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

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U2

The Joshua Tree

 

Includes With of Without You, Where the Streets Have No Name, I Still Haven't Found What I'm Looking For

 

#30

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MICHAEL JACKSON

Thriller

 

Includes Billie Jean, Beat It, The Girl Is Mine, Thriller, PYT (Pretty Young Thing), Wanna Be Startin' Something

 

#27

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Original Soundtrack

PURPLE RAIN

Prince and the Revolution

 

Includes When Doves Cry, Purple Rain, Take Me With U, I Would Die 4 U, Let's Go Crazy

 

#12

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METALLICA

 

Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's k*ll 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. Lars Ulrich's thunderous, yet complex, drumming clicked in perfectly with Cliff Burton's innovative bass playing. After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden, killing Burton. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, which found the band trading in their long compositions for more concise song structures; it resulted in a number one album that sold over seven million copies in the U.S. alone. The band launched a long, long tour which kept them on the road for nearly two years. By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a trick. However, the group lost some members of their core audience with their long-awaited follow-up to Metallica, 1996's Load. For Load, the band decided to move toward alternative rock in terms of image -- they cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release -- entering the charts at number one and selling three million copies within two months -- certain members of their audience complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off of the Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace through the next year. Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. In 1999, Metallica continued their flood of product with S&M, documenting a live concert with the San Francisco Symphony; it debuted at number two, reconfirming their immense popularity.

The band spent most of 2000 embroiled in controversy by spearheading a legal assault on Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, the band notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with Hetfield lined up to handle bass duties for the sessions (with rumors of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more bad than good to their "band of the people" image. In late summer 2001, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined the band and they headed back into the studio in 2002

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DOKKEN

 

At a time when the charts were ruled by pop-metal acts, Dokken was a major attraction throughout the 1980s. With vocalist Don Dokken's captivating stage presence and guitarist George Lynch's high-energy style, the band combined rockers such as "Kiss of Death" and power ballads such as "Alone Again" in order to create a number of best-selling albums.

 

Dokken's roots date back to the late '70s, when Lynch, along with drummer Mick Brown, teamed up with Don Dokken to form the Boyz. In 1981, Don moved to Germany and was signed to Carerre Records. The band, now simply known as Dokken, recorded and released Breaking the Chains, their first studio album, in 1983. While the record failed to retain a decent chart position in the United States, the group was immensely popular in Europe.

 

After a tour in Germany, Dokken was signed to Elektra Records, and Jeff Pilson became their first official bassist. In 1984, the band released Tooth and Nail, which featured the hit songs "Into the Fire," "Just Got Lucky," and "Alone Again." With heavy MTV and radio airplay, Dokken found themselves topping the charts worldwide, and Tooth and Nail eventually sold over one-million copies in the U.S. alone. Following a tour with the Scorpions, the group recorded Under Lock and Key in 1985, which had a similar success due to the hits "In My Dreams" and "It's Not Love." In 1987, the band released Back for the Attack, which featured a track they had written as the subtitle for the third Nightmare on Elm Street film, "Dream Warriors." The coinciding music video, which included scenes of the band interacting with the movie's characters, was their most popular ever, and Back for the Attack became Dokken's third record to reach platinum status. The album's subsequent tour resulted in a live compilation, Beast From the East, which was released shortly before the band broke up in 1988 due to Don Dokken's and Lynch's creative differences.

 

After the disbanding of Dokken, Don pursued a solo career with Up From the Ashes, and Lynch formed the Lynch Mob, releasing an album in 1990; both releases failed to chart. In 1992, the band reunited, but it wasn't until 1995 when they signed with Columbia Records and released Dysfunctional, which was met with harsh reviews and poor sales. Tensions once again seemed to hover around the group as they recorded the live acoustic release, One Live Night, in 1996 under the CMC label. In 1997, the band released Shadowlife, which was met with a similar response to their past two recordings. In 1998, Lynch left a second time to reunite Lynch Mob, and was replaced with Winger guitarist Reb Beach for 1999's Erase the Slate. This was followed in 2000 by another concert record, Live From the Sun, which captured the Beach lineup at Anaheim's Sun Theater. Beach left the group and was replaced by John Norum, and the group recorded Long Way Home for release in the spring of 2002. In 2003, ex-Warlock guitarist John Levin and ex-Ted Nugent and Yngwie Malmsteen bassist Barry Sparks joined the group, resulting in the release of Hell to Pay the following year

