History of Hard Rock/Heavy Metal: Accept

With their brutal, simple riffs and aggressive, fast tempos, Accept was one of the top metal bands of the early '80s, and a major influence on the development of thrash. Led by the unique vocal stylings of screeching banshee Udo Dirkschneider, the band forged an instantly recognizable sound and was notorious as one of the decade's fiercest live acts.

Udo formed Accept in his hometown of Solingen, Germany, in the early '70s, but it wasn't until quite a few years later that the band settled on a somewhat stable lineup, including guitarists Wolf Hoffman and Gerhard Wahl, bassist Peter Baltes, and drummer Frank Friedrich. A well-received performance at the Rock Amrhein Festival in 1976 brought them national attention, and they finally obtained a recording contract after replacing Wahl with guitarist Jorg Fischer two years later. Issued in 1979, their eponymous debut was badly produced, featured mostly subpar songwriting, and did absolutely nothing for the group. But with the arrival of new drummer Stefan Kaufmann prior to 1980s much-improved I'm a Rebel, the band had the final ingredient they were looking for, and their popularity began growing by leaps and bounds.

1981's even more accomplished Breaker was engineered by Michael Wagener (who would go on to produce such major hard rock acts as Motley Crue, Alice Cooper, and Ozzy Osbourne, among others) and continued to develop Accept's trademark sound, featuring the massive crunch and tight precision of Hoffman and Fischer's guitars laying the foundation for Dirkschneider's inimitable shriek.

All the elements were falling into place, and with the release of 1982's Restless and Wild, Accept finally stamped their passports to stardom. A heavy metal milestone, the album broke the band's career wide open, established their signature sound for years to come, and in the incredible "Fast as a Shark," featured possibly the first true thrash metal song ever recorded. Guitarist Hermann Frank was brought in for the ensuing tour, which, thanks to their ferocious live shows (including choreographed headbanging stage antics), turned the band into true stars all across Europe and the U.K. 1983's equally revered Balls to the Wall was an even greater commercial triumph, and qualified as one of the most obsessive, sexually explicit albums of all time. Led by the controversial title track, it broke the band worldwide and earned them their first magazine headlines in America.

With America now looming in their sight, the band decided to hire producer Dieter Dirks (of Scorpions fame) to give 1985's Metal Heart a more commercial edge and extra sense of melody. Also with U.S. audiences in mind, they abandoned the hedonistic fetishes of releases past in favor of a much lighter sexual tone and typical heavy metal subject matter like the title track's apocalyptic vision. The results were mixed, for while the album certainly helped to further their cause in the States — where they embarked upon a very successful tour sharing a double bill with Swiss hard rockers Krokus — it tarnished their reputation among some of their loyal following back home.

Russian Roulette, again with Michael Wagener at the controls, was a somewhat rushed, halfhearted attempt to backtrack into more aggressive metal territory, the album led to a serious splintering within the group, and after headlining a sold-out European tour with Dokken in support, Accept announced that they were taking an open-ended break.

Udo went on to form his own band U.D.O., but eventually the group re-formed for a few albums in the 90s before calling it a day in 1997.

Chart History: Ted Nugent

Chart History is a feature that highlights a hard rock/heavy metal act and how well the duo/group or individual performed on the Billboard charts.

Today we focus on Ted Nugent and his solo career, he also charted with the Amboy Dukes and Damn Yankees. Here is a rundown of all singles and albums that charted while the group was together. Greatest hits and other compilations are not included -only studio and live albums are.

Albums:
1975: Ted Nugent (No.28)
1976: Free For All (No.24)
1977: Cat Scratch Fever (No.17)
1978: Double Live Gonzo (No.13)
1978: Weekend Warriors (No.24)
1979: State Of Shock (No.18)
1980: Scream Dream (No.13)
1981: Intensities In 10 Cities (No.51)
1982: Nugent (No.51)
1984: Predator (No.56)
1986: Little Miss Dangerous (No.76)
1988: If You Can't Lick 'Em...Lick 'Em (No.112)
1995: Spirit Of The Wild (No.86)

Singles:
1. Dog Eat Dog (No.91)
2. Hey Baby (No.72)
3. Cat Scratch Fever (No.30)
4. Home Bound (No.70)
5. Yank Me Crank Me (No.58)
6. Need You Bad (No.84)
7. Wango Tango (No.86)

History of Hard Rock/Heavy Metal: The Runaways

Dismissed during their existence as a crass marketing gimmick, the Runaways have grown in stature over the years as the first all-female band to make a substantial impression on the public by playing loud, straight-up, guitar-driven rock & roll. Since all of the members were teenagers (some of whom were still learning to play their instruments when they passed their auditions), their music was frequently raw and amateurish, but it neatly combined American heavy metal with the newly emerging sound of punk rock.

