(Courtesy of Wikipedia.org/Hair_bands)

Glam metal (also known as hair metal) is a sub-genre of heavy metal music that arose in the late 1970s and early 1980s in the United States. It was a dominant genre in popular rock music throughout the 1980s and briefly in the early 1990s, combining the flamboyance of glam rock (mostly those related to band image) with the power-chord musical stylings of heavy metal.

The genre is also referred to (pejoratively by detractors) as hair metal. Urban dictionary defines it as, "a form of 80's teenybopper music made primarily by effeminate men wearing makeup and dressed like women." Hair bands was the term popularized by MTV in the 1990s and derives from the tendency among most such bands to style their long hair in a teased-up fashion.

Musically, glam metal songs use distorted guitar riffs based around power chords and catchy hooks over hard-hitting drumming. Most songs feature flashy shred guitar solos where the lead-guitar sound is effects-processed. The overall sound is much more commercial and studio-engineered than earlier styles of metal, such as the rough, raw sound of the New Wave of British Heavy Metal bands. The vocals have a catchy melody with an anthemic "sing-along" chorus. In addition, they were usually sung with a clean tone like in hard rock, in contrast to many other heavy metal subgenres that often employ a more extreme vocal style.

Glam metal performers became infamous for their debauched lifestyles of late-night parties - widely covered in the tabloid press - very long teased hair (hence the alternative "hair metal" tag), use of make-up, and gaudy clothing and accessories (chiefly consisting of tight denim or leather jeans, spandex, and headbands). Many of these traits are somewhat reminiscent of glam rock, a music genre which first emerged in the United Kingdom during the early 1970s. However, the earlier groups of the genre also implemented some of the leather and studs imagery which had previously been made famous by heavy metal band Judas Priest.
The genre took influence heavily from 1970s glam rock and heavy metal bands with large sections taking influence from the likes of AC/DC, Aerosmith, Alice Cooper, Black Sabbath, David Bowie, Led Zeppelin, Kiss, New York Dolls, Queen, Iggy & The Stooges, Sweet, Van Halen, Slade, Mott the Hoople, T.Rex, Gary Glitter, Be Bop Deluxe and others. A few bands had previously experimented with mixing glam rock and heavy metal prior to the 1980s when glam metal emerged as a fully fledged genre. Angel, Starz, and Legs Diamond were prime examples of this. However, it wasn’t until the early 1980s (c.1981) that the genre truly began to gather speed and thus some of the earlier bands mentioned are not always viewed as part of it.

The first band of the 1980s to truly travel down the make-up and gaudy clothing route was Finnish group Hanoi Rocks. Credited as influences by countless bands, Hanoi Rocks followed the template laid down by hard rock bands of the 1970s and stuck to the make up and garishness of the New York Dolls. In the United States, many fans credited that the movement on the Sunset Strip was kick-started largely by Mötley Crüe and Nikki Sixx's former band London after the earliest years when they started as a glam rock band. Others assert that it was kick-started by Quiet Riot's Metal Health album when it reached #1 in the billboard music charts in the early 80s (c.1983). In any event, these bands played a prominent part in the genre's direction and would go on to influence a lot of the bands who formed from the mid-1980s onwards.

First Wave (1981-1984)

During the late 1970s and early 1980s, heavy metal spawned several sub-genre forms; glam metal became its most popular manifestation. The first wave of glam metal bands included, Quiet Riot, Mötley Crüe, Ratt, Helix, W.A.S.P., Night Ranger, Twisted Sister and Stryper. Their music was a bit closer to traditional heavy metal than their younger contemporaries who would eventually emerge, like Warrant, Cinderella and Poison, whose music and image ultimately became synonymous with the genre.

Around this time and the years following it, bands who had long been an established part of heavy metal and hard rock music during the 1970s and had ironically influenced many of the glam metal bands began to experiment with the genre's stylings. During the later part of the 1980s, many other acts would follow suit in a similar fashion; Alice Cooper in 1989 with Trash and Whitesnake with their 1987 self-titled album which featured the massively successful hit "Here I Go Again."

