Ticket 2 Ride

The 1980s turned classic rock upside down. Some artists adjusted and thrived, some plowed on, others that careers that tanked. Every decade or so, music resets, new genres emerge, a new audience appears and cultural tastes change.

So, here’s a look at some classic rockers and how I saw their musical influence during the decade of synths, bad hair, neon colors and music videos.

Eric Clapton – By the late 1970s, Clapton’s career was in a commercial valley. A string of bland and directionless albums coincided with his growing alcoholism. It wasn’t until 1985 when released Behind the Sun, that he emerged from his creative slump. New label, new producers, new songwriters, and the introduction of a contemporary sound but Clapton back on the radio and charts. “Forever Man” and “She’s Waiting.” The rest of the decade saw continued success with new releases, a revival in his blues catalog and his demand as a live performer.

ZZ Top – From grungy Texas-blues to programmed drums to pounding synths, ZZ Top were the MTV darlings with their long beards, flashy dress and cool sunglasses. I would never have imagined this old boys to have such an amazing makeover. “Sharp Dressed Man” and “Gimme All Your Loving” got the hits train rollin’.

Genesis – By the time Genesis hit the 1980s, their writing and sound had changed. Gone was the prog rock style, replaced by a pop-rock, art-rock, New Wave sound. The band’s metamorphosis was gradual, but after Steve Hackett departed the band began writing shorter and more traditional pop structured songs, even if they lengthen a few to explore musical ideas. They never stopped exploring but mixed in contemporary elements of New Wave into their sound. By Genesis (1983), the tradition had been made. Invisible Touch (1986) would their peak in commercial and critical success. It didn’t hurt that Phil Collins was one of the biggest solo stars of the decade. They didn’t stop being Genesis, the prog and art rock ingredients never went away, but the integration changed and it altered elements of the sound recipe.

Peter Gabriel – Leaving Genesis, Gabriel took his star power and his eccentricities with him. After a couple of albums that mainly confused fans and critics, Gabriel found his sound and mojo. Beginning with his third album Peter Gabriel (1980) that he found the way to channel his rhythms, experimental notions, jagged metallic edged production, and deeply poignant and socio-political themes into music that was as jarring as it was beautiful. His next few albums got bigger and better each time. “Games Without Frontiers”, “Shock the Monkey”, “Sledgehammer” “Don’t Give Up.”

Hall and Oates – This duo worked hard for their success. A few hits in the 1970s, but no one could really define them or their sound. Blue-eyed soul, whatever that is. Starting with their ninth album, Voices (1980), they realized several hits from the same album, a first. Private Eyes (1981) followed and included the dance hit “I Can’t Go for That (No Can Do)”. H2O was next up and built on their momentum, then Big Bam Boom (1984), their best yet. “Out of Touch”, “Method of Modern Love”, “Possession Obsession.” Then the party was over. In a five-year period, these guys ruled the charts and have videos in heavy rotation on MTV. What did they do in the 1980s that they didn’t do in the 1970? Besides the dance grooves, I don’t know. I loved them in 1970s. Once they had some chart success, they kept writing and performing in that style, not repeating themselves, but tapping into that creative well, and knowing what worked for them.

Yes – Another surprise was this prog rock band suddenly being 80s trendy, to have a number one song and to embrace the synth effects of Brit pop, New Wave youngsters. “Owner of a Lonely Heart” (1983) was a massive hit that powered them through the decade.

Rod Stewart – He always evolved. Disco, synth-pop, stylized rock cover versions, pop standards, etc. in the 1980s, Stewart embraced the contemporary sound of the day, which scored with audiences but not critics. “Passion”, “Love Touch”, “Infatuation”, “Baby Jane” “Young Turks.” Stewart catered to several audiences including one who wanted his ballads and cover versions like “People Get Ready”, “This Old Heart of Mine”, “Downtown Train.”

Heart – By the early 1980s, Heart was not selling many records and critics thought their sound was passé. They moved to a new label, hired some new players and were convinced to use outside writers. They even bent to the making of stylish videos and highlighting their sex appeal. It paid off. “What About Love”, “These Dreams”, “Never”, “Alone” “Who Will You Run To” were big chart hits. Power ballads and arena rock ruled the day. In the 1990s, they returned to writing their own songs and focused more on touring.

Don Henley – Without the Eagles and Glenn Frey to lean on, Don Henley was forced to find other collaborators. Henley found them and released a handful of very successful solo albums. Danny Kortchmar, Stan Lynch and Mike Campbell were great collaborators. “All She Wants to Do is Dance”, “The Boys of Summer” and “The End of the Innocence.” Henley embraced synths, a harder-edge guitar sound and used his knack for fusing thought-provoking lyrics with irresistible melodies. Great videos helped.

