The Toy Box

Retro Spins: Wang Chung - Mosaic

Today, I'm continuing on with the 80's studio discography of Wang Chung. However, the key word in that sentence was "studio". As such, while the guys would record the soundtrack, To Live And Die In L.A. (as well as contribute to other soundtracks) between 1984's Points Of The Curve, and 1986's Mosaic, I'll be skipping that one, for now.

By the end of 1984, the band had been reduced to the two core and founding members, Jack Hues, and Nick Feldman. The two would opt to continue on, not replacing the most recently departed, Darren Costin. It's honestly not surprising, considering that when Dave Burnand left prior to him that he too wasn't replaced. Instead, they just moved on with reduced numbers. They would, however, select producer Peter Wolf to work on their new record, and he would fill in on various instruments, among other studio musicians.

Mosaic would go on to be Wang Chung's biggest selling album, being certified gold in the USA. Ironically, though it remains their biggest seller in their career, it actually charted lower than their previous two releases. With it would come three top forty singles, two of which would crack the top ten, only leading to more confusion as to how the overall album failed to chart better.

Among the singles was their most notable, Everybody Have Fun Tonight. It would peak at number two and carve out the band's name as its own verb, urging everybody to Wang Chung. This was followed by Let's Go, which peaked at number nine. The last, Hypnotize Me, would later be contributed to the Steven Spielberg film, Innerspace, and chart at number thirty-nine.

For me, I bought the album for Everybody Have Fun and was pleasantly surprised when it dawned on me I not only knew Let's Go, but that it was a forgotten favorite from my childhood. As for the final single, it really wasn't my thing, and this kind of mirrored the remainder of the album.

It didn't help that I consistently got pulled away from it, and as a result was listening to tracks in batches of two or three. This perhaps contributed to me not really getting into it all because I couldn't listen to it consecutively, making it feel a bit disjointed. With that said, I doubt I'll go back and play through it again. It didn't have that much potential.

Wang Chung would head out on the road in support of the album, partly as the opening act for Tina Turner's Break Every Rule world tour for their US portion. From there, it would be three years before they returned to the studio for what would become not only their final album of the 80's, but their last for quite some time.

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Retro Spins: Wang Chung - Points On The Curve

With their debut a flop, Huang Chung returned to the studio, intent on recording and releasing their second studio album. Things started out with a new single Dance Hall Days. However, this too would fail to chart, prompting the band's manager, David Massey, to asked Arista to release them from their contract. He felt that the potential was there, and moved the band to Geffen Records, where they became the second UK act to be signed to the label (the first being the band Asia).

It was around this time that two things would happen. First, saxophonist, Dave Burnand would opt to quit the group around this time, citing creative differences as the reason. Second, Huang Chung would become Wang Chung. The latter would be at the request of Geffen Records, who felt it needed to be easier for people to pronounce. As for Burnand, he would go on to become a music teacher at University of London and the Royal College of Music.

Upon its release, Points On The Curve would spawn three top forty Billboard hits, which included the re-recorded Dance Hall Days (peaking at number sixteen), Don't Let Go (peaking at number thirty-eight), and Don't Be My Enemy (peaking at number eighty-six). The success of their first single would garner them the ability to tour the US alongside The Romantics and Berlin. As a whole, the album would also chart across six countries. Despite this, it would not reach any sales certifications.

Things kick off with the single, Dance Hall Days. However, depending on which pressing you have will dictate this. While the original UK release contains the same tracks as what would be repackaged and shipped worldwide, the initial UK order of songs is quite different from the rest. As for the song, there's not much to say about it. It's the tune I bought the album for.

Unlike their debut, which really impressed me, Points On The Curve doesn't quite stand up. It's not a bad album, and there are definitely standout tracks, but they're just fewer and further between. I also noticed a significant change in musical style, and this is probably based on the departure of Burnand. Whereas with his inclusion, the debut came off as a smoother jazz and pop fused release, this album goes straight for synth pop.

When Look At Me Now came on, my mind immediately told me, "This sounds like Hall And Oates." That wasn't necessarily a bad thing and served to make it quite an enjoyable tune. As for the remaining singles, Don't Let Go, and Don't Be My Enemy, I didn't find them all that impressive. In fact, with exception of Even If You Dream, and Talk It Out, the rest of the album was pretty bland.

