With a gritty reputation that was arguably equaled only by Guns N' Roses, Mötley Crüe's infamous antics made them a force to be reckoned with in the '80s. As one of the first and most influential hair metal bands of the '80s, Mötley Crüe had a series of hit albums, the biggest and most noteworthy being 1989's Dr. Feelgood. The band continued to... [+] Read More

With a gritty reputation that was arguably equaled only by Guns N' Roses, Mötley Crüe's infamous antics made them a force to be reckoned with in the '80s. As one of the first and most influential hair metal bands of the '80s, Mötley Crüe had a series of hit albums, the biggest and most noteworthy being 1989's Dr. Feelgood. The band continued to court controversy into the next decade, even when their recording career took a downturn through a series of well-publicized mishaps and run-ins with the law. Mötley Crüe's beginning can be traced back to 1981, when bassist Nikki Sixx (born Frank Ferrana) and drummer "Tommy Lee" Bass decided to leave the bands they were in at the time and pursue a new project together. Bob "Mick Mars" Deal was hired to play guitar and "Vince Neil" Wharton was added as vocalist. The band went through several name changes before Mars presented them with Mottley Krue, recalling a time when his previous band was described as a "motley looking crew." After agreeing on this name and altering the spelling somewhat, the newly formed group began to play at local clubs and soon became cult favorites, known for their unique stage theatrics.


The band soon met up with Allan Coffman, who financed their first album, Too Fast for Love, on their own small, independent Lethur Records label; the record sold a surprising 20,000 copies. After signing to Elektra Records, the band released Shout at the Devil in 1983, which featured the hit video "Looks That Kill." The record went platinum, but the band's success was temporarily brought to a halt when Neil was involved in a deadly automobile accident on August 12. Driving under the influence of alcohol, Neil crashed into another car, killing his good friend and passenger Nicholas Dingley of Hanoi Rocks; the other victims emerged with broken bones and brain damage. Neil was found guilty of vehicular manslaughter and driving while intoxicated, and was incarcerated for 30 days in 1985, in addition to performing community service and paying a large cash settlement. By the time Neil had been sentenced, however, the band's newest record, Theatre of Pain, had already been released and soared up the charts, making the band stars and producing their first Top 40 hit with a cover of Brownsville Station's "Smokin' in the Boys' Room."


After a short hiatus, the band regrouped with Neil to film a music video for "Home Sweet Home"; the first hit power ballad to be aired on MTV, it became their most requested music video for four months straight. A 44-minute home video cassette, Uncensored, was released in 1986, containing rare live footage and interviews; meanwhile, Lee married actress Heather Locklear. A year later, Mötley Crüe released their fourth album, Girls Girls Girls. The uncensored video for the popular title track was immediately banned from television, not airing until a slightly cleaned-up version was released. The group finally embarked on their own tour, but the European dates were canceled when Sixx suffered a drug overdose and nearly lost his life. Over the next year, all four members sought out drug rehabilitation and Mötley Crüe remained out of the spotlight. They returned, clean and sober, in 1989 with Dr. Feelgood, which hit number one on the Billboard charts due to the strong singles "Kickstart My Heart," "Don't Go Away Mad (Just Go Away)," "Without You," and the infamous title-track, which became their first Top Ten single.


After another worldwide tour, they released a compilation album, Decade of Decadence, in 1991. The album opened at number two, and a home video of the same name was released shortly afterwards. The group created their own record label, Mötley Records, and signed a new contract with Elektra for $25 million. Unfortunately by this time, the music industry that made them famous was beginning to change, and the pressure to keep pace with the times began to take its toll on the bandmembers' camaraderie. In 1992, sessions for Mötley Crüe's next album turned ugly, and Neil was fired and replaced with vocalist John Corabi, formerly of the Scream. The 1994 product was Mötley Crüe, which peaked at number seven in the U.S. and eventually went gold, but was ultimately a commercial disappointment (as was a supporting tour). In early 1997, Corabi was fired and Neil rehired for the much-hyped Generation Swine. (Corabi resurfaced alongside former Kiss guitarist Bruce Kulick in the group Union.) Though Generation Swine opened at number four, it was sharply criticized and fell off the charts before long. In 1998, the band released Greatest Hits, but shortly after the supporting tour, Lee was arrested for spousal abuse against wife Pamela Anderson and sentenced to jail time for most of the year. Meanwhile, the group's deal with Elektra fell apart, and Mötley Records switched its affiliation to the Beyond label, with the band acquiring the rights to its back catalog.


