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

[hitman531ph]

AEROSMITH

 

Aerosmith was one of the most popular hard rock bands of the '70s, setting the style and sound of hard rock and heavy metal for the next two decades with their raunchy, bluesy swagger. The Boston-based quintet found the middle ground between the menace of the Rolling Stones and the campy, sleazy flamboyance of the New York Dolls, developing a lean, dirty riff-oriented boogie that was loose and swinging and as hard as a diamond.

In the meantime, they developed a prototype for power ballads with "Dream On," a piano ballad that was orchestrated with strings and distorted guitars. Aerosmith's ability to pull off both ballads and rock & roll made them extremely popular during the mid-'70s, when they had a string of gold and platinum albums. By the early '80s, the group's audience had declined as the band fell prey to drug and alcohol abuse. However, their career was far from over -- in the late '80s, Aerosmith pulled off one of the most remarkable comebacks in rock history, returning to the top of the charts with a group of albums that equalled, if not surpassed, the popularity of their '70s albums.

 

In 1970, the first incarnation of Aerosmith formed when vocalist Steven Tyler met guitarist Joe Perry while working at a Sunapee, NH, ice-cream parlor. Tyler, who originally was a drummer, and Perry decided to form a power trio with bassist Tom Hamilton. The group soon expanded to a quartet, adding a second guitarist called Ray Tabano; he was quickly replaced by Brad Whitford, a former member of Earth Inc. With the addition of drummer Joey Kramer, Tyler became the full-time lead singer by the end of year. Aerosmith relocated to Boston at the end of 1970.

 

After playing clubs in the Massachusetts and New York areas for two years, the group landed a record contract with Columbia Records in 1972. Aerosmith's self-titled debut album was released in the fall of 1973, climbing to number 166. "Dream On" was released as the first single and it was a minor hit, reaching number 59. For the next year, the band built a fan base by touring America, supporting groups as diverse as the Kinks, Mahavishnu Orchestra, Sha Na Na, and Mott the Hoople. The performance of Get Your Wings (1974), the group's second album and the first produced by Jack Douglas, benefited from their constant touring, spending a total of 86 weeks on the chart.

 

Aerosmith's third record, 1975's Toys in the Attic, was their breakthrough album both commercially and artistically. By the time it was recorded, the band's sound had developed into a sleek, hard-driving hard rock powered by simple, almost brutal, blues-based riffs. Many critics at the time labeled the group as punk rockers, and it's easy to see why -- instead of adhering to the world-music pretentions of Led Zeppelin or the prolonged gloomy mysticism of Black Sabbath, Aerosmith stripped heavy metal to its basic core, spitting out spare riffs that not only rocked, but rolled. Steven Tyler's lyrics were filled with double entendres and clever jokes and the entire band had a streetwise charisma that separated them from the heavy, lumbering arena rockers of the era. Toys in the Attic captured the essence of the newly invigorated Aerosmith. "Sweet Emotion," the first single from Toys in the Attic, broke into the Top 40 in the summer of 1975, with the album reaching number 11 shortly afterward. Its success prompted the re-release of the power \ballad "Dream On," which shot into the Top Ten in early 1976. Both Aerosmith and Get Your Wings climbed back up the charts in the wake of Toys in the Attic. "Walk This Way," the final single from Toys in the Attic, was released around the time of the group's new 1976 album, Rocks. Although it didn't feature a Top Ten hit like "Walk This Way," Rocks went platinum quickly, peaking at number three.

 

In early 1977, Aerosmith took a break and prepared material for their fifth album. Released late in 1977, Draw the Line was another hit, climbing to number 11 on the U.S. charts, but it showed signs of exhaustion. In addition to another tour in 1978, the band appeared in the movie Sgt. Pepper's Lonely Hearts Club Band, performing "Come Together," which eventually became a number 23 hit. Live! Bootleg appeared late in 1978 and became another success, reaching number 13. Aerosmith recorded Night in the Ruts in 1979, releasing the record at the end of the year. By the time of its release, Joe Perry had left the band to form the Joe Perry Project. Night in the Ruts performed respectably, climbing to number 14 and going gold, yet it was the least successful Aerosmith record to date. Brad Whitford left the group in early 1980, forming the Whitsford-St. Holmes Band with former Ted Nugent guitarist Derek St. Holmes.

 

As Aerosmith regrouped with new guitarists Jimmy Crespo and Rick Dufay, the band released Aerosmith's Greatest Hits in late 1980; the record would eventually sell over six million copies. The new lineup of Aerosmith released Rock in a Hard Place in 1982. Peaking at number 32, it failed to match the performance of Night in the Ruts. Perry and Whitford returned to the band in 1984 and the group began a reunion tour dubbed Back in the Saddle. Early in the tour, Tyler collapsed on stage, offering proof that the band hadn't conquered their notorious drug and alcohol addictions. The following year, Aerosmith released Done with Mirrors, the original lineup's first record since 1979 and their first for Geffen Records. Although it didn't perform as well as Rock in a Hard Place, the album showed that the band was revitalized.

 

After the release of Done with Mirrors, Tyler and Perry completed rehabilitation programs. In 1986, the pair appeared on Run D.M.C.'s cover of "Walk This Way," along with appearing in the video. "Walk This Way" became a hit, reaching number four and receiving saturation airplay on MTV. "Walk This Way" set the stage for the band's full-scale comeback effort, the Bruce Fairburn-produced Permanent Vacation (1987). Tyler and Perry collaborated with professional hard rock songwriters like Holly Knight and Desmond Child, resulting in the hits "Dude (Looks Like a Lady)," "Rag Doll" and "Angel." Permanent Vacation peaked at number 11 and sold over three million copies.

 

Pump, released in 1989, continued the band's winning streak, reaching number five, selling over four million copies, and spawning the Top Ten singles "Love in an Elevator," "Janie's Got a Gun," and "What It Takes." Aerosmith released Get a Grip in 1993. Like Permanent Vacation and Pump, Get a Grip was produced by Bruce Fairburn and featured significant contributions by professional songwriters. The album was as successful as the band's previous two records, featuring the hit singles "Livin' on the Edge," "Cryin'," and "Amazing." In 1994, Aerosmith released Big Ones, a compilation of hits from their Geffen years which fulfilled their contract with the label; it went double platinum shortly after its release.

 

While Aerosmith was at the height of its revitalized popularity in the early '90s, the group signed a lucrative multi-million dollar contract with Columbia Records, even though they still owed Geffen two albums. It wasn't until 1995 that the band was able to begin working on their first record under the new contract -- nearly five years after the contract was signed. The making of Aerosmith albums usually had been difficult affairs, but the recording of Nine Lives was plagued with bad luck. The band went through a number of producers and songwriters before settling on Kevin Shirley in 1996. More damaging, however, was the dismissal of the band's manager Tim Collins, who had been responsible for bringing the band from the brink of addiction. Upon his firing, Collins insinuated that Steven Tyler was using hard drugs again, an allegation that Aerosmith adamantly denied. Under such circumstances, recording became quite difficult, and when Nine Lives finally appeared in the spring of 1997, it was greeted with great anticipation, yet the initial reviews were mixed and even though album debuted at number one, it quickly fell down the charts. The live A Little South of Sanity followed in 1998. Three years later, Aerosmith strutted their stuff on the halftime special on CBS with the likes of Mary J. Blige, Nelly, *N Sync, and Britney Spears, just prior to issuing their heart stomping Just Push Play in March 2001.

Edited November 4, 2005 by hitman531ph

[hitman531ph]

SCORPIONS

 

Known best for their 1984 anthem "Rock You Like a Hurricane" and the 1990 ballad "Wind of Change," the German rockers the Scorpions have sold over 22-million records, making them one of the most successful rock bands to ever come out of Continental Europe.

Originally formed in 1969 by Rudolf Schenker, the original lineup consisted of rhythm guitarist/vocalist Schenker, lead guitarist Karl-Heinz Follmer, bassist Lothar Heimberg, and drummer Wolfgang Dziony. In 1971, Schenker's younger brother Michael joined the band to play lead guitar and good friend Klaus Meine became the new vocalist. The group recorded Lonesome Crow in 1972, which was used as the soundtrack to the German movie Das Kalte Paradies. Although they failed to get into the public's eye, the early formation of '70s rock band UFO noticed Michael Schenker's guitar playing and hired him as their lead guitarist; Michael, therefore, would leave the band in 1973. Guitarist Uli Jon Roth replaced him, and under his guidance the group released four consecutive albums under the RCA record label: Fly to the Rainbow (1974), In Trance (1975), Virgin Killer (1976), and Taken by Force (1977). Although these albums failed to attain any serious attention in the United States, they were all quite popular in Japan. By the time Taken by Force was released, Roth made the decision to leave the band and form Electric Sun after feeling that his musical ideas would take the group in an entirely different direction. Tokyo Tapes, a double live album that the group recorded in Tokyo with Roth, was released in 1978. Shortly after Roth's departure, Michael Schenker was kicked out of UFO for his constant alcohol abuse and came back to play with the Scorpions in 1979, who had recently signed with Mercury Records. The group released Lovedrive that same year and played their first American tour, but Lovedrive failed to attract attention, being banned in the United States because of its sexually explicit cover. Still coping with his drugs and alcohol addiction, Michael missed tour dates repeatedly and guitarist Matthias Jabs was hired to fill in for him on nights when he was absent. Michael eventually would leave the band a second time after realizing that he was failing to meet their expectations.

