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

[hitman531ph]

I've featured all in your list except one.

 

And here it is

 

WANG CHUNG

 

The London-based new wave group Wang Chung had a handful of hits in the mid-'80s, achieving their greatest popularity in the U.S. Originally called Huang Chung, the band consisted of vocalist/guitarist Jack Hues, bassist Nick Feldman, and drummer Darren Costin. The band recorded four tracks for 101 Records in the late '70s, all of which appeared on a pair of compilation albums. Huang Chung released their first single, "Isn't It About Time We Were on Television?," in 1980; the record led to a contract with Arista Records. The group released their first album, Huang Chung, in 1982. By the time they recorded 1984's Points on a Curve, the band had changed their name to Wang Chung. "Dance Hall Days" was a small hit in Britain, yet the band hit the Top 40 twice in America -- "Don't Let Go" made it to number 36, while "Dance Hall Days" reached number 16. From this point on, Wang Chung ignored the U.K. market, choosing to concentrate on the U.S. "To Live and Die in L.A.," the theme song from William Friedken's thriller, just missed making the Top 40 in 1985. That same year, Wang Chung switched from Geffen Records to A&M and Costin left the band. Hues and Feldman continued as a duo and released Mosaic in 1986. The album was their biggest hit, launching the number two hit "Everybody Have Fun Tonight" and the Top Ten "Let's Go!" and "Hypnotize Me", adopted by the movie Inner Space in 1987.

 

Wang Chung returned in 1989 with The Warmer Side of Cool, which spent a mere six weeks on the charts, spawning the minor hit, "Praying to a New God." After the relative disappointment of the album, the group quietly stopped touring and recording

Edited November 10, 2005 by hitman531ph

[orionpax]

Glam...

 

 

GNR

Poison

WhiteLion

Tesla

Skid Row

[Immortal666]

here's a Glam trivia question for you guys.

 

What did DAD stand for?

 

Let's see who of you remembers this group.

<{POST_SNAPBACK}>

 

Disneyland After Dark. So what prize do I get?

[heart100]

Its good to reminisce, how about Beds are Burning of Midnight Oil and Bringing Home the Ashes of wild Swans, I really want to hear those.

 

Nice dropping by here. Keep it up guys.

[bullseye2x]

Fav ko pa rin hangang ngayon ay ...got two album of The Colourfield and the best of Stray Cats :cool:

[hitman531ph]

MIDNIGHT OIL

 

Australia's Midnight Oil brought a new sense of political and social immediacy to pop music: not only did incendiary hits like "Beds Are Burning" and "Blue Sky Mine" bring global attention to the plight of, respectively, aboriginal settlers and impoverished workers, but the group also put its money where its mouth was -- in addition to mounting benefit performances for groups like Greenpeace and Save the Whales, frontman Peter Garrett even ran for the Australian Senate on the Nuclear Disarmament Party ticket.

The band formed in Sydney in 1971 as Farm, and originally comprised guitarists Jim Moginie and Martin Rotsey, drummer Rob Hirst and bassist Andrew "Bear" James; Garrett, a law student known for his seven-foot-tall stature and shaven head, assumed vocal duties in 1975, and the group soon rechristened itself Midnight Oil. After months of sporadic gigs, they began making the rounds to area record companies; following a string of rejections, the group formed its own label, Powderworks, and issued their self-titled debut -- a taut, impassioned collection of guitar rock which quickly established the Midnight Oil sound -- in 1978.

 

After declaring their independence from the music industry, the Oils grew increasingly active and outspoken in the political arena; after performing in opposition to uranium mining, they supported the Tibet Council before turning their attentions to the unfair practices of the local music industry, and formed their own booking agency in response to the monopoly exerted by area agents and promoters. With their 1979 sophomore effort Head Injuries, the band scored their first hit single, "Cold Cold Change," and earned a gold record. James left the band the following year due to health problems; with new bassist Peter Gifford, they cut the EP Bird Noises, another chart success.

 

With 1981's Place Without a Postcard (recorded with producer Glyn Johns), Midnight Oil achieved platinum status on the strength of the smash "Armistice Day," which won the group an American deal with Columbia Records. Their follow-up, 1983's 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, spent over two years in the Australian Top 40; after 1984's Red Sails in the Sunset, Garrett made his run at Senate, losing by only a narrow margin. Participation in the Artists United Against Apartheid project followed, leading directly into Midnight Oil's increased interest in the battles of Australia's aboriginal settlers and a tour, dubbed "Black Fella White Fella," with the aborigine group the Warumpi Band.

 

The aborigines' plight came to the fore on 1987's Diesel and Dust, the Oils' breakthrough record; sparked by the hit single "Beds Are Burning," the album reached the U.S. Top 20 and made the band a household commodity. After bassist Dwayne "Bones" Hillman (ex-Swingers) replaced Gifford, Midnight Oil returned with 1990's Blue Sky Mining, which they followed with a concert outside of the Exxon corporation's Manhattan offices in protest the company's handling of the Alaskan oil spill. (A film of the performance titled Black Rain Falls was later released, with profits going to Greenpeace.) The album Earth and Sun and Moon appeared in 1993, followed three years later by Breathe. Midnight Oil next resurfaced in 1998 with Redneck Wonderland. The Real Thing, only available in Australia, followed in 2001. It was a solid collection of new songs and live tracks from Midnight Oil's magnificent run at the Metro Theatre in Sydney. Capricornia, issued on Liquid 8 in spring 2002, marked the band's 14th album of their career. In December, Peter Garrett announced his split from the band after 25 years. Garrett, who left Midnight Oil on good terms, wished to pursue other challenges

Edited November 15, 2005 by hitman531ph

[hitman531ph]

THE DREAM ACADEMY

 

The airy, baroque British pop trio dubbed the Dream Academy emerged in the mid-'80s as one of the leading lights of the psychedelic revival movement. The group was led by vocalist/guitarist Nick Laird-Clowes, a former member of the short-lived Act; also comprised of multi-instumentalist Kate St. John (an alumna of the Ravishing Beauties) and keyboardist Gilbert Gabriel, the Dream Academy issued their eponymously titled debut LP in 1985. Co-produced by David Gilmour, the atmospheric lead single "Life in a Northern Town," an elegy for Nick Drake, quickly reached the Top 20 of the U.K. charts; issued in the U.S. the following year, it became a Top Ten hit.