Stevie Nicks – She started her solo career in 1981 with Bella Donna. Nicks had plenty of star power and her solo albums performed well. She used a slicker, contemporary sound, drum machines and synthesizers. “Rooms on Fire” “Stand Back”, “Talk to Me”, “ I Can’t Wait”, “If Anyone Falls” “Edge of Seventeen.” Nick was wise to enlist the help of Tom Petty, Jimmy Iovine, Waddy Wachtel, Rupert Hine and Mike Campbell.

Steve Winwood – For a major musical force, Winwood had an incredibly difficult job of a solo career. His first couple of solo albums did not set the world on fire. It wasn’t until his fourth solo album, Back in the High Life that Winwood’s career broke loose, with three Grammy Awards and five hit singles. Roll With It followed, though not quite as successful, he began to infuse other musical styles into his music while pulling back on the pop sound. I believe that Winwood was satisfied with his popular 1980s work and intended to plow new, but less commercial territory.

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Those who struggled or were largely absent:

Elton John – Elton began his slide with Blue Moves in 1976, which proved that Elton was fallible. Victim of Love (1979) was perhaps the nadir. Most of his albums in the 1980s had a hit single or at least one song that kept the album from sinking, but most of his work was boring, unfocused and overblown. Cocaine and drink drove his life. Some of those albums he has little memory of. He would hang on and slowly right his life and career.

David Bowie – With exception of Let’s Dance, Bowie albums were bloated and unsuccessful. He referred to these as his “Phil Collins years” and a mystery to Bowie who formed the equally unlistenable Tin Machine group. Bowie regained his creativity in the 1990s to release albums receiving a warmer reception and more lasting significance. I don’t believe he ever approached his great work of the 1970s, but was certainly better than his 1980s output.

Eagles – The group was on hiatus during decade, members were releasing solo albums.

The Who – After releasing Face Dances (1981) and It’s Hard (1982), and a live album, The Who disappeared into solo projects and repackaged greatest hits collections.

Bob Dylan – Starting with his Christian influenced albums in the late 1970s, Dylan had trouble connecting with record-buying audiences. Most of his 1980s albums were panned by critics. I think that’s a little unfair, although his albums were spotty creatively, he was working with top-rate musicians. Infidels was the high point, Real Live, a good live album, but it wasn’t until Oh, Mercy (1989) that Dylan, with the help of Daniel Lanois returned to excellence.

Aerosmith – After Joe Perry and Brad Whitford left the band, the album Rock in a Hard Place had new guitarists. Considering the band was already in the midst of a slide, Aerosmith were done for the count. Perry and Whitford rejoined for Done With Mirrors (1985), but it wasn’t until Permanent Vacation (1987) that the band returned with hits and sales.

Crosby, Stills & Nash – Drugs, internal squabbles, unfocused musical output and David Crosby’s prison sentence took the wind out their sail. Even reuniting with Neil Young would not move the needle for CS&N.

The Rolling Stones – The 1980s saw the Stones’ success fade, albums lacked the creativity and spark of the past. Jagger and Richards split, so Stones’ new material output was slim until the 1990s.

Pink Floyd – The Final Cut was exactly that. Essentially a Roger Waters solo album, it marked the end of the Waters as a member of the band. David Gilmour regrouped the band with Nick Mason and brought Richard Wright back from exile. A Momentary Lapse of Reason was a studio album release of middling success, followed by a live album from the very successful tour. Still, they were remembered from the past, rather than new music. Waters had his own solo career.

Neil Young – Young didn’t disappear but his releases didn’t sell like before, as he bounced from genre to genre, much to the dismay of fans and critics. Life (1987) was an improvement, yet his next two albums continued his restlessness to settle into a consistent style. With Ragged Glory (1990), Young regained his mojo in time to be appreciated by the grunge generation.

Paul McCartney – Personally and professionally, this was not a great time for McCartney. Arrested in Japan, the cancellation of a tour, the end of Wings, the news of John Lennon’s murder – the decade began badly for McCartney. Musically, he had more swings and misses than hits. McCartney II was mostly a bore. Tug of War was finely crafted, but the songs were weak. Pipes of Peace had a few bright spots but most people panned it. Press to Play was a misfire, Give My Regards to Broad Street was another misfire (along with the film). Flowers in the Dirt began his journey back, along with a well-received world tour.