Following the subsequent tour for Points On The Curve, drummer Darren Costin would depart, stating he wanted to pursue a solo career. This not only left Wang Chung without a drummer but reduced down to just two core founding members. Rather than call it quits or hire new members, Jack Hues and Nick Feldman opted to continue on as a duo.

However, the two found themselves dissatisfied with their latest album, and as a result, they asked their manager about the possibility of working on soundtracks. Timing seemed to line up, as someone who wasn't disappointed with it was director, William Friedkin. He invited the guys to write and record the music for his upcoming film, To Live And Die In L.A., which would be released in 1985 alongside Wang Chung's soundtrack. While I own that one, I'll be skipping over it, for now, instead focusing strictly on their studio releases. As such, tomorrow, I jump into 1986's Mosaic.

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Comics Corner: The Amazing Spider-Man 314

Title: The Amazing Spider-Man
Issue Number: 314
Release Date: April 1989

Highlights

First appearance of Howell Thurston III, department store Santa, Clark, Marty, Sid, and Kermit
First appearance of J.C. Herdling Department Store
The story opens with Peter and Mary Jane being evicted from the Bedford Towers on December 24th

They learn that Jonathan Caesar is behind the eviction order, despite him being in jail for the kidnapping of Mary Jane

Reference is made to The Amazing Spider-Man 304 - 309
Aunt May tells the two to put their stuff in her attic, and move into Peter's old bedroom

They take her up on the storage, but Peter tells her they already have somewhere else to stay

In the office of Howell Thurston III, manager of J.C. Herdling Department Store, he scoffs at Christmas Eve being on a Saturday, with all the banks closed

He says this to Clark, who is working at a small desk behind him

Howell asks if this is his 19th Christmas to work, to which Clark informs him it's his 23rd, but will be his best, as the man uncovers a gun in his briefcase

As Aunty May heads home, Mary Jane asks Peter where they're staying, to which he responds that he doesn't know

He explains that he simply can't move back home, and have to start explaining his comings and goings to his aunt

As the two walk through the park, they see a woman getting mugged

Though wanting to wallow in his sorrows, Mary Jane convinces Spider-Man to intervene

At a security firm, a truck speeds away from the place, and in the back are the three guards intended to be in it tied up and gagged, their uniforms removed
Peter and Mary Jane head to the Bugle for their annual Christmas party, and while there, Peter considers asking a few co-workers if they can crash at their place

He considers the Robertson's, Joy Mercado, and even briefly, J. Jonah Jameson

Thurston and Clark head outside to meet the security truck, only for Clark to pull a gun on him
Peter heads to the cemetery to talk to Uncle Ben
Back at the store, another guard sees Clark holding the gun and springs into action

The three fake guards in the truck spring into action, and open fire, but Clark calms everyone down by taking a department store Santa hostage, dragging him to the truck which takes off with Thurston's money

Peter hears the gunfire, and springs into action

A short battle later, and Clark and all the guards are subdued

Peter returns to Uncle Ben's grave to find Aunt May there

Peter realizes he and Mary Jane that staying with Aunt May is what she wants, and decides to do it

The Parker's enjoy Christmas Eve together
While there's no spiders on the cover, Felix the Cat makes two appearances

The first is on the splash page where the Parker's are being evicted

The second is on the wrapping paper of a gift being given to Spider-Man by a woman he saves from being mugged

Low Points

Another issue with no major villain

Oddities

None

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

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Retro Spins: Huang Chung (AKA Wang Chung) - Huang Chung

For as many smash hits as there were in the 80's, there's not many bands I think of when the word, "anthem" comes to mind. However, that's exactly what comes to mind when I look back on the band, Wang Chung, or Huang Chung, as they were initially called. They'd take their name, and turn it into one of the most catchiest songs of 1986, with it creating an iconic slang verb that would remain predominant in the decades to come.

While they wouldn't initially last past the 80's, during their time, they'd churn out four albums, and with them, eight Billboard Hot 100 hits. Of those eight, to this day, I only know two, the first being the aforementioned hinted at Everybody Have Fun Tonight, and Dance Hall Days. Ironically, I was never really a big fan of either, but of course needed them in my collection of 80's music.