After numerous bitter encounters with Neil, Tommy Lee left the band in 1999 to form Methods of Mayhem, who released their self-titled debut late that year; he was replaced with Ozzy Osbourne drummer Randy Castillo. That year, the revamped Crüe issued remastered editions of all their studio albums (complete with bonus tracks) plus the rarities collection Supersonic and Demonic Relics. An album of all new material, New Tattoo, appeared in the summer of 2000. Also in 2000, Sixx found time to launch a side project, 58. On the eve of the Crüe's tour in support of New Tattoo, Castillo was stricken with an undisclosed illness and sat out the tour to recuperate. Instead of canceling the tour, the Crüe temporarily enlisted Hole drummer (and lifelong Crüe fan) Samantha Maloney.


In May of 2001, the band issued an over-the-top, tell-all biography, The Dirt (which even included input from former drummer Lee), that quickly became a best-seller. Around the same time, Neil embarked on a brief solo tour of U.S. clubs and looked for a new solo record deal, but remained adamant that he was still a member of Motley Crüe. Sixx used the downtime to write material for other bands, including Tantric, Meatloaf, Faith Hill, Tim McGraw, and James Michael. Sadly, Castillo passed away in the spring of 2002, and the band announced their hiatus would probably last into the next year. Sixx also began talking about reuniting the original lineup for a farewell tour, but Tommy Lee quickly went to the press and told them that his relationship with Vince Neil was simply too poor for that to happen. Controversy surrounded the band again as former producer Tom Werman sued the band for unpaid royalties, Neil's former wife Heidi Mark publicly accused him of physical abuse, and Neil was kicked off a nationally syndicated radio show for being too drunk to maintain an interview. Tour drummer Samantha Maloney was also mixed up in things as Sixx decided to write a mean-spirited posting on his website in retaliation for the public acknowledgement of a feud between her and his wife due to his infidelity during their 2000 tour. Rumors of a reunion continued to swirl during 2003-04, even as Mötley Crüe members stayed busy with individual projects. Both Tommy Lee and Vince Neil participated in celebrity shows, Lee as the focus of a half-hour show on NBC featuring the rock star attending college classes and Neil in the first season of The Surreal Life. Sixx toured and released an album with his new band, Brides of Destruction. The reunion rumors finally came true in late 2004 when the four original members announced dates for a full tour in 2005, their first in more than six years. The tour coincided with the February release of the band’s double-disc greatest hits collection, Red, White & Crüe. ~ Barry Weber & Greg Prato, All Music Guide [-] Hide

Sleazy Hollywood metal band (whose name was lifted from a Russ Meyer flick) Faster Pussycat released their first album in 1987 and peaked commercially two years later with the gold album Wake Me When It's Over, and the Top 40 single "House of Pain." Although their next album, 1992's Whipped, hit number 90 on the charts, it fell off quickly; with... [+] Read More

Sleazy Hollywood metal band (whose name was lifted from a Russ Meyer flick) Faster Pussycat released their first album in 1987 and peaked commercially two years later with the gold album Wake Me When It's Over, and the Top 40 single "House of Pain." Although their next album, 1992's Whipped, hit number 90 on the charts, it fell off quickly; with the alternative rock explosion, the hard rock audience had changed and had no patience for Faster Pussycat's trashy glam metal. After the group's split, singer Taime Downe formed the industrial/goth outfit the Newlydeads (along with a former member of another former L.A. glam pop outfit, Bang Tango's Kyle Kyle), issuing three albums -- 1997's self-titled debut, 1999's remix collection Re-Bound, and 2001's Dead End. With America experiencing a resurging interest in '80s glam pop by the early 21st century, Faster Pussycat reunited for a tour. But instead of an album of all-new material coinciding with the tour, a collection of old tracks remade as techno remixes was issued, entitled Between the Valley of the Ultra Pussy (Downe was the only member of the band to have any input with the project). ~ John Book & Greg Prato, All Music Guide [-] Hide

Originally calling themselves Shooze and eventually changing their name to the Generators and ultimately, Kix, Baltimore's favorite hard rock band garnered quite a reputation for themselves as one of Maryland's most exciting live cover bands prior to signing to Atlantic Records in 1981. Led by frontman Steve Whiteman and creative... [+] Read More

