The Motels were are new wave band that formed in California and had a good run in the early 80s. Led by singer and songwriter Martha Davis, the band scored two top 10 hits in their heyday, both reaching #9: "Only The Lonely" from 1982 and "Suddenly Last Summer" from 1983. Other popular top 40 hits followed with "Remember The Nights" peaking at #36 and "Shame" topping off at #21. The excellent song "Shock" stalled at #84 in 1985, marking their last chart appearance. While working on their follow-up record, Davis decided to go solo instead. "Bonjour Baby" is a pop gem that comes from their underrated 1980 effort, "Careful." Puzzling why this track was never released as a single. It is so obscure, I can't find it on Spotify or YouTube, except as a live track.
Steven Morrissey, who simply goes my his surname, got his start as the lead singer and songwriter for The Smiths. The Smiths were favorites at college radio in the 80s and introduced the world to Morrissey's soothing baritone and cerebral lyrics. Infighting between Morrissey and guitarist Johnny Marr led to the band's breakup in 1987, and the beginning of Morrissey's prolific solo career. Between 1988 and 1997, Morrissey released six records to critical acclaim, although he's had little commercial success in the US. His only brush with the American charts came in 1994 when the stalker's anthem, "The More You Ignore Me, The Closer I Get," reached #46. Unfortunately, the US did ignore Morrissey and he got no closer to mainstream success. Bet I'm betting he prefers it that way. The Master of Mope took an extended hiatus from recording, then released a marvelous comeback record in 2004 called "You Are The Quarry." Among the many terrific songs on this record, some of the most mature and thoughtful of his career, is "The World Is Full Of Crashing Bores." Has anyone better articulated the struggle thoughtful people must endure having to dwell among people who fail to nurture their intellect?
Irish musician, singer, and songwriter Van Morrison got his start as the leader of the 60s garage band, Them. He wrote their classic, "Gloria," giving Morrison his first taste of chart success. It wouldn't be long before he tasted success again, this time as a solo artist. A couple of his first singles went top 10: "Brown Eyed Girl" hit #10 in 1967 and "Domino" hit #9 in 1970. While Morrison flirted with the charts off and on again through the years, he'd never achieve these high positions again. Readers may be surprised to learn that some of his best known tunes did not perform too well when released, including "Wild Night" (#28), "Jackie Wilson Said (I'm In Heaven When You Smile" (#61), and "Moondance" (#92). "Crazy Love," "Into The Mystic," and "Have I Told You Lately" didn't even chart. "Bright Side Of The Road" is one of Morrison's signature pick-me-up songs, bursting with joy. It bubbled under in 1979 but is not to be missed.
90s superstar Alanis Morissette got her start in entertainment as a 12-year-old actress on the Nickelodeon series You Can't Do That On Television. She gravitated to music and released two dance pop albums that performed very well in her native Canada, but were virtually unheard anywhere else in the world. Not to be written off as a teen pop star who once opened up for Vanilla Ice, she reinvented herself for her third album, "Jagged Little Pill." With help from producer and songwriter Glen Ballard, Morissette became a darling of the 90s and the signature voice of a woman scorned. Her blistering rock track, "You Oughta Know," catapulted her to international fame and won the Grammy for Rock Song/Rock Female Vocal in 1995. On the charts, it only hit #13, but set the stage for other hits like "Hand In My Pocket" (#15), "Ironic" (#4), "You Learn" (#6), and "Head Over Feet" (#3 for 6 weeks). She won another Grammy for "Uninvited," a song recorded for the City of Angels soundtrack that went to #4 in 1998. The wind quickly blew out of her sails, though. Her follow-up record, 1998's "Supposed Former Infatuation Junkie" sold well, but only generated a single top 10 hit ("Thank U," which went all the way to #2, her best performance on the chart yet). The other singles from this tepid record fizzled. Nevertheless, her impressive string of hits made her the 27th most successful artist of the decade. Morissette was hard-pressed to even come close to the huge success of "Pill," but I think her 2004 album, "So-Called Chaos," was the rock record that fans wanted. Day late, dollar short I suppose. The lead off track, "Eight Easy Steps" manages to capture some of the magical energy that made her hit songs special, but it didn't chart. Another single from this record, a gorgeous ballad called "Everything," was Morissette's final chart appearance, landing at #76.
Michael Morales was a singer and songwriter with a sound as big as his native state of Texas. He rose to one-hit wonder status in 1989 when "Who Do Give Your Love To?" peaked at #15. His follow-up single, a cover of "What I Like About You" (which The Romantics, whose version everyone knows, only took to #49 in 1980) reached #28. These were the first two singles from his debut self-titled album. The next single, "I Don't Know," stalled at #81. "I Only Want To Look In Your Eyes" is another mid-tempo track from his debut LP, and I think it would have performed better and gave Morales more staying power. His 1991 record, "Thump" landed with a dull thud, although this could be attributed to the shift in musical tastes. Morales would release a third and final record in 1999: "That's The Way." It sounded like a Def Leppard album and probably would've been huge had it arrived a decade earlier. Morales became a notable producer, earning four Grammys for works he laid his fingers on.
When people spoke about Mandy Moore in the 2000s they mostly thought about her as a young pop princess. She had a successful recording career with popular songs like "Candy" (#41) and "I Wanna Be With You" (#24). Today, most people think of Moore's acting career, most famously the hit show This Is Us. She still gets to impress with her vocal chops during the show as a part-time singer in a bar band. During her transition from music to acting, her 2009 album, "Amanda Leigh," is often overlooked. It is not the typical album of pop fluff one might expect, but a well-crafted pop album in which powerpop mastermind Mike Viola had a heavy hand. "I Could Break Your Heart Any Day of The Week" was the first single, and while it failed to chart, remains one of the finest tunes in Moore's catalogue.
Irish guitarist and singer Gary Moore left behind an extensive catalogue of music in addition to his work as a member of Thin Lizzy. Moore was perhaps best known for his turn to blues, which began in earnest with "Still Got The Blues." That tune became his only charting single in the US, reaching #97 in 1991. In the 80s, he embraced the popular hard rock sound. "Speak For Yourself" features some of his most blistering guitar work ever. If you need an anthem to get you going, or inspire you to make it through a rough patch, this is the song. Gary Moore passed away in 2011 at 58 years from a heart attack brought on by excessive drinking.
