Seattle band Candlebox lit up the music scene at the tail end of the fleeting grunge movement with an impressive debut album. Their self-titled record would reach #7 on the Billboard Top 200 in 1993 thanks to strong singles like "You" and "Far Behind", the latter of which climbed to #18 and remains the band's highest charting single. An uneven sophomore effort, "Lucy", still sold well (peaking at #11 on the album chart) and produced the band's last charting single to date, "Simple Lessons" (#60). The third record, "Happy Pills", was released in 1998 and managed to get to #65 on the album chart. Filled with a bevy of strong tunes with a return to melodic roots, "Happy Pills" really should have been a welcome comeback for this band. The record also boasts some extraordinary ballads that should have eclipsed their hit "Far Behind". "Sometimes" is not only one of my favorite songs from this record, but one of my favorite ballads in the band's entire catalogue. The band took a 10 year break, but reunited in 2008 to produce some more fine albums, with their sixth due next month.
Unfortunately, most people will only remember the band called The Calling from their single chart hit, "Wherever You Will Go", which went all the way to #5 in 2001. The hit came from the debut record, "Camino Palmero". The band's next act would prove to be a "sophomore jinx" - their second record, simply called "Two", flopped despite boasting another strong collection of songs. The first single, "Our Lives", is arguably their best song. Featuring an amazing chorus and positive lyrics, it is hard to explain why this song didn't even crack the top 100. It is an essential tune for any inspirational playlist.
The Call struggled to get heard above the noise during the 80s. With their emotive lyrics, tight melodies, and distinctive vocals of Michael Been, they appeared to have all the right stuff. The band's first breakthrough arrived in 1983 with "The Walls Came Down", which climbed to #74 on the Billboard Top 100. By the time they started recorded their 1985 album, "Reconciled", several big name guests were pleased to help, including Peter Gabriel and Robbie Robertson. Many would consider the single from that album, "I Still Believe", to be among the band's best work, but it failed to chart. Flash forward to 1989 and The Call makes their final chart appearance with the uplifting and powerful track, "Let The Day Begin", which topped out at #51. It was lifted from the album of the same name, propelling it to #64, the band's highest charting album. Sounding like a sequel to "I Still Believe", "Surrender" appears on the same album but didn't chart. With that unmistakably 80s synth, it remains one of my favorite songs of the era.
Daughter of the man who produced the classic Fleetwood Mac albums "Rumors" and "Tusk", Colbie Caillat expanded the family tradition and became a chart sensation throughout the 2000s. In one of the biggest missed opportunities for American Idol, for which she was rejected twice, Colbie's debut album "Coco" soared to #5 on the Billboard Top 200 in 2007. The record spawned "Bubbly", one of the songs she played to audition for American Idol, which also got to #5. "Begin Again" can be found on her 2009 sophomore record, "Breakthrough", which debuted at the #1 position on the album chart. This song was considered as a single, but eventually others were chosen. I think it would have been another hit for her.
The Rocky soundtracks provided a great opportunity for 80s rock bands to showcase their muscle. Before John Cafferty secured a spot on the Rocky IV soundtrack, he and his "Beaver Brown Band" had a top 10 hit with "On The Dark Side" in 1984, which was on the soundtrack for Eddie And The Cruisers. The Eddie soundtrack cruised to #9, which outmuscled the Rocky IV soundtrack, which got to #10. In 1985, they released the album "Tough All Over", whose title track climbed to #22. Three additional singles would chart from this excellent bar band record, and in the midst of their success came "Heart's On Fire" from the Rocky IV movie. This energetic rocker might have been a victim of the band's saturation on radio at the time, stalling at #76. Stallone was clearly a fan of the boys - another cut from "Tough All Over", "Voice Of America's Songs" was featured in his movie Cobra. On the strength of all these singles, the "Tough All Over" album reached #40 in 1985. Unfortunately, the band's 1988 follow up, "Roadhouse", did not chart.
There's a terrific power pop and rock band known as The Yum Yums that has been going strong since the early 2000s. In 2011, Yum Yums member Tomas Dahl released a solo effort under the name Caddy. It is true solo record, meaning Dahl wrote and performed pretty much everything you hear. Continuing in the finest power pop tradition, Caddy's one and only album to date, "Electric Hero", shines with instantly catchy songs that pack a punch. "Turn Up The Radio" is one of my favorites in this excellent collection.
Ryan Cabrera broke away from his first band, Rubix Groove, to release his first solo album, "Take It All Away", in 2004. Produced by John Rzeznik of the Goo Goo Dolls, the album spawned several charting hits: the title track went to #15, the acoustic ballad "True" went to #18, and the third single "40 Kinds of Sadness" went to #47. His sophomore effort, "You Stand Watching", failed to generate a major hit but managed to climb up to #24 on the Billboard Top 200. To switch things up, Cabrera changed his image for the third record, "The Moon Under Water". His sound didn't change much - he still churned out plenty of sweet pop rock songs - but the record stalled at #177. "The Moon Under Water" deserved better. Not only did it contain "I Will Remember You", a song that got high profile airplay on TV in 2006, but lead single "Say" is one of the catchiest song he's ever done. Cabrera is now involved in a new project called Beyond The Sky for those keeping track.
