The Toy Box

Retro Spins: Masters Of The Universe

I don't know about you, but when I first heard about a new Masters Of The Universe film in the works, my immediate thought was, "They'll screw it up." However, when the trailer finally dropped, my mind immediately started to change, and instead I was optimistic, thinking, "Well, maybe this won't be so bad after all.

Things only got a little more hopeful from there, when I learned Brian May of Queen was going to be contributing to Daniel Pemberton's soundtrack for the film. If nothing else, this could be pure hotness. Then came the first track, providing a little taste for everyone.

It's an interesting track, if I wanted to put it politely, and it took me a few listening sessions to really appreciate it. I think what threw me off at first was the disco like groove it was going for, followed by the choir. May's guitar does fit over it nicely, but I think the real question for me was, "Is it really necessary?" I don't know. I'm still feeling it out.

While I do think Pemberton crafts a soundtrack that captures the sound and feel of not only fantasy, but a battle background, almost reminiscent of Conan The Barbarian, I do find one major flaw in it all. That would be the consistent repeating of themes. It's as if he wrote three or four pieces, and then asked, "Okay, how can I use these thirty-five different ways?"

I don't know. Maybe I'm just spoiled by an era of John Williams, where every scene, character and faction had its own unique theme. One that allowed you to picture exactly who or what was being represented just by the musical piece. That aspect simply doesn't exist in this soundtrack. However, to be fair, that aspect hasn't existed for quite some time in any soundtrack. I immediately think back to my listening session of Solo: A Star Wars Story, where that was biggest complaint with it.

The end result is that there really isn't enough variation to make the soundtrack worthwhile. That's not to say it's all bad. The song, A Job For He-Man really scratched the nostalgic itch for me. It builds softly with a piano but quickly builds to a massive overture that had me on the edge of my seat.

The end of the soundtrack is unique, to say the least. It contains the song, Masters Of The Universe, which seeing, one would expect an epic iteration of the classic theme. A massive sendoff so to speak. Well, it's epic all right, but not in a good way.

Look, I like The Darkness. In the 2000's they ushered back in a style of music that had been forgotten since the 70's, and I dig a lot of their tunes. However, Justin Hawkins misses the mark with this one. It's as if he's channeling his inner Flash Gordon. It's so out of place in the album as a whole.

Between themes that repeat ad nauseam, and the track from The Darkness, the whole thing just feels like a mess. Yes, there are some unique themes to be found within it, but it's definitely not enough to extend into thirty-five tracks. That in and of itself just feels unnecessary.

If it's something you want to check out, it's available for digital purchase and download only. A physical release has not yet been announced. Which in and of itself is also unappealing.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Disclaimer: They Toy Box does not endorse or contribute to piracy. Retro Spins posts are intended for educational and entertainment purposes only. None of the music discussed here is available for sale, downloading or distribution.

Retro Spins: Grim Reaper - See You In Hell

Today I'm on to a band that I was one hundred percent unfamiliar with. My co-worker swung by my office one morning, after many of talking about 80's metal, and asked, "Have you heard of Grim Reaper?" With that question, I was off to Google, and then eventually ebay.

What I learned about was a band who began in England in 1979, released three albums in the 80's, two in the 2010's, and were mocked relentlessly on Beavis and Butt-Head.

Well, the latter certainly doesn't help their cause. I mean, if Beavis and Butt-Head are mocking you, that means you're probably not as metal as you think you are. Still, I found myself intrigued, and willing to take the chance since it was coming as a recommendation.

What I noticed when tracking the three 80's entries down was that there were multiple options, and none of them necessarily cheap. First up were the Japanese pressed versions. These ranged between $20.00 and $30.00. This was followed by the 2000 remastered releases from Spitfire, which ranged between $30.00 and $50.00. The last, and the one I went with, was the Grimm Chronicles from Reaper Records.

Though not usually my go to format for collecting albums, this omnibus set contained all three albums from the 80's, each on their own disc, for $20.00. While I would have preferred to own each album separately, I simply couldn't justify the price of each separately. Frankly, I also didn't want to put in the effort of tracking them all down individually. In this case, the box set simply made the most feasible and cost-effective sense.

Who would have thought that a song called, See You In Hell, could have such a peppy chorus? It's the track that kicks everything off, and while I'm not necessarily a fan of lead singer Steve Grimmett's high pitched vocals, when he tapers this back, it does get rather enjoyable. I think for me, the standout tracks, in addition to the above opener, were Liar, The Show Must Go On, and All Hell Let Loose.

