Wikipedia

Glam metal

Not to be confused withGlam rock.

Glam metal(also known ashair metalorpop metal) is a subgenre ofheavy metalthat featurespop-influencedhooksand guitarriffs,upbeatrock anthems,and slowpower ballads.It borrows heavily from the fashion and image of 1970sglam rock.

Glam metal
Other names
  • Hair metal
Stylistic origins
Cultural originsLate 1970s and early 1980s,Los AngelesandNew York City
Regional scenes
Local scenes
West Hollywood
Other topics

Early glam metal evolved directly from the glam rock movement of the 1970s, as visual elements taken from acts such asT. Rex,theNew York Dolls,andDavid Bowie(and to a lesser extent, thepunkandnew wavemovements taking place concurrently in New York City) were fused with the decidedly more heavy metal leaning and theatrical acts such asAlice CooperandKiss.The first examples of this fusion began appearing in the late 1970s and early 1980s in the United States, particularly on the Los AngelesSunset Stripmusic scene. Early glam metal bands includeMötley Crüe,Hanoi Rocks,Ratt,Quiet Riot,Twisted Sister,Bon Jovi,andDokken.Glam metal achieved significant commercial success from approximately 1982 to 1991, bringing to prominence bands such asPoison,Skid Row,CinderellaandWarrant.From a strictly visual perspective, glam metal is defined by flashy and tight-fitting clothing, makeup, and an overall androgynous aesthetic in which the traditional "denim & leather" aspect of heavy metal culture is replaced byspandex,lace,and usually heavy use of bright colours.

Glam metal suffered a decline in popularity in the early-mid 1990s, as thegrungeandalternativephenomena revolutionized hard rock, and fans' tastes moved toward a more natural and stripped-down aesthetic and a rejection of the glam metal visual style. During this period, many of the most successful acts of the genre's 1980s pinnacle suddenly found themselves facing disbandment as their audiences moved in another direction. Glam metal has experienced a resurgence since the late 1990s, with successful reunion tours of many popular acts from the genre's 1980s heyday, as well as the emergence of new, predominantly European bands, includingthe Darkness,Crashdïet,Reckless Love,and American bandSteel Panther.

Characteristics, fashion, and terminology

edit

Musically, glam metal combines atraditional heavy metalsound with elements ofhard rockandpunk rock,[4]addingpop-influenced catchyhooksand guitarriffs.[5][6]Like other heavy metal songs of the 1980s (most notablythrash metalsongs), they often featureshred guitarsolos.[7]They also include extensive use of harmonies, particularly in the characteristicpower ballads– slow, emotional songs that gradually build to a strong finale.[8]These were among the most commercially successful singles in the genre and opened it up to a wider audience that would otherwise not have been attracted to traditional heavy metal. Lyrical themes often deal with love and lust, with songs often directed at a particular woman.[9]

Aesthetically glam metal draws heavily on theglam rockor glitter rock of the 1970s,[10]often with very long backcombed hair, use ofhair spray,use ofmake-up,gaudy clothing and accessories (chiefly consisting of tight denim or leather jeans,spandex,and headbands).[11]The visual aspects of glam metal appealed to music television producers, particularlyMTV,whose establishment coincided with the rise of the genre.[12]Glam metal performers became infamous for their debauched lifestyles of drugs, strippers and late-night parties, which were widely covered in the tabloid press.[13]

SociologistDeena Weinsteinpoints to the large number of terms used to describe more commercial forms of heavy metal, which she groups together aslite metal.These include, beside glam metal: melodic metal, false metal, poodle bands, nerf metal, pop metal or metal pop, the last of which was coined by critic Philip Bashe in 1983 to describe bands such asVan HalenandDef Leppard.[9]AllMusicemploys the umbrella term "pop metal",which refers a late-1980s variation of pop metal characterized by flashy clothing and heavy makeup influenced byglam rock(as embodied by Poison and Mötley Crüe).[14]Use of the derogatory term "hair metal" started in the early 1990s, as grunge gained popularity at the expense of 1980s metal.[14]In the "definitive metal family tree" of his documentaryMetal: A Headbanger's Journey,anthropologistSam Dunndifferentiates pop metal, which includes bands like Def Leppard, Europe, andWhitesnake,from glam metal bands such as Mötley Crüe and Poison.[15]

History

edit

Predecessors

edit
New York Dollsin 1973. Their visual style influenced the look of many 1980s-era glam metal groups.