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WINGER

 

A former member of Alice Cooper's band, bassist Kip Winger formed his own group in 1986; in addition to vocalist/bassist Winger, the group featured guitarist Reb Beach, bassist Paul Taylor, and drummer Rod Morgenstein, formerly of the Dixie Dregs. Taking its name from its leader, Winger specialized in the stylish pop-metal that sent Bon Jovi and Poison to the top of the charts. The band's eponymous debut sold over a million copies on the strength of the rocker "Seventeen" and the ballad "Headed for a Heartbreak." Winger's second album, 1990's In the Heart of the Young, was equally successful, selling over a million copies and featuring the hit power-ballad "Miles Away." However, the band didn't outlast the post-alternative pop-metal backlash and the group faded away after the release of its 1993 album Pull. Kip Winger launched a solo career at the tail end of the '90s

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STRYPER

 

Heavy metal has been associated with ol' Beelzebub ever since its inception, but there have been a few acts who took the opposite route and put their Christian beliefs in hard rocking songs, such as Stryper. Formed in Orange County, California, in 1983, the group was originally known as Roxx Regime, and consisted of singer/guitarist/main songwriter Michael Sweet, drummer Robert Sweet, lead guitarist Oz Fox, and bassist Timothy Gaines. It wasn't until the group changed their name to Stryper (which stood for “Salvation Through Redemption Yielding Peace Encouragement and Righteousness"), that things really began taking off for the quartet. Specializing in the melodic Van Halen/Def Leppard style (with heart wrenching power ballads tossed in), dressed in all black and yellow outfits, and spreading their religious message even further by tossing bibles out into the crowd at their shows, Stryper was signed by the Enigma label in 1984. The same year, the group's debut recording, a six track mini album titled The Yellow and Black Attack, was issued.

 

The album created a buzz for the group among metal heads, which only heightened with the release of their first full length album, 1985's Soldiers Under Command. The first Stryper release to crack the Billboard Charts, it's success resulted in the re-release of The Yellow and Black Attack (which included an extra two tracks and new artwork), in 1986. Later the same year, Stryper issued their sophomore full length, To Hell With The Devil, which many consider to be the group's finest hour. Turning out to be their highest charting album of their career (barely missing the Top 30), the platinum-certified album benefited by MTV's repeated airings of the videos for “Calling on You" and the syrupy ballad, “Honestly" (the latter of which peaked at #23 on the U.S. singles charts). Despite possessing a different message from their peers, Stryper's music by this point fit in perfectly with the other popular pop/hair metal bands of the day (Bon Jovi, White Lion, Dokken, etc.).

 

Yet just as it appeared that Stryper could possibly break through on a massive scale, such new metal styles as thrash (Metallica) and more stripped down rock (Guns N' Roses) began to usurp Stryper's pop metal audience. As a result, Stryper's next release, 1988's In God We Trust, failed to expand their following, nor did it live up to promise of its predecessor (although it did manage to earn gold certification). Sensing this, the group adopted a more harder edged sound and look for 1990's Against the Law, and even covered the Earth Wind and Fire funk classic, “Shining Star." Neither managed to cross over to the top of the charts.

 

A greatest hits set, Can't Stop the Rock, followed in 1991, but with Nirvana just about to ring the death knell for pop metal bands, Michael Sweet decided to leave the group for a solo career. Surprisingly, the remaining members of Stryper opted to carry on as a three piece (with Fox handling lead vocal duties), and continued to tour for a spell. The Michael Sweet-less version didn't last long however, as Stryper officially called it quits in 1992.

