What is going on? Welcome to my weekly mixtape,
the show that takes the classic mixtape approach
to building a modern playlist. I'm your host,
Brian Colburn, the mixtape doctor, here with
a musical prescription to cure whatever ails
you. Believe it or not, one of my buddies sent
that in to me and I just had to throw it into
the intro. Sorry about that. Thank you, Bob,
for that one. I love it. Hope you guys are doing
well. I am back. With another wheel spin episode
where I am going to try to build a playlist based
entirely off of one of your suggestions. Now,
the first question is, how do you get those suggestions
to me? It is really easy. My weekly mixtape at
gmail .com. You can find me on all the social
media haunts at my weekly mixtape. You can join
the Mixtaper community over at patreon .com forward
slash My Weekly Mixtape, where it's free to join,
as well as other tiers that offer different benefits.
And then the main website, myweeklymixtape .com.
Send in your suggestions. I have got a lot of
them to go through, and I am excited to see where
we are going to go each and every week on this
new season of My Weekly Mixtape. So without wasting
any further time, let's press the wheel and see
what today's topic is going to be. There it is.
Thank you, Jay Sweet. I knew I could rely on
you to get some 80s into this fold, and you did
that. This actually goes all the way back to
the discussion that you and I had. prior to going
to see Poison and Cheap Trick, the concert that
actually launched the Toon Styles concept that
you and I did, and you have not disappointed
with this topic, hair bands that broke the mold
and still sound relevant today. Whew. Well. I've
got a lot to dissect just in the name of this
playlist alone before we get to the songs. First
off, this playlist will be coming from a place
of love. I love 80s hair bands. I want to state
that with exclamation points and be very clear
about this. There is no irony in this episode.
80s hair bands was the first time that I branched
away from my parents and started discovering
music on my own via the radio, via 1480 Z Rock.
They were an AM radio station that played a lot
of hard rock and heavy metal via MTV. This was
where I started becoming a fan of music. through
my own choices, not the music that I was listening
to with my parents. So this is actually a very
important topic for me. Now, with that being
said, there's a lot of stigmas around hair bands.
There are a lot of misconceptions with hair bands.
So let's define the way I'm going to talk about
hair bands tonight. First off, there are bands
that are undeniably part of the hair band scene.
Slaughter, Warrant, Motley Crue, Faster Pussycat,
Pretty Boy Floyd, Trickster, groups like that.
Those are undeniable hair bands that anybody
that listens to Hair Nation on Sirius XM, you
hear a ton of those bands. Then there's the hair
band adjacent groups. These are groups that...
I'd say weave in and out of the hairband sound
depending on what album you're talking about
or even diving deeper into a specific song. These
would be groups like Bon Jovi, Def Leppard, and
Skid Row. Then there's the Guilty by MTV Association.
Yes, there are a ton of bands because MTV was
playing rock music at the time and they would
just mix all these music videos together. And
bands got lumped into the hair band slash hair
metal sound, whether they were a part of it or
not. Right off the top of my head, I can think
of Aerosmith, Kiss, Alice Cooper, and Heart.
These are 70s bands. Some might refer to them
as classic rock bands. But in the 80s, they became
part of that quote unquote hair band conversation.
Then you have groups like Guns N' Roses and Tesla.
who to me were more straightforward hard rock.
And even back on season one, when Frank Hannon
of Tesla joined the show, he stated himself that
he never considered Tesla a hair metal band,
even though they consistently got lumped into
that category. So if you want to hear more about
Tesla, definitely check out the Tesla episode
from season one, one of my favorite hard rock
bands. But look. They do get lumped into that
discussion. I guess the big question is, will
they get lumped into my 10 hairband songs that
broke the mold playlist tonight? You're going
to find out. But first, let me just take a minute
to remind you, all of the songs I'll be discussing
tonight can be found over on the episode page
at myweeklymixtape .com. So as I lead into this
first pick, I think it's important to talk about
timing here. Hair bands, people automatically
lump into the 80s, the late 80s. I'd say 1985
through 1989. However, there was still all of
1990 and all of 1991 where hair bands were still
a big deal until that 44 -day stretch. And I
don't know if you know what I'm talking about,
but there's a meme that goes out all over social
media. And it is a stack of cassettes that were
all released within 44 days of each other, a
little over a month and a half. That being Metallica's
Black Album, Pearl Jam's 10, Guns N' Roses' Use
Your Illusion 1 and 2, Red Hot Chili Peppers'
Blood Sugar Sex Magic, Soundgarden's Bad Motor
Finger, and Nirvana's Nevermind. From that point
on, the conversation changed. But prior to those
albums, Skid Row released their follow -up to
their self -titled album. And it kicked off with
one of my favorite songs from that era. Now,
like I said earlier, Skid Row, hairband adjacent.