Music wise, it's 80's metal through and through. Speedy instrumentation, with a howling madman belting out the vocals. Mix in thrashing guitar solos, and of course drums that thunder across each song. To borrow from the band's Wiki page, "Since achieving mainstream success, Grim Reaper has been known for embodying every single aspect of cheese in heavy metal and going over the top with poppy hooks and edgy lyrics."

I'm actually looking quite forward to diving into their next album. For as cheesy as it is, I'm really enjoying what I'm hearing so far. When I dive into 1985's Fear No Evil tomorrow, I'll also back pedal a bit, and touch more on the band's history. Until then, that's about all I've got for this one.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Megadeth - So Far, So Good... So What!

You're a young Jay Reynolds, and you've just been given the opportunity of a lifetime. You join Megadeth as their new guitarist, and finish their 1987 UK tour in support of their platinum selling album, Peace Sells... But Who's Buying? Your next adventure takes you into the studio to begin recording on what will become 1988's So Far, So Good... So What! There's just one problem. You can't perform the solos being requested of you for the songs. You're not only asked to leave, but the person who served as your guitar instructor is then asked to join the band. Enter Jeff Young.

Looking back at yesterday's post, it's ironic that the band would fire Gar Samuelson, and Chris Poland for ongoing substance abuse, when it would be noted that the recording sessions for their 1988 album would be problematic with Dave Mustaine for the exact same reason. To me, that's just ironically hypocritical.

Despite the major label budget for the album, as well as five months to record it, producer Paul Lani would prove to be a problem for the band, leading to frequent clashes between him and Mustaine. Purportedly, this all began with Lani's insistence that the drums be recorded separately from the cymbals, an unheard-of process for rock drummers. The two became estranged, and Lani was ultimately fired, and replaced by Michael Wagener.

Upon its release, So Far, So Good... So What! would become the bands second consecutive platinum record, performing even better on the charts, peaking at number twenty-eight on the Billboard 200. Though things were looking to only get bigger and better for the band, their consistent substance abuse would once again lead to problems. More on that in a bit.

For me, So Far... is relatively more of the same that I've heard two times now. Fast and hard, and mostly incoherent. I'll again give credit where credit is due. The instrumentation work is solid.

Things do break out of this mold, in particular, In My Darkest Hour, and the cover of Sex Pistols Anarchy In The UK. These more structured tunes come across as better, but at the same time, I don't see myself saying, "I need to hear that again."

Overall, I think I'm fatigued at this point on Megadeth. Whereas before I was giving things a pass for having solid instrumentation, this time around, I'm looking for something better. I suppose this is why I have always preferred their 90's material. Tracks like Symphony Of Destruction, Train Of Consequences, A Tout le Monde, and Blood Of Heroes just sound far superior.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Megadeth - Peace Sells... But Who's Buying?

With the success of their debut album, Megadeth would gain the attention of major labels. This would lead to Combat Records ultimately selling their contract to Capitol Records. While this came with a larger budget, and a new producer, recording would be difficult for the band, who were all abusing various substances.

The band were no strangers to the world of drugs and alcohol. In particular, Mustaines overuse, and subsequent volatile temper, led to him being let go from Metallica as their lead guitarist in 1983, just prior to them recording their debut album, Kill 'Em All. As their guitarist since 1981, he not only helped hone their tight knit live presence but penned some of the songs which they would use for future albums.

Wanting revenge on his prior bandmates, Mustaine would set to task on forming the greatest metal band of all time. One which not only had better songs, but harder and faster ones. The name for his new band would ultimately come from a pamphlet by California senator Alan Cranston that read: "The arsenal of megadeath can't be rid no matter what the peace treaties come to." However, at first, Megadeth was used as a song title which Mustaine penned.

In 1983, he formed the band, Fallen Angels, which included Lor Kane on vocals, Robby McKinney on guitar, Matt Kisselstein on bass, and Dijon Carruthers on drums. At the suggestion of Kane, the band soon changed their name to Megadeth. Shortly thereafter, McKinney, Carruthers, and Kisselstein would depart, replaced by David Ellefson, Richard Girod, and Greg Handevidt. Mustaine would also take over vocal duties himself after a series of singers fronted the band but ultimately didn't produce the sound he was looking for.