 

In the wake of their split, its members remained busy. Michael Sweet's solo career never scaled the same heights as Stryper's, although solo releases have appeared on a somewhat regular basis, 1994's Michael Sweet, 1995's Real, and 2001's Truth. Robert Sweet issued a solo recording, Love Trash, in addition to studio work, while Fox and Gaines formed a new group, Sin Dizzy, who issued a ‘rock opera' (concerning the crucifixion of Jesus Christ), titled He's Not Dead.

 

During the intervening years, a large core of devoted fans remained in tact (resulting in all their albums reissued by Hollywood Records). In 1999, Sin Dizzy played a show with Michael Sweet, which ended in an off the cuff jam session of old Stryper tunes -- resulting in reunion rumors. And with a heightened nostalgic interest regarding ‘80s era metal bands come the early 21st century, Stryper agreed to sporadically reunite for a ‘Stryper Expo,' which has since turned into an annual event. Stryper's second ‘greatest hits' collection, 7: The Best Of Stryper, followed in 2003, which included a pair of new tunes recorded especially for the collection, “Something" and “For You."

[Cain N Moko]

PUBLIC ENEMY

 

Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade. Musically, Public Enemy were just as revolutionary, as their production team, the Bomb Squad, created dense soundscapes that relied on avant-garde cut-and-paste techniques, unrecognizable samples, piercing sirens, relentless beats, and deep funk. It was chaotic and invigorating music, made all the more intoxicating by Chuck D's forceful vocals and the absurdist raps of his comic foil Flavor Flav. With his comic sunglasses and an oversized clock hanging from his neck, Flav became the group's visual focal point, but he never obscured the music. While rap and rock critics embraced the group's late-'80s and early-'90s records, Public Enemy frequently ran into controversy with their militant stance and lyrics, especially after their 1988 album, It Takes a Nation of Millions to Hold Us Back, made them into celebrities. After all the controversy settled in the early '90s, once the group entered a hiatus, it became clear that Public Enemy were the most influential and radical band of their time.

 

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label. Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, whom performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter-ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

 

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. However, their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was -- hip-hop had suddenly became a force for social change. As Public Enemy's profile was raised, they opened themselves up to controversy. In a notorious statement, Chuck D claimed that rap was "the black CNN," relating what was happening in the inner city in a way that mainstream media could not project. Public Enemy's lyrics were naturally dissected in the wake of such a statement, and many critics were uncomfortable with the positive endorsement of black Muslim leader Louis Farrakhan on "Bring the Noise." "Fight the Power," Public Enemy's theme for Spike Lee's controversial 1989 film Do the Right Thing, also caused an uproar for its attacks on Elvis Presley and John Wayne, but that was considerably overshadowed by an interview Professor Griff gave The Washington Post that summer. Griff had previously said anti-Semitic remarks on-stage, but his quotation that Jews were responsible for "the majority of the wickedness that goes on across the globe" was greeted with shock and outrage, especially by white critics who previously embraced the group. Faced with a major crisis, Chuck D faltered. First he fired Griff, then brought him back, then broke up the group entirely. Griff gave one more interview where he attacked Chuck D and PE, which led to his permanent departure from the group.

 

Public Enemy spent the remainder of 1989 preparing their third album, releasing "Welcome to the Terrordome" as its first single in early 1990. Again, the hit single caused controversy as its lyrics "still they got me like Jesus" were labeled anti-Semitic by some quarters. Despite all the controversy, Fear of a Black Planet was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group were trying to consolidate their white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but the band began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

 

Public Enemy was on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Prior to its release, it was subjected to exceedingly negative reviews in Rolling Stone and The Source, which affected the perception of the album considerably. Muse Sick debuted at number 14, but it quickly fell off the charts as it failed to generate any singles. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to re-think Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year.

