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Genre of heavy metal music

"Hair ring" redirects here. Not to be dislocated with Headband.

Glam metallic
Other names
  • Pilus metal
  • Hair bands
  • Pop metallic
Stylistic origins
  • Heavy metal
  • difficult rock
  • pop
  • popular rock
  • arena stone
  • glam rock
  • glam punk[1] [ii] [3]
Cultural origins Late 1970s and early 1980s, Los Angeles and New York Urban center
Regional scenes
  • Commonwealth of australia
  • United States
  • U.k.
  • Europe
  • Ireland
  • Sweden
  • Kingdom of norway
  • Finland
  • Japan
  • Hong Kong
Other topics
  • Brand upwardly
  • power metal
  • ability pop
  • loonshit rock
  • kawaii metal
  • scene (subculture)
  • visual kei

Glam metal (also called hair metal or pop metal) is a subgenre of heavy metal that features pop-influenced hooks and guitar riffs, upbeat rock anthems, and wearisome power ballads. It borrows heavily from the style and image of 1970s glam rock.

Early glam metal evolved directly from the glam rock movement of the 1970s, as visual elements taken from acts such equally T. Rex, the New York Dolls, and David Bowie (and to a lesser extent, the punk and new wave movements taking place concurrently in New York City) were fused with the decidedly more heavy metal leaning and theatrical acts such as Alice Cooper and Buss. The first examples of this fusion began appearing in the late 1970s and early on 1980s in the United states, especially on the Los Angeles Sunset Strip music scene. Early on glam metal bands include Mötley Crüe, Hanoi Rocks, Ratt, Quiet Riot, Twisted Sister, Bon Jovi, and Dokken. Glam metal achieved significant commercial success from approximately 1983 to 1992, bringing to prominence bands such every bit Poison, Slip Row, Cinderella and Warrant. From a strictly visual perspective, glam metal is defined by flashy and tight-plumbing equipment clothing, makeup, and an overall androgynous artful in which the traditional "denim & leather" aspect of heavy metal civilization is replaced by spandex, lace, and usually heavy use of bright colors.

Glam metal suffered a turn down in popularity in the early on-mid 1990s, as the grunge and culling phenomena revolutionized difficult rock, and fans' tastes moved toward a more than natural and stripped-down aesthetic and a rejection of the glam metal visual fashion. During this period, many of the most successful acts of the genre's 1980s pinnacle suddenly constitute themselves facing disbandment as their audiences moved in another direction. Glam metal has experienced a resurgence since the belatedly 1990s, with successful reunion tours of many popular acts from the genre's 1980s heyday, also as the emergence of new, predominantly European bands, including the Darkness, Crashdiet, Reckless Love, and American ring Steel Panther.

Characteristics, manner, and terminology [edit]

Musically, glam metal combines a traditional heavy metallic sound with elements of hard rock and punk rock,[4] calculation pop-influenced tricky hooks and guitar riffs.[v] [half dozen] Like other heavy metal songs of the 1980s (well-nigh notably thrash metal songs), they ofttimes feature shred guitar solos.[7] They also include extensive use of harmonies, particularly in the feature ability ballads – slow, emotional songs that gradually build to a strong finale.[viii] These were among the most commercially successful singles in the genre and opened information technology up to a wider audience that would non take been attracted to traditional heavy metallic. Lyrical themes often deal with beloved and lust, with songs often directed at a particular adult female.[9]

Aesthetically glam metal draws heavily on the glam rock or glitter rock of the 1970s,[10] often with very long backcombed hair, use of pilus spray, use of make-up, gaudy vesture and accessories (chiefly consisting of tight denim or leather jeans, spandex, and headbands).[11] The visual aspects of glam metal appealed to music television receiver producers, specially MTV, whose institution coincided with the ascent of the genre.[12] Glam metal performers became infamous for their debauched lifestyles of drugs, strippers and tardily-night parties, which were widely covered in the tabloid press.[13]

