Same band, different music

Ranker has an interesting, though not entirely accurate, list of bands that changed musical genres, including …

Many bands changed their sound over the course of their careers. Whether it’s due to personal growth, members leaving, or pressure from their label, bands that switched genres aren’t uncommon. Pop stars explore different sounds all the time. But it’s different when a band switches genres and then becomes massively successful.

When a band’s breakthrough hit sounds totally different than their earlier output, it can be jarring for fans and critics alike. Sometimes the new direction is a natural progression, and older fans are completely okay with it. Other times, fans get a little heated. This is a list of 19 bands that changed genres before they made it big.

Fleetwood Mac

Even if you’re not familiar with their catalog, you might at least know singer Stevie Nicks from her appearances on American Horror Story: Coven. But before Stevie joined Fleetwood Mac in 1975 and brought along a poppier sound, the band released several albums as a blues band. “Black Magic Woman,” which was released in 1968, was a modest hit in the UK. Their early blues albums performed well in England, but they never achieved much crossover success in the US.

Several personnel changes brought about a new pop sound, and Nicks announced herself as a formidable presence on her very first album with the band, 1975’s Fleetwood Mac, by writing and performing two of the band’s most famous singles: “Rhiannon,” which she sings in the AHS clip linked above, and “Landslide.” The band became wildly popular in the US, and Nicks’s second album with them, Rumours, has sold over 40 million copies worldwide and is the eighth-best-selling record of all time.

Yes, the same group that did …

… also did …

Genesis

This entry is a little different from the rest on the list: despite the fact that you may know them only as “that band my dad likes,” there are two very distinct versions of Genesis. And both of them were really successful.

From 1967 to 1975, Genesis was fronted by Peter Gabriel. During the Gabriel era, the band had a considerably more theatrical sound and look, and was more popular in their native UK than the US. Genesis helped pioneer the genre of prog. Gabriel’s last album with the band, The Lamb Lies Down on Broadway, was a concept album about a young Puerto Rican man named Rael living in New York City. “The Carpet Crawlers,” one of the singles from the album, shows off the band’s sound at the time. After Gabriel left to spend more time with his family, drummer Phil Collins took over on lead vocals and shifted the band’s sound.

The Collins era of Genesis produced most of their iconic songs, like 1983’s “That’s All.” Collins’s lyrics were more straightforward, dealing with aspects of everyday life. Gabriel’s prog influences faded, and Collins took the band in a more commercial rock direction. While the band continued on until 1997, fans are still deeply divided over the Gabriel and Collins eras. Despite the division, Genesis was inducted into the Rock and Roll Hall of Fame in 2010.

“Shifted the band’s sound” is an understatement.

Journey

It’s probably a safe bet that if you heard Journey’s first single, “To Play Some Music,” (which you probably haven’t, because it didn’t even chart) with no context, you’d have a hard time identifying them as the same band that later released “Don’t Stop Believin’.” Before Journey became a universal guilty pleasure, they released two poorly-received jazz fusion albums. Pressure from their record label caused them to switch up their sound and bring in a powerhouse singer; they first brought in Robert Fleischman, who lasted less than a year, before settling on Steve Perry. With Perry, the band went on to achieve massive success as a rock band with songs like “Wheel in the Sky” and “Any Way You Want It.”

Until now I had never heard this:

Too bad they went away from that to how people now know Journey. (Just go to your local high school if you want to hear “Don’t Stop Believin’.”)

Bee Gees

The Bee Gees were actually really popular as a folk band in the late 1960s. Many of their songs relied on Robin Gibb’s straightforward vocals, which reflected the kind of music that was popular at the time. They had multiple songs and albums that hit the top 20 of the Billboard charts (including “New York Mining Disaster 1941,” which was their first big hit), so the fact that they’re now almost exclusively remembered as 1970s disco megastars shows just how influential their new sound was.

The Bee Gees broke up in 1970, but after reforming later that year, they found that their folk sound wasn’t connecting with audiences the way it used to. They turned to disco to try and regain their former popularity. Their secret was Barry Gibb: with arguably one of the most iconic falsettos of all time, Gibb turned the tides of public favor and crafted the iconic disco sound the Bee Gees are known for. They wrote and recorded the soundtrack for Saturday Night Fever, the hugely successful 1977 John Travolta film, which included the hit “Stayin’ Alive.” The soundtrack went on to become the highest-selling soundtrack of all time until Whitney Houston’s soundtrack for The Bodyguard surpassed it in 1992.

The problem with that last paragraph is that it completely ignores the post-folk pre-disco Bee Gees, without which the group’s involvement with “Saturday Night Fever” may never have occurred …

… along with what followed “Saturday Night Fever”:

Iron Maiden

British heavy metal titans Iron Maiden have always had a pretty metal aesthetic (see the torture device the band is named after), but their first album had a decidedly punk sound, even if the band will never admit it. Iron Maiden, the band’s first album, was plagued with production and personnel problems. The band was unhappy with the production on the album and blamed producer Will Malone. Steve Harris, the band’s bassist, told Guitar World, “We were all young and naïve and we didn’t know about producers and what they do – or don’t do, really. And [Malone] was just a waste of time. He didn’t do anything. He just sat there with his feet up reading Country Life. So in the end we just bypassed him and dealt straight with the engineer.” The low production value is what lent songs like “Sanctuary” their punk sound.

But current lead singer Bruce Dickinson told Spin, “The first Maiden album sounded punky because it sounded like a sack of s–t. He hates that record. The first singer [Paul Di’Anno] gave it a little bit of that kind of vibe, but the punk thing was nailed to the band by the press. The band absolutely hated it, because there was no way on God’s green earth Maiden were ever, even remotely, a punk band.” If classics like “The Trooper” are any indication, Iron Maiden may be the only band on this list that was ever accidentally a different genre.

Black Keys

This is another case where the band simply evolved and matured beyond their original sound. As a blues duo, the band released eight albums, but the earlier ones were, well, a lot bluesier than the later ones. Consider “I’ll Be Your Man,” from their first album, and “Fever,” from their most recent album, Turn Blue. “Fever” has a much more accessible blues-pop sound, which is apparently what audiences wanted to hear, because in addition to winning heaps of Grammys, Turn Blue debuted at No. 1 on the Billboard 200.

Dexys Midnight Runners

The band best known for “Come On Eileen,” a divisive earworm of a song, started out as a semi-political soul group. Dexys Midnight Runners has gone through numerous lineup changes over the years, with singer Kevin Rowland being the only consistent member. He was frequently argumentative with the music press, often taking out ads in magazines and newspapers to espouse his thoughts. Rowland wrote songs about issues facing Irish immigrants in Britain, which led many critics to brand them as overly serious.

He was also insistent that the band have a consistent look, though that look changed a few times over the years. When “Come on Eileen” was released, the band was wearing overalls and no shoes, which in combination with the use of violin in the song, gave them a decidedly pop-country feel. According to Rowland, “I told everyone that Eileen was my childhood girlfriend. In fact she was composite, to make a point about Catholic repression.” But whatever point he was trying to make got overshadowed, as the band became a one-hit wonder with a pop song that most people think is just about a guy trying to convince a woman to go out with him.

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