In 1998, the modern rock trio dada released their fourth LP, a self-titled effort that should have been a huge comeback for the band whose first record went gold in 1992. But dada closed the 90s with an unjustified fizzle. Two of the boys, Michael Gurley and Phil Leavitt, started a side project called Butterfly Jones. Their one and only record, "Napalm Springs", surfaced in 2001 and was virtually ignored. And it is a real shame - the record is packed with incredible riffs, catchy songs, and a plethora of witty lyrics. "The Systematic Dumbing Down of Terry Constance Jones" is one highlight of many, a song about the misguided pursuit of youth and exterior beauty.
Stan Bush first made his mark as a solo artist with his self-titled debut in 1983. Now considered an underground classic in AOR circles, this album was filled with melodic rock cuts in the vein of Survivor and Foreigner, yet it didn't make Bush a household name. The follow-up record featuring his backing band, called "Stan Bush and Barrage", hit shelves in 1987. By now, it seemed Bush was gaining some traction, having landing many of his songs on movie soundtracks (most notably "The Touch" from the 1986 Transformers movie). Still, big time chart success continued to prove elusive. From the Barrage album, and also featured on the soundtrack to a film called The Wraith, "Hearts Vs. Heads" is a terrific rocker. Bush sounds a little like Sammy Hagar on this one, and the hook will be in your head and heart for days.
David Gilmour (Pink Floyd) introduced the talented singer/songwriter Kate Bush to the world, helping to finance and produce her demo when she was only sixteen. His instincts proved right when her debut single "Wuthering Heights" topped the British charts. While very popular in her native UK, she only managed a handful of minor hits in the US. The biggest hit she had was "Running Up That Hill", which sprinted to #30 in 1985. Even a moving ballad with 80s superstar Peter Gabriel called "Don't Give Up" struggled to get to #72. Her last charting single topped out at #88 in 1993: the bouncy and delightful "Rubberband Girl". A terrific song about bending rather than breaking, it always helps you recalibrate when life gets maligned.
"Kilroy Was Here" sealed the fate of the original lineup of the legendary AOR band Styx in 1983. Tommy Shaw left to pursue a solo career and ultimately form the supergroup Damn Yankees. Dennis DeYoung also released several solo albums through the rest of the decade. Meanwhile, a singer/songwriter from New Jersey was rocking his way onto the music scene. Glen Burtnik (who also went by Glen Burtnick at times) made his first chart appearance (and only one as a solo artist) in 1987 with the excellent "Follow You" from his sophomore album, "Heroes & Zeros". The single only went to #65 on the Billboard Top 100 but brought him attention that led to songwriting opportunities, including the huge smash "Sometimes Love Just Ain't Enough", which Patty Smyth and Don Henley took all the way to #2 in 1992. And it brought him a great opportunity to bring Styx back. Styx reformed in 1989, but with Burtnik as their lead guitarist instead of Tommy Shaw. They released "Edge Of The Century" in 1990, which muscled its way to #63 on the album chart. The album also contained several tunes written by Burtnik, most notably the single "Love Is A Ritual", which originally appeared on his debut album. "Love Is A Ritual" did not chart in 1986, but Styx took it to #80 in 1990. Burtnik stayed with Styx until 2003 and then returned to his solo career.
The Boston alternative rock trio Buffalo Tom formed in 1986 and would go on to make one of my favorite albums of the 90s. "Big Red Letter Day" emerged in 1993 with "Sodajerk" as the lead single. Like all the band's other work, it would not see success on the charts, but got plenty of airplay back in the day. Amongst the more overtly aggressive bands in the grunge movement, Buffalo Tom disguised their cynicism and clever lyrics in well-crafted melodies. You found yourself singing along to lines like "people nauseate me" with a smile on your face. The song was used in several commercials and in the poplar TV show My So-Called Life, which seems appropriate since it appears to be a "coming" of age song. The band could do no wrong on "Big Red Letter Day" - every song is great and it deserves to be remembered as one of the best records from the decade. Buffalo Tom set the stage for similar bands that infused more pop and melody into their gritty instrumentation.
It's too difficult to find information about the Atlanta-based band called Buffalo Nickel, who released their album called "Longplay 33 1/3" in 2000. It shouldn't be so hard because in a just musical world this roots rock band would have blown up big time. Not only did they have a collection of outstanding, heartfelt songs, they also had some big time contributors including drummer Kenny Aronoff, Gary Louris (Jayhawks), Benmont Tench and Mike Campbell (Tom Petty & The Heartbreakers), and the Lennon brothers from Venice. One of the best records of the decade in my opinion, "Longplay 33 1/3" is a terrific listen from start to finish. "Good Day" is just one of many highlights.
