metallica mas nauna pa sa kanila hanggang ngayon buhay pa.. atsaka andun pa yung 2 core member si Hetfield and Ulrich --- hindi nag-aaway dahil siguro hindi nagpapataasan ng ihi..

[cruesome]

Dude, di ba Velvet Revolver na sina Slash and Duff McKagan? Sino kasama sa GNR ni Axl?

 

Sayang ang Guns N' Roses.. when they kicked out Izzy Stradlin --- they lost their focus.. parang hindi na sila makapagsulat ng mga magagandang music.  According to some reports, Stradlin was their glue.. E syempre attitude wise.. sira ulo si Axl eh.. napunta yata sa utak niya ang kasikatan.. Buti pa ang Metallica mas nauna pa sa kanila hanggang ngayon buhay pa.. atsaka andun pa yung 2 core member si Hetfield and Ulrich --- hindi nag-aaway dahil siguro hindi nagpapataasan ng ihi.. 

<{POST_SNAPBACK}>

 

kasama si matt sorum sa velvet (izzy was considered but "he was never serious to stay" sabi ni slash, altho they are in good terms).

 

si axl na lang orig sa gnr line-up:

 

W. Axl Rose (Lead Vocals, Piano, Programming)

Dizzy Reed (Keyboards, programming)

Tommy Stinson (Bass)

Robin Finck (Lead guitar)

Richard Fortus (Rhythm guitar)

Buckethead (Lead Guitar)

Brian Mantia "Brain" (Drums)

Chris Pitman (Keyboardist, Special Effects)

[revi]

kasama si matt sorum sa velvet (izzy was considered but "he was never serious to stay" sabi ni slash, altho they are in good terms).

 

si axl na lang orig sa gnr line-up:

 

W. Axl Rose (Lead Vocals, Piano, Programming)

Dizzy Reed (Keyboards, programming)

Tommy Stinson (Bass)

Robin Finck (Lead guitar)

Richard Fortus (Rhythm guitar)

Buckethead (Lead Guitar)

Brian Mantia "Brain" (Drums)

Chris Pitman (Keyboardist, Special Effects)

<{POST_SNAPBACK}>

 

Galing ng Velvet ano? I particularly like their song, "Slither.."

 

Thanks for the info, dude.. Appreciate it..

[Dr.Love]

2 na pala lead guitarists ng G n' R.

[cruesome]

2 na pala lead guitarists ng G n' R.

<{POST_SNAPBACK}>

pareho magaling robin finck and buckethead.most notable si robin sa stint nya with nine inch nails, rumours has it na while intact pa gnr nililigawan na ni axl si robin for a psuedo-NIN GNR.

[Donlovejoy]

New Order!

 

This New wave british group was one of the big hitter of the 80s up to now they're still at with their new hit for 2005 "KRAFTY" ganda rin ng video cute ng girl doon crush ko!

[cruesome]

New Order!

 

This New wave british group was one of the big hitter of the 80s up to now they're still at with their new hit for 2005 "KRAFTY" ganda rin ng video cute ng girl doon crush ko!

<{POST_SNAPBACK}>

i love new order as well, or newwave for that matter, but there's another thread for them, the newwave thread

 

the room is for the hair bands of the 80s or early 90s. i'm sure at some point you're into it :hypocritesmiley:

[hitman531ph]

BANANARAMA

 

The most successful British girl-group in pop history, Bananarama formed in London in late 1981. Drawing equal inspiration for their name from the children's television program The Banana Splits and the Roxy Music song "Pyjamarama," the trio comprised lifelong friends Keren Woodward and Sarah Dallin along with Siobhan Fahey, whom Dallin befriended at the London College of Fashion. After getting their start singing at friends' parties and at nightclubs (where they performed accompanied by backing tapes -- none of the women played their own instruments), they came to the attention of ex-Sex Pistols drummer Paul Cook, who produced Bananarama's first single, a cover of Swahili Black Blood's "Aie A Mwana."

After the group backed Fun Boy Three on the single "It Ain't What You Do, It's the Way You Do It," the Three returned the favor for 1982's "He Was Really Sayin' Somethin'," a cover of the 1965 Velvelettes song that was the first of Bananarama's 26 U.K. chart smashes. While their initial hits, including "Shy Boy," "Na Na Hey Hey (Kiss Him Goodbye)" and "Cruel Summer" (their first U.S. smash) were roundly dismissed as fluffy pop fare, the success of 1984's rape-themed release "Robert DeNiro's Waiting" convinced the group to tackle more serious topics; however, the follow-up single, "Rough Justice" -- a song protesting political tensions in Northern Ireland -- bombed, and the trio's career stalled.

 

In 1986, Bananarama's fortunes improved considerably when they joined forces with the production team of Stock, Aitken & Waterman, who produced the album Wow! (Released as "True Confessions" in other parts of the world); the group's most successful outing to date, the LP's cover of the Shocking Blue's "Venus" was an international chart-topper, and both "Love in the First Degree" and "I Heard a Rumour" were major hits as well.