The trio's follow-up single, "The Love Parade," failed to repeat the success of its predecessor, however, and the Dream Academy's commercial momentum stalled. After 1987's Rememberance Days quickly dropped from sight, the group went into seclusion; when their 1991 comeback A Different Kind of Weather failed to restore their chart luster, the Dream Academy promptly disbanded. In subsequent years, St. John was the trio's most visible graduate; in addition to touring with Van Morrison, she teamed with Roger Eno, Bill Nelson and others in the group Channel Light Vessel, and in 1996 issued her solo debut Indescribable Night

Edited November 15, 2005 by hitman531ph

[hitman531ph]

THE STYLE COUNCIL

 

Guitarist/vocalist Paul Weller broke up the Jam, the most popular British band of the early '80s, at the height of their success in 1982 because he was dissatisfied with their musical direction. Weller wanted to incorporate more elements of soul, R&B, and jazz into his songwriting, which is something he felt his punk-oriented bandmates were incapable of performing. In order to pursue this musical direction, he teamed up in 1983 with keyboardist Mick Talbot, a former member of the mod revival band the Merton Parkas. Together, Weller and Talbot became the Style Council -- other musicians were added according to what kind of music the duo were performing. With the Style Council, the underlying intellectual pretensions that ran throughout Weller's music came to the forefront.

Although the music was rooted in American R&B, it was performed slickly -- complete with layers of synthesizers and drum machines -- and filtered through European styles and attitudes. Weller's lyrics were typically earnest, yet his leftist political leanings became more pronounced. His scathing criticisms of racism, unemployment, Margaret Thatcher, and sexism sat uneasily beside his burgeoning obsession with high culture. As his pretensions increased, the number of hits the Style Council had decreased; by the end of the decade, the group was barely able to crack the British Top 40 and Weller had turned from a hero into a has-been.

 

Released in March of 1983, the Style Council's first single "Speak Like a Child" became an immediate hit, reaching number four on the British charts. Three months later, "The Money-Go-Round" peaked at number 11 on the charts as the group was recording an EP, Paris, which appeared in August; the EP reached number three. "Solid Bond in Your Heart" became another hit in November, peaking at number 11.

 

The Style Council released their first full-length album, Cafe Bleu, in March of 1984; two months later, a resequenced version of the record, retitled My Ever Changing Moods, was released in America. Cafe Bleu was Weller's most stylistically ambitious album to date, drawing from jazz, soul, rap, and pop. While it was musically all over the map, it was their most successful album, peaking at number five in the U.K. and number 56 in the U.S. "My Ever Changing Moods" became their first U.S. hit, peaking at number 29. In the summer of 1985, the Style Council had another U.K. Top Ten hit with "The Walls Come Tumbling Down." The single was taken from Our Favourite Shop, which reached number one on the U.K. charts; the record was released as Internationalists in the U.S. The live album, Home and Abroad, was released in the spring of 1986; it peaked at number eight.

 

The Style Council had its last Top Ten single with "It Didn't Matter" in January of 1987. The Cost of Loving, an album that featured a heavy emphasis on jazz-inspired soul, followed in February. Although it received unfavorable reviews, the record peaked at number two in the U.K. That spring, "Waiting" became the group's first single not to crack the British Top 40, signalling that their popularity was rapidly declining. In July of 1988, the Style Council released their last album, Confessions of a Pop Group, which featured Weller's most self-important and pompous music -- the second side featured a ten-minute orchestral suite called "The Gardener of Eden." The record charted fairly well, reaching number 15 in the U.K., but it received terrible reviews. In March of 1989, the Style Council released a compilation, The Singular Adventures of the Style Council, which reached number three on the charts. Later that year, Weller delivered a new Style Council album, which reflected his infatuation with house and club music, to the band's record label Polydor. Polydor rejected the album and dropped both the Style Council and Weller from the label.

 

Paul Weller and Mick Talbot officially broke up the Style Council in 1990. In 1991, Weller launched a solo career which would return him to popular and critical favor in the mid-'90s, while Talbot continued to play, both with Weller and as a solo musician

Edited November 15, 2005 by hitman531ph

[hitman531ph]

THE HOUSEMARTINS

 

One of Britain's more popular indie guitar pop groups of the late '80s, the Housemartins' post-Smiths guitar jangle and subtle updating of catchy, melodic British beat groups earned the Hull-based quartet a substantial critical and popular following within the U.K. Though the group never gained much more than a cult following in America, their balance of simple, memorable melodies and cutting sarcasm helped them rise into the British Top Ten, as well as earn consistently strong reviews. The Housemartins broke up in 1988, just before they fully broke into the mainstream. The group's lead songwriter, Paul Heaton, formed the Beautiful South the following year, and his new band capitalized on the success of the Housemartins to become one of the more popular U.K. groups of the early '90s.

Paul Heaton (vocals, guitar) formed the Housemartins with Ted Key (guitar), Stan Cullimore (bass), and Hugh Whitaker (drums) in 1984. From the outset, the group cultivated a distinctly English image, blending a cynical sense of humor with leftist political leanings and a low-key, commonplace appearance. In 1985, they signed with Go! Discs and by the end of the year, Key was replaced by Norman Cook. "Happy Hour," the Housemartins' third single, became the group's first hit in the summer of 1986, climbing all the way to number three. London O Hull 4, their debut album, followed shortly afterward and, like the single, it cracked the British Top Ten. At the end of the year, the a cappella "Caravan of Love" became a number one hit.