Second Wave (1985-1991)

By the mid-1980s, glam metal could be defined by two major divisions. On the mainstream side were bands such as Europe, whose single "The Final Countdown" hit number one in 26 countries; the bands in this style were and still are described as pop metal. Similar bands including FireHouse, Danger Danger, and Winger would surface in the later part of the decade.

Los Angeles fostered a more insular scene around the Sunset Strip, starting in 1984-1985. This movement eventually spawned bands such as Poison, Faster Pussycat, London and Guns n' Roses. Other bands were associated with that scene's style but actually came from outside of Hollywood; Cinderella and Britny Fox, both Philadelphia bands, are prime examples. Also in the mid '80s Stryper brought Christian lyrics to glam metal, making Christian metal popular in the process.

There were also some groups who continued in the style originated by the earlier glam metal bands. King Kobra (which would spawn The Bullet Boys, known most notably for their MTV hits "Smooth Up In Ya" and their cover of "For The Love of Money") is a prime example of this.
The visual aspects of some glam metal bands became thought of as appealing to music television, particularly MTV when it was launched. During the mid-to-late 1980s, glam metal tracks were in heavy rotation on the channel. Glam metal bands often resided at the top of MTV's daily dial countdown, and some of the bands appeared on the channel's shows such as Headbanger's Ball. The groups also received heavy rotation on radio shows such as KNAC in Los Angeles.

The second wave of glam metal would prove to be the most commercially successful for the genre as a whole, and enjoyed widespread success during the 1980s, but bands would sometimes find themselves on the wrong side of critics and certain sections of the music industry. A notable example came in 1987 with the release of Mötley Crüe's Girls, Girls, Girls. Before the establishment of Soundscan in 1991, Billboard's album chart was decided by a combination of reports from retailers, wholesalers, and industry professionals, rather than on actual album sales. As the band related on MTV's Week in Rock, the week that Girls, Girls, Girls peaked at #2 on the Billboard chart, it was actually the highest-selling album of that week. However, the industry professionals gave extra weight to Whitney Houston's second album, allowing it to retain the top spot. In the band's opinion, the industry simply wouldn’t allow their album to hold the #1 spot. (The band eventually conquered the top spot with their next album, Dr. Feelgood, which became the biggest album of their career.)

Glam metal continued to generate hits, growing its fanbase during the 1980s. Poison's second album Open Up and Say...Ahh! spawned a hit single in Every Rose Has Its Thorn, and eventually sold eight million copies worldwide. Skid Row would later release their debut album in 1989, although they had been around since 1986 and had a harder hitting sound than many of the other bands in the genre at that point. Other bands which fit the corporate formula at that time, with similar musical styles, included Faster Pussycat, L.A. Guns, Roxx Gang, and Dangerous Toys.

A similar movement also emerged in London, England at around the same time. Like Guns N' Roses, and Hanoi Rocks, these bands were heavily influenced by early rock n' roll and punk rock. The bands from this British phase, such as Dogs D’Amour and London Quireboys didn’t consider themselves heavy metal, but rather as rock n' roll. British punk band The Cult moved their music away from their post-punk roots and began writing & playing a more AC/DC influenced style, touring the United States with Guns N' Roses and then later with Metallica.

During the 2000s the sleaze glam style has returned somewhat thanks to Buckcherry and Brides of Destruction, the latter of which features Nikki Sixx and Tracii Guns. Newer bands such as Vains of Jenna, Backyard Babies, Hardcore Superstar, and Red Star Rebels are also beginning to gain much recognition.

Decline (1991-1997)

In the early 1990s glam metal's popularity rapidly declined after nearly a decade of success. Several music writers and musicians began to deride Glam Metal acts as "hair farmers," hinting at the soon to be popularized term hair metal. Several factors played a role in the decline, the main one being the rise of grunge music from Seattle, changing audience tastes, and the impacts of band breakups and personnel changes.

