Believe it or not, Phil Collins was once just a member of this group called Genesis.
Post Tagged with: "S. Victor Aaron"
Led Zeppelin’s image, dating back to the band’s debauched 1970s heyday, has grown so outsized that it sometimes obscures, well, the music.
Supertramp was many things over its too-brief period of hitmaking — art-rockish proggers, post-Beatle popsters, kinda-classical rockers, memory-defining radio monoliths. There was much to love as they moved, over the course of the early-1970s to the early-1980s, from the esoteric to the very top of the charts
In a way, the Who has no one to blame for a slow and steady slide into overlooked rock-god status.
by S. Victor Aaron So you’re thinking, “Timbuk 3, weren’t they the ones who had that cool song back in the 1980s …?” Yes, yes, we’re talking about that husband and wife tandem of Pat and Barbara K. McDonald
If there’s one song I am drawn to by the message alone, it’s this one. The cheesy late-eighties production and the plain melody does not bother me one bit.
Musician and street poet Gil Scott-Heron, best known for “The Revolution Will Not Be Televised,” died today. Cause of death was not immediately known; he was 62. Scott-Heron started out at the dawn of the 1970s as a jazz-inclined R&B singer and spoken-word performer, a rapper years before the genre was formally invented. “The Revolution Will Not Be Televised” —Read More
Australia’s Little River Band placed 11 songs in the Top 40 in the late 1970s and early 1980s, becoming one of the most successful acts to come from Down Under.
Critics hung soft rock around their necks after the success of tunes like “I Won’t Hold You Back,” “99″ and “I’ll Be Over You.” But Toto was never so easily identifiable. A closer listen uncovers a musical pallette that brings in heavier guitar sounds, funk, soul, R&B, jazz, even prog rock. Top 5 hits like “Hold the Line,” “Rosanna,” andRead More
A band suspended forever between the formalism of Dennis DeYoung’s Broadway pretensions and the harder-edged banalities of James Young and Tommy Shaw, Styx sounded different every time it came on the radio. Yet, critics insisted, somehow the same: Mediocre.