 

Due to their success in 1986, the Housemartins were award the BPI award for Best Newcomers. Before they recorded their second album, Hugh Whitaker left the band and was replaced by Dave Hemmingway. The People Who Grinned Themselves to Death followed later in 1987, spawning the hit singles "Five Get Over Excited" and "Me and the Farmer." Though the Housemartins were developing into one of the most popular bands within Britain, they broke up in the summer of 1988, claiming they only intended to stay together for three years. In reality, Heaton and Cook were suffering from creative tensions, as the singer wanted to move into sophisticated jazz-pop while the bassist was eager to explore dance music. This difference in taste became apparent in the groups they formed immediately after the disbandment of the Housemartins. Cook formed Beats International, who had a few hits in the early '90s before Cook became a full-time remixer and producer as Fatboy Slim. With drummer Hemmingway, Heaton formed the Beautiful South, which carried on the aesthetic of the Housemartins, but added more complex melodies and arrangements. Toward the end of 1988, a compilation of Housemartins' singles and rarities called Now That's What I Call Quite Good! was released. In 1993, original drummer Hugh Whitaker was imprisoned for wounding with intent and arson attacks on a business partner

Edited November 15, 2005 by hitman531ph

[hitman531ph]

THE SMITHS

 

The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group were indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths' heyday, and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, performing with a pocketful of gladiolas and a hearing aid, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.

Before forming the Smiths in 1982, Johnny Marr (b. John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract -- one of his bands won a competition Stiff Records held to have Nick Lowe "produce your band" -- but he never quite made the leap. Though Morrissey (b. Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute James Dean Isn't Dead, which was published by the local Manchester publishing house Babylon Books in the late '70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fan club. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Fall's drummer Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer.

 

The Smiths made their live debut late in 1982 and by the spring of 1983, the group had earned a small but loyal following in their hometown of Manchester and had begun to make inroads in London. Rejecting a record deal with the Mancunian Factory Records, the band signed with Rough Trade for a one-off single, "Hand in Glove." With its veiled references to homosexuality and its ringing riffs, "Hand in Glove" became an underground sensation in the U.K., topping the independent charts and earning the praise of the U.K. music weeklies. Soon, Morrissey's performances became notorious, as he appeared on-stage wearing a hearing aid and with gladiolas stuffed in his back pockets. His interviews were becoming famous for his forthright, often contrary opinions, which helped the band become media sensations. By the time of the group's second single, "This Charming Man," in late 1983, the Smiths had already been the subject of controversy over "Reel Around the Fountain," a song that had been aired on a BBC radio session and was alleged to condone child abuse. It was the first time that Morrissey's detached, literary and ironic lyrics were misinterpreted and it wouldn't be the last.

 

"This Charming Man" reached number 25 on the British charts in December of 1983, setting the stage for "What Difference Does It Make"'s peak of number 12 in February. The Smiths' rise to the upper reaches of the British charts was swift, and the passion of their fans, as well as the U.K. music press, indicated that the group had put an end to the synth-powered new wave that dominated Britain in the early '80s. After rejecting their initial stab at a first album, the Smiths released their eponymous debut in the spring of 1984, to strong reviews and sales -- it peaked at number two. A few months later, the group backed '60s pop vocalist Sandie Shaw -- who Morrissey had publicly praised in an article -- on a version of "Hand in Glove" which was released and reached the Top 40. "Heaven Knows I'm Miserable Now" reached number ten, becoming their highest-charting single, amidst a storm of controversy about its B-side "Suffer Little Children," which was about the notorious Moors Murders. More controversy appeared when Morrissey denounced the hunger relief efforts of Band Aid, but the group's popularity was not effected. Though the Smiths had become the most popular new rock & roll group in Britain, the group failed to make it outside of underground and college radio in the U.S., partially because they never launched a full-scale tour. At the end of the year, "William It Was Really Nothing" became a Top 20 hit and Hatful of Hollow, a collection of B-sides, BBC sessions and non-LP singles, went to the Top Ten, followed shortly by "How Soon Is Now," which peaked at number 24.

 

Meat Is Murder, the band's second proper studio album, entered the British charts at number one in February of 1985, despite some criticism that it was weaker than The Smiths. Around the time of the release of Meat Is Murder, Morrissey's interviews were becoming increasingly political, as he trashed the Thatcher administration and campaigned for vegetarianism; he even claimed that the Smiths were all vegetarians, and he forbid the remaining members to be photographed eating meat, even though they were still carnivores. Marr, for his part, was delving deeply into the rock & roll lifestyle, and looked increasingly like a cross between Keith Richards and Brian Jones. By the time the non-LP "Shakespeare's Sister" reached number 26 in the spring of 1985, the Smiths had spawned a rash of soundalike bands, including James, who opened for the group on their spring 1985 tour, most of which Morrissey supported. However, all of the media attention on the Smiths launched a mild backlash later in 1985, when "That Joke Isn't Funny Anymore" was pulled from Meat Is Murder and failed to reach the Top 40.

 

"The Boy With the Thorn in His Side" revived the band's fortunes in the fall of 1985, and their third album, The Queen Is Dead, confirmed their popularity upon its release in the spring of 1986. Greeted with enthusiastic reviews and peaking at number two on the U.K. charts, The Queen Is Dead also expanded their cult following in the U.S., cracking the Top 100. Shortly before the album was completed, former Aztec Camera guitarist Craig Gannon became the band's rhythm guitarist, and he played with the band throughout their 1986 international tour, including a botched American tour. The non-LP "Panic," which was criticized as racist by some observers for its repeated refrain of "Burn down the disco...Hang the DJ," reached number 11 late in the summer. A few months after its release, Marr was seriously injured in a car crash. During his recuperation, Gannon was fired from the band, as was Rourke, who was suffering from heroin addiction. Though Rourke was later reinstated, Gannon was never replaced.

