Comics Corner: Peter Parker, The Spectacular Spider-Man 45

   

Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 45
Release Date: August 1980

Highlights

  • Death of Malachi Toomes
  • Reference is made to Marvel Team-Up 88, and Peter Parker, The Spectacular Spider-Man 5
  • Straight up action book with tons of brawling between Spider-Man and Vulture
Low Points
  • None
Oddities
  • The Vulture loses by flying into a glass window...just like a bird
Rating (based on a 1 through 5 Stans grading system)

3 stans

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Retro Spins: Danny Elfman - So-Lo

 

Working at Toys R' Us in the late 90's was an exciting time. Star Wars, and McFarlane toys were hot properties, and to be surrounded by these daily was awesome. It was while working here that a co-worker first played for me the Farewell Oingo Boingo album. I didn't pay much attention to it.

Around 2002, a long time friend took me deeper down the rabbit hole with the album, Dead Man's Party. It was here that I started to find myself getting hooked. I was working a job that saw me on the road for the majority of the day, and it was during this time that I would stop by the local Tower Records, and grab an album or two for the road. It was through doing this that I bolstered my collection of Oingo Boingo albums, and with each one I got more and more ensnared as a fan. 

During one of these record store runs, I picked up Elfman's solo album, aptly titled, So-Lo.

So-Lo came at an interesting time in the career of Elfman. Oingo Boingo's contract had expired with I.R.S., and also saw the departure of bassist Kerry Hatch, and keyboardist Richard Gibbs from the band. This led to a hiatus period for the group, and Elfman used this opportunity to release a solo album through MCA.

It's stated that at first he tried to get MCA to sign Oingo Boingo, but that they were only interested in a contract with the singer. However, since this purported take, interviews have surfaced where members of the group having stated that they almost disbanded in 1984.

Despite being a solo effort, the entire lineup of Boingo, including Hatch and Gibbs were present for the recording of So-Lo. As such, while it is a solo outing for Elman, many fans also consider it to be another group effort.

So-Lo gave Elfman an opportunity to experiment with new sounds, and this is prevalent through the many slower paced, and sometimes ballad tracks. Unlike prior albums which featured predominant horns, So-Lo leans heavily on synthpop. Oingo Boingo was never known for producing commercial music, and this album is no exception, despite its new direction.

That said, there are some familiar sounds to be had. The most noticeable being Lightning, Everybody Needs, and Gratitude. The latter was also included in the soundtrack for Beverly Hills Cop, and with exception of early pressings of So-Lo, is the only way to hear the original cut.

Overall, the album is a solid entry for Elfman as a solo artist, while also offering a sprinkling of Oingo Boingo. It's the best of both worlds, and as a whole comes together well. Until today, it had been ten plus years since I heard the album, and it was great to fire it up today. It reminded me just how much I enjoyed it.

Fortunately, after its release, MCA saw the light through renegotiation, and ultimately signed the entire band. With a new contract, Oingo Boing reemerged on the scene. They hit hard with reinvigorated spirit, delivering their most popular album to date, Dead Man's Party. 

Oingo Boingo would formally sign off in 1994 with a massively successful world tour, and since then Elfman continues to stay busy working on soundtrack. Most notably for Tim Burton films.

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THIS WEEK ON THE CHARTS
March 5, 1983
 
THIS WEEK ON THE CHARTS
March 5, 1988

Comics Corner: Peter Parker, The Spectacular Spider-Man 44

   

Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 44
Release Date: July 1980

Highlights

  • First appearance of Malachi Toomes, Harvey K. Farber, Black Alfred (AKA Alfred Tooks), Smitty, Herman, Joey, and Frank
  • Also, first appearance and death of Harry Dolenz, and Mancini
  • Reference is made to The Amazing Spider-Man 197
  • While on assignment for the Globe, Spider-Man unknowingly snaps photos of the murder of Harry Dolenz
  • The Vulture makes his long-awaited return...Well, not really long-awaited, but he's back
Low Points
  • None
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)

2.5 stans

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Retro Spins: Dio - Holy Diver

 

Every time I think of Ronnie James Dio, the first thing that comes to mind is a meme I saw several years ago.


Rock stars of the 70's and 80's were simply built tougher than those little sissies whining on stages these days with the aid of auto tune.