The genesis of the Runaways can be traced to a 1975 Alice Cooper party at which manager Kim Fowley met teenage lyricist Kari Krome. Fowley was impressed with Krome's streetwise perspective and set about putting together a band. Krome's friend, guitarist Joan Jett (born Joan Larkin), had been putting together a band with drummer Sandy West (born Sandy Pesavento), and Fowley quickly had a trio on his hands.

However, it soon became apparent that Krome was not much of a singer, and she was replaced by vocalist Michael "Micki" Steele (born Sue Thomas), who also began learning the bass. As a trio, this lineup recorded a demo titled Born to Be Bad in late 1975; shortly thereafter, guitarist Lita Ford successfully auditioned through a trade-paper ad, and Steele left the group (she would later join the Bangles). Cherie Currie became the new lead vocalist, and after an extremely brief stint with a bass player known only as Peggy (which lasted just a few weeks), the band settled on Jackie Fox (born Jacqueline Fuchs), who switched to bass from guitar in order to join the band.

Despite a wave of publicity on Fowley's part, The Runaways just barely scraped the bottom of the charts in the early fall of 1976, around the same time the band played their first gig at the legendary New York punk club CBGB's. The second Runaways album, Queens of Noise, was released in early 1977 and fared little better on the charts than its predecessor, thanks to radio's continued reluctance to program the group's music.

However, when the Runaways mounted a tour of Japan in June of that year, they were greeted with sold-out arena gigs and rabidly enthusiastic audiences who didn't consider them a joke ("Cherry Bomb" had, in fact, topped the Japanese charts). A concert record, Live in Japan, was culled from the tour, but wasn't released in the U.S.

Despite this taste of success, relationships between some of the group members had begun to fray, thanks partly to substance abuse problems and partly to unconcerned negligence on the management's part.

Upon their return to Los Angeles in July 1977, Jackie Fox departed the group; a story circulated that she had attempted suicide on the Japanese tour, though it was later discredited. Before the year was out, Currie too had left, spurred in part by consistent disagreements with Fowley.

Jett took over as lead vocalist, and new bassist Vicki Blue was hired for the group's third album. Waiting for the Night was released at the end of the year, and failed to even hit the U.S. charts. By this point, Fowley had lost interest in the band, and quit as manager early the next year. Jett's unofficial leadership role within the group became more serious, but unfortunately, musical differences were beginning to arise (Jett's punk and glam rock influences clashed with West and Ford's love of straight-up hard rock and heavy metal).

One more album, And Now...The Runaways, appeared toward the end of 1978, but it was released only in the group's core markets of Europe and Japan (it later appeared in America with a different running order under the title Little Lost Girls). Blue quit the band after their New Year's gig and was replaced by Laurie McAllister, but to no avail; Jett left the group in April 1979, and the Runaways officially disbanded not long after.

Ford went solo and scored several hits as a pop-metal artist during the '80s. But an even better indicator that there was more to the Runaways' music than met the eye was the success of Joan Jett's solo career. Jett formed her own band and record label, landed an enormous number one smash with 1982's "I Love Rock n' Roll," and continued to produce albums of tough hard rock into the '90s.

Chart History: Bad Company

Chart History is a feature that highlights a hard rock/heavy metal act and how well the duo/group or individual performed on the Billboard charts.

Today we focus on Bad Company. Here is a rundown of all singles and albums that charted while the group was together. Greatest hits and other compilations are not included -only studio and live albums are.