 

The Smiths may have been at the height of their popularity in early 1987, with the non-LP singles "Shoplifters of the World" and "Sheila Take a Bow" reaching number 11 and 10 respectively, and the singles and B-sides compilation The World Won't Listen (revamped for U.S. release as Louder Than Bombs later in 1987) debuting at number two, but Marr was growing increasingly disenchanted with the band and the music industry. Over the course of the year, Morrissey and Marr became increasingly irritated with each other. The singer wished that Marr would stop playing with other artists like Bryan Ferry and Billy Bragg, while the guitarist was frustrated with Morrissey's devotion to '60s pop and his hesitancy to explore new musical directions. A few weeks before the fall release of Strangeways, Here We Come, Marr announced that he was leaving the Smiths. Morrissey disbanded the group shortly afterward and began a solo career, signing with Parlophone in the U.K. and staying with the Smiths' U.S. label, Reprise. Marr played as a sideman with a variety of artists, eventually forming Electronic with New Order frontman Bernard Sumner. Rourke retired from recording and Joyce became a member of the reunited Buzzcocks in 1991.

 

Rank, a live album recorded on the Queen Is Dead tour, was released in the fall of 1988. It debuted at number two in the U.K.. A widely-criticized, two-part Best Of compilation was released in 1992; the praised Singles compilation was released in 1995. Joyce and Rourke sued Morrissey and Marr in 1991, claiming they received only ten percent of the group's earnings while the songwriters received 40 percent. Rourke eventually settled out of court, but Joyce won his case in late 1996. An appeal was scheduled

Edited November 15, 2005 by hitman531ph

[hitman531ph]

THE STRAY CATS

 

The key group of the early-'80s rockabilly revival, the Stray Cats scored several big hits on both sides of the Atlantic thanks to a striking visual style tailor-made for the early days of MTV, as well as genuine musical chops that evoked the best players of rockabilly's original heyday. The Stray Cats were formed by guitarist/vocalist Brian Setzer in the Long Island town of Massapequa, NY, in 1979. At first, Setzer played rockabilly covers in a band called the Tom Cats with his drumming brother Gary and bassist Bob Beecher; however, Setzer soon abandoned that group to join up with newly rechristened school friends Lee Rocker (born Leon Drucker) and Slim Jim Phantom (born James McDonnell). However, their retro '50s look and sound didn't go over well around Long Island, and in the summer of 1980 the group headed to England, where a rockabilly revival movement was just beginning to emerge.

After one of their gigs in London, the Stray Cats met producer Dave Edmunds, well known as a roots rock enthusiast for his work with Rockpile and as a solo artist. Edmunds offered to work with the group, and they entered the studio to record their self-titled debut album, released in England in 1981 on Arista. They were popular right out of the box, scoring three straight hits that year with "Runaway Boys," "Rock This Town," and "Stray Cat Strut." The follow-up, Gonna Ball, wasn't as well received, and stung by the negative reviews, the Stray Cats decided to return to the States and make a go of it. They signed with EMI America and in 1982 released their U.S. debut, Built for Speed, which compiled the highlights from their two British LPs. Helped by extensive airplay on MTV at the height of the anything-goes new wave era, "Rock This Town" and "Stray Cat Strut" both hit the American Top Ten, over a year after their British chart peaks. As a result, Built for Speed was a left-field smash, and the Stray Cats were seen as avatars of retro style. Their second American album, Rant n' Rave With the Stray Cats, appeared in 1983 and produced another Top Ten hit in "(She's) Sexy + 17," as well as a minor Top 40 entry in the doo wop-styled ballad "I Won't Stand in Your Way."

 

Personality conflicts began to emerge in the ways the individual members handled their newfound success; Phantom married actress (and former Rod Stewart paramour) Britt Ekland, while Setzer made guest appearances with stars like Bob Dylan and Stevie Nicks and became the concert guitarist for Robert Plant's Honeydrippers side project. In late 1984, Setzer broke up the band amid much bad blood. Rocker and Phantom immediately teamed up with guitarist Earl Slick and recorded an album as Phantom, Rocker & Slick, while Setzer waited a couple of years before releasing his roots rock solo debut, The Knife Feels Like Justice. By 1986, fences had apparently been mended enough for the Stray Cats to reconvene in Los Angeles and record the covers-heavy Rock Therapy, which didn't sell that well. The trio returned to their respective post-Stray Cats projects, which both released albums that performed disappointingly. In 1989, they reunited once again for the album Blast Off, which was accompanied by a tour with Stevie Ray Vaughan. No longer with EMI, the Cats entered the studio with Nile Rodgers for the lackluster Let's Go Faster, issued by Liberation in 1990. 1992's Dave Edmunds-produced Choo Choo Hot Fish also attracted little attention, and after another covers album, Original Cool, the group called it quits again. They have since reunited periodically for live performances. Setzer, of course, went on to spearhead the '90s swing revival with his Brian Setzer Orchestra, which performed classic big band swing and jump blues tunes, as well as Setzer originals

Edited November 15, 2005 by hitman531ph

[hitman531ph]

THE WILD SWANS

 

Although there are countless groups who have released a couple of albums and then disappeared into the shadowy recesses of pop culture trivia, Liverpool's Wild Swans deserved a slightly better fate. Led by former Teardrop Explodes organist Paul Simpson, the group's pair of discs attracted little attention on either side of the Atlantic when released, yet stand up favorably, in retrospect, to the group's better-known contemporaries.

 

It took Wild Swans a while to get off the ground; an early lineup disbanded in the early '80s after recording a single for the Zoo label, but the band reconvened a few years later and released an official debut, Bringing Home The Ashes, in 1988. Although its most striking attribute was Simpson's vocal similarity to OMD's Andy McCluskey, the disc was filled with handsome, well-crafted guitar pop that gained a bit of color from splashes of organ and piano, and even made an occasional overture toward the dance floor. Simpson and bassist Joe Fearon made a far stronger impression with their 1990 follow-up, however, recruiting outstanding drummer Chris Sharrock and guitarist/vocalist Ian MacNabb from the Icicle Works, as well as that group's producer, Lightning Seeds frontman Ian Broudie. Powered by Sharrock's rock-solid timekeeping, Space Flower touched on mild funk ("Melting Blue Delicious"), psychedelic-tinged rock ("Tangerine Temple") and hummable, chiming pop ("Butterfly Girl;" the Smithsy "Immaculate"), while Broudie glazed each of the album's 10 tracks with a likable, confident sheen.