Because the Slave to the Grind album in 1991
is... far from anything that would be considered
a hair band. However, songs like I Remember You
get them into that hair band adjacent category,
the big power ballad. It's found on every hair
band power ballad compilation that's probably
ever been released. But even taking that into
consideration, Slave to the Grind kind of thumbs
their nose at anything from the self -titled
album in a way because the heaviest song on Skid
Row's self -titled could be arguably Piece of
Me. And I think even that isn't heavy enough
for the sound on Slave to the Grind. Slave to
the Grind was an album that kind of bridged the
gap between the 80s hairband sound and 90s straight
-up hard rock and some metal. And that's evident
in the fact that Skid Row brought out Pantera
on the Slave to the Grind tour in 1992. Talk
about distancing yourself from that hairband
discussion. Pantera did it, even though back
in the early 80s on power metal, Pantera was
at one point also a hairband. But don't expect
to hear them playing any of those songs on their
current reunion tour. But I digress. Back to
Skid Row and that Slave to the Grind album, the
song that I chose to kick things off tonight
was the, don't be too shocked by this one, album
opening track. Monkey business. That insane opening
guitar that is darker and grittier than anything
that you had heard from Skid Row prior. Sebastian
Bach's lower register opening verse leading into
a scream that could probably shatter all the
glass within 50 feet of you. I suggest you don't
try that at home. It is one of those visceral
screams that will easily go down in history.
as one of my favorite hard rock moments of all
time. It completely solidified Sebastian Bach
in the hard rock pantheon of vocalists, as far
as I'm concerned. I mean, that scream is on such
another level, I almost forgive all of his appearances
on The Gilmore Girls. No, I'm kidding. My wife
loves that show, and she has it on all the time,
and I always walk in and... See him in the episodes
and then I'll go throw some Skid Row on. And
I'm like, you realize that's the same guy right
there. But anyway, I digress. Monkey Business
is a song that dropped all the sex and all the
excess that pretty much became synonymous with
the scene in and of itself. And I think that
might be a theme with the songs I'm going to
pick tonight, because when people think of hair
bands, they automatically think sex, drugs and
rock and roll. And the rock and roll is definitely
going to be there. And I don't think I'm shattering
any proverbial glass here when I say the drugs
were probably there and then some. And probably
same goes for the sex. But that was backstage
after the show. I feel like the songs that I'm
going to be looking towards tonight are ones
where. these bands started backing away from
the sex -fueled lyrics that kind of fueled the
earlier parts of their career. And I think the
next song that I'm going to choose after Skid
Row's Monkey Business is kind of a prime example
of that, but also a double -edged sword because
the album that it comes from is completely, 100%,
all in on the sex. And that's Warrant's Cherry
Pie. But that's not the song I'm choosing tonight
because Cherry Pie wasn't even originally supposed
to be on the album. The label demanded the band
record a radio -friendly song after the album
was turned in. Jenny Lane wrote Cherry Pie in
15 minutes and it was recorded very quickly.
CeCe DeVille came in and played guitar on it
and they had their sex anthem that unfortunately
became what Warrant was known for. And I think
that's unfair because the song that follows up
Cherry Pie on the Cherry Pie album is truly who
Janie Lane was as a songwriter. And that is Uncle
Tom's Cabin. This is a story -driven song. This
is a serious song. This is a song that paints
a picture and is dark, haunting, and a complete
180 when it's back to back with Cherry Pie. And
the Cherry Pie album as a whole has its moments
that would harken back to the dirty, rotten,
filthy, stinking rich sound. But it was a more
mature Warrant album. And I truly believe in
my heart of hearts that had cherry pie not been
included, Warren's trajectory would have been
different. They would not have been known as
the cherry pie band. Now, don't get me wrong.