Music journalistStephen Davisclaims the influences of the style can be traced back to acts likeNew York Dolls,Aerosmith,KISS,Cheap Trick,Boston.[3]Sweetand to a lesser extentAlice Cooper,were influences on the genre too.[16]Finnish bandHanoi Rocks,heavily influenced themselves by the New York Dolls, have been credited with setting a blueprint for the look of hair metal.[17]

Van Halenhas been seen as highly influential on the movement, emerging in 1978 from the Los Angeles music scene on Sunset Strip, with a sound based around the lead guitar skills ofEddie Van Halen.He popularized a playing technique of two-handed hammer-ons and pull-offs calledtapping,showcased on the song "Eruption"from the albumVan Halen.[4]This sound, and lead singerDavid Lee Roth's stage antics, would be highly influential on glam metal.[18]

Mainstream success (1981–1991)

edit

First wave (1981–1986)

edit

Def Leppard,often categorized with theNew Wave of British heavy metal,mixedglam rockwithheavy metal,helping to define the sound of hard rock for the 1980s decade.[19]In March 1980, Def Leppard released their initial albumOn Through the Night,its first song "Rock Brigade" provided a hint of this future sound style. In July 1981, Def Leppard released their second albumHigh 'n' Dry,which contained the songs "Bringin' On The Heartbreak"(power ballad) and "Switch 625" (instrumental), examples of their signature sound style prevalent in their next album (Pyromania). TheHigh 'n' Dryalbum stayed on the Billboard 200 chart for 123 weeks.[20]

Bands from across the United States began to move towards what would become the glam metal sound. In the fall of 1981, Mötley Crüe (from Los Angeles) released their first albumToo Fast for Love,Kix(from western Maryland) released their first albumKix,andDokken(from Los Angeles) released their first albumBreaking the Chainsin Europe (later remixed for September 1983 re-release in USA). In November 1982,Night Ranger(from San Francisco) released their initial albumDawn Patrolwhich reached the top 40 in the United States.[21]

Quiet Riotwas one of the early glam metal bands to achieve mainstream success.

Glam Metal broke out in 1983: Def Leppard released its third albumPyromaniaon January 20, and was the first glam metal album to reach top ten in theBillboardcharts on March 12,[22]later it peaked at number two on May 14,[23]then staying in the top ten albums until it dropped to eleventh place on November 26,[24]eventually falling off the Billboard 200 chart after 123 weeks.[20]Quiet Riot'sMetal Healthwas released on March 11, then marched upwards until it reachednumber one on November 26,[24]eventually falling off the Billboard 200 chart after 81 weeks.[25]The success of Def Leppard and Quiet Riot paved the way for many heavy metal acts, both glam and otherwise, as the decade progressed.[26]That same year saw a larger wave of heavy metal albums achieve previously-unheard-of commercial success. All of the following were released in September: Mötley Crüe releasing its second albumShout at the Devil,Kiss releasingLick It Up,and Dokken re-released their first albumBreaking the Chainsin the USA.

Def Leppard'sPyromania,later certified diamond by theRecording Industry Association of America (RIAA),reached number two on theBillboard200. The singles "Foolin'","Photograph",and"Rock of Ages",helped by the emergence ofMTV,reached the Top 40.[19][27][28]Pyromania's style was widely emulated, particularly by the emerging Californian scene.[6]However, remarked Leppard'sJoe Elliott,"I don't know how anybody could confuse us with that lot. We weren't even around when all those so-called glam bands came up. We were in fuckin'HollandmakingHysteria.While they were out banging chicks or whatever, we were looking at windmills and playing pool on a table without any pockets. We were as far away from LA as any band could be. "[29]

The most active glam metal scene was starting to appear in clubs on the Sunset Strip in Los Angeles, including The Trip, theWhisky a Go Go,and the Starwood. These clubs refrained from booking punk rock bands because of fears of violence and began booking many metal bands instead, usually on a "pay to play" basis, thus creating a vibrant scene for hard rock music.[4][30]An increasing number of metal bands were able to produce debut albums in 1984, including Ratt (from Los Angeles) with its breakthrough albumOut of the Cellar,Bon Jovi (from New Jersey) with its debutBon Jovi,Great WhitewithGreat White,Black 'n Blue(from Portland, Oregon) withBlack 'n Blue,Autographwith its first albumSign In Please,andW.A.S.P.with itsself-titled debut album.