 

That was the last transmission from the group, who exist now as a mere footnote to late-'80s pop. But those who bother to read the fine print and stumble onto Wild Swans may be in for a pleasant surprise indeed.

Edited November 15, 2005 by hitman531ph

[hitman531ph]

FRA LIPPO LIPPI

 

Norwegian band Fra Lippo Lippi swam in the depths of despair before diving into pop and jazz. Per Oystein Sorensen (vocals, synthesizer, keyboards), Rune Kristoffersen (guitar, bass, keyboards, piano), and Morten Sjoberg (drums, keyboards) formed Fra Lippo Lippi in 1978. Fra Lippo Lippi enveloped their first album, In Silence, with ominous bass lines, death-march percussion, pensive keyboards, and sinister, indecipherable vocals. However, by 1983's Small Mercies, Sorensen's pop background helped the group to become increasingly melodic. In 1985, Fra Lippo Lippi signed with Virgin Records in the U.K., releasing their third album, Songs. Fra Lippo Lippi jettisoned the gloom of their earlier efforts on Songs, experimenting with synth-pop and romantic balladry powered by Kristoffersen's piano. The transformation enabled the group to achieve minor chart success in England and Canada, but in the Philippines many of their singles became staples on the country's new wave radio stations. Tracks such as "The Distance Between Us" and "Come Summer" topped request lines. When the jazz-inflected Light and Shade was released in 1987, Fra Lippo Lippi had become superstars in the Philippines, much to the band's surprise. Largely unknown throughout most of the world, Fra Lippo Lippi performed to sold-out audiences of thousands in Manila, Philippines, in 1989. Fra Lippo Lippi released two more albums, 1989's The Colour Album and 1991's Dreams, before the lack of commercial success forced the group into indefinite hiatus. Since Fra Lippo Lippi's departure from the recording studio, Kristoffersen released two instrumental albums, Elephant Song and Monolight, and started his own label, Rune Grammofon. Sorensen has worked with fellow Norwegian artist Trine Rein.

Edited November 15, 2005 by hitman531ph

[hitman531ph]

ICICLE WORKS

 

The Icicle Works were one of those U.K. groups of the '80s that scored one fluke hit in the U.S. despite a somewhat lengthy and more successful run in their homeland. They released a number of albums that, while regularly inconsistent, featured scattered moments that helped define the type of big-sounding guitar rock -- prone to chest-beating bombast -- that set them apart from fellow Liverpool-based groups like Echo & the Bunnymen, the Teardrop Explodes, and (somewhat less so) Wah!

The group formed in 1980. Singer/guitarist/keyboardist Ian McNabb had played in a number of other groups from a young age, including Young World, which performed at private events and also featured drummer Chris Sharrock. McNabb and Sharrock went on to play with different acts -- the former in City Lights, the latter in the Cherry Boys -- but they eventually decided to form a group of their own, with the addition of former Eleanor bassist Chris Layhe. Although they released a low-key six-song cassette that was sold at Liverpool's Probe Records, they didn't make their official debut until October 1982, when the "Nirvana" single was issued on Troll Kitchen. It went up to number 15 on the U.K. chart, prompting Beggars Banquet subsidiary Situation 2 to rope in the group.

 

The Hugh Jones-produced "Birds Fly (Whisper to a Scream)" would provide the Icicle Works with their greatest commercial standing in the U.S. Released in 1984 via Beggars Banquet's stateside arrangement with Arista, the powers that were in the U.S. had the title of the song switched around to "Whisper to a Scream (Birds Fly)." The song remained on the Hot 100 chart for four weeks and peaked at number 37. The song didn't fare quite as well in the U.K.; it stalled at number 53. Nonetheless, the popularity of the song in the U.S. helped catapult the group's self-titled debut album to number 40 on the album chart. A prolific succession of albums -- 1985's The Small Price of a Bicycle, 1986's Understanding Jane and Seven Singles Deep, 1987's If You Want to Defeat Your Enemy Sing His Song, 1988's Blind -- helped maintain a cult of numerous followers, many of whom were on board for McNabb's impassioned songwriting. Each album featured its own share of throwaway material and, by the time of Blind, the group was dabbling in an over-ambitious lost-map mixture of soul, funk, blooze, and rock.

 

After the recording of Blind, Sharrock left the group to join the Lightning Seeds; Layhe exited as well, but McNabb continued with bassist Roy Corkhill and drummer Zak Starkey, Ringo Starr's son. Even after this, a number of personnel changes occurred. By the time 1990's Permanent Damage was recorded, McNabb was supported by Corkhill, Dave Baldwin, Paul Burgess, and Mark Revell. Despite McNabb's resilience, the album went nowhere and the group was eventually laid to rest. The leader began a solo career that followed the folk-rock leanings that played an increasing role throughout his band's lifespan

Edited November 15, 2005 by hitman531ph

[hitman531ph]

MATT BIANCO

 