Ronald James Padavona, AKA Ronnie James Dio began his career all the way back in 1957, when he helped form the group, The Vegas Kings, serving as the bass guitarist. The band went through several name changes, eventually landing on Ronnie and the Redcaps. After a slight lineup change, they released their first single in 1958, with both side A and B featuring lead vocals from Dio.

The band would change names again to Ronnie Dio and the Prophets, and in 1962 began releasing singles under this new banner. Name changes were apparently their thing though, and in 1967 they once again switched, this time to The Electric Elves, which by 1969 was shortened to The Elves.

Dio's vocals caught the attention of Deep Purple's Ritchie Blackmore, who was on the verge of quitting the popular band. Seeing the singer as easy to work with, Blackmore formed the group, Ritchie Blackmore's Rainbow, later shortened to Rainbow starting with their second album. While Rainbow would go on to release albums from 1975 to 1993. However, Dio would leave after their third release, Long Live Rock 'n' Roll (1978).

Black Sabbath would recruit the singer in 1979, following the firing of Ozzy Osbourne. Sabbath would release 1980's Heaven and Hell, and 1981's The Mob Rules, before Dio would depart. However, he would return again in 1991 to release Dehumanizer.

Dio would ultimately leave Black Sabbath because of consistent arguing with member, Tony Iommi over the mix of their first live album, Live Evil. Though it has also been stated that Dio essentially did what he was told because he needed the gigs provided by Sabbath.

Enough was enough for Dio, and it was time to take the bull by the horns. After leaving Sabbath and taking new drummer, Vinny Appice, with him, the singer would form his own self named group. Rounding out the band were Vivian Campbell on guitar and Jimmy Bain on bass.

Holy Diver was released in 1983, and quickly became a success, ultimately going double platinum in the USA. While it two singles, Holy Diver, and Rainbow In The Dark, drove album sales, they didn't fare as well on the Billboard charts. The title track peaked at number seventy-two, with Rainbow doing slightly better at forty-six.

While I definitely prefer 80's hard rock / metal to the noise that it evolved into, listening to the album, Holy Diver, didn't really spark much interest from me. The two singles were definitely where it was at for me, and quite frankly, I'm okay with that. I wasn't expecting to become a massive Dio fan from my listening session.

With that said, I'm not ready to check out on the band any time soon. I have three of their four albums released in the 80's, and I plan to give them their fair chance in the near future. I'll probably also end up grabbing the album I'm missing, because, well, why not?

Dio released albums throughout the 1990's, and early new millennium, and while the group was never disbanded, he joined up with members of Black Sabbath in 2006 under the moniker, Heaven & Hell. Though they mostly used the band to tour, they did release a single album, The Devil You Know in 2009.

Sadly, the momentum was cut short when in November of that same year, Dio announced he had stomach cancer. Though he underwent treatment, it was unsuccessful, and he passed away on May 16, 2010. With a career spanning fifty-three years, and multiple successful bands, Dio has certainly left a legacy in the world of music.

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THIS WEEK ON THE CHARTS
March 4, 1989

 

Just Doodling - Cereal Mascots


This one was a lot of fun.

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Retro Spins: Sugarhill Gang - Sugarhill Gang

 

They're credited as the first hip hop group to achieve a top forty rap hit, and while I was familiar with the fifteen minute opus, I had no idea what I was in for. 

Wonder Mike (Michael Wright), Big Bank Hank (Henry Jackson), and Master Gee (Guy O'Brien) formed Sugarhill Gang released their single, Rapper's Delight, in 1979. While it would push sales for their self titled debut album in 1980, it would also be their only hit throughout the entirety of their career.

I fired up the album today, expecting to be treated to a plethora of early 80's gem, and was shocked by the soulful ballad which kicked everything off. Here I Am, was a decent track, but definitely unexpected based on the expectation set by Rapper's Delight.

Rapper's Reprise, or track two, brought the sound I was anticipating, and serves as a solid entry into hip hop. I have to admit that it's this early era of rap that I find myself enjoying. Older rap has a sense of good times, a party, if you will. Wholesome music about bringing people together to enjoy the moment.

Things rotate back and fourth throughout the six tracks from soul to rap, and while I definitely found myself more so favoring the latter style, the soul songs weren't terrible by any means. They had that orchestrated Motown Sound of funk, and that's a genre I can get behind.