 

Now with a lineup of Klaus Meine on vocals, Rudolf Schenker on rhythm guitar, Matthias Jabs on lead, Francis Buchholz on bass, and Herman Rarebell on drums, the band released Animal Magnetism in 1980 and embarked on another world tour. Surprisingly, Animal Magnetism went gold in the United States, and the Scorpions immediately went back into the studio to record their next release. Problems arose, however, and the project was postponed because Meine had lost his voice and would have to have surgery on his vocal chords. Many thought Meine had been fired from the band, and rumors spread that metal singer Don Dokken had already replaced him. The Scorpions proved these rumors untrue when Meine returned for the 1982 release Blackout, which contained the cult hit "No One Like You." A major success worldwide, Blackout sold over one-million copies in the U.S. alone. But as popular as Blackout was, it was the band's powerful follow-up, Love at First Sting, that succeeded in making them superstars. Released in 1984, the album boasted the MTV single "Rock You Like a Hurricane" and would eventually achieve double-platinum status. The group undertook one of their most successful world tours yet, boasting an outstanding stage show with high-energy performances.

 

After releasing World Wide Live in 1985, the band took a long hiatus and remained uninvolved from the music industry for two years. Their tenth studio album, Savage Amusement, was finally released in 1988, and the hit ballad "Rhythm of Love" brought on another major success. In 1990, the album Crazy World was released and would eventually become the Scorpions' biggest-selling record to date, drawing on the strength of the hit ballad "Wind of Change."

 

Not too surprisingly, Crazy World was the last successful Scorpions release in the U.S. By the time their Face the Heat album hit the shelves in 1993, many longtime fans had already lost interest in the band, due to the alternative explosion of the early '90s. Face the Heat did eventually reach gold, and in 1995 the band released another live album, Live Bites. Now with bassist Ralph Rieckermann and drummer James Kottak, they released Pure Instinct in 1996. Mercury Records assembled a double album of the band's greatest hits, Deadly Sting: The Mercury Years, and released it in 1997. Eye II Eye, an album in which the band experimented with pop-techno melodies, was released in the summer of 1999. Moment of Glory, featuring the Berlin Philharmonic Orchestra and several revamped versions of Scorpions cult classics, was released in fall 2000

Edited November 4, 2005 by hitman531ph

[hitman531ph]

EURYTHMICS

 

Eurythmics were one of the most successful duos to emerge in the early '80s. Where most of their British synth pop contemporaries disappeared from the charts as soon as new wave faded away in 1984, Eurythmics continued to have hits until the end of the decade, making vocalist Annie Lennox a star in her own right, as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Originally, the duo channelled the eerily detached sound of electronic synthesizer music into pop songs driven by robotic beats. By the mid-'80s, singles like "Sweet Dreams (Are Made of This)" and "Here Comes the Rain Again" had made the group into international stars, and the group had begun to experiment with their sound, delving into soul and R&B. As the decade wore on, the duo's popularity eroded somewhat -- by the late '80s, they were having trouble cracking the Top 40 in America, although they stayed successful in the U.K. During the early '90s, Eurythmics took an extended hiatus, as both Lennox and Stewart pursued solo careers.

 

The origins of Eurythmics lay in the Tourists, a British post-punk band of the late '70s formed by Lennox and Stewart. The pair met in London while she was studying at the Royal Academy of Music. Stewart had recently broken up his folk-rock group Longdancer and was writing songs with guitarist Pete Coombes. Immediately after meeting, Stewart and Lennox became lovers and musical partners, forming a group called Catch with Coombes, which quickly evolved into the Tourists in 1979. Though the band only was together for two years, the Tourists released three albums -- The Tourists, Reality Effect, and Luminous Basement -- which all were moderate hits in England; two of their singles, "I Only Want to Be With You" and "So Good to Be Back Home Again," became Top Ten hits.

 

During 1980, Lennox and Stewart's romantic relationship dissolved and, along with it, so did the Tourists. Though they were no longer lovers, Lennox and Stewart decided to continue performing together under the name Eurythmics and headed to Germany to record their debut album. Featuring support from various members of Can and Blondie drummer Clem Burke, among others, the duo's debut, In the Garden, was released in 1981 to positive reviews, but weak sales. Following the failure of In the Garden, Stewart set up a home studio and Eurythmics recorded a second album, Sweet Dreams (Are Made of This), which was released in 1983.

 

"Love Is a Stranger" was the first British single pulled from the album, and it became a minor hit in the fall of 1982, a few months before the LP appeared. The title track was released as a single in the spring, and it rocketed to number two on the U.K. charts; shortly afterward, it climbed to number one on the American charts. "Sweet Dreams (Are Made of This)" was helped enormously by its stylish, androgynous video, which received heavy airplay from MTV, who had only recently become a major influence within the music industry. After "Sweet Dreams," Eurythmics re-released "Love Is a Stranger" and it reached the U.K. Top Ten (number 23 U.S.), beginning a string of hit singles that ran for a year. Touch, the duo's third album, was released toward the end of 1983 and continued their success throughout 1984, spawning the hits "Who's That Girl?" (number three, U.K.; number 21, U.S.), "Right by Your Side" (number ten, U.K.; number 29, U.S.), and "Here Comes the Rain Again" (number eight, U.K.; number four U.S.). During the course of 1984, Annie Lennox's theatrical gender-bending was becoming increasingly notorious, which helped their record sales. At the end of the year, they released the soundtrack for the film adaptation of 1984, which received poor reviews and sales, despite the Top Ten U.K. placing of its single, "Sexcrime (Nineteen Eighty-Four)."

 

Released in the spring of 1985, Eurythmics' fourth album, Be Yourself Tonight, boasted a tougher, R&B-influenced sound and featured a duet with Aretha Franklin, "Sisters Are Doin' It for Themselves." The duet became one of three hit singles from the album, in addition to "Would I Lie to You?" (number 17, U.K.; number five, U.S.) and "There Must Be an Angel (Playing With My Heart)" (number one, U.K.; number 22, U.S.). Revenge, released the following year, followed the R&B and soul inclinations of Be Yourself Tonight to a harder-rocking conclusion. Though the album peaked at number 12 in the U.S. and spawned the number 14 hit "Missionary Man," its sales were noticeably weaker than its predecessor. In the U.K., the group was slightly more popular -- "Thorn in My Side" reached the Top Ten -- but it was evident that the group was past the point of its peak popularity.

 

As appropriate for a group passing their commercial pinnacle, Eurythmics began branching out into other areas. During 1985 and 1986, Dave Stewart produced a number of superstars, including Bob Dylan, Daryl Hall, Tom Petty, and Mick Jagger. Annie Lennox began a short-lived acting career, appearing in Revolution. Eurythmics reconvened in 1987 to release Savage, which was greeted with mixed reviews and weak sales. That same year, Stewart married Siobhan Fahey, a former member of Bananarama who had also appeared in the "Love Is a Stranger" video; she would later be a member of Shakespear's Sister, which was produced by Stewart. In 1988, Lennox had a hit duet with Al Green with "Put a Little Love in Your Heart," taken from the Scrooged soundtrack. The following year, Eurythmics released We Too Are One, which sold well in Britain, reaching number one, but poorly in America, despite "Don't Ask Me Why" becoming their first Top 40 hit since "Missonary Man." Furthermore, the reviews were decidedly mixed on the album.

 

Eurythmics quietly went on hiatus as of 1990, releasing Greatest Hits the following year. Lennox began a solo career in 1992, releasing Diva, an album that would eventually sell over two million copies. Stewart continued producing records and writing film soundtracks, as well as forming a band called Spiritual Cowboys. In 1995, he officially launched a solo career with the release of Greetings From the Gutter. Lennox and Stewart re-formed Eurythmics in 1999, releasing Peace, their first new studio album in a decade.

