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Growing up a fan of hard rock and heavy metal, it’s sort of a rite of passage to have to defend your favorite band or style of music against all others. For me, it was compounded by the fact that I was defending hair metal, which is often the punch line in a joke. I fought loud and proud for my hairspray heroes. I truly believed that they were better than The Beatles, because to me they were. In all honesty, the band that people threw in my face the most was Led Zeppelin. It made sense because along with Black Sabbath they “invented” heavy metal. I’d constantly hear, “Yo, Motley Crue sucks. You should check out a real band like Zeppelin.”  While I never agreed with this sentiment (and still don’t), part of the whole process included checking out these so called “better” bands. It all contributed to becoming a well rounded metal fan and music fan in general.

Inevitably, you learn one of life’s cruelest lessons, which is music is trendy. By their very nature, trends aren’t meant to last. With hair metal, the exit from the limelight was brutal. Throughout the 80′s, it was as if the hair bands were throwing the party that every kid wanted to have when their parents were out of town. By the early 90′s, hair bands were the dorks throwing the party that no one in their right mind wanted to attend. Everything they stood for was immediately un-cool.

Grunge was the perfect response to hair metal. It was the antithesis to everything hair metal was about. It was appropriate and made sense, which is why hair metal fans hated it so much. I was naive enough to believe that both genres of music, and all forms for that matter, could co-exist. This is when I learned that the suits are too stupid to be able to successfully market one genre of music without replacing another. I never really hated grunge until I felt as if I was being accosted because I liked hair metal.

Grunge wasn’t meant to last. It was brief, but intense. In retrospect, there was a great amount of creativity in a short period of time. It’s demise was brought on by Kurt Cobain‘s untimely death in 1994. Since then, rock has had no voice and has floundered, while one uninspiring band after another fails to ignite any sort of long lasting enthusiasm. While I am not the biggest fan of grunge, it generated a fiercely loyal following. A following that has been absent from rock music since grunge died nearly 15 years ago.

Since then we have suffered through post-grunge, nu metal and rap rock. There have been some big bands over the last 15 years. There have been a few good ones with a lot of forgettable ones. In case you’re wondering, I am not completely stuck in the 80′s. There have been a few very good bands to emerge amidst the bland musical climate of the last decade and a half.

Some of my favorites include Collective Soul, The Donnas, Buckcherry, Nickelback and Kid Rock. Oddly, all of these bands are rooted in the 90′s. Nickelback is probably the least exciting, but they are consistently…… good. I can’t honestly say that any of their albums are my favorite of all time, but they are all enjoyable. Dark Horse was one of the pleasant surprises of 2008. The Donnas caught my attention with 2002′s Spend The Night. Easily one of my all time favorites, it’s also one of the least talked about albums in recent years. Part punk, part pop, part hair metal and all rock, The Donnas have yet to garner the attention they deserve. Buckcherry blasted onto the scene in 1995 and surprisingly failed to generate a following….. until the bands 3rd album, 15, and the insanely popular single, Crazy Bitch. The album title refers to the number of days it took to record. Buckcherry is pure rock n’ roll. Their second album, Time Bomb, is a masterpiece. Who cares about Chinese Democracy or Axl Rose when we have Buckcherry. Kid Rock has dabbled in rap, metal and country. His latest effort, 2007′s Rock N Roll Jesus is without a doubt his best. On it, Rock offers up more of a classic rock sound where he sounds right at home. Kid Rock has been able to incorporate many genres into his music and does it sincerely. Kid Rock loves music and it shows. Collective Soul has slowly earned my respect over the course of their nearly 20 year career. So much so, that I truly feel they are the most original band of the last 2 decades. They have a unique sound all their own and an impressive list of hit songs and albums. I’ve seen them live twice and they are not to be missed.

As I said, all of these bands got their start in the 90′s which leaves us with the new millennium. Undoubtedly, the biggest phenomenon in music over the last 9 years has been American Idol. Idol doesn’t bother me as much as it does others or perhaps as much as it should. It’s a talent contest and the talent in question is individual vocal performance. It’s not a song writing contest and the show makes no bones about the fact that they are looking for “pop” stars. If American Idol is #1 than the next biggest thing has been Guitar Hero and now Rock Band. Sadly, these video games have inspired more interest in guitar oriented music than any one band has. Most of the games are a collection of hard rock and classic rock songs from the last 3 or 4 decades. A lot of the bands whose music helps comprise the soundtrack to these games have experienced an increase in the sale of their catalogs. I think it’s great, I just wish there were new bands generating the same interest. In addition, I have noticed a preponderance of teens wearing t-shirts from “old school” metal acts including AC/DC and Iron Maiden.