Originally calling themselves Shooze and eventually changing their name to the Generators and ultimately, Kix, Baltimore's favorite hard rock band garnered quite a reputation for themselves as one of Maryland's most exciting live cover bands prior to signing to Atlantic Records in 1981. Led by frontman Steve Whiteman and creative mastermind/bassist Donnie Purnell, the band is rounded out by drummer Jimmy Chalfant and guitarists Ronnie Younkins (nicknamed 10/10) and Brian Jay Forsythe. Hitting the club circuit six nights a week for three straight years resulted in the band cultivating a huge local fan base and led to a contract with the Time Warner affiliate. Releasing their self-titled debut in 1981, Kix featured live favorites like "Atomic Bombs," the glorious "Yeah, Yeah, Yeah," and "The Kid." To support the release, the quintet set out to hit every club up and down the East Coast. Their 1983 follow-up, Cool Kids, showcased a slightly more commercial side of the band. Spearheaded by the single "Body Talk," rumors ran rampant that the song was written to appease the band's label, who, eager to capture some steam at radio, also forced the band into shooting a horrendous video for the song which featured the band in full-on workout mode. Other songs like "Restless Blood" and "Mighty Mouth" fared a little better. Eager to get back in the studio, Kix partnered up with Ratt and future Warrant producer Beau Hill and released Midnite Dynamite -- their "self-proclaimed favorite record ever." The album featured a great single, "Cold Shower," and some other notable cuts like "Sex" and "Bang Bang (Balls of Fire)."

Then a funny thing happened on the way to album number three. As the band got ready for a brief West Coast jaunt, the boys kept hearing some fishy stuff about another young, good looking frontman by the name of Brett Michaels. The big hoopla around town was that the young upstart was said to have stolen singer Steve Whiteman's stage act. Rumor became fact and here is why: prior to Poison relocating to Los Angeles, the band had often come out to see Kix perform live. Now local heroes in their own right, it was clear that Michaels had more than borrowed a few stage moves from the charismatic Kix singer. Sadly, when Kix got the opportunity to open for Poison at L.A.'s Country Club, their worse fears materialized as they stood in stunned silence watching a younger, better looking, musically challenged Poison from the side of the stage. The band had not only stolen Whiteman's stage moves, they'd just about stolen their entire stage act from underneath them.

Weathered but not to be counted out, Kix returned to the studio with hard rock veteran Tom Werman to record what would become their one and only breakthrough record. The band's fourth effort, Blow My Fuse, was released in 1988 and would finally feature the monstrous hit the band had worked so hard for -- it would appear in the way of a ballad, the "Dream On" inspired "Don't Close Your Eyes." As the song raced up the charts, the band began to garner the recognition it had fought so long and so hard for. To the band's credit, other excellent cuts also permeated the release. First single and video "Cold Blood," "Blow My Fuse," "Red Lite, Green Lite, TNT," and "No Ring Around Rosie" all showcased the band doing what it does best. As Kix finally graduated to arenas; for the next year and a half, the band would open for heroes AC/DC and Aerosmith and a slew of others including David Lee Roth, Ratt, and the abominable Britny Fox. Kix were on top of the world -- if only momentarily. Much larger problems were looming on the horizon. The old adage of "more money, more problems" had materialized itself as a stone around Kix' collective necks for years and years. The band's financial matters were now in a state of complete disarray. Now severely indebted to Atlantic, the band faced a painful wake up call when they realized that they hadn't made a penny off Blow My Fuse. To make matters even worse, the label had plans to shift Kix from their roster to the label's new imprint EastWest Records America. This proved to be disastrous move for the quintet as they now had to deal with a new regime to work their yet-to-be released fifth record. By the time Hot Wire finally hit record stores, the musical climate in 1991 had shifted dramatically. Quote-unquote "hair bands" were now a thing of the past. Grunge was all the rage, making a band like Kix look like the laughing stock of the day. The new trend made it virtually impossible for Kix to garner the radio support necessary for them to prosper commercially.

