5 1980s Guitarists Who Made New Successful Bands
via @Moshcam / YouTube
Guitarists often serve as the backbone of a band’s sound, especially during the 1980s when high-octane solos and flamboyant stage presence were just as important as the songs themselves. Yet for many six-string heroes, the desire to step outside the confines of their original bands was irresistible. Whether driven by creative differences, internal dysfunction, or simply a hunger for something new, a handful of ’80s guitarists ventured out to start fresh projects that pushed their artistry in bold directions.
The path wasn’t easy. Launching a new band, even with name recognition and undeniable talent, came with challenges — especially in a market flooded with glam, shred, and arena anthems. Some of these new groups burned fast and faded quickly, unable to match the commercial heights of their founders’ past bands. Still, what they lacked in chart dominance, they made up for in sheer ambition, musical freedom, and flashes of brilliance that continue to earn cult followings today.
This list isn’t just a trip through nostalgia. It’s a look at the moments when proven guitar heroes dared to rewrite their own stories. These bands may not have topped the charts, but they delivered songs that were raw, energetic, and, in many cases, more adventurous than what came before.
Jake E. Lee – Badlands
After his abrupt dismissal from Ozzy Osbourne’s band, Jake E. Lee wasn’t ready to fade quietly into the background. He formed Badlands in 1988, bringing along powerhouse vocalist Ray Gillen and future KISS drummer Eric Singer, with Greg Chaisson rounding out the lineup on bass. Their debut album in 1989 blended glam metal gloss with bluesy grit, and Lee’s unmistakable fretwork paired seamlessly with Gillen’s soaring vocals.
Badlands stood apart from their peers thanks to their heavier, more soulful sound. Their debut climbed to No. 57 on the Billboard 200, showing promising momentum. But tragedy struck when Gillen was diagnosed with AIDS, leading to internal turmoil and his eventual firing. A second album, Voodoo Highway, arrived in 1991 to a lukewarm response.
The band unraveled soon after, and Gillen’s death in 1993 marked a somber end to a project that had genuine chemistry and promise. A collection of demos, Dusk, was posthumously released in 1998, offering fans one final glimpse at what could have been a long-lasting and influential act.
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George Lynch – Lynch Mob
When Dokken disbanded in 1989, George Lynch wasted no time re-establishing himself. With drummer Mick Brown by his side, he launched Lynch Mob, a band that gave him more creative freedom. Their debut, Wicked Sensation (1990), was a showcase for Lynch’s signature riffs and solos, now enhanced by a blues-drenched hard rock approach.
The album featured standout tracks like “River of Love” and “All I Want,” demonstrating Lynch’s renewed sense of musical direction. While the songs carried a raw power that set them apart from Dokken’s sleeker sound, the timing couldn’t have been worse. The dawn of grunge was looming, and glam metal’s dominance was crumbling fast.
Despite its solid craftsmanship, Wicked Sensation stalled at No. 46, and frontman Oni Logan exited after touring. The follow-up with vocalist Robert Mason failed to make a splash, and Lynch Mob disbanded in 1994. Still, their debut remains a high point in Lynch’s post-Dokken legacy.
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Slash – Slash’s Snakepit
By the mid-1990s, Guns N’ Roses had become paralyzed by internal chaos, and Slash had had enough. In 1994, he formed Slash’s Snakepit, bringing together an all-star lineup including Matt Sorum, Gilby Clarke, Mike Inez, and Eric Dover. The resulting album, It’s Five O’Clock Somewhere (1995), was a raw, no-frills return to bluesy rock.
The record earned praise for its gritty energy and vintage rock spirit, offering fans a glimpse of what Slash could do unshackled from GN’R’s dysfunction. Tracks like “Beggars & Hangers-On” felt like natural extensions of Appetite for Destruction, even if they didn’t achieve the same commercial impact.
Despite a successful club tour and modest sales, the project was cut short when the label pressured Slash to return to Guns N’ Roses — a plan that never quite materialized. Slash revived the band with a new lineup in 2000, but Snakepit was ultimately a detour, albeit a highly enjoyable one.
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Steve Stevens – Atomic Playboys
Steve Stevens had already built a reputation as Billy Idol’s electrifying right-hand man, but in 1989, he stepped out front with Atomic Playboys. Though technically a solo project, Stevens used the album title to reflect his band at the time, assembling a group that embraced the glam-metal aesthetic while flexing his diverse guitar skills.
Atomic Playboys leaned into high-octane hard rock, contrasting sharply with Idol’s more radio-friendly fare. Stevens filled the album with thunderous riffs, sharp hooks, and even ventured into classical territory with the instrumental “Run Across Desert Sands.” It was flashy, bold, and unashamedly indulgent.
However, commercial success was elusive. The album only reached No. 119, and the project never evolved beyond its debut. Stevens would later describe the experience as an “expensive hobby,” signaling no plans for a reunion. Still, the record remains a fascinating glimpse at his broader musical vision.
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John Sykes – Blue Murder
John Sykes was instrumental in crafting the sound of Whitesnake’s multiplatinum 1987 self-titled album, yet he was fired before it even hit shelves. Rather than retreat, he launched Blue Murder, teaming up with seasoned veterans Tony Franklin and Carmine Appice to bring his vision to life.
Their 1989 self-titled debut showcased Sykes’ exceptional playing and surprisingly strong vocals, blending bombastic guitar work with epic, melodic compositions. Tracks like “Jelly Roll” and “Valley of the Kings” hinted at a unique blend of classic rock grandeur and late-’80s flair. It was the kind of bold statement that should have catapulted them forward.
But the timing wasn’t right, and the album struggled commercially. A second release, Nothin’ but Trouble (1993), failed to revive the band’s momentum. Blue Murder quietly faded away, but they left behind a cult classic and a what-if scenario for fans who wondered how far Sykes could’ve gone with the right spotlight.
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