Music often has the greatest impact on us when we fall in love with it for the first time. Typically, this is in our teens. This would explain why, while we may appreciate new music throughout the course of our lives, it’s often the music that we first fell in love with that we most enjoy. It has the ability to take us back in time and ideally conjur up good memories. That being said, at 34 I know am still able to be impressed. It just doesn’t happen that often. Perhaps, someday, rock will once again be king.

I started this blog as a way to explore my love for writing as well as discuss my love for hair metal. Not a very deep subject, I know. The idea was that through the blog I would somehow unearth all the greatness about hair metal that the rest of the world missed out on the first time around. Clearly my fiance was implying that I failed or was asking me when I planned to get to the point.

My blog is nothing more than a collection of album reviews. I’ve said nothing spectacular and offered no new insight. I’ve been completly unoriginal. Oddly, I have always been somewhat of a rock snob, quick to tell someone that their favorite band sucks and why. Perhaps this politically correct world has corrupted my critical mind?

I’ve also spent the last couple of years  lounging around the forum on a fan related hair metal website. The website is actually the best hair metal site I’ve come across. The administrator does a fantastic job and runs a very respectable website. The forum has your usual suspects lingering around. There are a few people, including myself, who are able to express both positive and negative opinions in a mature and intelligent manner. Unfortunately we’re the minority. Fan related sites are typically populated by two types of individuals. You’ll either encounter the spineless cheerleader who loves absolutely everything or you’ll run into the trouble making naysayer who seems to be there simply to tell everyone that everything sucks. Is it possible that hanging out with the “fanboys” has made me boring?

The fact is, I have lost my way. I’ve surrendered my voice, so as not to offend anyone.  It’s never been my intent to offend anyone with my opinions on music (or anything else for that matter), but it’s never been my desire to appear as totally uninspired either. Music, regardless of style or genre, should ideally evoke some sort of emotion. For the better part of my nearly 35 years, music has played a significant role. It’s provided both happiness and comfort at times when nothing or no one else could. Music has the ability to instantly bring you back to a moment in time. How many things in this world are capable of that?  Something that powerful certainly deserves more than a collection of album reviews.

Moving forward, I intend to take this blog in a more meaningful, thought provoking direction.

Producer: Richie Zito

Released: 1993

Rating: **

Dedication: …. To C.C. DeVille, thanks for eight years together. Here’s to your health and happiness.

When Poison recorded and released Native Tongue in 1993, the musical climate was drastically different than it was just 10 years earlier when they began their unapologetic quest for super stardom. Glam/hair metal was no longer the popular choice among teens. In fact, now that grunge had taken over the airwaves and MTV, Poison‘s brand of music was downright despised. In the blink of an eye, Poison was reduced to a punch line in a joke. They literally became what everyone wanted to and was told to believe and hate about hair bands. In addition, in a highly publicized battle with substance abuse C.C. DeVille and Poison had parted ways. With absolute class the band dedicated Native Tongue to C.C. DeVille‘s health and happiness.

Bret, Bobby and Rikki replaced C.C. with Richie Kotzen. As the story goes, Kotzen wasn’t simply a hired gun and was given creative freedom during the writing and recording of Native Tongue. This typically never happens in the hard rock world. The results are immediately obvious when you start listening to the album. All of the power pop hooks that made Poison famous were gone and in their place were funk and blues riffs courtesy of Mr. Kotzen. Native Tongue might have made more sense if it had been released by Extreme.

In any case, the album doesn’t sound believable and therefor is far less memorable than the bands first three studio efforts. Flesh & Blood was a natural progression for the band which offered a somewhat more mature sound from everyone’s favorite party band. Native Tongue sounds contrived, as if they were trying to prove something to all their disapproving critics.

At 13 songs (plus an intro and 1 acoustic instrumental) Native Tongue might be 3 songs too long. The stand out tracks are Stand and Until You Suffer Some (Fire and Ice). With church choir background vocals, both songs are a tad more grandiose in their approach than Talk Dirty To Me or Fallen Angel. All of the songs on Native Tongue are more complex than any of the bands previous efforts. It certainly sounded as if Poison had been reading their reviews and had taken what their critics said to heart.