Mississippi singer Dorothy Moore got her start in a 60s group known as The Poppies before going solo in the 70s. Best known for her ballads, especially the smash hit "Misty Blue" (which went to #3 in 1976), Moore also sounded great on funky disco tunes. "Ain't That A Mother's Luck" is one that came from the same album as "Misty Blue." It was the B-side to her follow-up single written by Willie Nelson, "Funny How Time Slips Away." It only went to #58, but Moore would see the top 40 once more in 1977 with her version of a song written by The Addrisi Brothers, "I Believe You" (#27).
The Moody Blues were an art rock band that didn't specialize in radio friendly singles, but they managed to crossover to the pop charts every now and then through their thirty year career. They've scored a single top 10 hit in the 60s, 70s, and 80s. The band's first chart hit was "Go Now!" which hit #10 in 1965. In 1972 they had their biggest success with the epic ballad "Nights In White Satin." "Nights" spent 2 weeks at #2 and became an instant classic; it even earned a place in the Grammy Hall of Fame. Then in 1986 they had a surprise comeback when "Your Wildest Dreams" went all the way to #9. "Sitting At The Wheel" is a single that did fairly well in 1983, making it to #27. Still, this upbeat and catchy tune isn't the song most people think of when they hear "Moody Blues".
The Monroes were a little-known pop rock band from the early 80s. They formed in California and had an upbeat new wave sound that should have found its way onto the airwaves more than it did. The Monroes managed to score a single minor hit with "What Do All The People Know" in 1982. The song somehow only reached #59.
The Monkees were a pop group formed in 1965 whose members were handpicked from youngsters applying to be on a new television show. Led by Davy Jones (who died in 2012), the band would be hugely successful performing covers of songs written by the likes of Neil Diamond ("I'm A Believer," which was #1 for 7 weeks and "A Little Bit Of Me, A Little Bit Of You," which went to #2), Carole King ("Pleasant Valley Sunday," which went to #3 and "Porpoise Song," which went to #62), and John Stewart ("Daydream Believer," which was #1 for 4 weeks). They were ranked as the most successful artist on the charts in 1967. By 1970, however, no one was going ape for The Monkees anymore so they disbanded. The Monkees staged a comeback in 1986 when "That Was Then, This Is Now" hit #20. Their final chart appearance was one year later when "Heart And Soul" stalled at #87. "Randy Scouse Git" goes back to that magical year of 1967 when everything the band touched turned to gold. It was not a chart hit, but one of the edgier pieces this pop band would perform.
Hailing from Brooklyn, New York, Edward Mahoney left the police force to pursue a recording career as Eddie Money. Turns out to have been a wise decision. He nearly broke into the top 10 with his chart debut in 1978 when "Baby Hold On" soared to #11. Money would manage to creep into the top 10 twice in his career with "Take Me Home Tonight" (which featured Ronnie Spector of The Ronettes singing the signature line, "Be My Baby") and "Walk On Water." These songs hit #4 and #9, respectively. Some of Money's other "hits" that everyone knows might not have done as well on the charts as you might expect. "Two Tickets To Paradise" only reached #22 and "Shakin'" topped out at #63. One of his lesser known songs, 1989's "Peace In Our Time" almost put Money in the top 10 again, but it halted at #11. Money was starting to write checks his songs couldn't cash by the early 90s, his last chart appearance being "Fall In Love Again" in 1992 (the song went to #54). "Maureen" is a gem buried on Money's 1978 record, "Life For The Taking." The tune has a Bruce Springsteen vibe and just puts you in a good mood.
Australian rockers landed a single chart appearance in the US in 1987 with their song "Primitive Love Rites." The tune went to #71, but it didn't ignite great interest in the band or their extensive back catalogue. "Cool World" goes back to the band's earlier days. Released in 1981, this is the tune that should have started a fan base for Mondo Rock in the US.
Monaco was a synth pop duo formed by Peter Hook (New Order) and David Potts. Their lone album was released in 1997, entitled "Music For Pleasure." "What Do You Want From Me?" was the lead single. It is catchy and engaging, and a vicious guitar solo comes out of nowhere and shreds. The song made it to #61, but deserved much better.
Not so modern anymore, the English synth pop band called Modern English are best known for their song, "I Melt With You." it charted twice in the US: it reached #78 when first released in 1983 and then resurfaced in 1990 (re-recorded) and made it to #76. Who knows? With global warming, maybe it will chart again. Aside from "I Melt With You," the band only scored one other charting single. "Hands Across The Sea" barely made it on the board, reaching #91 in 1984. "Ink And Paper" is a song from their 1986 album, "Stop Start." This song is a bit of a clone of "I Melt With You," but I was surprised that it didn't give the band an elusive top 40 appearance.
Canadian rocker Kim Mitchell had one minor hit in the US in 1985, released from his album, "Akimbo Alogo." Most people don't remember this tune, but end up loving it after they hear it. "Go For Soda" only bubbled up to #86 on the US charts. Prior to his solo career, he was in the hard rock band Max Webster. Mitchell continued to release solo records and maintained a presence on the Canadian music charts well into the 90s. One of his more contemporary songs that I liked is "Love Overtime" from 2007.
The Miracles were one of greatest soul groups to emerge from Detroit. Led by the amazing Smokey Robinson, the group dominated the 60s with an impressive string of top 40 hits that earned them the 18th most successful group of the decade. Some of their best known classics include "Shop Around" (#2), "You've Really Got A Hold On Me" (#8), "The Tracks Of My Tears" (#16), "I Second That Emotion" (#4), and "Baby, Baby Don't Cry" (#8). The Miracles could boast two #1 hits in their career: "The Tears Of A Clown" from 1970 and "Love Machine (Part 1)" from 1976. The latter was with Robinson's replacement, Billy Griffin, after he left The Miracles in 1973 for a solo career. It was also the group's final appearance on the chart. "Whole Lot Of Shakin' In My Heart (Since I Met You)" is a lost gem from 1966 that stalled at #46.