Edited November 5, 2005 by hitman531ph

[hitman531ph]

MILLI VANILLI

 

Milli Vanilli. The mere mention of the name still calls up the same derision it did when the dance-pop duo's career came to a sudden and ignominious end: Fakers. Frauds. A blatant marketing scam. Their story has been retold countless times: after selling millions of records, Rob Pilatus and Fabrice Morvan were revealed to be models who publicly lip-synced to tracks recorded by anonymous studio vocalists. They became the first act ever stripped of a Grammy award and came to symbolize everything people disliked about dance-pop: it was so faceless that every musician involved could remain anonymous without anyone knowing the difference, so mechanical and artificial that the people who constructed it had to hire models to give it any human appeal, so pandering and superficial that people bought it just for its attachment to a pretty face. Whether that assessment was fair or not, it was beyond easy to hold Milli Vanilli in contempt. Yet for all the scapegoating, they were far from the only dance-pop act to be fronted by lip-syncers in the late '80s (the Martha Wash-voiced Black Box and C+C Music Factory spring to mind), nor were they the only Europop act to employ similar marketing tactics. (They were simply the most successful and visible, since their incorporation of rap made them more appealing to Americans.) What's more, pop music had a long tradition of hits recorded by anonymous studio musicians, dating back to '50s instrumental combos and '60s bubblegum. Milli Vanilli had the bad luck to get caught in a hoax during the extraordinarily image-conscious MTV era and a time when dance music of any stripe was accorded virtually no critical respect anyway, before its producers were perceived as the real creative points of focus. It's not as though Milli Vanilli were acclaimed for their honesty of expression before the scandal broke; it's more likely that what fueled the backlash was public resentment over Rob and Fab's celebrity (why should they be famous if they couldn't sing?) and embarrassment over the fact that Milli Vanilli's marketing had worked like a charm on everyone right up through the Grammy committee.

 

Milli Vanilli was the brainchild of German producer Frank Farian, who'd previously masterminded the European disco group Boney M. and the session-musician rock outfit Far Corporation. Seeking to fuse European dance-pop with elements of American rap, Farian assembled a number of session musicians and vocalists, including rapper Charles Shaw (an Army veteran) and two middle-aged American singers living in Germany, Johnny Davis and Brad Howell (some accounts give his name as Howe). Realizing that he had a marketable record but a distinctly unmarketable image, Farian hired two aspiring models and former breakdancers, Rob Pilatus and Fabrice Morvan, to pretend to be the group in videos, concerts, interviews, and the like. Pilatus had been born in New York in 1965, but grew up in Munich, spending some time in an orphanage after his parents (an American soldier and German stripper) gave him up for adoption. Morvan was born in 1966 on the island of Guadeloupe, lived in Miami for a time, and moved with his mother to Paris; he had been a skilled trampoline athlete until he suffered a neck injury in a fall. Both skilled dancers, the two had met sometime circa 1984 (differing accounts list their meeting place as Munich, Paris, or Los Angeles) and were attempting to make it as singers, dancers, models, or whatever they could. Their exotic look and long dreadlock extensions were just what Farian was looking for.

 

Milli Vanilli's first album, All or Nothing, was released in Europe in 1988 and was an instant success. Retitled Girl You Know It's True (after the lead single) and trimmed a bit, the record was issued in the U.S. in early 1989. Its catchy, lightweight pop-rap proved equally popular with American audiences; "Girl You Know It's True" raced up the pop charts to number two, and the next three Milli Vanilli singles -- "Baby Don't Forget My Number," the ballad "Girl I'm Gonna Miss You," and the Diane Warren-penned "Blame It on the Rain" -- all hit number one. Despite near-universal critical distaste (Farian's productions often recycled the same sounds and drum tracks), Girl You Know It's True sold an astounding seven million copies in the U.S. alone; internationally, Milli Vanilli sold approximately 30 million singles. In December 1989, as the fifth single "All or Nothing" was climbing the charts on its way to the Top Five, rapper Charles Shaw revealed to a New York reporter that Pilatus and Morvan had not actually sung any vocals on the album. Shaw quickly retracted his statements (apparently paid off by Farian to keep quiet), claiming that they were merely a PR stunt for his own album. Milli Vanilli was soon nominated for a Grammy award for Best New Artist, even though the rumors continued to swirl. And in early 1990, they won it, for the record beating out the Indigo Girls, Neneh Cherry, Soul II Soul, and Tone-Loc.

 

Success (or at least fame) was beginning to go to the duo's heads, particularly Pilatus, who was given to extreme mood swings and erratic behavior, and developed a cocaine problem. In an interview with Time magazine, Pilatus compared himself and Milli Vanilli favorably to Bob Dylan, Elvis Presley, Paul McCartney, and Mick Jagger, and was roundly ridiculed for his statements. Additionally, Pilatus and Morvan had been pressuring Farian to let them sing all the vocals on the next Milli Vanilli album. Exasperated with them, Farian exposed the whole scheme in November 1990 and the public was furious. Pilatus and Morvan were stripped of their Grammy (ironically, the committee had justified its vote by citing the duo's "visual impact"), and a class-action suit was filed against Arista Records, allowing anyone who believed they'd been defrauded into purchasing the group's records to apply for a rebate. Arista dropped the group and deleted Girl You Know It's True from their catalog, making it the biggest-selling album ever taken out of print.

 

In 1991, Farian attempted to re-form Milli Vanilli with the original session vocalists (including female backup singer Gina Mohammed), this time crediting them and billing them as the Real Milli Vanilli, while also adding a Pilatus/Morvan look-alike named Ray Horton. However, the resulting Moment of Truth album flopped. Only a minor hit "Tell Me Where It Hurts" got some radio airplay. The stigma that was Milli Vanilli simply could not be overcome. Pilatus, meanwhile, was unable to deal with the sudden fall from grace; after mixing alcohol and prescription drugs, he slashed one of his wrists in a Los Angeles hotel, then called police and reporters to the scene, where he had to be removed from the balcony he was threatening to jump off of. Attempting to prove that they really could sing if given the chance, Pilatus and Morvan regrouped in 1993 as Rob & Fab; however, with their credibility damaged beyond repair, their self-titled debut reportedly sold only 2,000 copies total, despite an appearance on The Arsenio Hall Show. Farian had also attempted yet another album, this time renaming his group Try 'N' B and retooling the lineup again to enhance its visual appeal (which meant discarding the original singers); however, Sexy Eyes also stiffed. From there, Pilatus hit rock bottom. Beginning in 1995, he was arrested for several separate incidents in Los Angeles involving assaults (including one man he attacked with a metal lamp base), vandalism, and attempting to break into a car. Convicted of four different misdemeanors, he was sentenced to several months in jail in 1996, and did the first of numerous stints in drug rehab centers for his cocaine addiction. Pilatus eventually returned to Germany; in April 1998, his body was found in a Frankfurt hotel room after he mixed a fatal combination of pills and alcohol. Morvan continues to pursue a solo career

Edited November 5, 2005 by hitman531ph

[goddessofperpetualdeliciousness]

Haven't really finished backreading. Nostalgia trip. The Clash, The Ramones, The Kinks... TFF, U2, Bruce Springsteen, The Police... I agree the era is incomplete without Michael Jackson (until Thriller)... :hypocritesmiley: One of the best threads.

[hitman531ph]

ROBBIE NEVIL

 

Robbie Nevil burst onto the music scene in 1986 with the infectious "C'est la Vie," which climbed into the Top Five on the American pop charts. However, Nevil had actually been a working songwriter prior to making a name for himself as a solo artist. Having played guitar since the age of 11, Nevil cut his teeth in a series of cover bands, eventually progressing to performing his own, original material. In 1983, he signed a publishing deal and managed to place tracks on albums by artists including the Pointer Sisters, El DeBarge, and Earth, Wind & Fire (whom had been an early influence on him). By 1986, Nevil had signed a recording deal with Manhattan and proceeded to record his debut with producers Alex Sadkin and Phil Thornalley. Buoyed by the lead single "C'est la Vie," his self-titled debut sold well enough to push into the Top 40 and spawn two more hits, "Dominoes" and "Wot's It to Ya" (which became his second Top Ten single). It would be four years before Nevil would release his sophomore effort, A Place Like This, and its sales failed to come close to his debut, although he did manage to scratch his way into the Top 40 when "Back on Holiday" peaked at number 34. Day 1 followed a year later, but received even less attention. His own recorded output since then has been limited to compilations, but he has continued to write and produce for artists like Babyface, Jessica Simpson, and Destiny's Child, focusing on the development of the careers of others

Edited November 7, 2005 by hitman531ph

[hitman531ph]

LIVING IN A BOX

 

The British pop-funk group Living in a Box boomed onto MTV in 1987 with a song named after themselves. Featuring Richard Darbyshire (vocals/guitar), Marcus Vere (synthesizers), and Anthony Critchlow (drums), the band had only one Top 40 single in the U.S., "Living in a Box"; in the U.K., however, the group was far more successful. Living in a Box formed in Sheffield, England in 1985. Darbyshire originally sang for the band the Zu Zu Sharks in the early '80s. Given the choice between a solo career or fronting Living in a Box for Chrysalis Records, Darbyshire selected the latter. Living in a Box received a five-year contract from the label; in 1987, the group released their self-titled debut LP. In 1989, the band recorded a second album, Gatecrashing; the songs "Different Air", "Blow the House Down" and "Room in Your Heart" were Top Ten hits in Britain. But changes at Chrysalis caused artistic differences during the production of their third LP. Living in a Box broke up in 1990 before their third album was completed. In 1994, Darbyshire released his solo debut, How Many Angels, an LP that included several tracks, such as "Better to Have Lost," that were intended for Living in a Box's third album.