Albums:
1974: Bad Company (No.1)
1975: Straight Shooter (No.3)
1976: Run With The pack (No.5)
1977: Burnin' Sky (No.15)
1979: Desolation Angels (No.3)
1982: Rough Diamonds (No.26)
1988: Dangerous Age (No.58)
1990: Holy Water (No.35)
1992: Here Comes Trouble (No.40)
1995: Company Of Strangers (No.159)

Singles:
1. Can't Get Enough (No.5)
2. Feel Like Makin' Love (No.10)
3. Good Lovin' Gone Bad (No.36)
4. Movin' On (No.19)
5. Honey Child (No.59)
6. Young Blood (No.20)
7. Burnin' Sky (No.78)
8. Rock 'N' Roll Fantasy (No.13)
9. Gone, Gone, Gone (No.56)
10. Electricland (No.74)
11. This Love (No.85)
12. Shake It Up (No.82)
13. If You Needed Somebody (No.16)
14. Holy Water (No.89)
15. Walk Through Fire (No.28)
16. How About That (No.38)
17. This Could Be The One (No.87)

History of Hard Rock/Heavy Metal: Girlschool

Although the Runaways preceded them by several years, Girlschool was one of the first all-female outfits to emerge in the male-dominated world of heavy metal/hard rock, helping to pave the way for similar groups of the future. Originally formed in South London during 1977 by bassist Enid Williams and vocalist/guitarist Kim McAuliffe (along with a few other members), the group was first known as Painted Lady. Eventually the pair came across permanent members Kelly Johnson (guitar, vocals) and Denise Dufort (drums), and switched their name to Girlschool by 1978.

With England just about to be swept up by a massive heavy metal movement (known as the New Wave of British Heavy Metal), Girlschool picked a perfect time to issue a debut single, "Take It All Away," which caught the attention of Motörhead manager Doug Smith, who in turn signed on as Girlschool's manager. After supporting both Motörhead and Budgie on tour, Girlschool landed a recording contract with Bronze Records (who at the time was the home to such notable metal acts as Motörhead, Uriah Heep, and Juicy Lucy).

The group was wildly popular in the U.K. during the early to mid-eighties, but failed to garner any attention in the U.S. Numerous lineup changes followed after the release of Play Dirty in 1983 and afterwards the band failed to reach the level of success they previously had in their home country.

Throughout the '90s, Girlschool would reunite sporadically for tours and albums (including 1992's self-titled release and 1995's Live), while several compilations were issued.

History of Hard Rock/Heavy Metal: Tygers of Pan Tang

Hailing from tiny Whitley Bay in the Northeast of England, the Tygers of Pan Tang (whose name originated from a Michael Moorcock novel called Stormbringer) were formed when aspiring singer Jess Cox met guitarist Robb Weir at the local pub in November 1978. Weir, along with bassist Rocky and drummer Brian Dick, had recently formed a band combining the lessons of early-'70s heavy metal legends such as Black Sabbath and Deep Purple with the do-it-yourself ethos of punk — an emerging style eventually dubbed the new wave of British heavy metal.

After much rehearsing and gigging in the surrounding area the foursome recorded a number of demos at Impulse Studios, whose owners Neat Records released their first single "Don't Touch Me There" in September 1979. Relentless touring across Britain would follow, supporting such childhood heroes as the Scorpions and Budgie, as well as NWOBHM peers like Iron Maiden and Saxon. They also signed a deal with MCA and entered London's Morgan Studios in June to record their proper debut, Wildcat, which went straight into the British charts at number 18 upon its released in July 1980.

Looking to beef up their sound, the band added virtuoso guitarist John Sykes just in time for their biggest gig ever at that year's Reading Festival. Yet, despite this promising start, singer Cox decided to quit the group at year's end, citing the ever-popular "musical differences" and going on to form the short-lived Lionheart with recently ousted Iron Maiden guitarist Dennis Stratton. Ex-Persian Risk vocalist Jon Deverill was drafted to replace him and the revitalized Tygers of Pan Tang kicked off 1981 firing on all cylinders.

Widely considered their best album, Spellbound hit the streets in April 1981, and was followed by another bout of touring which kept them nipping at the heels of NWOBHM powerhouses Iron Maiden, Saxon, and Def Leppard. Things began to unravel when MCA forced the band to write and record a follow-up in only three weeks, resulting in the uneven Crazy Nights, released in November 1981. European dates in support of Ian Gillan followed, but guitarist Sykes quit abruptly to join Thin Lizzy upon their return to England (eventually achieving even greater success with Whitesnake and Blue Murder).

The band soldiered on with new six-stringer Fred Purser, whose more commercial leanings were heard on 1982's disappointing The Cage album. Everyone seemed to be giving up on the Tygers, including their management, which dropped the band just prior to a sold-out tour of Japan. After a brief attempt at self-management, the group decided to call it quits later that year, and a 1983 greatest-hits set seemed to close the book on the Tygers of Pan Tang. Surprisingly, Deverill and Dick would resurrect a glammed-up version of the band in 1985 with guitarists Steve Lamb and Neil Shepard, and bassist Dave Donaldson. They released two albums: 1985's The Wreck-Age and 1987's Burning in the Shade (featuring Shepard's replacement Steve Thompson on guitar), both of which went absolutely nowhere and prompted another, apparently final split.