In hindsight, Hot Wire may have proved to be the band's best sounding record ever. Bolstered by a little MTV airplay, the album's first single "Girl Money" showcased everything that made Kix a first-rate bar band. With double-entendre verses in the vein of classic Bon Scott-era AC/DC, great musicianship, and with a hearty sense of humor to boot, the track would have probably been huge in 1989. Selling just under 200,000 units, the album came and went and Kix returned to doing what it had done all along -- hitting the road. The band then toured the Orient and recorded a live record in Japan in 1992. It would be released by Atlantic in 1993 under the uninventive moniker, Kix Live. The 12-track live album would finally fulfill the band's contractual obligation to the label. By the time Kix Live was released, founding member and guitarist Brain Forsythe had quit the band returning to the fold in 1994 in time to record Show Business, the band's ill-fated debut on CMC. Released in 1995, Show Business tanked and the band was history. After a three-year hiatus away from the music biz, Steve Whiteman re-merged in Baltimore as the singer for Funny Money. Forming its own label, Kivel Records, Funny Money released a self-titled debut in 1998 and a sophomore follow-up, Back Again, in 1999. With a personal rift between Kix bassist and chief songwriter Donnie Purnell still in full-effect, chances of a Kix reunion look like a forgone conclusion. However, as rock history has taught us, never say never. ~ John Franck, All Music Guide [-] Hide

One of two solo stars to spring from the ashes of the '70s all-girl hard rock band the Runaways, Lita Ford has long been a more frustrating, contradictory proposition for critics than former colleague Joan Jett. Ford is subtly feminist in her musical approach, displaying guitar heroics on the level of any male metal hero; the mere fact of her... [+] Read More

One of two solo stars to spring from the ashes of the '70s all-girl hard rock band the Runaways, Lita Ford has long been a more frustrating, contradictory proposition for critics than former colleague Joan Jett. Ford is subtly feminist in her musical approach, displaying guitar heroics on the level of any male metal hero; the mere fact of her existence in the otherwise testosterone-driven heavy metal genre has made her a hero to some, but her persona has often been criticized as calculated to appeal to male adolescent sexual fantasies, simply embodying the standard wild-girl stereotypes of many male metal artists' lyrics. When she has the material to back her up, though, Ford is inarguably capable of rocking out aggressively and assertively.

Ford was born on September 19, 1958, in London, emigrating to the U.S. as a young child. She began playing the guitar at age 11; just five years later, she joined the Kim Fowley-produced Runaways, an all-female project designed to mix the aggression of simple, punky hard rock with teenage bad-girl sex appeal. When the band dissolved, Ford took voice lessons and embarked on a solo career, supporting herself through a variety of jobs (gas station attendant, perfume salesperson, fitness instructor, hairdresser, etc.). She released her debut album, Out for Blood, in 1983; it was followed the next year by Dancin' on the Edge.

Nothing was heard from Ford for the next four years; the follow-up to Dancin' on the Edge, titled The Bride Wore Black, was abandoned and never released, as Ford switched from Mercury to RCA. By the time Ford returned, the lighter pop-metal she had long favored had broken through to mainstream audiences, which set the stage for her most successful album, 1988's Lita. Slickly produced by Mike Chapman, the album featured Ford's first hit, the number 12 "Kiss Me Deadly"; its follow-up, a duet with Ozzy Osbourne entitled "Close My Eyes Forever," provided both artists with their first Top Ten single.

Ford celebrated her newfound success with a marriage to W.A.S.P. guitarist Chris Holmes, but unfortunately, this, like her commercial success, would be short-lived. Follow-up efforts like 1990's Stiletto and 1991's Dangerous Curves failed to match the popcraft of Lita, and Ford found herself without a label after alternative's explosion in the early '90s. ~ Steve Huey, All Music Guide [-] Hide

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the '70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry... [+] Read More