With the lineup in place, they set to task on recording a three-track demo, entitled Last Rites, something I touched on yesterday. However, with the release of Metallica's 1983 debut, the band realized they would have to retool some of their current songs which they were performing live. Combat Records would take notice, and sign them to the label, releasing their 1985 debut, Killing Is My Business... And Business Is Good!

Prior to the release of their debut, the lineup would change again, with core members, Dave Mustaine, Chris Poland, David Ellefson, and Gar Samuelson. Killing Is My Business would crack the Billboard 200, peaking at one hundred sixty-nine, and receive relatively positive reviews, which drew the attention of larger labels. This brings us full circle to the opening paragraph.

Of course, it wouldn't be Megadeth if history wasn't muddy. Depending on who you asked, Combat sold the contract to Capitol of their own accord. From the band's perspective, they left because of their dissatisfaction with budgetary limitations imposed by Combat. Regardless, the end result was 1986's Peace Sells... But Who's Buying? It boasted clearer production, and a more sophisticated lyrical style from Mustaine. The album would be noteworthy for its socially conscious lyrics, and the single Peace Sells, would receive a video, which was played regularly on MTV. It would become the band's first platinum selling record, and peak at number seventy-six on the Billboard 200.

Because of the history between the two, it's challenging to listen to Megadeth without drawing comparisons between them and Metallica. I know it's not fair to do so. They should be given the chance to stand on their own merits. But, like I said, it's difficult to do so.

For me, that comparison is that whereas Metallica played fast, they still managed to craft songs that had clear song structure, intros, versus, choruses, bridges, and of course, solos. On the other hand, Megadeth nails the intro portion well, but then just launches into speed. This makes it difficult to distinguish where the versus stop, and where the choruses begin.

Depending on your tastes, or desire for the day, that could be a good thing, or bad. Regardless, there's no doubt that the band members aren't talented. Playing fast is one thing. Playing fast and coherently is something else entirely. Megadeth certainly nails the later. Vocals aside, the music is a banger.

While everything essentially feels like it runs together, it's difficult to distinguish between the various tracks. However, I was able to discern and note two particularly better tunes in the bunch. Those were Peace Sells, and My Last Words.

Overall, I'm enjoying my listening session through the band. I think one of the standout things for me is that they write relatively confined songs, with each typically ranging between three and four minutes. This is definitely counter to Metallica, who think a song needs to be eight to ten. Does this shortened style contribute to the above noted lack of song structure? Possibly.

Ongoing substance abuse would lead to Samuelson and Poland being asked to leave the band. Samuelson would be replaced by Chuck Behler, who was already traveling with them on tour as a standby. Poland would be replaced by Jay Reynolds.

Side note: That tour began as the opening act for Alice Cooper's Constrictor Tour but eventually led to the band heading off to the UK to headline their own shows.

Six weeks into recording their next album, and final for the decade, 1988's So Far, So Good... So What!, the band dropped Reynolds and brought in Jeff Young. While Reynolds was a decent guitarist, the band found he was unable to perform the necessary solos for tracks, prompting them to instead hire his teacher, Young.

I'll pick up there tomorrow.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Megadeth - Killing Is My Business... And Business Is Good!

Having amassed a pile of CD's over the past few months, thanks in part to a co-worker who started pointing me towards 80's metal bands, I'm now set to task on actually going through them. It's going to take me the better part of June, and knowing little to nothing about it, it's relatively all new territory.

I'm kicking things off with Megadeth, the band I'm most familiar with out of everything I picked up. In hindsight, it's kind of odd that it's taken me this long to get around to the band. Well, let me rephrase, the 80's discs of the band. I actually have a handful from the 90's, which is the period of the band I know, and like tunes from.

Two months after parting ways with Metallica, Dave Mustaine would meet bassist, David Ellefson. Fueled by hate and the desire for revenge against his ex-band mates, the two formed Megadeth. Though several vocalists tried, Mustaine would ultimately decide to do the singing himself.

With Richard Girod on drums, the band recorded a three-track demo, calling it Last Rites. This would garner the attention of Combat Records, who signed them in 1984, giving them an initial $8,000.00 to record an album, and $4,000.00 more when those funds ran out. Depending on who you asked, this session was either hindered by the money being spent on drugs and food, or things went well, and there were no issues. At this point, it's just more of that Dave Mustaine muddied lore.

The lineup at this time consisted of Dave Mustaine on vocals, piano, and guitar, Chris Poland on guitars, David Ellefson on bass, Gar Samuelson on Drums, and possible Lee Raunch, who also provided drums. Killing Is My Business... And Business Is Good! would be released in 1985 and be met with positive critical response. This is a bit of an abridged version of their history. I might go more in depth tomorrow.