Australian soap opera star, Kylie Minogue, is better known stateside for her appearances on the music charts. She seemed destined to be a one-hit wonder of the 80s when her cover of "The Loco-Motion" soared to #3 in 1988. Her follow-up single, "It's No Secret," only reached #37 and nothing charted from her next record, 1989's "Enjoy Yourself." But Minogue mounted an unlikely comeback in 2002 when "Can't Get You Out Of My Head" reached #7, having everyone asking, "Is that the same Kylie Minogue from the 80s?" The answer is yes. The comeback didn't last long. Her immediate follow-up single, "Love At First Sight," did well landing at #23, but she hasn't seen the charts again since 2004 when "Slow" struggled to reach #91. The fan of 80s music that I am, I can't help but highlight another cut off her 1988 debut album, "Kylie." "Turn It Into Love" is pure bubble gum fluff, but dammit I like it.
How was Garnet Mimms nothing more than a one-hit wonder in the 60s? This Philly raised soul singer soared up the charts to #4 with his debut single, "Cry Baby," in 1963 (the same song Janis Joplin took to #42 in 1971). He had a few other top 40 singles hit as the decade progressed, including "For Your Precious Love" (#26), "Baby Don't You Weep" (#30), and "I'll Take Good Care Of You" (#30), but he remains largely unknown. In a perfect musical world, "As Long As I Have You" from 1964 would be a classic from the era that everyone knows. After floundering in the biz in the 70s and releasing some funk tunes, he gave up pop music for gospel and ministering to prisoners.
Although he was born blind, Ronnie Milsap would become one of the biggest stars in country through the 70s. His popularity reached a peak at the start of the 80s when he crossed over to the pop charts. His big smash hit was "(There's) No Gettin' Over Me," which soared to #5 in 1981. The follow-up single, "I Wouldn't Have Missed It For The World," should have bested this in my opinion, but it stopped at #20. Milsap would return to the charts with a couple singles from his next LP, including "Any Day Now," which peaked at #14. His last Top 100 appearance came in 1984 when the rocking "She Loves My Car" stalled at #84. Milsap was inducted into the C&W Hall of Fame in 2014.
The Steve Miller Band first hit the charts way back in 1969 with "Living In The USA," which just barely managed to break in at #94 (the same song would resurface in 1974 to hit #49). Many readers will be surprised to hear that their classic song, "Space Cowboy," from 1969 never charted. The band's big break arrived in 1973 when "The Joker" landed at #1, the first of three chart-toppers for the band. The other two were "Rock'n Me" in 1976 and "Abracadabra" in 1982. In-between #1 smashes, the band was on a roll through the 70s with classics like "Take The Money And Run" (#11), "Fly Like An Eagle" (#2), "Jet Airliner" (#8), and "Jungle Love" (#23). "Cool Magic" was the follow-up single from "Abracadabra," and it surprisingly only went to #57. The band tried to adapt to the changing sound of 80s music, but it didn't work out to well and their last chart appearance came in 1993 when "Wide River" landed at #64. The band was inducted into the Rock and Roll Hall of Fame in 2016.
Rhett Miller, also a member of the alt-country band Old 97's, is an acclaimed singer/songwriter who has yet to make an appearance on the charts despite releasing quality albums as a solo artist since "The Instigator" in 2002. The best known track from the record is "Come Around," but "Four-Eyed Girl" is a fun, overlooked gem.
Frankie Miller is like the Scottish Bob Seger who didn't have commercial success. Seger even once remarked that Miller was a strong influence on him. Releasing a string of classic rock albums through the 70s and early 80s, Miller only managed two top 100 singles in the US: "The Doodle Song" (#71 in 1977) and "To Dream The Dream" (#62 in 1982). "Be Good To Yourself" is the leading track off his 1977 album, "Full House," largely regarded as one of his best records.
Lenny Miles was a promising R&B singer from Texas whose life was cut short way too early at the age of 27 from cancer. Before his death, he scored two chart appearances in 1961 with "Don't Believe Him, Donna," which went to #41, and "In Between Tears," which went to #84. What a shame we did not have the opportunity to hear more from the talented Lenny Miles.
When he wasn't busy in Genesis or making solo records, Mike Rutherford jammed with his musical all-stars in Mike + The Mechanics. Rutherford recruited "ace" vocalists Paul Carrack (Ace, Squeeze) and Paul Young (but not the same Paul Young who had a hit with "Every Time You Go Away"). The band's first effort (self-titled) appeared in 1985 and quickly spawned two top 10 hits with "Silent Running" (#6) and "All I Need Is A Miracle" (#5). The band's follow-up LP, "Living Years," featured a title track that soared to #1, and some decent but lesser known singles like "Nobody's Perfect" (#63) and "Seeing Is Believing" (#62). Their last chart appearance arrived in 1991 with a single from their third effort, the title-track to "Word Of Mouth," which stalled at #78. Young passed away from a heart attack in 2000 at the age of 53 and saw Carrack taking over all vocal duties until they broke up a few years later. Rutherford has released a couple more records in recent years under the Mike + The Mechanics name, but with a different crew. "Poor Boy Down" is one of the underrated cuts from "Living Years."
English alternative rock band The Mighty Lemon Drops released several albums in the late 80s and early 90s, but all the stars came into alignment for their 1989 LP entitled, "Laughter." It is astonishing that this fantastic record didn't make these guys a household name. "Laughter" was hotly anticipated given the modest success of the band's single "Inside Out" from their previous record, "World Without End." This catchy little song saw a lot of airplay on MTV's 120 Minutes and helped the band generate a small cult following. The first single, "Into The Heart Of Love," was a delicious confection made for radio, and showcased the pop sensibilities the band had embraced for this record. Unbelievably, the single went nowhere and the band quickly dissolved into obscurity. "The Heartbreak Thing" is another terrific cut from this underrated record, a must for any collection!
Australian rock band Midnight Oil struck an unlikely chord with the US in the late 80s, scoring a single top 40 hit with "Beds Are Burning," a song about the hardships faced by native Australians. The politically charged tune hit #17 in 1988. The band would score two additional charting singles building off this momentum. "The Dead Heart" reached #53 and "Blue Sky Mine," from their follow-up LP, went to #47 in 1990. Surprisingly, a terrific radio-friendly song called "Forgotten Years" from this record failed to chart. "Sometimes" was the closing track to their breakthrough 1987 record, "Diesel and Dust." It is an inspirational anthem that reminds us that sometimes we win, sometimes we lose, so don't give in.