While there are only six tracks, there's definitely meat on the bone of each one. The shortest song clocks in at five minutes three seconds, with the longest coming in just shy of ten. Here's where the problem comes into play.

Rapper's Delight is a song that is just shy of a fifteen minute runtime. However, you won't get this "long" version on the album. Instead, it's the condensed single mix. This was both disappointing and annoying to discover (at first). Mind you, this wasn't some form of bait and switch for the 2007 CD pressing. Rather, even back in 1980, when released on vinyl, the album contained the shorter version. To get the long version, one would have to purchase the twelve inch vinyl single.

There is a work around for this "problem" for CD buyers. Whereas the 2007 pressing of the album is a one to one reflection of the original vinyl, there was a 30th anniversary release in 2010 that contains both versions. While it initially annoyed me that the long version wasn't on the CD I own, when I discovered that this was actually the preserved vinyl as originally released, I got over it fast.

Overall, I was pleased with the debut record. It didn't necessarily make me want to check out for from Sugarhill Gang, but I also wouldn't be opposed to it if I saw 8th Wonder (1981), Rappin' Down Town (1983) or Livin' In The Fast Lane (1984) in the wild.

Sugarhill Gang disappeared after 1984, but made a brief comeback in 1999 with the album, Jump On It! While their days of album sales has since passed, the surviving, along with new members, continue to tour.

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THIS WEEK ON THE CHARTS
March 3, 1984

 

Comics Corner: Spider-Woman 26

   

Title: Spider-Woman
Issue Number: 26
Release Date: May 1980

Highlights

  • First appearance of Rupert Dockery, and Grinder
  • Spider-Woman saves Dockery from being kidnapped, but it's all just a ruse for the publisher to sell more papers
  • Reference is made to Spider-Woman 20
Low Points
  • Boring, and poorly written - Spider-Man is in this issue for all of three panels, reduced to nothing more than a wasted cameo
  • Still not a fan of having to read non-related Spider-Man titles to get the full chronological story of the character, and as noted above, this is only a cameo, making it not even worth while
Oddities
  • Dockery walks into a bar, meets with a criminal, and says he wants to write an expose on his villainous exploits...Odd how a criminal would make himself so easily accessible...to a news outlet...and be agreeable to the story - Terrible writing
Spider-Man's unnecessary cameo

Rating (based on a 1 through 5 Stans grading system)

1 star...

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Retro Spins: R.E.M. - Murmur

 

How do you make an album in 1983 that sounds like it's from the 1990's?

Michael Stipe, and Peter Buck met at the record store where Buck was working, and formed a friendship over similar tastes in music. They were both later introduced to Bill Berry and Mike Mills, and the four agreed to collaborate on some music, but with no real plan or vision for the future. After considering several names, which I won't mention here to keep it family friendly, they eventually settled on R.E.M. 

All four were enrolled at the University of Georgia, but ultimately opted to drop out to pursue developing their band. They released their first single, Radio Free Europe, in 1981 on the independent label, Hib-Tone, and was followed up in 1982 with their first EP, Chronic Town, after being signed to I.R.S. Popularity varied among college radio campuses, with some promoters saying that many people didn't know what to make of it. Ultimately, the experience was better for the band, who used the opportunity to experiment, and learn how to use a studio.

R.E.M. released their first studio album, Murmur in 1983, and while it was critically acclaimed, and backed by college radios, their success remained "underground". It's because of this, that while the band released consecutive albums throughout the decade, they are more so attributed as a 90's band, based on their commercial success of 1991's Out Of Time.

However, before we get there, we need to stop and listen to their debut for today's Retro Spin.

As I said in my opening sentence, "How do you make an album in 1983 that sounds like it's from the 1990's?" Murmur immediately threw me off with its overall style, because while I was familiar with 1988 and 1989 showing signs of the "alternative" era coming in the 90's, I was dumbfounded that it could be found as early as 1983 (and possibly even sooner).

I'm not a fan of the 90's, and this threw me all sorts of off when playing through the record. I won't say that I hated it. In fact, I initially bought it for the song, Radio Free Europe. I just wasn't mentally prepared. As such, with exception of the aforementioned track, nothing else made it to my shuffle list.