Nobody named Matt or Bianco or Matt Bianco in this Band called Matt Bianco. Formed by ex-members of modern jazz ensemble Blue Rondo a la Turk, Matt Bianco evolved into one of England's top jazz-pop bands. Their rendition of Georgie Fame's "Yeh Yeh" received a European music award as Best Single of 1985, while their single "Wam Bam Boogie" was the number one European club track of 1988. Matt Bianco has withstood numerous personnel changes. Initially featuring keyboard player Danny White, bassist Kito Poncioni, and vocalists Mark Reilly and Basia, the original group disbanded shortly after releasing their debut album, Whose Side Are You On?, in 1982. Three years later, the group was resurrected with Reilly and keyboard player Mark Fisher, who had previously appeared with the band during a live television show. The group has worked with a variety of guest vocalists. Their 1988 album, Indigo, featured the hit singles "Don't Blame It On That Girl," sung by Emilio Estefan, and "Wam Bam Boogie," sung by Ambassador. A compilation album, A/Collection, sampled earlier recordings and included a new version of "Wam Bam Boogie," featuring the vocals of Kym Mazelle. Released in 2001, Rico, featured a blend of acid jazz and traditional Cuban rhythms. Partly recorded in the Havana studio where Wim Wenders and Ry Cooder recorded Buena Vista Social Club, the album included "Cha Cha Cuba," which reached the top of the charts in Japan

Edited November 15, 2005 by hitman531ph

[hitman531ph]

BASIA

 

Vocalist Basia Trzetrzelewska (pronounced CHECHELEVSKA) spent a couple of years in the pop band Matt Bianco, an offshoot of Blue Rondo à la Turk, before she launched a solo career in 1987. With the musical assistance of Matt Bianco's Danny White, Basia developed a subtle cocktail jazz-pop which was first showcased on her 1987 debut album, Time and Tide. Supported by the singles "New Day for You" and "Time and Tide," the record became a hit in Europe and America, where the album went platinum. Her second record, 1990's London Warsaw New York, was just as successful, but her third album, 1994's Sweetest Illusion, failed to find an audience. Clear Horizon: The Best of Basia followed in 1998

Edited November 15, 2005 by hitman531ph

[hitman531ph]

GLORIA ESTEFAN

 

As one of the biggest new stars to emerge during the mid-'80s, singer Gloria Estefan predated the coming Latin pop explosion by a decade, scoring a series of propulsive dance hits rooted in the rhythms of her native Cuba before shifting her focus to softer, more ballad-oriented fare. Born Gloria Fajardo in Havana on September 1, 1957, she was raised primarily in Miami, FL, after her father, a bodyguard in the employ of Cuban president Fulgencio Batista, was forced to flee the island following the 1959 coup helmed by Fidel Castro. In the fall of 1975, Fajardo and her cousin Merci Murciano auditioned for the Miami Latin Boys, a local wedding band headed by keyboardist Emilio Estefan. With their addition, the group was rechristened Miami Sound Machine and four years later, Fajardo and Estefan were wed. As Miami Sound Machine began composing their own original material, their fusion of pop, disco, and salsa earned a devoted local following, and in 1979 the group issued their first Spanish-language LP on CBS International. Despite a growing Hispanic fan base, they did not cross over to non-Latin audiences until "Dr. Beat" topped European dance charts in 1984.

With 1985's Primitive Love, Miami Sound Machine recorded their first English-language effort, scoring three Top Ten pop hits in the U.S. alone with the infectious "Conga," "Bad Boy," and "Words Get in the Way." For 1988's triple-platinum Let It Loose, the group was billed as Gloria Estefan & Miami Sound Machine, reeling off four Top Ten hits -- "Rhythm Is Gonna Get You," "Can't Stay Away From You," the chart-topping "Anything for You," and "1-2-3." 1989's Cuts Both Ways was credited to Estefan alone and generated her second number one hit, "Don't Wanna Lose You"; however, while touring in support of the album, on March 20, 1990, her bus was struck by a tractor-trailer. She suffered a broken vertebrae that required extensive surgery and kept her off the road for over a year. Emilio Estefan and the couple's son were injured in the crash as well, but all three recovered. Estefan resurfaced in 1991 with Into the Light, again topping the charts with "Coming Out of the Dark," a single inspired by her near-fatal accident; two more cuts from the album, "Can't Forget You" and "Live for Loving You," secured her foothold on the adult contemporary charts.

 

With 1993's Mi Tierra, Estefan returned to her roots, recording her first Spanish-language record in close to a decade and earning a Grammy Award for Best Tropical Latin Album; on the follow-up, 1994's covers collection Hold Me, Thrill Me, Kiss Me, she also recalled her dance-pop origins with a rendition of the Vicki Sue Robinson disco classic "Turn the Beat Around." Another all-Spanish effort, Abriendo Puertas, earned the Grammy as well, while Destiny featured "Reach," named the official theme of the 1996 Summer Olympics. As Latin pop made new commercial headway thanks to the efforts of acts like Ricky Martin and Enrique Iglesias, Estefan reigned as the most successful crossover artist in Latin music history, with international record sales close to the 50 million mark. In 1999, she also made her feature film debut alongside Meryl Streep in Music of the Heart, recording the film's title song as a duet with *N Sync and scoring both a massive pop hit and an Oscar nomination in the process. A new Spanish-language album, Alma Caribeña, followed in the spring of 2000. Several months later, Estefan was awarded a Grammy for Best Music Video for "No Me Dehes De Querer at the first annual Latin Grammy Awards. Her husband, Emilio, won for Producer of the Year

Edited November 15, 2005 by hitman531ph

[bullseye2x]

great info hitman ..keep it up bro :thumbsupsmiley:

[hitman531ph]

Thank you very much...

 

DANNY WILSON

 

Like Matt Bianco, Danny Wilson was a band with nobody named Danny Wilson or Danny or Wilson.

 

Top 40 radio developed a brief crush on Danny Wilson in the late '80s. Formed in Dundee, Scotland, Danny Wilson shared the same pop sensibilities as compatriots the Big Dish, the Blue Nile, and Deacon Blue. Singer Gary Clark's breathy, yearning vocals on 1987's "Mary's Prayer" earned the group its first -- and only -- hit stateside, but the band slowly amassed a cult following that usually develops with artists possessing timeless songwriting abilities. Formed by Clark, his brother Kit Clark, and percussionist Ged Grimes, Danny Wilson was signed to Virgin Records in 1985. Two years later, the group released their debut LP, Meet Danny Wilson. The single "Mary's Prayer" peaked at number three in the U.K. in 1988, and it was a surprise success in America as well.

