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

[hitman531ph]

JOHNNY HATES JAZZ

 

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

 

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

[hitman531ph]

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

Edited October 8, 2005 by hitman531ph

[hitman531ph]

PAUL YOUNG

 

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

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

 

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

 

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

 

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

 

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

Edited October 8, 2005 by hitman531ph

[eidref2004]

Al Jarreau ... Breaking Away album

[hitman531ph]

THE POINTER SISTERS

 

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

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

 

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

[hitman531ph]

EARTH WIND AND FIRE

 

Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Conceived by drummer, bandleader, songwriter, kalimba player, and occasional vocalist Maurice White, EWF's all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco. Lead singer Philip Bailey gave EWF an extra dimension with his talent for crooning sentimental ballads in addition to funk workouts; behind him, the band could harmonize like a smooth Motown group, work a simmering groove like the J.B.'s, or improvise like a jazz fusion outfit. Plus, their stage shows were often just as elaborate and dynamic as George Clinton's P-Funk empire. More than just versatility for its own sake, EWF's eclecticism was part of a broader concept informed by a cosmic, mystical spirituality and an uplifting positivity the likes of which hadn't been seen since the early days of Sly & the Family Stone. Tying it all together was the accomplished songwriting of Maurice White, whose intricate, unpredictable arrangements and firm grasp of hooks and structure made EWF one of the tightest bands in funk when they wanted to be. Not everything they tried worked, but at their best, Earth, Wind & Fire seemingly took all that came before them and wrapped it up into one dizzying, spectacular package.

White founded Earth, Wind & Fire in Chicago in 1969. He had previously honed his chops as a session drummer for Chess Records, where he played on songs by the likes of Fontella Bass, Billy Stewart, and Etta James, among others. In 1967, he'd replaced Red Holt in the popular jazz group the Ramsey Lewis Trio, where he was introduced to the kalimba, an African thumb piano he would use extensively in future projects. In 1969, he left Lewis' group to form a songwriting partnership with keyboardist Don Whitehead and singer Wade Flemons. This quickly evolved into a band dubbed the Salty Peppers, which signed with Capitol and scored a regional hit with "La La Time." When a follow-up flopped, White decided to move to Los Angeles, and took most of the band with him; he also renamed them Earth, Wind & Fire, after the three elements in his astrological charts. By the time White convinced his brother, bassist Verdine White, to join him on the West Coast in 1970, the lineup also consisted of Whitehead, Flemons, female singer Sherry Scott, guitarist Michael Beal, tenor saxophonist Chet Washington, trombonist Alex Thomas, and percussionist Yackov Ben Israel. This aggregate signed a new deal with Warner Bros. and issued its self-titled debut album in late 1970. Many critics found it intriguing and ambitious, much like the 1971 follow-up, The Need of Love, but neither attracted much commercial attention, despite a growing following on college campuses and a high-profile gig performing the soundtrack to Melvin Van Peebles' groundbreaking black independent film Sweet Sweetback's Baadasssss Song.

 

Dissatisfied with the results, White dismantled the first version of EWF in 1972, retaining only brother Verdine. He built a new lineup with female vocalist Jessica Cleaves, flute/sax player Ronnie Laws, guitarist Roland Bautista, keyboardist Larry Dunn, and percussionist Ralph Johnson; the most important new addition, however, was singer Philip Bailey, recruited from a Denver R&B band called Friends & Love. After seeing the group open for John Sebastian in New York, Clive Davis signed them to CBS, where they debuted in 1972 with Last Days and Time. Further personnel changes ensued; Laws and Bautista were all gone by year's end, replaced by reedman Andrew Woolfolk and guitarists Al McKay and Johnny Graham. It was then that EWF truly began to hit their stride. 1973's Head to the Sky (Cleaves' last album with the group) significantly broadened their cult following, and the 1974 follow-up, Open Our Eyes, was their first genuine hit. It marked their first collaboration with producer, arranger, and sometime songwriting collaborator Charles Stepney, who helped streamline their sound for wider acceptance; it also featured another White brother, Fred, brought in as a second drummer. The single "Mighty Mighty" became EWF's first Top Ten hit on the R&B charts, although pop radio shied away from its black-pride subtext, and the minor hit "Kalimba Story" brought Maurice White's infatuation with African sounds to the airwaves. Open Our Eyes went gold, setting the stage for the band's blockbuster breakthrough.

