Yes is my all time favorite band-and I started listening to the Beatles in 1964, so I’ve heard most of the great groups. Yes is to me where progressive rock ended. There has not been anything better since Yes. Every time I play their music, it makes me so happy and joyous. If every one listened to them the world would be a much more happier and peaceful planet.
Classic Hits tends to play only singles, while Classic Rock plays album tracks that weren’t on Top 40. That’s not an option for these 80’s bands. With most 80’s bands there are no useful depth tracks, and many of the bands were one-hit wonders.
The members of House Special would like to extend a sincere thank you to all their fans, who made it possible for them to win the Gigmasters Best of 2017 Award. You fans deserve a Best Fans of 2017 Award! House Special is truly a unique band. This is who they are; this is what they stand for. They always put their customers first and they are always extremely service oriented. House Special is a band that creates an experience at your special event that you will feel great about. … (more)
That said, I’d love to try an all-Classic Modern Rock format in L.A. (where I’m based); I thought that was a good idea ten years ago but the market ownership is so concentrated — and so much of the programming here is in Spanish — that I’ve pretty much given up on anyone freeing up a signal to give it a spin. Heaven knows I already have the research for it sitting in a file cabinet here.
Many subgenres of heavy metal developed outside of the commercial mainstream during the 1980s such as crossover thrash. Several attempts have been made to map the complex world of underground metal, most notably by the editors of AllMusic, as well as critic Garry Sharpe-Young. Sharpe-Young’s multivolume metal encyclopedia separates the underground into five major categories: thrash metal, death metal, black metal, power metal, and the related subgenres of doom and gothic metal.
He defined ‘80s rock with songs like “In the Air Tonight” and “Against All Odds,” and that was all after his successful ‘70s stint with the band Genesis. In 2010, Collins released “Going Back,” which is considered to be his final studio album. But could a comeback ever happen? Collins addressed his retirement on his website, revealing that he stopped his music career so he could be “a full time father to my two young sons on a daily basis.” Fans can only hope that maybe once his kids grow up he’ll be back.
14 Rush Rush is a Canadian progressive rock band that was formed in 1968. Even though the only founding member still in the band is Alex Lifeson (Guitar), the band is most well-known for their current members Neil Peart (Drums) and Geddy Lee (Bass, Vocals). …read more.
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.
Introducing the world to hardcore southern rock, Lynyrd Skynyrd was at the top of the mountain until a plane crash in 1977 prominently influenced the band to break up. Ten years later the band reformed with the former lead singer, Ronnie Van Zant’s brothers taking over the vocal duties. –
In 1968, the sound that would become known as heavy metal began to coalesce. That January, the San Francisco band Blue Cheer released a cover of Eddie Cochran’s classic “Summertime Blues”, from their debut album Vincebus Eruptum, that many consider the first true heavy metal recording. The same month, Steppenwolf released its self-titled debut album, including “Born to Be Wild”, which refers to “heavy metal thunder” in describing a motorcycle. In July, the Jeff Beck Group, whose leader had preceded Page as The Yardbirds’ guitarist, released its debut record: Truth featured some of the “most molten, barbed, downright funny noises of all time,” breaking ground for generations of metal ax-slingers. In September, Page’s new band, Led Zeppelin, made its live debut in Denmark (billed as The New Yardbirds). The Beatles’ White Album, released the following month, included “Helter Skelter”, then one of the heaviest-sounding songs ever released by a major band. The Pretty Things’ rock opera S.F. Sorrow, released in December, featured “proto heavy metal” songs such as “Old Man Going” and “I See You”. Iron Butterfly’s 1968 song “In-A-Gadda-Da-Vida” is sometimes described as an example of the transition between acid rock and heavy metal or the turning point in which acid rock became “heavy metal”, and both Iron Butterfly’s 1968 album In-A-Gadda-Da-Vida and Blue Cheer’s 1968 album Vincebus Eruptum have been described as laying the foundation of heavy metal and greatly influential in the transformation of acid rock into heavy metal.