Sociologist Deena Weinstein points to the large number of terms used to describe more commercial forms of heavy metal, which she groups together every bit lite metal. These include, beside glam metal: melodic metallic, false metal, poodle bands, nerf metal, pop metal or metal popular, the last of which was coined past critic Philip Bashe in 1983 to describe bands such as Van Halen and Def Leppard.[9] AllMusic employs the umbrella term "pop metal", which refers to the whole pop-tinted hard rock and heavy metal scene of the 1980s (including Def Leppard, Bon Jovi, Europe), and locates hair metal every bit a belatedly-1980s variation of pop metal characterized by flashy clothing and heavy makeup influenced by glam rock (every bit embodied by Poison and Mötley Crüe).[14] Use of the derogatory term "pilus metal" started in the early 1990s, as grunge gained popularity at the expense of 1980s metal.[14] In the "definitive metal family unit tree" of his documentary Metallic: A Headbanger's Journey, anthropologist Sam Dunn differentiates pop metallic, which includes bands like Def Leppard, Europe, and Whitesnake, from glam metal bands such as Mötley Crüe and Poison.[15]

History [edit]

Predecessors [edit]

The New York Dolls in 1973. Their visual style influenced the wait of many 1980s-era glam metal groups.

Music announcer Stephen Davis claims the influences of the style can be traced back to acts similar Kiss, Boston, Cheap Trick, and the New York Dolls.[3] Kiss and to a lesser extent Alice Cooper, were major influences on the genre.[16] Finnish band Hanoi Rocks, heavily influenced themselves past the New York Dolls, have been credited with setting a blueprint for the expect of hair metal.[17]

Van Halen has been seen every bit highly influential on the motility, emerging in 1978 from the Los Angeles music scene on Sunset Strip, with a sound based around the atomic number 82 guitar skills of Eddie Van Halen. He popularized a playing technique of 2-handed hammer-ons and pull-offs called borer, showcased on the song "Eruption" from the album Van Halen.[iv] This sound, and lead singer David Lee Roth'due south stage antics, would be highly influential on glam metallic, although Van Halen would never fully adopt a glam aesthetic.[eighteen] Def Leppard, often categorized with the New Wave of British heavy metal, released their second album High 'n' Dry in 1981, mixing glam rock with heavy metal, and helping to define the sound of hard rock for the decade.[19]

Mainstream success (1981–1991) [edit]

First wave (1981–1986) [edit]

In the early 1980s, bands from across the United States began to move towards what would become the glam metal sound. In 1981, Mötley Crüe (from Los Angeles) released their starting time album Too Fast for Love, Dokken (likewise from Los Angeles) released their first album, Breaking the Bondage, and Kix (from western Maryland) released their commencement album, Kix. In 1982, Night Ranger (from San Francisco) released their initial album Dawn Patrol which reached the meridian 40 in the U.s.a..[20]

Quiet Anarchism was ane of the commencement glam metal bands to achieve mainstream success.

1983 was the breakout year for heavy metal: Serenity Riot's Metallic Health was the starting time heavy metal anthology to accomplish number one in the Billboard charts. Quiet Riot success paved the way for many heavy metal acts, glam and otherwise, every bit the decade progressed.[21] That same year saw a larger wave of heavy metal albums achieve previously unheard of commercial success, with Mötley Crüe releasing its 2d anthology Shout at the Devil, Def Leppard releasing its third album Pyromania, and Kiss releasing Lick It Up.

Def Leppard'due south Pyromania, afterward certified 10x platinum by the Recording Industry Clan of America (RIAA), reached number ii on the Billboard 200. The singles "Foolin'", "Photograph", and "Stone of Ages", helped past the emergence of MTV, reached the Height 40.[xix] [22] [23] Pyromania 's style was widely emulated, particularly past the emerging Californian scene.[6] However, remarked Leppard's Joe Elliott, "I don't know how anybody could confuse u.s. with that lot. We weren't even effectually when all those and so-chosen glam bands came up. We were in fuckin' Holland making Hysteria. While they were out banging chicks or whatever, we were looking at windmills and playing pool on a table without any pockets. We were as far away from LA equally any band could be."[24]