 

In 1975, EWF completed work on another movie soundtrack, this time to a music-biz drama called That's the Way of the World. Not optimistic about the film's commercial prospects, the group rushed out their soundtrack album of the same name (unlike Sweet Sweetback, they composed all the music themselves) in advance. The film flopped, but the album took off; its lead single, the love-and-encouragement anthem "Shining Star," shot to the top of both the R&B and pop charts, making Earth, Wind & Fire mainstream stars; it later won a Grammy for Best R&B Vocal Performance by a Group. The album also hit number one on both the pop and R&B charts, and went double platinum; its title track went Top Five on the R&B side, and it also contained Bailey's signature ballad in the album cut "Reasons." White used the new income to develop EWF's live show into a lavish, effects-filled extravaganza, which eventually grew to include stunts designed by magician Doug Henning. The band was also augmented by a regular horn section, the Phoenix Horns, headed by saxophonist Don Myrick. Their emerging concert experience was chronicled later that year on the double-LP set Gratitude, which became their second straight number one album and featured one side of new studio tracks. Of those, "Sing a Song" reached the pop Top Ten and the R&B Top Five, and the ballad "Can't Hide Love" and the title track were also successful.

 

Sadly, during the 1976 sessions for EWF's next studio album, Spirit, Charles Stepney died suddenly of a heart attack. Maurice White took over the arranging chores, but the Stepney-produced "Getaway" managed to top the R&B charts posthumously. Spirit naturally performed well on the charts, topping out at number two. In the meantime, White was taking a hand in producing other acts; in addition to working with his old boss Ramsey Lewis, he helped kick start the careers of the Emotions and Deniece Williams. 1977's All n' All was another strong effort that charted at number three and spawned the R&B smashes "Fantasy" and the chart-topping "Serpentine Fire"; meanwhile, the Emotions topped the pop charts with the White-helmed smash "Best of My Love." The following year, White founded his own label, ARC, and EWF appeared in the mostly disastrous film version of Sgt. Pepper's Lonely Hearts Club Band, turning in a fine cover of the Beatles' "Got to Get You Into My Life" that became their first Top Ten pop hit since "Sing a Song." Released before year's end, The Best of Earth, Wind & Fire, Vol. 1 produced another Top Ten hit (and R&B number one) in the newly recorded "September."

 

1979's I Am contained EWF's most explicit nod to disco, a smash collaboration with the Emotions called "Boogie Wonderland" that climbed into the Top Ten. The ballad "After the Love Has Gone" did even better, falling one spot short of the top. Although I Am became EWF's sixth straight multi-platinum album, there were signs that the group's explosion of creativity over the past few years was beginning to wane. 1980's Faces broke that string, after which guitarist McKay departed. While 1981's Raise brought them a Top Five hit and R&B chart-topper in "Let's Groove," an overall decline in consistency was becoming apparent. By the time EWF issued its next album, 1983's Powerlight, ARC had folded, and the Phoenix Horns had been cut loose to save money. After the lackluster Electric Universe appeared at the end of the year, White disbanded the group to simply take a break. In the meantime, Verdine White became a producer and video director, while Philip Bailey embarked on a solo career and scored a pop smash with the Phil Collins duet "Easy Lover." Collins also made frequent use of the Phoenix Horns on his '80s records, both solo and with Genesis.

 

Bailey reunited with the White brothers, plus Andrew Woolfolk, Ralph Johnson, and new guitarist Sheldon Reynolds, in 1987 for the album Touch the World. It was surprisingly successful, producing two R&B smashes in "Thinking of You" and the number one "System of Survival." 1990's Heritage was a forced attempt to contemporize the group's sound, with guest appearances from Sly Stone and MC Hammer; its failure led to the end of the group's relationship with Columbia. They returned on Reprise with the more traditional-sounding Millennium in 1993, but were dropped when the record failed to recapture their commercial standing despite a Grammy nomination for "Sunday Morning"; tragedy struck that year when onetime horn leader Don Myrick was murdered in Los Angeles. Bailey and the White brothers returned once again in 1997 on the small Pyramid label with In the Name of Love

[hitman531ph]