 

Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, which was played more like a proper album than a soundtrack. Upon its April 1998 release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91: The Enemy Strikes Black. After Def Jam refused to help Chuck D's attempts to bring PE's music straight to the masses via the Internet, he signed the group to the web-savvy independent Atomic Pop. Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. It finally appeared in stores in July 1999. After a three-year break from recording and a switch to the In the Paint label, Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts

[Cain N Moko]

NWA

 

This posse permanently changed the face of West Coast rap and that of the hip-hop nation itself. Completely ignoring the poppier aspects of West Coast, N.W.A.'s musical style was slower, heavier and more spare than even East Coast counterpart Public Enemy, and lyrically their hardcore, no-punches-pulled street dramas left nothing to the imagination. Their world of dope deals, 'ho's, 8-balls and violence was tagged "reality rap" by primary lyricist Ice Cube Niggaz With Attitude's nucleus was Dr. Dre (Andre Young) and Yella (Antoine Carraby)--two DJ/producers who'd had success with World Class Wreckin' Cru--joined by rappers MC Ren (Lorenzo Patterson) and Cube. Dre and Cube began writing for Eazy-E (Eric Wright), a former dealer who founded Ruthless Records with drug money. Their initial effort was the anthem "Boyz-N-The Hood," written for a Ruthless artist who rejected it. Eazy decided to rap it himself, and N.W.A. was born. Initially a loose crew of friends (N.W.A. And The Posse), half fell away by the second disc, the landmark Straight Outta Compton. Even the F.B.I. got bent over "f**k Tha Police;" a track which secured N.W.A.'s black answer to the defiance and obnoxiousness of punk rock everlasting infamy. Before the next LP in 1987, Ice Cube quit, accusing manager Jerry Heller of ripping off his royalties.

 

N.W.A. fell from critical grace, but followed with a hit EP and a #1 platinum album before the group finally splintered. Besides being gutsy enough to make records so bold, N.W.A was the flagship that launched the substantial solo careers of Dre, Cube and Eazy. Eazy died from AIDS in '95, Dre has become the genre's most significant producer, and Cube continues to be most distinctive and consistent voice in '90s rap.

[Cain N Moko]

ICE T

 

Ice-T (born Tracy Morrow) has proven to be one of hip-hop's most articulate and intelligent stars, as well as one of its most frustrating. At his best, the rapper has written some of the best portraits of ghetto life and gangsters, as well as some of the best social commentary hip-hop has produced. Just as often, he can slip into sexism and gratuitous violence, and even then his rhymes are clever and biting. Ice-T's best recordings have always been made in conjunction with strong collaborators, whether it's the Bomb Squad or Jello Biafra. With his music, Ice-T has made a conscious effort to win the vast audience of white male adolescents, as his frequent excursions with his heavy metal band Body Count show. All the while, he has withstood a constant barrage of criticism and controversy to become a respected figure not only in the music press, but the mainstream media as well.

 

Although he was one of the leading figures of Californian hip-hop in the '80s, Ice-T was born in Newark, NJ. When he was a child, he moved from his native Newark to California after his parents died in an auto accident. While he was in high school, he became obsessed with rap while he went to Crenshaw High School in South Central Los Angeles. Ice-T took his name from Iceberg Slim, a pimp who wrote novels and poetry. Ice-T used to memorize lines of Iceberg Slim's poetry, reciting them for friends and classmates. After he left high school, he recorded several undistinguished 12" singles in the early '80s. He also appeared in the low-budget hip-hop films Rappin', Breakin', and Breakin' II: Electric Boogaloo as he was trying to establish a career.

 

Ice-T finally landed a major-label record deal with Sire Records in 1987, releasing his debut album, Rhyme Pays. On the record, he is supported by DJ Aladdin and producer Afrika Islam, who helped create the rolling, spare beats and samples that provided a backdrop for the rapper's charismatic rhymes, which were mainly party-oriented; the record wound up going gold. That same year, he recorded the theme song for Dennis Hopper's Colors, a film about inner-city life in Los Angeles. The song -- also called "Colors" -- was stronger, both lyrically and musically, with more incisive lyrics, than anything he had previously released. Ice-T formed his own record label, Rhyme Syndicate (which was distributed through Sire/Warner) in 1988, and released Power. Power was a more assured and impressive record, earning him strong reviews and his second gold record. Released in 1989, The Iceberg/Freedom of Speech...Just Watch What You Say established him as a true hip-hop superstar by matching excellent abrasive music with fierce, intelligent narratives, and political commentaries, especially about hip-hop censorship.

