Comics Corner: The Amazing Spider-Man 221

   

Title: The Amazing Spider-Man
Issue Number: 221
Release Date: October 1981

Highlights

  • First appearance of Dr. Kissick
  • Reference is made to Daredevil 103
  • Lonesome Pinky has a gig downtown, and invites Peter with a free ticket
  • Despite having a date with Debra Whitman, in Peter Parker, The Spectacular Spider-Man 58, and burying the hatchet, she's out at the bar Pinky is performing at with her old boyfriend, Biff Rifkin
Low Points
  • Stupid plot - Ramrod poisons an entire bar because the bartender went with Lonesome Pinky for the act instead of him
  • Another throw away story in the flagship title
Oddities
  • Editor's Day Off: Biff is referred to incorrectly as Bif
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Rush - Grace Under Pressure

 

If fans of Rush didn't like the synthesizer sound that the band went in with their 1982 released Signals, they certainly weren't going to appreciate the ska and reggae sounds adopted for sections of their 1984 follow-up, Grace Under Pressure. Despite this, the album favored positive reviews, and was certified platinum in the USA, where it reached number ten on the Billboard Hot 200. It fared even better in Canada, where it peaked at four, and in the UK, where it reached number five. It seemed long time Rush fans either needed to get on board, or hit the road.

Not only did the album feature a new sound musically, but the band also opted to part ways with long time producer, Terry Brown. Brown had worked consecutively with rush since their 1974 debut. As such, this change, while amicable, was difficult for both he and the band members.

Rush wanted to explore different approaches and techniques that someone else might be able to offer, and in turn continue to develop their new sound. After several failed searches, they settled on Peter Henderson. However, his continued indecisiveness led to the band spearheading the majority of these efforts themselves.

Grace Under Pressure starts with one of my favorite Rush tunes from the era, Distant Early Warnings. I've said this multiple times in my recent posts about the band, but this too was a heavy rotation for me on the 1993 greatest hits, Chronicles. As was track three, Red Sector A.

When I reached track four, and had consecutively added every song so far to my shuffle list, I asked myself, "Have I finally found another Rush album I like from start to finish?" I got excited at the prospect.

It was close. If it weren't for Kid Gloves. I don't know. Something about that song, I just didn't care for it. Just a near miss of perfection as a result.

I think what stood out as the best aspect was the balance in which was achieved with the synthesizer usage. Whereas their prior album, Singles, felt dominated by the keyboard, this one blends it, while also letting each member showcase their talents which people have come to know and love.

Keyboards were a learning curve for a lot of rock bands in the early 80's, and when they opted to adopt them, they perhaps went a bit overboard at first. Examples which come to mind are Queen's The Works, and Van Halen's 1984. Great albums, but unbalanced, perhaps, by keyboards becoming the predominant sound. Anyway, it's good to see Ruch learned how to edit this, and put it to good use in Grace Under Pressure, versus giving it the spotlight.

My hopes are up that one of their two final 80's albums that I have to listen to could still deliver that perfect album.

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THIS WEEK ON THE CHARTS
July 13, 1985


Comics Corner: Marvel Team-Up 109

   

Title: Marvel Team-Up
Issue Number: 109
Release Date: September 1981

Highlights

  • Retelling of Thermo the Thermatronic Man's origin
  • To the point, action packed, fun, 'nuff said
Low Points
  • None
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Rush - Signals

 

Signals marked a noted change in Rush's style of music, one which didn't necessarily sit well with everyone. Toning back the guitar work, the band instead focused on incorporating synthesizers into tracks, splitting their fan base in the process. Even critics were harsh of the change, with  Rolling Stone panning the band for choosing synthesizers over Alex Lifeson's guitar work. It appeared that for the time you either liked or hated Signals.

Since then, it's gone on to be praised, with many retrospective polls and reviews citing it as among the best of its time. I think, if anyone cares about what I think, that it was just system shock for a lot of Rush fans back in 1982. They were already losing the rock opera and epicly long tracks which made the band popular by this point, and now the guitars were (purportedly) being taken away too. It was too much change for people.

