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

[Cain N Moko]

MARY JANE GIRLS

 

Just as Vanity 6 and Apollonia 6 wouldn't have existed without Prince, the Mary Jane Girls were created by Rick James and were very much a product of the funkster's imagination. The group's name was coined in the late '70s, when James hired them as background singers for his Stone City Band. The Mary Jane Girls (whose name underscored James' fondness for marijuana) soon became an actual group, and in the early '80s were signed to Motown (the R&B powerhouse for which James and his protégée Teena Marie had been recording). With a lineup consisting of Joanne "Jojo" McDuffie (the main singer), Candice "Candi" Ghant, Kim "Maxi" Wuletich, and Ann "Cheri" Bailey, the Mary Jane Girls portrayed various characters James had developed -- while JoJo was the tough street chick and Candi was the glamorous supermodel, Cheri was the cutesy Valley Girl and Maxi was the whip-toting, handcuff-carrying dominatrix in black leather. In 1985, Ann "Cheri" Bailey was replaced by Yvette "Corvette" Marine.

James did all of the writing and producing on the Mary Jane Girls' self-titled debut album of 1983 (which boasted such hits as the infectious "Candy Man" and the sexy, irresistible "All Night Long") as well as on the group's sophomore effort of 1985, Only Four You. That album contained the number three R&B hit "In My House" and the number ten R&B hit "Wild and Crazy Love." The only song James didn't write for the group was a 1986 cover of Frankie Valli & the Four Seasons' "Walk Like a Man," which was included in the comedy film A Fine Mess.

 

Regrettably, the Mary Jane Girls never recorded a third album. James had a major falling out with Motown in the mid-'80s, and this would lead to the group's breakup. When Ghant was working at the music-industry trade magazine Black Radio Exclusive in 1986, she told On the Scene magazine that she hoped to see the Mary Jane Girls continue and work with hit producers/songwriters Jimmy Jam and Terry Lewis. But that never came about. By 1987, the group had officially broken up

[Cain N Moko]

VANITY 6

 

Just as Vanity 6 and Apollonia 6 wouldn't have existed without Prince, the Mary Jane Girls were created by Rick James and were very much a product of the funkster's imagination. The group's name was coined in the late '70s, when James hired them as background singers for his Stone City Band. The Mary Jane Girls (whose name underscored James' fondness for marijuana) soon became an actual group, and in the early '80s were signed to Motown (the R&B powerhouse for which James and his protégée Teena Marie had been recording). With a lineup consisting of Joanne "Jojo" McDuffie (the main singer), Candice "Candi" Ghant, Kim "Maxi" Wuletich, and Ann "Cheri" Bailey, the Mary Jane Girls portrayed various characters James had developed -- while JoJo was the tough street chick and Candi was the glamorous supermodel, Cheri was the cutesy Valley Girl and Maxi was the whip-toting, handcuff-carrying dominatrix in black leather. In 1985, Ann "Cheri" Bailey was replaced by Yvette "Corvette" Marine.

James did all of the writing and producing on the Mary Jane Girls' self-titled debut album of 1983 (which boasted such hits as the infectious "Candy Man" and the sexy, irresistible "All Night Long") as well as on the group's sophomore effort of 1985, Only Four You. That album contained the number three R&B hit "In My House" and the number ten R&B hit "Wild and Crazy Love." The only song James didn't write for the group was a 1986 cover of Frankie Valli & the Four Seasons' "Walk Like a Man," which was included in the comedy film A Fine Mess.

 

Regrettably, the Mary Jane Girls never recorded a third album. James had a major falling out with Motown in the mid-'80s, and this would lead to the group's breakup. When Ghant was working at the music-industry trade magazine Black Radio Exclusive in 1986, she told On the Scene magazine that she hoped to see the Mary Jane Girls continue and work with hit producers/songwriters Jimmy Jam and Terry Lewis. But that never came about. By 1987, the group had officially broken up

[Cain N Moko]

APOLLONIA

 

Born Patricia Kotero on August 2, 1961, in Santa Monica, CA, she was rechristened Apollonia by Prince and became one of a number of female artists in the '80s to benefit from her association with the purple one. Her career began as a model and actress in the late '70s, including an appearance on the television show CHiPS. In 1984, she landed the female lead in Prince's Purple Rain (during which time he changed her name) and replaced Vanity in the female trio Vanity 6, performing with them in the movie under the name Apollonia 6. The three scored a minor hit with "Sex Shooter," but it was as Prince's duet partner on "Take Me With You" from the soundtrack that she made a greater chart impact. When the two had a falling out over the direction of her career, Apollonia 6 split up and Kotero ended her association with Prince. She went on to appear in several minor films during the period (reportedly declining to appear in the Purple Rain follow-up Under the Cherry Moon) before landing a role in the night time drama Falcon Crest during 1985-1986. Apollonia finally released her debut in 1988, but the fairly pedestrian set of R&B/dance songs failed to make much impression on the music-buying public and the album soon vanished from sight. She remained active (if slightly underneath the radar) as an actress during the ensuing decade with small television roles and minor films and even issued an exercise video. In 1997, Apollonia released a Spanish/English album entitled Stay With Me, but it seems likely that her profile will never be as high as it was during the years of her association with Prince. Instead, her future might be more behind-the-scenes, as Apollonia returned to school and received a degree in filmmaking

[Cain N Moko]

SINEAD O'CONNOR

 

Sinéad O'Connor ranked among the most distinctive and controversial pop music stars of the 1990s, the first and in many ways the most influential of the numerous female performers whose music dominated airwaves throughout the decade. Brash and outspoken -- her shaven head, angry visage, and shapeless wardrobe a direct challenge to the popular culture's long-prevailing notions of femininity and sexuality -- O'Connor irrevocably altered the image of women in rock; railing against long-standing stereotypes simply by asserting herself not as a sex object but as a serious artist, she kick-started a revolt which led the way for performers ranging from Liz Phair to Courtney Love to Alanis Morissette.