 

Two years later, Ice-T began an acting career, starring in the updated blaxploitation film New Jack City; he also recorded "New Jack Hustler" for the film. "New Jack Hustler" became one of the centerpieces of 1991's O.G.: Original Gangster, which became his most successful album to date. O.G. also featured a metal track called "Body Count" recorded with Ice-T's band of the same name. Ice-T took the band out on tour that summer, as he performed on the first Lollapalooza tour. The tour set-up increased his appeal with both alternative music fans and middle-class teenagers. The following year, the rapper decided to released an entire album with the band, also called Body Count.

 

Body Count proved to be a major turning point in Ice-T's career. On the basis of the track "Cop Killer" -- where he sang from the point-of-view of a police murderer -- the record ignited a national controversy; it was protested by the NRA and police activist groups. Time Warner Records initially supported Ice-T, yet they refused to release his new rap album, Home Invasion, on the basis of the record cover. Ice-T and the label parted ways by the end of the year. Home Invasion was released on Priority Records in the spring of 1993 to lukewarm reviews and sales. Somewhere along the way, Ice-T had begun to lose most of his original hip-hop audience; now he appealed primarily to suburban white teens. In 1994, he wrote a book and released the second Body Count album, Born Dead, which failed to stir up the same controversy as the first record -- indeed, it failed to gain much attention of any sort. Nevertheless, Body Count was successful in clubs and Ice-T continued to tour with the band.

 

In the summer of 1996, Ice-T released his first rap album since 1993, Return of the Real. The album was greeted by mixed reviews and it failed to live up to commercial expectations. 7th Deadly Sin followed in 1999. Ice-T then returned to acting, taking a role on NBC's Law & Order : Special Victims Unit playing, ironically, a police officer

[Cain N Moko]

ROB BASE

 

Best-known for his 1988 platinum hip-hop classic "It Takes Two," Rob Base (with DJ E-Z Rock) rode his hit onto R&B radio stations as well as dance clubs, providing a touchstone for the style known as hip-house. After leaping several hurdles -- vicious rumors about his personal life plus the legal action of Maze's Frankie Beverly after Base sampled Maze on his hit "Joy and Pain" -- he responded in 1989 with The Incredible Base. None of the singles on his second album had the force of "It Takes Two," however, and Rob Base was largely forgotten several years later.

 

Born Robert Ginyard in Harlem, Rob Base began performing with a group called the Sureshot Seven while in fifth grade. By the time of high school graduation, the only members left were him and DJ E-Z Rock (b. Rodney Bryce, Harlem, NY), so the duo began recording. Their first single, "DJ Interview," appeared on the World to World label, and they gained a distribution deal with Profile by 1987. The first Profile release, the title-track single from their debut album, It Takes Two, became a street sensation upon its release in mid-1988. Though the single just barely reached the R&B Top 20 and Pop Top 40, massive club airplay enhanced its impact considerably. Both the single and album eventually went platinum, and Rob Base and DJ E-Z Rock gained Single of the Year honors both in Spin and The Village Voice. The second single, "Get on the Dance Floor," continued Base's dance appeal, though his excellent rapping helped him retain his street credentials.

 

By the end of 1989, however, Rob Base was on his own; his only explanation for the disappearance of DJ E-Z Rock was "personal problems." The release of The Incredible Base in 1989 was a bit of a comedown; despite several interesting tracks -- including a reworking of Edwin Starr's "War" -- neither the album nor any singles connected with listeners

[Cain N Moko]

ICE CUBE

 

Ice Cube was the first member of the seminal Californian rap group N.W.A. to leave, and he quickly established himself as one of hip-hop's best and most controversial artists. From the outset of his career, he courted controversy, since his rhymes were profane and political. As a solo artist, his politics and social commentary sharpened substantially, and his first two records, AmeriKKKa's Most Wanted and Death Certificate, were equally praised and reviled for their lyrical stance, which happened to be considerably more articulate than many of his gangsta peers. As his career progressed, Cube's influence began to decline, particularly as he tried to incorporate elements of contemporary groups like Cypress Hill into his sound, but his stature never diminished, and he remained one of the biggest rap stars throughout the '90s.