Personally, I think opening track, Subdivisions is among one of Rush's best. It was one I played frequently when listening to their 1993 double disc greatest hits, Chronicles. Ironically, despite owning Signals back in the day, I frequented the best of album in lieu of their studio releases.

I had to roll my eyes at the song, Chemistry. Mainly because when I was in high school, I failed it before finally getting through my senior year. I hated that class, and having science thrown in my face as an adult, as if Geddy Lee were trying to teach me, just kind of nudged my funny bone.

Signals also contains another of my favorites, New World Man, another which I frequented in rotation from Chronicles. I also semi-enjoyed The Analog Kid. However, as a whole, Signals was a mix of good and forgettable, and I'm talking like the forgettable ones I couldn't even tell you how they go, and I literally just heard them.

Overall, the album was okay. I got a few tracks for my shuffle, and I'll take that win. What I'd like to hear from Rush, and perhaps this is a tall order, is an album I like from start to finish. That's not something that's happened to me but once, and it was 1993's Counterpart. I still have three albums to go, so it's possible. I'm not holding my breath, but it could happen.

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THIS WEEK ON THE CHARTS
July 12, 1980
 
THIS WEEK ON THE CHARTS
July 12, 1986


Comics Corner: Marvel Team-Up 108

   

Title: Marvel Team-Up
Issue Number: 108
Release Date: August 1981

Highlights

  • First appearance of Bill Berkowski, Christine Michaels, and Thermo the Thermatronic Man, AKA Walter Michaels
  • First appearance and death of Dr. Paul Bradshaw
  • Condensed retelling of the burglar, and subsequent death of Uncle Ben
  • Thermo kills Dr. Bradshaw because he finds the man comforting his wife for what happened to create Thermo, and mistakes the two for intentionally turning him into the villain so that they can be together
  • Cameo appearance by Dazzler, and foreshadowing of her appearance next issue
Low Points
  • Midway through reading this issue, July 1, G.I. Jigsaw dropped a bombshell on me that Jim Shooter had passed away
Oddities
  • Editor's Day Off: Several panels with Spider-Man's lenses colored red
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Rush - Moving Pictures

 

I have this habit of doing a Retro Spin of albums that started the 80's for certain artists, and then following up with the last album they produced for the decade. Such is the case with Rush, where I've already talked about their 1980, Permanent Waves, as well as 1989's Presto. While this isn't a problem per se, it does make it difficult to have a solid launching point with my newest format of running through multiple albums in a row. Basically, I have to keep starting in the middle.

Which is essentially where we go from here, right on into Rush's 1981 album, Moving Pictures.

Moving Pictures would be the most important album since their decision to record 2112, a quote directly from Alex Lifeson. The reason being, it's become their highest selling of all time, and ushered in the new radio friendly version of the band. Gone, for the most part, are the eight to ten minute long epics, replaced instead by tighter tracks, hovering more so around the four minute mark.

While the album cover has become notable for its triple entendre, it was also one which the band was left footing the majority of the bill for. When the label found out the cover cost an estimate $9,500.00, they respectfully declined to pay the entire bill. As for that triple entendre, that comes from the front depicting movers who are carrying pictures. On the side, people are shown crying because the pictures passing by are emotionally "moving". Finally, the back cover has a film crew making a motion (moving) picture of the whole scene.

I've heard this album a ton of times, and playing through it again for today's Retro Spins was nothing short of enjoyable. While I wouldn't call myself a fan of Rush's mainstream sound, at least not over their more epic concept and rock opera styles, I can definitely find the charm in the straight forward and to the point tracks.

If I had to find one flaw with it, it would be that between myself and the radio, it's perhaps a bit overplayed by 2025. Tom Sawyer was never one of my favorites, but one also can't mention Rush without the song being referenced. It's probably their most popular, and well known, and I respect that. But, it doesn't make it one of my go to's.

Personally, I'd rather hear tracks like The Trees, A Farewell To Kings, or if I had to select one from Moving Pictures, YYZ. In fact, Rush is one of the few, if not the only bands where I go to the opposite spectrum from my norm. I actually prefer their 70's and 90's stuff to that of their 80's.