Songs aside, the appearance of both the album and the band were drastically different than the look that made them famous. The “poison” green logo that adorned their 3 previous albums was replaced by a rusty, or perhaps grungy looking version. The album cover itself looks like it could be Native American art or a lost set piece to the Wizard Of Oz. All of the sepia toned photographs within the album packaging showcased a very dressed down version of Poison.

Richie Kotzen and Poison weren’t meant to last. During the supporting tour it had been discovered that Kotzen had been having an affair with Rikki Rockett’s fiance. He was immediately ejected from the band. Native Tongue was only able to reach gold status in the United States and sold 1 million copies worldwide. Hardly a failure, it was far from the success that Poison had become accustomed to. In 1993 there wasn’t much that Poison could have done to sustain their popularity. Even if C.C. had remained in the band and stuck to their bleach blond roots it’s unlikely that you would have found them sitting on top of the charts during the days of flannel shirts and grunge. It’d be another 6 years before they’d be able to cash in on 80′s nostalgia. Native Tongue isn’t an awful album. It just isn’t a great Poison album.

Producer: Poison

Released: 1991

Rating: *** 1/2

If you’ve read any of my posts you’ll know that I’m somewhat cynical (putting it mildly) when it comes to “live” albums. Years ago, they were looked at as a way for a band to thank their fans and earn some credibility. The proof was ideally in the pudding. Live albums are especially important in the metal world where bands make a living through their live performances.

Spend enough time researching live albums and you’ll find that many of them have been criticized for being nothing more than a studio album with the addition of requisite crowd noise. Many of these accusations are exchanged between bands, but the most telling testimony regarding live albums came from Paul Stanley. When asked about Alive II, Paul offered that, “Alive II is as live as it needs to be.”

Live albums also serve another purpose. They’re a fantastic way for bands to fulfill their obligations with record labels, but it’s an even better way for the labels to issue new “product” while their tired (strung out) bands take a break (sober up). This definitely appeared to be the case when Poison released Swallow This Live. They’d been recording albums, touring and, yes, partying for 5 years. They were literally falling apart at the seams.

All the pieces are in place for Poison to give fans a kick ass live experience. A raucous intro, a kick ass live shot for a cover complete with lasers and explosions and all of the bands greatest hits. Poison gets points for making their first live album a double disc release. Oddly, nearly 20 minutes are divided up between Rikki Rocket‘s and C.C. DeVille‘s respective solos. Following in the footsteps of KISS‘ Alive II, Poison chose to include 4 new “Bonus” tracks for their fans. So Tell Me Why kicks ass and is actually one of my favorite Poison tracks. The 3 other new tracks sound like and probably were left over tracks from Flesh & Blood. Since fans are always clamouring to hear unreleased songs, this is a great way to get them in their hands.

Aside from the cover, the album also includes several band and individual live shots. These pictures as well as the album itself do a good job of accurately capturing the live experience. Poison have always been known for their highly energized concerts and these photos accurately capture that experience. What’s shocking is the two back stage photos of the band. They look like shit. Quite honestly, the band looks like they just woke up. Burn out, fatigue and various addictions had indeed taken their toll. Gone are the infectious smiles that the world fell in love with just 5 years earlier and in their place are 4 beat up looking rock stars. Bret and especially C.C. look the worst.

Truth be told, Swallow This Liveis as good a live album as any other. I suppose I’m simply not as big a fan of live albums as I used to be. The album succeeds where it is supposed to and accurately represents the concert experience as much as any live album is able to. I think diehard fans prefer bootlegs because they know they’re getting the real deal and opposed to a greatest hits album with crowd noise. Perhaps I’m not to fond of this album because it also represents the end of an era for both Poison and hair metal. Not long after the release of this album C.C. DeVille would exit the band and they would not again reunite for nearly 10 years.

Producer: Bruce Fairbairn Co-Producer: Mike Fraser

Released: 1990

Rating: **** 1/2

One of the oldest cliche’s within the music world (especially the hard rock community) is to claim that, “We don’t care what the critics think, we make music for the fans.” It sounds great and sells magazines (when magazines used to be a viable medium), but somewhere in there is a harsh underlying reality. While some artists may indeed make music for the fans, many of those same artists do care what the critics think. There’s nothing like spending a year or more writing and recording what you feel is your “best work yet” only to have the critics label it as pure trash. Sure, vindication often comes in the form of multi-platinum success, but sometimes that does little to ease the sting of bad album reviews.