Further, I was unaware of the band initially going by the name Huang Chung until I started looking into their discography for this series of Retro Spins. It was in looking further into this that I found that wasn't even their initial choice. Rather, the band started as Intellektuals in 1977, when guitarist and lead vocalist Jack Hues (AKA Jeremy Ryder), and guitarist Nick Feldman met through Feldman's ad for musicians. They would add Bud Merrick on bass and Paul Hammond on drums to round out the group.

Less than a year would pass, and the band would break up, leading to Feldman and Hues joining drummer Darren Costin, bassist Leigh Gorman, keyboardist Simon Campbell and vocalist Glenn Gregory to form 57 Men. This band too would break up.

Hues, Feldman and Costin would go on to form Huang Chung. As a three piece, they would sign with 101 Records, and release one single, and three live tracks across two compilation albums from the label between 1980 and 1981. Rewind Records would also sign them to a two single deal in 1980, and upon releasing these, got the attention of Arista Records, who signed them to a two album deal in 1981. It was around this time that the band would also expand to a quartet, adding saxophonist Dave Burnand.

Rather than use their real names, the band adopted nicknames, with Ryder becoming Jack Hues, Nick Feldman becoming Nick de Spig, Darin Costin becoming Darwin, and Dave Burnand becoming Hogg. Of them, Hues would be the only one to adopt the name long term, still using it to this day.

The self-titled Huang Chung was released in 1982, but failed to garner much attention. This should have been no surprise to the label, as it comprised of multiple singles and b-sides released prior to its debut, and many of these were included on the album. As a result, in retrospect, it's no surprise that this particular album would fly under the radar of your casual Wang Chung listener.

As for me, I actually really liked it. I didn't see that coming, and perhaps this worked to its benefit, as I didn't go into it with any sort of expectation. Of the ten tracks, five were easily shuffle worthy. These included Ti Na Na, Straight From My Heart, Dancing, Why Do You Laugh, and I Can't Sleep.

What I equally found surprising was how the slower tempo tracks really stood out. In general, Wang Chung, or Huang Chung, aren't know for thrashing on their instruments, but they do keep a steady rock pace. As such, when they shifted to the milder ballad tempo, which I'm not usually a fan of, I was shocked to see I favored these more.

This was definitely a solid start for my listening sessions, and I'm totally psyched up to jump into their 1983 name change and follow-up album, Points On The Curve. That's subsequently their first album that delivered a top forty hit, Dance Hall Days, and paved the way for future success. However, that would be without Arista. That all unfolds tomorrow.

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Comics Corner: Web Of Spider-Man 49

Title: Web Of Spider-Man
Issue Number: 49
Release Date: April 1989

Highlights

First appearance and death of Winston Shepherd
First appearance of Sal
Spider-Man stops Winston from selling drugs to a kid, and then tosses all his drugs into the wind to blow away
The story flashes back to Mary Jane meeting her friend Lorraine, who's with Winston

Lorraine and Mary Jane go to the former's apartment, and she crashes out from drug induced side effects

Mary Jane calls the Bugle looking for Peter, who's in Kate Cushing's office being reamed out

Unknowingly, Mary Jane ends up on the phone with Kate, and tells her that she knows her husband is in with that "ice queen", referring to Kate, and to please get him for her

Mary Jane points out Winston to Peter from the window, and asks him to make him go away
Peter proposes a series of photographs of a day in the life of a drug dealer to Kate, and she tells him to go do it
Back in the present, Spider-Man tracks down Winston again, and stops him from selling drugs to someone else
Winston calls Sal, and tells him about his troubles

Sal sends him to a specific location to get a resupply, but tells him that if he leads Spider-Man to him that he'll kill him

Mary Jane attempts to get Lorraine checked in to rehab, but keeps getting told there's a waiting list

When they find a private institute they're told that it's $50,000.00 year, which they can't afford

This portion of the story is intercut with Spider-Man breaking up more of Winston's attempted sales

After dropping Lorraine off at home, Mary Jane leaves, and shortly after, so does Lorraine
Across town, Winston makes his way to Sal, and pleads for help

Sal shouts at him, telling him he warned him not to come there, and shoots the dealer

Spider-Man enters the warehouse, and is met with gunfire

Mary Jane returns to Lorraine's house to tell her that some of her well off friends will help with rehab costs, but finds she isn't there
Spider-Man makes short order of the criminals, and approaches a dying Winston, who he promises to get to a hospital

Winston asks him why he did all of this to him, and Spider-Man says because of Lorraine, to which he responds, "Who's Lorraine?"