 

Named after the 1952 Frank Sinatra film Meet Danny Wilson, Danny Wilson was obviously enamored of '60s soul and Steely Dan's cool, sophisticated arrangements. Consequently, the band's retro sound never fit in with the U.K. rock scene of the late '80s, although they were often compared to Prefab Sprout, another group that defied contemporary trends and featured a singer with a velvety voice. "Second Summer of Love" also landed on the British charts in 1989 with a hit "Everything You Said Was True"; however, after their follow-up album Bebop Moptop, Danny Wilson broke up and Gary Clark went solo. In 1993, Clark recorded Ten Short Songs About Love. He then formed the short-lived King L, releasing Great Day for Gravity in 1995. Clark joined former King L member Eric Pressly (bass) and female singer Keeley Hawkes in Transister, creating a completely different sound with hard-edged guitars and samples on their 1997 self-titled album. But, by 2000, he was no longer with them. In 2001, Clark co-wrote and produced tracks on Natalie Imbruglia's White Lilies Island

Edited November 17, 2005 by hitman531ph

[hitman531ph]

LIONEL RICHIE

 

After leaving the Commodores, Lionel Richie became one of the most successful male solo artists of the '80s, arguably eclipsed during his 1981-1987 heyday only by Michael Jackson and Prince. Richie dominated the pop charts during that period with an incredible run of 13 consecutive Top Ten hits, five of them number ones. As his popularity skyrocketed, Richie moved farther away from his R&B origins and concentrated more on adult contemporary balladry, which had been one of his strengths even as part of the Commodores. After 1987, Richie fell silent, taking an extended break from recording and touring before beginning a comeback toward the tail end of the '90s.

Lionel Brockman Richie, Jr. was born on June 20, 1949 in Tuskegee, AL, and grew up on the campus of the Tuskegee Institute, where most of his family had worked for two generations prior. While attending college there, Richie joined the Commodores, who went on to become the most successful act on the Motown label during the latter half of the '70s. Richie served as a saxophonist, sometime vocalist, and songwriter, penning ballads like "Easy," "Three Times a Lady," and "Still" (the latter two became the group's only number one pop hits). Although the Commodores maintained a democratic band structure through most of their chart run, things began to change when the '70s became the '80s. In 1980, Richie wrote and produced country-pop singer Kenny Rogers' across-the-board number one smash "Lady," and the following year, Richie's duet with Diana Ross, "Endless Love" (recorded for the Brooke Shields film of the same title), became the most successful single in Motown history, topping the charts for a stunning nine weeks. With the media's attention now focused exclusively on Richie, tensions within the Commodores began to mount, and before the end of 1981, Richie decided to embark on a solo career.

 

Richie immediately set about recording his solo debut for Motown. Titled simply Lionel Richie, the album was released in late 1982 and was an immediate smash, reaching number three on the pop charts on its way to sales of over four million copies. It spun off three Top Five pop hits, including the first single "Truly," which became Richie's first solo number one. If Lionel Richie made its creator a star, the follow-up Can't Slow Down made him a superstar. Boasting five Top Ten singles, including the number ones "All Night Long (All Night)" and "Hello," Can't Slow Down hit number one, eventually sold over ten million copies, and won the 1984 Grammy for Album of the Year. Such was Richie's stature that he was invited to perform at the closing ceremonies of the 1984 Olympics in Los Angeles, a spectacular stage event that was broadcast worldwide.

 

In 1985, Richie put his superstar status to work for a greater good, joining Michael Jackson in co-writing the USA for Africa charity single "We Are the World"; the all-star recording helped raise millions of dollars for famine relief. By the end of the year, he was on top of the charts again with "Say You, Say Me," a ballad recorded for the film White Nights but not included on the soundtrack album. The song was slated to be the title track on Richie's upcoming album, but delays in the recording process prevented the record from being released until August 1986, by which time the title was changed to Dancing on the Ceiling (in order to promote Richie's next single release). Three more Top Tens followed "Say You, Say Me," as did "Se La," which became the first of Richie's solo singles not to reach the pop Top Ten. Overall, Dancing on the Ceiling didn't match the success of Can't Slow Down, but it still sold an impressive four million copies, although Richie's rep*tation for sentimental ballads was beginning to incur a backlash in some quarters.

 

1987 saw Richie's nine-year streak of writing at least one number one single (a feat matched only by Irving Berlin) come to an end. As a matter of fact, Richie all but disappeared from the music business, simply choosing to take some time off after nearly two decades of recording and performing (or, perhaps, quitting while he was ahead). His silence was broken only in 1992, when Motown released a compilation titled Back to Front; in addition to some of his solo hits and a few Commodores tracks, Back to Front also featured three new songs, including the number one R&B hit "Do It to Me" (which wasn't as successful on the pop charts).

 

Richie wasn't bitten by the recording bug again until 1996, by which time he'd endured his share of personal loss: his father had passed away, and his marriage to wife Brenda -- the muse behind some of his most successful ballads -- had fallen apart. In approaching his comeback, Richie attempted to update his sound to reflect a decade's worth of developments in urban R&B. The result, Louder Than Words, was a moderate success, reaching the Top 30 and going gold. However, it didn't produce any major hit singles, and Richie's nods to new jack swing and hip-hop were criticized as awkward. 1998's Time found Richie in a more familiar element, relying on his signature sound with only slight musical updates. However, the album flopped, spending only a few weeks in the lower reaches of the charts. Richie's next album, Renaissance, was released to a favorable reception in Europe in late 2000; it was issued in the U.S. in early 2001. Three years later, on the heels of enduring a very public and bitter divorce with his second wife Diane, Richie released Just For You

Edited November 18, 2005 by hitman531ph

[elbarax]

there is this torrent site na ubod ng daming glam. favorite site ko na nga sya ngayon e hehe. pati ung mga unknown or under rated na glam bands pwedeng i-download dun.