The most active glam metal scene was starting to appear in clubs on the Dusk Strip in Los Angeles, including The Trip, the Whisky a Go Become, and the Starwood. These clubs began to avert booking punk rock bands because of fears of violence and began booking many metal bands, usually on a "pay to play" basis, thus creating a vibrant scene for hard rock music.[4] [25] An increasing number of metallic bands were able to produce debut albums in 1984, including Ratt (from Los Angeles) with its breakthrough album Out of the Cellar, Bon Jovi (from New Bailiwick of jersey) with its debut Bon Jovi, Swell White with Peachy White, Black 'due north Blue (from Portland, Oregon) with Blackness 'n Blue, Autograph with its first album Sign In Please, and Westward.A.S.P. with its self-titled debut album.

All these bands played a part in developing the overall expect and sound of glam metal during the early 1980s.[four] In 1985, many more than commercially successful glam metal albums began to appear. Mötley Crüe released Theatre of Pain, Ratt's second album Invasion of Your Privacy, Dokken's third album Under Lock and Central, Stryper's kickoff release Soldiers Under Control, Bon Jovi'south second release 7800° Fahrenheit, and Autograph'south 2d anthology That's The Stuff. Los Angeles continued to foster the most important scene around the Dusk Strip, with groups like London, which had originally formed as a glam rock band in the 1970s, and had seen future members of Mötley Crüe, Cinderella and Guns N' Roses pass through its ranks, finally releasing their début anthology Non Stop Stone in 1985 also.[26]

Second wave (1986–1991) [edit]

By the mid-late 1980s, glam metallic had begun to become a major mainstream success in America with many of these band'due south music videos appearing on heavy rotation on MTV ofttimes at the pinnacle of MTV'south daily dial countdown, and some of the bands appeared on the channel'southward shows such as Headbangers Ball, which became one of the most popular programs with over 1.3 million views a week.[12] [27] The groups also received heavy rotation on radio stations such every bit KNAC in Los Angeles.[28]

Bon Jovi's song "Livin' on a Prayer" went to number one on the Billboard Hot 100 in the 1980s. Three other Bon Jovi songs likewise went to number one on the Billboard Hot 100 in the 1980s.[29]

1986 was a meaning year for glam metal music as one of the most commercially significant releases of the era was put out by Bon Jovi with Slippery When Wet which mixed metallic with a pop sensibility, and spent a total of eight weeks at the top of the Billboard 200 album nautical chart, selling over 12 million copies in the United States. It became the first hard rock album to spawn 3 top ten singles, two of which reached number one.[30] The album has been credited with widening the audience for the genre, particularly by appealing to women as well as the traditional male dominated audience, and opening the door to MTV and commercial success for other bands at the end of the decade.[31]

The Swedish band Europe released the anthemic album The Concluding Countdown which reached the elevation 10 in several countries, including the U.South. and while the title single reached number one in 26 countries.[32] Stryper made their mainstream breakthrough in 1986 with the release of their platinum album To Hell with the Devil and brought Christian lyrics to their hard rock music style and glam metal looks.[33] 2 Pennsylvania bands, with Harrisburg's Poison and Philadelphia'south Cinderella released multi-platinum début albums, respectively Wait What the Cat Dragged In and Night Songs in 1986.[34] [35] Van Halen released 5150 their first album with Sammy Hagar on lead vocals, which was number i in the U.S. for iii weeks and sold over six million copies.[18] Additionally, some established hard rock and heavy metal bands of the era such as Scorpions, Whitesnake, Dio, Aerosmith, Kiss, Alice Cooper, Ozzy Osbourne, Judas Priest, Saxon and Accept began incorporating hair metallic elements into their sounds and images, as the genre's popularity skyrocketed in 1985–1986.[36]

4 Def Leppard songs were on the top ten of the Billboard Hot 100.[37]

Glam metal bands continued their run of commercial success in 1987 with Mötley Crüe releasing Girls, Girls, Girls, White Lion releasing Pride, and Def Leppard releasing Hysteria producing a hard stone tape of vii hit singles.[19] Another of the greatest successes of the era was Guns Northward' Roses, originally formed from a fusion of bands L.A. Guns and Hollywood Rose, who released the acknowledged début of all fourth dimension, Appetite for Devastation. With a "grittier" and "rawer" sound than most glam metal, incorporating elements punk, dejection and thrash, Ambition For Devastation produced iii meridian x hits, including the number one "Sweet Child O' Mine".[38] Such was the dominance of the style that Californian hardcore punk band T.S.O.50. moved towards a glam metal sound in this period.[39] [40]