Somehow I have to believe that when Bret, Bobby C.C. and Rikki entered the studio to record Flesh & Blood some of their critics not-so-nice reviews weighed heavy on their minds. I don’t think they set out to record an album for the critics, but it certainly sounded as if they had grown up…… a little.

Look What The Cat Dragged In and Open Up And Say… Ahh! proved that Poison knew how to party. Sure, songs like Every Rose Has Its Thorn indicated that there might be some depth beyond their party rock image, but for the most part Poison truly were interested in “nothin’ but a good time”.

Oddly, when they entered the studio to record Flesh & Blood they chose not to have Tom Werman produce the album who produced their 5 million seller Open Up And Say… Ahh! Instead they chose to use Bruce Fairbairn who had most recently produced Aerosmith’s mega hit Pump. Fairbairn also produced Aerosmith’s comeback album, Permanent Vacation and Poison have always been huge fans of Boston’s Bad Boys. Coincidence? Probably not.

The results? The albums opener Strange Days Of Uncle Jack is a moody intro that lets the listener know that this album will be a bit more ambitious in its approach than the bands first two releases. After the nearly 2 minute long intro, Valley Of Lost Souls kicks in and the albums biggest difference is immediately realized.  When compared to the bands first two releases, Flesh & Blood’s production is much thicker. Open Up And Say… Ahh! is the bands best selling album, yet I always felt the production was flat. Surprising because Tom Werman is no slouch, but for whatever reason I’ve always felt that the production on Open Up And Say… Ahh! leaves something to be desired.

Valley Of Lost Souls offers up another side to the party rock band, but fear not, the next two songs remind the listener what this band is all about. Perhaps a tad more complex in their arrangements, (Flesh & Blood) Sacrifice and Unskinny Bop are a return to the bands favorite subject matter. Oddly, they’re two of the just three songs on the album about sex. Had glam’s poster children grown up?

With songs like Let It Play, Life Goes On, Come Hell Or High Water and Ride The Wind it sure seemed as if Poison were offering fans a glimpse into another side of the bands personality. At times the songs on Flesh & Blood suggest a road weary, cynical point of view that only a band being pushed to the brink of self destruction could offer. Lucky for Poison, that’s exactly what was happening.

Flesh & Blood’s highlight comes in the form of the albums most cynical tune, Something To Believe In. The song wreaks of disillusionment which may have caught diehard fans off guard. Somewhat gut wrenching, the song proved that Poison were capable of delivering more than an awesome soundtrack to high school keggers.

Beyond the songs, Flesh & Blood also showcased a drastically different looking Poison (for the time). Bret Michaels strapped on a bandanna that hasn’t left his forehead since. The albums accompanying pics show an un-teased, less made-up band. This was definitely a good indication of where the glam scene was headed.

While not as successful as Open Up And Say… Ahh!, Flesh & Blood was certified triple platinum. Hardly a failure, I happen to think it’s the bands crowning jewel. With Flesh & Blood, Poison was able to offer their fans (and, yes, critics) a more mature sound without sounding pompous. Flesh & Blood is a pretty accurate representation of a band who’d just completed their first lap around the rock n’ roll roller-coaster. Tired and worn down, Flesh & Blood wasn’t as much a party soundtrack as it was a snapshot of a certain moment in a bands career. It’s a must have for all Poison fans.

Producer:  Tom Werman

Released: 1988

Rating: *** 1/2

How do you follow up your multi-platinum selling debut album? Well, if you are Poison you start by not fucking with the formula. It was 1988, hair metal was still in full swing and there was no reason for Bret, Bobby, C.C. and Rikki to second guess what made them famous in the first place. Critics hated them, but critics don’t buy albums or concert tickets. Next, you ask Tom Werman to produce the album. Tom made a name for himself in the hair metal scene producing albums for Twisted Sister, Motley Crue, L.A. Guns and Kix. He is often credited for helping create the sound of hair metal in general. Finally, you write a killer ballad, Every Rose Has Its Thorn, that will help insure that your album sells 5 million copies. Job well done, boys.

In 1988 Poison were living the good life coming off the success of Look What The Cat Dragged In and the supporting tour, so there was no reason to upset the apple cart. Instead, Poison recorded nine new hair metal classics and one very appropriate cover tune, Your Mama Don’t Dance. Open Up and Say… Ahh! literally picks up where the bands debut album left off. Think of this album as day two of the party.