All these bands played a part in developing the overall look and sound of glam metal during the early 1980s.[4]In 1985, many more commercially successful glam metal albums began to appear, including Mötley Crüe's third albumTheatre of Pain,Ratt's second albumInvasion of Your Privacy,Dokken's third albumUnder Lock and Key,Stryper's first releaseSoldiers Under Command,Bon Jovi's second release7800° Fahrenheit,and Autograph's second albumThat's The Stuff.Los Angeles continued to foster the most important scene around the Sunset Strip, with groups likeLondon,which had originally formed as a glam rock band in the 1970s, and had seen future members of Mötley Crüe, Cinderella and Guns N' Roses pass through its ranks, finally releasing their début albumNon Stop Rockin 1985 as well.[31]

Second wave (1986–1991)

edit

By the mid-late 1980s, glam metal had begun to achieve major mainstream success in America with many of these bands' music videos appearing on heavy rotation on MTV, often at the top of the channel's daily dial countdown, and some of the bands appeared on the channel's shows such asHeadbangers Ball,which became one of the most popular programs with over 1.3 million views a week.[12][32]The groups also received heavy rotation on radio stations such asKNACin Los Angeles.[33]

Another significant year for glam metal was 1986.Bon Joviput outSlippery When Wetin that year, which was one of the most commercially significant releases of the era. The album mixed metal with a pop sensibility and spent a total of eight weeks atop theBillboard200album chart, selling over 12 million copies in the United States. It became the first hard rock album to spawn three top ten singles, two of which reached number one.[34]The album has been credited with widening the audience for the genre, particularly by appealing to women as well as the traditional male dominated audience, and opening the door to MTV and commercial success for other bands at the end of the decade.[35]

The Swedish band Europe released the anthemic albumThe Final Countdownwhich reached the top ten in several countries, including the U.S., and the album'stitle singlereached number one in 26 countries.[36]Strypermade their mainstream breakthrough in 1986 with the release of their platinum albumTo Hell with the Deviland brought Christian lyrics to their hard rock music style and glam metal looks.[37]TwoPennsylvaniabands, withHarrisburg'sPoisonandPhiladelphia'sCinderellareleased multi-platinum début albums, respectivelyLook What the Cat Dragged InandNight Songsin 1986.[38][39]Van Halenreleased5150their first album withSammy Hagaron lead vocals, which was number one in the U.S. for three weeks and sold over six million copies.[18]Additionally, some established hard rock and heavy metal bands of the era such asScorpions,Whitesnake,Dio,Aerosmith,Kiss,Alice Cooper,Ozzy Osbourne,Judas Priest,SaxonandAcceptbegan incorporating hair metal elements into their sounds and images, as the genre's popularity skyrocketed in 1985–1986.[40]

Four Def Leppard songs were on the top ten of theBillboardHot 100.[41]

Glam metal bands continued their run of commercial success in 1987 with Mötley Crüe releasingGirls, Girls, Girls,White LionreleasingPride,and Def Leppard releasingHysteriaproducing a hard rock record of seven hit singles[19]and stayed on the Billboard 200 chart for 136 weeks.[20]Another of the greatest successes of the era wasGuns N' Roses,originally formed from a fusion of bandsL.A. GunsandHollywood Rose,who released the best-selling debut of all time,Appetite for Destruction.With a "grittier" and "rawer" sound than most glam metal, incorporating elements of punk and blues,Appetite for Destructionproduced three top 10 hits, including the number one "Sweet Child O' Mine".[42]In the wake of Guns N' Roses's commercial success, other similarly rawer glam metal bands began to gain popularity like L.A. Guns andFaster Pussycat.Critics eventually termed this stylesleaze rockorsleaze metalto differentiate it from the perceived increasing commerciality of other glam metal bands.[43][44]Such was the dominance of the style that Californianhardcore punkbandT.S.O.L.moved towards a glam metal sound in this period.[45][46]

In the last years of the decade, the most notable successes wereNew Jersey(1988) by Bon Jovi,[47]OU812(1988) by Van Halen,[18]whileOpen Up and Say... Ahh!(1988) by Poison, spawned number one hit single "Every Rose Has Its Thorn",and eventually sold eight million copies worldwide.[38][48]Britny Foxfrom Philadelphia[49]andWingerfrom New York[50]released their eponymous débuts in 1988. In 1989, Mötley Crüe produced their most commercially successful album, the multi-platinum number oneDr. Feelgood.[51]In the same year eponymous débuts includedDanger Dangerfrom New York,[52]Dangerous ToysfromAustin, Texas,who provided more of aSouthern rocktone to the genre,[53]Enuff Z'NufffromChicagowho provided an element ofpsychedeliato their sound and visual style, andTora TorafromMemphis, Tennessee,who incorporated elements ofblues rockinto their music. L.A. débuts includedWarrantwithDirty Rotten Filthy Stinking Rich(1989),[54]andSkid Rowwith theireponymous album(1989), which reached number six in theBillboard200, but they were to be one of the last major bands that emerged in the glam metal era.[55]