In the concluding years of the decade the most notable successes were New Jersey (1988) by Bon Jovi,[41] OU812 (1988) by Van Halen,[eighteen] while Open Up and Say... Ahh! (1988) by Toxicant, spawned number i hitting unmarried "Every Rose Has Its Thorn", and eventually sold eight million copies worldwide.[34] [42] Britny Trick from Philadelphia[43] and Winger from New York[44] released their eponymous débuts in 1988. In 1989 Mötley Crüe produced their most commercially successful album, the multi-platinum number 1 Dr. Feelgood.[45] In the aforementioned twelvemonth eponymous débuts included Danger Danger from New York,[46] Unsafe Toys from Austin, Texas, who provided more of a Southern rock tone to the genre,[47],Enuff Z'Nuff from Chicago who provided an chemical element of psychedelia to their sound and visual fashion, and Tora Tora from Memphis, Tennessee, who incorporated elements of dejection rock into their music. L.A. débuts included Warrant with Dirty Rotten Filthy Stinking Rich (1989),[48] and Skid Row with their eponymous anthology (1989), which reached number six in the Billboard 200, just they were to exist one of the last major bands that emerged in the glam metallic era.[49]

Glam metal entered the 1990s as one of the major commercial genres of popular music, but such success would not go along for long; in 1990, débuts for Slaughter, from Las Vegas with Stick It to Ya [50] and FireHouse, from North Carolina, with their eponymous album reached number 18 and number 21 on the Billboard 200 respectively, but it would be the superlative of their commercial achievement. Y&T released their last album "Ten" earlier the band on went on hiatus a few years. [51]

Turn down (1991–1997) [edit]

The 1988 film The Reject of Western Civilization Part 2: The Metallic Years captured the Los Angeles scene of successful and aspiring bands. It too highlighted the excesses of glam metallic, particularly the scene in which W.A.S.P. guitarist Chris Holmes was interviewed while drinking vodka on a floating chair in a swimming pool as his mother watched. As a upshot, it has been seen as helping to create a backfire confronting the genre.[52] [53] In the early 1990s glam metallic'south popularity apace declined after most a decade of success. Successful bands lost members that were central to their songwriting and/or live performances, such every bit Mötley Crue'south frontman Vince Neil, Poison guitarist C.C. DeVille, Def Leppard guitarist Steve Clark and Guns N' Roses guitarist Izzy Stradlin. Several music writers and musicians began to deride glam metallic acts as "hair farmers",[54] [55] hinting at the soon-to-be-popularized term "pilus metal". Another reason for the refuse in popularity of the style may have been the failing popularity of the ability carol. While its utilize, particularly afterwards a difficult-rocking anthem, was initially a successful formula, in the early 1990s audiences lost interest in this approach.[eight] [56]

One significant factor in the decline was the rising of grunge music from Seattle, with bands including Nirvana, Alice in Chains, Pearl Jam and Soundgarden. This was especially obvious after the success of Nirvana's Nevermind (1991), which combined elements of hardcore punk and heavy metallic into a dingy sound that made utilize of heavy guitar distortion, fuzz and feedback, along with darker lyrical themes, a stripped-downwardly aesthetic and a consummate rejection of the glam metallic visual manner and functioning.[14] [57] Many major labels felt they had been caught off-guard past the surprise success of grunge and began turning over their personnel in favor of younger staffers more versed in the new scene. As MTV shifted its attention to the new mode, glam metallic bands found themselves relegated increasingly to late night airplay, and Headbangers Ball was cancelled at the finish of 1994,[27] while KNAC went over to Castilian programming.[28] Given glam metal'due south lack of a major format presence on radio, bands were left without a articulate way to attain their audience. Other (earlier Hollywood) alternative rock bands like the Ruby Hot Chili Peppers and Jane'due south Addiction besides helped supplant the popularity of the genre.[58]