I'm sure they love the residuals from it. There
probably has not been a warrant concert that
has not featured cherry pie. People do love that
song. But as far as I'm concerned, it's the lighter
side of Warren. It's the tongue in cheek side
of warrant. It's not what warrant should only
be known for. And uncle Tom's cabin is my argument
for that. Now, regardless of uncle Tom's cabin
or not, warrant is always going to be lumped
in with the hair band sound. That's just a fact
they'll never escape. And the next song I'm going
to pick is another band that is always going
to be lumped into the hair band sound no matter
what they do. And I think I have another song
from this band that makes a good argument that
they were more than Girls, Girls, Girls and their
cover of Smokin' in the Boys Room. And yes, I'm
talking about Motley Crue. Dr. Feelgood is one
of those albums that... you could tell things
were changing from the Girls, Girls, Girls era.
They still had some of that party hairband sound.
They had the power ballads. But there were certain
raw, darker moments that were starting to appear,
hell, right from the get -go in the title track
of the album. However, back to 1991 again, on
the Decade of Decadence compilation, they released
the original single Primal Scream. This is darker
than anything on Dr. Feelgood. It's more aggressive.
It's more raw. Think about the groove that's
being laid down in Primal Scream. And then listen
back to Smokin' in the Boys' Room, Girls, Girls,
Girls. This is heavy. This is more of the glam
that you would have gotten on Shout at the Devil
mixed in with where the music scene was headed
in the early 1990s. Nicki's bass is driving.
Then you've got Mick Mars with it. It's a masterclass
what Mick Mars is doing on this tune. From the
slide guitars to the endless riffage that's happening
on this track. There are so many moments that
I think you could conceivably pull a riff out
of Primal Scream and use it as a completely separate
song. And it feels like somehow they were able
to just put them all together and make it work
perfectly. Vince Neil's vocals are raw and gritty
and powerful at this time. I know there's a lot
that people say about his vocals now, but back
in 1991, he was at his peak, and you hear it
on this song. And I feel like Primal Scream was
leading into what would happen with John Karabi
on the self -titled album in 1994. However, at
that point, Vince wasn't in the band. but you
can hear elements of where they were headed musically
on Primal Scream. And I don't think I can lump
anything from the Karabi -fronted self -titled
album in the quote -unquote hairband sound because
it truly wasn't, truly stands out as a 90s hard
rock album, period, hard stop. However, Primal
Scream, while it's leaning towards that 94 sound,
Definitely still has elements that I think fit
well into this playlist. So we've got three songs
so far. All are, I'd say, leaning on the dark
side of the spectrum. So let's loosen things
up a little bit. And go with a band that is probably
the poster child for hair bands. And that is
Poison. The look what the cat dragged in album
cover. I want action. Talk Dirty to Me, then
following it up with Open Up and Say Ah, Nothing
But a Good Time, Fallen Angel, Every Rose Has
Its Thorn. Yeah, I get why people consider them
the poster child for hair bands. But on 1990's
Flesh and Blood, that same maturing that I talked
about on Warrant's Cherry Pie, sans the title
track, started coming out for Poison. Now, I
know there's some people listening out there
that are immediately laughing as I'm saying this
because they're thinking, Brian, dude, Unskinny
Bop, come on. And you're right. Unskinny Bop
is still definitely in that sex, drugs, rock
and roll, party all the time, hairband sound.
