As Reggae continued through the 80’s, Black Uhuru seemed like the band that would take it to the next level. Their music was a progressive Reggae style that incorporated Afro beats that gave their sound a more tripped out feel. It was a little bit different from what other Reggae acts were doing and it could only be imagined how far the group could have gone had infighting not splintered them apart leaving the watered down version that remains today. Still, their status as one of the most important second generation Reggae bands is secure.

Another of the Progressive Rock groups from England, the Strawbs drew more from Folk Rock than their contemporaries did. They had a poetic sound that seemed traditional and modern at the same time. It could have been that traditional British Folk influence that kept them anonymous in the States. Even if they were known, the Progressive Rock angle earns them no love from Cleveland’s voters.

Upon leaving Harold Melvin and the Blue Notes, Teddy Pendergrass embarked on a solo career that rivaled (some say eclipsed) the group he left. Pendergrass racked up R&B hit after R&B hit and his romantic brand of Philly Soul made his music a constant choice for bedrooms across America. Pendergrass became paralyzed from a car accident in 1982, and although he still recorded afterwards, his sexual appeal (which musically was his greatest asset) was gone. He was still somewhat successful, but never really the same. He did have a solid career, but our guess is that if he got in it would be with the Blue Notes.

With an uncanny ability to fuse Punk music with almost any style, Minutemen enjoyed a healthy cult following in the early 80’s. Musically tight and always experimenting, the Southern California group became a College radio staple and though commercial success eluded them, the critical response from their 1984 album, Double Nickels on a Dime leaves them a solid legacy in the Underground music world.