Their debut is chaotic and intense. Speed and thrash are definitely the name of the game, and the band gives everything they've got to deliver this. There's definitely talent behind the instruments.

While as a whole, it's decent from start to finish, where it loses me is the vocals. Not that they're bad, but rather that I can't understand them half the time.

I do question Megadeth's decision to cover the Lee Hazelwood penned, and Nancy Sinatra sung These Boots Were Made For Walking. Sure, their version is definitely faster, but it comes off more so as a parody than something to be taken seriously.

I suppose if there was a track that stood out for me, that would be Looking Down The Cross. Granted, I have no clue what the lyrics are about, but I really dug the guitar riff throughout it. But again, overall, I liked the album, and I'm looking forward to jumping into 1986's Peace Sells... But Who's Buying?

Beyond that, I don't have much more to say at this point.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Baltimore Comic Con Part I: Klaus Janson, Charles Vess, And John Workman

Saturday, October 18, 2025, Baltimore Comic Con 2025. This is my third time attending this show, and while it was intended to be with my buddy who had gone with me those past times, he totally flaked on me just two days prior to the show. Mind you, this was with me already holding a non-refundable ticket. I asked around to see if anyone wanted to go with me, and after no takers, my girl said she'd come.

I appreciated the company, especially since I knew it wasn't how she wanted to spend one of her limited weekend days. Further, with her disabilities, it's literally physically painful for her to have to walk much. It was a great sacrifice for her to come, and again, I appreciated it so much.

Though she was originally going to take it easy, snap a photo here and there, she couldn't do much of that. Mainly because of the crowd. People were either stepping in front of her or walking into her. She ultimately gave up and just found a quiet place to sit down. I don't blame her. In her shoes, I probably would have done the same. The point being, that's why I don't have my usual, "Here's the show," opening post.

Instead, let's just jump into it. Mind you, this is not in chronological order.

I debated taking something for Klaus Janson to sign. I'm really trying to get away from habits of taking things I don't necessarily need. As the days led up to the show, one issue kept poking at the back of my mind, and I decided to pack it to take along.

This is one of the earlier appearances of Hobgoblin, a character which quickly became one of my favorites in the various Spider-Man titles. With it crossed off, I don't honestly think there are any more issues I'll take in the future for Mr. Janson. Of course, I say that now...

One of the things I regretted about last year's show was knowing that the four issues of The Mighty Thor I picked up were lettered by John Workman because he was there. Fortunately, he came back this year, giving me an opportunity to rectify that.

I was so happy to hear that Charles Vess would be at the show. For those of you who may remember, I actually bought a couple books pre-signed by him on ebay after Awesome Con. Mainly because Joe Rubinstein had convinced me that the chances of meeting Vess in person were slim to none. Low and behold, here he was in Baltimore. I went ahead and took every Spider-Man book he worked on that I didn't have his signature on. It wasn't many, so it wasn't bank shattering, especially since he was only taking donations - Don't judge, I donated!

Some of these are among my favorite covers for Spider-Man books.

It was here, there, and everywhere as I walked back and forth across the convention floor going from table to table. Lines, and other facets, such as artists not being there, dictated where I stopped, which only necessitated more walking. I can't tell you how many times I walked from one end to the other throughout the day. I definitely got my steps in.

Tune in tomorrow as I continue my day at Baltmore Comic Con 2025!

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Simple Minds - Street Fighting Years

Honestly, I'm not sad that this is my last Simple Minds album to playthrough. I'm a little fatigued at this point by them. It's been okay listening sessions going from 1980's Empires And Dance, to today's final entry, 1989's Street Fighting Years. While I've heard some good stuff, I won't profess that it's made me a diehard fan by any stretch of the imagination.

Though the success of 1985's Once Upon A Time inflated the band's popularity, and finally provided them a breakthrough in the USA, critics weren't often so nice about it. Simple Minds was often compared to U2 and knocked for being what was considered a lesser version of them. Despite this, the two groups actually got along quite well, with Bono joining them on stage that same year to sing.

During their extensive tour, the band released 1987's, Live In The City of Light, a double live album which captured highlights from their current shows. Much like previous studio releases, it shot up the charts, becoming their third consecutive number one in the UK.