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the '70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry ice, smoke bombs, elaborate lighting, blood spitting, and fire breathing that captured the imaginations of thousands of kids. But Kiss' music shouldn't be dismissed -- it was a commercially potent mix of anthemic, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars, cloying melodies, and sweeping strings. It was a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late '80s. Kiss was the brainchild of Gene Simmons (bass, vocals) and Paul Stanley (rhythm guitar, vocals), former members of the New York-based hard rock band Wicked Lester; the duo brought in drummer Peter Criss through his ad in Rolling Stone and guitarist Ace Frehley responded to an advertisement in The Village Voice. Even at their first Manhattan concert in 1973, the group's approach was quite theatrical; Flipside producer Bill Aucoin offered the band a management deal after the show. Two weeks later, the band was signed to Neil Bogart's fledgling record label, Casablanca. Kiss released their self-titled debut in February of 1974; it peaked at number 87 on the U.S. charts. By April of 1975, the group had released three albums and had toured America constantly, building up a sizable fan base. Culled from those numerous concerts, Alive! (released in the fall of 1975) made the band rock & roll superstars; it climbed into the Top Ten and its accompanying single, "Rock 'N' Roll All Nite," made it to number 12. Their follow-up, Destroyer, was released in March of 1976 and became the group's first platinum album; it also featured their first Top Ten single, Peter Criss' power ballad "Beth." A 1977 Gallup poll named Kiss the most popular band in America. Kiss mania was in full swing and thousands of pieces of merchandise hit the marketplace. The group had two comic books released by Marvel, pinball machines, makeup and masks, board games, and a live-action TV movie, Kiss Meet the Phantom of the Park. The group was never seen in public without wearing their makeup and their popularity was growing by leaps and bounds; the membership of the Kiss Army, the band's fan club, was now in the six figures. Even such enormous popularity had its limits, and the band reached them in 1978, when all four members released solo albums on the same day in October. Simmons' record was the most successful, reaching number 22 on the charts, yet all of them made it into the Top 50. Dynasty, released in 1979, continued their streak of platinum albums, yet it was their last recorded with the original lineup -- Criss left in 1980. Kiss Unmasked, released in the summer of 1980, was recorded with session drummer Anton Fig; Criss' permanent replacement, Eric Carr, joined the band in time for their 1980 world tour. Kiss Unmasked was their first record since Destroyer to fail to go platinum, and 1981's Music From the Elder, their first album recorded with Carr, didn't even go gold -- it couldn't even climb past number 75 on the charts. Ace Frehley left the band after its release; he was replaced by Vinnie Vincent in 1982. Vincent's first album with the group, 1982's Creatures of the Night, fared better than Music From the Elder, yet it couldn't make it past number 45 on the charts. Sensing it was time for a change, Kiss dispensed with their makeup for 1983's Lick It Up. The publicity worked, as the album became their first platinum record in four years. Animalize, released the following year, was just as successful, and the group had recaptured their niche. Vincent left after Animalize and was replaced by Mark St. John; St. John was soon taken ill with Reiter's Syndrome and left the band. Bruce Kulick became Kiss' new lead guitarist in 1984. For the rest of the decade, Kiss turned out a series of best-selling albums, culminating in the early 1990 hit ballad "Forever," which was their biggest single since "Beth." Kiss was scheduled to record a new album with their old producer, Bob Ezrin, in 1990 when Eric Carr became severely ill with cancer; he died in November of 1991 at the age of 41. Kiss replaced him with Eric Singer and recorded Revenge (1992), their first album since 1989; it was a Top Ten hit and went gold. Kiss followed it with the release of Alive III the following year; it performed respectably, but not up to the standards of their two previous live records. In 1996, the original lineup of Kiss -- featuring Simmons, Stanley, Frehley, and Criss -- reunited to perform an international tour, complete with their notorious makeup and special effects. The tour was one of the most successful of 1996, and in 1998 the reunited group issued Psycho Circus. While the ensuing tour in support of Psycho Circus was a success, sales of Kiss' reunion album weren't as stellar as anticipated. Reminiscent of the band's late-'70s unfocused period, few tracks on Psycho Circus featured all four members playing together (most tracks were supplemented with session musicians), as the band seemed more interested in flooding the marketplace with merchandise yet again instead of making the music their top priority. With rumors running rampant that the Psycho Circus Tour would be their last, the quartet announced in the spring of 2000 that they would be launching a U.S. farewell tour in the summer, which became one of the year's top concert draws. But on the eve of a Japanese and Australian tour in early 2001, Peter Criss suddenly left the band once again, supposedly discontent with his salary. Taking his place was previous Kiss drummer Eric Singer, who in a controversial move among some longtime fans, donned Criss' cat-man makeup (since Simmons and Stanley own both Frehley and Criss' makeup designs, there was no threat of a lawsuit) as the farewell tour continued. With the band scheduled to call it a day supposedly by late 2001, a mammoth career-encompassing box set was set for later in the year, while the summer saw perhaps the most over-the-top piece of Kiss merchandise yet -- the "Kiss Kasket." The group was relatively quiet through the rest of the year, but 2002 started with a bang as Gene Simmons turned in an entertaining and controversial interview on NPR where he criticized the organization and berated host Terry Gross with sexual comments and condescending answers. He was promoting his autobiography at the time, which also caused dissent in the Kiss camp because of the inflammatory remarks made towards Ace Frehley. Frehley was quite angry at the situation, leading to his no-showing of an American Bandstand anniversary show. His place was taken by a wig-wearing Tommy Thayer, but no one was fooled and the band looked especially awful while pretending to play their instruments during the pre-recorded track. The appearance was an embarrassment for the group and for their fans, but Simmons was quick to dismiss the performance as another in a long series of money-oriented decisions. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide [-] Hide

