HISTORY (HERSTORY)
References

   1. ^ a b c "The beat behind the Runaways". The Times/The Australian. 2006-10-27. http://www.theaustralian.news.com.au/story/0,20867,20649668-28737,00.html. Retrieved 2008-02-09.

   2. ^ a b c d e f DeYoung, Bill (2000-09). "'The Bangles: California Dreamin' [2000']". Goldmine Magazine. http://www.billdeyoung.com/bangles.htm. Retrieved 2009-02-14.

   3. ^ a b c d Fissinger, Laura (1986-03-13). "The Bangles: Different Light: music reviews". Rolling Stone.

http://www.rollingstone.com/artists/thebangles/albums/album/301864/review/5940772/different_light. Retrieved 2008-02-09.

   4. ^ Zerby, Drew (2008-01-28). "'80s female band The Bangles comes to Baton Rouge". The Daily Reveille. http://media.www.lsureveille.com/media/storage/paper868/news/2008/01/28/Entertainment/80s-Female.Band.The.Bangles.Comes.To.Baton.Rouge-3170794.shtml. Retrieved 2008-02-09.

   5. ^ "'Born To Be Bad'". http://kensternation.tripod.com/runalb/Born.html. Retrieved 2009-02-14.

   6. ^ a b Spitz ed,, Marc (2001). "'We Got The Neutron Bomb, p.48'".


   7. ^ "'GREETINGS INTREPID RPERS AND FRIENDS". 2003-08-27. http://returnpost.yuku.com/topic/643. Retrieved 2009-02-12.

   8. ^ Owens, Kevin (2003-12-01). "'Michael Steele -- Harmonic Re-emergence'". Bass Player.

   9. ^ "'Songs recorded by The Bangles". dbopom. http://www.dbopm.com/link/index/4501/1951. Retrieved 2009-02-12.

  10. ^ "'Neighborhood Rhythms'". http://www.discogs.com/release/690627. Retrieved 2009-02-14.

  11. ^ Gordon, Robert (2009). "'Big Star: The More You Learn, The Less You Know' p.41". Keep An Eye On The Sky.

  12. ^ McLeese, Don (1988-10-24). "'Bangles promise '"Everything" but fail to deliver'". Chicago Sun-Times.

  13. ^ "'Eyesore Home Page'". 1998. http://web.archive.org/web/19980122025407/http://www.buzzsaw.com/eyesore.html. Retrieved 2009-02-13.

  14. ^ "'Interview: Susanna Hoffs'". 2007. http://www.bullz-eye.com/music/interviews/2007/susanna_hoffs.htm. Retrieved 2009-02-13.

  15. ^ "'A Special Message From The Bangles'". 2005-05-28. http://www.thebangles.com/news/news.asp?item=10120. Retrieved 2009-02-13.

  16. ^ Huey, Steve. "The Runaways". Allmusic. MTV. http://www.mtv.com/music/artist/runaways_1_/artist.jhtml. Retrieved 2008-02-10.

  17. ^ "The Bangles, La Zona Rosa, Austin, TX". The Austin American-Statesman. http://www.austin360.com/event/events2/etc/userEventDisplay.jspd?eventStatus=Approved&eventid=156750. Retrieved 2008-02-10.

  18. ^ Guterman, Jimmy (1988-12-01). "The Bangles: Everything: Music reviews". Rolling Stone. http://www.rollingstone.com/artists/thebangles/albums/album/134716/review/5943868/everything. Retrieved 2008-02-10.

  19. ^ "Pop Talk: Michael Steele". 2000-11-02. http://guitarbands.de/bangles8.htm. Retrieved 2008-02-10.

  20. ^ Baltin, Steve (2003-07-01). "Bangles bring "revolution". First album in fifteen years due in September". Rolling Stone. http://www.rollingstone.com/news/story/5936366/bangles_bring_revolution. Retrieved 2008-02-10.

  21.  Gracie Lee.  (2010-0122)
Michael Steele
Michael Steele Biography - by RealInspectorShane

Michael Steele is a bassist, guitarist, songwriter, and singer who performed with The Bangles and numerous other bands.[3][4]

She began her professional career as Micki Steele in the teen-girl band The Runaways, among the first all-female rock groups.[1] Steele's stay in the Runaways was brief, leaving the band in late 1975, months before the recording of their first self-titled album. The main recording of this early period is an August 1975 demo session [bootlegged and later released as the 1993 album Born To Be Bad] with Steele playing bass and singing lead vocals on most songs.[5] Additionally, this release also has her first songwriting credit with 'Born To Be Bad' being cowritten with Joan Jett and Kim Fowley. Steele's departure from the group has been given several interpretations---her own account being that she was fired by svengali-like manager Kim Fowley for refusing his sexual prepositions and calling the band's debut single 'Cherry Bomb' stupid.[6] Fowley would further denigrate her for blowing a chance at fame and not possessing sufficient 'magic' or 'megalo' to make it in the music industry. [6]