Edited November 7, 2005 by hitman531ph

[hitman531ph]

MICHAEL MCDONALD

 

With his husky, soulful baritone, Michael McDonald became one of the most distinctive and popular vocalists to emerge from the laid-back California pop/rock scene of the late '70s. McDonald found the middle ground between blue-eyed soul and smooth soft rock, a sound that made him a star. He initially essayed his signature style with the Doobie Brothers, ushering in the group's most popular period with hits like "What a Fool Believes" and "Taking It to the Streets." McDonald disbanded the group in 1982 to pursue a solo career, which was initially quite successful, but by the end of the decade his popularity had faded away, since he was reluctant to work regularly and hesitant to update his sound to suit shifting popular tastes.

After singing backup on several Steely Dan albums in the mid-'70s, Michael McDonald joined the Doobie Brothers in 1977. He was largely responsible for moving the group away from boogie rock and toward polished, jazzy blue-eyed soul. Prior to the Doobies' farewell tour in 1982, he sang harmony on several hit singles, including tracks by Donna Summer, Toto, Kenny Loggins, and Christopher Cross. As it turned out, McDonald's solo work was a cross between the Doobie Brothers' white-bread soul and Cross' adult contemporary ballads.

 

McDonald released his solo debut, If That's What It Takes, in 1982. The record climbed to number six on the strength of the number four single "I Keep Forgettin' (Every Time You're Near)," which also crossed over into the R&B Top Ten. In 1983, he had another Top 20 pop hit (and a Top Ten R&B hit) with his duet with James Ingram, "Yah Mo B There." McDonald didn't deliver his second solo album, No Lookin' Back, until 1985. The record wasn't as successful as its predecessor, producing only one moderate hit in its title track. He bounced back the following year, when his duet with Patti LaBelle, "On My Own," shot to number one and "Sweet Freedom," his theme for the Billy Crystal/Gregory Hines comedy Running Scared, climbed into the Top Ten.

 

Instead of capitalizing on his revitalized success, McDonald didn't release another album until 1990. The resulting Take It to Heart was a bomb, peaking at number 110. Two years later, his fortunes were revived somewhat when he sang on Aretha Franklin's minor hit "Ever Changing Times" and toured with Donald Fagen's New York Rock and Soul Revue. The following year, he released Blink of an Eye, which was ignored. In 1994, "I Keep Forgettin' (Every Time You're Near)" was sampled heavily in Warren G's smash hit "Regulate." By 1996, McDonald had returned to the Doobie Brothers, touring the oldies circuit with the reunited group. The following year, McDonald planned to release Blue Obsession, his first album of new material in three years, but the record was pulled from the schedule due to a conflict between him and his label, Reprise

Edited November 7, 2005 by hitman531ph

[hitman531ph]

ANITA BAKER

 

With her classy, refined brand of romantic soul, Anita Baker was one of the definitive quiet storm singers of the '80s. Gifted with a strong, supple alto, Baker was influenced not only by R&B, but jazz, gospel, and traditional pop, which gave her music a distinctly adult sophistication. Smooth and mellow, but hardly lifeless, it made her one of the most popular romantic singers of her time.

Baker was born January 26, 1958, in Toledo, OH, and raised in nearby Detroit, where she grew up listening to female jazz singers like Sarah Vaughan, Nancy Wilson, and Ella Fitzgerald. At age 12, she began singing a gospel choir, and by age 16 she was performing with several local bands. In 1975, she successfully auditioned for Chapter 8, one of Detroit's most popular acts at the time; the group eventually signed with Ariola and released an album in 1979, but were immediately dropped when the label was acquired by Arista (which didn't care for Baker's vocals). Chastened, Baker worked low-paying jobs in Detroit and eventually found steady work as a receptionist at a law firm. In 1982, Otis Smith -- an executive who'd worked with Chapter 8 -- contacted Baker about recording for his new label Beverly Glen. Happy with her employment benefits and skittish over the experience with Arista, Baker was reluctant at first, but eventually flew out to the West Coast to record her debut album, The Songstress, in 1983. Though it didn't gain quite enough exposure to become a hit, it did help Baker build a strong fan base through word-of-mouth and she was signed by Elektra in 1985.

 

Working with producer Michael J. Powell (an old Chapter 8 cohort), Baker released her major-label debut Rapture in 1986. It was a platinum, Grammy winning smash, appealing to both urban and adult contemporary listeners and producing two all-time quiet storm classics in "Caught Up in the Rapture" and "Sweet Love." Baker toured the world in 1987 and her guest appearance on the Winans track "Ain't Got No Need to Worry" won a Grammy. Her equally stylish follow-up album, Giving You the Best That I Got, appeared in 1988, spawning more staples in the title track and "Just Because." "Giving You the Best That I Got" also won Baker two more Grammys, for Best Female R&B Vocal and Best R&B Song. For her third Elektra album, Baker decided to handle a greater share of the songwriting, hence the title Compositions, which was released in 1990 and featured even stronger jazz inflections than Baker's previous work (not to mention all live instruments).

 

Following Compositions, Baker took a break from recording and touring; after having her first son in 1993, she returned to the studio to craft Rhythm of Love, which was released in 1994. In the years that followed, Baker was mostly silent, despite her fans' clamoring for a jazz album; instead, she raised her family and became embroiled in contract disputes with Elektra, which eventually led her to move to Atlantic. She began working on a new album in 2000, but had to start over from scratch due to defective recording equipment that made the original tracks unsalvageable. In 2004 it was announced that she had signed with Blue Note and still working on her new album. In the meantime, the Atlantic imprint Rhino released Night of Rapture: Live, a 1987 concert originally available on video. Baker fnally returned to the studio in 2003 and issued My Everything, her first album in 10 years

Edited November 7, 2005 by hitman531ph

[hitman531ph]

PATTI AUSTIN

 

A professional since the age of five, Patti Austin was a protégé of Dinah Washington and Sammy Davis Jr. A 1969 single for United Artists titled "Family Tree" cracked the R&B Top 50. Austin cut her debut LP, End of a Rainbow, for Creed Taylor's CTI label in 1976, followed by Havana Candy in 1977 and Body Language in 1980. She sang lead vocals for Japanese koto player Yutaka Yokokura on "Love Light" in 1978, did a duet with Michael Jackson on "It's the Falling in Love" for Off the Wall, and sang "The Closer I Get to You" on Tom Browne's album in 1979. Austin dueted with George Benson on "Moody's Mood for Love" in 1980. She sang backgrounds for sessions by Houston Person, Noel Pointer, Ralph McDonald, Angela Bofill, and Roberta Flack. Austin did vocals on Quincy Jones' The Dude LP in 1981, and was featured on the hit "Razzamatazz." She inked a solo deal on Jones' Qwest label, and her 1982 LP Every Home Should Have One included the number one pop hit (number nine R& "Baby, Come to Me," which got widespread exposure via the ABC soap opera General Hospital. The follow-up single, "How Do You Keep the Music Playing," was the theme for the film Best Friends. Both songs paired Austin with James Ingram. She continued recording for Jones' Qwest label through the '80s, but couldn't recapture her pop or R&B success, despite working with several top producers, including Jam-Lewis in 1985.

Austin switched to GRP in 1990 and recorded Love Is Gonna Getcha, with the singles "Through the Test of Time" and "Good in Love." She subsequently recorded Carry On and Live in 1991 and 1992. Street of Dreams followed in 1999 and On the Way to Love appeared in summer 2001. Her lovely tribute to Ella Fitzgerald, For Ella, appeared in spring 2002

Edited November 7, 2005 by hitman531ph

[hitman531ph]

STEPHEN BISHOP

 

Stephen Bishop's light pop style garnered him a small amount of success as a solo artist in the late '70s and a greater rep*tation as a quality songwriter. After his first group, the Weeds, disbanded following high school, Bishop spent the next seven years looking for a recording contract and was finally discovered by Art Garfunkel in 1976. Bishop had worked in a publishing house, where he wrote songs for Chaka Khan, the Four Tops, and Barbra Streisand. His debut album, Careless, was nominated for a Grammy and produced several chart singles, including "On and On", "Save it for a Rainy Day", "Never Letting Go", "Everybody Needs Love" and "Parked Cars". Guest performers on the first album included Art Garfunkel, Chaka Khan, Gary Brooker, Steve Cropper, and Phil Collins, who later recorded Bishop material on his Face Value album. Bishop achieved his greatest visibility as a composer of movie themes, contributing to Animal House, Roadie, Tootsie (which featured "It Might Be You"), The China Syndrome, Unfaithfully Yours, and a number one duet for Phil Collins and Marilyn Martin from White Nights, "Separate Lives." Bishop also appeared in The Blues Brothers and Kentucky Fried Movie.

Edited November 7, 2005 by hitman531ph

[sickness]

Van Halen, Motley Crue, Skid Row, Poison, Firehouse

[hitman531ph]

Firehouse had their first album in 1991, so that doesn't make them an 80s band. However, I did feature the other bands you mentioned.