Glam metal entered the 1990s as one of the major commercial genres of popular music, but such success would not continue for long; in 1990, débuts forSlaughter,fromLas VegaswithStick It to Ya[56]andFireHouse,fromNorth Carolina,with theireponymousalbum reached number 18 and number 21 on the Billboard 200 respectively, but it would be the peak of their commercial achievement.Y&Treleased their last album "Ten" before the band went on hiatus from a few years. [57]

Decline (1991–1997)

edit

The 1988 filmThe Decline of Western Civilization Part II: The Metal Yearscaptured the Los Angeles scene of successful and aspiring bands. It also highlighted the excesses of glam metal, particularly the scene in whichW.A.S.P.guitaristChris Holmeswas interviewed while drinking vodka on a floating chair in a swimming pool as his mother watched. As a result, it has been seen as helping to create a backlash against the genre.[58][59]In the early 1990s glam metal's popularity rapidly declined after nearly a decade of success. Successful bands lost members that were key to their songwriting and/or live performances, such as Mötley Crue's frontman Vince Neil, Poison guitarist C.C. DeVille, Def Leppard guitarist Steve Clark and Guns N' Roses guitarist Izzy Stradlin. Several music writers and musicians began to deride glam metal acts as "hair farmers",[60][61]hinting at the soon-to-be-popularized term "hair metal". Another reason for the decline in popularity of the style may have been the declining popularity of thepower ballad.While its use, especially after a hard-rocking anthem, was initially a successful formula, in the early 1990s audiences lost interest in this approach.[8][62]

The rise of alternative rock

edit

By far and away the most significant factor in the decline of glam metal was the rise ofalternative rockandgrungemusic. This included a wave of grunge bands fromSeattle,such asNirvana,Alice in Chains,Pearl JamandSoundgarden.Other alternative bands such asR.E.M.,Radiohead,Stone Temple Pilots,andthe Smashing Pumpkinsachieved mainstream success in the wake of glam's decline. The decline was particularly obvious after the success of both R.E.M.'sOut of Time(1991) and Nirvana'sNevermind(1991), the latter of which combined elements ofhardcore punkandheavy metalinto a dirty sound that made use of heavy guitar distortion, fuzz and feedback, along with darker lyrical themes, a stripped-down aesthetic and a complete rejection of the glam metal visual style and performance.[14][63]The success of bands like R.E.M. and Nirvana gave rise to a more "stripped down" musical style that was more personal and vulnerable. Many major labels felt they had been caught off-guard by the surprise success of alternative music and began turning over their personnel in favor of younger staffers more versed in the new scene. Glam acts such as Guns N' Roses and Bon Jovi attempted to adjust their sound to the changing times, whereas bands like Skid Row ended up fading away into irrelevance. As MTV shifted its attention to alternative music, glam metal bands found themselves relegated increasingly to late night airplay, andHeadbangers Ballwas cancelled at the end of 1994,[32]while KNAC went over to Spanish programming.[33]Given glam metal's lack of a major format presence on radio, bands were left without a clear way to reach their audience. Other L.A. alternative rock bands like theRed Hot Chili PeppersandJane's Addictionalso helped supplant the popularity of the genre.[64]

Changing sound

edit

Some artists tried to alter their sound, while others struggled on with their original format.[14]In 1995, Van Halen releasedBalance,a multi-platinum seller that would be the band's last withSammy Hagaron vocals. In 1996, David Lee Roth returned briefly and his replacement, formerExtremesingerGary Cherone,left the band soon after the release of the commercially unsuccessful 1998 albumVan Halen III.Van Halen would not tour or record again until 2004.[18]Welsh rock bandManic Street Preachers' 1992 debut albumGeneration Terroristsfeatured a glam metal sound.[65]The album reached No. 1 in theUK Rock Chart,[66]but failed to chart in the United States.[67]

Meanwhile, Guns N' Roses' classic-lineup was whittled away throughout the decade. DrummerSteven Adlerwas fired in 1990, guitaristIzzy Stradlinleft in late 1991 after recordingUse Your Illusion I and IIwith the band. Tensions between the other band members and lead singerAxl Rosecontinued after the release of the 1993punk rockcovers album"The Spaghetti Incident?".GuitaristSlashleft in 1996, followed by bassistDuff McKaganin 1998. Axl Rose, the only remaining member from the classic lineup at that point, worked with several lineups of the band to recordChinese Democracy– an album that would take over ten years to complete.[42]