When Open Up and Say… Ahh! is good, it offers some of the best examples of hair metal you can find including; Nothin’ But A Good Time, Look But You Can’t Touch, Fallen Angel, Every Rose Has Its Thorn and Your Mama Don’t Dance. Releasing tunes like this in 1988 was a no brainer, as well as a recipe for multi-platinum success. Continuing on their shameless mission to not break any new ground, Open Up and Say… Ahh! also increased Poison’s fan base. In 1988 they were the hottest ticket in town.

Every Rose Has Its Thorn proved the band was capable of chart topping success (the single reached #1) and the song sounds as fresh in 2008 as it did 20 years ago. Truly, the result of quality song writing. The video showcased another, rather un-glamy side of the band, depicting the not-always-fun life on the road. Regardless, this very well may be the ultimate “get your lighters out” song.

If there’s anything I don’t like about the album it’s, surprisingly, the production. I am typically Tom Werman’s biggest fan. I’m not sure if it’s the actual production of the album or simply the sound (umm, in other words the production). At any rate, I’ve always thought that this album sounds too “bright” and awfully “thin”. In other words, the bottom end is nearly non-existent. I think with a “thicker” sound, this album would have a much different, much more appealing “rock” vibe. Nitpicking aside, this album is a must have for fans of the genre.

Producer: Ric Browde

Released: 1986

Rating: ****

Detractors of this band have always lambasted them for an over emphasis of style over substance. One look at the cover of the bands debut release, Look What The Cat Dragged In, and it’s easy to understand why. Made up like the cheapest hookers around, it was clear that Poison was an image conscious band, to say the least. Critics immediately hated them. Fans had a different reaction and Look What The Cat Dragged In was a huge hit. The question is, has it stood the test of time?

I suppose the answer to that question depends on who you ask. A band like Poison will never receive critical acclaim no matter what they do. Then again, a band like Poison exists for the fans not the critics. Poison’s brand of music is pure rock n’ roll. It’s fun, doesn’t require much thought and often puts a smile on the listeners face. The notion that rock n’ roll somehow needs to “mean” something came about in the 60′s, but at its core rock n’ roll was intended to be fun music for “the kids”. Based on that, Look What The Cat Dragged In has stood up very well over 20 years after it was released.

Boasting 3 hit singles (I Want Action, I Won’t Forget You and Talk Dirty To Me) the album is more or less a template for the entire genre. in 1986 they certainly weren’t pioneers of the glam scene, but they did help to redefine it for the second wave of hair metal bands that would dominate the charts in the late 80′s and early 90′s. Poison wasn’t a “dangerous” band like Motley Crue, although they pretended to be with songs like #1 Bad Boy (one of the albums best tracks). Poison was pure party rock. Escapism at its best and most shameless, Look What The Cat Dragged In was an invitation to the party that every teenager hoped to throw when their parents were out of town.

At just over a half hour long, Look What The Cat Dragged In gets straight to the point. Highlights include Cry Tough, I Won’t Forget You, Play Dirty, Talk Dirty To Me and #1 Bad Boy.  In later albums Poison’s sound and the subject matter of their songs would mature, although the critics still detested them. As they say, this is the album that started it all and is without a doubt the most fun to listen to. This is the album that Poison made before the critics knew who they were and therefore their most honest. They weren’t out to change the world, they, as their follow up album would declare, were looking for nothin’ but a good time.

Producer: Axl Rose & Caram Costanzo (among others)

Released: 2008

Rating: *

2008 has truly been a great year for the hard rock scene with releases from Whitesnake, Motley Crue, AC/DC, Extreme and Buckcherry to name a few. It’s been quite a while since we’ve seen this many quality releases in one year, and I’m not sure anyone would have predicted this 12 months ago.

I’m also quite certain that no one would have predicted that this would be the year that Axl Rose finally delivered the much anticipated Chinese Democracy to an eagerly awaiting rock world. Calling it the most anticipated release of the year is both accurate and misleading since the same could have been said in 2000 – 2007. Truth is, no one was sure if or when this album would ever see the light of day and when the “announcement” was made a few months back that Axl was preparing its release I don’t think anyone was holding their breath. We’d heard this a dozen or so times before with as much or more conviction.