Winger's second album, In the Heart of the Young, continues in the same vein of slick, progressive-tinged, radio-ready pop-metal featured on their debut -- almost what Asia or 90125-era Yes might sound like as hair bands. The melodies and guitars still twist and turn in unpredictable directions, but the material on In the Heart of the Young... [+] Read More

Winger's second album, In the Heart of the Young, continues in the same vein of slick, progressive-tinged, radio-ready pop-metal featured on their debut -- almost what Asia or 90125-era Yes might sound like as hair bands. The melodies and guitars still twist and turn in unpredictable directions, but the material on In the Heart of the Young isn't always as musically interesting as the songs on Winger. Plus, the inclusion of more ballads detracts from the overall energy. Still, there's enough here to make the album worthwhile for anyone who enjoyed its predecessor, especially in the absence of a best-of collection. "Miles Away" became a Gulf War love anthem, while "Can't Get Enuff" and "Easy Come Easy Go" are fine rockers that nevertheless failed to make much of a dent in the charts. ~ Steve Huey, All Music Guide [-] Hide

The much-ballyhooed reunion of the original Aerosmith lineup had pretty much fallen flat on its face after 1985's hit-and-miss Done With Mirrors. Realizing that the band simply couldn't do it alone, A&R guru John Kalodner capitalized on the runaway success of Run-D.M.C.'s cover of "Walk This Way" and decided to draft in the day's top hired... [+] Read More

The much-ballyhooed reunion of the original Aerosmith lineup had pretty much fallen flat on its face after 1985's hit-and-miss Done With Mirrors. Realizing that the band simply couldn't do it alone, A&R guru John Kalodner capitalized on the runaway success of Run-D.M.C.'s cover of "Walk This Way" and decided to draft in the day's top hired hands, including knob-twiddler extraordinaire Bruce Fairbairn and career-revitalizing song doctors Desmond Child and Jim Vallance. Together, they would help craft Permanent Vacation, the album which would reinvent Aerosmith as '80s and '90s superstars. Yet, despite the mostly stellar songwriting, which makes it a strong effort overall, some of the album's nooks and crannies haven't aged all that well because of Fairbairn's overwrought production, featuring an exaggerated sleekness typical of most mid-'80s pop-metal albums. Furthermore, Desmond Child's pedantic writing often compromises the timeliness of even the best material. On the other hand, pre-fab radio gems like "Rag Doll" and "Dude (Looks Like a Lady)" remain largely unassailable from a "delivering the goods" perspective. But remember kids, this is Aerosmith, so that can only mean one thing: a guaranteed number of incredible tracks for any time and place. These include the earthy voodoo blues of "St. John" and the excellent hobo-harmonica fable of "Hangman Jury." And, although some of the remaining cuts lean to the filler side, both the awkwardly Caribbean title track and the cover of the Beatles' "I'm Down" are well executed. Finally, the crowd-pleasing schmaltz of "Angel" showcases the band at the peak of its power ballad cheese. A valiant effort, this album proved to be the crucial catalyst in reintroducing Aerosmith to the masses, but if you're looking for an even better example of the band's renewed strength, check out Pump first. ~ John Franck & Ed Rivadavia, All Music Guide [-] Hide

Warrant became the stars they so desperately wanted to be with their 1989 debut, Dirty Rotten Filthy Stinking Rich. Perhaps not the biggest stars, since Guns n' Roses still ruled the roost in 1989, but Warrant nearly reached number one with "Heaven" and went platinum, which gave them the spoils of a rock star, from groupies and model girlfriends... [+] Read More