Peter turns over the photos to Kate, and then goes to find Mary Jane, only to learn that Lorraine has overdosed, and is in the hospital\

She cries about how even though Winston is gone that all she did was find another pusher to sell her drugs, finding the whole effort pointless

Peter tells her it wasn't pointless, but rather that the fight against drugs is long

As the two walk off, a new dealer takes his place on the corner

Low Points

No major villains, just a preachy story

Oddities

Editor's Day Off: Mary Jane tells her friend Lorraine, "Tomorrow when you're feeling better, we'll just just show up at one."

The Daily Bugle wants a story on a day in the life of a drug dealer

It sounds odd on the surface, but Spider-Man breaks up every deal before they can happen

The woman at the private facility tells Lorraine that it took years to get addicted to drugs

Not that I'm on drugs or anything, but I'm pretty sure it happens a lot faster than that

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

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Retro Spins: M + M (Martha And The Muffins) - The World Is a Ball

I am so relieved that today is my last day of Martha And The Muffins, AKA M + M. In terms of Retro Spins, this has been among the most fatiguing and unenjoyable experiences. After six very expensive albums, I am not a fan. In fact, I'm kind of ticked off because of how much their CD's cost. Kids, this is a perfect reason why you don't just buy albums without hearing or knowing something about them.

Ugh...okay...let's go.

Martha Johnson and Mark Gane took a few years to record what would become 1986's The World Is A Ball. However, upon its release, while it would chart slightly higher in Canada than its predecessor, 1985's Mystery Walk, it would only yield one minor hit, Song In My Head. Following its lackluster reception, the two would decide to take a hiatus.

Thank God!

The World Is A Ball, the opening track, is kind of okay. It's got a peppy beat that makes it easy to get into. But top ten material it is not. Further, I'm not about to let my guard down with it. I've fallen for that before in previous albums, only to be met by mediocrity, and boredom.

I swear track two and three, I Watch I Wait, and Watching The Boys Fall Down are set to the exact same music. It was at this point that I started skipping through tracks, listening for a few second. However, by track five of ten, I did something I haven't done in a long while. I gave up, and turned it off.

Seriously, I'm done with Martha And The Muffins, M + M, or whatever you want to call them. While my normal layout of these posts would have be going into the future of them past 1989, frankly, I don't care. They could have created time travel, and colonized mars, I couldn't care less. All I want is to distance myself from them as much as possible at this point.

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Comics Corner: The Spectacular Spider-Man 148

Title: The Spectacular Spider-Man
Issue Number: 148
Release Date: March 1989

Highlights

The skeletal remains of Ned Leeds, Gwen Stacy, and Spider-Man rise from the ground, and Betty sees all of this, though she's miles away in Flash Thompson's apartment

Betty tells Flash about her vision, and Flash tells her that he wishes Spider-Man were there because he's his hero

The demons outside overhear this

Flash and Betty are the only ones left in the building

Outside it's a furnace, inside an ice cube

The demons of N'Astirh have been given free reign to "play" with the humans

On the roof, "Spider-Man" appears before Flash, and starts fighting with him, while in the apartment, the remains of Ned Leeds arrive, scaring Betty

"Spider-Man" webs Flash to an antenna, and removes the lightning rod from the roof, making Flash the potential new conduit
Inside, Betty whimpers for help, but the ghost of Ned Leeds appears to her, and tells her she needs to stop depending on everyone else for strength, but instead to help herself

Back on the roof, Flash breaks free of the webbing, and realizes that the fact that he broke free means this isn't the real Spider-Man, and the fight continues

The demons reveal themselves to both Ned and Flash, and Betty explodes the apartment with a gas heater, fleeing with Flash at the last moment
Outside, the skies clear, and the demons vanish
Reference is made to X-Factor 38
The Inferno storyline ends, but...