Wrapping up touring, they built and launched Bonnie Wee Studio, where Jim Kerr, Charlie Burchill and Mick MacNeil began new writing sessions. Initially, they conceived the instrumental project, Aurora Borealis, but this would be supplanted by their increased involvement in political activism. This would lead to them being the first band signed for the Wembley Stadium show, Mandela Day, an expression of solidarity with the then-imprisoned Nelson Mandela.

Though all bands would be asked to produce a song specifically for the event, Simple Minds would be the only ones to do so, the aptly titled, Mandela Day. The studio version, along with a cover of Peter Gabriel's Biko, and Belfast Child would be compiled on the Ballad of the Streets EP, which would also peak at number one in the UK.

Simple Minds would close out the year with 1989's Street Fighting Years, moving away from the more pop rock-oriented sound which provided them their breakthrough, instead replacing it with acoustic and folk music elements. Led by renowned producer, Trevor Horn, this would become their next number one album in the UK, and their first in many other countries. The three tracks noted from the above EP would also be included on the album, as would the bonus song, When Spirits Rise, which was included on CD pressings.

While Mel Gaynor and John Giblin would contribute to portions of the recording, the two would leave abruptly mid-sessions. Both cited creative differences and tensions within the band, with Giblin also stating it was difficult to work with Horn.

Things open with the album's title track, and right away you can tell this isn't the same Simple Minds from four years ago. The best way I can explain it is like the shift in tone between Madonna's 1986 album, True Blue, and her 1989 released Like A Prayer. The music feels more mature on the latter, like the artist has grown up in that time span between releases. That's what Street Fighting Years feels like.

This growth ultimately results in a less pop oriented sound, but rather more adult contemporary. It's a relatively bland experience as a result. I couldn't even tell you that there were standout tracks. Rather, better than worse, and those included Wall Of Love, and Take A Step Back. I do not see myself wanting to ever hear these again though.

Overall, it was pretty bland, and frankly, so was my entire listening session of Simple Minds. Their music was just okay. Nothing to really get excited about. They have hits, I respect that, but I'm not a fan per se.

By 1990, Mick MacNeil had departed, stating he was exhausted from extensive touring. Gaynor would be lured back for 1991's Real Life, but he would depart again after it's recording. See The Light would become a minor hit from the album.

Jim Kerr, and Charlie Burchill would continue on as a duo, releasing 1995's Good News From The Next World. It would produce their final Billboard Hot 100 hit, She's A River.

Derek Forbes and Mel Gaynor would be brought back into the fold for 1998's Néapolis, but by 2001 it was just Kerr and Burchill again, who released Neon Lights, and 2002's Cry. Gaynor would return again for 2005's Black & White 050505, with Simple Minds remaining a trio for 2009's Graffiti Soul, and 2014's Big Music. But, if you guessed it, Gaynor left again, leaving the duo to release 2018's Acoustic. But like any good reunion, he came back for 2018's Walk Between Worlds only to depart again. Kerr and Burchill released the final Simple Minds album to date, 2022's Direction Of The Heart.

Most interesting in all of this, to me, is that not only did the band, albeit a slimmed down version, survive the 90's and 2000's, they managed to stay on the UK charts with each new album. Perhaps even more impressive, five of them were in the top ten. As of 2026, they've seen a high resurgence in popularity, and are currently committed to extensive touring.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Simple Minds - Sparkle In The Rain

After a two-year tour, rather than take some time off, Simple Minds jumped back into the studio to deliver Sparkle In The Rain. It would become their biggest selling album to date, surpassing previous album, New Gold Dream (81–82–83–84), on all the charts (with exception of Australia). However, despite charting better, it actually would sell less copies overall.

The band began work on the album while touring for their previous and released their first new single, Waterfront in November 1983. The same day of its release, they began the support tour for Sparkle In The Rain. Waterfront would zoom up multiple charts, taking the number one spot in New Zealand, peak at number five in Ireland, thirteen in the UK, and crack the top twenty in Australia and Sweden.

Upon its release, Sparkle In The Rain would hit number one in the UK, and as noted above, with the exception of Australia, perform better across the board in multiple countries. Though the band would spend most of 1984 touring, taking a break in May for Jim Kerr to marry Chrissie Hynde of the Pretenders. Despite having a child together, the two of them fronting their own bands meant they were often apart, making it impossible for them to actually have a relationship. They would divorce in 1990.

But I digress.