Murmur was by no means bad. In fact, I may have to give it a second play through after I've had a day or two to absorb and be prepared for it. I mean, it's definitely R.E.M. Their 80's sound is no different from what they delivered in the 90's. So, there's familiarity there.

To date, all of R.E.M.'s albums, at minimum, have gone to gold status. This is most likely because when their popularity boomed in the 90's, people were eager to devour anything they could get from them. How happy do you think many of those people were to find that they had an entire decade long catalog to dive into? That "familiarity" I mentioned above, probably helped this aspect a lot.

I personally own all their studio albums through 1994's Monster. It was just one of those things that happened unexpectedly. As such, I myself have a lot of R.E.M. to get through. Maybe I'll listen to a couple more albums before re-listening to Murmur.

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THIS WEEK ON THE CHARTS
March 2, 1985

 

Comics Corner: The Amazing Spider-Man 206

   

Title: The Amazing Spider-Man
Issue Number: 206
Release Date: January 1980

Highlights

  • Reference is made by Jonas Harrow how he created Hammerhead, Kangaroo and Will-O-' The Wisp, which I don't think I ever knew
  • Harrow proclaims that he is responsible for manipulating J. Jonah Jameson's mind (with an experimental ray-projector) to amplify his hatred of Spider-Man, and make him go crazy, suffering the nervous breakdown he had
  • Reference is made to The Amazing Spider-Man 196, 198, 201, and 202
  • Harrow is also manipulating the mind of Joe Robertson, turning him equally crazy
  • J. Jonah Jameson thinks he's a hero because he unplugged a wire just as Spider-Man smashes a large transformer - Leading Jameson to think he knocked out all the power, when in reality, he only unplugged an answering machine
  • J. Jonah Jameson is back to normal, and as crotchety as ever
Low Points
  • None
Oddities
  • Peter Parker keeps showing up at the Bugel to visit - Why? He doesn't work there anymore - More oddly, he walks around freely like he owns the place
  • Joe Robertson is colored with "white" skin in a panel

Rating (based on a 1 through 5 Stans grading system)

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Retro Spins: The Pointer Sisters - Special Things

 

Being someone who owns every album from The Pointer Sisters that were released in the 80's, but never has never actually listened to any, I figured now was the time to get started. Where better than their 1980 entry, Special Things?

First though, who are The Pointer Sisters?

Sisters June and Bonnie Pointer began singing in clubs as a due in 1969 as, Pointers, a Pair, but grew to a trio when sister Anita was invited to join. Though they signed a deal with Atlantic Records, this resulted in a series of unsuccessful singles.

The girls expanded into a quartet at the end of 1972, when sister, Ruth, joined the lineup. They would then sign with Blue Thumb Records, and release their debut, self title (1973), album. The album peaked at number thirteen on the Billboard charts, with the success being ushered by word of mouth. Additionally, the debut yielded two successful singles, Yes We Can Can, and Wang Dang Doodle.

The Point Sisters would cross over R&B boundaries, reaching success on the country charts with their second album, That's A Plenty (1974). Like its predecessor, the album went certified gold, and spawned additional hits for the girls.

Steppin', was released in 1975, and smashed the number one spot with its first single, How Long (Betcha Got A Chick On The Side). In addition to having a second top twenty single, the album would also peak at number twenty in the Billboard album charts.

Change was on the horizon for The Pointer Sisters, and this began with their 1977 album, Having A Party. Wanting to take a break, June Pointer stepped away from the microphone, only contributing to the title track, and sister Bonnie would depart the group after its release to pursue a solo career. The album was also the last released by label, Blue Thumb.

Planet signed Ruth and Anita to their label, and the two were able to persuade sister June to return. As a trio, they released 1979's Priority. The album fared poorly on the Billboard charts, and both singles released failed on the charts.

1980 was the launch of The Pointer Sisters greatest period of success, and this all started with their decade entry, Special Things. The album spawned their second top ten hit, He's So Shy, as well as the minor hits, Could I Be Dreamin', The Love To Good To Last, and Where Did The Time Go.

As I kicked off the album, my ears were immediately greeted to a familiar Motown sound that I easily would have mistaken for a 70's Jackson's song, were I not hip to the truth of what was actually playing. Special Things definitely had an "old time" vibe of music. R&B with strings, and a bit of funky soul. While I won't say it's my style of music, there were enjoyable moments in and out of it.