Despite most accounts of her career seeing the eight years between Steele's time in the Runaways and the Bangles as effectively a long blank, this period was musically rich although obscure. Steele refined her musicanship and played in many Los Angeles bands between 1976 and 1983, including the power-pop outfit Elton Duck (1979-80), an early version of Slow Children (1979), the improvisational band Nadia Kapiche (1981) and a brief period as bass player in avant-garde rock outfit Snakefinger.[7] Due to focusing on her musical technique and playing live frequently Steele also became in this period a highly regarded bassist noted for her melodic style and rich tone, influenced by bassists such as Paul McCartney, John Entwistle, Colin Moulding and Carol Kaye. [8]

She replaced Annette Zilinskas in The Bangles in mid-1983, the group being a then little-known outfit.[2] At this point Steele was solely the band's bassist, with no released compositions: her only live lead vocal at this time was on the band's cover of I'm Not Talkin' [Moses Allison] .[9]
Accordingly, the band's 1984 debut LP All Over The Place is the only Bangles album with no Steele-written songs (her biggest showcase on the album is the bass solo on Tell Me). In addition to All Over The Place, in 1984 Steele also wrote and recorded the political spoken word piece 'El Pollo Loco' for the 2LP compilation Neighborhood Rhythms.


Different Light


Although AOTP was a well-regarded album by critics, it was not a chart success. Like her bandmates, Steele only achieved popular success and fame with the 1986 release of Different Light and its hit singles Manic Monday (#2) and Walk Like An Egyptian (#1).[2] In addition to playing melodic and often intricate basslines, Steele sings lead on two songs: a cover of Big Star's September Gurls later credited for belatedly bringing songwriter Alex Chilton a large income from music and the self-penned Following, a stark and introspective ballad far from the glossy sound and more standard lyrical themes of Different Light's other tracks.[11] Indeed, Rolling Stone magazine praised Following upon the album's release as its standout song, a dark composition that pointed the band in new jazz and folk directions, only some of which would be explored.[3]

As often discussed in later interviews, Different Light was also the product of significant contention and tension between the band and producer David Kahne--much of this contention surrounding the use of musicians outside the band on some songs. Despite lingering controversy surrounding the precise extent to which session musicians were employed on the album, Steele is the only band member confirmed to have not been overdubbed, an achievement she later joked was only because Kahne 'ran out of money'.[2]


Everything

A commercial success on its 1988 release, Everything would also be the Bangles' final album prior to their later reunion. In terms of Steele's career, Everything also reflects her development as a songwriter, with her three songs (Complicated Girl, Something To Believe In and Glitter Years) being the most she had written on an album to this point. Two further songs written for the Everything sessions did not appear on the album, with Between The Two eventually appearing on 2003's Doll Revolution and Happy Man Today (played live on the band's summer 1987 tour) remaining unreleased to this day. In addition to her usual bass credits, Steele is also credited with several guitar parts, euphemistcally referred to in the album liner notes as 'occasional guitar'. Although none of Steele's songs were released as singles, they were seen by several critics upon Everything's release as among the album's best tracks. A particularly emphatic example is that of the Chicago Sun-Times, stating that her songs provide 'most of the album's highlights', combining sophistication and accessibility. [12] Despite critical praise and popularity however, this period was far from a happy one. In later interviews Steele recalled the late 80s as marked by tension and depression, in part a product of the compromises of fame and of increasing conficts surrounding the promotion of Susanna Hoffs as the band's unofficial 'leader'. These problems were further compounded by the intervention of executives from Steiffel-Phillips who in their desire to 'free' Hoffs and promote her as a marketable solo act promised Steele a solo contract following the eventual dissolution of the Bangles, a promise that helped motivate her decision to support ending the band in September 1989.[2] This promise would not be fufilled.


1990s to Present

After the demise of the Bangles, Steele initially sought to write and record material for a solo release. How far she got in doing so is not known as her promised record contract was cancelled. Despite this setback, Steele remained musically active throughout much of the decade. Besides recording songs for an unreleased solo album, she played in several more bands in this time, most notably as rhythm guitarist and singer in the short-lived band Crash Wisdom (producing several more unreleased songs) and as bassist in Michelle Muldrow's San Francisco based group Eyesore. [13] This period would end with a return to an old band. By the late 1990s, the Bangles agreed to reunite with Steele being the last holdout, only joining the reunion under the expectation that they would focus on releasing new material and not become a 'Dick Clark oldies band'.[2] To this end the band soon recorded a 15-track album that would eventually be released in 2003 as Doll Revolution. Like Everything, the album had three Steele songs; Nickel Romeo, Between The Two and the previously unheard Song For A Good Son. Positive and negative reviews alike again noted these songs for their strikingly different sound and mood to the rest of the album. [14] Despite initial brief tours in 2003, various family committments for her bandmates meant that the band could not support/tour the album following its American release as much as Steele wished, a problem later noted by Susanna Hoffs as contributing to Steele's leaving the band.[14]  Although her final concert was in early 2004, she did not officially depart the band until May 2005.[15]  Steele currently enjoys life away from the glare of the Hollywood spotlight, and devotes her considerable energy to environmental causes, politics, and artistic pursuits - including music.[21]

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