87. But looking through a different lens, it’s a great start to Roger Waters’s solo career, and should be reappraised as such. What will their fanbase think of this new direction? Robertson allied his rootsy sensibilities to a heavily atmospheric and experimental approach, best served by Broken Arrow and Somewhere Down The Crazy River. 24. You can question Stevie Nicks’ solo resume when it comes to Hall of Fame worthiness. - The Human League 7. Instead the Network’s second album became a lost classic; a funk rock tour de force produced by Chic’s Nile Rodgers and lit up with so many great songs, from rump-shakers Tiger In A Dress and Make It Easy to beautiful ballads Rainbow Child and Stronger Than Steel. It’s hard to overstate the shock of hearing this in 1981, a discordant, angry and gleefully horrific record made in a style so new it had no name. As the 80s dawned, Van Halen persevered in trying to top the greatest hard rock debut album of all time. Though stripped down like the rest of “Nebraska,” “Atlantic City” has a coiled up intensity that leaves you on the edge of your seat. Thank you for signing up to Classic Rock. A number of rock bands toured extensively in the ‘80s, performing at sold out venues. Every aspect of the song is perfect pop-rock. “Pictures of You” was inspired by photographs Smith found of his wife after a fire at their home. And you felt the momentum on Love Struck Baby’s manic lead break, the punchy cover of Howlin’ Wolf’s Tell Me and the bounce of Pride And Joy. – they sounded frazzled and unfocused, and on a 1978 tour they’d had their arses kicked by the support act, a young and hungry Van Halen. This was largely frontman Fish’s album, a slice of tortured introspection that mixed the personal (loneliness, failed romance, alcohol and drug abuse) with the global (most noticeably on the bleak White Russians). But it’s also the band’s grandest accomplishment as a chill-inducing pop-rock song that soars and soars and soars until you just can’t take it anymore. Public Enemy was finished with “It Takes a Nation of Millions to Hold Us Back” when director Spike Lee approached Chuck D and company for an anthem to go along with his incendiary film, “Do the Right Thing.” Chuck D obliged and responded with what many consider to be the greatest song in rap history. Gun guys relished every last second of their golden era, which was crowned by an invitation to support the Rolling Stones on a long stretch of their Urban Jungle tour. What they said at the time: “Living Colour’s world vision may be in glorious technicolour, but they’re the first to admit that a black rage sweeps through their music.” – Sounds. Like Kiss before them, Manowar were heavy metal superheroes; four muscle-bound, fur-clad warriors proclaiming ‘Death to false metal’. You Shook Me All Night Long The cover of the album was crappy. Ashes To Ashes found a strung-out Major Tom – reflecting Bowie’s earlier drug dependency – hitting ‘an all-time low’: “I have a lot of reservations about what I’ve done,” Bowie told NME, “I don’t feel much of it has any import at all.” Then there was Fashion, outwardly integral to Bowie as an ever-evolving contemporary icon, but dismissed here as slavish adherence to the fascistic demands of the trend-setting ‘goon squad’. Between the creative sampling, Terminator X’s scratches and Branford Marsalis’ saxophone playing, every aspect of the Bomb Squad’s production drills into you. But what they found in Dio – himself recently fired from Ritchie Blackmore’s Rainbow – was a singer as unique in his own way as Ozzy was. What they said at the time: ‘Beneath all those enormous guitar riffs and gut-wrangling rhythms, AC/DC is an unusually expert song-writing band.’ Rolling Stone. Meanwhile, enigmatic closing track Porrohman, an epic meditation on death and religion, hinted at something altogether proggier and experimental. Madonna had several hit songs prior to “Like a Prayer.” But that doesn’t mean critics took her seriously. That was an absolute, utter no-no until bands such as Ministry and Nine Inch Nails – and specifically both of their 1989 albums, Ministry’s The Mind Is A Terrible Thing To Taste and NIN’s Pretty Hate Machine – came along. That was their big rock record. Grandmaster’s production is so alluring that no matter how many times it’s sampled, no artist dares to change it too much. “We always loved rock music with a dance feel,” Gizzi reasons. Point Of Entry had a classy hard rock sound, which was a welcome departure from the band’s typically gonzoid heavy metal. The cover photo – a collapsing Eddie Van Halen held up by his bandmates – was an exercise in throwaway cool. We get it. But you’re hooked. 