Classic rock is a radio format which developed from the album-oriented rock (AOR) format in the early 1980s. In the United States, the classic rock format features music ranging generally from the mid-1960s to the late 1980s, primarily focusing on commercially successful hard rockpopularized in the 1970s. The radio format became increasingly popular with the baby boomer demographic by the end of the 1990s.
However, we would like to clarify that “classic rock” is NOT really a musical genre. The line between classic rock and oldies may be almost blurred but there is also a marked difference between them. Classic rock may mean oldies music, but oldies may not mean classic rock.
Appearing on The Who’s spectacular album, Who’s Next, “Won’t Get Fooled Again,” was written by guitarist Pete Townshend, who said the song seeks to make a connection between music – highlighted by the use of a synthesizer throughout the song – and the teachings of Meher Baba and Inayat Khan. Thereafter, “Won’t Get Fooled Again” became a song The Who usually played at the end of their live performances, when Townshend destroyed his guitar and Keith Moon kicked over his drums, as the crowd squealed and hooted with delight.
Earlier in the week, musicologist, radio pro, and mega-blogger Alan Cross posed today’s post title as a question in his highly entertaining blog, “A Journal of Musical Things.” Quoting a story in the Vancouver Province by Stuart Derdeyn, the burning issue on the table is whether “Classic Alternative” is poised to be the next incarnation of Classic Rock.
Excellent column Fred! I only wish that Modern Rock from the eighties could become the new Classic Rock, as in my opinion that was the best popular music the decade produced. But for all the reasons you enumerate, it will never happen, at least not in the US. In the UK and other parts of Europe most of those bands had a higher profile and many more hits, and the format could probably be sustained there. Among the only places that Modern Rock bands get any exposure in this country these days are in period films and TV shows. For example, “The Americans” is a great show by any measure, but a particular joy for any fans of Modern Rock. Check out Season 1, Episode 4 (about how the KGB reacted to the attempted assassination of President Reagan), which uses the song “Pictures On My Wall” by Echo & the Bunnymen, among others.
They’re sparky, spiky and disgustingly young, and just to rub it in they’ve got the chops to back it all up. We enjoyed 2017 singles Ants, Let Her Be and I Love LA – not to mention the band’s blood-spattered live shows in London, spearheaded by gurning beanpole singer Arrow De Wilde (described, aptly, by Classic Rock’s Dave Everley as “what would have happened if Ozzy Osbourne and Patti Smith had got together sometime in 1975 and had a kid”).
They where stuck in CBS so they had to feel in the dark side a touch. I think the difference between Sad Wings of Destiny and Sin After Sin shows the compromise of more radio friendly songs CBS demanded. Good thing Rob Halfords has of the great voices in Rock music not just metal. Everyone from King Diamond to Dream Theater owe great debts to the mighty Priest. Power metal is the Halfords imataters club.
Is love something that just happens or is it something we should look for? Released in 1969, this uptempo love song takes you to another place. Plus, it offers more than just one of the greatest guitar riffs ever, but a story that many can relate to.
So what makes any rock music classic? Is it in the artist, the high amount of radio plays, the millions of records sold, or musical styles and subjects tackled in the lyrics? Actually, none of these things are required for music to be considered “classic rock.” “Classic rock” doesn’t mean the 70s rock records became automatically a classic by the time they were released. Nor an artist that releases these records doesn’t necessarily become a classic rock artist. A record’s huge sales don’t mean that record instantly becomes classic rock. The Beatles and Led Zeppelin have different musical styles and themes from each other, but both of them are nevertheless considered classic rock artists because they released classic rock albums.
36 Foreigner Foreigner is a British-American hard rock band, originally formed in New York City in 1976 by veteran English musician Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald along with American vocalist Lou Gramm.
Though Judas Priest did not have a top 40 album in the United States until 1980, for many it was the definitive post-Sabbath heavy metal band; its twin-guitar attack, featuring rapid tempos and a non-bluesy, more cleanly metallic sound, was a major influence on later acts. While heavy metal was growing in popularity, most critics were not enamored of the music. Objections were raised to metal’s adoption of visual spectacle and other trappings of commercial artifice, but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic Robert Christgau described it as “dull and decadent…dim-witted, amoral exploitation.”