O'Connor was born in Dublin, Ireland, on December 8, 1966. Her childhood was often traumatic: her parents divorced when she was eight, and she later claimed that her mother, who was killed in a 1985 automobile accident, frequently abused her. After being expelled from Catholic school, O'Connor was arrested for shoplifting and was shuttled off to a reformatory; at the age of 15, while singing a cover of Barbra Streisand's "Evergreen" at a wedding, she was spotted by Paul Byrne, the drummer for the Irish band In Tua Nua (best known as protégés of U2). After co-writing the first In Tua Nua single, "Take My Hand," O'Connor left boarding school in order to focus on a career in music, and began performing in area coffeehouses; she later studied voice and piano at the Dublin College of Music, and supported herself delivering singing telegrams.

 

Upon signing a contract with Ensign Records in 1985, O'Connor relocated to London; the following year she made her recorded debut on the soundtrack of the film The Captive, appearing with U2 guitarist the Edge. After scrapping the initial tapes for her debut LP on the grounds that the production was too Celtic, she took the producer's seat herself and began re-recording the album, dubbed The Lion and the Cobra in reference to Psalm 91; the result was one of the most acclaimed debut records of 1987, with a pair of alternative radio hits in the singles "Mandinka" and "Troy." Almost from the outset of her career, however, O'Connor was a controversial media figure; in interviews following the LP's release, she defended the actions of the IRA, resulting in widespread criticism from many corners, and even burned bridges by attacking longtime supporters U2, whose music she declared "bombastic."

 

However, O'Connor remained a cult figure prior to the release of 1990's chart-topping I Do Not Want What I Haven't Got, a harrowing masterpiece sparked by the recent dissolution of her marriage to drummer John Reynolds. Boosted by the single and video "Nothing Compares 2 U," originally penned by Prince, the album established her as a major star, but again controversy followed as tabloids took aim at her romance with black singer Hugh Harris while continuing to attack her outspoken politics. On American shores, O'Connor also became the target of derision for refusing to perform in New Jersey if "The Star Spangled Banner" was played prior to her appearance, a move which brought public criticism from no less than Frank Sinatra, who threatened to "kick her ass"; she also made headlines for pulling out of an appearance on the NBC program Saturday Night Live in response to the misogynist persona of guest host Andrew Dice Clay, and even withdrew her name from competition in the annual Grammy Awards despite four nominations. O'Connor also continued to confound expectations with her third album, 1992's Am I Not Your Girl?, a collection of pop standards and torch songs that failed to live up to either the commercial or critical success of I Do Not Want What I Haven't Got. However, any discussion of the record's creative merits quickly became moot in the wake of her most controversial and damaging action yet: after finally appearing on Saturday Night Live, O'Connor ended her performance by ripping up a photo of Pope John Paul II, resulting in a wave of condemnation unlike any she'd previously encountered. Two weeks after the SNL performance, she appeared at a Bob Dylan tribute concert at New York's Madison Square Garden, and was promptly booed off the stage.

 

Now a virtual pariah, O'Connor's retirement from the music business was subsequently reported, although it was later claimed that she had merely returned to Dublin with the intent of studying opera. She kept a low profile for the next several years, starring as Ophelia in a theatrical production of Hamlet and later touring with Peter Gabriel's WOMAD festival. She also reportedly suffered a nervous breakdown and even made a half-hearted attempt at suicide. In 1994, however, O'Connor returned to pop music with the LP Universal Mother, which, despite good reviews, failed to relaunch her to superstar status; the following year she announced that she would no longer speak to the press. The Gospel Oak EP followed in 1997, and in mid-2000 O'Connor issued Faith and Courage, her first full-length effort in six years. Sean-Nós Nua followed two years later, and was widely hailed for its return to the Irish folk tradition as its inspiration. O'Connor used the press exposure from the album to further assert her pending retirement from music. In September 2003, the two-disc She Who Dwells... appeared through Vanguard. It collected rare and previously unreleased studio tracks, as well as live material culled from a late 2002 date in Dublin. The album was positioned as O'Connor's swan song, though official word was not forthcoming

[Cain N Moko]

TRACY CHAPMAN

 

Tracy Chapman helped restore singer/songwriters to the spotlight in the '80s. The multi-platinum success of Chapman's eponymous 1988 debut was unexpected, and it had lasting impact. Although Chapman was working from the same confessional singer/songwriter foundation that had been popularized in the '70s, her songs were fresh and powerful, driven by simple melodies and affecting lyrics. At the time of her first album, there were only a handful of artists performing such a style successfully, and her success ushered in a new era of singer/songwriters that lasted well into the '90s. Furthermore, her album helped usher in the era of political correctness -- along with 10,000 Maniacs and R.E.M., Chapman's liberal politics proved enormously influential on American college campuses in the late '80s. Of course, such implications meant that Chapman's subsequent recordings were greeted with mixed reactions, but after several years out of the spotlight, she managed to make a very successful comeback in 1996 with her fourth album, New Beginning, thanks to the Top Ten single "Give Me One Reason."

Raised in a working class neighborhood in Cleveland, OH, Chapman learned how to play guitar as a child, and began to write her own songs shortly afterward. Following high school, she won a minority placement scholarship and decided to attend Tufts University, where she studied anthropology and African studies. While at Tufts, she became fascinated with folk-rock and singer/songwriters, and began performing her own songs at coffeehouses. Eventually, she recorded a set of demos at the college radio station. One of her fellow students, Brian Koppelman, heard Chapman play and recommended her to his father, Charles Koppelman, who ran SBK Publishing. In 1986, she signed with SBK and Koppelman secured a management contract with Elliot Roberts, who had worked with Neil Young and Joni Mitchell. Roberts and Koppelman helped Chapman sign to Elektra in 1987.

 

Chapman recorded her debut album with David Kershenbaum, and the resulting eponymous record was released in the spring of 1988. Tracy Chapman was greeted with enthusiastic reviews, and she set out on the road supporting 10,000 Maniacs. Within a few months, she played at the internationally televised concert for Nelson Mandela's 70th birthday party, where her performance was greeted with thunderous applause. Soon, the single "Fast Car" began climbing the charts, eventually peaking at number six. The album's sales soared along with the single, and by the end of the year, the record had gone multi-platinum. Early the following year, the record won four Grammys, including Best New Artist.