But very similar to how Uncle Tom's Cabin followed
up Cherry Pie, the song that follows Unskinny
Bop on... Flesh and Blood is a track called Let
It Play. It's an album cut, was never released
as a single, which is a crime as far as I'm concerned,
because the song is ridiculously catchy, it's
fun, and it still has that big anthemic chorus
that's a signature of the hair band sound. Why
this wasn't released as a single, I'll never
understand. And it is my absolute favorite Poison
song of all time. This is a song where you start
hearing the more mature glimpses of Poison that
they would take to the next level with Richie
Kotzen on lead guitar instead of CeCe DeVille
on 1993's Native Tongue. They weren't quite there
yet, but this was the transition from the open
up and say ah sound to the Native Tongue sound.
At the end of the song, when Ricky Rocket goes
double time and the band just starts jamming
out, almost feels gospel -esque in nature. Yeah,
I said it. The only critique I have of the song
is that segment should have led into a guitar
solo where CeCe just took it to the house and
they stayed at that tempo instead of bringing
it right back to close it out. I feel like the
song should have been longer. I feel like I'm
missing out. And if I ever get a chance to interview
somebody from Poison, I'm going to ask if that
was ever a consideration because I feel like
had that song been opened up a little bit more,
it'd be your perfect concert closer for Poison.
Yes, even over Nothing But A Good Time. And I
should also add that Poison is always going to
get a hall pass from me musically. One, just
because I simply love their music. I'll never
be ashamed of it. Some people, when I mention
I like Poison, they kind of try to give me guff
about it, and one, I could care less if anybody
tries to give me guff about any music I enjoy,
because if there's a song you like, you should
not give a flying you -know -what about what
anybody thinks about it. Listen to it and enjoy
it. That's all that this is about. But that being
said, Poison was the first band I ever saw live.
April 7th, 1988, Brendan Byrne Arena. East Rutherford,
New Jersey. Opening for David Lee Roth on the
Skyscraper Tour. The first time I sat in an arena
and the lights dimmed, Poison came out and launched
into Look What The Cat Dragged In. So as far
as I'm concerned, they are always going to have
a special place in my heart for music, period.
But now I'm going to piss some people off. Because...
I mentioned that there were bands that got lumped
in. Guilty by MTV Association that I said at
the top of the show. And I can't talk about my
first concert with Poison and not bring David
Lee Roth into the mix. Was David Lee Roth a hair
band? No. It's Van Halen. Come on. Hair band
adjacent? No. Van Halen? No. If anything, Van
Halen at the time would lean more towards arena
rock than they would hair band. However, David
Lee Roth's Skyscraper album, MTV, Guilty by Association,
just like Paradise, was lumped into all the same
music videos. And hell, Poison was the opening
band. They were trying to combine the sound,
opening up David Lee Roth's solo material to
the sound that was exploding at the time. So
do I consider David Lee Roth a hairband? No.
But there's a place on this playlist. That he
deserves to be on it for. And it's the breaking
the mold part. I mean, Skyscraper is essentially
David Lee Roth's eat him and smile lineup of
Steve Vai, Billy Sheehan and Greg Bissonette.
Except you're adding in Brett Tuggle to the fold.
That's really the only difference. The talent
was off the charts for this group. But the song
that I chose. I don't even know if you'd call
this a power ballad, but it's definitely a ballad.
And it's the most ballady thing I think David
Lee Roth's ever done. And it's a 180 from everything
that you had heard from David Lee Roth, at least
up until this point. And I'm going to go with
Damn Good. It was the third single from the album.
It did track on the U .S. Billboard rock chart,
but didn't really make a huge dent. But this
is some Zeppelin -esque, bluesy... masterful
guitar work from Steve Vai on this track. I mean,
I get lost listening to the music on this track.
