The Toy Box

Retro Spins: Iron Maiden - Killers

I was a bit surprised by how well my introduction to Mr. I. Ron Maiden went yesterday with their self-titled debut. My initial exposure to the band was previously very limited, pretty much to what was included on the various Guitar Hero or Rock Band games.

Bassist Steve Harris formed them in 1975, originally as Ash Mountain. However, the members preferred the other name he'd come up with, Iron Maiden, which Harris took inspiration from the film adaptation of The Man in the Iron Mask to come up with.

The original lineup consisted of Harris on bass, Terry Rance and Dave Sullivan on guitars, Ron Matthews on drums, and Paul Mario Day on vocals. Day would be the first to depart, lacking the energy and charisma needed. He'd be replaced by Dennis Wilcock, a fan of Kiss who would often incorporate fake blood and makeup into the shows.

Wilcock asked Dave Murray to join, also on guitar, causing grief with both Sullivan and Rance. Though these frustrations would end in a very temporary disbandment of the group, it was quickly reformed in 1976 with Murray as the sole guitarist, alongside Wilcock on vocals, Harris on bass, and Matthews on drums. Harris and Murray remain the band's longest-serving members and have performed on all of their albums.

Bob Sawyer was recruited to the band as a second guitarist, but fired in 1977 after embarrassing the band onstage, while pretending to play guitar with his teeth. Tensions also began to cause a rift between Murray and Wilcock. Both Murray and Matthews were let go. A new lineup consisting of Harris, Wilcock, new guitarist Terry Wapram, Barry Purkis on drums, and keyboardist, Tony Moore. However, the latter would be let go after a single gig in 1978, when Harris decided he didn't want keyboards as part of the band's sound.

Murray rejoined in early 1978, and when Wapram disapproved, he was fired. Weeks later, Wilcock would leave to form a new band with Wapram, and though he wouldn't join them, Pukis would also depart. Doug Sampson, who attended the last gig with Wilcock and Pukis would join the band.

By the summer of 1978, Harris, Murray, and Sampson spent their time rehearsing, and looking for a new singer. The band called it a chance meeting at a pub where they met Paul Di'Anno, and ultimately recruited him as their new vocalist. Additionally, they wanted to bring in a second guitarist, but Harris would say of this, "Davey was so good he could do a lot of it on his own. The plan was always to get a second guitarist in, but finding one that could match Davey was really difficult".

Hoping to secure more gigs, Maiden recorded a four-track demo on New Years Eve, 1978. Neal Kay, the manager of the club, Bandwagon Heavy Metal Soundhouse, was given a copy, and liking it so much, he frequently played it at the club. This led to the band reaching number one on the Soundhouse charts, for Sound magazine.

Rod Smallwood also received a copy of the tape, and so impressed, he signed as their manager. With their popularity continuing to grow, they recorded a second demo, The Soundhouse Tapes. All 5,000 copies sold out within weeks. Their overall popularity soon attracted the attention of EMI, who signed them in December 1979.

Prior to beginning work on their debut, Murray's childhood friend, Adrian Smith to join as the band's second guitarist. However, when he declined, Dennis Stratton was instead hired. Unfortunately, health issues soon resulted in Doug Sampson departing. Stratton suggested new drummer, Clive Burr, who was hired. The band would make their first appearance on EMI's compilation album, Metal for Muthas, released in February 1980. This was followed by their self-titled debut in April.

Iron Maiden, the album, would debut at number four on the UK charts. In addition to the title track, it would feature early fan favorites, Running Free, Transylvania, Phantom of the Opera and "Sanctuary, the latter only appearing on US pressings initially. The band departed on a support tour, headlining for Kiss's Unmasked tour. Though upon completion, Dennis Stratton, was let go for creative and personal differences. Adrian Smith was once again asked to join and did.

December of 1980 brought them to the Rainbow, where they performed and recorded the video, Live at the Rainbow. Excerpts, Iron Maiden, the song, and Wrathchild would be put into heavy rotation on MTV during its first hours, making them the first heavy metal videos on the channel.