 

In 1987, Fahey left the group after marrying Eurythmics' Dave Stewart; she later resurfaced as one half of the duo Shakespear's Sister. Woodward and Dallin, meanwhile, enlisted pal Jacquie O'Sullivan, formerly of the Sheilagh Sisters, to fill the void. After a long layoff, the revamped group teamed with new producer Youth to issue the 1991 album Pop Life, which featured a cover of the Doobie Brothers' "Long Train Running." Shortly after the album's release, O'Sullivan too exited, and Woodward and Dallin forged on as a duo for 1992's Please Yourself and 1995's Ultra Violet

[hitman531ph]

JOHNNY HATES JAZZ

 

The British trio Johnny Hates Jazz had Spandau Ballet's striking attire, clean-cut looks, and knack for smooth, glossy pop songs that were more soulful than the critics gave them credit for. Unfortunately, like Spandau Ballet Johnny Hates Jazz were stigmatized in the U.S. by an omnipresent hit that burned out interest in the group before the rest of their discography had the chance to be heard. Johnny Hates Jazz was formed in 1986 by Clark Datchler (vocals, piano), Calvin Hayes (keyboards), and Mike Nocito (bass). Named after a friend who despised jazz, Johnny Hates Jazz released their first single, "Me and My Foolish Heart," on RAK Records that year. The band searched for a major-label deal, and they were signed by Virgin Records after a gig at, ironically enough, a jazz club near the end of 1986. The group's debut single for Virgin, "Shattered Dreams," rocketed them into superstardom in 1987. "Shattered Dreams" landed at number five on the U.K. charts and number two in America. The band's debut LP, Turn Back the Clock, appeared in 1988, going multi-platinum in England and in the U.S.

 

While none of Johnny Hates Jazz's subsequent singles took off in America, they launched a hit parade in the U.K. as "I Don't Want to Be a Hero," "Turn Back the Clock," "Heart of Gold," and "Don't Say It's Love" followed "Shattered Dreams" onto the airwaves. However, despite the success, Datchler departed from Johnny Hates Jazz in the summer of 1988. Datchler was angry at how the other members were reinterpreting his compositions and decided to pursue a solo career, recording Raindance in 1990. Hayes and Nocito replaced Datchler with producer Phil Thornalley on Johnny Hates Jazz's 1991 effort Tall Stories. Although it didn't sound that different from Turn Back the Clock -- "Let Me Change Your Mind Tonight" could've fit perfectly on that album -- Tall Stories was a bust. Johnny Hates Jazz broke up afterward

[hitman531ph]

The hit single, "Sunglasses at Night" propelled Canadian pop star Corey Hart to the top of the charts and helped his debut album, 1983's First Offense, become a major hit in the United States and Canada, followed by a Top 20 hit "It Ain't Enough". Born in Montreal on May 31, 1962, he traveled frequently as a child, living in the Bahamas with his father, but primarily following his mother through Mexico, Spain, and Florida, among other places. His early efforts to sign with Canadian record companies were fruitless; he then went to New York, worked for a while, and returned to Canada, eventually signing a contract with Aquarius Records. His cool, athletic good looks made it easy to promote him as a post-teen sex symbol, but while his songwriting never managed to get very deep, he sang with a passion that made his songs appealing. Boy in the Box, the 1985 follow-up to his debut, produced a hit single with "Never Surrender," and the title track was a Top 40 hit. But "Never Surrender" which would remain his highest-charting song which reached #2. His next album, Fields of Fire, met with some commercial success, but after that, his fortunes began to wane in the United States. His next two albums garnered little attention and 1990's Bang was his last with Aquarius. 1992's Attitude and Virtue was his first album with Sire/Warner, before he joined Columbia and released a self-titled album in 1996 and 1998's Jade, which Hart describes as his best-sung album to date. He continues to write songs and lives in the Bahamas with his wife and three daughters.

Edited October 8, 2005 by hitman531ph

[hitman531ph]

PAUL YOUNG

 

For much of the '80s, Paul Young rivaled Simply Red's Mick Hucknall as the top blue-eyed soul/pop singer in the U.K. In America, Young was known primarily for his lone chart-topper "Every time You Go Away," but was able to sustain his commercial success at home for much of the decade. He was chiefly an interpretive singer, and although he did write some of his own material, his greatest strengths lay in covering R&B classics and rescuing forgotten chestnuts from obscurity. Unfortunately, Young's career was interrupted periodically by difficulties with his voice, and those health problems substantially curtailed his activities in the '90s.

Paul Young was born in Luton, north of London in Bedfordshire, on January 17, 1956. He started his music career playing bass and guitar in several local bands, gradually working his way up to lead singer posts. Young first made a splash as frontman of new wavers the Streetband, who scored a national U.K. hit with 1978's "Toast." When they disbanded in 1979, Young and several bandmates quickly regrouped as the Q-Tips, a retro-minded soul outfit with a jones for classic Motown. With a self-titled album on Chrysalis and a relentless touring schedule, the Q-Tips generated significant interest in Young's solo potential, and in 1982 he signed with CBS, hastening the Q-Tips' breakup.