If you twisted my arm enough, and asked me to point out a second flaw, it would be that side one is far superior to side two. But, emphasizing that again, I don't hate this album. It's just kind of overplayed at this point. Perhaps it's even run its course by now.

The latter is okay because I have plenty more Rush albums to get through, and frankly despite owning these for a very long time, my first set I owned in high school, and my second as an adult, I've honestly never sat down and listed to all of their 80's stuff from start to finish. It's beyond time to rectify that, so tomorrow, it's onward and upward through their catalog.

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THIS WEEK ON THE CHARTS
July 11, 1981
 
THIS WEEK ON THE CHARTS
July 11, 1987


Comics Corner: The Amazing Spider-Man 220

   

Title: The Amazing Spider-Man
Issue Number: 220
Release Date: September 1981

Highlights

  • Moon Knight is playing villain to infiltrate the syndicate
  • The role of secretary in the syndicate was just vacated by a death, and the position will be granted to the first person who steals $10,000,000 worth of goods, thus the contest is on, and several thugs are competing
  • The plan is for Moon Knight to join the contest, and win the position, which will in turn give him the names and addresses of every high ranking member
  • The syndicate changes the rules just as Moon Knight wins, stating he must prove his commitment to the underworld by bringing them the body of Spider-Man
  • A side story starring Aunt May
  • Side story features the fictional band The Shriekers
Low Points
  • Wait...Now that I think of it, this plot is rather stupid
  • No awesome villain makes an appearance
  • Story feels like a throw away, which is really disappointing for the flagship title of Spider-Man
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Heart - Passionworks


With prior members, Derosier and Fossen, out, and new members Denny Carmassi, and Mark Andes in, Heart began work on 1983's Passionworks. It would be a shift from their traditional hard rock and folk style, cutting back on acoustic guitars, and adopting a more mainstream sound. Though it was steps in the right direction, and would ultimately lead to their 1985 self titled opus, this album failed to provide the impact needed for the band. Despite this, Heart was able to achieve a number one single with How Can I Refuse on the Billboard Mainstream Rock Charts.

Diving straight in, it delivers a solid start with Sleep Alone, and keeps this momentum up a bit with Language Of Love, the latter which could easily have been a song by Olivia Newton-John. In fact, typing that out, I'd like to have heard that.

What I don't hear in the album is the professed shift to mainstream. I won't go so far as to say it sounds dated, I.E. 70's classic rock, but it also doesn't have the dominant synthesizer sound that I would associate with an 80's album. It's shifting in that direction, for sure, it's just not quite there.

I had high expectations for How Can I Refuse, what with it being noted as a number one single. It was just okay, which was a little shocking considering its chart status. It was here that I could definitely hear the radio friendly band that would soon emerge.

With Blue Guitar, and Ambush, I finally started hearing that shift to a mainstream style. The track was okay, if not a little drab and boring. However, it was also understandable. This was new territory for Heart, and they were still learning. This effort remained for the remainder of the album, but didn't necessarily produce any tracks worth raving about.

Because of their poor performance, Heart's Private Audition and Passionworks would be among the few in their catalog to go out of print, and remained so until being released together as a duel CD in 2009 by BGO Records. Though this too is now out of print, they have both since been re-released a few times.

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THIS WEEK ON THE CHARTS
July 10, 1982

 

Comics Corner: Peter Parker, The Spectacular Spider-Man Annual 3

   

Title: Peter Parker, The Spectacular Spider-Man 3
Issue Number: 3
Release Date: September 1981