New York native Ingrid Michaelson has been busy cranking out tunes since her first record in 2005, "Slow The Rain." She had her first taste of chart success in 2007 when "The Way I Am" reached #37, the only time she's been able to crack the top 40 to date. Her next chart single was "Be OK," which stalled at #91. Michaelson would not pay the chart another visit until the super catchy "Girls Chase Boys" hit #52 in 2014. "Time Machine" is a terrific cut from "Lights Out," the same record that spawned "Girls Chase Boys."
Most of what George Michael released in his heyday easily had instant chart success, so there isn't too much from his prolific era to highlight that is "off the chart." Capitalizing on the success he had in Wham!, Michael's solo career made him the 5th most successful artist of the 80s. The 90s weren't too shabby to him, either, as he managed to maintain a healthy chart presence to be the 33rd most successful artist in the 1990s. His masterpiece album, "Faith," spawned four #1 hits and two more top 10s, but the monster success left Michael struggling with artistic identity. Wanting to be taken more seriously as a songwriter, Michael did a complete 180 with his follow up, 1990's "Listen Without Prejudice, Vol I." (There was a Vol. II but it was abandoned for reasons that remain unknown.) On "Listen," Michael left the catchy pop and dance music behind and focused more on acoustic guitars and piano. The lyrics were more thoughtful and surprisingly darker. While vastly different than its predecessor, the album produced two top 10 hits ("Praying For Time" hit #1 and "Freedom" hit #8) and 2 more top 40 hits: "Waiting For That Day" reached #27 and the haunting "Mother's Pride" (one of Michael's strongest compositions in my opinion) hit #46. "Something To Save" is an underrated cut from "Listen" that didn't chart. A simple piece featuring voice and guitar, the song lets his raw talent shine. Michael would hit the top again soon enough one last time: his cover (and duet) of Elton John's hit, "Don't Let The Sun Go Down On Me" was #1 in 1992. His last chart appearance occurred in 1996 when "Jesus To A Child" and "Fastlove" hit #7 and #8, respectively. Then he faded from the limelight, largely by choice of not wanting to perform as frequently. Sadly, Michael passed away from heart failure on Christmas Day in 2016 at 53 years old. His amazing voice and songwriting legacy endures, and he is currently ranked as the 49th most successful artist of all-time.
Arguably one of the most successful heavy metal bands to ever thrash the charts, Metallica's history goes all the way back to 1981. An unexpected hit emerged with their ballad, "One" (from the album "...And Justice For All"), which crept up to #35 in 1989 and earned the band their first Grammy. The first video Metallica ever made, "One" haunted the minds of viewers and had them all checking out the book and movie, Johnny Got His Gun. Expectations were running high for Metallica's next album, which was self-titled but is commonly referred to as "The Black Album." The band did not disappoint. The album yielded five top 100 singles - unprecedented for a heavy metal band. The best performer was "Enter Sandman," which peaked at #16 in 1991. But that would not be Metallica's best chart performance. The band delivered two albums in quick succession in 1996 and 1997 and the lead single, "Until It Sleeps" hit #10, giving Metallica their only top 10 hit to date. "Fuel" comes from the album "Reload" and is one of the finest tracks I've heard from any heavy metal band. Everything that is great about this band is encapsulated in this one amazing song. It was the third single, but didn't chart.
The Merrymakers may be one of the finest bands to come out of Sweden since ABBA. With a knack for amazing hooks and well-crafted harmonies, The Merrymakers released some of the best power pop records of the 90s. The masterminds behind the group are Anders Hellgren and David Myhr. "Troubled Times" is just a sample of the terrific songs packed into their 1999 release called "Bubblegun," which is easily one of my dessert island records.
Before Crocodile Dundee, Fosters, and Outback Steakhouse put all things Australian in fashion in the US, there was Men At Work. Few bands can boast back-to-back debut #1 singles, but Men At Work pulled it off with "Who Can It Be Now?" and "Down Under." Surprisingly, nothing else charted from their landmark debut album, "Business As Usual." Still, their out-of-the-box success won them the 1982 Grammy for Best New Artist. The boys, led by vocalist Colin James Hay, were under a lot of pressure to avoid a sophomore jinx, but once again they pulled it off. "Overkill" went to #3, "It's A Mistake" hit #6, and "Dr. Heckyll & Mr. Jive" landed at #28. Then Men At Work were forced into early retirement. Their third album, 1985's "Two Hearts" was a flop, generating their last top 100 single, "Everything I Need," which stalled at #47. The sessions for the album got heated and caused some members to leave. Colin James Hay embarked on a quiet solo career after "Two Hearts" broke. "High Wire" is a great tune from their sophomore record, "Cargo." I recall hearing it on the radio, but it did not hit the chart.
Hailing from southern Indiana, rock artist John Mellencamp started his career as John or Johnny Cougar, a name given to him by David Bowie's manager, thinking it would help him mass an audience. Mellencamp was likely destined for superstardom no matter what because he had songs. The prolific singer and songwriter has amassed 22 top 40 hits: 10 reaching the top ten, and one reaching #1 ("Jack & Diane"). He was the 9th most successful artist in the 80s and won a Grammy for "Hurts So Good," which reached #2 in 1982. Mellencamp stayed true to his midwestern sound throughout the 90s, but what brought him continued success was his fearlessness to experiment. He fused some reggae, rap, and electronic beats into some of his tunes, keeping critics interested and audiences entertained. He's also performed some high-profile duets, the most successful being a cover of Van Morrison's "Wild Night" with Me'Shell Ndegeocello, which hit #3 in 1994. The brilliant "Peaceful World" from 2001 was recorded with India.Arie but it bubbled under. Mellencamp hasn't seen the top 100 since 2006, when "Our Country" stalled at #88. The single comes from the album "Freedom's Road," an underrated effort in his catalogue that seemed poised to be a major comeback. "Someday" is another terrific cut from this record that should have restored him to top 40 glory.
With the resurgence of piano rock in the 2000s, led by groups like The Fray, Keane, and Five For Fighting, you'd think Melee would have been able to capitalize on it. Sadly, their 2007 major label debut, "Devils And Angels" went nowhere. For me, it was one of the best records of the year. "Built To Last" is the leadoff track from the record, and it surprises me to no end that it wasn't a hit. After the follow-up record in 2010 called "The Masquerade" also tanked, the band called it quits. What a waste of chemistry and talent!
