发信人: whitesnake(maya)
整理人: kgb(2001-02-13 23:02:27), 站内信件
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BRIAN GREENWAY (Canada)
Former lead guitarist with Canadaian supergroup April Wine who
temporarily ground to a halt in 1988 following leader Myles
Goodwin’s decision to go solo. Greenway’s stab at solo stardom
was as unfulfilled as the music – drab soft rock punctuated
with a thoroughly unconvincing vocal performance.
Serious Business (Atlantic) 1988
GRIM REAPER (UK)
Steve Grimmett: vocals
Nick Bowcroft: guitar
Dave Wanklin: bass
Lee Hams: drums
Following firmly in the tradition of strong foot-sure British metal
pioneered by the likes of Black Sabbath, Judas Priest and Iron Maiden,
they make good use of high-powered guitar mixed with Grimmett’s high-
pitched vocals to create a superb effect on memorable and melodic
songs. Their debut album (recorded on a small budget) hit the Billboard
top 100 throughout the summer of 1984. Reapet died the death, never
fulfilling all their early promise.
See You in Hell (Ebony) 1983
Fear No Evil (Ebony) 1985
Rock You to Hell (MCA) 1987
GRINGOS LOCOS (Finland)
Richard Johnson: vocals
Ben Granfelt: guitar
Muddy: guitar
Pete Asiala: bass
Miri Miettinen: drums
Odd one! Purveyors of an authentic Southern rock style much in the
manner of Lynyrd Skynyrd and the Georgia Satellites but hailing
from, of all places, Finland. Their debut album caused a considerable
stir amongst the rock cognoscenti and, as if to consolidate their
authenticity, album number two was produced by Skynyrd producer
Tom Dowd and released on Atlantic Records. Excellent records but
a rather disappointing live act.
Gringo Locos (Phonogram) 1987
Punch Drunk (Atlantic) 1989
GROUNDHOGS (UK)
Tony ‘T.S.’ McPhee: guitar, keyboards, vocals
Dave Wellbelove: guitar
Rick Adams: guitar
Martin Kent: bass
Mick Cook: drums
This group has been described as the ‘archetypal’ heavy-rock outfit.
Groundhogs, a four-piece in their early days, circa 1963, of McPhee,
Pete Cruickshank, Bob Hall and David Boorman, came out of the blues
scene. The rock-orientated period, after various shifts and changes
in personnel dates from the late 1960s and a time when the groundhogs
had become a trio of McPhee, Cruickshank and Ken Pustelnik with the
departure of Stephen Rye on vocals. Thank Christ for the Bomb saw the
group chart. After its release, ex-Egg drummer Clive Brooks replaced
Ken Pustelnik. Following Hogwash McPhee recorded The Two Sides of
Tony T.S. as a solo effort. Groundhogs found gig popularity but never
sold albums in quantity. They eventually folded, with McPhee later
founding Terraplane, and then his own solo band, which achieved a
degree of recognition. The name became revived and a superb comeback
album was issued. Some of their old material has been reissued
under various titles.
Thank Christ for the Bomb (Liberty) 1970
Split (Liberty) 1971
Hogwash (United Artists) 1972
Who Will Save the World (United Artists) 1972
Solid (WWA) 1974
Black Diamond (WWA) 1975
Crosscut (United Artists) 1976
Huggin’ the Stage (Indie) 1984
Razor’s Edge (Conquest) 1985
Back Against the Wall (Demi-Mode) 1987
Hogs on the Road (Demi-Mode) 1988
GROWL (USA)
Dennis Rodriguez: vocals
Richard Manup-Uti: vocals
Mick Small: guitar
Harry Brender ‘A’ Brandis: guitar
Geno Lucero: bass
Danny McBride: drums
Excellent gut-level raunchy rock on Zappa’s Discreet label. Now lost to
obscurity – a pity.
Growl (Discreet) 1974
GTR (UK)
Max Bacon: vocals
Steve Howe: guitar
Steve Hackett: guitar
Phil Spalding: bass
Jonathan Mover: drums
Engaging supergroup pieced together by ex-members of YES (Steve Howe)
and Genesis (Steve Hackett) with vocals courtesy of Max Bacon (ex-Bronz)
and drummer Jonathan Mover (ex-Marillion). Tasteful mixture of English
art rock and early seventies progressive sounds, mostly in the arrangements,
which spawned a major-selling hit album, primarily in America, and a
minor-league hit single ‘When the Heart Rules the Mind’. Band disintegrated
before a second record could be contemplated.
GTR (Arista) 1986
GUN (UK)
Mark Rankin: vocals
Baby Stafford: guitar
Giuliano Gizzi: guitar
Dante Gizzi: bass
Scott Shields: drums
Hard rock quintet from Glasgow whose sound has developed from a raw
roots foundation into a palatable combination of Big Country and Bon
Jovi. Enjoying considerable acclaim, party due to intensive live work
on the UK and American gig circuit.