Having a lot of material already written prior to their debut album, it was relatively easy for Maiden to couple together their second album, 1981's Killers. Unhappy with the production of their first record, the band brought in producer, Martin Birch, who would continue to work with them until his retirement in 1992.

The boys embarked on a world tour, opening for Judas Priest. In total, they booked one hundred thirty-two shows, performing across the globe. In addition to this, they also appeared at several festivals, playing before as many as 100,000 people. The album as a whole would peak at number twelve in the UK, and seventy-eight on the Billboard 200, among charting in several other countries.

While I'd love to say the album was another solid banger, my initial listening session was frequently interrupted by a fire alarm at the office, which kept going off. This resulted in me having to restart the album.

Restarting it, I was once again greeted by the amazing instrumentation and vocals that impressed during their first record's listening session. Standout tracks from Killers, for me, were Genghis Khan, Purgatory, and Drifter. Though as a whole, it was a solid album. I can definitely hear the upped production values. Overall, things just sound crisper and clearer.

With that said, what I didn't necessarily hear were as many catchy hooks or riffs, in particular from the guitars. Yeah, sure, Murray and Smith are wailing, but they're just not developing sounds that are necessary catching my attention. Still, not a bad album. Just maybe not as good as their first.

Drug abuse contributed to a lot of erratic behavior from Paul Di'Anno, resulting in his dismissal in '81. He'd say in a later interview, "It wasn't just that I was snorting a bit of coke, though; I was just going for it non-stop, 24 hours a day, every day ... the band had commitments piling up that went on for months, years, and I just couldn't see my way to the end of it. I knew I'd never last the whole tour. It was too much". In September, Bruce Dickinson would audition for the job and be immediately hired. Dickenson would head out on a series of shows with the band prior to recording their third album, 1982's The Number Of The Beast. That's where I pick up tomorrow.

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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.

Baltimore Comic Con Part II: Al Milgrom

My day at Baltimore Comic Con continued with a visit to Al Milgrom. He's an artist I've gotten many books signed by in the past, and though there are plenty more I could bring to him, I had to limit myself. I was determined that 1) I wasn't going to break the bank, 2) Get books that really didn't mean that much to me signed, and 3) carry the usual amount of weight on my back that previous shows had yielded. I think I accomplished this.

Al is the kind of guy you're not going to walk up to his table, rush through his line, and simply have a transaction. He wants to talk to you, and he'll do so about any topic. Last time, he regaled me with the tale of how he came up with the villainous Spot's real name. This time, it was how much he liked Coney Island hot dogs, and the true way to make them. Mind you, when he's talking, he's not signing. He wants you to focus fully on the conversation at hand because to him, it's just as, if not more important for him to interact with you, then to just sign your books and send you on your way.

There were some books in this pile that were taken to previous shows that I opted out of getting signed at the time. Mainly because it was already a long day, my feet were hurting, and I didn't want to stand in a long line again. So, I was happy to get these checked off this time around.

I also found out there were quite a few issues in the symbiote story arc which I had missed completely in the past. I was really glad to rectify that oversight.

When Al looked at this Peter Parker Annual, he asked, "Did I work on this?" To which I said, "The internet says you did." This spawned a whole new conversation with Al about the internet and invoked his sarcasm in how it's always right. Truthfully, I don't know if he worked on this one at this point. His names not on the cover, nor in the credits inside. Considering he doesn't seem to think he did, I'm going to say he probably didn't, but just in case he did, it's signed now.

My pile kept growing and growing as the show got closer and closer, and I honestly ended up taking way more with me than I initially intended to. Like I said, there are still a lot of books that he worked on in the various Spider-Man titles. So, I could technically get more signatures from him in the future. Though I don't think I really need to. I've pretty much covered all the books which are important to me at this point...I think.

I talk about trying to hold myself back and not go overboard. However, then you'll see things like tomorrow's post, and say, "Reserved? Yeah, right." It all comes to light tomorrow, as I continue my day through Baltimore Comic Con 2025.