History of Hard Rock/Heavy Metal: Venom

A seminal influence on the evolution of thrash and black metal, Venom formed during the late '70s in Newcastle, England. Originally a five-piece group called Oberon, they eventually trimmed their lineup to a trio comprising singer/bassist Conrad "Cronos" Lant, guitarist Jeff "Mantas" Dunn, and drummer Tony "Abaddon" Bray.

Influenced by the heavy intensity of Motörhead and the visual flash of Kiss, the newly rechristened Venom developed a dark, blistering sound which paved the way for the subsequent rise of thrash music; similarly, their macabre, proudly satanic image proved a major inspiration for the legions of black metal bands to appear in their wake, even lending the genre its name with the release of their 1982 sophomore LP, Black Metal. (Their debut, Welcome to Hell, preceded it by a year.)

Venom's third album, At War with Satan, followed in 1983, and two years later they released Possessed. Lineup changes plagued the group in the years to follow, with Mantas exiting in the wake of 1985's live Eine Kleine Nachtmusik; guitarists Matt Hickey and Jimmy Clare were tapped as his replacements, making their debut on 1987's Calm Before the Storm. Cronos then quit as well, however, mounting a solo career and taking both Hickey and Clare with him as he left; at that point Mantas rejoined Abaddon to form a new edition of Venom with onetime Atomkraft vocalist/bassist Tony "The Demolition Risk" Dolan and guitarist Al Barnes. The new lineup made its bow on 1989's Prime Evil; Tear Your Soul Apart appeared a year later.

The trio of Mantas, Abaddon, and Dolan continued touring throughout the middle years of the 90s, although no more new studio recordings were forthcoming; finally, in 1996 Cronos returned to the Venom fold, making way for Dolan's departure. The original lineup's return to action was heralded by the release of the mini-album Venom '96, followed in 1997 by the full-length Made in Stone. After a world tour, Venom issued the two-disc New, Live & Rare in mid-1998. Buried Alive appeared a year later, and in the spring of 2000 the group returned with The Court of Death and Beauty and the Beast. In 2006 they celebrated their 25th anniversary with Metal Black.

Here are the fathers of Thrash - Venom:

History of Hard Rock/Heavy Metal: Samson

At the time of their first recording, pioneering New Wave of British Heavy Metal group Samson consisted of guitarist Paul Samson, bassist Chris Aylmer, drummer Thunderstick (real name: Barry Graham; concealed his identity by wearing a rapist-style mask), and vocalist Bruce Bruce, better known as Bruce Dickinson.

The group got most of its attention playing with Iron Maiden, but this backfired when Bruce Bruce left Samson to join them, adopting his real name. Thunderstick had also left the group at this point, and the band underwent several personnel turnovers over the course of the '80s, still managing to turn out some quality work.

Drummer Clive Burr was also member of the band, both before and after his tenure with Iron Maiden. The group effectively disbanded with Paul Samson's death to cancer on August 9, 2002.

Bass player Chris Aylmer died in January 2007. He was reported to have been responsible for suggesting the band's name. He assumed the role of bass player previously having been the band's soundman.

History of Hard Rock/Heavy Metal: Diamond Head

Diamond Head formed in Stourbridge, England, in 1976 by schoolmates Brian Tatler (guitar) and Duncan Scott (drums). They soon recruited Sean Harris (vocals) and a few months later, Colin Kimberley (bass) joined their ranks. Barely out of school and vehemently opposed to joining the cover band pub circuit, the fledgling young band also had the heyday of punk rock to contend with and were forced to develop their sound in relative seclusion through endless rehearsal and songwriting sessions.

Still unable to attract any record company attention three years later, despite occasional gigs in and around the English Midlands, the group decided to take matters into their own hands, issuing a couple of self-financed singles, "Shoot out the Lights" and "Sweet and Innocent." These were soon followed by a self-produced full-length album, which they recorded between February and April 1980 and made available via mail order through their own Happy Face Records.