It is so hypnotizing. And this is David Lee Roth
singing in a completely different register. You're
not getting the high screeches. This is Dave
with a low, mellow, almost reflective swagger
to his voice. There's such a coolness factor
to this track. You know, when you think about
Snoopy and Joe Cool with the sunglasses, this
is that in musical form. Yeah, I know. Look,
I like Peanuts. I grew up with Peanuts. Yeah,
I used a Snoopy reference. Sue me. David Lee
Roth's Damn Good is just one of those songs that
takes the idea of a power ballad and just takes
it to a different level in a way that you could
have never expected. And when I play this song
now. Hell, when I announced that I was coming
back to my weekly mixtape, I used this song on
one of my social media posts and got some thumbs
up from people purely based on that fact. Damn
Good is indeed damn good. And as far as I'm concerned,
because it's track five, a perfect way to close
out the first half of this 1080 songs that broke
the mold playlist. which I kicked off with Skid
Row's Monkey Business, followed up by Warrant's
Uncle Tom's Cabin, Motley Crue's Primal Scream,
Poison's Let It Play, and in a synergy the way
Poison opened for David Lee Roth back in April
of 1988, closed up the side with David Lee Roth's
Damn Good. Just a reminder, you can hear all
the songs I'm talking about tonight over on the
episode page. at myweeklymixtape .com. And now
for the second half of this 10 hairband songs
that broke the mold playlist. The song I'm going
to start with, I feel like, is another example
of MTV adjacent. Are they really a hairband?
No. They were around a lot longer before Here
I Go Again and Tawny Kitane made them the MTV
darlings that they were. And I'm talking about
White Snake and their self -titled 1987 album.
This is the closest thing to a quote -unquote
hairband that White Snake ever became. However,
Here I Go Again is not the song I'm using here.
But Still of the Night, that is bluesy, raw,
aggressive, and it has some... Ridiculous dynamics
throughout the track. But before we even get
to the rollercoaster that this song is, John
Sykes' riff is up there as far as I'm concerned
with Cult of Personality by Living Color. It's
one of the greatest riffs of the decade. David
Coverdale's vocals are stratospheric on this
track. To the point where when a band covers
it, it needs to be demail -fronted. Like when
Hailstorm did it on their Reanimate EP. And they
did a hell of a job of it, I do have to say.
Or a mail -fronted band drops it a few steps
the way Static X did on Cult of Static back in
the late 2000s. But this was a song that was
played on MTV endlessly, looped in with all the
hair bands. Was it a hair band? No. But... I've
turned on Hair Nation before on Sirius XM and
heard this song. So somewhere along the dotted
line, it got lumped in. So as far as I'm concerned,
it's fair game for this playlist. Now we talk
about John Sykes on guitar. He's incredible.
As is Nuno Betancourt. Another virtuoso. Completely
undeniable. But when people talk about Xtreme,
they immediately go to More Than Words. Hell,
Weird Al did the style parody of the More Than
Words video for his You Don't Love Me Anymore
song. Xtreme is not a hair band. I mean, I'd
say they're more of a funky hard rock band. Hell,
there's a song on the album called Get The Funk
Out, and they use horns on a track called Little
Jack Horny. And the dad joke loving, ironic person
that I am considers that to be the chef's kiss.
Which leads me to the fact that I had a hard
time getting this cassette in 1990 because there
was a parental advisory sticker on it. I don't
know if there's that many curses on this album,
if any at all. But I had to convince my parents
that this wasn't going to be another two live
crew situation. And if you don't know what I
mean by the two live crew situation, if you heard
the song Me So Horny on the radio and then your
parents bought you the as nasty as they want
to be cassette and you put that cassette in the
car on the ride home, that car got turned around
and that cassette got returned faster than you
can imagine. Why do I say that? Because that's
exactly how it happened. And I learned a tough
lesson in radio versions being completely different
than what you hear on the album. So because of
that, thank you, Luke Campbell. I had a hard
time convincing my parents whenever there was
a parental advisory sticker to get the album.
And with a title of porno graffiti, Extreme was
not making it easy on me. My parents truly thought
that Get the Funk Out was not funk. Thankfully,
I had older cousins who vouched for the fact
that it was indeed funk, and they let me get
the album. And then with some synergy and a throwback
to Skid Row's monkey business, like I talked
about on side A of this little 10 song mixtape,
Skid Row had the other get the you know what
out on Slave to the Grind. If you got the right
version, of course. But that said, I discovered
Extreme on 1480 Z Rock AM radio. And the song
that blew my mind. was Decadence Dance, the album
opener. Surprised? Another album opener. Nuno's
riff on this track is just unbelievable. Gary
Cherone's vocals, when people talk about, oh,
well, Gary Cherone, you know, how did he get
into Van Halen? Listen to the vocals on Decadence
Dance. I'm sure when Eddie heard that, he said,
I could work with that. This song is un -friggin'
-believable. And Nuno... is probably one of the
most underrated guitarists on the planet. He's
been in Rihanna's touring band for a long time.
