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Heartland Rock Continues to Shine as One of the Most "Important" Genres of the '80s

John Mellencamp probably knows better than anyone that during the '80s heartland rockers did not automatically earn critical respect just because they attempted to make music about something meaningful. Of course, he must be getting a vindicating chuckle out of the continuing influence of the form both good (the thriving Americana music scene) and not so good (the ever safer, mass-produced universe of commercial country music).

When it comes right down to it, there aren't many genres of the '80s other than hardcore punk and hat attempted to make bolder musical statements than the decade's heartland rockers. The music of Mellencamp and continues to resonate across generations for a pretty good reason: both artists are savvy songwriters who appealed equally to listeners in primal as well as cerebral ways. That wide appeal remains the hallmark of this form, achieved without the sacrifice of quality such popularity often mandates. Check out my for a closer examination of this significant '80s form.

Tuesday October 23, 2007 | permalink | comments (0)

This Week's Forgotten Gem of the '80s: the Del Fuegos' "I Still Want You"

For a multitude of reasons, the '80s artists who were most successful at departing from typical musical trends of the decade (big drums, keyboards, saxophone and slick overproduction, for example) were the same ones who resided, often loosely, in an alternative scene that hadn't really been named yet. Boston's Del Fuegos definitely fit this description as a hypnotic roots-rock band that was simply too unusual and challenging for broad radio airplay. Therefore, the group excelled within the college rock scene, building an avid cult following among music fans looking for something off the beaten path two decades ago. This track, which also happens to be the Del Fuegos' only charting song on the Billboard Hot 100 (earning a dim spotlight at No. 87 in 1986), serves as a solid showcase for the daring and musical precision of this fine band. Unfortunately, many listeners (including me, I must admit) probably spent the '80s unaware of the rich work of this band, waiting until Juliana Hatfield's "My Sister" in 1993 to even become inspired to find out who they were. Luckily, '80s music is always there, waiting for us to enter... waiting to enter us.
Wednesday October 17, 2007 | permalink | comments (1)

'80s Music Band Names Often of the Questionable Variety

This may be relatively true for rock music of all eras, but the '80s certainly made a case for producing some of the most ridiculous band names of the last 50 years. In the case of the rash of surname bands (from Nelson to Slaughter to Winger), band names of the '80s definitely had the ability to be tremendously boring, but more often than that they simply made no sense or made it impossible to ignore the band in question's tackiness. My list of the Top 8 Worst Band Names of the '80s really only scratches the proverbial surface of possibility. But let me tell ya; the effort needed to consider this subject with great intensity was considerable.
Monday October 15, 2007 | permalink | comments (0)

This Week's Forgotten Gem of the '80s: INXS' "This Time"

Back when this Australian former bar band was still a guitar rock outfit instead of the dance-inflected showcase for Michael Hutchence that it became, this excellent mid-tempo track represented the group at its best. Boasting a potent mixture of guitars and a light layer of post-new wave keyboards, the arrangement allows plenty of room for Hutchence's deliberate but sultry style to dominate tastefully. I was never a big fan of INXS' smash 1987 release Kick, as I felt the album's slickness and shameless appeal for pop music airplay cheapened the blue-collar appeal of the band's early years. And although 1985's Listen Like Thieves was far from a cutting-edge rock record, it certainly sounded far more organic than its grossly popular follow-up, which somehow racked up four Top 10 hits. Meanwhile, classic INXS tunes like this one and "Don't Change" languished on the pop charts, neither able to crack the Top 80, believe it or not. I know this weekly feature is not the only place for this group's best songs to get their due, but it's a good opportunity to create exposure for some fine, underrated '80s music.

A Spotlight on '80s Artists Who Usually Recede Into the Shadows

In an earlier blog entry on this site, I focused on one of the most important elements of '80s music fashion, the wonderfully gaudy accessories of yesteryear. I thought it would be interesting now to focus on the other end of the spectrum, the artists who were brave or styleless enough to ignore fashion trends in a highly image-centered era. I must profess considerable admiration for these hardy souls, enough to inspire me to compile my list of the n most cases, these artists actually prized art over commerce, which usually explained their willingness to forgo image and appearance and the dollars often connected to them. So how about a refreshing change of pace, '80s artists who had better things to do than quibble over makeup and wardrobe.