By naïve inexperience or artful design, the LP was packaged in a conspicuously anonymous white sleeve, lacking so much as song titles, and sent to members of the British music press. As it turned out, a copy of the nameless LP (later commonly referred to as the "White Album" or "Lightning to the Nations", after its first song) soon found its way into the hands of Sounds metal editor Barton, who was so floored by its contents he quickly proceeded to interview the band for the respected music weekly. Soon being heralded by most everyone in-the-know as an undeniable masterpiece, the album quickly passed into legend as one of the New Wave of British Heavy Metal's most seminal documents. Indeed, between Tatler's towering power chords and Harris' delicate yet muscular voice, Diamond Head had stumbled upon the perfect synthesis of un-godly, Sabbath-sized riffing and Zeppelin's epic musicality.

If only the rest of the story was as remarkable. Encouraged by such a euphoric response, Diamond Head quickly signed with MCA, issued the Four Cuts EP, then set out on a relentless touring schedule that included a legendary appearance at the 1982 Reading Festival. But the dream began to shatter as soon as they entered the studio to begin recording a follow-up album.

The album "Borrowed Time" was a disaster and sounded nothing like the "Lightning to the Nations." The sound was more commercial and didn't go over well with the Diamond Head faithful.

Borrowed Time quickly fulfilled the prophecy in its title and tumbled from sight. As initial expectations gave way to disappointment and pressure began to mount, the band started work on their third album. But they would splinter in half during the sessions for 1983's erratic Canterbury, with the rhythm section of Kimberley and Scott both fired and/or quitting. Another commercial failure, the LP's chances were further curtailed by a pressing error that resulted in 20,000 faulty copies. A slot in that year's massive Castle Donington Monsters of Rock Festival couldn't staunch the bleeding, and a frazzled Tatler (by now standing on the brink of a nervous breakdown) finally pulled the plug. Diamond Head effectively ceased to exist.

Metallica brought interest back by covering Diamond Head's "Am I Evil" as a B-side to their "Creeping Death" single. Diamond Head re-formed in 1993 and a new album, Death & Progress followed. The album failed to ignite interest and the group disbanded once again.

Diamond Head's history is certainly among the most peculiar in all of rock. One of the most remarkable talents to arise out of the New Wave of British Heavy Metal, the band's career never fulfilled its early promise, yet their legacy still ranks among the most influential of the genre.

History of Hard Rock/Heavy Metal: Iron Maiden II

Here's another video from metal masters Iron Maiden. This is from the Number of the Beast album.

It's the classic tune, "Run to the Hills."

History of Hard Rock/Heavy Metal: Iron Maiden

Known for such powerful hits as "Two Minutes to Midnight" and "The Trooper," Iron Maiden was and is one of the most influential bands of the heavy metal genre. The often-imitated band existed for over 20 years, pumping out wild rock similar to Judas Priest.

Iron Maiden has always been an underground attraction; although failing to ever obtain any real media attention in the U.S. (critics claimed them to be Satanists due to their dark musical themes and their use of grim mascot "Eddie"), they still became well known throughout the world and have remained consistently popular throughout their career. Iron Maiden was one of the first groups to be classified as "British metal," and, along with Black Sabbath, Led Zeppelin, and a host of other bands, set the rock scene for the '80s.

Iron Maiden was first formed in 1976 by bassist Steve Harris, who would soon join up with rhythm guitarist Tony Parsons, drummer Doug Sampson, and vocalist Paul Di'Anno. Before finally obtaining a record deal, the group played in local areas throughout the '70s, receiving a fair amount of London airplay. Parsons replaced Dennis Stratton, and the band made its record debut in 1980 with the self-titled Iron Maiden album.

Although the release was recorded in a hurry, it was nonetheless a hit in the U.K. due to the single "Running Free." Iron Maiden's 1981 follow-up, Killers, displayed a harder approach to their music than before, and also saw the replacement of Stratton with Adrian Smith. Due to his uncontrollable alcohol addiction, Di'Anno was forced to part company with the group and would soon be replaced with vocalist Bruce Dickinson in 1982 for the band's groundbreaking Number of the Beast.

This album, boasting such songs as the title track and "Hallowed Be Thy Name," would come to be known as one of the greatest rock recordings of all time. Since the unexpected worldwide success of Beast made Iron Maiden international rock superstars, they changed very little of their style for their next album, Piece of Mind. They undertook two major tours before recording 1983's Powerslave, which would go on to be another cult hit. The product of Powerslave's 11-month tour was 1985's Live After Death, a double live album that featured all of their biggest hit singles.