Highlights

  • Reference is made to The Amazing Spider-Man 190, and Marvel Premiere 41
  • Peter has the sense to not give photos of Man Wolf fighting Spider-Man to Jonah, what with the man thinking his son was dead
  • Lance Bannon doesn't have that same sense, and gets yelled at when he presents his photos
  • John Jameson wants to be rid of the curse of Man Wolf, and turns to Doctor Connors for help
  • The treatment works, and the moon stone falls from John Jameson's body
  • The moon stone crumbles to dust
  • Fun section after the main story featuring Aunt May's photo album, Peter's office layout at Empire State University, Pete's Pals and Gals (a one pager based on his co-workers at ESU), and a pinup gallery of numerous Spidey villains which not only includes bios, but notes their first appearance and list of issues they've appeared in since
Low Points
  • Cliche title on every level
  • J. Jonah Jameson buckles under the medical experiments that Doctor Connors is performing on him, and lets the Man Wolf out of captivity
Oddities
  • Spider-Man crashes through the window of Kristen Saunders, and I once again have to ponder - who gets stuck with that bill?
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Heart - Private Audition


Heart entered a dark time between 1982 and 1984. While their 1980 released Bébé le Strange offered up the band's third top ten album, their follow-up, Private Audition (1982) only allotted the group a minor hit with The Man Is Mine. This should have been no surprise, as when planning the recording of the album, producer, Jimmy Lovine, informed the Wilson sisters that the album lacked any hits. Ultimately, the two would end up producing it themselves.

Private Audition was one of the last two albums I opted to track down in the band's discography. This was mainly for the purposes of having a complete discography from their 1975 debut through 1990's Brigade. I'd never heard any of the tracks from it, and frankly, when I purchased it, really didn't have the interest to. But, as I make a push to finally get through all those albums I've amassed over the years, their rotation has come. It's finally time to listen to it, and see what it's all about.

Let me go ahead and skip to the second song, which is the title track. It has almost a country vibe mixed with cabaret. It's not good. In fact, the album as a whole feels like a whole bunch of miss matched concept ideas thrown at a wall, with music styles not matching from track one song to the next.

It's interesting that Steve Fossen and Mike Derosier were fired after its release. Though varying reasons as to why will be told, depending on who you ask, one such reason boils down to creative differences. The two were cited as wanting to stay with the more traditional style which had made the band popular. Listening to Private Audition, each song feels like it's fighting with the other. Like I said, it's like a bunch of miss matched songs. One minute it's traditional Heart, the next a power ballad, country, cabaret, tap dancing intros, etc. It's a mess is what it is.

The sad part is that when Heart sticks to their guns of the tried and true, such as on the tune, Fast Times, and City's Burning there's potential here. The latter could very well be the best this album has to offer. It's both surprising and disappointing, but at the same time understandable. It was a new decade, music was changing, and this 70's band was navigating how to stay relevant on a new landscape. Obviously, by 1985 they found the answer to that, hitting with both fists with their self titled comeback album.

However, before that could happen, Heart had to first go through a bit more struggles ala their 1983 Passionworks. We'll get to that one tomorrow.

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THIS WEEK ON THE CHARTS
July 9, 1983
 
THIS WEEK ON THE CHARTS
July 9, 1988


Comics Corner: Peter Parker, The Spectacular Spider-Man 58

   

Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 58
Release Date: September 1981

Highlights

  • First appearance of Beetles MK III armor
  • The school semester starts up again
  • Reference is made to Peter Parker, The Spectacular Spider-Man 53, and Defenders 51
  • Spider-Man laughs in Ringer's face when the villain tells him his name
  • Peter and Debra Whitman patch things up
  • One of the best I've read in a while
Low Points
  • None
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Lou Gramm - Long Hard Road


Yesterday, I took a listen to Foreigner singer, Lou Gramm's first solo outing, Ready Or Not (1987). While I may have come off critical of the album, I want to reiterate that I didn't think it was bad. I just expected better, and something which sounded a bit more unique to that of your average Foreigner album.

By 1989, both Mick Jones (guitarist for Foreigner), and Gramm were releasing studio albums. For Jones, it would be his first, for Gramm, his second. After completing his tour for the album, Long Hard Road (1990), Gramm would make the decision to leave Foreigner, prompting Jones to recruit new singer, Johnny Edwards for the band's 1991 Unusual Heat.

But, let's stop the tape, and rewind a bit to 1989 to have a listen to the second album, which apparently was so good that it convinced Gramm to go it alone.

Long Hard Road was led by the single, Just Between You And Me, which would reach number six on the Billboard Hot 100, just one place behind his prior hit, Midnight Blue, which reached number five. It would also spawn the minor hit, True Blue Love, which peaked at forty.

