This ain't no party...this ain't no disco...

Music always runs in cycles. When one scene takes over for another, a lot of acts love to jump the bandwagon, usually with mixed success. At the end of the 70s, as disco completed its musical world takeover, a lot of rockers decided to get a little funky.

Though a little early in the disco era, Wild Cherry was there first.

 

The song that probably made it safe for rockers to go disco.

 

 In probably the most infamous example of rockers going disco was Kiss.

 

Like every disco song of the era, you had to have strings.

 

Sometimes it's all about the beat.

 

The Stones were so steeped in "black" music, it was only natural they would give disco a shot.

 

While not really considered disco, there's no denying that danceable beat.

 

Probably the biggest of all the rockers going disco songs, this one hit #1 on the pop, dance and black music charts.

 

The reverse of all this was, some disco artists tried their hands at rock.

 

Finally, what's old is new again. Daft Punk is trying to bring back disco some 30 years on.

 

One hit wonders: Electronic "Getting Away With It"

Electronic - "Getting Away With It"

Electronic was a new wave "super group" of sorts that emerged in the late eighties with their only big hit barely cracking the US top 40, peaking at #38 in March of 1990. Many people mistook these guys for the Psychedelic Furs, but Electronic was fronted by Neil Tennant of the Pet Shop Boys. Rounding out the line-up was guitarist Johnny Marr (The Smiths) and Bernard Sumner (New Order). Marr claims the song pokes fun at misery magnet Morrissey, his ex-partner from The Smiths.

Safe Sax in the ‘80s

There was no other decade that loved on the saxophone than the ‘80s! In this series, we present the evidence…



Most people remember the Pure Prairie League as a country rock group from the '70s, best known for the radio friendly hit "Amie". But in 1979 soon-to-be country superstar Vince Gill took over lead vocals and earned the band this hit, which surpassed "Amie" as the band's biggest by reaching #10 on the Billboard charts. The sax-laced song was the lead off single from the band's ninth studio album, "Firin' Up". On the sax is none other than David Sanborn.

Raised On Journey

It's easy to look back now and say sure, Journey is one of the biggest bands of all time but that really only came with the recent pop culture success of "Don't Stop Believin'." I mean, don't get me wrong, Journey was big back in the 80s as well but they were never really respected by anyone other than the fans. I think time has changed that. At some point in the mid decade, a lot of bands began to crop up with that Journey sound and after the split, the band members themselves never did much to distance themselves from their signature sound, or more to the point, emulating Steve Perry's vocals.

Giuffria sounded SO much like Journey that most thought it WAS Journey when this single hit in 1983.

 

Though they were never commercially successful, Strangeways has attained something of a legendary status in cult AOR circles, thanks in large part to Terry Brock's soaring vocals.

 

Tall Stories singer Steve Augeri had nailed the Perry mannerisms so perfectly, Journey hired him in the late 90s to sing for the band.

 

After Journey split, the band without Steve Perry (Schon, Cain, Jackson) would go on to record two albums with different singers. The first was Jimmy Barnes, who had a more soulful edge.

 

The second was the more traditional rock singer Michael Bolton. Yes, rock singer. Now of course, he is an adult contemporary crooner but in the late 70s and early 80s was known for big bombastic arena rock.

 

Jonathan Cain reunited with his old mate from The Babys, John Waite, when Cain and Schon hired him for Bad English.

 

Though his stint in Journey was short lived, Jeff Scott Soto never tried to be Steve Perry and this brought the band a unique sound.

 

Finally, here's how Journey found their latest singer, Arnel Pineda...as a singer in a cover band.

 

The return of Michael J. Fox

Family Ties

Back To The Future (I, II, and III)

Teen Wolf

The Secret of My Success

Spin City

...and many more.

One of the '80s most beloved actors is returning to television and you can check out the promo here! His new show is simply called "The Michael J. Fox Show".

Getting the Led out...

As influential and legendary a band as Led Zeppelin was, there's no denying that early in their career they were nothing more than clones themselves, mainly ripping off blues artists of the 30s and 40s. Their greatness lied in the way they interpreted the material and put their own spin on it. A "Whole Lotta Love" anyone?

 

In the late 80s, hard rockers began to look at Led Zeppelin for inspiration.

Whitesnake, fresh off their success with the "Slide It In" album, hit the rock world hard with the first single of their massively successful 1987 self titled album, "Still Of The Night." David Coverdale did some of his best Robert Plant-like wailing while the video even featured Adrian Vandenberg pulling off Jimmy Page's bow on guitar trick. Of all the clones on parade at the time, Whitesnake did it the best.



Sensing blood in the proverbial waters, Kingdom Come took their inspiration to almost ridiculous extremes. Ironically, the band was a vastly talented lot but never shook their clone tag and folded almost as quickly as they hit the scene.




Great White never denied that Led Zeppelin was probably their biggest influence. Though they started their career as a pretty awful generic hard rock band, by the early 90s they matured into probably one of the best hard rock bands of the era. This clip showcases them right at the end where they just slay with an amazing cover of "Babe, I'm Gonna Leave You," where singer Jack Russell effortlessly hits all the right notes.



Take one son of a Led Zeppelin member, add a Robert Plant clone, listen to a lot of "Physical Graffiti" and wrap it in a late 80s production and you get pretty much what you would think it would sound like.



For the longest time, Robert Plant distanced himself from any connection to his former band. But, in the light of the sudden resurgence of the Led Zeppelin sound, finally began to embrace his legend status. During his "Now & Zen" tour, he even started to play some old songs like "Black Country Woman." Rappers in the 80s started to sample that big John Bonham drum, and rather than try to beat them, he joned them, sampling some of Zep's best known songs.



Finally, and completely on purpose, Ozzy Osbourne and Gary Moore teamed up with this tongue in cheek single.

Drink A Toast To Innocence: A Tribute To Lite Rock

"Drink A Toast To Innocence: A Tribute To Lite Rock" is a new CD featuring some of today's best power pop artists covering some of the best soft rock tunes of the '70s and '80s. Every choice of song is brilliant and you'll be tempted to sing along. It is rare to find a tribute album so consistently good, with each artist doing a masterful rendition of these treasured classics. Most artists put their own spin on these, with some rocked up (like "Don't Give Up On Us Baby" by Lisa Mychols) and some rocked down (like "I'd Really Love To See You Tonight" by Kelly Jones). A few are near spot on replicas, which I actually didn't enjoy as much because it was too much like just looking at a photograph of a famous painting. But even on those tracks I admire how the artists emulated the original sounds. Some of my other favorites in this excellent 2 CD collection include "I Love You" by Throwback Suburbia", "Believe It Or Not" (yes, the theme from "The Greatest American Hero"!) by Mike Ruekberg, "More Than I Can Say" by Linus of Hollywood, and "Cool Change" by Vegas with Randolph. There are a few lite rock classics that were overlooked, so let's hold out hope for another volume!

Stream the record at Spotify: