The Toy Box

Retro Spins: Icehouse - Measure For Measure

By 1986, Icehouse were in a steady decline of popularity. Their prior album, Sidewalk was the first to not receive platinum status, and this trend would continue with Measure For Measure. Much like prior records, once again lineup changes would impact the band. John Lloyd would leave, being replaced by drummer, Masaki Tanazawa. Additionally, new members, Simon Lloyd, and Steve Jansen would contribute instrumentation.

Also back from the past were changes to the overall album release, depending on which country you were from. This time, however, it was beneficial to receive the US relase, versus the original Astralian pressings. While the original contained ten tracks, the US version included all ten, plus two. Bonus! But, is it a good bonus? Well, let's find out.

Measure For Measure starts up with one of my all time favorites from Icehouse, No Promises. This then launches into the thunderous percusion driven Cross The Border, all of this setting a high expectation.

One of the benefits over this record, as said by Davies, was that the band had considerable material to choose from, versus prior albums. My hope was that with this option, only the best of the best would make the cut. No fears were in sight as track three, Spanish Gold kicked in.

What I was noticing at this point was the heavy bass and drum driven sound encompassing all of it. That's a sound I can get behind, what with those two being my favorite instruments. It was this overall funk, that was leading the charge, and I dug it.

Of course, right smack in the middle of everything had to be a ballad, which completely through me off, and out of the zone. Unfortunately, this didn't recover, with several tracks thereafter falling into background noise obscurity. Nothing further was jumping out, which was a bit disappointing.

Things did fortunately pick up, and the album ended on a bit of a high note. Overall, I would classify it as enjoyable.

Major success would finally come for the band in 1987 with their smash hit, Electric Blue. This would propel the band back into platinum status in Australia and New Zealand, as well as gold in Canada. The track would reach number seven on the Billboard Hot 100, beoming their career best. However, I have already covered that album way back when, so this is where our journey ends with the band. They'd release two albums in the 90's (gross), 1990's Code Blue, and 1993's Big Wheel.

Icehouse wouldn't disband. Instead, Davies attention would shift to the stage, where he would produce music for hit shows, such as, Berlin. In some iteration, the band remains active to this day.

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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.

THIS WEEK ON THE CHARTS
May 14, 1983

THIS WEEK ON THE CHARTS
May 14, 1988

Retro Spins: Icehouse - Sidewalk

Continuing down the road with Icehouse, we meet them at their third studio album, Sidewalk. Unlike their prior release, 1982's Primitive Man. Prior to recording the album, keyboardist, Michael Hoste would leave the group, being replaced by Andy Qunta. Unlike its predecessors, which depending on what region you were in would determine what track listing you got, Sidewalk was the same from country to country.

Though the album would fair well on the National Charts, reaching number eight, overall, it would be a lower selling record than prior releases, only reaching gold in New Zealand. Though it would be a decline which the band would stay in for their follow-up, 1986's Measure For Measure, a major success was still on the horizon.

Before we get there, we pause for today's Retro Spin, and give Sidewalk a twirl on ye old CD spindle.

Right off the bat, the opening track, Taking the Town, isn't strong enough to really garner much of my attention. While this would fortunate shift with the next four, This Time, Someone Like You, Stay Close Tonight, and Don't Believe Anymore, this momentum wouldn't last beyond that point.

Something about Sidewalk simply wasn't resonating with me as much as their prior work, and while I think this came down to something very specific for me. Between lead singer, Iva Davies making their albums solo projects, such as 1982's Primitive Man, and lineup changes, the inconsistencies surrounding the group meant that, in my opinion, they never really landed on their own sound.

Overall, Sidewalk sounds and feels like a different band, and while it's not terrible, its inconsistent from prior material. Whereas prior releases had a steady mixture of synth and guitar work, this record leans heavey into synth, all but abandonging any lead guitars.

By the end of it, nothing was memorable. There were no songs that had that lasting effect. In fact, I don't think I could even hum a single bar from the entire thing. Eh...It's just forgettable, which is disappointing.

Prior to setting to work on their next studio release, Davies would first compose the soundtrack for the 1985 film, Boxes, but will skip that, and move right into 1986's Measure For Measure next week.

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THIS WEEK ON THE CHARTS
May 13, 1989

The Dirty Dozen - My Top Twelve Albums Of 1983

I expected 1983 to be a lot easier then it actually was to compile a top twelve list. I thought, "Oh, this is a classic year for 80's music. There's bound to be an abundance of great albums." Well, songs, yes. Albums...Not really. Out of all of these, there's really only three on the list that I'd actually listen to from start to finish, and ironically, those aren't in the top five.

Kicking off the list of honorable mentions is Big Country's The Crossing. When it came to this one, I really wanted it to be in the top twelve, but there ended up being so many albums that it just kept getting voted further and further down the list until it wasn't.

Mike Oldfield's Crisis didn't make the cut because while it has songs on it that I really like (and I mean a lot), there's only a couple. It just wasn't justifiable to be in the top twelve.

Monte Video And The Cassettes self titled album also isn't perfect by any stretch of the imagination. However, there was a two fold factor which ultimately led it to being included in the mentions. The first, as I've said many times, is the nostalgic memories of hearing it on my sister's records as kids, and the second being that I actually made contact with the artist a few years back, and he gifted to me the MP3's before I tracked down the actual album.

Last up is the Star Wars: Return Of The Jedi soundtrack. This was one I played often as a kid when I owned the cassette. However, at the end of the day, this isn't an album I'm just going to put on and listen to. While I appreciate a good movie score, I do tend to prefer my music to have lyrics.

I went back and forth multiple times on number twelve. This spot initially held the above mentioned Big Country album, but was ultimately taken over by Metallica's Kill 'Em All. I will be the first person to admit that I don't listen to the band these days. However, I would be remiss to ignore that they were a big part of my high school years. Back in the day when I first got the CD, it was given to me by a buddy of mine, which only added to the importance of it. Coupled with the fact that I played it repeatedly from that point on, and I simply have to give it a nod of respect.

Is Huey Lewis And The News' Sports all that Patrick Bateman wants you to believe it is? No, not for me. However, it certainly has a list of solid tracks on it that not only fed the airwaves of the 80's, but catapulted the band to success.

Despite his storied career, An Innocent Man gave Billy Joel just his second number one hit, he's only had three. The Piano Man crafted a love letter to his soon to be bride Christie Brinkley, inviting the world into that moment in time with him. The end result was Joel's second biggest selling album to date.

I actually heard In 3-D before learning about "Weird Al" Yankovic's self titled debut. Personally, I don't think this one gets the love it deserves. While it doesn't showcase his best work, there are definitely ones on here that are among my personal favorites. I also like the heavily detailed drawn cover which features aspects of all the songs encompassed on the record.

If it weren't for the fact that I don't want to hear these songs often, Flashdance would be an album I could listen to from start to finish. It packs a wallop with the hits, and then continues to keep one interested for the rest, which I suppose is part of the reason this isn't further down the list. It's just not something I'm going to play everyday, and truthfully, would probably skip past most of them when they came around my shuffle.

Cyndi Lauper's She's So Unusual is like a perfect snapshot of the times. Quirky, fun, and different. From it's bright cover showcasing her dancing down a sidewalk you can already tell she's not only unusual, but that she just wants to have fun. This is the type of album you bought back in the day based on the cover, if you'd never heard anything from it. Back when the artwork mattered. The benefit here was that the album itself also delivered hit after hit. Unfortunately, what hinders it is the duds that are also mixed in.

It's both interesting and hard to imagine that Break-Out was the Pointer Sister's tenth studio album before they finally hit mainstream success. There's no doubt in my mind that this wasn't aided by the box office smash, Beverly Hills Cop, which showcased the song Neutron Dance, also included on the album. Personally, I also like the added bonus of the CD pressing, which includes a remixed I'm So Excited, which was featured on their previous album in its original form.

Had you told me in 1983 that David Bowie had a long career prior to his album, Let's Dance, I would have looked at you like you had three heads. It's always funny to me how as a kid you don't have a working knowledge of the full history of artists, only feeling like they came into existence the moment you heard them. That's happened to me so many times. With that said, my introduction to Bowie with Let's Dance, is also the peak that I gauge all his other work on. The album is fantastic.

When Freddie Mercury states that your band, or specifically, your frontman, is one to keep an eye on, you listen. Unfortunately, Freddie wasn't necessarily right on that one. While Culture Club certainly made an impact with their breakthrough, Colour By Numbers, as we all know, Boy George soon went downhill from drug abuse, take the band with him. Still, if you told me Colour By Numbers didn't have solid hits, I'd simply tell you that you were wrong.

It's kind of an extension of Flashdance, and even includes her song from the soundtrack. However, Irene Cara's What A Feeling, the album, also brings with it a solid setlist. It's been criticized that Cara only serves as a mouthpiece for Giorgio Moroder, but frankly, who cares? Good music is good music, regardless of who wrote it, and who's performing. You'll see more of that coming up when I dare to put Milli Vanilli on my list.

A couple songs hinder Lionel Richie's Can't Slow Down from being labeled a perfect one for me, but man, I sure do dig most of it. In looking at the cover, I daresay that even if it was perfect, I probably wouldn't put it on wall. It's kind of boring with Richie just sitting in a chair in a random empty room. Good thing the music makes up for that falter.

Madonna came out swinging with her self titled debut, delivering instant classic hits, Holiday, Everybody, Borderline, Lucky Star, and others, solidifying instantaneously that she was here to stay. Coupled with her "unique" image, and stage presence, one couldn't help but notice her. Even if you hated her songs, you knew who Madonna was, and this album was just the tip of the iceberg to come.

In looking through all of 1983, I think there are only two albums which I would consider for my wall. While they're not perfect, what they do have is character, and enough hits to back them up. Those would be Cyndi Lauper's She's So Unusual, and "Weird Al" Yankovic's self titled debut.

Though I initially wanted my wall to be "perfect" albums, what I'm coming to realize is that, 1) those are hard to find, in terms of albums that actually are great from start to finish, and 2) at the end of the day, while I want iconic albums, these are also essentially going to serve as wall art. As such, I also want things that pop, and are interesting to look at.

I may need to pivot and reassess the goal, which makes it all the more a good thing that I've refrained from buying many albums just yet. Yes, there's been a few I've already grabbed, but I'm confident those are ones I'm going to want hung up.

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Retro Spins: Icehouse - Primitive Man

When we last saw Icehouse, you know, last week, they had gone 5X Platinum in Australia, and 4X Platinum in New Zealand, and were poised as one of the greatest new bands of 1980. While their label, Chrysalis, would spend a good part of 1981 releasing their material previously under the name Flowers as Icehouse, the band would be busy on the road.

Their lead track, Icehouse, as well as the album itself, was released in 1981 throughout the UK, generating some buzz, as well as in the US, where it peaked at number twenty-eight. The band would spend the second half of the year touring the US, Canada, and UK, to support not only the re-releasing of their material as Icehouse, but also to capitalize on the recognition of their single across international borders.

By 1982, lead singer Iva Davis, returned to the studio to work on a second album. The foundation for what would become Primitive Man, iniitally started as solo project for the artist, but would ultimately be released as the second studio album for the band. Between Davis, and Producer Keith Forsey, they oversaw most of the instrumentation for the tracks, with the band only contributing to what would become bonus tracks for later releases. The remaining few gaps would be filled in with studio musicians.

Led by the hit single, Hey Little Girl, Primitive Man would go on to be an international breakthrough. It would peak at number seven in Australia, two in Switzerland, five in Germany, and twenty in the UK, Sweden, and Netherlands. However, it wouldn't stir any airways in the US, where it only reached number one hundred twenty-nine. The single itself would reach thirty-one on the Billboard Hot 100 charts.

The second single, Greath Southern Land would be equally successful in Australia, reaching number five. Fun fact, in 1988 it would also be used on the soundtrack for the Yahoo Serious film, Young Frankenstein.

To promote the album, Davis brought back previous members, Michael Hoste, and John Lloyd, as well as new members, Robert Kretschmer, Guy Pratt, and Andy Qunta to head out on tour. Together, they would also release the EP Fresco in 1983. Additionally, in 1984 Davis would provide the instrumental soundtrack to the film Razorback. However, we're now getting far ahead of ourselves. First, it's time to go back to 1982, and actually play through Primitive Man.

Much like their prior release, we have two choices here. The original Australian pressing which contains the song, Break These Chains, or the US / UK release, which ommits the song, but includes, Love In Motion instead. Well, I say there are two choices, but for me, there's only one. I only own the US / UK pressing. So, Love In Motion it is! So, I guess technically, we're going back to 1983, because that's when the album saw an international release.

Uniform doesn't give the record as strong a launch as their previous albums opener did. It's mediocre at best. While things picked up slightly with the second and third tracks, I was begining to get concerned that this release was going to be subpar at best. I suppose it's common for the second album to never be as superior as the first, especially when that first is deemed lightning in a bottle. However, I think part of the issue may have also been the solo approach noted above. When someone doesn't have a band, or anyone really, to tell you, "That's not working, let's try something else," often a solo artist can quickly release poor material. It's happened to the greats - Michael Jackson, Prince, Madonna. Point being, someone has to be able to tell you when something isn't good enough, and I don't think that happened here.

That's not to say that Primitive Man was garbage from start to finish. It just wasn't as impactful as round one's Icehouse, or Flower's Icehouse album. It was just okay for me. Nothing really stood out as, "This is the reason you should buy this CD." Apparently, I wasn't alone in this aspect, as it would "only" reach platinum status in Australia and New Zealand. I have to put only in quotations in my prior sentece becuase obviously that's no small achievement. In retrospect, it was also a considerable drop from their previous release, something I'm sure their label noticed.

Truthfully, fatigue set in fast for this one. By the halfway point, I kind of just wanted it to be over, but, I stuck through it.

The lineup would change again, and in 1984 the band would return to the studio to produce and release, Sidewalk. Sadly, this would also continue the downward decline of their popularity and overall sales. However, that's a post for next time.

I hope to see you there!

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THIS WEEK ON THE CHARTS
May 12, 1984

Retro Spins: Icehouse (AKA Flowers) - Icehouse

Australian band, Flowers was initially formed in 1977 by lead vocalists, and multi insturmentalist Iva Davis, and bassist Keith Welsch. They would pick up Michael Hoste on keyboards and Don Brown on drums. However, the two would be replaced in 1979 by John Lloyd (ex-Paul Kelly and the Dots), and Anthony Smith (who was sometimes called Adam Hall), on keyboards.

Still known as Flowers, the band would sign with Regular Records in 1980, and release the single, Can't Help Myself. The track would be a surprise hit, reaching the top ten in Australia. This was followed by their debut album, Icehouse. However, during recording sessions for the album, Michael Hoste, would replace Smith on keyboards. This would prove to only benefit the overall end result, which would see the record reaching number four on Australian charts. It would also go on to be one of the biggest of the year in their home country.

Throughout the year, several nominations and acolades came as a result of Icehouse. These included receiving the TV Week / Countdown Rock Awards 'Johnny O'Keefe New Talent Award, and nominations for Best Album, Best Album Cover, and Best Songwriter.

In 1981, Flowers would sign with Chrysalis Records, but in doing so would need to change their name for legal reasons, and potential confusion with the Scottish group, The Flowers. Icehouse was officially born. Their debut would be repackaged, and re-released under the label.

Enter today's Retro Spin.

Icehouse, the album, is heavy synth pop driven, and lyrically, feels deeper than your average pop album. Yes, there are songs here simply meant to get one tapping their toes. However, then you delve into the more mature style on songs such as Sons.

I think one of the biggest hooks to the album is the vocals of lyriscist, Davis. He has a Bowie vibe. He's able to sing in a deep tone, or grab you with haunting chords. It's definitely the standout aspect of Icehouse as a whole. This is particularly noticable, because the album is far from perfect. Yet, at the same time, I found myself invested becuase I just wanted to hear his voice. He made even the most mediocre song, and there were many, still something worth listening to.

Despite lacking perfection, overall, it's enjoyable. Additionally, there were songs here worth adding to my shuffle list, with standout track being the first, also aptly entitled, Icehouse. Basically, the groundwork shows potential to me. I have to stipulate the "to me" part, becuase in addition to the above noted accolades, the album went 5X Platinum in Australia, and 4X Platinum in New Zealand. Clearly what I saw as potential, many others saw as amazing. I mean, I grabbed six of the ten tracks for my shuffle, so heck, maybe I don't know what I'm talking about either.

Unfortunately, there is also a missing track on the US / UK releases of the album. The original Australian pressings contained eleven songs, while the international releases only held ten. The ommission of Nothing To Do is disappointing, but not necessarily a make or break moment. Firing it up on Youtube, it's just another one of those "okay" tunes.

The group would countinue to find major success in Australia throughout 1982 to 1985, and achieve their career biggest hit in 1986 with, Electric Blue, from the album, Man Of Colours, which I've already covered as a Retro Spins. However, before we can get to the latter, we have a few more records to fill in the gaps.

Join me next time as I do just that!

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THIS WEEK ON THE CHARTS
May 11, 1985

Retro Spins: Jump 'N The Saddle Band - Jump 'N The Saddle Band

When your whole career is based on a fluke novelty song which skyrockets into popularity based on frequent airplay, aided by a music video filled with clips, it's probably best to not bite the hand that feeds, and follow their directive. However, this is exactly what members of Jump 'N The Saddle did, and it cost them any further success past their single debut album.

Because of their short lived success, there isn't much information floating around about the band. What is known, is that they released an album through their label, Acme, in 1981, which garnered little attention. This was followed by their self released, Alive & Set To Go in 1982. They would once again turn to Acme to release their 1983 single, The Curly Shuffle. Designed to be pure fun, novelty at its best, it surprised everyone when the song started to get frequent airplay. It was this that would lead them to sign with Atlantic Records, and release their self titled record.

Released in 1984, and led by the single, Jump 'N The Saddle were off to a good start. However, when it came time to produce a follow up, the label insisted the band record a version of Benny Bell's 1946 classic, Shaving Cream. Not keen with the idea, the band delivered a track filled with lyrics critical of the label. This, as I'm sure you can understand, wasn't well received, and the group was unceremonious dropped.

While the group continued to perform through the 2000's, they never received another recording deal after ruining their careers. Sadly, their fifteen minutes were over.

As for the album itself, there's not much to really get excited about here. There's no denying that The Curly Shuffle was a fluke hit. A novelty hanging out in an era of synth pop. A time where music was eclectic, and anything was deemed acceptable. Had it been released any time other than when it was, it probably wouldn't have even gotten noticed. Frankly, a follow up, even in 1985, probably would have been glanced over. There's just nothing to write home about regarding the band. Their album is full of covers, and though the band showcases talent, their efforts are forgettable.

Maybe, and I do mean MAYBE, this would fly as background noise at a busy party, where the music only serves as a damper to stop the echoing of voices. Again, maybe.

I think the most comical thing about the album is the asking price. With average sales of $25.00, and high ends of closer to fifty, that's pretty hefty for a novelty song which is probably on a hundred comedy compilations for a fraction of the price.

Though I let it play from start to finish, I'm not going to sit here and say anything was worthy of my time, memorable, or worth getting excited about. Frankly, I turned it off by song six of ten. It wasn't resonating, and I wasn't going to force myself to continue listening to something which my gut was telling me wasn't going to get any better than a lackluster one hit wonder which had already played. This is why its important to carefully curate one's collection, and not just say, "Oh, I know that one song." Lesson noted, but probably not learned. I'm just being honest.

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THIS WEEK ON THE CHARTS
May 10, 1980

THIS WEEK ON THE CHARTS
May 10, 1986

Retro Spins: Janet Jackson - Janet Jackson's Rhythm Nation 1814

Before saying goodbye to the 80's, Janet Jackson decided to punch everyone in the fact with the massive uppercut that was Janet Jackson's Rhythm Nation 1814. Would you believe that even after selling twelve million units, the album isn't her biggest seller to date? Yeah, she's sold a lot of records worldwide.

Though her label wanted a repeat of music styles from her 1986 Control album, Jackson instead opted for a concept album, heavily focused on social issues Turns out that her direction was right, as the singer would be praised for her commentary, and be labeled a youth role model for her socially conscious lyrics, which touched om poverty, racism, substance abuse, and romance.

Further, Rhythm Nation remains the only album to date to have seven commercial singles peak within the top five positions. A sidebar that many people also don't seem to know, but which I found out while reading the Billboard chart sheets for these posts, is that Janet single handed kept the 80's alive on the charts in the early 90's, with songs from this album continuing to linger.

While the new decade saw a trickle of artists from 1989 stay through mid 1990, it was Janet and Phil Collins (for hits from ...But Seriously) who would be the final two holdouts. Collins would fall off in late 1990, with Janet being the "last man standing" through early 1991.

Personally, I don't find the album to be as perfect as people profess. The biggest hindrance for me is the prologues and interludes between tracks. They feel unnecessary, and preachy. Frankly, I don't need an artists opinion on the world when I'm listening to their music. I just want the entertainment.

For example, she says in between State of the World, and The Knowledge, "We are in a race for education..." to which I can only respond, "Well, better to be in a race for education than a race for the toilet."

I have to take a step back, disagreeing still with the critics who state that this album garnered her a level of cross-cultural appeal unmatched by industry peers. Sorry, but if boundaries were broken, that was done in 1982 by her brother Michael, who to date has sold an estimated seventy million copies of Thriller. This happened again in 1984, when Prince too broke boundaries with Purple Rain, which to date has sold an estimated twenty-five million copies. While Janet's twelve million sold is no short accomplishment to be scoffed at, it's nowhere close to the impact of those two.

With that said, the tracks I do like off the album are hard hitters. I could easily play the title track, Miss You Much, Love Will Never Do (probably my favorite), Escapade, and Black Cat every day of the week, and be happy. Overall, again, I just don't find the album as a whole to be perfect from start to finish. While there are some stragglers, such as Alright, and Come Back To Me, which are decent, it's just not the powerhouse the critics want you so desperately to believe it is. I mean, it's good, okay even. Just not flawless.

That, of course, is just one persons opinion, and not one that impacted Janet in any way, shape, or form. Her follow up, 1993's Janet, would sell fourteen million copies, and though to date, her sales would decline, we're talking about eight million (1997's The Velvet Rope) to five million (2001's All For You), to three million (2004's Damita Jo), to one point five million (2006's 20 Y.O.). Yes, that's a steady decline, and things only got worse with Discipline (2008), and Unbreakable (2015), which didn't crack a million.