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Retro Spins: Iron Maiden - Iron Maiden

My journey through unknown territory continues with today's entry, Iron Maiden. One thing I've been reluctantly finding out in this process is just how expensive a lot of 80's metal is on CD. It's kind of up there with rap, being not only costly, but sometimes a bit rare. What's most odd about this, is that there's no relative rhyme or reason I can figure out as to what's driving some of the prices. For example, among the seven Iron Maiden CD's from the 80's, which range between 1980 and 1988, 1984's Powerslave seems to be the rarest to obtain an original pressing of.

As of this writing, Iron Maiden has been together for fifty-one years, and over that course of time have released seventeen studio albums, thirteen live albums, seven compilation albums, four extended plays, five box sets, twenty video albums, and a slew of singles. That's not to mention the lineup of music videos they've had over the decades which have run in steady rotation on MTV. Basically, there's no shortage of material for one to seek out.

The band popularized their mascot, Eddie, by featuring the zombie like character on pretty much everything they ever released. In a way, the character became just as popular as a band, and since its inception has been memorialized on merchandise that's included shirts, buttons, and even in action figure form.

Of course, with all of this, there is a tome of history behind the band. I'll skip over that at present, as I'm still in the process of reading and learning about it myself. Out of respect for their legion of fans, I'll try not to butcher it when I swing back around to it tomorrow.

Honestly, I didn't know what to expect when I fired up their 1980 self-titled debut. Was this going to be speed metal, similar to my recent listening sessions of Megadeth? Or would we lean into a more circus act approach, such as where we landed with Grim Reaper? The short answer, Megadeth, but sometimes with length.

The long answer, Iron Maiden focuses on playing fast, playing loud, but unlike Megadeth who kept songs confined to a three-to-four-minute mark, Maiden occasionally steps out of this confinement, giving songs room to breathe between the five- and seven-minute mark.

Candidly, this is where I felt their music shined. Songs such as Remember Tomorrow, and Phantom Of The Opera, stood out because of the great guitar work which was able to flourish in the extended runtime. Further, where they also came in far superior to both bands noted already, was in the vocals of Paul Di'Anno, who bothers to sing over the music, versus screaming. Sadly, I would learn that he would later be fired from the band after their sophomore album, Killers. While I'm glad that there will be at least one more with him, I'm not going to lie, that's a bit disappointing.

I suppose that's a fairly good segue into tomorrow's post, where I'll pick up with 1981's Killers. I did also see that the band released quite a few EP's between 80 and 81, and I may check some of those out too.

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Retro Spins: Grim Reaper - Rock You To Hell

You're Grim Reaper, a metal band from the 80's, making a solid name for yourself among the likes of Metallica, Dio, Iron Maiden, Megadeth, Judas Priest, and so on. While you're not as popular as the others, you're still managing to hold your own. You're released two albums the peaked on the Billboard Hot 200 and have music videos in steady rotation on MTV. Then your label cuts a deal with another to release your second album. Then the problems start.

The matter surrounded RCA, who had paid Ebony considerably for the licensing rights to their second album, Fear No Evil (1985). However, Ebony would not pay anything to the band themselves. The guys would attempt to sever ties with the label, and in retaliation, stopped paying Ebony for their third album. As litigation ensued from Ebony against Grim Reaper, this halted the release of their third album, Rock You To Hell.

By the time the album sees release in 1987, the world of metal has moved on. The style of Grim Reaper's more pop oriented metal has been replaced by thrash and speed metal. To further blur the lines, hair bands have emerged as the new kings of hard rock. There's no place for Grim Reaper in all of this. It's so bad that even with major label distribution, and a popular title track music video on MTV, none of this can help. The band is yesterday's news, and the album doesn't chart.

The band has a habit of starting their albums off with the title tracks, which in retrospect, is kind of a good move. It's like showing the title before a movie. The song itself is pretty okay.