I ended up grabbing four track from the album for my shuffle, Could I Be Dreamin', He's So Shy, We've Got The Power, and Special Things. Mind you, I don't know how often these will be listened to versus being skipped when they come around on the playlist. I do that a lot.

My biggest complaint with the CD version of Special Things, is that it's clearly been created using a vinyl transfer, and not a good one at that. I distinctly heard popping and cracking on two tracks, which majorly detracted from the overall listening experience.

As most people know, the 80's were a big era for the girls, and bigger success was coming over the hill soon. 1981's Black & White, gave a little taste with slow hand, and then launched into orbit with 1982's So Excited! Things only got bigger with 1983's Break Out, and this momentum helped push their 1985 Contact to decent success. However, this was also the start of the decline, and sales showed with 1986's Hot Together, and 1988's Serious Slammin'.

The girls released two additional albums in the 1990's, and returned for one final in 2008. These days, while they step out occasionally for a tour or appearance, it's not the original line-up. Sadly, June suffered a stroke in February 2006, and while hospitalized was informed she had cancer, which had spread throughout her body. She passed away just two months later. Bonnie, who suffered from alcoholic liver disease, would also pass away in 2020. Anita has opted to stay out of the limelight.

Ruth Pointer remained the only active original member, bringing in her daughter, Issa, and granddaughter Sadako Johnson, to fill the shoes of her absent siblings. While it's sad that the time of The Pointer Sisters, as the original members, has come and gone, it's interesting how the group lives on. It brings me to an interesting topic, which I won't have time to go into here, on how classic groups have become franchise. Kept alive by new members performing the hits, sometimes with none of the original members present at all. At least the Pointers are keeping it in the family...for now.

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THIS WEEK ON THE CHARTS
March 1, 1980
 
THIS WEEK ON THE CHARTS
March 1, 1986


Comics Corner: Peter Parker, The Spectacular Spider-Man 43

   

Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 43
Release Date: June 1980

Highlights

  • First appearance of Roderick Kingsley (who becomes one of many of the Hobgoblin), Belladonna, and her henchmen, Jack, Manny, and Moe
  • Peter invites Debra Whitman out on a date
  • Spider-Man gets a sample of Belladonna's toxin, and plans on using it to strengthen his web fluid formula
  • Short and simple story
Low Points
  • None
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Kim Carnes - Café Racers

 

She's the Queen of Rasp and Roll, and no heir seems in sight to dethrone her.

Kim Carnes started out as a song writer and performer in the sixties, shaping her style and persona through demo tapes which she recorded with producer Jimmy Bowen. At the time, Carnes shared recording time with other soon to be noteworthy artists, Don Henley, Glenn Frey, and J.D. Souther.

Carnes would go on to work with her husband, Dave Ellingson, and the two would become the opening act for David Cassidy during his peak international stardom years. Though the two mostly performed her husband's music during these shows, Kim was eventually signed as a solo artist with Amos Records, and released her first studio album, Rest In Me, in 1971.

It wouldn't be until 1975 that Carnes would release her second, self titled, album. You're A Part Of Me, would become her first chart hit, peaking at number thirty-two. With a hit under her belt, she would return to the studio, and follow up with 1976's Sailin'. Though her track, Love Comes From Unexpected Places, would win prizes at multiple music festivals, the album ultimately didn't perform as well as expected.

Gene Cotton would reach out to her around this time frame, and recruit her to sing a duet version of her hit, You're A Part Of Me. The song once again charted, peaking at number thirty-six. The singer would return to the studio to release 1979's St. Vincent's Court, and 1980's, Romance Dance. However, her biggest breakthrough was yet to come.

Enter Kenny Rogers.

Rogers petitioned Carnes to join him in the studio for his 1980 album, Gideon. Specifically, to record the duet track, Don't Fall In Love With A Dreamer. When released, the song would soar up the country charts to number four, becoming her biggest success at the time.

Back to the studio, Carnes set to work on her next, and highest selling album to date, Mistaken Identity. Led by the smash hit, Bette Davis Eyes, the album would ultimately go platinum, with the song spending nine weeks in the number one spot on the Billboard Charts.