Taking on the World (A&M) 1989
GUNS N’ ROSES (USA)
W. Axl Rose: vocals
Slash: guitar
Izzy Stradlin: guitar
Duff McKegan: bass
Steven Adler: drums
From the backstreets of Los Angeles, Guns N’ Roses have risen above and
beyond all expectations to become one of, if not the biggest, legitimate
rock bands in the world today. Theirs is a genuine story of street-level
struggle that transcends the hype-riddled route of most would-be stars,
fulled with bravado and intrigue to rival even the myths and legends of
peerless gutter rockers like the Rolling Stones and Aerosmith.
In Axl Rose they have a singer and band leader who is the epitome of
anti-establishment, a brawling tattooed hothead whose on and off-stage
activities give a realism and credence not seen since the spinning-
dervish days of Bon Scott or Alex Harvey. When Rose sings, his message
is unquestionably believable, his swaying dance movements ram the
meanings to a crescendo and his tortured stage presence is akin to a
creeping time bomb, fuse torched and primed to explode.
The band act as Axl’s perfect foil. They surround this coiled snake,
jabbing his skin with barbed-wire guitar licks, razor-sharp riffs and
dangerous hi-jinx. The melodies are crucial to the menacing onslaught,
whilst Rose bleeds with working-dog tales of love, death and frustration.
Seemingly no subject is left unexplored.
Formed in 1985, most members gravitated to Los Angeles from all four
corners of the USA, the group immediately became known as a soundbox
for violence and misdemeanour. Following some minor line-up re-shuffles
Guns N’ Roses embarked on a mission of intimidation, forcing record
company executives to take notice by way of building an incredible
street buzz on the basis of a handful of select live shows.
Geffen Records signed the band and engineered the recording and
release of a live mini-album, preceding their debut full LP in order
to appease existing fans and raise their stature as a street act of
some considerable merit. It was a foil that worked perfectly, helping
to ready acceptance of their next move. Appetite For Destruction is
a tremendous record, one of the few that truly encapsulates the
confusion and desperation of life in the mid to late eighties. All
conventions are ceremoniously trashed, guitars wail and the music is
a worrying reminder of what rebellion is really all about. In real
terms an October concert tour of the UK in 1987 appeared to be a
turning point, whilst the music press took them immediately to heart,
championing their every move. By 1988 Appetite For Destruction had
transcended the route of most major rock records by snowballing
into a success story of unparalleled comparison; the album sold
enormously whilst the band’s reputation grew also. Drugs, drink,
women, fist fights, and alleged racism figured high on their agenda,
with rumours of at least one death occurring within the band’s
ranks almost on a weekly basis.
To quench the public’s thirst for more product G N’ R Lies,
a mini-LP of acoustic and previously released live tracks, was
released to both unanimous critical and commercial acclaim – both
LPs hovering in the US top five simultaneously.
By 1989 the group had almost reached a stage of self-destruction,
confirmed by an on-stage announcement during a four-date support
slot in Los Angeles with the Rolling Stones where Rose stated that
he had decided to quit the band. This statement was later refuted
by guitarist Slash but the seed of confusion had been successfully
sown.
Recording for their second album, a double record, progressed
slowly. Sessions in mid to late 1990 with producer Mike Clink
yielded a mixture of material, some familiar and some of a more
experimental nature.
Live Like a Suicide (Uzi) 1986
Appetite For Destruction (Geffen) 1987
G N’ R Lies (Geffen) 1988
Use Your Illusion I and II (Geffen) 1991
GUY MANN DUDE (USA)
Incredibly tedious guitar histronics in a similar but not as good
mould as Vinnie Moore and Tony MacApine. Not recommended.
Sleight of Hand (MCA) 1989
GWAR (USA)
Odeus Urungus: vocals
Balsac the Jaws of Death: guitar
Flattus Maximus: guitar
Beefcake the Mighty: bass
Nippleus Erectus: drums
Bizarre theatrical heavy metal unit from Richmond, Virginia, and
signed on the basis of an outrageous live performance which included
shock horror costumes and fake blood. Of course it’s all been
attempted a thousand times before and, most importantly, with far
less tedious musical accompaniment. Frankly, a rather pointless
exercise.
Hell-O (Shimmy Disc) 1988
Scumdogs of the Universe (Master) 1990
GYPSY QUEEN (USA)
Pam Mattioli: vocals
Paula Mattioli: vocals
Originating from Florida, Gypsy Queen is the brainchild of twin
sisters Pam and Paula Mattioli. Similar in style and approach
to Australian female rockers Cheetah, the duo rely heavily on
cheap theatrics, injecting much tacky choreography into their
presentation. The debut album, produced by seventies veteran
knob-twiddler Jack Douglas, was a reasonable attempt at melodic
hard rock, but it was dogged by overt sexual innuendo and a
somewhat out-of-date sound. Since then the band has recruited
a new set of backing musicians (dismissing a band including
ex-Pat Travers bassist Mars Cowling) and recorded a more
promising follow-up album, which is still awaiting release
on an as yet unspecified label.
Gypsy Queen (Loop) 1987
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我苦、我悲、我惨！
神啊，赐予我力量吧！
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