 

It was an auspicious beginning to Chapman's career, and it was perhaps inevitable that her second album, 1989's darker, more political Crossroads, wasn't as successful. Although it was well-reviewed, the album wasn't as commercially successful, peaking at number nine and quickly falling down the charts. Following Crossroads, Chapman spent a few years in seclusion, returning in 1992 with Matters of the Heart. The album was greeted with mixed reviews and weak sales, and Chapman had fallen into cult status. Three years later, she returned with New Beginning, which received stronger reviews than its predecessor. The bluesy "Give Me One Reason" was pulled as the first single, and it slowly became a hit, sending the album into the U.S. Top Ten in early 1996. It was a quiet, successful comeback from an artist most observers had already consigned to forever languish in cult status. Telling Stories followed in early 2000

[Cain N Moko]

10,000 MANIACS

 

10,000 Maniacs (named after the low-budget horror movie 2,000 Maniacs) was formed in Jamestown, NY, in 1981 by singer Natalie Merchant and guitarist John Lombardo. Other members of the sextet were Robert Buck (guitar), Steven Gustafson (bass), Dennis Drew (keyboards), and Jerry Augustyniak (drums). The group gigged extensively and recorded independently before signing with Elektra and making The Wishing Chair in 1985. Co-founder Lombardo left the band in 1986, and they continued as a quintet, releasing their second album, In My Tribe, in 1987. This album broke into the charts, where it stayed 77 weeks, peaking at number 37. Blind Man's Zoo, the 1989 follow-up, hit number 13 and went gold.

After 1992's Our Time in Eden had finished its run on the charts, Merchant announced that she was leaving for a solo career. MTV Unplugged was released a few months after her departure. The remaining 10,000 Maniacs decided to continue performing, adding the folk-rock duo John & Mary (original member Lombardo and violinist/vocalist Mary Ramsey). The new lineup released Love Among the Ruins. Merchant released her first solo album, Tigerlily, in the summer of 1995 and a follow-up, Ophelia, in 1998. In 1999, the remaining Maniacs released The Earth Pressed Flat on Bar/None. Sadly a year later lead guitarist and founding member Robert Buck, who co-wrote some of the band's classics like "Hey Jack Kerouac," "What's The Matter Here?," and "These Are Days," died of liver failure. He was 42

[Cain N Moko]

R.E.M.

 

R.E.M. mark the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom. It did take R.E.M. several years to break into the top of the charts, but they had a cult following from the release of their debut EP, Chronic Town, in 1982. Chronic Town established the haunting folk and garage rock that became the band's signature sound, and over the next five years, they continued to expand their music with a series of critically acclaimed albums. By the late '80s, the group's fan base had grown large enough to guarantee strong sales, but the Top Ten success in 1987 of Document and "The One I Love" was unexpected, especially since R.E.M. had only altered their sound slightly. Following Document, R.E.M. slowly became one of the world's most popular bands. After an exhaustive international tour supporting 1988's Green, the band retired from touring for six years and retreated into the studio to produce their most popular records, Out of Time (1991) and Automatic for the People (1992). By the time they returned to performing with the Monster tour in 1995, the band had been acknowledged by critics and musicians as one of the forefathers of the thriving alternative rock movement, and they were rewarded with the most lucrative tour of their career. Toward the late '90s, R.E.M. was an institution, as its influence was felt in new generations of bands.

Though R.E.M. formed in Athens, GA, in 1980, Mike Mills (born December 17, 1958) and Bill Berry (born July 31, 1958) were the only Southerners in the group. Both had attended high school together in Macon, playing in a number of bands during their teens. Michael Stipe (born January 4, 1960) was a military brat, moving throughout the country during his childhood. By his teens, he had discovered punk rock through Patti Smith, Television, and Wire, and began playing in cover bands in St. Louis. By 1978, he had begun studying art at the University of Georgia in Athens, where he began frequenting the Wuxtry record store. Peter Buck (born December 6, 1956), a native of California, was a clerk at Wuxtry. Buck had been a fanatical record collector, consuming everything from classic rock to punk and free jazz, and was just beginning to learn how to play guitar. Discovering they had similar tastes, Buck and Stipe began working together, eventually meeting Berry and Mills through a mutual friend. In April of 1980, the band formed to play a party for their friend, rehearsing a number of garage, psychedelic bubblegum, and punk covers in an converted Episcopalian church. At the time, the group was played under the name the Twisted Kites. By the summer, the band had settled on the name R.E.M. after flipping randomly through the dictionary, and had met Jefferson Holt, who became their manager after witnessing the group's first out-of-state concert in North Carolina.

 

Over the next year and a half, R.E.M. toured throughout the South, playing a variety of garage rock covers and folk-rock originals. At the time, the band was still learning how to play, as Buck began to develop his distinctive, arpeggiated jangle and Stipe ironed out his cryptic lyrics. During the summer of 1981, R.E.M. recorded their first single, "Radio Free Europe," at Mitch Easter's Drive-In Studios. Released on the local indie label Hib-Tone, "Radio Free Europe" was pressed in a run of only 1,000 copies, but most of the those singles fell into the right hands. Due to strong word of mouth, the single became a hit on college radio and topped the Village Voice's year-end poll of Best Independent Singles. The single also earned the attention of larger independent labels, and by the beginning of 1982, the band had signed to I.R.S. Records, releasing the EP Chronic Town in the spring. Like the single, Chronic Town was well received, paving the way for the group's full-length debut album, 1983's Murmur.

