Artist: Madness
Genre(s):
Alternative
Punk
Ska
Rock: Punk-Rock
New Age
Discography:
The Dangermen Sessions, Vol. 1
Year: 2005
Tracks: 13
Wonderful
Year: 2000
Tracks: 11
It's Madness Too
Year: 1999
Tracks: 16
The Harder They Come
Year: 1992
Tracks: 4
Divine Madness
Year: 1992
Tracks: 22
The Madness
Year: 1988
Tracks: 14
Utter Madness
Year: 1986
Tracks: 14
Mad Not Mad
Year: 1985
Tracks: 10
Keep Moving
Year: 1984
Tracks: 12
It's...
Year: 1984
Tracks: 16
The Rise and Fall
Year: 1982
Tracks: 13
Seven
Year: 1981
Tracks: 13
7
Year: 1981
Tracks: 13
Absolutely
Year: 1980
Tracks: 14
One Step Beyond
Year: 1979
Tracks: 15
Our House: The Best Of
Year:
Tracks: 21
Along with the Specials, Madness were one of the preeminent bands of the ska revival meeting of the later '70s and early '80s. As their calling progressed, Madness forficate away from their trademark "nutlike sound" and merged great elements of Motown, individual, and British pop up. Although the band managed one crossover American hit in 1983, the band remained a British phenomenon, influencing respective sequential generations of musicians and decent i of the most dear groups the country produced during the '80s.
The origins of Madness lie in a ska group known as the Invaders, which was formed by Mike Barson, Chris Foreman, and Lee Thompson in 1976. By 1978, the band had changed their identify to Morris and the Minors and had added Graham "Suggs" McPherson, Mark Bedford, Chas Smash, and Dan Woodgate to the grouping. Later in 1978, they changed their name to Madness, in homage to one of their deary Prince Buster songs. The undermentioned year, Madness released their debut single, a tribute to Prince Buster entitled "The Prince," on Two-Tone. The vocal was a surprise success, reach the British Top 20. Following its success, the band sign a record compress with Stiff Records and released some other Prince Buster vocal, "One Step Beyond," which climbed to number seven.
Foolishness promptly recorded their debut album, likewise coroneted One Step Beyond, with producers Clive Langer and Alan Winstanley. Released toward the end of the year, the album unwell at number iI in Britain and it stayed on the charts for well over a year. At the rootage of 1980, the band's tierce single, "My Girl," peaked at number three. For the side by side deuce-ace years, the chemical group had a virtually continuous run of 13 Top Ten singles, during which time they were one of the most democratic bands in Britain, rivaled only by the Jam in damage of widespread popularity. Where the Jam appealed to teenagers and young adults, Madness had a broad fan base, stretch from children to the aged. Which didn't mean their euphony was dilute -- they continued to expand their sound, both musically and lyrically.
In the spring of 1980, Madness released the Work Rest and Play EP, which reached number six on the intensity of the EP's lead vocal, "Night Boat to Cairo." Also during the spring, Ane Step Beyond was released in the United States, where it peaked at 128. Madness' second record album, Absolutely, was released in the fall of 1980. The record seedy at number deuce on the British charts, only it stalled at number 146, in the U.S. Sire dropped the stripe later on the commercial-grade letdown of Absolutely, departure Madness without an American record get for several years.
Bet on in England, Madness continued to gain momentum, as the chemical group began playing matinee shows on their tours so children under 16 years old could wait on the concert. In the fall of 1981, the striation released their third record album, 7, which peaked at numeral five. In January of 1982, Madness attain number four with a cover of Labi Siffre's "It Must Be Love." In March, their streak of Top Ten hits was off-and-on when "Cardiac Arrest" stalled at number 14 on the charts, due to radio's indisposition to act as the melody. The stripe bounced punt a few months later with "House of Fun," their number 1 number one single. That same month, the hits compiling, Complete Madness, reached number ane.
Foolishness returned in the late summer of 1982 with The Rise and Fall, their full-fledged shift to pop. Like their previous albums, it was a British attain, stretch the Top Ten, only it also contained the seeds of their brief American success with the Top Five British unmarried "Our House." The unmarried was released in America on the group's new mark, Geffen, and it received heavy airplay from MTV. The music-video television network had antecedently played the videos for "House of Fun," "It Must Be Love," and "Cardiac Arrest" when the band's albums were unreleased in the United States, thereby scene the microscope stage for "Our House" to become a massive hit. With "Our House," Madness had MTV exposure cooccur with a record firing for the first time, which sent the single into the American Top Ten in the summer of 1983. The success of the single brought the U.S. compilation record album, Foolishness, to number 41. Madness managed one more than American Top 40 attain that fall, when "It Must Be Love" seedy at telephone number 33.
At the end of 1983, Mike Barson -- the band's samara songster -- left wing the group to settle down with his wife. Although Madness was able to stay on near the top of the charts with their low gear post-Barson tone ending, "Michael Caine," the band's fortunes began to decline o'er the course of 1984. Upon its release in the spring, Keep Moving hit telephone number captain Hicks on the British charts; in America, the record reached telephone number 109. In June, the mathematical group released its last single for Stiff Records, "One Better Day," which seedy at telephone number 17. In the fall, Madness formed their have record tag, Zarjazz. Madness released "Yesterday's Men," their starting time transcription on Zarjazz, in September of 1985, well-nigh a twelvemonth later on the label's organization. The record indisposed at number 18 and its parent album, Harebrained Not Mad, reached number 16 upon its October release. Their chart refuse continued early in 1986, when their cover of Scritti Politti's "Sweetest Girl" seedy at telephone number 35. For well-nigh of 1986, the radical was restrained. In September, Madness proclaimed they were disbanding. Two months later, their word of farewell single, "Wait for the Ghost Train," was released, charting at number 18.
Later staying sleeping for a year and a half, the mathematical group reunited at the beginning of 1988 as a quartette called the Madness, releasing its rejoinder single, "I Pronounce You," in March. The Madness featured Chris Foreman, Lee Thompson, Chas Smash, and Suggs, and was augmented by the Specials' keyboardist Jerry Dammers and Steve Nieve (keyboards) and Bruce Thomas (basso) of the Attractions. "I Pronounce You" reached number 44 on the U.K. charts and its sequent record album stiffed upon its fountain discharge. The mathematical group disbanded for a second time that fall.
In the summer of 1992, the original lineup of Madness reunited to perform 2 outside concerts at London's Finsbury Park. The mathematical group dubbed the event Madstock and released a recording of the shows on Go! Records. Madstock became an annual event for the succeeding quaternary days -- every summer the banding would reunify and headline an outside festival at Finsbury Park. Suggs launched a solo calling in 1995 with The Lone Ranger, which performed creditably in the U.K. charts. In 1996, Madness played the last Madstock and proclaimed they planned non to reunite for future concerts, simply by 1998 they were back on the road, with a Los Angeles date recorded for release as Universal Madness the following twelvemonth. The mathematical group besides reunited with original producers Clive Langer and Alan Winstanley to record their first-class honours degree new corporeal in all over a 10. The resulting Dangermen Sessions, Vol 1 was released in 2005.
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