Revivals (1997–present)

edit
The Darknessperforming in Sydney, Australia in 2004

During the late 1990s and 2000s, glam metal began to have a revival. Some established acts who had managed to weather the storm enjoyed renewed popularity, others reformed and new bands emerged to emulate the glam metal style. Bon Jovi were still able to achieve a commercial hit with "It's My Life"(2000).[47]They branched intocountry musicwith a version of their 2005 song "Who Says You Can't Go Home",which reached No. 1 on the Hot Country Singles chart in 2006 and the rock/country albumLost Highwaywhich reached No. 1 in 2007. In 2009, Bon Jovi releasedThe Circle,which marked a return to their hard rock sound and reached No. 1 on theBillboard200.[47]Mötley Crüe reunited withVince Neilto record the 1997 albumGeneration Swine[51]and Poison reunited with guitaristC.C. DeVillein 1999, producing the mostly livePower to the People(2000);[38]both bands began to tour extensively. There were reunions and subsequent tours from Van Halen (with Hagar in 2004 and then Roth in 2007).[18]The long-awaited Guns N' Roses albumChinese Democracywas finally released in 2008, but only went platinum in the US, produced no hit singles, and failed to come close to the success of the band's late 1980s and early 1990s material.[68]Europe's "Final Countdown" enjoyed a new lease of popularity as the millennium drew to a close and the band reformed.[69]Other acts to reform included Ratt,[70]Britny Fox,[71]Stryper (annually),[37]and Skid Row.[55]

TheRocklahomafestival held in Pryor, Oklahoma in 2008

Beginning in 1999,Monster Ballads,a series of compilation albums that feature popular power ballads, usually from the glam metal genre, capitalized on the nostalgia, with the first volume going platinum.[72]TheVH1sponsoredRock Never Stops Tour,beginning in 1998, has seen many glam metal bands take to the stage again, including on the inaugural tour: Warrant, Slaughter, Quiet Riot, FireHouse, and L.A. Guns. Slaughter also took part in the 1999 version with Ted Nugent, Night Ranger, and Quiet Riot.[73]Poison and Cinderella toured together in 2000 and 2002, and in 2005 Cinderella headlined the Rock Never Stops Tour, with support from Ratt, Quiet Riot, and FireHouse.[39]In 2007 the four-day-longRocklahomafestival held inOklahomaincluded glam metal bands Poison, Ratt andTwisted Sister.[74]Warrant and Cinderella co-headlined the festival in 2008.[75]Nostalgia for the genre was evidenced in the production of the glam metal themed musicalRock of Ages,which ran in Los Angeles in 2006[76]and in New York in 2008.[77]It was made into a film released in 2012.[78]

The Darkness'sPermission to Land(2003), described as an "eerily realistic simulation of '80s metal and '70s glam",[79]topped the UK charts, going quintuple platinum.One Way Ticket to Hell... and Back(2005) reached number 11. The band broke up in 2006, but reunited in 2011, releasing the albumHot Cakesthe following year.

In the mid-to late 2000s, there was a minor sleaze rock revival with groups likeHinderandBuckcherry.[80]The latter's breakthrough album15(2006) went platinum in the U.S. and spawned the single "Sorry"(2007), which made the top 10 of theBillboardHot 100.[81]Additionally, a subset ofscenebands embraced elements of glam metal. This began withBlessed by a Broken Heartand subsequently popularised by the success ofBlack Veil Brides,Escape the FateandFalling in Reverse.[82]Avenged Sevenfold's 2005 albumCity of Evilalso promoted a similar influence, seeing the band depart from theirmetalcoresound in favour of one indebted to glam metal.[83]At the same time, in Sweden there was a sleaze metal movement attempting to revive the genre, with bands includingVains of Jenna,[84]Crashdïet[85]andH.E.A.T,[86]as well as theFinnishbandReckless Love.[87]

Los Angeles bandSteel Panthermanaged to gain a following by playing 1980s style glam metal.[88]