While she's announced new music is coming, Unbreakable has been her last album to date. Personally, I'd like to see her form a new iteration of The Jacksons with her brothers, and headline that bad boy into the future. She could absolutely pull off the vocals for brother Michael's hits all the way back to the era of Jackson 5. I mean, I get it, it would just be her carrying the others to success, much like Michael did. I suppose at the end of the day, why sing the songs of someone else when you can sing your own. Wouldn't that be something though?

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THIS WEEK ON THE CHARTS
May 9, 1981

THIS WEEK ON THE CHARTS
May 9, 1987

Retro Spins: Janet Jackson - Dream Street

When we last left Janet, she had just come off of her critically lackluster 1982 self titled debut. While things wouldn't ultimately fair any better with 1984's Dream Street.

Dream Street is not only the lowest selling album of all time for Janet, but also her only album which never spawned any hits. This to me is odd, because frankly, the title track is a powerhouse. Further, the opening track, Don't Stand Another Chance, had the benefit of being produced by brother Marlon Jackson, and featured backing vocals by Michael. That to me seemed like a recipe for airplay, no questions asked.

As I played through it, I got out of the album what I fully expected. Strong vocals from Janet, all laid across relatively throw away tracks. It's not a terrible record, it just wasn't what it needed to be to produce major label success.

Overall, it has a heavy pop sheen to it, which is better in my book to its soul R&B predecessor. What I won't do, is agree with Ken Tucker with The Philadelphia Inquirer, who stated it was better than The Jackson's Victory. That's going too far.

Personally, I think a lot of times the charm with hearing older, or forgotten albums, from artists after they've hit their biggest success is the familiarity of it. Basically, it makes it easier to appreciate, and even like, an album when you're already into that artist. Again, familiarity. Even when it's not their best work, it still finds a way to resonate. I think that's a benefit for Dream Street.

Two years after its release, Janet would eat a bunch of cake, and with more girth to her loins, return to the studio to rock out the powerhouse, Control. With songs driven by pure emotions from her recent divorce from James DeBarge, and severing management with her father, the autobiographical themed album would go on to be a major success. The album was so popular, that it spawned a sequel, of sorts, in the form of 1987's Control: The Remixes. 1989's Janet Jackson's Rhythm Nation 1814 would then blast the artist into orbit.

I've already talked about Control, check that post out "HERE". As such, we'll dive into the powerhouse which is Rhythm Nation next time!

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THIS WEEK ON THE CHARTS
May 8, 1982

Retro Spins: Janet Jackson - Janet Jackson

She's the most successful Jackson after her brother Michael, and of the sibblings, the most financially successful. Janet not only masterfully managed her career, but also her money, having a net worth of over one hundred seventy-five million dollars. That's a lot of greenry in the garden.

Janet mad her debut at the MGM Grand in 1976, and from there went on to star, and provide supporting roles, in various television series. Her noeworthy appearances included those on Good Times, Diff'rent Strokes, and Fame (the series). However, by 1982, she was following in the footsteps of her brothers, releasing her debut solo album, self titled, Janet Jackson. It was not very successful, and remains one of her lowest selling albums of all time. The question I raise, "Did A&M sign her because they saw talent, or because they saw a Jackson?"

Being only sixteen, you know her father, Joseph, was there to ~~exploit~~ guide her, among a series of writers and producers. Upon its release, it managed to make minor waves in New Zealand, but in general was considered a flop. Despite promotion on television shows such as American Bandstand, and Soul Train, the general consensus among critics were that the songs simply weren't that good.

Well, this I have to check out. I love a good train wreck.

It all kicks off with, Say You Do, which has a funky goove and beat to it, almost reminiscent of the sounds from brother Michael's Thriller, released that same year. It's not bad, though at nearly seven minutes, it is a tad bit long.

With track two, things seem to step backwards. Again, using her brother as the example, You'll Never Find (A Love Like Mine), seems familiar to the sounds of Off the Wall (the album). Very horn and strings driven. Again, it's not bad. However, considering it came in 1982, in retrospect, it feeels dated.

Where it starts to fall apart for me, is when the ballads come into play, starting with Love And My Best Friend. The overall feel, and Janet's voice on the song, seem to tread familiar ground of, again, brother Michael's Ben, but not in a resonating way.