One of the most successful artists to pioneer theatrical rock is none other than Michael Lee Aday, better known as Meat Loaf, a nickname given to him by a football coach. His unique style and voice was getting noticed early in his career, as he was cast in The Rocky Horror Picture Show and was invited to sing most of the tracks on the 1976 Ted Nugent record, "Free-For-All." Meat Loaf's big break arrived with his epic 1977 record, "Bat Out Of Hell." It became one of the biggest selling albums of all-time and produced three top 40 hits that are now staples of classic rock: "Two Out Of Three Ain't Bad" (#11), "Paradise By The Dashboard Light" (#39), and "You Took The Words Right Out Of My Mouth" (#39). His follow-up record was delayed four years thanks to a vocal injury, and after "I'm Gonna Love Her For Both Of Us" stalled at #84 in 1981, it appeared Meat Loaf was toast. Enter one of music's most unlikely comebacks: in 1993, Meat Loaf scored his biggest hit with "I'd Do Anything For Love (But I Won't Do That)." The song, which had everyone guessing what he wouldn't do, stayed at #1 for a ridiculous five weeks and earned the Loaf a well-deserved Grammy. The song came from his 7th album, and second in the "Bat Out of Hell" trilogy. The success helped keep Meat Loaf on the charts until 1996, when "Not A Dry Eye In The House" stalled at #82. There were high hopes in 2006 that the third installment of the "Bat Out Of Hell" trilogy would make people hungry for Meat Loaf once again. The record still has the epic (in other words, overly long), soaring ballads one would expect, but it also rocks harder than its predecessors. It failed to reignite his chart career, but there are some worthy cuts like "If It Ain't Broke, Break It."
The Meadows, fronted by singer/songwriter Todd Herfindal, released two terrific albums in the 2000s: their self-titled debut arrived in 2005 and their sophomore release, "First Nervous Breakdown," arrived in 2008. Both are filled with a bevy of tracks that shine with pop rock goodness along the lines of The Rembrandts or Tom Petty. "Long Goodbye" is just a taste of what The Meadows had to offer. If their two albums aren't enough for you, be sure to check out Herfindal's solo efforts.
Pop and soul duo Mel and Tim (Mel Hardin and Tim McPherson) had a handful of minor hits in the early 70s, beginning with their most famous, "Backfield In Motion," which went to #10. Their version of "Starting All Over Again" went to #19 in 1972. "Good Guys Only Win In The Movies" (written by Gene Chandler) was their only other chart appearance, reaching #45 in 1970. I've always loved their version and was surprised it didn't set radio on fire.
Although he is adored by many music critics, pop singer and songwriter David Mead has not been able to find mainstream success. He's been steadily cranking out pop perfection since 1998 when he released his major label debut, "The Luxury Of Time." His output ground to a halt with the release of the excellent "Dudes" in 2011, but I hope we get to hear more from him soon. Every song Mead does is very good, but there are two or three tracks on each album that are just stunning. "Girl On The Roof" comes from his 2001 record, "Mine And Yours," and should have been the song that made Mead a household name. Other favorites spanning his career include "Chatterbox," "Indiana," "Ordinary Life," and "King Of The Crosswords."
Christine McVie has been the keyboardist and one of the hit-making voices in Fleetwood Mac since 1970. While most of the other members of the band have released multiple solo albums, Christie McVie has only indulged in two, not counting her pre-Fleetwood Mac effort from 1970 released under her maiden name, Christine Perfect, or her more recent duo effort with Lindsey Buckingham. McVie's biggest solo effort came in 1984, following the monstrous success of Fleetwood Mac in the 1970s and early 1980s. It was self-titled record and yielded her only two chart hits: "Got A Hold On Me" (#10) and "Love Will Show Us How" (#30). She would soon regroup with Fleetwood Mac for their hugely successful comeback album, "Tango In The Night." While most of the tracks are pretty nondescript, "Keeping Secrets" strikes me as an underrated gem. It has a catchy chorus with ear-pleasing harmonies that make it worthwhile.
Jon McLaughlin is a singer/songwriter who loves his home state so much that he named one of his albums after it: Indiana. Released in 2007, "Indiana" marked his major label debut and remains one of his finest pieces of work. By the next year, McLaughlin changed his piano-based sound to something more slick and commercial. It attracted a bigger fan base, but made others - like me - lose interest. "Industry" is the track that stopped me in my tracks and made me pay attention to this truly gifted piano player.
The 90s were great for women in music, culminating in the founding of the Lilith Fair tour in 1997, which featured only female artists. Canadian singer and songwriter Sarah McLachlan was the woman behind this popular tour. McLachlan began to grace the radio airwaves with her angelic voice in 1994 with minor hits like "Possession" (#73) and "Good Enough" (#77). But her mainstream success arrived in 1997 with the release of her third album, "Surfacing," which spawned top ten hits "Adia" (#3) and "Angel" (#4). McLachlan racked up two Grammys for Female Pop Vocal in the 90s as well, one for "Building A Mystery" (which went to #13 in 1997) and another for "I Will Remember You" (which reached #14 in 1999). "I Will Remember You" also hit #65 in 1995, but re-charted thanks to the popularity of her live version of the song. McLachlan scored a few more minor hits in the new millennium, but her last chart appearance was in 2006 when "River" struggled to reach #71. There's no good reason why she shouldn't still be gracing the airwaves. "Stupid" is probably one of her more aggressive tunes, and it is remarkable that it did not perform better. Despite her delicate tone, her angst is palpable and the song succeeds on many levels. I wish she would have done more like this.
If Tom Petty was ever inspired by The Byrds, things came full circle in 1990 with the release of "Back From Rio," a long-awaited record from founding member Roger McGuinn. McGuinn hadn't seen any chart action since 1979 when "Don't You Write Her Off" reached #33. That song was done by remnants of The Byrds who simply called themselves McGuinn, Clark & Sullivan. But Tom Petty's influence is all over the tunes on "Back To Rio," most notably on their duet called "King Of The Hill." Nothing from this record helped get McGuinn back on the charts, but it is a pleasant affair that reminds the listener of the classic 12-string guitars and harmonies that The Byrds made famous. "Suddenly Blue" is one of the best off the record. The song was co-written with Scott Cutler, who would later score a smash hit when Natalie Imbruglia covered his song "Torn" in 1997.