Yes, this is the Simple Minds I know. Pop friendly hits, and peppy beats. Not perfect from start to finish, but also not a bad album by any sense of the word. I think I favored what would be considered side "A" of the record. Up On The Catwalk, Speed Your Love To Me, and Waterfront stood out the most, and all from that side of the album.

I will say it's odd how very similar the vocals of Jim Kerr are to Bono. If I didn't know I wasn't listening to U2, I could easily have mistaken it as such. As I continued digging into the history of the band more, this became ironic, since Simple Minds was apparently considered a U2 knockoff by many critics.

Despite their growing success around the world, which included chart topping singles, none of their songs to date would peak on the Billboard Hot 100. It wouldn't be until their 1985 single, Don't You (Forget About Me) from The Breakfast Club that this would happen, and in a massive way. The song would shoot up the charts to number one. Shortly after its release, bassist Derek Forbes would depart, being replaced by John Giblin.

Capitalizing on this momentum, Simple Minds released the album Once Upon A Time that same year. It too would find chart success with Alive And Kicking (peaking at number 3), Sanctify Yourself (14), and All The Things She Said (28). I'll be hopping over that album, as I've already reviewed it in a Retro Spin. Instead, tomorrow I'll be wrapping up my journey through the band with their final release of the decade, Street Fighting Years (1989).

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

1st!

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Simple Minds - New Gold Dream (81–82–83–84)

By 1981, Simple Minds had made quite the waves in the UK, having not only successful singles, but full albums. Their previous double album, Sons And Fascination / Sister Feelings Call, would also go gold in the country. Despite this, a global breakthrough had yet to come. That would all change with 1982's New Gold Dream (81–82–83–84).

When they began recording the tracks which would become their next record, Simple Minds wanted to achieve a sound akin to that of their live shows. This desire led to producer, Peter Walsh recording the album in live studio sessions. However, during recording, new drummer, Mike Ogletree's style wouldn't mesh with what the band were going for. Ogletree had recently replaced new drummer, Kenny Hyslop, who also recorded on the album, but find himself too being replaced by Mel Gaynor.

Upon its release, New Gold Dream (81–82–83–84) would not only crack the top ten in the UK, but also in New Zealand, Australia, and Switzerland. It would find mild success in Canada, Germany, and the USA, peaking at 57, 47, and 69, respectively. It would further be certified platinum in the UK, Netherlands, and New Zealand, while reaching gold in Canada, France, and Sweden.

The band had already built up a popular following across multiple countries, and by 1983 were beginning to gain traction in the USA. However, despite seeing their albums released abroad by Arista Records, Arista USA had right of first refusal for any US releases, and so far had declined. This would change with their signing to A&M, and this would actually be their first released in the states.

I was definitely down with the more pop oriented sound that the album delivers over previous entries. Mainly, I was happy that I could hear the band I became familiar with in 1985.

Overall, it's a more enjoyable listening session from previous albums, Empires And Dance (1980), which took on a more disco and electronic aspect, and the double album, Sons And Fascination / Sister Feelings Call (1981), which had pop aspects, but just felt bloated. New Gold Dream (81–82–83–84) felt focused, and more mainstream appealing. With it came some standout songs, Someone Somewhere In Summertime, Promised You A Miracle, New Gold Dream (81/82/83/84), and Hunter And The Hunted were the standout tracks for me.

Beyond that, I really don't have much more to say about it.

Simple Minds would spend the next two years touring in support of the album, but during this, also work on what would become their next album, 1984's Sparkle In The Rain. It would surpass New Gold Dream (81–82–83–84) on the charts, continuing to push the band across the globe. I'll be diving in there tomorrow.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Limited Edition Masters Of The Universe Heroes Vs. Villains Gummies - Huer

While walking through my local Safeway, I came across an endcap that caught my eye. Mainly because of its familiar package from my youth. I knew right away it was Masters Of The Universe related, but what, I wasn't sure. As I got in closer, I discovered that what was before me was a display full of pouches housing Huer brand gummies.

Naturally I wanted to take a bag (or ten) home with me, but that was when I noticed the price. Regularly priced, these were $4.99 a pouch. Safeway was feeling "generous" and had them on sale for 2 for $7.00.

Getting the bags home, I popped one open to see if the gummies looked just like they showed on the package. I mean, kind of. The Evil-Lyn and Power Sword are probably the most accurate. Though I'm not honestly understanding why they would do Evil-Lyn. It would seem more appropriate to cast Skeletor's Havoc Staff to mirror the Power Sword of He-Man.