 

Young forged a songwriting partnership with Q-Tips keyboardist Ian Kewley, who also joined Young's new backing band the Royal Family (complete with a subset of female backup singers dubbed the Fabulous Wealthy Tarts). His debut solo single, "Iron Out the Rough Spots," was released in late 1982, and was followed by a cover of Nicky Thomas' reggae-pop hit "Love of the Common People." Neither single did particularly well on the charts, but his version of the lesser-known Marvin Gaye number "Wherever I Lay My Hat (That's My Home)" was a roaring success, topping the U.K. charts and pushing his debut album, No Parlez, to the same position later that year. No Parlez gave Young his first Top 40 hit in the U.S. with the Jack Lee-penned "Come Back and Stay" (a U.K. Top Ten), and also drew attention with its left-field cover of Joy Division's "Love Will Tear Us Apart." Young mounted an international tour in support of the album, which sold several million copies worldwide; afterwards, however, he suffered the first of numerous throat ailments which would pop up throughout his career.

 

Kept out of action for much of the latter-half of 1984, Young nonetheless made a contribution to the Band Aid "Do They Know It's Christmas?" single, and returned to the U.K. Top Ten with a version of Ann Peebles' "I'm Gonna Tear Your Playhouse Down." The latter appeared on his sophomore album The Secret of Association, released in 1985. That year, Young scored the biggest hit of his career with "Every time You Go Away," a previously obscure Hall & Oates album track from 1980. "Every Time You Go Away" topped the pop charts in both the U.K. and U.S., ending up as far and away his biggest success in the latter. Young followed it with another U.K. Top Ten hit in the original "Everything Must Change," and watched The Secret of Association become his second U.K. chart-topping album.

 

Young concentrated mostly on original material (co-written with Kewley) on his third album, 1986's Between Two Fires. A slicker, less soul-flavored outing, Between Two Fires sold respectably to Young's U.K. fan base, but didn't produce any major hits, and slowed his momentum somewhat. In its wake, Young took several years off from recording, chiefly for personal reasons but also to rest his voice. He didn't return until 1990, when Other Voices restored his commercial standing with a reading of the Chi-Lites' classic "Oh Girl," his only other U.S. Top Ten. He returned to the U.K. Top Five in 1991 with "Senza Una Donna (Without a Woman)," a duet with Italian pop singer Zucchero that appeared on Young's hits comp From Time to Time: The Singles Collection. In 1992, Young's version of Jimmy Ruffin's "What Becomes of the Brokenhearted" rose from the Fried Green Tomatoes soundtrack to top the U.S. adult contemporary charts, even though it missed the pop Top 20.

 

By this time, health problems were beginning to exact a toll on Young's voice, yet he remained a viable performer. 1993's The Crossing was his final album for Columbia, spawning the U.K. single "Now I Know What Made Otis Blue." In late 1994, Young issued an album of soul covers called Reflections, on the smaller Vision Music label. He then disappeared for several years, giving occasional live performances but mostly resting his voice and procuring new material. Eventually, Young signed with East/West, for whom he released an eponymously titled album in 1997. Displaying a stronger country influence, the record failed to sell well even in the U.K., and Young found himself without a label again. In 1999, he mounted a small-venue tour of the U.K. that earned him solid reviews. He subsequently concentrated on Los Pacaminos, a Tex-Mex/country-rock band he'd started on an informal basis in the mid-'90s; they issued a self-titled debut album in 2002

Edited October 8, 2005 by hitman531ph

[eidref2004]

Al Jarreau ... Breaking Away album

[hitman531ph]

THE POINTER SISTERS

 

Versatile Ruth, Anita, June, and Bonnie Pointer regularly scored pop and soul hits throughout the '70s and '80s in a chameleonic variety of styles. Formed in Oakland, with their first successes for Blue Thumb Records blending funky rhythms with a novel nostalgic attitude (beginning with their 1973 revival of Allen Toussaint's "Yes We Can Can"), leading up to their first number one R&B item in 1975, "How Long (Betcha' Got a Chick on the Side)."

Bonnie signed with Motown in 1978 and kicked off her own string of R&B hits with "Free Me From My Freedom/Tie Me to a Tree (Handcuff Me)." (June and Anita also tried the solo route during the '80s, without leaving the fold.)

 

By 1979, when the remaining trio covered Bruce Springsteen's "Fire," the Pointers were headed in a more contemporary direction on the Planet label, and "He's So Shy" (1980), "Slow Hand" (1981), "Automatic," and the anthemic "Jump (For My Love)" (the last two both 1984) were savvy ditties that blazed trails across the R&B and pop charts. However, the group's success declined during the late '80s, as their records began to sound more formulaic. The Pointer Sisters lost their major-label record contract in the early '90s, and the group began performing on oldies circuits occasionally. In 1995, the trio made a tentative return to the spotlight when they joined a revival performance of the Fats Waller musical Ain't Misbehavin', yet the accompanying soundtrack album failed to gain much attention.