As the release date quickly approached, it sure seemed as if this time Axl was sticking to his proverbial guns. Singles were released via radio, movie soundtrack and video game. I’d done my very best to avoid listening to any tracks prior to the albums release, whether they were leaked or legit. If and when this album ever saw the light of day I wanted it to be new and fresh. I didn’t want the experience to be spoiled by bad bootlegged versions of half produced songs. I wanted to experience these tunes, in their entirety as Axl intended people to hear them.

Chinese Democracy was a legend long before its release. Axl Rose was the only remaining band member from the original line-up. All others had jumped ship or had been forced out. Album title aside, GNR was far from a democracy at this point. Axl called all the shots and had spent 15 years and $13 million building the perfect beast. He’d burned through multiple producers and countless musicians. Tracks from the album were reportedly recorded in 14 different studios. If it sounds confusing, so does the album. But, it’s pure Axl Rose.

To say I wasn’t curious would be an outright lie, but I was also very cautious not to expect too much from an album that began recording at the beginning Clinton’s presidency and was released as George W. Bush was completing his second term. At the same time, Appetite For Destruction was the soundtrack to my teen years, so I was hoping that Axl could pull off the improbable: an album just as exciting and memorable as the bands near perfect debut. Fact is, even if Chinese Democracy was half as good as Appetite, it would be a killer album.

The album’s first track is also it’s best. The self titled track is okay, but unfortunately it’s also as good as this album is capable of being. The self-titled tune makes it clear that this is not the same GNR. Gone are the loose bluesy guitar licks of Slash and Izzy; in their place are more modern sounding, razor sharp and at times industrial sounding guitar tones. You do however get Axl’s signature scream, as well as, his growl and squeal layered on top of each other.

Shackler’s Revenge is up next and its intro sounds more like Marilyn Manson than GNR. The pre-chorus actually has a danceable disco beat and the entire song has layers of Axl’s voice, a theme present throughout the entire album. Better is a modern rock (read boring) sounding ballad and Street of Dreams is a ballad that actually sounds as if it could have been recorded by the Use Your Illusion line-up. The problem I have with both of these songs is that at times it sounds is if Axl is literally sobbing the lyrics.

It’s at this point in the album that I wonder if the obscure song titles mean anything beyond their blatant obscurity. Once I reach the end of the album I realize they do not. Chinese Democracy is a complete train wreck on many levels. What made Appetite For Destruction such a power house is the collaborative efforts of 5 very different personalities. These differences created massive tension and the result was one of the best selling debut albums of all time. It also created a check and balance system that would not have allowed the cat to get out of the bag. Chinese Democracy is all Axl all the time. With Slash he had an alter ego and the absence of that type of relationship is obvious on this album.

Chinese Democracy is the result of a mad man’s (literally) ego gone wild. The songs, at times, are a meandering mess of background noise and other computer programmable subtleties. The music completely lacks any emotion and is more distracting than entertaining. Axl’s strong point has always been that his raw performances only help to reinforce powerhouse lyrics. With Chinese Democracy the lyrics and the performance often sound like that of a man who has been beaten down as opposed to someone who used to do the beating. It’s a struggle to listen to, at times.

I did not at all expect a duplication of Appetite For Destruction. What I did expect was an album that was equally strong, but perhaps in different ways. At 46, it wouldn’t have been as believable for Axl to write Out Ta Get Me as it was when he was 25. What I wanted was a World Champion, not a whiny bitch. I wanted a rock album, not an attempt to incorporate every style of music that has come and gone over the last 15 years.

10. Times Are Changin’ – Roxy Blue (Want Some): In 2008 this is quite possibly the only list this band will appear on. When this song was on Chicago’s hair metal headquarters 103.5 The Blaze, I distinctly remember people thinking it was Bon Jovi, probably because lead singer Todd Poole sounds a bit like Jon (but not as annoying). As the title suggests, Times Are Changin’ is pretty much a standard issue power ballad in the lyrics department, only it kicks ass. Honestly, what makes this song so memorable is the sincerity of Todd Poole’s vocal performance. One of the genre’s forgotten gems.

Close calls: Love Can Make You Blind – Every Mothers Nightmare (Every Mothers Nightmare), A Million Miles – Noisy Mama (Everybody Has One), Over And Out – Britny Fox (Bite Down Hard).

9. Miss Mystery – Black N’ Blue (Without Love): One of hair metal’s most underrated bands serves up one of the genre’s least talked about power ballads. This by the numbers tune gets help from slick production and a catchy chorus.