High expectations pushed her 1982 follow up album, Voyeur, into the spotlight. While it didn't perform as well as her prior release, it still managed to reach gold status based on the hype. Overall, the album received mix reviews, but was still noted as a worthy successor to Mistaken Identity.

Carnes once again returned to the studio, releasing 1983's Café Racers. While it spawned multiple chart singles, the album wasn't as successful as her prior two albums, and continued her decline in overall success. Mind you, this was despite the album including the singers hit, I'll Be Where The Heart Is, which also appeared on the Flashdance soundtrack. However, in writing that, perhaps the problem was that people would rather buy that soundtrack at the time for its far superior material. Just a thought.

As for me, I fired up Café Racers today, honestly, I was quite surprised in how much I enjoyed it. Especially since I literally laughed out loud during my listening session of Mistaken Identity back in 2021.

What led me to purchase the albums were the tracks, You Make My Heart Beat Faster, and Invisible Hands. This icing on the cake was that I also really enjoyed Young Love, The Universal Song, Hangin' On By A Thread (A Sad Affair Of The Heart, and Kick In The Heart. While it wasn't a selling point, because I already own the soundtrack, having the hit from Flashdance as the ending track was a nice bonus.

Overall, this is what I wanted to hear from Kim Carnes. I wanted to understand what all the hype was, and this album made me aware. Café Racers achieved what I hoped it would. It's made me want to check out more from the artist, and that's exactly what I'm going to do.

Fortunately, I have options. Not only do I have the previously mentioned albums from the 80's, but also her follow ups, Barking At Airplanes (1985), Light House (1986), and View From The House (1988). The singer did try her luck in 1991 with Checkin' Out the Ghosts, but then promptly withdrew from the spotlight. She wouldn't return until 2004 with her last album to date, Chasin' Wild Trains. While I won't be checking out the latter two, I'm definitely going to dive into those 80's albums.

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THIS WEEK ON THE CHARTS
February 28, 1981
 
THIS WEEK ON THE CHARTS
February 28, 1987


Retro Spins: Eddy Grant - Killer On The Rampage

 

Protest hidden behind funky reggae made for a massive hit in 1982!

Eddy Grant began his career in 1965 as one of the founding members of The Equals. The band would go on to release multiple albums, producing multiple top forty hits, including the number one hit, Baby Come Back.

In 1969, while on tour, all five members were severely injured in an accident, with Grant suffering the greatest. Though he continued to write songs for the group, he withdrew from the shows. However, in 1971 he suffered from a collapsed lung, and heart attack which caused him to return to Guyana. It was upon recovering that he opted to pursue a solo career.

Grant released his first self titled album in 1975, and followed this up with 1977's Message Man. However, it would be his third album, Walking On Sunshine (1979), which would be his breakthrough as a solo artist, thanks to the UK top twenty hit, Living On The Frontline.

While he would release two albums in 1980, Love In Exile, and My Turn To Love You, it would be his 1981 album, Can't Get Enough which would put him back on the charts. The album spawned two hits, the title track, Can't Get Enough, and I Love You, Yes I Love You.

Bigger things were on the horizon, and this started with Grant relocating to Barbados, and opening Blue Wave Studios. It was here that he would set to work on his biggest album to date, 1982's Killer On The Rampage.

Firing up the album, I was immediately treated to the number two Billboard hit, Electric Avenue. I honestly didn't have high expectations beyond this point, and figured I would end up tuning the remainder of the album out as background noise. Boy, was I wrong. Well, sort of.

Killer On The Rampage is a pretty solid album. Well, at least the first half. After enjoying I Don't Wanna Dance, It's All In You, and War Party, I dipped out until being brought back with the title track of the album. From there, I kind of tuned things out again.

Overall, it was good enough that I would be willing to table in more of his stuff from the decade. I'm particularly interested in his albums, Can't Get Enough, and Go For Broke. The latter because it features the cut song originally intended for the soundtrack, Romancing The Stone.

Grant continued to release albums fairly steadily through the 80's, and like most artists of that time, dabbled a bit in the 90's, but then disappeared, only to return in the new millennium with a handful of additional albums. To date, Killer On The Rampage remains his only album to go gold in the USA.

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THIS WEEK ON THE CHARTS
February 27, 1982