by Unkle F777 (From the original THC Zine website)
[some photos by R Ibanez]
Glam rock and 80s hair metal took a hard nosedive by the early 90s when it went beyond saturation point. The music world probably was either fed up or wanted something new? Record labels dredged up “fresh” cutting edge music such as “grunge”, alternative rock, indie, and 90s metal that the Gen X kids ate up.
For a while the early generation of glam rock became a forgotten phase. Many of these bands that made it past the mid 90s actually created good albums that were earlier written off but later revisited. Some just faded away until sometime in the 2000s when they made successful comebacks, proving that good music prevails over trends, including the music styles that kicked it out in the first place.
Here is part one of our special report:
Cinderella – Night Songs
Mercury Records
(1986)
Many non-glam rockers may remember Cinderella as one of the 80s hair metal bands that Beavis and Butthead made fun of during their 90s heyday on MTV.
However, those who actually listened to them and their impressive output of four solid albums will remember their progression from decent 80s hard rock/metal to a formidable blues/classic rock/hard rock unit, starting from their 2nd album, “Long Cold Winter” onwards.
Their debut record “Night Songs” though, carries all the trademarks of 80s hair metal and glam rock. But it was an above average debut that put them ahead of many other bands that came out during the hot glam era of the 80s.
None other than Gene Simmons and Jon Bon Jovi took notice and tried to get them signed to a major label deal. However, only Bon Jovi succeeded in getting them onto the corporate rock world, even appearing on their lead single/music video “Somebody Save Me” with Richie Sambora, “stealing” their hot groupie video mascots in the end of the video, much to their disappointment. He also provided backing vocals on two songs: “Nothin’ for Nothin’” and “In from the Outside”.
Night Songs boasts of a good production typical of that 80s sound: crunchy guitars, booming drums and bass (with a super snappy 80s snare sound that some hated (?)), and an energetic overall vibe.
The real deal though is their songs, crafted from the perspective of working class musicians who had to work hard and struggle first before making it big. Their hard work and background are present in their lyrics and attitude, and their work ethic, as they embarked on world tours to present their killer repertoire to the hungry rock n’ roll masses.
Tom Keifer’s raspy, high pitched vocal approach fit their sound to a T. He told tales of working hard on the weekdays and rocking out on the weekends (the title track). There were lyrics that displayed some low points in their lives in desperation and crying out for help (“Somebody Save Me”, “Nothin’ For Nothin’”), balanced by rocking and getting the girls (many of the other songs), and of course some good old heartbreak (the hit ballad and second music video, “Nobody’s Fool”).
Jeff Labar’s soaring, shredding leads were in perfect unison with Keifer’s blues inflected playing, and Eric Brittingham’s and studio sessionist Jody Cortez’s rock solid rhythm section (drummer Fred Coury joined after the album was already recorded).
One other thing that made them stand out was the influence of the blues and classic rock. Tom’s background and growing up steeped in the blues made their riffs and arrangements a little different from the majority of the glam rock fare. By the second and third album, these influences would dominate their songwriting and sound, making them stand out even more. But Night Songs carries a unique charm and a rocking attitude that still stands good to this day.
Faster Pussycat – Wake Me When It’s Over
Elektra Records
(1989)
By the time Wake Me When It’s Over came out in ’89, Faster Pussycat already had the reputation for nasty, sleazy glam rock carried over from their debut album. The fact that their name was from a Russ Meyer sleaze classic and they formed in Hollywood, LA makes no secret of their love for naughty glam metal and hard rock with a kinky outlook, attitude, and lifestyle to go with it. They also already appeared on “The Decline of Western Civilization part 2 – The Metal Years”. Their drummer Mark Michals was sacked from the band after accepting a package of heroin in the mail which of course got him instantly arrested.
All these extra curricular activities were already clear signs of what to expect when Taime Downe (cool name) and co. come rolling into your town. Their reputation precedes themselves, and of course, this record carried all these important elements as key ingredients for their sleaze rock/glam metal tunes.