 

With its subdued, haunting atmosphere and understated production, Murmur was noticeably different than Chronic Town and was welcomed with enthusiastic reviews upon its spring release; Rolling Stone named it the best album of 1983, beating out Michael Jackson's Thriller and the Police's Synchronicity. Murmur also expanded the group's cult significantly, breaking into the American Top 40. R.E.M. returned to a rougher-edged sound on 1984's Reckoning, which featured the college hit "So. Central Rain (I'm Sorry)." By the time the band hit the road to support Reckoning, they had become well known in the American underground for their constant touring, aversion to videos, support of college radio, Stipe's mumbled vocals and detatched stage presence, Buck's ringing guitar, and their purposely enigmatic artwork. Bands that imitated these very things ran rampant throughout the American underground, and R.E.M. threw their support toward these bands, having them open at shows and mentioning them in interviews. By 1985, the American underground was awash with R.E.M. sound-alikes and bands like Game Theory and the Rain Parade, which shared similar aesthetics and sounds.

 

Just as the signature R.E.M. sound dominated the underground, the band entered darker territory with its third album, 1985's Fables of the Reconstruction. Recorded in London with producer Joe Boyd (Richard Thompson, Fairport Convention, Nick Drake), Fables of the Reconstruction was made at a difficult period in R.E.M.'s history, as the band was fraught with tension produced by endless touring. The album reflected the group's dark moods, as well as its obsession with the rural South, and both of these fascinations popped up on the supporting tour. Stipe, whose on-stage behavior was always slightly strange, entered his most bizarre phase, as he put on weight, dyed his hair bleached blonde, and wore countless layers of clothing. None of the new quirks in R.E.M.'s persona prevented Fables of the Reconstruction from becoming their most successful album to date, selling nearly 300,000 copies in the U.S. R.E.M. decided to record their next album with Don Gehman, who had previously worked with John Mellencamp. Gehman had the band clean up its sound and Stipe enunciate his vocals, making Lifes Rich Pageant their most accessible record to date. Upon its late summer release in 1986, Lifes Rich Pageant was greeted with the positive reviews that had become customary with each new R.E.M. album, and it outstripped the sales of its predecessor. Several months after Lifes Rich Pageant, the group released the B-sides and rarities collection Dead Letter Office in the spring of 1987.

 

R.E.M. had laid the groundwork for mainstream success, but they had never explicitly courted widespread success. Nevertheless, their audience had grown quite large, and it wasn't that surprising that the group's fifth album, Document, became a hit shortly after its fall 1987 release. Produced by Scott Litt -- who would produce all of their records over the course of the next decade -- Document climbed into the U.S. Top Ten and went platinum on the strength of the single "The One I Love," which also went into the Top Ten; it also became their biggest U.K. hit to date, reaching the British Top 40. The following year, the band left I.R.S. Records, signing with Warner Bros. for a reported six million dollars. The first album under the new contract was Green, which was released on election day 1988. Green continued the success of Document, going double platinum and generating the Top Ten single "Stand." R.E.M. supported Green with an exhaustive international tour, in which they played their first stadium dates in the U.S. Though they had graduated to stadiums in America, the group continued to play clubs throughout Europe.

 

The Green tour proved to be draining for the group, and they took an extended rest upon its completion in 1989. During the break, each member pursued side projects, and Hindu Love Gods, an album Buck, Berry, and Mills recorded with Warren Zevon in 1986, was released. R.E.M. reconvened during 1990 to record their seventh album, Out of Time, which was released in the spring of 1991. Entering the U.S. and U.K. charts at number one, Out of Time was a lush pop and folk album, boasting a wider array of sounds than the group's previous efforts; its lead single, "Losing My Religion," became the group's biggest single, reaching number four in the U.S. Since the band was exhausted from the Green tour, they chose to stay off the road. Nevertheless, Out of Time became their biggest album, selling over four million copies in the U.S. and spending two weeks at the top of the charts. R.E.M. released the dark, meditative Automatic for the People in the fall of 1992. Though the group had promised a rock album after the softer textures of Out of Time, Automatic for the People was slow, quiet, and reflective, with many songs being graced by string arrangements by Led Zeppelin bassist John Paul Jones. Like its predecessor, Automatic for the People was a quadruple platinum success, generating the Top 40 hit singles "Drive," "Man on the Moon," and "Everybody Hurts."

 

After piecing together two albums in the studio, R.E.M. decided to return to being a rock band with 1994's Monster. Though the record was conceived as a back-to-basics album, the recording of Monster was difficult and plagued with tension. Nevertheless, the album was a huge hit upon its fall release, entering the U.S. and U.K. charts at number one; furthermore, the album won praise from a number of old-school critics who had been reluctant to praise the band, since they didn't "rock" in conventional terms. Experiencing some of the strongest sales and reviews of their career, R.E.M. began their first tour since Green early in 1995. Two months into the tour, Bill Berry suffered a brain aneurysm while performing; he had surgery immediately and had fully recovered within a month. R.E.M. resumed their tour two months after Berry's aneurysm, but his illness was only the beginning of a series of problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal tumor in July; a month later, Stipe had to have an emergency surgery to remove a hernia. Despite all the problems, the tour was an enormous financial success, and the group recorded the bulk of a new album. Before the record was released in the fall of 1996, R.E.M. parted ways with their long-time manager Jefferson Holt, allegedly due to sexual harassment charges levied against Holt; the group's lawyer, Bertis Downs, assumed managerial duties.

 

New Adventures in Hi-Fi was released in September 1996, just before it was announced that the band had re-signed with Warner Bros., reportedly for a record-breaking sum of 80 million dollars. In light of such a huge figure, the commercial failure of New Adventures in Hi-Fi was ironic. Though it received strong reviews and debuted at number two in the U.S. and number one in the U.K., the album failed to generate a hit single, and it only went platinum where its three predecessors went quadruple platinum. By early 1997, the album had already begun its descent down the charts. However, the members of R.E.M. were already pursuing new projects, as Stipe worked with his film company, Single Cell Pictures, and Buck co-wrote songs with Mark Eitzel and worked with a free jazz group, Tuatara.