Truthfully, the album started to settle into background noise for me at this point. I was kind of hoping it would just end so that I could go on to other things. I mean, it was okay overall, but it was no Rhythm Nation by any stretch of the imagination. I guess by the end of it, the whole thing was just lackluster. Okay, but nothing special. Janet certainly had the voice in 1982, but the songs just aren't strong enough to pack a lasting punch. I wouldn't have hedged any bets on superstardom based on this album.

As we all know, with its lack of success, Janet went on to be the forgotten sibling of the Jackson family, never to produce anything further. Oh, wait...that was Tito. No, Janet, after another lackluster release, 1984's Dream Street, would refocus, and punch hard with 1986's Control, and the even more successful, Janet Jackson's Rhythm Nation 1814 (1989).

Fun fact, while the 80's were kept alive on the 90's Billboard charts through August 1990 by the likes of Paula Abdul, Michael Bolton, Technotronic, and Skid Row, it was Janet along with Phil Collin who would be the final two holdouts. They'd keep the era alive into early 1991 before finally exiting stage left. Of course, for the two of them, it would be far from the last time they charted.

While she fell off my radar in the 90's, and into the New Millenium and beyond, there's no denying that Janet has solidified herself as a pop and R&B icon in the world of music. She's earner her place as a legacy. Though she will probably never supercede her brother in popularity (Who honestly could?), she stands on her own merit.

In fact, let's do this right. Let's add Janet to the Retro Spins template. She deserves a spot on it.

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THIS WEEK ON THE CHARTS
May 7, 1983

THIS WEEK ON THE CHARTS
May 7, 1988

Retro Spins: Divinyls - Temperamental

The moment of truth was at had for Divinyl in 1988. After struggling to make international success with their prior two albums, their label, Chrysalis, pulled no punches with remaining, and founding, band members, Christina Amphlett and Mark McEntee. Either make it, or break it.

Recording of began in 1986, but immediately came with issues and snags. Guitarist Bjarne Ohlin left ,and upon the insistance of producer Mike Chapman, drummer JJ Harris was fired. Before knuckling down, the band focused on some local gigs in Australia, but upon completion, bassist, Rick Grossman, left the band, checking in to rehab for addiction to heroine.

The duo returned to Los Angelos in 1987 to formally begin recording. with keyboardist Kenny Lyon, and a new lineup featuring, guitaris Tom Lang, drummer Warren McLean, and bassist Tim Millikain, the album commenced at Rumbo Recorders...Then it was shut down due to noise complaints from Neil Diamond, who was working in the nextdoor studio. The band moved to Sunset Sound Records with Chapman to finish the album.

Drama, drama, drama!

When I fired it up, I was greeted by the title track, which led into the amazing Back To The Wall. At this point, I determined that either Chrysalis and / or the general public were deaf. This album was fantastic (so far). This momentum didn't let up, and by track five, I was still all in on Temperamental.

I have to agree with Amphlett. The album features some of the band's best material. This was a record produced with emotion, pain, and a fight to prove themselves. Sadly, that didn't seem to be the same sentiments of their label.

After its release, and in debt millions of dollars to Chrysalis for advances on prior albums, promotions, and tours, the writing was on the wall. Their label dropped them, and figuring they'd yet to make it big, simply opted to write the band off as a tax deductable bad debt.

Again, I didn't understand this. By track six, I was 100% all in, having not heard anything bad. At just over the halfway point, Temperamental was gearing up to be a perfect album. Ultimately, this didn't happen. There were some weaker tunes on the back half, but overall, still a very enjoyable listening experience.

Reagrdless of my opinion, as noted, the label dropped them, and it wouldn't be until 1991's hit single, I Touch Myself, that Divinyls would finally reach the US audience they had so long been looking for. However, this success was short lived, quickly lost in an era of grunge. While band would release 1996's Underground, it would be their last studio album.

On a side note, it was kind of enjoyable to write a continuation piece over the past three days, going through the history of the band. I'd kind of like to do that again, but I would need to first dig through my CD's and see what bands I haven't already poked holes in that would prevent that from happening. Stay tuned.

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THIS WEEK ON THE CHARTS
May 6, 1989

The Dirty Dozen - My Top Twelve Albums Of 1982

Ah, the music of the 80's. It's the gift that keeps on giving. Pick a year, scroll through its releases, and you're sure to find not only something you like, but iconic hits which have withstood the test of time.

I continue my journey in the hunt for the top albums which will be bestowed the honor of being purchased for showcasing on my wall, and today, that takes me to 1982. This year, for me, is where the decade really took off. Some albums, for obvious reasons, were selected for my top twelve, but others were just personal gems for multiple reasons.