For such a revolutionary figure, Cube (born O'Shea Jackson) came from a surprisingly straight background. Raised in South Central Los Angles, where both of his parents had jobs at UCLA, Cube didn't become involved with b-boy culture until his late teens. He began writing raps while in high school, including "Boyz-n-the Hood." With his partner Sir Jinx, Cube began rapping in a duo called CIA at parties hosted by Dr. Dre, and he eventually met Eazy-E, then leading a group called HBO, through Dre. Eazy asked Cube to write a rap, and he presented them with "Boyz-n-the Hood," which was rejected. Eazy decided to leave CIA, and he, Cube, and Dre formed the first incarnation of N.W.A. Cube left to study architectural drafting at Phoenix, AZ, in 1987, returning the following year after he obtained a one-year degree. He arrived just in time for N.W.A.'s breakthrough album, Straight Outta Compton. Released late in 1988, Straight Outta Compton became an underground hit over the course of 1989, and its extreme lyrical content -- which was over-the-top both lyrically and politically -- attracted criticism, most notably from the FBI.

 

N.W.A. may have been rivaling Public Enemy as the most notorious group in hip-hop, but Cube was having deep conflicts with their management, resulting in him leaving the band in late 1989. He went to New York with his new posse, da Lench Mob, and recorded his first solo album with Public Enemy's production team, the Bomb Squad. Released in the spring of 1990, his debut AmeriKKKa's Most Wanted was an instant hit, going gold within its first two weeks of release. While the record's production and Cube's rhythmic skills were praised, his often violent, homophobic, and misogynist lyrics were criticized, particularly by the rock press and moral watchdogs. Even amid such controversy, the album was hailed as a groundbreaking classic within hip-hop, and it established Cube as an individual force. He began his own corporation, which was run by a woman, and he produced the debut album from his female protégée, Yo-Yo. At the end of 1990, he released the EP k*ll at Will, which was followed in the spring by Yo-Yo's debut, Make Way for the Motherlode. That summer, his acting debut in John Singleton's acclaimed urban drama Boyz 'n the Hood was widely praised.

 

AmeriKKKa's Most Wanted may have been controversial, but it paled next the furor surrounding Cube's second album, Death Certificate. Released late in 1991, Death Certificate was simultaneously more political and vulgar than its predecessor, causing more outrage. In particular, "No Vaseline," a vicious attack on N.W.A. manager Jerry Heller, was perceived as anti-Semitic, and "Black Korea" was taken as a racist invocation to burn down all Korean-owned grocery stores. The songs provoked a public condemnation from the trade publication Billboard. It was the first time an artist had been singled out by the magazine. The furor over Death Certificate didn't prevent it from reaching number two and going platinum. During 1992, he toured with the second Lollapalooza tour in a successful attempt to consolidate his white rock audience. He also converted to the Nation of Islam during 1992, which was evident on his next album, The Predator. Upon its release in December of 1992, The Predator became the first album to debut at number one on both the pop and R&B charts. The steady-rolling single "It Was a Good Day" and the Das EFX collaboration "Check Yo Self" made the album Cube's most popular.