 

In October of 1997, R.E.M. shocked fans and the media with the announcement that Berry was amicably exiting the group to retire to life on his farm; the remaining members continued on as a three-piece, soon convening in Hawaii to begin preliminary work on their next LP. Replacing Berry with a drum machine, the sessions resulted in 1998's Up, widely touted as R.E.M.'s most experimental recording in years

[Cain N Moko]

RAGE BAND

 

Prior to The Dawn, the 1983-1985 local band scene was dominated by Rage Band. They played gigs during the time of the Philippines was in crisis in the midst of Ninoy Aquino's death and just before Marcos fled.

 

The band was led by Juan Miguel Salvador.

 

Their biggest hit was "Believe Me" in 1984 which got radio airplay that began in 99.5RT.

Rage disbanded sometime in the second half of the 80s. In 2003, the band reunited and played in gigs in several venues across the Philippines.

[joeyboy252003]

STYLE COUNCIL

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LIPPS INC.

 

Before hard funksters like Prince and the Time hit the national stage, before groundbreaking alternative rockers Hüsker Dü and the Replacements, Minneapolis was barely a blip on America's musical radar -- that is until Lipps Inc. broke out with one of disco's most monumental singles, the number one smash "Funkytown." The brainchild of producer/songwriter Steven Greenberg, Lipps Inc. (meant to be pronounced as a pun on "lip sync") wound up as one-hit wonders, but that one hit still stands as one of disco's all-time classics; its computerized feel and lean, spare arrangement contrasted sharply with the perceived excesses of most disco music, yet its longing for escape (specifically, from Minneapolis, whose music scene was still in its infancy) fit the spirit of the era perfectly, sending it to the top of the charts for a full month in 1980. A multi-instrumentalist, Greenberg had played in several bands and had been trying for some time to secure a production deal. He finally caught the Casablanca label's interest with a disco track called "Rock It," which became something of a hit locally. Casablanca asked Greenberg for a full album, and he gathered a cast of session players that initially included guitarists David Rivkin and Tom Riopelle, keyboardist Ivan Rafowitz, and bassist Terry Grant. Most importantly, he recruited lead vocalist Cynthia Johnson, the 1976 Miss Black Minnesota, who had been performing with an early version of the Time. Released nationally in late 1979, "Rock It" failed to catch on; the group's debut album, Mouth Music, was released in early 1980 and when "Funkytown" was pulled as a second single, it was an instant hit, climbing to number one just a couple months later and spending four weeks on top. In the wake of its success, "Rock It" was re-released, but flopped again. The six-song release Pucker Up followed, featuring a disco remake of the British pub rock group Ace's hit ballad "How Long." It didn't attract much attention, however; neither did the next Lipps Inc. full-length, Designer Music. Johnson was already decreasing her involvement with the group, with Melanie Rosales picking up some of the slack; Johnson left for good in 1983. By the time Lipps Inc. threw in the towel, though, they'd begun to open things up on the Minneapolis music scene, not to mention giving valuable early experience to several future members of Prince's band the Revolution. Greenberg eventually moved into web design, and owns a profitable company still based in Minneapolis

[Cain N Moko]

KENNY ROGERS

 

It took several tries before Kenny Rogers became a star. As a member of the First Edition (and the New Christy Minstrels before that), he shared in some million-sellers, among them "Reuben James" and "Ruby, Don't Take Your Love to Town," an excellent Mel Tillis song about a disabled veteran. But superstardom lay ahead for this Texan, and it arrived in the late '70s. His experience with the two previous pop groups had prepared him well: He knew the easy listening audience was out there, and he supplied them with well-done middle-of-the-road songs with a country flavor. Having gone solo, in 1976 Rogers charted with "Love Lifted Me." But it was with an outstanding song by writers Roger Bowling and Hal Bynum, "Lucille,", that his star shot upward. The rest (as they say) is history: award-winning duets with Dottie West and Dolly Parton, 12 TV specials, another song-of-the-year with "The Gambler," "Daytime Friends," "Coward of the County," "We've Got Tonight," "Crazy," "Lady" (his first pop number one), etc., etc., etc. And that's just the musical side of Rogers. In 1980, the made-for-TV movie The Gambler blasted the competition, followed quickly by Coward of the County, then enough sequels to The Gambler to get him to Roman numeral IV. Throughout the '80s, Rogers remained a celebrity, even when his sales were declining. Even during the '90s, when he rarely charted, his name, face, and music were recognizable in a series of concerts, television specials, films, and even fast-food restaurants.

Like many country superstars, Rogers came from humble roots. Born in Houston, TX, Rogers and his seven siblings were raised in one of the poorest sections of town. Nevertheless, he progressed through high school, all the while learning how to play guitar and fiddle. When he was a senior, he played in a rockabilly band called the Scholars, who released three singles, including "Kangewah," which was written by Louella Parsons. Following his graduation, he released two singles, "We'll Always Fall in Love Again" and "For You Alone," on the local independent label Carlton. The B-side of the first single, "That Crazy Feeling," was popular enough to earn him a slot on American Bandstand. In 1959, he briefly attended the University of Texas, but he soon dropped out to play bass in the jazz combo the Bobby Doyle Three. While he was with the group, Rogers continued to explore other musical venues and played bass on Mickey Gilley's 1960 single "Is It Wrong." The Bobby Doyle Three released one album, In a Most Unual Way, before Rogers left the group to play with the Kirby Stone Four. He didn't stay long with Stone and soon landed a solo record contract with Mercury.

 

Rogers released a handful of singles on Mercury, all of which failed. Once Mercury dropped the singer, he joined the New Christy Minstrels in 1966. He stayed with the folk group for a year, leaving with several other bandmembers -- Mike Settle, Terry Williams, and Thelma Lou Camacho -- in 1967 to form the First Edition. Adding drummer Mickey Jones, the First Edition signed with Reprise and recorded the pop-psychedelic single "Just Dropped In (To See What Condition My Condition Was In)." The single became a hit early in 1968, climbing to number five. Within a year, the group was billed as Kenny Rogers & the First Edition, and in the summer of 1969, they had their second and final Top Ten hit, "Ruby, Don't Take Your Love to Town." The country overtones of the single hinted at the direction Rogers was taking, as did the minor hit follow-up, "Ruben James." For the next two years, the First Edition bounced between country, pop, and mild psychedelia, scoring their last big hit with Mac Davis' "Something's Burning" in early 1970. By the end of 1972, the group had their own syndicated television show, but their sales were drying up. They left Reprise the following year, signing to Rogers' new label, Jolly Rogers. None of their singles became major hits, though a version of Merle Haggard's "Today I Started Loving You Again" reached the lower regions of the country charts late in 1973. Rogers left the group in 1974, and the band broke up the following year.