Recently, when they were paying tribute to Ozzy
Osbourne on the MTV Video Music Awards, Youngblood
came out and did Crazy Train with who on lead
guitar? Nuno. People don't talk about Nuno Betancourt
as much as they should. And that paired with
a song that, as far as I'm concerned, still rocks
to this day, Decadence Dance. definitely makes
this list. So we've got three songs left in this
breaking the mold discussion. And while we're
on the topic of virtuosos, let's stay there.
I've been blessed enough to say that one of my
favorite bass players on the planet has been
a two -time guest on my weekly mixtape in season
one, that being the legendary Billy Sheehan.
And I mentioned him earlier because he played
in David Lee Roth's band. But in 1989, Mr. Big
came out with their self -titled album. And in
the late 80s, there was this thing called Personics
Cassettes. What Personics was, was a precursor
to iTunes. Because you can go into a music store,
open up a book, pick out a bunch of songs, fill
out a card, hand it to the cashier behind the
counter. And they would custom make you a mixtape
with printed labels and all the songs you want.
You paid by the song. Sound familiar? One of
the first cassettes I got had Addicted to That
Rush on it. And if I'm able to dig that out,
I will take a picture and post it on the episode
page at myweeklymixtape .com. When I first heard
that Billy Sheehan bass line opening up the track,
which... I do want to thank him on the Mr. Big
episode during his intro. He played that during
the intro, which is one of the coolest moments
in my weekly mixtape history as far as I'm concerned.
But Mr. Big gets lumped into the hair bands because
of To Be With You. Of course, the Campfire hit.
And Billy's quite thankful for it. He's talked
about it on the show. That hit's probably paid
a ton of bills for him over the years. And who
wouldn't be grateful for a number one hit song?
But that's not what Mr. Big is about. Addicted
to that rush. Sorry, opening track again. 1989's
Mr. Big. Listen to the absolute insanity that's
happening at the beginning of this track. And
there is my case for why it broke the mold and
deserves to be on this playlist. And anything
I could say about Mr. Big, Billy says much better.
So be sure to go and check out the Mr. Big episode.
as well as the episode I did way back at the
beginning of my weekly mixtape. I want to say
it was done in the first 15 episodes, all about
songs from throughout Billy's career, including
the David Lee Roth era, Mr. Big, Niason, Tallis.
It's a really, really in -depth, fun interview,
so be sure to check both of those out. Now, in
mentioning the whole Billy Sheehan connection
to David Lee Roth, we talked about Damn Good
being kind of a power ballad, but not. And I
feel like we need one of those on side B. But
I also want to break the mold some more. Because
there's something we have not introduced into
this playlist yet. And that's the female element
of hair bands. Most people don't talk about Vixen
immediately when they bring up hair bands. And
they really should. Or Girl School. And then
there were poppin' new wave bands that somehow
got lumped in. When the bangles did Hazy Shade
of Winter, it started getting lumped into hair
bands. I'm like, no, stop. However, you think
about the Runaways. Then you had Joan Jett come
out and do Little Liar, and she started getting
lumped into hair bands. And what? I mean, it
was written by Desmond Child, who wrote for Bon
Jovi. who wrote for Alice Cooper, who wrote for
everybody, two great Desmond Child episodes back
in the season one catalog. If you want to listen
to those, he is just an endless source of amazing
music stories. So highly recommend that. But
we need to break the glass ceiling here and bring
in some female representation on this. And I
think the best power ballad by a female artist
in the 80s is also a duet with somebody else
that gets kind of lumped in. to the hair band
scene undeservedly. And I'm going to go with
Lita Ford and Ozzy Osbourne's Close My Eyes Forever.
It's the highest charting song for either of
them. Wrap your mind around that. It's Ozzy's
highest charting song. It's an incredible duet.