81. What they said at the time: “A shimmer of easy hypnosis that is as beautiful as it is lacking in fire.” Sounds. For the first time in seven years, Plant re-located his inner golden god, even singing ‘since I’ve been loving you’ on the album fade-out and getting Jimmy Page to play on Heaven Knows and Tall Cool One (which included some cheeky Beastie Boys-style sampling of old Zep riffs). The tone, though, is adult, and it marked the arrival of Tom Keifer as a writer of some talent. 100 Best Rock Love Songs of the 80s and 90s - The 80s and 90s were awe inspiring decades for romanticism and lyrics in various genres. But he is most responsible for The Clash’s most infectious hit “Rock the Casbah,” basing the song on a slick piano melody. It seemed appropriate that Enuff Z’Nuff came out of Illinois, given the brickbats they received comparing them (unfairly) to that State’s pioneering power pop sons, Cheap Trick. “The first time, for Better Days… that was it for me. Is High ’N’ Dry the connoisseurs’ Def Leppard album? “That’s just not true. 11. What they said at the time: “The only legitimate companion piece to the Pistols’ Never Mind The Bollocks.” Trouser Press. Combat Rock’s tightly packed intensity earned double-platinum Stateside, but it ultimately killed The Clash. “Plainsong” might be the opening track on “Disintegration.” But “Pictures of You,” and its extended intro, marks the point where you know you’re listening to something special. But let’s not get ahead of ourselves. List of the 100 Greatest Rock Artists Of The 1980's compiled by digitaldreamdoor.com. Their second album, and first with Lange, it was a huge leap forward from the debut On Through The Night, released during the height of the NWOBHM and had a rawness to match. The Boss certainly seems to think as much of Tom Waits’ amazing ballad, having covered it with The E Street Band time and time again. The result is a modern soul and funk sound that had endless appeal for fans of both dance music and traditional R&B. Mason said: “It was a ghastly period with Roger, being treated more and more like a useless bit of kit and him wanting to take the whole thing over and saying menacingly: ‘If we want to make another record it will be different after this.’”. Capturing its moment perfectly, Scary Monsters (And Super Creeps) saw David Bowie return in triumph. What they said at the time: ‘It’s an album that dares to ask the question: What if the next Beatles were a hard-partying hair band?’ Rolling Stone. England and Wales company registration number 2008885. What they said at the time: “Superior heavy rock. What they said at the time: “Moore’s solos are indeed works of art.” Guitar World. We’re giving the other guys a chance. It took the influences from Ministry and introduced industrial rock to the mainstream. What they said at the time: “A heavy metal Journey.” Kerrang! What they said at the time: “Makes a strong argument for the view that advanced technology is not necessarily the same thing as progress.” Rolling Stone. Factor in some Celtic folk, a guest spot from The Pogues and a large dose of anti-war polemic and the end result was glorious, although less easily digestible. For all its imperfections, Waits’ expression and phrasing as a singer is a showcase like no other. And we were great together.”. And to think a brilliant dance-pop song like “How Will I Know” was both an outlier and afterthought. 19. But the part that sticks with you most is Adrian Belew’s guitar work, drenched in synthesizers that blow your hair back. There was a lot of screaming and yelling about that. But the breathtaking “Edge of Seventeen” is worthy of any and all praise it receives. The song’s fusion of dance and rock melodies would serve as the ideal example of what Bowie diehards would want the Spaceman to sound like in a new decade. Prince would play nearly all the instruments on his ninth album with the title track leading the way in compelling fashion. What they said at the time: “The playing and production get points for introducing some variety to the industrial style, but the moments of soap-on-a-rope singing tend to cancel them out.” Chicago Tribune. What they said at the time: “Y&T went from mediocre beginnings to full-blooded, hot-rockin’, barnstormin’ metal maestros.” Sounds. On their last two albums of the 70s – Technical Ecstasy and Never Say Die! It’s kind of ridiculous that “Smooth Criminal” was a single. The amazing new wave sounds are still there. A new decade and the change of name from the whimsical Yesterday And Today to the more succinct Y&T ushered in a new era for the Californian band. The latter’s rendition is the definitive one. Another chart-topper and extensive video airplay on MTV. When he released the tune in 1984, it was far from a hit. Reviled upon release, as much for its soft-porn cover as anything, it sounds as ominously imposing as Waters’s best work with Floyd. Read the full article on David Lee Roth’s Skyscraper here. Central Rain” makes the pop-sensibilities of R.E.M.