 

Thanks for visiting the thread!

[hitman531ph]

ELECTRIC LIGHT ORCHESTRA

 

The Electric Light Orchestra's ambitious yet irresistible fusion of Beatlesque pop, classical arrangements, and futuristic iconography rocketed the group to massive commercial success throughout the 1970s. ELO was formed in Birmingham, England in the autumn of 1970 from the ashes of the eccentric art-pop combo the Move, reuniting frontman Roy Wood with guitarist/composer Jeff Lynne, bassist Rick Price, and drummer Bev Bevan. Announcing their intentions to "pick up where 'I Am the Walrus' left off," the quartet sought to embellish their engagingly melodic rock with classical flourishes, tapping French horn player Bill Hunt and violinist Steve Woolam to record their self-titled debut LP (issued as No Answer in the U.S.). In the months between the sessions for the album and its eventual release, the Move embarked on their farewell tour, with Woolam exiting the ELO lineup prior to the enlistment of violinist Wilf Gibson, bassist Richard Tandy, and cellists Andy Craig and Hugh McDowell; despite the lengthy delay, Electric Light Orchestra sold strongly, buoyed by the success of the U.K. Top Ten hit "10538 Overture."

However, Wood soon left ELO to form Wizzard, taking Hunt and McDowell with him; Price and Craig were soon out as well, and with the additions of bassist Michael D'Albuquerque, keyboardist Richard Tandy, and cellists Mike Edwards and Colin Walker, Lynne assumed vocal duties, with his Lennonesque tenor proving the ideal complement to his increasingly sophisticated melodies. With 1973's ELO II, the group returned to the Top Ten with their grandiose cover of the Chuck Berry chestnut "Roll Over Beethoven"; the record was also their first American hit, with 1974's Eldorado yielding their first U.S. Top Ten, the lovely "Can't Get It Out of My Head." Despite Electric Light Orchestra's commercial success, the band remained relatively faceless; the lineup changed constantly, with sole mainstays Lynne and Bevan preferring to let their elaborate stage shows and omnipresent spaceship imagery instead serve as the group's public persona. 1975's Face the Music went gold, generating the hits "Evil Woman" and "Strange Magic," while the follow-up, A New World Record, sold five million copies internationally thanks to standouts like "Telephone Line" and "Livin' Thing."

 

The platinum-selling double-LP, Out of the Blue, appeared in 1977, although the record's success was tempered somewhat by a lawsuit filed by Electric Light Orchestra against their former distributor, United Artists, whom the band charged flooded the market with defective copies of the album. Columbia distributed the remainder of the group's output, issued through their own Jet Records imprint, beginning with 1979's Discovery, which notched the Top Ten entries "Shine a Little Love" and "Don't Bring Me Down." In the wake of ELO's best-selling Greatest Hits compilation, Lynne wrote several songs for the soundtrack of the Olivia Newton-John film Xanadu, including the hit title track. The next proper Electric Light Orchestra album, 1981's Time, generated their final Top Ten hit, "Hold on Tight." Following 1983's Secret Messages, Bevan left the group to join Black Sabbath, although he returned to the fold for 1986's Balance of Power, which despite the presence of the Top 20 hit "Calling America" received little interest from fans and media alike.

 

However, as Electric Light Orchestra's career descended, Lynne emerged as a sought-after producer, helming well-received comebacks from George Harrison (1987's Cloud Nine) and Roy Orbison (1989's Mystery Girl) and additionally re-teaming with both rock legends as well as Bob Dylan and Tom Petty in the hit supergroup the Traveling Wilburys. Lynne made his solo debut in 1990 with Armchair Theatre but otherwise spent the decade out of the limelight, instead producing material for Joe Cocker, Tom Jones, and Paul McCartney in addition to working on the Beatles' Anthology project. In 1988, meanwhile, Bevan formed Electric Light Orchestra Part II with vocalist Neil Lockwood, keyboardist Eric Troyer, and bassist Pete Haycock; although Lynne filed suit against the group (hence the "Part II" tag), a self-titled LP followed in 1991, with a live collection recorded with the Moscow Symphony Orchestra appearing a year later. Outside of 1994's Moment of Truth, subsequent ELO II releases have been live efforts as well

Edited November 8, 2005 by hitman531ph

[hitman531ph]

AMBROSIA

 

Los Angeles quartet Ambrosia, whose founding members included guitarist/vocalist David Pack, bassist/vocalist Joe Puerta, keyboardist Christopher North, and drummer Burleigh Drummond, fused symphonic art rock with a slickly produced pop sound. The group was discovered in 1971 by Los Angeles Philharmonic conductor Zubin Mehta, who featured Ambrosia as part of a so-called All-American Dream Concert. However, it took them four more years to get a record contract; Ambrosia was released in 1975 and spawned the chart singles "Holdin' on to Yesterday" and "Nice, Nice, Very Nice." The latter was based on Kurt Vonnegut Jr.'s Cat's Cradle. Ambrosia scored another hit in 1977 with a cover of the Beatles' "Magical Mystery Tour" from the film All This and World War II, which they also appeared in.

North left the group just before their biggest pop breakthrough in 1978 with the number three hit "How Much I Feel." Ambrosia followed this success in 1980 with another number three hit, "Biggest Part of Me," and the number 13 follow-up "You're the Only Woman." Their next album failed, ending their run of chart success, and the group broke up; individual members are still active as session musicians and vocalists, as well as producers

Edited November 8, 2005 by hitman531ph

[hitman531ph]

BOZ SCAGGS

 

After first finding acclaim as a member of the Steve Miller Band, singer/songwriter Boz Scaggs went on to enjoy considerable solo success in the 1970s. Born William Royce Scaggs in Ohio on June 8, 1944, he was raised in Oklahoma and Texas, and while attending prep school in Dallas met guitarist Steve Miller. After joining Miller's group the Marksmen as a vocalist in 1959, the pair later attended the University of Wisconsin together, playing in blues bands like the Ardells and the Fabulous Knight Trains.

In 1963 Scaggs returned to Dallas alone, fronting an R&B unit dubbed the Wigs; after relocating to England, the group promptly disbanded, and two of its members -- John Andrews and Bob Arthur -- soon formed Mother Earth. Scaggs remained in Europe, singing on street corners; in Sweden he recorded a failed solo LP, 1965's Boz, before returning to the U.S. two years later. Upon settling in San Francisco, he reunited with Miller, joining the fledgling Steve Miller Band; after recording two acclaimed albums with the group, Children of the Future and Sailor, Scaggs exited in 1968 to mount a solo career.

 

With the aid of Rolling Stone magazine publisher Jann Wenner, Scaggs secured a contract with Atlantic. Sporting a cameo from Duane Allman, 1968's soulful Boz Scaggs failed to find an audience despite winning critical favor; the track "Loan Me a Dime" later became the subject of a court battle when bluesman Fenton Robinson sued (successfully) for composer credit. After signing to Columbia, Scaggs teamed with producer Glyn Johns to record 1971's Moments, a skillful blend of rock and R&B which, like its predecessor, failed to make much of an impression on the charts.

 

Scaggs remained a critics' darling over the course of LPs like 1972's My Time and 1974's Slow Dancer, but he did not achieve a commercial breakthrough until 1976's Silk Degrees, which reached number two on the album charts while spawning the Top Three single "Lowdown," as well as the smash "Lido Shuffle." 1977's Down Two Then Left was also a success, and 1980's Middle Man reached the Top Ten on the strength of the singles "Breakdown Dead Ahead" and "Jo Jo."

 

However, Scaggs spent much of the 1980s in retirement, owning and operating the San Francisco nightclub Slim's and limiting his performances primarily to the club's annual black-tie New Year's Eve concerts. Finally, in 1986 he resurfaced with the album Other Roads which brought him back to the Top 20 with a hit called "Heart of Mine", followed five years later by a tour with Donald Fagen's Rock and Soul Revue. The solo Some Change appeared in 1994, with Come on Home released in 1997

Edited November 8, 2005 by hitman531ph

[hitman531ph]

THE ALAN PARSONS PROJECT

 

As indicated by its name, the Alan Parsons Project was not a band so much as a concept overseen by the titular Parsons, a successful producer and engineer. Born in Britain on December 20, 1949, he began his musical career as a staff engineer at EMI Studios, and first garnered significant industry exposure via his work on the Beatles' 1969 masterpiece Abbey Road. Parsons subsequently worked with Paul McCartney on several of Wings' earliest albums; he also oversaw recordings from Al Stewart, Cockney Rebel and Pilot, but solidified his rep*tation by working on Pink Floyd's Dark Side of the Moon.