First, let's kick out the one and only honorable mention, which was considered for the list, but didn't make the final cut. That would be the soundtrack to Grease 2. I mean, come on, the first film is so amazing, and frankly, I'm considering grabbing that soundtrack for the wall. However, the follow up, while not resonating with most, stands out as a solid entry in the world of sequels. The soundtrack doesn't deliver the punch of the original, but still has a fair amount of memorable tunes.

Number twelve on the list takes me to my childhood, and yet another one of those moments I've mentioned multiple times already here at The Toy Box, my sisters record collection. Jona Lewis' Can You Stop The Cavalry, was a song she would play frequently from her Top Of The Pops, or Springbok records, and when it came on, we would walk around in a circle pretending to play the brass instruments. You know, just kids being kids. Its one of my oldest personal memories, and one which cemented the track in my mind.

Creatures Of The Night, the song, was my introduction to Kiss, and it came via the opening track of Alive III. Even as I typed this up, I decided to throw the song on. Creatures, the album, isn't jam packed with hits, far from it, but its title track and the Gene Simmons led, I Love It Loud, are massive ones. Plus, I just really dig the cover.

Fantastique is a prime example of why its important to never stop looking for hidden gems. I heard, Mama Told Me on a random radio station one day while driving down the road. At first, I thought it was a song from the current era, and really liked how it had adopted an 80's sound. Little did I know, until looking into it further, that it was from the relatively unknown dutch duo, and released in 1982. Since then, it's become one I play frequently in rotation.

Did I know Electric Avenue was a protest song when I was a kid? No. Of course not. I thought Electric Avenue was a place where people go to have a good time. Well, despite the education I would get in my adult years, when I finally listened to the words with mature ears, that I would get a full understanding. Still, I find myself bopping my head frequently to the song, just enjoying it for what it is, a classic 80's hit.

Hall & Oates H2O was a surprise for me when I recently sat down and listened to it. They were a band I always equated to knowing the hits, and that was good enough. However, it was while listing to this one that I got an appreciation for the deep dive, and walked away with multiple additions to my shuffle. Was it perfect? No, but it made a big impression.

My appreciation for Siouxsie And The Banshees is relatively a new thing to me, and because of how I come up with these posts isn't something you'll find out about for another couple months. However, take my word when I say that A Kiss In The Dreamhouse is a solid entry. It was an unexpected treat to hear for the first time, and even though at number 7, I'd consider it for the wall.

For me, Boy George could easily be the poster child for the 80's. Culture Club wasn't a perfect band, by any means, and they didn't necessarily craft flawless albums. However, what they did have was presence, and when the hits were good, they were amazing. Depending on when and where you bought their debut, you could have any number of versions. The most popular would be the US release, which included the single, Time (Clock Of The Heart).

Africa and Rosanna may be two of the most overplayed song in history, but oddly enough, every time I hear them, I keep them on. Without those two, I doubt Toto IV would even be on my radar. This is one of those scenarios where I consider it for a spot on the wall because it's an iconic album, but at the same time, want to refrain because it's not perfect.

That's kind of the same situation for Duran Duran's Rio. I mean, say their name, and most people will immediately think of this album's title track, Hungry Like The Wolf, Save A Prayer, and The Chauffeur, all of which can be found here. Not only that, but who doesn't remember that iconic cover? This could easily be on my wall, if for nothing else, the pure nostalgia and iconic stature of the album.

It saddens me that a pressing of Oingo Boingo's Nothing To Fear will set me back around $50.00 because this is one which would definitely be a contender for the wall. Sure, not many people outside of the Boingo crowd would be able to name one song off of it, but for me, it was practically perfect, with the exception of a handful of tracks.

And, it's 1982, so everyone knew Thriller would be on this list. What may shock you is that it's not at number one. That's because for me, I don't consider it Michael Jackson's best work. Yes, the majority of it is amazing, and overall the album is killer, but there are a couple songs on it which just don't resonate with me.

For me, my number one spot goes to Prince's 1999. You want to talk about a solid entry for the year, look no further. It has the pop sound which catapulted Prince to stardome, and also starts to showcase The Revolution more than before, though still not noted as Prince And The Revolution on the cover.

This is a tough one because I still have so many years ahead of me to narrow down albums, so I can't very well pick all of these. Instead, I really need to edit myself to what truly would be the cream of the crop for the wall. For that, it comes down to the inclusion of Prince's 1999, and Michael Jackson's Thriller. Add that to the pile with 1980's The Game, from Queen, and Rush's Permanent Waves. While The Smurfs All Star Show was chosen from 1981 to be added to the pile, I've honestly already grabbed that one to put on my wall, but elsewhere.

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