 

At the time the band broke up, Rogers was severely in debt and Jolly Rogers was out of business. In order to jump-start his career, he signed to United Artists in 1975, and with the help of producer Larry Butler, he devised an accessible, radio-ready, and immaculately crafted take on country-pop that leaned toward adult contemporary pop, not country. "Love Lifted Me," his debut single for the label, was a minor hit early in 1976, but it took a full year for Rogers to have a genuine breakthrough hit with "Lucille." Climbing to number one early in 1977, "Lucille" not only was a major country hit, earning the Country Music Association's Single of the Year award, but it also was a huge crossover success, peaking at number five on the pop charts. For the next six years, Rogers had a steady string of Top Ten hits on both the country and pop charts. His crossover success is important -- his lush, easy listening productions and smooth croons showed that country stars could conquer the pop audience, if produced and marketed correctly. During the late '70s and early '80s, much of country radio was dominated either by urban cowboy or country-pop in the vein of Rogers' own singles. Between 1978 and 1980, he had five straight number one country singles -- "Love or Something Like It," "The Gambler," "She Believes in Me," "You Decorated My Life," "Coward of the County" -- most of which also reached the pop Top Ten. In addition to his solo hits, he had a series of Top Ten duets with Dottie West, including the number one hits "Every Time Two Fools Collide" (1978), "All I Ever Need Is You" (1979), and "What Are We Doin' in Love" (1981). Not only did his singles sell well, but so did his albums, with every record he released between 1976's Kenny Rogers and 1984's Once Upon a Christmas going gold or platinum.

 

By the beginning of the '80s, Rogers' audience was as much pop as it was country, and singles like his cover of Lionel Richie's "Lady" confirmed that fact, spending six weeks at the top of the pop charts. Rogers also began duetting with pop singers like Kim Carnes ("Don't Fall in Love With a Dreamer," number three country, number four pop, 1980) and Sheena Easton ("We've Got Tonight," number one country, number six pop, 1983). Rogers also began making inroads into television and film, appearing in a number of TV specials and made-for-TV movies, including 1982's Six Pack and two movies based on his songs "The Gambler" and "Coward of the County." Late in 1983, he left United Artists/Liberty for RCA Records, releasing a duet with Dolly Parton called "Islands in the Stream" as his first single for the label. Written by the Bee Gees and produced by Barry Gibb, the record became one of his biggest hits, spending two weeks on the top of both the country and pop charts. Rogers stayed at RCA for five years, during which time he alternated between MOR, adult contemporary pop and slick country-pop. The hits didn't come as often as they used to, and they were frequently competing with releases from Liberty's vaults, but he managed to log five number one singles for the label, in addition to "Islands in the Stream": "Crazy" (1984), "Real Love" (1985), "Morning Desire" (1985), "Tomb of the Unknown Love" (1986), and the Ronnie Milsap duet "Make No Mistake, She's Mine" (1987). Despite his country successes, he no longer had pop crossover hits. Nevertheless, Rogers' concerts continued to be popular, as did his made-for-TV movies. Still, the lack of blockbuster records meant that RCA failed to renew his contract when it expired in 1988. Rogers returned to his first label, Reprise, where he had one major hit -- 1989's Top Ten "The Vows Go Unbroken (Always True to You)," taken from the gold album Something Inside So Strong -- before his singles started charting in the lower half of the Top 40.

 

Throughout the late '80s and '90s, Rogers kept busy with charity work, concerts, his fast-food chain Kenny Rogers' Roasters, television specials, movies, and photography, publishing no less than two books, Kenny Rogers' America and Kenny Rogers: Your Friends and Mine, of his photos. Rogers continued to record, releasing albums nearly every year, but they failed to break beyond his large, devoted fan base and only made a slight impact on the charts. With 1998's Christmas From the Heart, he established his own record label, Dreamcatcher; She Rides Wild Horses followed a year later, and There You Go Again was issued in mid-2000

[Cain N Moko]

EDDIE RABBITT

 

One of country music's most innovative artists during the late '70s and early '80s, Eddie Rabbitt has made contributions to the format that have often gone overlooked. Especially in songs like the R&B-inflected "Suspicions" and the rockin' "Someone Could Lose a Heart Tonight," Rabbitt challenged the commonly recognized creative boundaries of the idiom.

Hailing from Brooklyn and New Jersey, Rabbitt moved to Nashville in 1968. Though it took a few years to get his recording career off the ground, he paid the rent through songwriting, authoring Elvis Presley's "Kentucky Rain" and Ronnie Milsap's "Pure Love." Eddie continued to write professionally until 1975, when he signed with Elektra Records' newly established country division. Initially, Rabbitt made recordings that were decidedly country -- mostly uptempo material, like "Two Dollars in the Jukebox" and "Drinkin' My Baby (Off My Mind)" -- with thick, inimitable harmonies, most of them overdubbed by Rabbitt himself. However, with the assistance of his then-associates David Malloy and Even Stevens, Rabbitt's records became "progressively progressive." In 1976, he started a string of Top Ten hits that ran uninterrupted until 1989. During that time, he had 16 number one singles, including "Drinkin' My Baby (Off My Mind)" (1976), "You Don't Love Me Anymore" (1978), "Every Which Way But Loose" (1979), "Drivin' My Life Away" (1980), "I Love a Rainy Night" (1980), "Step By Step" (1980), and "You and I," a 1982 duet with Crystal Gayle.