Influenced by his work on Stewart's concept album Time Passages, Parsons decided to begin creating his own thematic records; along with songwriter Eric Woolfson, he soon founded the Alan Parsons Project. Although Parsons played keyboards and infrequently sang on his records, the Project was designed primarily as a forum for a revolving collection of vocalists and session players -- among them Arthur Brown, ex-Zombie Colin Blunstone, Cockney Rebel's Steve Harley, the Hollies' Allan Clarke and guitarist Ian Bairnson -- to interpret and perform Parsons and Woolfson's conceptually-linked, lushly-synthesized music.

 

The Project debuted in 1975 with Tales of Mystery and Imagination, a collection inspired by the work of Edgar Allen Poe; similarly, the science fiction of Isaac Asimov served as the raw material for 1977's follow-up I Robot. With 1980s The Turn of a Friendly Card, a meditation on gambling, the Alan Parsons Project scored a Top 20 hit, "Games People Play; " 1982's Eye in the Sky, was their most successful effort, and notched a Top Three hit with its title track and a minor hit "Psychobabble". 1984's Ammonia Avenue went gold with two Top 40 hits "Don't Answer Me" and "Prime Time". The Project's subsequent LPs earned little notice, although records like 1985's Vulture Culture, 1987's Gaudi and 1996's On Air found favor with longtime fans. Time Machine followed in 1999

Edited November 8, 2005 by hitman531ph

[hitman531ph]

DAN FOGELBERG

 

Peoria, IL, native Dan Fogelberg has built a devoted following over the years with his laid-back, folky singer/songwriter style. A pianist since 14, Fogelberg switched to guitar and played local coffeehouses while majoring in art at the University of Illinois, where he met ex-student and REO Speedwagon manager Irving Azoff. Fogelberg relocated to Los Angeles and played the folk circuit while doing session work, landing a tour spot with Van Morrison at one point. Fogelberg's 1972 debut, Home Free, didn't make much of an impact, and he was dropped from Columbia. However, Fogelberg's connection with Azoff led to a deal with Epic. Fogelberg's Epic debut, Souvenirs, became his first in a string of seven consecutive platinum albums. He increased his visibility by touring with the Eagles in 1975. Fogelberg's popularity peaked in 1980 with the release of Phoenix, which contained the number two hit single "Longer." His follow-up, The Innocent Age, was a double concept album, and four Top 20 singles were pulled from it. Following the release of a greatest-hits package, Fogelberg's commercial appeal began to evaporate; none of his subsequent albums have gone platinum, but continue to sell well to a core of fans. 1984 saw Dan Fogelberg release an album reflecting a change of style. Not folk-sounding nor ballad type of album. Fogelberg reached #14 with rock-sounding The Language of Love and that was the last of his hits. 1993's River of Souls saw Fogelberg experimenting with worldbeat sounds as a backdrop for his lyrical musings. No Resemblance Whatsoever, a collaboration with Tim Weisberg, followed in 1995, and four years later Fogelberg returned with First Christmas Morning. Live: Something Old New Borrowed and Some Blues appeared in mid-2000

Edited November 8, 2005 by hitman531ph

[hitman531ph]

IRENE CARA

 

Irene Cara is best known as a singer of movie themes, though she worked as an actress since childhood. Raised in New York City, she appeared on Broadway in 1967 in the musical Maggie Flynn at age eight and can be heard on the cast album for the show The Me Nobody Knows. From the age of 16, she was turning up on television and in films, including a part in the TV mini-series Roots 2 in 1979. In 1980, she was catapulted into stardom and a singing career by her appearance in the film Fame, for which she sang the title song, an Oscar-winning Top Ten hit. Also from the film was her Top 40 hit "Out Here on My Own." In 1983, she topped the charts once again with "Flashdance...What a Feelin'" from the movie Flashdance, a song she co-wrote that won another Oscar, and Cara won a couple of Grammys for her contributions to the soundtrack. Her What a Feelin' album included the #11 hit "Why Me?" and she also made the Top 40 with a third movie theme, "The Dream (Hold on to Your Dream)," from DC Cab, reaching #37. Irene Cara never had another chart hit after that.

Edited November 9, 2005 by hitman531ph

[hitman531ph]

SHEENA EASTON

 

1980s pop diva Sheena Easton was born Sheena Shirley Orr in Belshill, Scotland on April 27, 1959. Inspired to pursue a singing career after seeing Barbra Streisand in The Way We Were, she later attended the Royal Scottish Academy of Music and Drama while moonlighting with the group Something Else. Exposure on the BBC television production The Big Time: Pop Singer not only resulted in a record deal with EMI but also pushed Easton's 1980 debut singles, "Modern Girl" and "9 to 5," into the U.K. Top Ten, and she became the first female artist to score two simultaneous Top Ten hits. Her self-titled debut LP followed in 1981, while "9 to 5" was reissued in America under the title "Morning Train" to avoid confusion with Dolly Parton's recent hit of the same name; regardless, the single topped the U.S. pop charts, with "Modern Girl" cracking the Top 20 a few months later. After earning a Grammy as Best New Artist, Easton was tapped to sing the title theme of the latest James Bond film, For Your Eyes Only; in 1983, she duetted with Kenny Rogers on the smash "We've Got Tonight," returning to the Top Ten later that year with "Telefone (Long Distance Love Affair." However, with 1984's A Private Affair, Easton retooled her squeaky clean image, following the sassy "Strut" with the salacious "Sugar Walls," written and produced by one Alexander Nevermind (a.k.a. Prince, to whose "U Got the Look" she contributed vocals in 1987). In 1987, she had a Christmas hit, "It's Christmas All Over the World" from the movie "Santa Claus: The Movie". She followed a stint as Don Johnson's ill-fated TV wife on Miami Vice by scoring the number two smash "The Lover in Me" in 1989; however, 1991's "What Comes Naturally" proved to be Easton's last chart entry, and after starring in a musical revival of Man of La Mancha she spent much of the decade on stage, also appearing in a revival of Grease as well as on the seasonal tour The Colors of Christmas

Edited November 9, 2005 by hitman531ph

[hitman531ph]

THE BEATLES in the 80s??

 

Why, yes! But not all former Beatles had hits in the 80s. Only Ringo Starr had no hits in 80s (even until the 90s), though he had two albums in 1981 and 1983 which met no success.

 

PAUL MCCARTNEY

 

Out of all the former Beatles, Paul McCartney by far had the most successful solo career, maintaining a constant presence in the British and American charts during the '70s and '80s. In America alone, he had nine number one singles and seven number one albums during the first 12 years of his solo career. Although he sold records, McCartney never attained much critical respect, especially when compared to his former partner John Lennon. Then again, he pursued a different path than Lennon, deciding early on that he wanted to be in a rock band. Within a year after the Beatles' breakup, McCartney had formed Wings with his wife Linda, and the group remained active for the next ten years, racking up a string of hit albums, singles, and tours in the meantime. By the late '70s, many critics were taking potshots at McCartney's effortlessly melodic songcraft, but that didn't stop the public from buying his records. His sales didn't slow considerably until the late '80s, and he retaliated with his first full-scale tour since the '70s, which was a considerable success. During the '90s, McCartney recorded less frequently, concentrating on projects like his first classical recording, a techno album, and the Beatles' Anthology.

 

Like Lennon and George Harrison, Paul McCartney began exploring creative avenues outside the Beatles during the late '60s, but where his bandmates released their own experimental records, McCartney confined himself to writing and production for other artists, with the exception of his 1966 soundtrack to The Family Way. Following his marriage to Linda Eastman on March 12, 1969, McCartney began working at his home studio on his first solo album. He released the record, McCartney, in April 1970, two weeks before the Beatles' Let It Be was scheduled to hit the stores. Prior to the album's release, he announced that the Beatles were breaking up, which was against the wishes of the other members. As a result, the tensions between him and the other three members, particularly Harrison and Lennon, increased and he earned the ill will of many critics. Nevertheless, McCartney became a hit, spending three weeks at the top of the American charts. Early in 1971, he returned with "Another Day," which became his first hit single as a solo artist. It was followed several months later by Ram, another home-made collection, this time featuring the contributions of his wife Linda.

 

By the end of 1971, the McCartneys had formed Wings, which was intended to be a full-fledged recording and touring band. Former Moody Blues guitarist Denny Laine and drummer Denny Seiwell became the group's other members, and Wings released their first album, Wild Life, in December 1971. Wild Life was greeted with poor reviews and was a relative flop. McCartney and Wings, which now featured former Grease Band guitarist Henry McCullough, spent 1972 as a working band, releasing three singles -- the protest "Give Ireland Back to the Irish," the reggae-fied "Mary Had a Little Lamb" and the rocking "Hi Hi Hi" -- in England. Red Rose Speedway followed in the spring of 1973, and while it received weak reviews, it became his second American number one album. Later in 1973, Wings embarked on their first British tour, at the conclusion of which McCullough and Seiwell left the band. Prior to their departure, the McCartney's theme to the James Bond movie Live and Let Die became a Top Ten hit in the U.S. and U.K.. That summer, the remaining Wings proceeded to record a new album in Nigeria. Released late in 1973, Band on the Run, was simultaneously McCartney's best-reviewed album and his most successful, spending four weeks at the top of the U.S. charts and eventually going triple platinum.