FICTION FACTORY

 

The British band Fiction Factory are forgotten one-hit wonders. Best-known for the Depeche Mode-ish single "(Feels Like) Heaven," Fiction Factory wrote soulful, melancholic pop songs illuminated by danceable synthesized rhythms and funky bass lines. Heaven 17 was an obvious influence; however, the deep, ardent vocals of Kevin Patterson easily challenged any charges of plagiarism. Featuring Patterson, Chic Medley (guitars), Graham McGregor (bass), Eddie Jordan (keyboards), and Mike Ogletree (drums, percussion), Fiction Factory released their debut LP Throw the Warped Wheel Out in 1984 under Columbia Records; they also toured with Paul Young and O.M.D. "The Ghost of Love" was the album's first single, but it didn't have the impact of its follow-up, "(Feels Like) Heaven." "(Feels Like) Heaven" was a hit on new wave radio stations in America and in the Philippines. Misinterpreted by many radio listeners as a love song, "(Feels Like) Heaven" is actually about a bitter breakup; to the band's dismay the track stereotyped them as purveyors of sentimental synth-pop ballads. "(Feels Like) Heaven" was revived in 1995 on Rhino's Just Can't Get Enough: New Wave Hits of the 80s, Vol. 13, and Columbia reissued the Throw the Warped Wheel Out album on CD that year. Fiction Factory released a second LP, Another Story, under Virgin Records, in 1985 before splitting up. The band hand already broken up during the release of the "Another Story" album. The said album came up with "Time is Right" which was a minor hit although New Wavers loved it.

[hitman531ph]

BOLSHOI

 

The Bolshoi was a rock group from Leeds, England, featuring Trevor Tanner (vocals, guitar), Paul Clark (keyboards), Nick Chown (bass), and Jan Kalicki (drums). Their debut EP, the six-song Giants (1985), was followed by their first full-length album, Friends (1986), and then Lindy's Party (1987), which briefly made the U.K. charts. The band broke up soon after

Edited October 11, 2005 by hitman531ph

[hitman531ph]

WHAM!

 

Wham! sparked something of a pop revival in the mid-'80s and could arguably be held responsible for sparking off the boy band trend of the '90s. They were unashamedly pop, to the point of padding the front of their trousers for television appearances. At the heart, however, was a string of catchy singalong singles written by George Michael (born Georgios Kyrriacos Panayiotou in London to a Greek restauranting family).

 

 

George met Wham!'s other half, Andrew Ridgeley, at school in the London suburb of Bushey, and in 1979 they started performing together as part of the ska-based band the Executive. When that group dissolved, they wrote songs, made demos, and rushed into a recording contract with the equally eager independent label Innervision, scoring an instant hit with "Wham Rap!" (they thought that "wham" was the sound they made when Michael and Ridgeley performed together). In order to move to a recording contract with Sony label Epic, Wham! was forced to walk away from most of the royalties from their debut album, Fantastic. None of that mattered when their 1984 single, "Wake Me up Before You Go Go," became a worldwide hit, off the album "Make It Big", accompanied by a video of the pair cavorting in their sportswear. Almost immediately, George Michael started thinking of a solo career, and released "Careless Whisper," issued in the U.S. under George Michael of Wham! Other hits by the duo inclues Everything She Wants, Freedom, I'm Your Man, The Edge of Heaven. Wham! is also the first foreign act to perform live in a concert in Communist People's Republic of China in 1986.

 

 

Wham!'s end came suddenly three years later, in 1986, reputedly when the group's manager, Simon Napier-Bell (later to manage Take That), decided to sell a share of his management to a South African entertainment conglomerate. Supposedly, as part of a stand against South African politics, George Michael immediately announced Wham!'s breakup. They gave their farewell performance before a sold-out audience of 72,000 fans at London's Wembley Stadium.

 

George Michael comfortably stepped straight into his own highly successful solo performing and recording career. Andrew Ridgeley's post Wham! album, Son of Albert, sold poorly and produced just one minor hit, "Shake."

Edited October 11, 2005 by hitman531ph

[cruesome]

I somehow managed to download a familiar album off the bitorrent network. It's Hollywood Rose - The Roots Of Guns N' Roses with 5 songs, 3 versions each (the original demo, gilby clarke mix, and fred curry mix). This is awesome, considering Slash wasn't around yet.