Sporting a sinister voodoo priest-like character in the front and matching band photos, beads, and tarot cards along with their band photos at the back, this record propelled the band further to the top of the charts. Heavy, bluesy, with the right amount of hard rock and glam metal, it grabbed 80s rock fans by the throat with killer hooks and grand, brash tunes.
With dark tales of BDSM-style lyrics, bad relationships, and hard toil in a rock n’ roll band, Faster Pussycat scored a killer hit single from an unlikely ballad that showed a glimpse of their vulnerability, particularly of Taime Downe’s childhood pain of abandonment from his estranged father on the killer ballad “House of Pain”. Oddly enough, Transformers director Michael Bay was behind the MTV hit video, but without the trademark explosions and over the top scenery he would be later known for.
Two cool things about the band: current bassist Danny Nordahl used to be in one of the most cult hard rock bands, The Throbs; and Downe, after the first split, would later explore the industrial scene, playing in Pigface and later forming The Newlydeads with Danny Nordahl.
Enuff Z’Nuff – Strength
Atco
(1991)
It’s fair to say that Enuff Z’Nuff were unfairly lumped in the whole glam rock category after years of crafting melodic, power pop, psychedelic rock, and classic rock influenced rock n’ roll. Soundwise, their bright and melodic rock songs were different from the excessive 80s Sunset Strip sound and attitude. Band members and fans lamented that if they were just not marketed as a glam rock band, they could have had more success. But that’s the lazy and cash-grab marketing of the 80s music industry for you.
None of their members have been in serious trouble, they haven’t been in superstar brawls and feuds, and no one has overdosed. No one got involved in serious issues with drugs, violence, promiscuity, controversy, or any sort of cliched activities you’ve come to expect from your favorite glam and hair metal bands.
That said, our boys in Enuff already had their foot in the door in the 80s rock scene with their good s/t debut, which produced the hit singles “New Thing” and “Fly High Michelle”. They also got played on popular 90s sitcoms such as Beverly Hills 90210 and Northern Exposure, further exposing them to more fans.
By the time 2nd album “Strength” came out, their balanced blend of hard rock and pop/power pop sensibilities were even more pronounced. There were classic ballads, poppy hard rock, and well developed songcraft and melodic sensibilities put to good use.
The result is almost an hour of catchy, feel good poppy hard rock that’s more positive and emotional. It was something different from all the bad boy mentality, overt sleaze, or excess of many of their peers. This was a welcome change with tunes such as the hit single “Baby Loves You” that even landed them a spot on The David Letterman Show, and more screaming fans the world over.
We can say that Donnie Vie (vocals), Derek Frigo (guitar), Chip Z’Nuff (bass) and Vikki Foxx (drums) have made a killer sophomore album that further presented their unique songwriting and sound that offered a different flavor than most of their peers, producing a timeless record that should have been more recognized. And although the grunge and alternative takeover was looming in the horizon, Enuff was one of the 80s rock alumni that continued on well over to the 2000s and beyond. They stayed consistent and steady, releasing albums of good to decent quality and ignoring the trends.
Poison – Native Tongue
Capitol Records
(1993)
Like a few of the records we reviewed in this batch, Poison’s Native Tongue record was one of those released in the early 90s, and 1993 to be exact; Grunge was in full force, and so were alternative rock, indie, and the burgeoning 90s metal scene.
By 1991, Poison lost their original guitarist CC Deville. He was responsible for writing a majority of their albums, including his last one before he left the band, “Flesh and Blood”. However, his drug use and personal differences with other members have become problematic at this point, which led to his firing.
Left with one of their major songwriters out, Poison were at the crossroads. The major shift in the music industry didn’t help either, as 1991 saw the complete outbreak of Nirvana, Pearl Jam, and the grunge and alternative rock bands dominating the rock charts and MTV.
Poison held auditions, being open to collaborating with fresh new talent to keep their band active. Enter hotshot guitarist Ritchie Kotzen, then a 21 year old virtuoso with heavy influences of the blues, funk, R&B, and jazz fusion.