 

Following the success of Band on the Run, McCartney formed a new version of Wings with guitarist Jimmy McCulloch and drummer Geoff Britton. The new lineup was showcased on the 1974 British single "Junior's Farm" and the 1975 hit album Venus and Mars. At the Speed of Sound followed in 1976, and it was the first Wings record to feature songwriting contributions by the other bandmembers. Nevertheless, the album became a monster success on the basis of two McCartney songs, "Silly Love Songs" and "Let 'Em In." Wings supported the album with their first international tour which broke many attendance records and was captured on the live triple-album Wings Over America (1976). After the tour was completed, Wings rested a bit during 1977, as McCartney released an instrumental version of Ram under the name Thrillington and produced Denny Laine's solo album, Holly Days. Later that year, Wings released "Mull of Kintyre," which became the biggest-selling British single of all time, selling over two million copies. Wings followed "Mull of Kintyre" with London Town in 1978, which became another platinum record. After its release, McCulloch left the band to join the re-formed Small Faces and Wings released Back to the Egg in 1979. Though the record went platinum, it failed to produce any big hits. Early in 1980, McCartney was arrested for marijuana possession at the beginning of a Japanese tour; he was imprisoned for ten days and then released, without any charges being pressed.

 

Wings embarked on a British tour in the spring of 1980 before McCartney recorded McCartney II, which was a one-man band effort like his solo debut. The following year, Denny Laine left Wings because McCartney didn't want to tour in the wake of John Lennon's assassination; in doing so, he effectively broke up Wings. McCartney entered the studio later that year with Beatles producer George Martin to make Tug of War. Released in the spring of 1982, Tug of War received the best reviews of any McCartney record since Band on the Run and spawned the number one single "Ebony and Ivory," a duet with Stevie Wonder that became McCartney's biggest American hit. In 1982, McCartney sang on "The Girl Is Mine," the first single from Michael Jackson's blockbuster album Thriller which was released in 1983. In return, Jackson dueted with McCartney on "Say Say Say," the first single from Paul's 1983 album Pipes of Peace and the last number one single of his career. The relationship between Jackson and McCartney soured considerably when Jackson bought the publishing rights to the Beatles songs from underneath McCartney in 1985.

 

McCartney directed his first feature film in 1984 with Give My Regards to Broad Street. While the soundtrack, which featured new songs and re-recorded Beatles tunes, was a hit, generating the hit single "No More Lonely Nights," the film was a flop, earning terrible reviews. The following year he had his last American Top Ten with the theme to the Chevy Chase/Dan Aykroyd comedy Spies Like Us. Press to Play (1986) received some strong reviews but the album was a flop. In 1988, he recorded a collection of rock & roll oldies called Choba B CCCP for release in the USSR; it was given official release in the US and UK in 1991. For 1989's Flowers in the Dirt, McCartney co-wrote several songs with Elvis Costello; the pair also wrote songs for Costello's Spike, including the hit "Veronica." Flowers in the Dirt received the strongest reviews of any McCartney release since Tug of War and was supported by an extensive international tour, which was captured on the live double-album Tripping the Live Fantastic (1990). For the tour, McCartney hired guitarist Robbie McIntosh and bassist Hamish Stuart, who would form the core of his band through the remainder of the '90s.

 

Early in 1991, McCartney released another live album in the form of Unplugged, which was taken from his appearance on MTV's acoustic concert program of the same name; it was the first Unplugged album to be released. Later that year, he unveiled Liverpool Oratorio, his first classical work. Another pop album, Off the Ground, followed in 1993, but the album failed to generate any big hits, despite McCartney's successful supporting tour. Following the completion of the "New World" tour, he released another live album, Paul Is Live, in December of 1993. In 1994, he released an ambient techno album under the pseudonym the Fireman. McCartney premiered his second classical piece, "The Leaf," early in 1995, and then began hosting a Westwood One radio series called Oobu Joobu. But his primary activity in 1995, as well as 1996, was the Beatles' Anthology, which encompassed a lengthy video documentary of the band and the multi-volume release of Beatles outtakes and rarities. After Anthology was completed, he released Flaming Pie in the summer of 1997. A low-key, largely acoustic affair that had the some of the same charm of his debut, Flaming Pie was given the strongest reviews McCartney had received in years and was a modest commercial success, debuting at number two on the U.S. and U.K. charts; it was his highest American chart placing since he left the Beatles. Flaming Pie certainly benefited from the success of Anthology, as did McCartney himself -- only a few months before the release of the album in 1997, he received a Knightship.

 

On April 17, 1998, Linda McCartney died after a three-year struggle with breast cancer. A grieving Paul kept a low profile in the months to follow, finally returning in the fall of 1999 with Run Devil Run, a collection comprised primarily of cover songs. Liverpool Sound Collage followed a year later

Edited November 9, 2005 by hitman531ph

[hitman531ph]

JOHN LENNON

 

As one-half of the most famous pop songwriting team of all time, John Lennon (b. Oct. 9, 1940, Liverpool, England) will go down in history not only for noting with irony that his band the Beatles was "more popular than Jesus," but for having more than one member of the clergy sadly, if quietly, agree with him. Lennon's songwriting relationship with Paul McCartney may be the most thoroughly examined, well-documented collaboration in musical history. In the course of their momentous career--beginning with the Oct. 5, 1962 U.K. release of debut single "Love Me Do" through the year of McCartney's Apr. 10, 1970 announcement that the group had dissolved--the Beatles released 46 top 40 singles and 26 charting albums, many of which were reissues of earlier material or contained only interview snippets. Because of the massive press attention the Beatles received through the course of their career, and because the eyes of the world were focused on John Lennon's every move until his tragic death in 1980, his music away from the group has taken on that much more importance in retrospect.

The John Lennon who co-wrote "She Loves You" and "Love Me Do" with Paul McCartney was a young and ambitious singer-songwriter who merely wanted to become part of "the Goffin & King of England"; the John Lennon who would pose nude on the cover of Two Virgins with his bride-to-be Yoko Ono was instead one of the world's most famous individuals. His very existence was a statement, his every recording was examined thoroughly, held up against his past work as a Beatle, and dissected: What was its motivation? Is this the music he wanted to do, but the other Beatles wouldn't let him? Did he hate his past work? Did he think listeners wanted to hear him and Yoko Ono grunting, groaning, laughing and screaming? More to the point, did he think fans wanted to pay money for the privilege of hearing it?

 

In fact, most of those questions died down following the release of 1970's Plastic Ono Band, which in many ways marked Lennon's resumption of his Beatles-styled songwriting ways. But the four albums that preceded it, all released within a year, were a far cry from the polished work of Plastic Ono Band or even Let It Be: Between February and December of 1969, Lennon and Ono released Unfinished Music #1: Two Virgins, Unfinished Music #2: Life With The Lions, and Wedding Album--three albums of "experimental music," avant-garde ramblings that tried the patience of most Beatle fans. And when Lennon "returned" to rock in January 1970 with Live Peace In Toronto, 1969, one half of a potentially great live album, featuring Eric Clapton on lead guitar and versions of "Dizzy Miss Lizzy," "Yer Blues," "Blue Suede Shoes," and "Cold Turkey," was marred by the unsettling, screeching yawps of Ono.

 

Still, when Lennon released the comparatively accessible John Lennon/Plastic Ono Band, he came back with a stark rawness he'd never displayed while in the Beatles. His greatest solo work, the album was an intense but rewarding listening experience that contained many of his best-known songs--including "Mother," "Working Class Hero," and "God," the latter two of which include some of his most oft-quoted lyrical passages. The brutal, inward-looking nature of such tunes as the album closer "My Mummy's Dead"--on which Lennon sang "My Mummy's dead/It's hard to explain/So much pain/I could never show it/My Mummy's dead"--offered a revealingly close (some said too close) look at Lennon's inner turmoil; the album is still cited by many as one of rock's finest.

 

Lennon's best-known solo work Imagine followed in 1971; perhaps surprisingly, the title track, now very much a pop standard, peaked at only No. 3 on the pop charts. Still in the introverted mode, Lennon turned his gaze outward long enough to craft what may be one of the meanest songs in pop, directed at former partner McCartney. "How Do You Sleep" took the famous bassist to task for, among other things, his composing skills: "A pretty face may last a year or two," sang Lennon, "But pretty soon they'll see what you can do/The sound you make is muzak to my ears/You must have learned something in all those years." But balancing out that vitriol, and the seeming self-effacement of "Crippled Inside," were such beautiful tracks as "Oh My Love," a simple and elegant love song for which even the era's Yoko-haters could be grateful.

