While these bands may do well at state fairs and other summer festivals boasting well-stocked lineups of bands, their ability to support a format is questionable. Classic Rock – and its derivatives – as well as Oldies stations were predicated on the power of nostalgia – not just for a few thousand fans in a market, but for tens of thousands or more of die-hard supporters. We’re talking mass appeal vs. niche.
A nationally-syndicated radio show devoted to exploring the wide musical world of America’s best-loved band. The program presents high-quality recordings of the band’s live performances from analog and digital master tapes provided by the Grateful…
The Beatles are THE best band in history. Rock and roll was slowly disappearing, but then The Beatles started. These guys just about saved rock and roll. If you like The Rolling Stones, then you’ve got to like The Beatles. I mean, The Beatles and The Stones were friends, and The Beatles gave The Stones their first single. Every song by The Beatles is excellent (even Revolution 9 and Everybody’s Got Something To Hide Except Me And My Monkey). The Beatles had enough songs to keep them rolling ’till TODAY. I mean, just imagine if Imagine, Live And Let Die, and My Sweet Lord were Beatles songs. These are some of the biggest songs in history, and they would have been Beatles songs had The Beatles not split up. It’s obvious: THE Beatles SHOULD HAVE BEEN #1 ON THIS LIST. THEY ARE THE BEST BAND IN HISTORY. PERIOD.
33 Iron Maiden Iron Maiden are an English heavy metal band formed in Leyton, East London, in 1975 by bassist and primary songwriter Steve Harris. The most critically acclaimed period for the band was from 1983-1989. With vocalist Bruce Dickinson, bassist Steve Harris, lead guitarist Dave Murray, rhythm guitarist Adrian …read more.
So you’re right that there likely could not be a “national” Classic Alternative format. That’s probably why SiriusXM would tell you “1stWave” isn’t overly popular … the very nature of what constitutes a “hit” varies so much.
When Aerosmith was on the threshold of their career during the 1970s, people started comparing them to Rolling Stones. Despite the blues-rock influence similar to The Stones (not to mention front man Steven Tyler’s resemblance to Mick Jagger), the comparison wasn’t really fair to either band. The naysayers seemed to stop when Aerosmith came out with their third LP Toys in the Attic in 1975 that helped them to make their unique mark in the rock music field.
The subgenre was popularized by the “Big Four of Thrash”: Metallica, Anthrax, Megadeth, and Slayer. Three German bands, Kreator, Sodom, and Destruction, played a central role in bringing the style to Europe. Others, including San Francisco Bay Area’s Testament and Exodus, New Jersey’s Overkill, and Brazil’s Sepultura and Sarcófago, also had a significant impact. Although thrash began as an underground movement, and remained largely that for almost a decade, the leading bands of the scene began to reach a wider audience. Metallica brought the sound into the top 40 of the Billboard album chart in 1986 with Master of Puppets, the genre’s first platinum record. Two years later, the band’s …And Justice for All hit number 6, while Megadeth and Anthrax also had top 40 records on the American charts.
Between 1983 and 1984, heavy metal went from an 8 percent to a 20 percent share of all recordings sold in the U.S. Several major professional magazines devoted to the genre were launched, including Kerrang! (in 1981) and Metal Hammer (in 1984), as well as a host of fan journals. In 1985, Billboard declared, “Metal has broadened its audience base. Metal music is no longer the exclusive domain of male teenagers. The metal audience has become older (college-aged), younger (pre-teen), and more female”.
It has been that heavy metal has outlasted many other rock genres largely due to the emergence of an intense, exclusionary, strongly masculine subculture. While the metal fan base is largely young, white, male, and blue-collar, the group is “tolerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior”. Identification with the subculture is strengthened not only by the group experience of concert-going and shared elements of fashion, but also by contributing to metal magazines and, more recently, websites. Attending live concerts in particular has been called the “holiest of heavy metal communions.”
In the early 1990s, thrash achieved breakout success, challenging and redefining the metal mainstream. Metallica’s self-titled 1991 album topped the Billboard chart, as the band established international following. Megadeth’s Countdown to Extinction (1992) debuted at number two, Anthrax and Slayer cracked the top 10, and albums by regional bands such as Testament and Sepultura entered the top 100.