Unbelievable duet. Shattered what people considered
power ballads to be. This was not Warrant's Heaven.
Poisons Every Rose Has Its Thorn, Motley Crue's
Home Sweet Home. This was dark. This was haunting.
Completely against the grain of what people considered
a power ballad to be. Do I consider Lita Ford
a hair metal, hair band? Meh. I consider her
to be a hard rock artist. But the hair on the
album cover says otherwise. So there it is. Kiss
Me Deadly, again. gets lumped in. You can make
arguments for it in either direction. But Close
My Eyes Forever is one of those songs that, man,
especially now with Ozzy gone, just hits on a
completely different level. I mean, Ozzy had
a ton of great power ballads. Goodbye to Romance,
Time After Time, Mama, I'm Coming Home. Close
My Eyes Forever ranked higher than all of them.
And I have to say his voice and lead is together.
Unbelievable. It kind of breaks my heart that
we'll never see them do that collaboration live
again though. But coming out of that, we need
to close this playlist up and close my eyes forever.
It's pretty damn dark. So we need to do a one
80 record scratch and rock this thing out for
a close. And during the tune styles days, I was
fortunate enough. to have Tom Kiefer on the program,
and we got to talk all things Cinderella, including
the hairband idea. You know what? That episode's
kind of been in the archives for a long time
because when Toon Styles went off the air, it
kind of disappeared from the internet. I might
need to bring that back because if I'm looking
at his catalog correctly, he hasn't released
anything since, so it's still quote -unquote
timely, and we dive into a ton of great Cinderella
stories. Do I consider Cinderella hairband night
songs? Yes. However, from Long Cold Winter on,
no. Because that's when he started bringing in
a lot more of the blues edge. I mean, he really
brought it on Heartbreak Station, but that's
not where I'm going. I'm going to stick with
something from Long Cold Winter here. And we're
going to go with what I consider to be the ultimate
80s hard rock hairband. road trip song, that
being Gypsy Road. Unbelievable, dirty riff, sing
-along chorus that just raises the roof. One
of my favorite Cinderella songs of all time and
something that even now, every time it comes
on, I have to turn the speakers up as loud as
I can, lower the windows, put my arm out, and
just... Take the song in. And I think it's the
perfect exclamation point to the end of this
side of 80s hairband songs that broke the mold,
which kicked off with Whitesnake's Still of the
Night and then followed up with Extreme's Decadence
Dance, Mr. Big's Addicted to That Rush, Lita
Ford and Ozzy Osbourne's Close My Eyes Forever,
and Cinderella's Gypsy Road. And just as a reminder,
I have a playlist of all the songs I've talked
about tonight embedded on this episode page over
at myweeklymixtape .com if you want to give any
of these songs a listen. Now, let's keep this
conversation going. Is there a song that you
would add to this playlist? Is there a song that
you feel broke the hairband mold and still holds
up to this day? I want you to write me, myweeklymixtape
at gmail .com. Hit me up on all the social media
haunts at myweeklymixtape. Join the Mixtaper
community at patreon .com forward slash myweeklymixtape.
There's a free tier just to be a part of it.
There's also other tiers if you'd like to get
some extras and support the show a little bit
more. I am appreciative either way. You can also
hit up... myweeklymixtape .com through the contact
form. Let's keep this conversation going beyond
the episode. Also use those same channels. If
you have an episode idea that you want to hear
me tackle in the future, send it my way. I will
add it to this randomizer. I will click the wheel
next week and we will see what comes up. I want
to hear your playlist ideas. They could be serious.
They could be fun. They could be nostalgic. They
could be off the rails. Send them in. I'm going
to add them in. Let's see what happens here because
the sky is the limit. I am so excited for what
we've got going on this season of My Weekly Mixtape.
And I hope you're enjoying this new series of
episodes the way I am enjoying recording them
and talking music with all of you. Once again,
my name is Brian Colburn. This has been my weekly
mixtape. And until next time, enjoy listening
to the 10 hairband songs that I think broke the
mold and still rock today. Can't wait to hear
your thoughts. We'll see you next time.