See also

edit

Citations

edit
  1. ^D. Bukszpan,The Encyclopedia of Heavy Metal(New York City, NY: Barnes and Noble, 2003),ISBN0-7607-4218-9,p. 85.
  2. ^N. Strauss,The Dirt: Confessions of the World's Most Notorious Rock Band
  3. ^abS. Davis,Watch You Bleed: The Saga of Guns N' Roses(New York, NY: Gotham Books, 2008),ISBN978-1-59240-377-6,p. 30.
  4. ^abcdR. Moore,Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis(New York, NY: New York University Press, 2009),ISBN0-8147-5748-0,pp. 105–6.
  5. ^"Pop Metal".AllMusic.Archived fromthe originalon 5 February 2012.
  6. ^abC. Smith,101 Albums that Changed Popular Music(Oxford: Oxford University Press, 2009),ISBN0-19-537371-5,pp. 160–2.
  7. ^D. Bukszpan,The Encyclopedia of Heavy Metal(London: Barnes & Noble Publishing, 2003),ISBN0-7607-4218-9,p. 63.
  8. ^abG. T. Pillsbury,Damage Incorporated: Metallica and the Production of Musical Identity(New York, NY: CRC Press, 2006),ISBN0-415-97374-0,p. 45.
  9. ^abD. Weinstein,Heavy Metal: The Music and Its Culture(Cambridge, MA: Da Capo Press, 2000),ISBN0-306-80970-2,pp. 45–47.
  10. ^P. Auslander,Performing Glam Rock: Gender and Theatricality in Popular Music(Ann Arbor, MI: University of Michigan Press, 2006),ISBN0-7546-4057-4,p. 232.
  11. ^D. Bukszpan,The Encyclopedia of Heavy Metal(London: Barnes & Noble Publishing, 2003),ISBN0-7607-4218-9,p. 60.
  12. ^abR. Walser,Running with the Devil: Power, Gender, and Madness in Heavy Metal Music(Middletown, CT: Wesleyan University Press, 1993),ISBN0-8195-6260-2,p. 13.
  13. ^R. Batchelor and S. Stoddart,The 1980s(London: Greenwood Publishing Group, 2007),ISBN0-313-33000-X,p. 121.
  14. ^abcd"Hair metal",AllMusic.Retrieved November 2014.
  15. ^Metal – A Headbanger's Journey,DVD, ASIN B000FS9OZY (2005).
  16. ^I. Ellis,Soft Skull Press,(Soft Skull Press, 2008),ISBN1593762062
  17. ^B. Macdonald, J. Harrington and R. Dimery,Albums You Must Hear Before You Die(London: Quintet, 2006),ISBN0-7893-1371-5,p. 508.
  18. ^abcdeS. T. Erlewine and G. Prato,"Van Halen",AllMusic.Retrieved 20 June 2010.
  19. ^abcV. Bogdanov, C. Woodstra and S. T. Erlewine,All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002),ISBN0-87930-653-X,pp. 293–94.
  20. ^abc"Billboard 200 album chart history for Def Leppard".Billboard.Archivedfrom the original on 19 February 2024.
  21. ^"Night Ranger Billboard 200".Billboard.Retrieved5 December2020.
  22. ^"Billboard 200 for Week of March 12, 1983".Billboard.Archivedfrom the original on 17 February 2024.
  23. ^"Billboard 200 for Week of May 14, 1983".Billboard.Archivedfrom the original on 19 February 2024.
  24. ^ab"Billboard 200 for Week of November 26, 1983".Billboard.Archivedfrom the original on 17 February 2024.
  25. ^"Billboard 200 album chart history for Quiet Riot".Billboard.Archivedfrom the original on 23 September 2022.
  26. ^E. Rivadavia,"Quiet Riot",AllMusic.Retrieved 7 July 2010.
  27. ^"American album certifications – Def Leppard – Pyromania".RIAA. Retrieved 17 November 2011.
  28. ^Pyromania: Def LeppardAllMusic.Retrieved 17 November 2011
  29. ^McIntyre, Ken (December 2015). "Hello America".Classic Rock.p. 50.
  30. ^A. Chapman and L. Silber,Rock to Riches: Build Your Business the Rock & Roll Way(Capital Books, 2008),ISBN1-933102-65-9,p. 151.
  31. ^D. Stone,"London",AllMusic.Retrieved 19 June 2010.
  32. ^abC. Marshall, "Where do all the Videos Go?",Billboard,vol. 113, No. 25 June 23, 2001,ISSN0006-2510,p. 32.
  33. ^abM. Moses and D. Kaye, "What did you do in the war daddy?",Billboard,vol. 111, no. 23, 5 June 1999,ISSN0006-2510,p. 82.
  34. ^L. Flick, "Bon Jovi bounce back from tragedy",Billboard,28 September 2002, vol. 114, No. 39,ISSN0006-2510,p. 81.
  35. ^D. Nicholls,The Cambridge History of American Music(Cambridge: Cambridge University Press, 1998),ISBN0-521-45429-8,p. 378.
  36. ^"RIAA – Gold & Platinum".RIAA. Archived fromthe originalon 8 September 2015.Retrieved24 June2008.
  37. ^abG. Prato,"Stryper",AllMusic.Retrieved 19 June 2010.
  38. ^abcB. Weber,"Poison",AllMusic.Retrieved 19 June 2010.
  39. ^abW. Ruhlmann,"Cinderella",AllMusic.Retrieved 19 June 2010.
  40. ^Huey, Steve."Judas Priest – Turbo".AllMusic.Retrieved11 October2015.
  41. ^"Def Leppard – Chart history".Billboard.
  42. ^abS. T. Erlewine and G. Prato,"Guns N' Roses",AllMusic.Retrieved 19 June 2010.