 

http://images.amazon.com/images/P/B00022LJBA.01._SCMZZZZZZZ_.jpg

 

here's the press release:

 

FOR IMMEDIATE RELEASE: Before Guns ‘N Roses, there was…

 

HOLLYWOOD ROSE -- The Roots of Guns 'N Roses

 

DEADLINE MUSIC TO RELEASE ‘THE ROOTS OF GUNS ‘N ROSES’ ON JUNE 22ND, BY HOLLYWOOD ROSE, THE BAND COMPRISED OF AXL ROSE, IZZY STRADLIN, CHRIS WEBER AND JOHHNY KREIS

 

Album features previously unreleased tracks as well as never-before heard studio recordings with new remixes by Gilby Clarke of GNR fame and Fred Coury of Cinderella.

 

Produced by Chris Weber, album also includes bonus guitar overdubs by Tracii Guns (Brides of Destruction, L.A. Guns) with liner notes by original GNR manager Vicky Hamilton.

 

Los Angeles, CA -- Indie juggernaut, Cleopatra Records announced that its hard rock/metal imprint Deadline Music will release The Roots Of Guns 'N Roses by Hollywood Rose, the band that included members who would later become one of the biggest rock ‘n roll acts in the world, Guns 'N Roses. The release date has been set for June 22nd.

 

Comprised of Axl Rose, Izzy Stradlin, Chris Weber and Johnny Kreis, Hollywood Rose recorded these tracks some twenty years ago. They have remained in a vault, nearly forgotten... until now.

 

Formed in 1984, the inception of Hollywood Rose was a chance meeting at the legendary Sunset Strip landmark, The Rainbow, between Chris Weber and Izzy Stradlin. Mutual friend Tracii Guns introduced the two guitarists who would become fast friends. Weber expressed interest in forming a band and Izzy suggested his childhood friend Bill Bailey, who would later change his name to Axl Rose, fill the vocalist spot. They enlisted drummer Johnny Kreis, who answered their ad in The Recycler, and began developing their powerfully charged brand of fiery glam rock by performing at such L.A. venues as Country Club, Troubadour and Music Machine just to name a few.

 

With little more than the desire to just be a rockin’ band, Hollywood Rose went into a now defunct sixteen-track studio in Hollywood to lay down these five recordings, financed by Chris’s father. ‘When we went into the studio to record these songs, there were no expectations, just a band of musicians creating art,” states guitarist Chris Weber. ‘We weren’t trying to get a record deal or anything like that, we just wanted something to hand out to people at our shows. And at this time, we were all so broke that my dad ended up paying for our studio time,” reminisces Weber.

 

Included with the original, five track, unpolished gems are new remixes and mastering by Gilby Clarke (of GN’R fame), Fred Coury (Cinderella) and guitar overdubs by Tracii Guns (Brides Of Destruction, L.A. Guns). The sound is a musical hybrid of angst-ridden punk rock fueled by hook-laden guitar riffs. This highly anticipated release offers fans a glimpse into the beginnings of one of the greatest rock n’ roll bands of all time.

 

Cleopatra Records is one of the premier leading independent record labels in the world. It proudly boasts releases by punk icons The Germs, Johnny Thunders and the godfather of electronic Gary Numan among many others. Its hard rock/metal imprint Deadline Music offers headbangers releases by such metal luminaries As Cinderella, Quiet Riot, L.A. Guns and Faster Pussycat, just to name a few. Cleopatra Records and its subsidiary labels are distributed exclusively by Navarre Corporation in North America and Canada.

[7391N]

I enjoyed listening to GNR, Poison and Warrant.

 

I saw an earlier photo of Pantera in the 80's and they looked glam too

[Guest Dobermaxx]

here's a Glam trivia question for you guys.

 

What did DAD stand for?

 

Let's see who of you remembers this group.

[cruesome]

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}>

i listen to them, but as to the meaning of the name DAD, nfi ako

[dnetsoul]

ei... hitman531ph... you seem to know so many about bands and artists in the 80s. just wondering if you also have info about the group jimmy,jimmy? been searching the net and still... nothing.

[joeyboy252003]

How abaout HALL & OATES their pretty popular during the 80's