How do you top being a member of one of the greatest bands in history? You don't. But you can come real close. Paul McCartney has had a phenomenal run after his time in The Beatles, and with a new record out this month, he doesn't show signs of stopping even at the age of 76. (By the way, his new single "Come On To Me" proves he still has the magic.) The Beatles were the #1 artist of the 60s, and McCartney came close to being the #1 artist of the 70s (he landed at #2 since Elton John claimed #1). McCartney currently ranks as the 18th most successful artist of all-time, and this does not include his time with The Beatles. McCartney came out of The Beatles strong, with the #5 hit "Another Day" quickly followed by the #1 smash, "Uncle Albert/Admiral Halsey." He'd hit the #1 spot five more times in the 70s and three times in the 80s. Some of his biggest hits of the 80s included duets: "Ebony and Ivory" with Stevie Wonder was #1 for 7 weeks in 1982, and he scored two hits with Michael Jackson: "The Girl Is Mine" hit #2 and "Say, Say, Say" was #1 for 6 weeks. McCartney fever began to fade in the 90s as silly love songs and catchy pop riffs fell out of fashion, but his 2005 record, "Chaos and Creation in the Backyard" was widely acclaimed to be a significant comeback album. "Promise To You Girl" is just one of the many fine tracks gracing this record. Nothing from this terrific record charted, nor has any of his subsequent work. However, an unlikely hit sung with Rihanna and Kayne West surfaced in 2015 that took McCartney back to #4 on the charts (his first top 10 hit in 30 years, since "Spies Like Us" reached #7 in 1985).
The former leader of The Impressions throughout the 50s and 60s, Curtis Mayfield embarked on a solo career through the 70s. While his early tunes failed to get much attention, he broke big time with songs from the movie Superfly. "Freddie's Dead (Theme From "Superfly")" hit #4 in 1972 followed by "Superfly," which hit #8. Mayfield would see the top 40 twice more with "Future Shock" (#39) and "Kung Fu" (#40).
"Move On Up" is one of his early classics that never charted, but should have.
Mayfield maintained a presence on the R&B charts, even after being paralyzed from the chest down after a stage accident in 1990. He passed away in 1999 at the age of 57.
John Mayer is a singer/songwriter who rose to fame in the 2000s with his distinctive vocals and extraordinary prowess on the guitar. It may surprise you that this well-known artist has yet to break into the top 10, although he's come close with favorites like "No Such Thing" (#13), "Your Body Is A Wonderland" (#18), "Daughters" (#19), "Waiting On The World To Change" (#14), and "Say" (#12). But who needs the top 10 when you have Grammys? Mayer has no less than 6 of them to date: "Your Body Is A Wonderland" won Grammy for Pop Male Vocal "Daughters" won a Grammy for Song of the Year and a Grammy for Pop Male Vocal "Waiting On The World To Change" won a Grammy for - guess - Pop Male Vocal "Gravity" won a Grammy for Rock Solo Vocal "Say" won a Grammy for Pop Male Vocal (Yet again! Can't any other guys sing today?) "Only Heart" is one of his more upbeat and groovy tracks, lifted from his sophomore release from 2003, "Heavier Things." While it hasn't received the attention of his hits, this one ranks among one of my favorites from Mayer.
You ever look over a recipe and think, "Gee, this is going to taste awesome!" But then you cook it up and it's not as awesome as you thought it would be. That's how I feel about the Dave Matthews Band. They have all the ingredients that I normally love about a musical group, but for some reason what they cook up just doesn't appeal to me all that much. I have no logical explanation why this is the case.
The band burst onto the music scene in 1995 with "What Would You Say" (which hit #22), providing a much needed reprieve from the dank dungeon of grunge. Other popular hits the band had over the years included "Ants Marching" (#21), "Crash Into Me" (#19), and "The Space Between" (#22). Their best chart performance to date occurred in 2005 when "American Baby" reached #16.
I find the band's 2009 effort, "Big Whiskey And The GrooGrux King," to be among their most accessible albums. "Why I Am" is driven by an infectious guitar riff that brings me back time and time again.
One of the greatest bands to never crossover into the mainstream was Material Issue. This rocking trio from Chicago quickly made a lot of fans with the release of "International Pop Overthrow" in 1991. Filled with powerpop gems, many named after girls, all eyes were on them to break big with their sophomore effort, 1992's "Destination Universe." Needless to say, "Destination Universe" flopped, despite wonderful radio-friendly cuts like "What Girls Want," "Who Needs Love," "Don't You Think I Know," and the earnest acoustic ballad, "Everything." I guess their brand of melody and harmony was no match for trendy grunge and slacker rock. "Destination Universe" remains one of my favorite records from the decade - it's an oasis among the dark and gloomy releases comprising the musical landscape at the time. The group returned in 1994 to release a solid follow-up, "Freak City Soundtrack," but it didn't help get the band noticed. After being dropped from their record label the following year, lead singer and songwriter Jim Ellison committed suicide. The band released some songs they were working on before he took his life on 1997's "Telecommando Americano." A tragic end to a most talented and underrated songwriter.
Led by the vocal powerhouse Rob Thomas, Matchbox Twenty rose to the top of the post-grunge bands in the late 90s with their monstrous 1996 debut, "Yourself Or Someone Like You," which spawned three top 10 hits ("Push" hit #5, "3 AM" hit #3, and "Real World" hit #9) and a fourth single that topped out at #24 ("Back 2 Good"). Still, their biggest hit arrived with their rather tepid sophomore record. "Bent" gave the band their only #1 to date, followed by another top 5 hit with "If You're Gone." The most worthy song of the charts from their "Mad Season" record in my opinion was "Last Beautiful Girl," but as a fourth single it flopped. The Florida band delivered a back-to-basics record with "More Than You Think You Are" in 2002. To me, it is their best effort. It returned the band to the top 5 ("Unwell," one of the band's greatest pop tunes, landed at #5). Other chart appearances from this underrated record were "Disease" (#29) and "Bright Lights" (#23). "All I Need" also comes from this record and should have easily gone top 10 in a perfect musical world. The band released some new tunes as part of a greatest hits package in 2007. Everyone knows Rob Thomas has enjoyed a successful solo career, but lesser known is that drummer Paul Doucette fronts his own side band, The Break and Repair Method. Matchbox Twenty still works together, though. Their last effort was "North" in 2012, which gave them their last top 40 hit to date when "She's So Mean" went to #40.