 

However, Cube's hold on the mass rap audience was beginning to slip. His former colleague, Dre, was dominating hip-hop with his stoned G-funk, and Cube tried to keep pace with 1993's Lethal Injection. While the album debuted at number five and went platinum, its funkier sound wasn't well-received. Lethal Injection was Cube's last official album for several years. In 1994, he wrote and produced da Lench Mob's debut Guerillas in tha Mist, and produced Kam's debut, Neva Again, releasing a remix and rarities collection Bootlegs & B-Sides at the end of the year. In 1995, he kept quiet, appearing in Singleton's film Higher Learning and making amends with Dre on their duet "Natural Born Killaz." The following year, he acted in the comedy Friday, which he wrote himself. He also formed Westside Connection with Mack 10 and WC, releasing their debut album, Bow Down, at the end of the year. It went gold within its first month of release. In the spring of 1997, Cube starred in the surprise hit horror film Anaconda. War & Peace, Vol. 1 (The War Disc) followed in 1998; its sequel, The Peace Disc, followed two years later

[hitman531ph]

CHRIS DE BURGH

 

An art rocker who occasionally writes pop-oriented material, Chris de Burgh has never been as popular in his native Britain or the United States as he was in other areas of the world. In America, he's only managed two Top 40 hits -- 1983's "Don't Pay the Ferryman" (number 34) and the number three ballad "The Lady in Red" (1986). In Britain, he's had the same number of Top 40 singles -- "The Lady in Red" was a number one hit and "Missing You" peaked at number three -- yet he's had a number of minor hits. Nevertheless, he has gained an astounding popularity in other countries, particularly Norway and Brazil.

 

de Burgh signed with A&M Records in 1974, and supported Supertramp on their Crime of the Century tour, building himself a small fan base. His debut, Far Beyond These Castle Walls, was a folk-tinged stab at fantasy in the tradition of the Moody Blues that failed to chart upon its release in February of 1975. That July, he released a single from the album called "Flying." It didn't make an impression in the U.K., but it stayed on top of the Brazilian charts for 17 weeks. This became a familiar pattern for the singer/songwriter, as every one of his '70s albums failed to chart in the U.K. or U.S. while they racked up big sales in European and South American countries. In 1981, he had his first U.K. chart entry with Best Moves, a collection culled from his early albums. It set the stage for 1982's Rupert Hine-produced The Getaway, which reached number 30 on the U.K. charts and number 43 in the U.S., thanks to the eerie single "Don't Pay the Ferryman." de Burgh's follow-up album, Man on the Line, also performed well, charting at 69 in the U.S. and 11 in the U.K. A minor hit "Love Is My Decision" got some airplay in Asia with moderate success.

 

de Burgh had an across-the-board success with the languid ballad "The Lady in Red" in late 1986; the single became a number one hit in England (number three in America) and its accompanying album, Into the Light, reached number two in the U.K. (number 25 in the U.S.). That Christmas season, a re-release of de Burgh's 1976 holiday song "A Spaceman Came Travelling" became a Top 40 hit in the U.K. Flying Colours, his follow-up to Into the Light, entered the British charts at number one upon its 1988 release, yet it failed to make the American charts. de Burgh never hit the U.S. charts again and his commercial fortunes began to slide slightly in Britain in the early '90s, yet he retained a devoted following around the world

[Cain N Moko]

SUICIDAL TENDENCIES

 

Judging from their name, Suicidal Tendencies were never afraid of a little controversy. Formed in Venice, CA, during the early '80s, the group's leader from the beginning was outspoken vocalist Mike Muir. The outfit specialized in vicious hardcore early on -- building a huge following among skateboarders, lending a major hand in the creation of skatepunk -- before turning their focus eventually to thrash metal. Early on, the group (whose original lineup included Muir, guitarist Grant Estes, bassist Louiche Mayorga, and drummer Amery Smith) found it increasingly difficult to book shows, due to rumors of its members' affiliation with local gangs and consistent violence at their performances. The underground buzz regarding Suicidal Tendencies grew too loud for labels to ignore though, as the quartet signed on with the indie label Frontier; issuing Muir and company's classic self-titled debut in 1983. The album quickly became the best-selling hardcore album up to that point; its best-known track, "Institutionalized," was one of the first hardcore punk videos to receive substantial airplay on MTV, and was eventually used in the Emilio Estevez cult classic movie Repo Man, as well as in an episode for the hit TV show Miami Vice (for which the group made a cameo appearance).