  43. ^Harrison, Thomas (2011).Music of the 1980s.Santa Barbara, Calif.: Greenwood. p. 52.ISBN9780313365997.While Poison was writing and acting in a glamorous manner to hide the seedy underbelly of the Hollywood scene, the dirtier parts of the scene were beginning to take over Poison's place in the mainstream. Guns N' Roses lacked the glam songwriting and makeup of Poison. Because of their heavier use of the blues tonality, chord progressions became more chromatic, stylistically more in the vein of the Rolling Stones and Aerosmith, and not Kiss, as Poison's songs were. The Stones were a raw band, and music was seen as polished in Hollywood earlier in the decade. This new thread of hard rock became known as sleaze rock, led by Guns N' Roses... Guns N' Roses was the best example of a complementary two-guitar sleaze hard rock band in the 1980s; other groups who emerged from the Hollywood scene during this period include Faster Pussycat and L.A. Guns, who followed a similar approach.
  44. ^Pattillo, Alice (29 January 2020)."The best sleaze metal bands as chosen by Davey Suicide".Metal Hammer.Retrieved9 April2023.
  45. ^B. Torreano,"TSOL"AllMusic.Retrieved 7 July 2010.
  46. ^Garry Sharpe-Young,New Wave of American Heavy Metal(New Plymouth, New Zealand: Zonda, 2005),ISBN0-9582684-0-1,p. 302.
  47. ^abcS. T. Erlewine,"Bon Jovi",AllMusic.Retrieved 20 June 2010.
  48. ^"Poison Artist information",Billboard.Retrieved 18 June 2012.
  49. ^J. Ulrey,"Britny Fox",AllMusic.Retrieved 20 June 2010.
  50. ^S. T. Erlewine,"Winger",AllMusic.Retrieved 20 June 2010.
  51. ^abV. Bogdanov, C. Woodstra and S. T. Erlewine,All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002),ISBN0-87930-653-X,pp. 767–8.
  52. ^G. Prato,"Danger Danger",AllMusic.Retrieved 20 June 2010.
  53. ^G. Prato,"Dangerous Toys",AllMusic.Retrieved 20 June 2010.
  54. ^S. T. Erlewine,"Warrant",AllMusic.Retrieved 20 June 2010.
  55. ^abB. Weber,"Skid Row",AllMusic.Retrieved 10 July 2010.
  56. ^S. Huey,"Slaughter",AllMusic.Retrieved 18 June 2010.
  57. ^S. T. Erlewine,"Firehouse",AllMusic.Retrieved 6 July 2010.
  58. ^E. Danville and C. Mott,The Official Heavy Metal Book of Lists(Fayetteville, AR: University of Arkansas Press, 2009),ISBN0-87930-983-0,p. 16.
  59. ^M. G. Hurd,Women Directors and their Films(London: Greenwood Publishing Group, 2007),ISBN0-275-98578-4,p. 79.
  60. ^D. Thompson (March 1994)."I Slept With Soundgarden and Other Chilling Confessions".Alternative Press.Retrieved8 December2006.
  61. ^Magnuson, Ann(February 1992)."SUB ZEP?".Spin.Archived fromthe originalon 30 September 2007.Retrieved8 December2006.
  62. ^C. Aaron,"Don't fight the power",Spin,vol. 17, No. 11, Nov 2001,ISSN0886-3032,p. 90.
  63. ^"Grunge",AllMusic.Retrieved 18 June 2010.
  64. ^R. Moore,Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis(New York, NY: New York University Press, 2009),ISBN0-8147-5748-0,p. 117.
  65. ^Kravitz, Kayley (30 January 2015)."Archiving Pain: Richey Edwards disappeared 20 years ago, but his genius with the Manics lives on".Vanyaland.Retrieved14 May2019.
  66. ^Price 1999,p. 79.
  67. ^Price 1999,p. 92.
  68. ^"Guns 'N Roses, Gold and Platinum Database Search".Recording Industry Association of America.Archived fromthe originalon 8 September 2015.Retrieved25 November2009.
  69. ^"Rock group Europe plan comeback".BBC Home. 3 October 2003.
  70. ^S. T. Erlewine and G. Prato,"Ratt",AllMusic.Retrieved 19 June 2010.
  71. ^"Britny Fox",NME Artists.Retrieved 10 July 2010.
  72. ^C. Marshall,"From big hair and power ballads to Polish metal, every song has its niche",Billboard,vol. 112, no. 26, 24 June 2000,ISSN0006-2510,p. 42.
  73. ^"'80s Rock Never Stops On Tour",Billboard.Retrieved 10 July 2010.
  74. ^Peters, Mitchell."Hair-Metal Mania Strikes Again at Rocklahoma".Billboard.Retrieved12 March2008.
  75. ^"Hair Bands Unite in Oklahoma".nbc5i.com.Retrieved12 March2008.
  76. ^"Laura Bell Bundy Stars in 'Rock of Ages' Tuner in LA Jan 26 – Feb 18",BroadwayWorld.com, 30 November 2005.
  77. ^W. McBride,"Photo Coverage: 'ROCK OF AGES' Meets the Press",BroadwayWorld.com, 4 March 2009.
  78. ^"Rock of Ages",Internet Movie Database. Retrieved 23 June 2012.
  79. ^H. Phares,"The Darkness: Permission to Land",AllMusic.Retrieved 11 June 2007.
  80. ^Diltz, Henry (June 2007),Heard Any Good Rock-Star Stories Lately?,p. 59,Hinder, Buckcherry, and Avenged Sevenfold are working hard to conjure the spirit of Sunset Strip sleaze.
  81. ^J. Ankeny,"Buckcherry",AllMusic.Retrieved 19 June 2010.
  82. ^Stewart, Ethan (25 May 2021)."From Hardcore to Harajuku: the Origins of Scene Subculture".PopMatters.Archivedfrom the original on 25 May 2021.Retrieved25 May2021.
  83. ^Hill, Stephen."Every Avenged Sevenfold album ranked from worst to best".Metal Hammer.Retrieved9 April2023.
  84. ^M. Brown,"Vains of Jenna",AllMusic.Retrieved 19 June 2010.
  85. ^K. Ross Hoffman,"Crashdïet",AllMusic.Retrieved 11 February 2012.
  86. ^A. Eremenko,"H.E.A.T.",AllMusic.Retrieved 2 May 2010.
  87. ^"Groupies, Tattoos, and Glam-Rock: How Helsinki is the Sunset Strip of Europe".Vice.Retrieved27 June2018.
  88. ^M. Brown,"Steel Panther",AllMusic.Retrieved 19 June 2010.