Dave Mason is a singer and songwriter from England originally known for his work in the band Traffic. He struck out on a moderately successful solo career in the 70s. His best known hit was "We Just Disagree," which peaked at #12 in 1977. Mason's only other appearance in the top 40 arrived in 1978 when his version of the Carole King hit "Will You Still Love Me Tomorrow" peaked at #39. While reaching a respectable #45 in 1978, I always thought "Let It Go, Let It Flow" was a winner that deserved better. Mason resurfaced in 1993 as a short-lived member of Fleetwood Mac.
Singer and songwriter Richard Marx is well-known for his string of monster hits in the late 80s and early 90s (the first solo artist ever to have his first 7 singles land in the top 5). But he'd been long working in the music business before his debut hit "Don't Mean Nothing" reached #3 in 1987 and after his final chart appearance in 1997 (when "At The Beginning," a duet with Donna Lewis featured in the movie Anastasia, topped out at #45). Marx had been singing commercial jingles since the age of 5 and then found himself singing backup vocals for the likes of Lionel Richie. Richie got a demo tape of some of Marx's original songs to Kenny Rogers, who ended up recording some ("Crazy" and "What About Me?"). After a few more years of hustling, Marx finally got a record deal of his own and recruited musicians from The Tubes (Fee Waybill) and Eagles (Joe Walsh, Randy Meisner) to play on his self-titled debut, which would sell nearly 4 million copies. If you're looking for a lost gem from this record, check out "Lonely Heart." His sophomore record, "Repeat Offender," did not prove to be a jinx, yielding five more top 15 singles for Marx. Underrated tunes from this effort include "Nothin' You Can Do About It" and "Waiting For The Sunrise." While it performed well, his third effort ("Rush Street") met with mixed reviews. Shuffling music styles like a deck of cards, this record contains the trademark rock and pop fans grew to love, but mixed in some blue-eyed soul and sultry tunes that foreshadowed his transformation into an adult contemporary balladeer. I'm not a big fan of this record, but "Take This Heart" (which landed at #20) and "Big Boy Now" are worth a spin. Marx's fourth record, "Paid Vacation," is one of my favorites and possibly his most underrated. It felt like a strong return to form, although its lead single was yet another ballad. But what a beautiful ballad it was: "Now And Forever" had gorgeous acoustic guitar, a heartfelt vocal, and sweeping orchestration that remind me of Bread. The song reached #7 in 1994 (remarkable since grunge was in full swing) and marked Marx's final showing in the top 10. "Heaven's Waiting" is a more upbeat acoustic-based rocker from this terrific record. Marx continues to release records every now and then and has obtained huge success as a songwriter for other artists - everyone from NSYNC to Kenny Loggins to Luther Vandross ("Dance With My Father" won Marx a songwriting Grammy).
Marvelous 3 released a trilogy of records in the late 90s that contain some of the greatest modern rock of the era. Mixing pop smarts with wit and delectable harmonies, Marvelous 3 should have been huge, but most people don't even remember the one song that got a lot of airplay in 1999: "Freak Of The Week." After the demise of glam band SouthGang, the multitalented guitarist/vocalist/songwriter Butch Walker formed Marvelous 3 with a couple of his old bandmates. For reasons science will never understand, the band didn't take off, and Walker walked to try a solo career (which we will get to eventually...be patient). Walker has found bigger success as a songwriter and producer for other notable acts. "Indie Queen" comes from what I feel is their best record, "Hey! Album," from 1998. Simply gorgeous and arguably the most persistent ear worm of the decade.
Martin's Dam emerged after the demise of the little known 80s AOR outfit called Bricklin. The brothers Bricklin (Scott and Brian) regrouped and shifted their style of music towards more of a singer/songwriter vibe, not far removed from the likes of Toad The Wet Sprocket or Counting Crows. The band released two albums in the 90s, "The Healing" and "Sky Above," the latter containing a few re-recorded favorites from the former along with a handful of new songs. It is a shame these records didn't put the boys on the charts, as I would have loved to have heard more from them and their fantastic harmonies. Scott Bricklin would move on to a solo career and joined another band called US Rails. "Fear Of Flying" is one of their best, and I can only find a live version on the net. These guys aren't even on Spotify at the time of this writing. Other favorites include "Mercy Blue," "Come See Julia," and "It Ain't Me."
Moon Martin is a singer songwriter who scored a minor hit in 1979 with "Rolene," which peaked at #30. He had one other charting single after that: "No Chance" landed at #50. Despite some airplay with favorites like "Love Gone Bad," "Bad News," and "XRay Vision," he couldn't gain any traction. However, his song "Bad Case Of Lovin' You (Doctor, Doctor)" was made famous by Robert Palmer, who took the tune to #14 in 1979. Moon's real name is John, but he started going by "Moon" after fans commented on his proclivity to mention the moon in his song lyrics. "No Dice" is a perky rock number with a hint of rockabilly that he should have gambled on.
Most folks are familiar with New York singer and songwriter Eric Martin thanks to his work in the supergroup, Mr. Big (we'll get to them shortly). Before his tenure in Mr. Big, and during their downtime, Martin makes solo records. The first arrived in 1983 in the form of The Eric Martin Band and was called "Sucker For A Pretty Face." It contains some underrated gems like the title track, "Young At Heart," and "Just Another Pretty Boy." With his sophomore release, Martin scored his one and only charting single as a solo artist. "Information" peaked at #87 in 1985. He released a third record, "I'm Only Fooling Myself" in 1987, but if failed to generate a hit. No worries, because he'd soon join Mr. Big and score a #1 smash. In 2002, Martin released another solo record with this as a title track: "I'm Goin' Sane." It had an updated sound, catchy chorus, and relatable lyrics that should have breathed new life into this talented vocalist's chart career. Should have, but didn't.
Hailing from Detroit, Derek Martin worked feverishly in multiple groups to get a major hit in the 50s and 60s but never quite reached the mark. His lone chart appearance came in 1965 when "You Better Go" reached #78. "Daddy Rollin' Stone" is a masterful cover of the 1953 version by Otis Blackwell. Martin's rendition came out in 1963 and marked his first solo effort - it didn't chart, but it started getting him the attention he deserved. Too bad it didn't translate into a sustained chart career.