‘s 1990s output all the less surprising. Listen to medieval minstrels play Rainbow In The Dark by Lord Ronald of The House Dio, Ozzy: ‘This year has been the worst year of my life’, Smashing Pumpkins mesh enigmatic synth-pop and mysticism on Cyr, Volbeat hit the heights on Rewind, Replay, Rebound - Live In Deutschland. What they said at the time: “Nasty three-chord rock’n’roll with streetwise lyrics… Sound familiar? The music gets a big assist from guitarist Eddie Martinez, helping “Rock Box” become the first hip hop song to have its video played regularly on MTV. There wasn’t any room for anyone else to be writing. Joe Satriani was the technical equal of anyone on the shred scene, but tracks like Always With Me, Always With You put melody front-and-centre, while Satch Boogie prized groove over chops. Living Colour hit the New York streets in a blur of hard-rocking guitar fuzz, sledgehammer funk and political sloganeering. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Advance Local. It glows with golden songs and crowns Lou Gramm’s career: he would never sing better than he did here. What they said at the time: “Doggone if David Lee Roth’s second solo album isn’t the most flat-out rambunctiously enjoyable hard rock album since, well, David Lee Roth’s first solo album.” LA Times. Titled Street Talk, it was his solo debut. No one could have predicted how relevant Chuck D’s lyrics and Spike Lee’ s film would be 31 years later. What they said at the time: “Harder hitting than either of its predecessors… a raw-knuckled dose of rock’n’roll.” Rolling Stone. 1 hit. U2 released three singles before “I Will Follow.” But it represents the band’s coming-out party as a creative force. Most of 76’s original punks had been disaffected Bowie fans, and since the scene’s stagnation, many had found their way to Rusty Egan’s Bowie nights at Billy’s in Soho. If, as Bono said, “war seemed to be the motif for 1982”, this was an apt soundtrack. It does get the girls going. This list is a snapshot of that decade through the eyes of the Rock Hall. What they said at the time: “New York marks a welcome return to the wild side for the veteran Velvet Underground founder and street bard.” Hits. But the genius of the song really belongs to producer Jimmy Iovine. What they said at the time: “Musically, not bad – the Heads meet the League Of Gentlemen.” Christgau’s Consumer Guide. What they said at the time: “Intriguing, intense, brooding and powerfully atmospheric.” Sounds. “Redemption Song” is Marley with just an acoustic guitar, leaving his underrated vocals to take center stage. “Photograph” is the peak of Def Leppard’s massively popular brand of stadium rock. For Bruce Springsteen, the late-80s was a time of partings – from his first wife Julianne Phillips and from the E Street Band – and Tunnel Of Love adroitly turned the focus from the political to the personal. It’s when hip hop formed its identity. Receive news and offers from our other brands? Walking the line between tunes that could be cranked on the radio (No One Like You, Arizona) and those that required some serious headbanging (the title track, Dynamite), Blackout was also the album where guitarist Matthias Jabs truly came into his own, putting the large, lingering shadows of former Scorpions guitarists Uli Jon Roth and Michael Schenker behind him. He was not about to tolerate any dissent, either. Absolutely. It’s the kind of brilliant critique of society only Reed knew how to deliver. Tommy and Gina had a tough life. Roth’s earlier album gets the plaudits all these years later, but Skyscraper is bloody good. “I Wanna Dance With Somebody” is bombastic pop with Houston’s amazing voice calling you to the dance floor. We wanted to take it to the next level. It is. Call me the following day and it could be Prince again. Welcome to our epic rundown of the Real 100 Greatest Albums Of The 80s - the true connoisseur’s choice.
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