If you're only familiar with the music of the Goo Goo Dolls from the past 15 years or so, chances are you might pop a forehead vein if you stumbled upon this 1989 track from the band's sophomore album, Jed. For one thing, bassist Robby Takac still handled most of the group's vocal duties at that early point, and it hardly suffices to say that his vocal style lacks resemblance to the now-familiar, pop-oriented approach of long-time frontman and guitarist Johnny Rzeznik. Beyond that obvious difference, the Dolls' early sound stands out as a pleasantly disorienting blend of hardcore punk, power pop and pulverizing hard rock. In fact, for the first relatively unheralded years of the band's career, the music industry had no idea how to market or categorize the music.

In fact, I remember once seeing a video for one of the group's tracks from 1991's Hold Me Up played on MTV's Headbanger's Ball, which is really strange when one considers how directly that album draws from the mid-'80s work of alternative pioneers the Replacements. As for "Sex Maggot" in particular, the song's title recalls one of the group's earliest work-in-progress names, but more importantly it works wonders as a riffy romp through the immature yet spirited mind of an adolescent. The tune may ultimately be quite meaningless, but it's the kind of nonsense that resonates nonetheless, like the rock and roll version of an Edward Lear poem. "I hear you screaming, but you can't come in," Takac delivers in his distinctive yowl, "because I know that you're just a sex maggot!" If Rzeznik's raw but mighty riffing doesn't take you away from there, then I guess it's safe to say that you may lean toward the nearly adult contemporary, "Iris" camp of Goo Goo Dolls fans.

• Sample or download "Sex Maggot" here.
• Compare prices on Goo Goo Dolls CDs here.

Album Cover Image Courtesy of Metal Blade

I have a reader to thank this Thanksgiving holiday for helping me take an important step toward further balancing coverage on this site. The truth is that I've avoided writing much about the expanse of '80s R&B because I feared my limited knowledge about the genre would render the task terribly difficult and time-consuming. I knew that to do justice to a list like the Top 10 R&B Artists of the '80s, I would have to research extensively in order to feel confident rating the music of this vast genre. After all, I'm a suburban Caucasian who grew up on Casey Kasem, classic rock, heavy metal, hair metal and early alternative rock. How would I know the key aspects of and differences between Evelyn "Champagne" King and Stephanie Mills?

The answer to this question, of course, is simple time and effort, and although I would never claim to be an expert on quiet storm, old-school R&B, I feel thoroughly enriched by the knowledge and listening experience my recent study has produced. So please, consider the source as you check out my list, remembering always that I seek to explore the true giants of the R&B world of the '80s rather than merely offer repetitive glimpses into the well-worn histories of the era's biggest pop stars. Imperfections aside, I'm hoping that in this case success lies in the effort put forth.

Album Cover Image Courtesy of Island Def Jam

Although this track falls far more into the straight adult contemporary category than any kind of authentic R&B or soul, it does stand as a memorable example of elegant pop songcraft and presentation. Bryson happens to hail from upstate South Carolina, a portion of the Southeast within spitting distance of my old stomping grounds of western North Carolina (not that I stomped all that often or all that memorably). However, I don't think I'm allowing a geographical bias to creep into this feature. Rather, Bryson's smooth vocal delivery and the interesting melodic progression of this song remain some of my most vivid musical memories of the early '80s.

Part of this can probably be attributed to the fact that "If Ever You're in My Arms Again" was a major crossover hit in 1983, hitting the Top 10 on Billboard's pop, R&B and adult contemporary charts. Even so, this track doesn't seem to come up too often in a discussion of '80s music or on flashback playlists. Depending on one's perspective, overlooking Bryson's biggest hit not performed in a duet with a female singer may stem from the music's core blandness or its timeless pop appeal that keeps it from being clearly tied to an era. If for no other reason than to save a little face, I'll go with the latter explanation.

• Sample or download "If Ever You're in My Arms Again" here.
• Compare prices on Peabo Bryson CDs here.

Album Cover Image Courtesy of Rhino/Elektra

One of the few bands to come close to the pure molten majesty of AC/DC, England's the Cult went through a number of transformations before settling on its arguably most successful sound. Starting off as a post-punk band with Goth trappings in terms of both image and sound, the group gradually adapted according to what seemed like a genuine pursuit of artistic distinction. Rather than attempting to fit into a popular format for the sole sake of popularity, band leaders Ian Astbury and Billy Duffy combined a throwback psychedelic fascination with driving, punishing rock and roll. Contemporary styles such as hair metal and early alternative rock rarely allowed for as much stylistic meandering as the Cult favored, and the group's 1987 release Electric may well be the gold standard for music capable of resisting classification in the most organic of ways. Perhaps nothing beats "Love Removal Machine" for grab-you-by-the-throat intensity, but "Wild Flower" proves that simplicity - when done well - provides an immediate advantage for bands unconcerned with genre labels.

• Sample or download "Wild Flower" here.

• Compare prices on the Cult CDs here.

Album Cover Image Courtesy of Beggars Banquet Records