Playing through it, the two above noted hits are definitely the standout tracks. I did also grab Angel With A Dirty Face, and I'll Know When It's Over for my shuffle. However, as a whole this record falls right into the category of mediocre at best. It has the benefit of familiarity from Gramm's vocals, but this isn't enough to push the songs over the top. Everything is just okay, and at the end of the day, that's not okay. We're talking about an artist who once sold platinum albums, and had consecutive number one hits.

Again, I go back to what I said yesterday about his first solo outing. Just because you can go solo, doesn't mean you should. Artists need that yin and yang. Someone to say this is good, but this not. Try something different here, abandon this, or run with that. Without that feedback, you end up with something the artist themselves love, but as a whole is just...well, mediocre.

It's not that the effort isn't there. It's that you don't have enough creative juice in the room to take an okay thing and make it good, or to make a good thing great. That about sums up my perspective on Long Hard Road. I don't know, maybe I'm just not a big Lou Gramm fan, so I'm being over critical. Maybe I just expect more than I should based on his name and history.

Gramm returned to Foreigner in 1994 to release Mr. Moonlight. However, the album would far worse than the band's 1991 outing (with new singer Edwards). Despite this, things seemed back on track for the band. That is until 1997 when Gramm underwent surgery to remove a brain tumor. The unfortunate side effects of the procedure and medications to get him back on his feet resulted in severe weight gain, as well as weakening his voice. Though he was able to resume touring in 1998, he visibly struggled for several years on

Though the group would continue through 2002, Gramm would once again leave the band from continued communication issues with Jones. He'd release his final studio album to date, Lou Gramm Band in 2009, and briefly reunite with Foreigner for shows in 2013. Gramm remains active, and even promised new music. However, as of this writing, January 2025, that has not come to fruition.

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THIS WEEK ON THE CHARTS
July 8, 1989

 

Just Doodling: Jim Shooter Through The Years


When I created these below images, it was long before they went live today. It saddened me greatly to hear that since their inception and today that Mr. Shooter had died on June 30, 2025, no more than a month after I last saw him in person at Big Lick Nova 2025.

The few times that I got the privilege to meet Jim, he was always smiling, happy to sign books, and fill the ears of anyone who would listen with all the fantastic stories about comics, and his time at Marvel. He was a true legend of the industry.

He openly admitted he was a tough boss at Marvel, but also talked about the positive changes he made there, such as providing creators with royalties, and even the basics in terms of supplies to draw the comics they were creating. The positives far outweighed the negatives, and for the fans looking from the outside in, our reward was quality books that delivered consistently on time, while introducing us to other legends in the industry. Jim knew what talent was, and in turn, despite what they said, that talent wanted to work for him.

Though he's no longer with us, I just want to again thank him for all that he helped create in the world of Marvel Comics, for signing all those books for me that he did, and for the commission piece he created for me. I honor his life through this visual retrospective of his storied career.

In 1965, Jim started writing comics
for DC at the age of 13

He joined Marvel Comics in 1976,
succeeding Archie Goodwin as
Editor-In-Chief in 1978

Throughout the 80's, Marvel Comics
became an industry powerhouse under
his watch

He would go on to found Valiant Comics
in 1989 with Steven Massarsky, but sell
it to Acclaim Entertainment in 1994

Throughout the 2000's, he returned to Marvel,
DC, and also worked with Dark Horse, and
newly formed Illustrated Media

During his final working years, Jim still did
freelance work, as well as frequently appears
at comic book conventions across the world
to meet fans and sign autographs

I ended up giving a stack of these to Jim at Big Lick Nova, 2025, and got one signed from him. He kept one personally for himself, and gave all the rest to people who stopped by, signing them as he did. I can't tell you how happy that made me that he not only embraced what I had created, but wanted to share it with everyone else. It saddens me deeply to know he's no longer here with us.

Thank you Mr. Shooter for everything you did not only for the comic book industry, but me personally. Your legacy lives on in my home. I hope we meet again when I too come home to the Lord.

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