 

In the late '80s he returned to more traditional sounds, as his country shuffle "On Second Thought" demonstrates, but it was too late for Rabbitt to return to the top of the country charts, since he had already been supplanted by a newer generation of artists. The terminal kidney ailment of his son also factored in his decision to only sporadically record and perform during the '90s. In 1997, Rabbitt was diagnosed with lung cancer; the disease claimed his life on May 7, 1998. The LP From the Heart was issued posthumously

[Cain N Moko]

TONE LOC

 

Tone-Loc (born Anthony Smith) soared from obscurity into pop stardom in 1989 when his hoarse voice and unmistakable delivery made the song "Wild Thing" (using a sample from Van Halen's "Jamie's Cryin'") a massive hit. The song was co-written by Marvin Young, better known as Young MC, as was the second single smash, "Funky Cold Medina." The album Loc-ed After Dark became the second rap release ever to top the pop charts. Tone-Loc expanded his horizons into acting in 1992 and 1993, appearing a few times on the Fox sitcom Roc. He was also in the films Posse and Ace Ventura: Pet Detective, and in 1991 returned to recording with Cool Hand Loc

[Cain N Moko]

DJ JAZZY JEFF & THE FRESH PRINCE

 

To many present-day listeners, DJ Jazzy Jeff & the Fresh Prince are best-remembered for launching the superstar music/acting career of the latter, now known by his real name of Will Smith. In their heyday, however, the Philadelphia duo played a major role in making rap music accessible to pop audiences, as well as younger listeners. Smith's raps were never anything more than PG-rated, and his genial, winning personality came through in the good-humored stories that many of his best raps wove. His partner, Jeff Townes, was one of Philadelphia's best DJs, an inventive scratcher who provided appropriately playful backdrops. At a time when rap wanted to establish itself as the authentic voice of the streets, DJ Jazzy Jeff & the Fresh Prince were often ridiculed as bubblegum kiddie rap -- they weren't aggressive, outraged, gritty, or urban enough to fit the prevailing hip-hop fashion of the time. However, in hindsight, it's clear that the duo's appeal was a natural result of simply being themselves, not from pandering to middle-class youth or posing as something they weren't. That's why the best of their work still sounds lively, full of youthful energy and breezy wit, and ranks as some of the most infectious pop-rap of its time.

DJ Jazzy Jeff (born Jeffrey Townes, January 22, 1965) and the Fresh Prince (born Willard Smith, September 25, 1968) got together in 1986, when they performed together at a house party after years of separately pursuing hip-hop around the Philadelphia area. Later that year, they performed at the New Music Seminar, where Jeff placed first in the DJ competition; the attention helped them land a record deal with Jive and the Fresh Prince turned down his acceptance into M.I.T. Their first single, "Girls Ain't Nothing But Trouble," was built around a sample of the theme from "I Dream of Jeannie," and the humorous video began to build the duo an audience through MTV. It helped their 1987-released debut album, Rock the House, go gold and set the stage for their breakthrough success with the 1988 follow-up He's the D.J., I'm the Rapper. One of the first double-LP sets in rap history (thanks to a number of tracks showcasing Jeff's turntable artistry), it also became one of the genre's biggest sellers up to that point, moving more than 2.5 million copies after the comic video for "Parents Just Don't Understand" became a runaway hit on MTV. A playful riff on the generation gap, "Parents Just Don't Understand" hit number 12 on the singles charts, went gold, and won the first-ever rap Grammy; the duo toured extensively behind it, aided in their dealings with concert promoters by their non-threatening image.

 

Hip-hop, however, was an extraordinarily difficult field in which to sustain career momentum. Even though it was released only a year later, And in This Corner... failed to generate nearly as much attention -- despite going gold -- partly because the lead single, "I Think I Can Beat Mike Tyson," failed to catch fire. The album was also hurt by a rapidly changing hip-hop climate; De La Soul's rapturously received debut, 3 Feet High and Rising, had succeeded in bringing positivity and humor to hip-hop with less of a comic-novelty flavor and seemingly countless new pop-rap fads were springing up by the minute. Fortunately, Smith's performances in the duo's videos had attracted notice in the television world. Convinced of Smith's potential to become a warm, charismatic, clean-cut star in the acting world, NBC gave him a starring role in a sitcom named after his rap persona, The Fresh Prince of Bel Air, which followed a young Philadelphian sent to live with his rich relatives in California to keep out of trouble. Although Smith wasn't yet a seasoned actor, executives were correct about his comic appeal and the show became a hit, running for six seasons; Townes was given a recurring role as Smith's character's street-wise friend (aptly dubbed Jazz).

 

Although Smith had taken a hiatus from DJ Jazzy Jeff & the Fresh Prince to concentrate on getting his sitcom off the ground, the duo reconvened in 1991, buoyed by their increased visibility. Featuring more outside productions, Homebase returned Townes and Smith to the platinum sales mark and produced their biggest hit ever in the warm, laid-back party tune "Summertime," where Smith nostalgically reminisced about summers growing up in Philadelphia in a way that appealed to listeners of all ages. "Summertime" became their first and only Top Five pop hit, peaking at number four. A follow-up LP, Code Red, was released in 1993, but didn't sell very well at all in the U.S.; oddly, the single "Boom! Shake the Room" became their first number one hit in the U.K. Nonetheless, Smith decided to focus full-time on his acting career, appearing in the critically acclaimed Six Degrees of Separation (also in 1993). Proving he could cut it on the big screen, Smith went on to star in numerous big-budget Hollywood blockbusters, including Independence Day, Men in Black, Enemy of the State, Wild Wild West, and Ali (the latter of which earned him an Oscar nomination); he also returned to music as a solo artist, selling millions more albums than he did with DJ Jazzy Jeff thanks to his enormous exposure. Townes, meanwhile, formed a production company called A Touch of Jazz, and worked as a producer and mixer for several hip-hop and R&B artists (including a few of Smith's solo cuts).