Some artists tried to alter their audio, while others struggled on with their original format.[xiv] In 1995, Van Halen released Remainder, a multi-platinum seller that would be the ring'south concluding with Sammy Hagar on vocals. In 1996, David Lee Roth returned briefly and his replacement, former Extreme singer Gary Cherone, left the band soon after the release of the commercially unsuccessful 1998 album Van Halen III. Van Halen would non tour or record once more until 2004.[18] Welsh rock ring Manic Street Preachers' 1992 debut album Generation Terrorists featured a glam metal sound.[59] The album reached No. 1 in the U.k. Rock Nautical chart,[60] but failed to nautical chart in the U.s.a..[61]

Meanwhile, Guns N' Roses' classic-lineup was whittled away throughout the decade. Drummer Steven Adler was fired in 1990, guitarist Izzy Stradlin left in belatedly 1991 subsequently recording Use Your Illusion I and II with the band. Tensions between the other band members and atomic number 82 singer Axl Rose continued later on the release of the 1993 punk rock covers album "The Spaghetti Incident?". Guitarist Slash left in 1996, followed by bassist Duff McKagan in 1998. Axl Rose, the only remaining member from the classic lineup at that indicate, worked with several lineups of the band to record Chinese Commonwealth – an album that would take over x years to consummate.[38]

Revivals and nostalgia festivals (1997–present) [edit]

During the late 1990s and 2000s, glam metal began to have a revival. Some established acts who had managed to atmospheric condition the storm enjoyed renewed popularity, others reformed and new bands emerged to emulate the glam metal style. Bon Jovi were withal able to achieve a commercial hitting with "It's My Life" (2000).[41] They branched into country music with a version of their 2005 song "Who Says You Can't Go Home", which reached No. 1 on the Hot Country Singles chart in 2006 and the stone/country album Lost Highway which reached No. i in 2007. In 2009, Bon Jovi released The Circle, which marked a return to their hard rock sound and reached No. 1 on the Billboard 200.[41] Mötley Crüe reunited with Vince Neil to record the 1997 album Generation Swine [45] and Poison reunited with guitarist C.C. DeVille in 1999, producing the mostly live Power to the People (2000);[34] both bands began to tour extensively. There were reunions and subsequent tours from Van Halen (with Hagar in 2004 and then Roth in 2007).[18] The long-awaited Guns N' Roses album Chinese Democracy was finally released in 2008, just just went platinum in the U.s., produced no hit singles, and failed to come close to the success of the ring'south late 1980s and early 1990s material.[62] Europe's "Final Inaugural" enjoyed a new lease of popularity as the millennium drew to a close and the ring reformed.[63] Other acts to reform included Ratt,[64] Britny Pull a fast one on,[65] Stryper (annually),[33] and Skid Row.[49]

The Rocklahoma festival held in Pryor, Oklahoma in 2008

Beginning in 1999, Monster Ballads, a series of compilation albums that feature popular ability ballads, ordinarily from the glam metal genre, capitalized on the nostalgia, with the get-go book going platinum.[66] The VH1 sponsored Stone Never Stops Tour, beginning in 1998, has seen many glam metal bands take to the stage again, including on the countdown tour: Warrant, Slaughter, Quiet Anarchism, FireHouse, and Fifty.A. Guns. Slaughter also took part in the 1999 version with Ted Nugent, Night Ranger, and Quiet Riot.[67] Toxicant and Cinderella toured together in 2000 and 2002, and in 2005 Cinderella headlined the Rock Never Stops Bout, with support from Ratt, Quiet Riot, and FireHouse.[35] In 2007 the four-24-hour interval-long Rocklahoma festival held in Oklahoma included glam metallic bands Poison, Ratt and Twisted Sister.[68] Warrant and Cinderella co-headlined the festival in 2008.[69] Nostalgia for the genre was evidenced in the production of the glam metal themed musical Rock of Ages, which ran in Los Angeles in 2006[seventy] and in New York in 2008.[71] It was fabricated into a film released in 2012.[72]