Suicidal Tendencies proved influential for future speed/thrash metal bands, but despite its early success, the quartet's rep*tation preceded them, as no other record label was willing to take them on (in addition, Los Angeles banned the group from playing around this time, lasting until the early '90s). Not much was heard from the group for several years afterward (leading many to believe that Suicidal had broken up), but Muir and company eventually found a home with Caroline Records. By this time, half of the original lineup had left; Muir and Mayorga were the only holdovers, while guitarist Rocky George and drummer R.J. Herrera rounded out the group. 1987 saw the release of Suicidal's sophomore release, Join the Army, which spawned another popular skatepunk anthem, "Possessed to Skate," as more and more metal heads began to be spotted in Suicidal's audience. Soon after, Suicidal was finally offered a major-label contract (with Epic), as another lineup change occurred: Mayorga exited the band, while newcomer Bob Heathcote took his spot; and a second guitarist, Mike Clark, was added as well. This Suicidal lineup's first album together, 1988's How Will I Laugh Tomorrow When I Can't Even Smile Today, showed that their transformation from hardcore to heavy metal was now complete, as did a compilation of two earlier EPs, 1989's Controlled by Hatred/Feel Like s**t...Déjà Vu.

 

Suicidal's first release of the new decade, 1990's Lights, Camera, Revolution, was another success; its video for the explosive "You Can't Bring Me Down" received repeated airings on MTV's Headbanger's Ball program, while the album (in addition to the Controlled by Hatred comp) would be certified gold in the U.S. a few years later. The release also signaled the arrival of new bassist Robert Trujillo, whose penchant for funk added a new element to the group's sound. The group tried to broaden their audience even further by opening a string of arena shows for prog-metallists Queensrÿche during the summer of 1991. Their next release, 1992's The Art of Rebellion, proved to be one of Suicidal's most musically experimental albums of their career. Muir and Trujillo also teamed up around this time for a funk metal side project, Infectious Grooves (including several other participants, such as Jane's Addiction drummer Stephen Perkins) and issued a debut release, The Plague That Makes Your Booty Move. Upset that the group's classic debut had been out of print for several years by this point, Muir decided to re-record the entire record with Suicidal's '90s lineup under the title of Still Cyco After All These Years.

 

But after one more release, 1994's Suicidal for Life, Suicidal Tendencies decided to hang it up. A pair of compilations were issued in 1997: a best-of set, Prime Cuts, plus Friends & Family. Muir and Trujillo continued to issue further Infectious Grooves releases (Sarsippius' Ark and Groove Family Cyco), in addition to Muir pursuing a solo career under the alias of Cyco Miko (Lost My Brain Once Again) and Trujillo touring and recording as part of Ozzy Osbourne's solo band (appearing on Osbourne's 2001 release, Down to Earth). Muir formed a new version of Suicidal Tendencies in the late '90s (with Clark being the only other familiar face), resulting in such further studio releases as 1999's Freedumb and 2000's Free Your Soul and Save My Mind. Muir and Trujillo joined forces once more for a fourth Infectious Grooves studio release in 2000, Mas Borracho; while another Cyco Miko release surfaced, Schizophrenic Born Again Problem Child, along with a follow-up up to their earlier compilation, Friends & Family, Vol. 2.

[hitman531ph]

THE PURSUIT OF HAPPINESS

 

Toronto's Pursuit of Happiness serves as a vehicle for the wry romantic ponderings of singer/guitarist/songwriter Moe Berg and plays a brand of power-pop influenced by Todd Rundgren, who produced their first two albums. In addition to Berg, the band was filled out by guitarist Kris Abbott, bassist Johnny Sinclair, drummer Dave Gilburg, and additional vocalist Leslie Stanwyck. The group toured with Duran Duran and Eurythmics to support its 1988 debut, Love Junk. One Sided Story featured new members Bran Barker on bass and female vocalist Susan Murumets.

 

The group had one hit which made good on college radio. "She's So Young" was their only hit. Nothing has been heard from the band ever since.