If ABBA could do it, then why not Bucks Fizz? In many countries, Bucks Fizz actually did become an "ABBA for the 80s" after winning the 1981 Eurovision Song Contest with "Making Your Mind Up". Composed of two boys and two girls in silly matching costumes, the foursome had a signature harmony sound and typically sang upbeat dance pop numbers...just like you know who. The group would score three #1 hits and several more top ten hits in their native UK, and sell over 15 million albums all over the world. Strangely enough, they never even scratched the bottom of a singles or album chart in the US. If you like ABBA and never heard Bucks Fizz, you are in for a bit of a treat (I'm referring to the band, not the cocktail from which they took their name). I would not place them on the same tier as ABBA, but some of their songs come close, such as the wonderful "Piece Of The Action".
Chicago band The Buckinghams dominated the charts in the late 60s with classic hits like "Kind Of A Drag" (their only #1), "Don't You Care" (which hit #6), and "Mercy, Mercy, Mercy" (which hit #5). "I’ve Been Wrong" (sometimes listed as "I've Been Wrong Before") did not chart, but can be found on many of the band's "best of" compilations. And for good reason, this short and sweet rocker is terrific. It is a departure from their signature "sunshine pop" style, showcasing a grittier side to the band that is a welcome change of pace. It comes from the band's first album, "Kind Of A Drag", which went to #109 in 1967.
One of the greatest guitarists of our times, Lindsey Buckingham sometimes doesn't get enough credit for his many other talents. His solo records are often true solo records - he not only sings the songs he writes, but also plays nearly every other instrument on the track. Buckingham released two solo albums during the 80s while still performing duties for hitmakers Fleetwood Mac. He broke with the band after their hugely successful 1987 record, "Tango in the Night". Hunkering down for several years, he emerged with his third solo record in 1992, "Out of the Cradle". "Out of the Cradle" did not perform as well as his previous solo outings, stalling at #128 on the Billboard Top 200. The cheery single, "Countdown", probably would have been on Casey Kasem's "Countdown" if it came out a few years earlier and not when angst was in vogue. Another overlooked highlight on "Out of the Cradle" is "Soul Drifter" - be sure to check that one out too.
The first incarnation of the hard rocking band Buckcherry (evidently named after a drag queen) burst onto the music scene in 1999 with their self-titled debut. Despite appreciable airplay, they didn't score any singles on the charts until they altered their lineup for their third album, "15", in 2006. The fifth single from "15", "Sorry", went on to become the band's only top 10 song to date (reaching #9 in 2007). "Never Say Never" comes from the band's fifth album, "All Night Long", which was released in 2010 and peaked at #10 on the Billboard Top 200. The song was not released as a single, but probably would have done very well. It is a rousing melodic rocker co-written by AOR mastermind Marti Frederiksen, who also co-wrote "Sorry".
"I won't cry for the wasted years 'cause you ain't worth the salt in my tears!" OUCH! Hell hath no fury like an English singer/songwriter scorned! The Englishman here is Martin Briley, who had a modest hit with this song from his 1983 sophomore album, "One Night with a Stranger", pushing it to #55 on the album chart. None of the other great songs by Briley hit the charts, relegating him to "one hit wonder" status. "The Salt In My Tears" reached #36 on the Billboard Top 100. Be sure to check out his other material, he wrote some other great songs that somehow went under the radar. Briley did find greater success writing many songs for other artists - among this diverse, long list is Kenny Loggins, Michael Bolton, Celine Dion, Night Ranger, *NSYNC, and, of course, David Hassellhoff.
Edie Brickell & The New Bohemians were not destined to be "one hit wonders". However, you mention their name and the only song most people will recall is their smash debut single, "What I Am", which went to #7 in 1988. It pushed their first album, "Shooting Rubberbands at the Stars" to #4 on the Billboard Top 200. The second single released from the record was the beautifully melancholy acoustic track, "Circle". The band was ahead of its time releasing a "coffeehouse" track like this before Jewel made it cool in the mid-90s. Radio was not friendly enough to the song and it stalled before cracking the top 40 (peaking at #48). Vultures were now circling the band, who tried to bounce back with the peppy "Love Like We Do". It is another great track with animation in the video to boot, but it failed to chart altogether. The band broke up shortly after their 1990 sophomore effort, "Ghost of a Dog", flopped. Two years later Edie married Paul Simon and saw a bit of a comeback in 1994 with a song he produced called "Good Times", which went to #60. The band reunited in 2006 to release "Stranger Things". At least I am not alone in my appreciation for the song "Circle". None other than the punk band Bowling For Soup covered it on their 2013 album, "Lunch. Drunk. Love."