Works cited

edit
  • Price, Simon (1999).Everything (A Book About Manic Street Preachers).London: Virgin Books.ISBN0-7535-0139-2.

General bibliography

edit
  • Auslander, P.,Performing Glam Rock: Gender and Theatricality in Popular Music(Ann Arbor, MI: University of Michigan Press, 2006),ISBN0-7546-4057-4.
  • Batchelor, R., and Stoddart, S.,The 1980s(London: Greenwood Publishing Group, 2007),ISBN0-313-33000-X.
  • Bogdanov, V., Woodstra, C., and Erlewine, S. T.,All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002),ISBN0-87930-653-X.
  • Bukszpan, D.,The Encyclopedia of Heavy Metal(London: Barnes & Noble Publishing, 2003),ISBN0-7607-4218-9.
  • Chapman, A., and Silber, L.,Rock to Riches: Build Your Business the Rock & Roll Way(Capital Books, 2008),ISBN1-933102-65-9.
  • Danville, E., and Mott, C.,The Official Heavy Metal Book of Lists(Fayetteville, AR: University of Arkansas Press, 2009),ISBN0-87930-983-0.
  • Davis, S.,Watch You Bleed: The Saga of Guns N' Roses(New York: Gotham Books, 2008),ISBN978-1-59240-377-6.
  • Hurd, M. G.,Women Directors and their Films(London: Greenwood Publishing Group, 2007),ISBN0-275-98578-4.
  • Macdonald, B., Harrington, J., and Dimery, R.,Albums You Must Hear Before You Die(London: Quintet, 2006),ISBN0-7893-1371-5.
  • Moore, R.,Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis(New York: New York University Press, 2009),ISBN0-8147-5748-0.
  • Nicholls, D.,The Cambridge History of American Music(Cambridge: Cambridge University Press, 1998),ISBN0-521-45429-8.
  • Smith, C.,101 Albums that Changed Popular Music(Oxford: Oxford University Press, 2009),ISBN0-19-537371-5.
  • Walser, R.,Running with the Devil: Power, Gender, and Madness in Heavy Metal Music(Middletown, CT: Wesleyan University Press, 1993),ISBN0-8195-6260-2.
  • Weinstein, D.,Heavy Metal: The Music and Its Culture(Cambridge, MA: Da Capo Press, 2000),ISBN0-306-80970-2.
  • Weinstein, D., "Rock critics need bad music", in C. Washburne and M. Derno, eds,Bad Music: the Music we Love to Hate(London: Routledge, 2004),ISBN0-415-94366-3.
  • Yfantis, V., "Power Ballads And The Stories Behind", (Athens: CreateSpace Independent Publishing Platform, 2021),ISBN1546723404.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Glam_metal&oldid=1259104973"