Warrant became the stars they so desperately wanted to be with their 1989 debut, Dirty Rotten Filthy Stinking Rich. Perhaps not the biggest stars, since Guns n' Roses still ruled the roost in 1989, but Warrant nearly reached number one with "Heaven" and went platinum, which gave them the spoils of a rock star, from groupies and model girlfriends to being given the freedom to try anything they wanted on their second record. So, working once again with producer Beau Hill -- who helped define the L.A. hair metal sound with his work with Ratt -- the group opted for a bigger, bolder, more diverse production for 1990's Cherry Pie. At times, it even seems like they're trying to get a little more serious, not in hopes of gaining critical respect -- face it, there's no way the critics were going to flip for Warrant, no matter what they did -- but to prove that there's a little bit more to them than the success-n-sex-obsessed party boys of their debut. Not too much more, though -- after all this is a record that explicitly explains the euphemism of its title track through its album cover. Nevertheless, there is a concentrated effort to stretch a little bit, whether it's covering Blackfoot's bluesy "Train, Train" or the attempt at spooky storytelling on "Uncle Tom's Cabin" or even the elaborate arrangement on "I Saw Red," this album's attempt at a big power ballad hit. Throughout the album there are hints that the band is trying do more musically -- more room given to guitar solos, along with flashing acoustic picking, bassist Jerry Dixon pops his strings to get himself noticed, there are more keyboards, and vocalist Jani Lane spends more time on his words, which are printed in the booklet, unlike last time. Some of this pays off -- for instance, the Springsteen by way of Bon Jovi anthem "Bed of Roses" clicks -- but it can also weigh down the party tunes and power ballads, the very thing that were strengths on the debut. It makes Cherry Pie less fun even if it's overall more accomplished and diverse, particularly because none of the singles are as strong as either "Down Boys" or "Heaven." Still, there's enough here -- whether it's the goofy title track "Cherry Pie," the effective "Uncle Tom's Cabin," or the ridiculous ode to threesomes, "Love in Stereo" -- to make this worthwhile for those who loved Dirty Rotten Filthy Stinking Rich, even if it doesn't hold up as well as that record. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Despite the fact that her success was brief, Lita Ford continues to be one of the more memorable icons of the hair metal scene. Most will argue that this is because of her gender rather than her music; the fact that she was female indeed made her a unique novelty in a genre dominated by men. True, Lita Ford's shelf life was short-lived, and her... [+] Read More

Despite the fact that her success was brief, Lita Ford continues to be one of the more memorable icons of the hair metal scene. Most will argue that this is because of her gender rather than her music; the fact that she was female indeed made her a unique novelty in a genre dominated by men. True, Lita Ford's shelf life was short-lived, and her music itself is far less original than, say, her ex-bandmate Joan Jett. Not to say that what's on the Best of Lita Ford disc is bad -- like many of her peers, Ford sure knew how to produce a few catchy guilty pleasures. Her most well-known singles, "Kiss Me Deadly" and "Close My Eyes Forever," are included, along with a handful of unknowns that are certainly worth hearing, such as "Larger Than Life," "What Do You Know About Love," "Gotta Let Go," and a cover of Alice Cooper's "Only Women Bleed." There are numerous Lita Ford compilations out there, but this original best-of collection remains the most ideal buy. ~ Barry Weber, All Music Guide [-] Hide

Pride was White Lion's breakthrough album, thanks to the Top Ten hits "Wait" and the gentle ballad "When the Children Cry," but the rest of the album is also well-constructed pop-metal, with little of the over-the-top, testosterone-heavy posturing of their peers, as well as a low sleaze factor. In addition to the socially conscious "Children,"... [+] Read More

Pride was White Lion's breakthrough album, thanks to the Top Ten hits "Wait" and the gentle ballad "When the Children Cry," but the rest of the album is also well-constructed pop-metal, with little of the over-the-top, testosterone-heavy posturing of their peers, as well as a low sleaze factor. In addition to the socially conscious "Children," there are positive-vibes anthems like "Don't Give Up" and "All Join Our Hands," and you wouldn't catch Bret Michaels or Axl Rose bowing on their knees before the "Lady of the Valley." Of course, nice-guy attitudes won't be as major a selling point for many hard rock listeners as Vito Bratta's showy Eddie Van Halen imitations. Although these border on obsessive at times, Bratta's interesting acoustic guitar work keeps the sound varied, and he displays a welcome penchant for melodicism. All in all, one of the more overlooked '80s pop-metal bands. ~ Steve Huey, All Music Guide [-] Hide