This Week's Forgotten Gem of the '80s: Lone Justice's "Shelter"

g09871ps8he.jpg Well, first of all, this nearly flawless song is not so much the work of Lone Justice the groundbreaking cowpunk/roots rock band as it is an early solo effort from the group's frontwoman, eclectic singer-songwriter Maria McKee. Secondly, and more importantly, it's one of the finest mid-tempo love songs of the rock era not to become a substantial hit on the pop charts. It's a beautiful melody and arrangement, one that comes off very well despite some seriously slick production. But more than that, the precision and conciseness of the songwriting here (McKee co-wrote the tune with Sopranos star and longtime E Street Band member Steven Van Zandt) speaks volumes about the impressive and rare achievement of writing lyrics to an earnest love song without resorting to cliches and sappy sentiment. Consider a line like "Your struggle with darkness has left you blind/I'll light the fire in your eyes" and the way it simply works with a directness and honesty that feels totally earned. McKee has since built a solid if under-the-radar two-decade solo career doing whatever she wants when she wants to do it, and the music world has benefited much from her graceful journey. But I still think it's a crime that this tune never enjoyed Top 10 exposure as it should have, stalling at a depressing No. 47 in 1987.

Album Cover Photo Courtesy of Geffen Records

Quality Pop Hits

Well, if it had to happen the way it did, legendary rock and roll sisters Ann & Nancy Wilson certainly handled a transformation from original rockers to commercial pop stars in the best possible way. As you'll notice inthe band as well as my  list, I just can't seem to get over the fact that the Wilsons' veteran songwriting skills were pretty much put into a deep freeze for Heart's '80s revival. Imagine how these influential female artists might have engineered their own comeback had they been able to maintain full artistic control.

Then again, the '80s music landscape would have suffered considerably without the group's memorable mainstream pop/rock hits like "Never" and "Alone," which still stand up as solid songs expertly delivered. Such is the conflict I have when considering the '80s work of one of classic rock's most memorable bands of the '70s, but I suppose I can reconcile my reservations in light of Heart's generally classy evolution in one of rock's trickiest, most chaotic eras.

This Week's Forgotten Gem of the '80s: Santana's "Hold On"

Painfully generic title aside, this modest pop hit from 1982 (which peaked at No. 15) should have been a much more ubiquitous tune a quarter-century ago, especially given Carlos Santana's keen ability to adjust to the times. In the middle of the  explosion, the revered guitarist was able to maintain his band's chart relevance without blindly following contemporary trends, even if he certainly edged far deeper into pop territory than his nominal group had ever done since its emergence in the late '60s.

This song employs light touches of Latin rhythms but clearly excels at crossover appeal, evidenced by its strong performance on both the rock and adult contemporary charts as well. The formula for the '80s version of Santana was a savvy one: downplay ethnic musical elements in favor of '80s-flavored, keyboard-fueled arrangements but never at the expense of Carlos Santana's tasteful, unmistakable lead guitar style. Having a great pop song to record didn't hurt either, especially one that gives a tutorial on how to maximize accessibility without sacrificing musical quality.


In Search of... the Lennon-McCartney of the '80s

I realize that the above quest must ultimately be a futile one, but I became quite enamored with the idea recently of looking for '80s followers of that immortal Beatles songwriting partnership. What intrigue me most are the relationships in which both members share relatively equally in both songwriting and singing on almost every song produced by that particular artist. The dynamic give-and-take of such a situation is nothing less than fascinating, and I came up with a lengthy list of potential choices in practically no time at all. The hard part, as always, was narrowing down the list to the best and brightest artistic couplings (or triplings) of the '80s, a decade that holds far more artistic juggernauts than most of us probably thought back in the day.

So check out my list of theo see if your favorite creative units made the cut. Emotions tend to run high regarding such questions (at least among music fanatics like us), which I think is nothing but a good thing. So feel free to chime in with your selections for this list; such discourse is always welcome.

Saturday September 22, 2007 | permalink | comments (1)

This Week's Forgotten Gem of the '80s: Slade's "Run Runaway"

For anyone who cared to notice, this rousing 1984 song from erstwhile British glam rockers Slade presented a vital link between the often sticky-sweet, catchy glitter rock of the '70s and the still-developing hard rock style of the '80s. It also happened to be a blast of fun that sounded as much like Big Country as it did T. Rex. As comebacks go, this was one of the most grin-inducing of the '80s, riding on a simple power chord riff and one of rock's most infectious nonsense lines of all time: "See chameleon lying there in the sun, all things to everyone, run runaway."

Of course, the group had never entirely gone away, popping up at the turn of the decade after many had pronounced old-style '70s rock dead. Then, following Quiet Riot's smash hit cover of Slade's "Cum on Feel the Noize" in 19e hair metal hit. After all, Slade's self-aware, tongue-in-cheek schtick would have never fit among the far too serious silliness of glam rock's bastard cousin. Luckily, these chameleons had their time in the '80s sun, even registering a No. 20 pop hit in the States, a place the band had always been rather cruelly shut out.

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