What kind of miffed me was that there was only one Skeletor in the pouch, but five of all the others. That's bogus!

Flipping the bag over, it gives you information on each of the gummies flavor, He-Man being orange, the Power Sword being strawberry, blueberry for Evil-Lyn, and grape / lemon for Skeletor. While He-Man definitely had his flavor going on, the Power Sword tasted more like cherry to me, and Evil-Lyn more like grape. As for Skeletor, I unfortunately didn't get to try him. More on that below.

What I will say is that they have a very thick syrupy flavor, laden with sugar. It leaves a rather unpleasant aftertaste in the back of your throat. Overall, pretty awful. I can't believe I used to eat this type of stuff as a kid.

The other side of the back of the package tells you just how unhealthy these are for you. With three servings in each container, this isn't what we'll call good for you (on any level). Further, with how bad they are, it's not worth the calories. I definitely would not buy these again.

Being a collector first, I did do what collector's do. I collected. My second, unopened bag, got vacuum sealed, and the set of four gummies from the bag I opened also got that treatment. Will these last on my shelf? Well, time will tell. But as you can see, this is why I ultimately didn't get to try the Skeletor one.

Collectors gonna collect!

If you're a He-Man fan, I would definitely recommend grabbing come bags for your collection. However, if you're looking for a tasty snack with a nostalgic flare, while these hit the latter mark, the flavor is horrible. Still, this was fun to pick up and add to my ever expanding and overstuffed shelves.

Being limited, I'm not sure how long these will be around, but I don't suspect it will be long past the movie's release in theaters. For now, the Safeway near me had an entire display full of them. They're not exactly flying off shelves, and I suspect that's mainly driven by the price point. They're far pricier than they should be, and don't really deliver on the value.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Simple Minds - Sons And Fascination / Sister Feelings Call

It's often interesting to go back into the history of bands which I knew of, enjoyed massive hits from, but stayed relatively away from their discographies. Such has been the case with Simple Minds. While I'm only one album in so far, two after today, it's been unique. Playing through their 1980 released Empires And Dance, their third album overall, I was introduced to a disco and electronica infused record. It definitely doesn't echo their 1985 powerhouse, Once Upon A Time, which prior to starting was my only exposure to the band, with exception of their Breakfast Club contribution. It was different, for sure.

As noted yesterday, while the band started on Zoom Records with owner / manager Bruce Findlay, he'd decide to shut the label down, and focus strictly on managing Simple Minds. This would lead them to a deal with Virgin, who would release their 1981 double album, Sons And Fascination / Sister Feelings Call.

While the first 10,000 pressings would release both together, the two would soon be split up. This resulted in some shifts on the charts. The original double album would peak at number eleven in the UK, but only the first half, Sons And Fascination, would chart elsewhere. It would, however, become their first gold certified album.

For me, it was interesting to find that the original pressing of the CD was not the ideal version to own. The reason being that when it was released in 1985, limitations in length were still a factor. Much like Prince's 1999, decisions had to be made on what tracks to cut if it were to be pressed onto disc. Sure, Virgin could have released it as a two-disc set. However, the label would not commit to the increased cost to do so. This resulted in tracks League of Nations, and Sound in 70 Cities, both from Sister Feelings Call, being cut. It wouldn't be until 2003 that a remastered version would contain all fifteen tracks.

The American would become their first single to peak on the UK charts, at number fifty-nine. Love Song would follow, and peak at forty-seven. Additionally, the song would reach the top twenty in Australia, and thirty-eight in Canada.

The album does shift to a more post-punk / new wave sound, and the vocals of Jim Kerr resonate more with the more popularly known era of Simple Minds. Though it still sporadically hits and misses the mainstream sound that would make many, if not most of the tracks radio friendly.

It does have some standout tracks, Sweat In Bullet, Love Song, and Seeing out the Angel from Sons And Fascination, and Theme For Great Cities, and Sound In 70 Cities from Sister Feelings Call. However, as a whole, it's a rather bland and bloated pair of albums. At least for me.

I've yet to hear that one track that makes me say, "Yes, this is what I want from Simple Minds." Or perhaps better stated, I already have, and that's from their 1985 released Once Upon A Time. There are still two more albums to go before getting to that point, so maybe something will pop. At least that's what I'm hoping. As for Sons And Fascination / Sister Feelings Call, it's not really for me. It's not bad, just bloated. Too long for its own good.