 

www.komodoisland.net

 

see you there.

[hitman531ph]

EIGHT SECONDS

 

Vocalist Del Castillo, bassist March Cesare, keyboardist Frank Levin, drummer Scott Milks and guitarist Marc Parent founded the Ontario-based Eight Seconds in 1982. After winning a local talent contest and later recording the mini-album Ottava Rima, the band signed with Polygram and released Almacantar in 1986. The group had one hit in 1986 with a song called "Kiss You When It's Dangerous." The album, Big Houses, followed four years later

Edited November 21, 2005 by hitman531ph

[hitman531ph]

TIMBUK 3

 

An intelligent alternative pop duo with folk and country leanings (though they often relied on synthesizers and drum machines, even while playing live dates), Timbuk 3's Pat and Barbara K. MacDonald wrote many better songs than their surprise 1986 hit "The Future's So Bright, I Gotta Wear Shades." The couple, who met in the late '70s while Barbara studied at the University of Wisconsin, were based in Austin, Texas by the mid-'80s, when they recorded their debut album Greetings from Timbuk 3 in 1986. After the LP was released on IRS Records, "The Future's So Bright, I Gotta Wear Shades" hit number 19 late that year. Though it was Timbuk 3's only hit, they continued recording and found a niche in the college/alternative community with albums such as Eden Alley, Edge of Allegiance and Big Shot in the Dark

Edited November 21, 2005 by hitman531ph

[hitman531ph]

JOBOXERS

 

For a short time in 1983, JoBoxers looked like they would be a successful British pop band in the soul-dance style popular at the time. By the end of the year, however, the group's appeal had begun to fade. Four of the five band members, all natives of Bristol, England, came together in 1981 as a new backing band for singer Vic Goddard called, like his previous units, Subway Sect: guitarist Rob Marche (b. Oct 13, 1962); keyboardist Dave Collard (b. Jan 17, 1963); bassist Chris Bostock (b. Nov 23, 1962); and drummer Sean McLusky (b. May 5, 1961). Goddard and the band made one album together, Songs for Sale (1982), and toured but then split up. The four musicians were running a second-hand clothing stall in a street market when they met American expatriate Dig Wayne (b. Jul 20, 1958), who was running his own stall; he joined them as lead singer, and the band was complete. Adopting a working-class look complete with caps, suspenders, and work shoes, JoBoxers got their first break appearing on the BBC television series Oxford Roadshow and were then signed to RCA Records. Their debut single, "Boxerbeat," a catchy, upbeat song with horns and crowd sounds, entered the British charts in February 1983, peaking in the Top Five in April. The more soulful "Just Got Lucky" followed in May, reaching the Top Ten in June. The funk-inflected "Johnny Friendly" barely scraped into the Top 40, and the band's debut album, Like Gangsters, released in September, peaked in the Top 20. In the U.S., "Just Got Lucky" reached the Top 40, and Like Gangsters made the Top 100. With "Jealous Love," which barely made the British charts in November, the band had traced a steadily declining pattern in its singles releases, and after their 1985 album, Skin and Bone, missed the charts, they broke up. Wayne then launched a solo career; his back-up band, including Collard, releasing Square Business in 1987

Edited November 22, 2005 by hitman531ph

[hitman531ph]

GEORGE THOROGOOD and THE DESTROYERS

 

A blues-rock guitarist who draws his inspiration from Elmore James, Hound Dog Taylor, and Chuck Berry, George Thorogood never earned much respect from blues purists, but he became a popular favorite in the early '80s through repeated exposure on FM radio and the arena rock circuit. Thorogood's music was always loud, simple, and direct -- his riffs and licks were taken straight out of '50s Chicago blues and rock & roll -- but his formulaic approach helped him gain a rather large audience in the '80s, when his albums regularly went gold.

Originally, Thorogood was a minor-league baseball player but decided to become a musician in 1970 after seeing John Paul Hammond in concert. Three years later, he assembled the Destroyers in his home state of Delaware; in addition to Thorogood, the band featured bassist Michael Lenn, second guitarist Ron Smith, and drummer Jeff Simon. Shortly after the group was formed, he moved them to Boston, where they became regulars on the blues club circuit. In 1974, they cut a batch of demos which were later released in 1979 as the Better Than the Rest album.

 

Within a year of recording the demos, the Destroyers were discovered by John Forward, who helped them secure a contract with Rounder Records. Before they made their first album, Lenn was replaced by Billy Blough. Thorogood & the Destroyers' eponymous debut was released in early 1977. The group's second album, Move It On Over, was released in 1978. The title track, a cover of Hank Williams' classic, was pulled as a single and it received heavy FM airplay, helping the album enter the American Top 40 and go gold. Its success led to MCA's release of Better Than the Rest, which the band disdained. In 1980, Ron Smith left the band and the group added a saxophonist, Hank Carter, and released their third album, More George Thorogood and the Destroyers.

 

Following the release of More George Thorogood, the guitarist signed with EMI Records, releasing his major-label debut, Bad to the Bone, in 1982. The title track of the album became his first major crossover hit, thanks to MTV's saturation airplay of the song's video. The album went gold and spent nearly a full year on the charts. Thorogood's next three albums after Bad to the Bone all went gold. Between Bad to the Bone and Thorogood's next album, 1985's Maverick, the Destroyers added a second guitarist, Steve Chrismar.

 

By the beginning of the '90s, Thorogood's audience began to decrease. None of the albums he released went gold, even though the title track from 1993's Haircut was a number two album rock hit. Despite his declining record sales, Thorogood continued to tour blues and rock clubs and he usually drew large crowds; subsequent efforts include 1997's Rockin' My Life Away, 1999's Half a Boy/Half a Man, and Live in '99

Edited November 22, 2005 by hitman531ph