Among the thousands of demos Poison had to go through, Kotzen beat all of them, including his future replacement, outstanding guitarist Blues Saraceno. He already had two solo albums under his belt in the Shrapnel Records catalog, making him one of the hottest shredders in the business.
Kotzen remembers showing up for the audition without having much practiced Poison’s material, which resulted in lukewarm reactions from the band. He also experienced technical difficulties, such as his Marshall amp suddenly producing smoke. But he was a great shredder, and he had a handful of new material he just wrote.
Poison wanted to jam on new material anyway. Bret Michaels asked if he had any new riffs they can jam on, and Kotzen showed them what was to become “Until You Suffer Some (Fire and Ice)”, the final title of which was a collaboration between him and Michaels. This set off the theme for rest of the album. Poison found the guitarist they were looking for.
Native Tongue thrived in what seemed like a hostile environment for fun loving glam rock and hair metal. The infusion of blues, funk, and classic rock into the Poison sound worked. Songs like “Stand”, “7 Days Over You”, “Theater of the Soul”, “Blind Faith”, and of course “Until You Suffer Some (Fire and Ice)” stood out and carried them through the death valley of heavier, grittier 90s rock.
Kotzen effectively brought out heavy, bluesy soul from the band, something they’ve already had in them all along. They just needed the right someone to jam and create new songs with. Despite the disconnect and indifference of many fans, the album was a successful risk that yielded great songs.
Alas, good things never last sometimes. After a successful world tour promoting the album, Poison fired Kotzen amidst some pretty tense issues with drummer Ricki Rockett – they found out the hard way that Kotzen had an affair with his fiance. Blues Saraceno, his only rival in the audition later replaced him after Kotzen was dismissed, and recorded the album “Crack a Smile” with them, although it was shelved until 2000.
Mötley Crüe – s/t
Elektra
(1994)
Our last entry also features an otherwise good record without one of the original members in it: Mötley Crüe in ’92 found themselves without original lead singer Vince Neil. Depending on the recollection and whose side you’re listening to, it was either he quit or he was fired by the rest of the band. The band have toured extensively for Dr. Feelgood and their greatest hits albums, and then went straight into the studio for a follow up. Tensions arose during those problematic sessions, with the band getting pissed off at Neil’s lack of time and commitment.
New vocalist John Corabi was just in the right place and the right time when he reached out to Nikki Sixx after he read praises from him in the press for his band, The Scream. One thing led to another, and he found himself auditioning for the band and getting hired. They were already fans of his vocal style, and the fact the he also played rhythm guitar, which was an additional bonus for the band. Their collaboration was fruitful, resulting in the s/t album.
The s/t record was a departure from their flamboyant and wild 80s glam metal sound; Corabi’s vocals and lyrical approach about real life and the surrounding events of the gritty 90s reality helped shaped most of their tunes. Meanwhile, the overall sound was heavier and grittier as well. There were influences from grunge and 90s heavy metal that fit perfectly in Crüe’s sound. This combination produced some of their heaviest and most soul searching material, updating them into ’94.
“Hooligan’s Holiday”, the first single was just the tip of the iceberg. Their songs were more serious, more “90s” sounding without becoming too derivative. They dabbled in lonely acoustic passages and Seattle-heavy grooves. They brought back some of the aggression and heaviness of their early 80s material with 90s influences and heavier production. Corabi’s soulful and heavier vocals and range enhanced these tunes. It made for a solid one-off collaboration/experiment.
However, the band had been long gone without a follow-up to Dr. Feelgood, and of course, the music scene in the USA and the world had shifted to grunge, alternative, indie rock, and 90s metal in the rock charts. Despite selling decently and delivering musically, the s/t album failed to level with their previous sales and success, and also many of their fans. It’s a shame, since the album was well-crafted and a great standalone heavy rock album.
The band had no choice, and Vince Neil also had no choice. They reunited in ’96 and continued to rock out and rake cash well beyond the 2000s, leaving Corabi as just a 90s footnote.
Towards Harmonious Civilization Zine 
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