In the early 1990s, bands from the alternative rock subgenre named grunge, such as Nirvana, Alice in Chains, Pearl Jam, and Soundgarden, started supplanting glam metal's popularity. Like glam metal, grunge was influenced by heavy metal. However, grunge also mixed in elements of hardcore punk and indie rock, such as apathetic or angst-filled lyrics and a stripped-down aesthetic and a rejection of glam metal-style theatrics. Many major labels felt they had been caught off-guard by the surprise success of Nirvana's Nevermind, and had begun turning over their personnel in favor of younger staffers more versed in grunge. As MTV shifted its attention to the new style, glam metal bands found themselves relegated more and more often to Headbanger's Ball and late night airplay, and almost entirely disappeared from the channel by early 1994. Given glam metal's lack of a major format presence at radio, bands were left without a clear way to reach their audience.

Another reason for the decline in popularity of the style may have been the changing popularity of the power ballad, a slow, emotional song that gradually builds to a strong finale. While the use of the power ballad—especially as after a hard-rocking anthem—was initially a successful formula in the late 1980s, audiences eventually lost interest in this approach. From Poison ("Fallen Angel" followed by "Every Rose Has Its Thorn") to Mötley Crüe ("You're All I Need" followed by "Without You"). Older bands with hard rock/heavy metal roots also used this approach: Whitesnake's 1987 eponymous album introduced a rerecording of "Here I Go Again", which was followed by "Is This Love?", both power ballads (the latter more so than the former). Likewise Aerosmith had a hit with "Crazy" in 1994. Furthermore, British metal icon Ozzy Osbourne used the formula. Inspired by the success of "Close My Eyes Forever", his duet with Lita Ford, his next album, No More Tears, contained three power ballads: "Time After Time", "Road to Nowhere", and "Mama, I'm Coming Home", all of which were released as singles after the title track. This formula became so commonplace that it began to be seen as a glam metal cliché. Fans of the genre balked as well, lamenting that the power ballads typically received far more airplay on mainstream radio.

The decline of glam metal was acelerated when the records stopped selling. Contracts were canceled, and many bands broke up. In late 1991-early 1992, Stryper, White Lion, Europe, and Britny Fox all broke-up. Vince Neil was briefly fired from Mötley Crüe, guitarist Robbin Crosby left Ratt (who then broke up with the departure of lead singer Stephen Pearcy), C. C. DeVille left Poison, Sebastian Bach left Skid Row (though the band had largely discarded their glam metal sound), and others as well.

According to a documentary special called Heavy: The Story of Metal that aired on VH1 in 2006 claimed that the 1988 film The Decline of Western Civilization Part II: The Metal Years played a role in the death of glam metal, in which kids who saw it were disgusted by the excess particularly the scene with W.A.S.P guitarist Chris Holmes.

Revival (1997-Present)

During the late 1990s, however, several glam metal bands of the first and second eras began to assert themselves again, releasing new material. The mainstream popularity of glam metal at this time however was being replaced by pop punk, post-grunge, and hip hop music. Since then, new glam metal bands have also formed, and events such as Rocklahoma, television such as VH1 Classic, and new material from bands have helped expose people to the music and create new fans.

Mötley Crüe reunited with Vince Neil, and recorded the 1997 album Generation Swine, embarking on a successful U.S. tour. Poison reunited with C.C. Deville, and embarked on a successful 1999 tour of amphitheaters. A 2000 package tour featuring Poison, Slaughter and Cinderella sold extremely well.

In the 2000s, coinciding with the new blood of glam metal bands, more groups from the original movement continue to perform, and others that broke up have reformed. Bands such as L.A. Guns, Ratt, and W.A.S.P. have appeared in package tours together, and Mötley Crüe and Poison are continuing to record material and tour, reaching the upper parts of the Billboard 200 with compilation albums. The Monster Ballads compilation series has sold well, with the first volume peaking at #18 on the Billboard 200.

Rocklahoma is an annual festival that takes place in Oklahoma. In 2007, the four day long festival ran from July 12 through 15th and featured such bands as Poison, Ratt (reformed with Stephen Pearcy), Faster Pussycat, L.A. Guns, Bang Tango, Vince Neil Band, Twisted Sister, Jackyl, Quiet Riot, Britny Fox (reformed), Enuff Z'nuff and Y&T. Warrant and Cinderella co-headlined the festival in 2008.

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