 

Yoko's presence was felt on Lennon's most disposable effort, 1972's Sometime In New York City, which was jointly credited to John & Yoko/ Plastic Ono Band and came wrapped in a mock New York Times cover. The album, which peaked at No. 48 and was Lennon's lowest-charting release since his 1969 "experimental" phase, was a mostly strident diatribe that was, appropriately, very newspaperish in tone. Though it contains the infamous Lennon/Ono composition "Woman Is The Nigger Of The World"--which was actually released as a single, and peaked at No. 57--the album's songs about Angela Davis, the prison riots at Attica, and the imprisoned John Sinclair now inevitably seem dated and slight.

 

When Lennon returned to his more normal pop mode with 1973's Mind Games, it seemed a strangely empty gesture. Though he had a hit with the title track--a minor one, it peaked at No. 18--many of the songs had little focus and even less melody; for the first time it became acutely evident Lennon would have derived great benefit from a helping of McCartney's skill at making so-called "muzak." The album's ascent to the top 10 now seems much more a function of Lennon's ex-Beatle status than its inherent worth; with the exception of its title track, Mind Games may be the least-heard in Lennon's entire pop canon.

 

Even more disturbingly, while the singer's 1974 set Walls And Bridges seemed something of a return to form--it did, after all, reach No. 1--its popularity generally stemmed from two singles, one of which ("Whatever Gets You Through The Night") featured conspicuous backing vocals from the '70s hottest superstar, Elton John, and the other ("#9 Dream") which was a self-consciously Beatle-esque track that almost seemed an artistic retreat of sorts. Where was the intensity of Plastic Ono Band or Imagine? Following the even further artistic retreat of 1975's Rock 'N' Roll, Lennon's interesting but minor retreading of rock classics such as "Be-Bop-A-Lula," "Stand By Me," and "Peggy Sue," and greatest hits compilation Shaved Fish, the singer dropped out of the business for five years to raise his young son Sean.

 

Lennon returned with what would win a Grammy as 1981's album of the year, Double Fantasy, his long-awaited comeback and one very much worth waiting for. Divided into two parts--one half Lennon songs, one half Ono songs--the album was an inspired work that was rapturously received by fans. Featuring three top 10 hits--including the No. 1 "(Just Like) Starting Over," "Woman," and "Watching The Wheels," the album was in some ways as introverted as ever; this time, however, Lennon seemed a much happier man, filled with love for Ono and, as documented wonderfully on "Beautiful Boy," his young son Sean. But as "(Just Like) Starting Over" made its way to the top of the charts, Lennon's triumphant return horrendously ended on Dec. 8, 1980, when he was shot in front of the Dakota apartment building in New York's Upper West Side; he died en route to Roosevelt Hospital.

 

Lennon's tragic death was eventually followed by the inevitable release of several albums of unfinished songs, outtakes, and live performances on such albums as 1984's Milk And Honey and 1986's Live In New York City and Menlove Avenue; his last charting album was the soundtrack to Andrew Solt's 1988 film Imagine: John Lennon. Though the albums may continue to come, there will never, obviously, be any new music from John Lennon ever again. The finality of his death remains a gruesome reminder for an entire generation that the brightest lights in pop music and elsewhere can be unexpectedly extinguished at any time

Edited November 9, 2005 by hitman531ph

[hitman531ph]

GEORGE HARRISON

 

As lead guitarist for the Beatles, George Harrison provided the band with a lyrical style of playing in which every note mattered. Harrison was one of millions of young Britons inspired to take up the guitar by British skiffle king Lonnie Donegan's recording of "Rock Island Line." But he had more dedication than most, and with the encouragement of a slightly older school friend -- Paul McCartney -- he advanced quickly in his technique and command of the instrument. Harrison developed his style and technique slowly and painstakingly over the several years, learning everything he could from the records of Carl Perkins, Duane Eddy, Chet Atkins, Buddy Holly, and Eddie Cochran. By age 15, he was allowed to sit in with the Quarry Men, the Liverpool group founded by John Lennon, of which McCartney was a member; by 16, he was a full-fledged member of the group.

The Beatles finally coalesced around Lennon, McCartney, Harrison, and drummer Ringo Starr in 1962, with Harrison established on lead guitar. The Beatlemania years, from 1963 through 1966, were a mixed blessing for Harrison. The Beatles' studio sound was generally characterized by very prominent rhythm guitar parts, and on many of the Beatles' early songs, Harrison's lead guitar was buried beneath the chiming chords of Lennon's instrument. Additionally, he was thwarted as a songwriter by the presence of Lennon and McCartney; the quality and proliferation of their output left very little room on the group's albums for songs by anyone else. Despite these problems, Harrison grew markedly as a musician between 1963 and 1966, writing a handful of good songs and one classic ("If I Needed Someone"), and also making his first acquaintance of the sitar, an Indian instrument whose sound fascinated him.

 

In 1966, Harrison finally seemed to find his voice with two of his songs on the Revolver album, "Taxman" and "Love You Too." In the wake of the group's decision to stop touring, Harrison's playing and songwriting grew exponentially. The period from 1968 onward was Harrison's richest with the Beatles. He displayed a smooth, elegant slide guitar technique that showed up on their last three albums; and he contributed two classic songs, "While My Guitar Gently Weeps" and "Here Comes the Sun," along with "Something," which became the first Harrison song on the A-side of a Beatles single.

 

Although never known as a strong singer, Harrison's vocals were always distinctive, especially when placed in the right setting; for his first solo record following the group's 1970 breakup, All Things Must Pass, Harrison collaborated with producer Phil Spector, whose so-called "Wall of Sound" technique adapted well to Harrison's voice. All Things Must Pass and the accompanying single "My Sweet Lord" had the distinction of being the first solo recordings by any of the Beatles to top the charts following their breakup. Unfortunately, Harrison was later successfully sued by the publisher of the 1962 Chiffons hit "He's So Fine," which bore a striking resemblance to "My Sweet Lord."

 

Harrison followed All Things Must Pass with rock's first major charity event, The Concert for Bangladesh, which was staged as two shows at New York's Madison Square Garden in 1971 to help raise money for aid to that famine-ravaged nation. The second of the two all-star shows was released as a movie and a live triple album. Harrison's next studio album, Living in the Material World, initially sold well, but its leaner, less opulent production lacked the majestic force of All Things Must Pass, and it lacked the earlier album's mass appeal. Subsequent Harrison albums from the 1970s into the '80s always had an audience, but -- except for Somewhere in England (1981), released in the wake of the murder of John Lennon with the memorial song "All Those Years Ago" -- none seemed terribly well-crafted or -executed. During this same period, Harrison embarked on a successful career as a movie producer with the founding of Handmade Films.

 

In 1987, Harrison made a return to the top of the charts with his album Cloud Nine, which featured his most inspired work in years, most notably a cover of an old Rudy Clark gospel number called "Got My Mind Set on You," which reached number one on the charts. In 1988, Harrison, Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison formed the Traveling Wilburys, who released two very successful albums. It was also around this time that Harrison appeared with his former bandmate Ringo Starr, Dave Edmunds, Rosanne Cash, and the Stray Cats' Lee Rocker (who was born the year the Beatles made their first recordings) in a superb live-in-front-of-the-cameras rockabilly performance accompanying Harrison's one-time idol Carl Perkins; which was subsequently released on video cassette and laser disc. All of this success heralded a short-lived re-emergence for the musician out of private life, resulting in a 1991 tour of Japan that yielded a live album (Live in Japan). Harrison had hated concertizing since the harrowing days of the Beatles' international career, and had done one poorly received concert tour in the mid-'70s; he seemed more comfortable in 1991, and the album performed moderately well, driven by the presence of his then-recent hits.

 

He withdrew into private life after that, devoting himself to his life with his second wife and their son, and only re-emerged before the public when necessary, such as defending the Beatles' copyrights in court cases.

 

In 1999, Harrison was assaulted in his home and seriously injured by a deranged fan, but he recovered and in 2000 he began work on remastering and expanding his classic All Things Must Pass album. The reissue of that album at the outset of 2001 heralded an unusually public publicity campaign by Harrison, who accompanied its re-release with an interview record that anticipated the eventual reissue of the rest of his catalog. Harrison had been treated for throat cancer in the late '90s, but in 2001 it was revealed that he was suffering from an inoperable form of brain cancer. At the time of his death on November 29, 2001, The Concert for Bangladesh album had been announced for upgraded reissue in January of 2002, and a DVD of the film was in release internationally

Edited November 9, 2005 by hitman531ph

[cruesome]

my neighbors gonna hate me tonite. just got this dvd off amazon.ca. i'm playing it loud and crushed a few blue cans

 

i missed this boys.

 

http://images.amazon.com/images/P/B00076YPE4.01.LZZZZZZZ.jpg

[pepejoe]

My favorite from the 80s (not necessarily in order):

 

1. Billy Joel

2. Huey Lewis and the News

3. Carrs

4. Wang Chung

5. Police

6. Duran duran

7. Spandau Ballet

8. Cyndi Lauper

9. New Order

10. Depeche Mode

11. Hall and Oates

12. Madonna

13. Wham

14. B-52

15. The Cure

16. David Bowie

17. China Crisis

18. Vitamin C

19. U2

20. Tears for Fears