Glam metallic experienced a partial resurgence around the turn of the century, due in role to increased interest on the Net, with the successful Glam Slam Metal Jam music festival taking identify in the summer of 2000.[73] By the early 2000s, a handful of new bands began to revive glam metallic in one form or another. The Darkness's Permission to Land (2003), described equally an "eerily realistic simulation of '80s metallic and '70s glam",[74] topped the UK charts, going quintuple platinum. One Way Ticket to Hell... and Dorsum (2005) reached number 11. The band broke up in 2006, but reunited in 2011, releasing the album Hot Cakes the following year. Los Angeles band Steel Panther managed to gain a following by playing 1980s style glam metal.[75] In Sweden the "sleaze metallic" motion attempted to revive the genre, with bands including Vains of Jenna,[76] Crashdïet[77] and H.E.A.T,[78] likewise as the Finnish band Reckless Love.[79] Other new acts included Cute Creatures[80] and Buckcherry. The latter'due south breakthrough album 15 (2006) went platinum in the U.S. and spawned the single "Deplorable" (2007), which made the top 10 of the Billboard Hot 100.[81] In France, the ring BlackRain also managed to get some coverage, thank you to their piece of work with legendary producer Jack Douglas.[82] Bands known for their metalcore background such every bit Black Veil Brides[83] and Blessed by a Cleaved Heart[84] have changed their style to be glam metallic inspired, both musically and visually, with Black Veil Brides adding a gothic spin to the traditional glam image.[85]

Come across too [edit]

  • List of glam metal albums and songs
  • List of glam metal bands and artists

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General bibliography [edit]

  • Auslander, P., Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Printing, 2006), ISBN 0-7546-4057-4.
  • Batchelor, R., and Stoddart, S., The 1980s (London: Greenwood Publishing Group, 2007), ISBN 0-313-33000-10.
  • Bogdanov, V., Woodstra, C., and Erlewine, Southward. T., All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X.
  • Bukszpan, D., The Encyclopedia of Heavy Metal (London: Barnes & Noble Publishing, 2003), ISBN 0-7607-4218-9.
  • Chapman, A., and Silber, L., Rock to Riches: Build Your Business the Rock & Roll Way (Capital Books, 2008), ISBN 1-933102-65-9.
  • Danville, E., and Mott, C., The Official Heavy Metal Book of Lists (Fayetteville, AR: University of Arkansas Press, 2009), ISBN 0-87930-983-0.
  • Davis, South., Sentry You lot Bleed: The Saga of Guns N' Roses (New York: Gotham Books, 2008), ISBN 978-one-59240-377-6.
  • Hurd, M. K., Women Directors and their Films (London: Greenwood Publishing Grouping, 2007), ISBN 0-275-98578-4.
  • Macdonald, B., Harrington, J., and Dimery, R., Albums You Must Hear Before You lot Die (London: Quintet, 2006), ISBN 0-7893-1371-5.
  • Moore, R., Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis (New York: New York University Press, 2009), ISBN 0-8147-5748-0.
  • Nicholls, D., The Cambridge History of American Music (Cambridge: Cambridge University Printing, 1998), ISBN 0-521-45429-eight.
  • Smith, C., 101 Albums that Changed Popular Music (Oxford: Oxford Academy Press, 2009), ISBN 0-19-537371-v.
  • Walser, R., Running with the Devil: Power, Gender, and Madness in Heavy Metallic Music (Middletown, CT: Wesleyan Academy Press, 1993), ISBN 0-8195-6260-2.
  • Weinstein, D., Heavy Metal: The Music and Its Culture (Cambridge, MA: Da Capo Printing, 2000), ISBN 0-306-80970-2.
  • Weinstein, D., "Rock critics need bad music", in C. Washburne and M. Derno, eds, Bad Music: the Music we Dearest to Hate (London: Routledge, 2004), ISBN 0-415-94366-three.
  • Yfantis, V., "Power Ballads And The Stories Behind", (Athens: CreateSpace Independent Publishing Platform, 2021), ISBN 1546723404.

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Source: https://en.wikipedia.org/wiki/Glam_metal

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