Few groups got off to such a successful start as Martha & The Vandellas. The Vandellas, fronted by the great Martha Reeves, sang backup on several tunes by Marvin Gaye. When they teamed up with the songwriting powerhouse Eddie Holland, magic happened and they became the 50th most successful act of the 60s. In 1963, they scored their first hit with "Come And Get These Memories," which went to #29. The rest is history with a string of impressive hits like "Heat Wave" (#4), "Quicksand" (#8), "Dancing In The Street" (#2), "Nowhere To Run" (#8), "I'm Ready For Love" (#9), "Jimmy Mack" (#10), and "Honey Chile" (#11). As the 60s turned into the 70s, the music scene was a-changing, and their malt shop style was losing fashion. Released in 1970, "I Gotta Let You Go" only reached #93 - it probably would have gone top 10 if released a decade earlier. The group scored one final chart hit when "Bless You" reached #53 in 1971. Martha Reeves then left to pursue a solo career, which didn't pan out.
Indie singer, songwriter, guitarist, and pianist, (and probably some other -ists I don't know about), Adam Marsland is one of those acts you hear in some dive bar and say, "Man, what are you doing here?" In 2004, Marsland released what some consider to be his best record, one that should have attracted the attention of major record labels. It was entitled, "You Don't Know Me," but unfortunately he stayed that way...largely unknown except for his flock of loyal fans. "My Kickass Life" is just one highlight from that record, but be sure to check out "Have A Nice Day" and the title track, too. And if you want to feel your heart get ripped out, spin "Stranger On The Street," a song about the pain of giving up your baby girl for adoption.
Craig Marshall is an independent singer and songwriter based in Texas who has been cranking out quality records since "Popular Crimes" in 2002. He does a mix of rock and pop, and recently dived into the country market. "I Know What It's Like" is an extraordinarily catchy ear worm that should have given Marshall an easy hit. It comes from his 2008 record, "Point Of View." What a sublime chorus!
Canadian native Amanda Marshall is a powerhouse vocalist who was first noticed by fellow Canadian and blues rocker Jeff Healey, who took her on tour. By 1995 she released her self-titled debut solo album, which became a monster success up North. The record landed with a dull thud in the US, however. Only managing to spawn one minor chart hit ("Birmingham" hit #43 in 1996), Marshall failed to strike a chord with US audiences. Maybe Celine Dion was enough. Even the stellar song "Let It Rain" didn't resonate with Americans. Marshall's second release, "Tuesday's Child," arrived in 1999 and quickly became another success story in Canada. Not so much in the US, despite Marshall landing several of her songs in popular movies like Tin Cup and My Best Friend's Wedding. Marshall sings her heart out on every song she does, but nothing blows me away quite as much as "If I Didn't Have You." Hard to get to the end without getting goosebumps.
The Marmalade were an underrated Scottish band known as one-hit wonders in the US. Their only top 40 hit stateside was in 1970 when "Reflections Of My Life" reached #10. The song is a holdover from the late 60s with its sweet melody and gentle horns. The Marmalade made plenty more like this, but many don't know the other sides of this talented band. As they moved into the 70s, they forged ahead with a grittier classic rock sound (check out "Radancer"). "The Ballad Of Cherry Flavor" showcases their folky acoustic side so much that it could be mistaken for a Bob Dylan song.
Never been a big reggae fan, and rarely do such acts crossover to the Top 100 chart. But there are some artists who simply transcend their musical genre and create art that virtually everyone enjoys and appreciates. Bob Marley had this magical touch in abundance. Despite his legendary stature, Marley only had a single chart appearance in 1976 when "Roots, Rock, Reggae" managed to crawl its way to #51. He has a remarkable catalogue of songs that nearly everyone knows, but none of them landed on the charts. Which makes it really difficult to pick one to highlight. After long deliberations, I settled on "Three Little Birds." Released in 1977, it is among six songs Marley has secured in the Rock and Roll Hall of Fame, and a favorite go-to song when I need to chill.
Singer and songwriter Benny Mardones was a one-hit wonder in the 80s, but his best known song actually charted twice. "Into The Night" hit #11 in 1980 and then returned to the chart in 1989 and reached #20. His hit song came from the 1980 record, "Never Run Never Hide," which should have spawned additional hits like "Hometown Girls" and this jamming rocker one, "Hold Me Down." But the album remains an underrated gem known only to AOR collectors. Mardones would continue to flex his powerhouse vocals throughout the decade and beyond, but never got another single onto the charts. He could have been as big as Michael Bolton, but one Michael Bolton was enough.
Roger Joseph Manning, Jr., is one of the founding members of power pop favorites, Jellyfish. After completing one album with a new band in 1996 (Imperial Drag), he continued his fancy for baroque pop as a solo artist, releasing his first effort in 2006. In Japan, it was called "Solid State Warrior" and in the US it was called "The Land Of Pure Imagination" (there are some minor differences between the two releases). Fans of Jellyfish will instantly recognize the melodies and style of Manning's solo work, which comes closest to the Jellyfish sound than most other solo work from his fellow Jellyfishers. "Too Late For Us Now" is but one example of his innovative songwriting. If you're in the mood for something slower, check out the sublime "Appleby."
Aimee Mann rose to fame as the voice behind 80s one-hit wonders, 'Til Tuesday. Some may also remember her as Geddy Lee's partner in the duet "Time Stand Still" by Rush in 1987. But Mann has been quietly cranking out solo records since her debut album in 1993, "Whatever." Mann is a darling of critics, but her brand of snarky lyrics wrapped in perky pop hasn't translated into commercial success. Her only chart appearance occurred in 1995 when "That's Just What You Are" (co-written with Jon Brion) managed to climb to #93. The song was lifted from her sophomore effort, "I'm With Stupid," which boasted lots of special guests. Do you recognize the backing vocals on "That's Just What You Are"? That's Glenn Tilbrook and Chris Difford of Squeeze. Juliana Hatfield sang on some tracks, and her future husband, Michael Penn, played acoustic guitar on several tracks. While commercial success has been elusive, her songwriting prowess has earned her two Grammys and wide critical acclaim. "Say Anything" defies all logical explanation for not giving Mann more commercial success. From her debut solo effort, it remains one of the best, most radio-friendly tunes she's ever written.