Close calls: I’ll Be There For You – Black N’ Blue (Nasty Nasty), Don’t Close Your Eyes – Kix (Blow My Fuse).

8. The Angel Song – Great White (… Twice Shy): Telling the all too real tale of Hollywood’s shattered dreams, The Angel Song was relatively well liked when it was initially released, which is why I am surprised that it’s since been forgotten. Jack Russell’s vocal performance is a perfect match for the somber tone of the song.

Close calls: In Heaven – McQueen Street (McQueen Street), All I Want – Saigon Kick (The Lizard), Driftin’ Back – Killer Dwarfs (Method To The Madness).

7. The Ballad Of Jayne – L.A. Guns (Cocked & Loaded): 1989 was probably the last really big year for hair metal and therefore power ballads. On their second release, L.A. Guns included this super syrupy, super cool tune, The Ballad Of Jayne. The “Jayne” in question (supposedly) is Marilyn Monroe look alike, Jayne Mansfield. Another 50′s sex bomb. Think of this song as hair metal’s ode to Candle In The Wind.

Close calls: Fly To The Angels – Slaughter (Stick It To Ya), I’ll Never Let You Go – Steelheart (Steelheart).

6. I Remember You – Skid Row (Skid Row): At a time when ballads were obligatory and labels demanded them from every band on their roster, originality was sometimes hard to come by. Skid Row blasted on to a somewhat stale scene, injecting some danger in the hair metal scene which was starting to become far too “safe” for rock n’ roll. The bands debut release was a riff rocker’s wet dream loaded with fast and furious guitar licks and one beautiful ballad. I Remember You succeeds largely because Sebastian Bach’s perfect and tender vocal performance.

Close calls: Don’t Treat Me Bad – Firehouse (Firehouse), Hole Hearted – Extreme (Pornograffitti).

5. Is This Love – Whitesnake (Whitesnake): Whitesnake’s self titled 1987 was a monsterous success, due in part to some recycled Led Zeppelin style riffs and some very “memorable” videos involving Tawny Kitaen and a Jaguar. Is This Love is moody rather than syrupy, which works very well with David Coverdale’s bluesy voice.

Close calls: Headed For A Heartbreak – Winger (Winger), In These Arms – Bon Jovi (Keep The Faith).

4. Don’t Know What You Got – Cinderella (Long Cold Winter): In many ways this is a perfect tune from start to finish. From the mournful opening chords of the piano to Tom Keifer’s painful lyrics of love gone awry, this is one unhappy, yet touching ballad.

Close calls: Heaven – Warrant (Dirty Rotten Filty Stinking Rich), I Hate Kissing You Goodbye – Tuff (What Comes Around Goes Around).

3. Love And Affection – Def Leppard (Hysteria): Without a doubt this is my favorite Def Leppard tune, one that is severely over looked. I’m not terribly sure that this is a true power ballad, although Def Leppard are no strangers to the form. What really makes this song so powerful is its ethereal quality that is no doubt a result of Mutt Lange’s obsessive production. There are so many layers to uncover in this song that headphones are almost a requirement to truly appreciate everything it has to offer.

Close calls: Hysteria – Def Leppard (Hysteria), Two Steps Behind – Def Leppard (Retroactive), Miss You In A Heartbeat – Def Leppard (Retroactive).

2. I Won’t Forget You – Poison (Look What The Cat Dragged In): Poison was born to write power ballads. I mean, can you imagine a Poison album without one? Every Rose Has Its Thorn is the one most people remember, and was also the bands most successful song. I happen to think I Won’t Forget You is a better tune, possibly because it wasn’t played to death by the radio.

Close calls: Every Rose Has Its Thorn – Poison (Open Up And Say…. Ah!), Something To Believe In – Poison (Flesh And Blood).

1. Love Song – Tesla (The Great Radio Controversy): Perhaps it’s the simplicity of the title. Maybe it’s the sincerity with which Jeff Keith delivers the comforting lyrics. In any case, this is without a doubt the all time best power ballad and, yes, love song. The reason that Love Song sits in the #1 spot, though, is because it’s a genuine song rather than the formulaic tunes that many bands were churning out. For those brief 5 or so minutes, the listener honestly believes that love will indeed find a way.

Close calls: Home Sweet Home – Motley Crue (Theatre Of Pain), Don’t Go Away Mad (Just Go Away) – Motley Crue (Dr. Feelgood).