[Cain N Moko]

CHEAP TRICK

 

Combining a love for British guitar pop songcraft with crunching power chords and a flair for the absurd, Cheap Trick provided the necessary links between '60s pop, heavy metal, and punk. Led by guitarist Rick Nielsen, the band's early albums were filled with highly melodic, well-written songs that drew equally from the crafted pop of the Beatles, the sonic assault of the Who, and the tongue-in-cheek musical eclecticism and humor of the Move. Their sound provided a blueprint for both power pop and arena rock; it also had a surprisingly long-lived effect on both alternative and heavy metal bands of the '80s and '90s, who also relied on the combination of loud riffs and catchy melodies.

Cheap Trick's roots lie in Fuse, a late-'60s Rockford, IL, band formed by Rick Nielsen and bassist Tom Petersson, who released an unsuccessful album on Epic in 1969. After the record failed to gain any attention, the band relocated to Philadelphia and changed their name to Sick Man of Europe. The group toured Europe unsuccessfully in 1972, returning to Illinois in 1973. Not long after their return to Rockford, Nielsen and Petersson changed their band's name to Cheap Trick, adding drummer Bun E. Carlos and vocalist Randy "Xeno" Hogan. Hogan was fired the following year and ex-folksinger Robin Zander joined the group. Between 1975 and the band's first album in 1977, Cheap Trick toured constantly, playing over 200 concerts a year, including opening slots for the Kinks, Kiss, Santana, AC/DC, and Queen. During this time, the band built up a solid catalog of original songs that would eventually comprise their first three albums; they also perfected their kinetic live show.

 

Cheap Trick signed with Epic Records in 1976, releasing their self-titled debut in early 1977. The record sold well in America, yet it failed to chart. However, the group became a massive success in Japan, going gold upon release. Later that year, the band released their second album, In Color. It backed away from the harder-rocking Cheap Trick, featuring a slicker production and quieter arrangements that spotlighted the band's melodic skills. Due to their constant touring, the record made it into the U.S. charts, peaking at number 73; in Japan it became another gold-seller. The band realized that they were virtual superstars in Japan when they toured the country in early 1978. Their concerts were selling out within two hours and they packed Budokan Arena.

 

Cheap Trick's concerts at Budokan Arena were recorded for release -- the record appeared after their third album, 1978's Heaven Tonight. That third album captured both the loud, raucous energy of their debut and the hook-laden songcraft of In Color, leading to their first Top 100 single, "Surrender," which peaked at number 62. However, the live performances on At Budokan (1979) captured the band's energetic, infectious live show, resulting in their commercial breakthrough in the U.S. The album stayed on the charts for over a year, peaking at number four and eventually selling over three million copies; a live version of "I Want You to Want Me" became their first Top Ten hit. Later that year, the group released their fourth studio album, Dream Police, which followed the same stylistic approach of Heaven Tonight. It also followed At Budokan into the Top Ten, selling over a million copies and launching the Top 40 hit singles "Voices" and "Dream Police." In the summer of 1980, the group released an EP of tracks recorded between 1976-1979 called Found All the Parts.

 

Following the recording of the George Martin-produced All Shook Up, Petersson left the group in the summer of 1980 to form a group with his wife, Dagmar; he was replaced by Jon Brant. Released toward the end of 1980, All Shook Up performed respectably, peaking at number 24 and going gold, yet the single "Stop This Game" failed to crack the Top 40. One on One, the group's seventh album and the first recorded with Brant, appeared in 1982. Although it peaked at number 39, the record was more successful than All Shook Up, eventually going platinum. Nevertheless, the group was entering a downhill commercial slide, despite the fact that its music was becoming increasingly polished. Next Position Please, released in 1983, failed to launch a hit single and spent only 11 weeks on the charts. Standing on the Edge (1985) and The Doctor (1986) suffered similar fates, as the group was slowly losing its creative spark.

 

Petersson rejoined the band in 1988 and the group began working on a new record with the help of several professional songwriters. The resulting record, Lap of Luxury, was a platinum Top 20 hit, featuring the number one power ballad "The Flame" and a Top Ten version of Elvis Presley's "Don't Be Cruel." Busted, released in 1990, wasn't as successful as Lap of Luxury, peaking at number 48 and effectively putting an end to the group's commercial comeback. Cheap Trick signed with Warner Brothers in 1994, releasing Woke Up With a Monster; the record spent two weeks on the chart, peaking at 123. That same year, Epic Records released a sequel to At Budokan, Budokan II. Compiled from the same shows as At Budokan, the record provided an effective reminder of why the group was so popular in the late '70s, not only for the public, but for the band as well.

 

In 1995, Cheap Trick asked to leave Warner after the label's chief executives, Lenny Waronker and Mo Ostin, departed. Then the band decided to go back to the basics. Several alternative rockers who were influenced by Cheap Trick gave the band opportunities to restore its rep*tation. The Smashing Pumpkins had the band open their tour in 1995 and the group played several dates on the 1996 Lollapalooza Tour. That same year, the box set Sex, America, Cheap Trick appeared to good reviews and the band signed with the fledgling indie Red Ant-Alliance. Early in 1997, the group released a Steve Albini-produced single on Sub Pop, which was followed by Cheap Trick, their acclaimed debut for Red Ant-Alliance, in the spring. Unfortunately, Red Ant-Alliance filed for bankruptcy seven weeks after the album's release, sadly putting a sudden halt on the group's building comeback momentum.

 

On April 30, 1998, the group began a four-night Chicago stay, devoting each show to reprising one of their first four albums in its entirety; the dates later yielded a 1999 live LP, Music for Hangovers, issued on their own Cheap Trick Unlimited label. A band-authorized hits collection followed in 2000. (See the band's official website for more information: www.cheaptrick.com.) By the dawn of the new millennium, Cheap Trick were still without a label, but had retained their loyal following as they kept touring the world (surprisingly, Cheap Trick turned down an offer to open up for their old pals Kiss on the masked quartet's farewell tour of arenas and amphitheaters in 2000), as another live set saw the light of day in 2001. Entitled Silver, the double-disc set (and companion DVD) was a fine document of a star-studded and career-spanning 25th anniversary show from August 28, 1999, in their hometown of Rockford, IL