By the release of Live After Death, Iron Maiden had already established themselves as a powerful and unique metal band. Their long-awaited 1986 supplement album, Somewhere in Time, showed a bit of departure from their past releases, showcasing the use of synthesizer guitars and songs more relevant to the same themes.

1988's Seventh Son of a Seventh Son, a concept album like its predecessor, featured the singles "The Evil That Men Do" and "The Clairvoyant," and soon became Iron Maiden's most critically acclaimed album since Number of the Beast. After another exhausting tour, Smith departed and the band took a one-year hiatus.

With new guitarist Janick Gers, they resurfaced with No Prayer for the Dying in 1990, a record that returned to the classic sound the group used when recording their earlier releases. One of the album's singles, "Bring Your Daughter...to the Slaughter," was granted the Golden Raspberry Award for Worst Song of the Year, but it nonetheless gave the band their first number one U.K. hit. By the time the group finished their 1991 tour, Dickinson expressed desire to leave and work to promote another band he had founded, the Skunkworks. Fear of the Dark, the band's last album with Dickinson, debuted at number one on the U.K. charts and became one of their biggest-selling albums to date. After their supporting tour, two live albums were released in 1993: A Real Live One, which contained live versions of their newer hit singles, and A Real Dead One, which featured the more "classic" Maiden songs live.

Dickinson's replacement, Blaze Bayley, marked his debut in 1995 with The X Factor. While the record failed to chart as well as some of its predecessors, it was still a minor success in England. Iron Maiden marked the end of 1996 with Best of the Beast, a double compilation album. In 1998, little interest in the Virtual XI album prompted Bayley's termination; Dickinson and Smith returned to the band for a tour in 1999, and a new album, Brave New World, emerged the following year. The band toured throughout the early 2000s, releasing the live Rock in Rio and the greatest-hits collection Edward the Great in 2002, followed by a new studio album, Dance of Death, in 2003.

They released the live CD/DVD Death on the Road in September of 2005 and a collection of new material, Matter of Life and Death, in 2006.

Unsigned Artist Video: Recycled America

Here are two videos from Aaron Bossinger, lead guitarist and vocalist for the LA band, Recycled America.

Both feature pretty cool tehcnical guitar solos written by Bossinger. The first video is an old school solo and the second is a more Jazz style of soloing with some sweeps thrown in for good measure.

Check it out. I think you'll dig them.

Chart History: Queen

Chart History is a feature that highlights a hard rock/heavy metal act and how well the duo/group or individual performed on the Billboard charts.

Today we focus on Queen. Here is a rundown of all singles and albums that charted while the group was together. Greatest hits and other compilations are not included -only studio and live albums are.

Albums:
1973: Queen (No.83)
1974: Queen II (No.49)
1974: Shear Heart Attack (No.12)
1975: A Night At The Opera (No.4)
1976: A Day At The Races (No.5)
1977: News Of The World (No.3)
1978: Jazz (No.6)
1979: Live Killers (No.16)
1980: The Game (No.1)
1981: Flash Gordon Soundtrack (No.23)
1982: Hot Space (No.22)
1984: The Works (No.23)
1986: A Kind Of Magic (No.46)
1989: The Miracle (No.24)
1991: Innuendo (No.30)
1992: Live At Wembley '86 (No.53)
1995: Made In Heaven (No.58)
2005: Return Of The Champions (No.84)

Singles:
1. Keep Yourself Alive (No.89)
2. Killer Queen (No.12)
3. Bohemian Rhapsody (No.9)
4. You're My Best Friend (No.16)
5. Somebody To Love (No.13)
6. Tie Your Mother Down (No.49)
7. We Are The Champions (No.4)
8. We Will Rock You (No.4)
9. It's Late (No.74)
10. Fat Bottomed Girls (No.24)
11. Bicycle Race (No.24)
12. Don't Stop Me Now (No.86)
13. Crazy Little Thing Called Love (No.1)
14. Another One Bites The Dust (No.1)
15. Play The Game (No.42)
16. Need Your Loving Tonight (No.44)
17. Flash (No.42)
18. Under Pressure w/David Bowie (No.29)
19. Body Language (No.11)
20. Calling All Girls (No.60)
21. Radio Ga Ga (No.16)
22. I Want To Break Free (No.45)
23. It's A Hard Life (No.27)
24. One Vision (No.61)
25. A Kind Of Magic (No.42)
26. I Want It All (No.50)
27. Bohemian Rhapsody (No.2) (re-entry)
28. We Will Rock You (No.52) (re-entry)