Shortly after the recording sessions, Brian McGee would quit, citing the grueling touring schedule had exhausted him, that he didn't feel he was getting the credit he deserved for his contributions, and ultimately wanted to spend more time with his family. The latter is a bit odd of a statement considering he would go on to join the band Endgames, and later Propaganda.

Kenny Hyslop would initially be brought in to replace McGee for the first leg of the tour which followed, and he would also contribute to the studio track, Promised You A Miracle, for the forthcoming album. It would be deemed that Hyslop was not clicking with the other members, and be replaced by Mike Ogletree, who would not only fill in for the second half of the tour, but also record a few tracks for the next album. However, he too would be replaced by Mel Gaynor who finished the album when the band didn't like Ogletree's drumming style.

1982's New Gold Dream (81–82–83–84) would serve as the breakthrough album Simple Minds needed. But before I get too far ahead of myself, I first need to get to tomorrow where I'll play through it.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.

Retro Spins: Simple Minds - Empires and Dance

Simple Minds is a band that everyone knew in the 80's for their 1985 album, Once Upon A Time, and / or their single for the film The Breakfast Club, Don't You (Forget About Me). However, what people may have missed, me included, is the rich history of albums which came prior to that, and the monumental amount which came after.

The band originated in 1977 as a cover band called Biba-Rom! with friends, Jim Kerr, Charlie Burchill, Tony Donald and Brian McGee filling the lineup. They'd go on to join Johnny & The Self-Abusers with Alan Cairnduff, John Milarky, and Allan McNeill. Following their live debut, they were given the opportunity to open for Generation X, the prior Billy Idol led punk band.

Despite releasing the single, Saints and Sinners, a split had formed within the group with Milarky and McNeill forming one faction and the other consisting of Kerr, Donald, Burchill and McGee. Johnny & The Self-Abusers would subsequently break up the day of the single's release. Milarky and McNeill would form The Cuban Heels, with the others going on to form Simple Minds.

Duncan Barnwell, and Mick MacNeil would join in 1978, and with this lineup in place, garner a residency at the Mars Bar in Glasgow. However, by April, Donald would quit, being replaced by Derek Forbes. No information has been given as to why he left.

While the band was proving to be a popular local act, record labels weren't impressed, with several turning them down. Bruce Findlay, owner of the Bruce's Records chain of record shops and the Zoom Records label would eventually sign on as manager for the band. After being convinced by his friend, Brian Hogg, signed them to his own label, which subsequently had a licensing deal with Arista.

Just before the end of the year, Duncan Barnwell would be asked to leave the band. Though he was well liked, the remaining members felt they didn't need two guitarists. Barnwell was admittedly angered by this, and felt Derek Forbes would step down in sympathy, but didn't.

From November 1978 through September 1981, Simple Minds would be a tight-knit quintet of Kerr, Burchill, MacNeil, Forbes and McGee. Though others would come and go, only the core members would be considered part of the creative and compositional team.

Zoom released their debut, Life In A Day in April 1979, and before the year was done, their follow-up, Real To Real Cacophony. While their debut would peak at number thirty in the UK, it would fail everywhere else. Their second album wouldn't chart anywhere.

Empires And Dance would be released in 1980 but would be their last on Zoom. The reason being that seeing their long-term potential, Bruce would close the label down to focus strictly on managing the band.

Songs would take inspiration from disco and electronica music, which is quite obvious with the opening track, I Travel. As it played, I actually made the comment to myself, "This sounds like a disco album."

The album would put them back on the charts in the UK, peaking at number forty-one, as well as giving them chart success in New Zealand, charting at number forty-seven. Its overall poor performance was blamed on Arista, who would only release the album in small batches.

Playing through it, it's a weird album. Nothing pop or radio friendly. It almost has a Kraftwerk or Devo sound to it. I think the perfect example of this quirkiness can be heard in Twist/Run/Repulsion, which features a chanting drumbeat, a female talking in French, and lead singer echoing his own chanting vocal style. The overall album as a whole caught me off guard. This wasn't at all what I was expecting from Simple Minds. While I wouldn't call it bad, I probably won't ever listen to it again.

As noted above, Findlay closed Zoom Records down with the intensions of focusing on managing the band. This led them to sign with Virgin Records, where they'd experience a boost in popularity with the 1981 double album, Sons And Fascination / Sister Feelings Call. We'll pick up there tomorrow.

Click "HERE" to go back to the home page. For more posts related to this one, please click the labels below.