As a whole, it was a better listening experience than their sophomore released, Fear No Evil. Whereas the previous lacked many interesting tunes, Rock You To Hell provides a handful of standout tracks, Lust For Freedom, When Heaven Comes Down, and Suck It And See. Further, where songs fail to click, they still deliver massive and intriguing guitar solos which kept me engaged. Overall, it was a good, but otherwise unintended ending to the band.

Despite the lackluster reception of their third album, RCA put into production the band's fourth album, which was to be called, Nothing Whatsoever To Do With Hell. However, this momentum would be derailed when further litigation from Ebony ensued. The continued financial strain left the band no alternative but to break up in 1988.

Lead singer, Steve Grimmett, would go on to front Onslaught, replacing Sy Keeler with their 1989 album, In Search Of Sanity. However, this would be his only album with them, and he'd depart and join Lionheart. Meanwhile, lead guitarist Nick Bowcott would become a music writer, and later staff contributor, for publications like Circus and Guitar World. He would also worked with Marshall Amplification's United States division and performed in the band Barfly. Not much is known about what happened with bassist Dave Wanklin, or drummer Marc Simon.

However, in 2006, someone by the name of Eddie Trunk announced on the show, Metal Mania that the band was reuniting, sans Bowcott. Together, they performed at a series of festivals, including the infamous Play it Loud IV in Bologna, Italy. While the promoter of the event pulled out, and cancelled it, despite tickets already being sold, Grim Reaper, along with several other bands, would still show up, and provide a night of entertainment for ticketholders.

Nick Bowcott returned briefly for the band's first show int he USA since 1987 but departed shortly thereafter. Steve Gimmett's iteration of Grim Reaper would release 2016's Walking In The Shadows, and 2019's At The Gates. While a new album was announced in 2022, sadly, Grimmett passed away that August.

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Retro Spins: Grim Reaper - Fear No Evil

Not much appears to have been told about the origins of the English metal band, Grim Reaper. Though it's stated they started in 1979, by 1981, only Nick Bowcott remained. He would recruit Dave Wanklin on bass, Lee Harris on Drums, and Steve Grimmett on vocals, taking this lineup to a 1982 Battle Of The Bands, where they won first place against over a hundred other bands.

While the win came with studio time to record a demo, Grimmett, at the time, was also the unofficial lead singer for Chateaux, who were already signed to Darryl Johnston's Ebony Records. Grimmett handed them the demo, resulting in them getting signed to the label as well.

Their debut, See You In Hell would be released in 1983, firing up the Billboard 200 to peak at seventy-three. Despite this, the title track would go on to be ranked number thirty-eight on VH1's 40 Most Awesomely Bad Metal Songs Ever countdown.

Around this time, Lee Harris would be replaced by Adrian Jacques, who in turn would be replaced by Marc Simon in early 1985. Not much is stated in terms of why Harris left, but purportedly, Jacques departed to attend university.

Reaper's follow-up album, Fear No Evil, would be released in 1985, but fail to chart higher than their debut, stalling at one hundred eleven on the Billboard 200. Despite this, the band was starting to gain recognition for the guitar work of Bowcott, and distinct vocals of Grimmett. They'd embark on a successful world tour, which culminated in an appearance at Texxas Jam that year, performing before 20,000 attendees alongside Deep Purple, Scorpions, Night Ranger, Ted Nugent, Bon Jovi, and Victory.

Fear No Evil kicks off with the title track. Right away, I can hear a more polished production sound. The band had definitely learned a thing or two between their debut and sophomore albums.

While I want to say that in addition to the title track that Matter Of Time stood out. However, if I'm being honest, by this point in this post, which saw me reading more about their future history than actually paying attention, I don't honestly remember how that song went.

As a whole, Fear No Evil, the album, wasn't as engaging as their debut. Maybe this was simply because I literally jumped right into it, and the "something new" first impression had already worn off, but overall, I just wasn't hearing many catchy tunes. By the end of it, my thought was that it was just okay. Nothing bad nothing good, but also nothing memorable.

Though the band promptly returned to the studio to begin work on their third album, Rock You To Hell, it would not be a smooth release. Disputes over royalties would see them clashing with their label Ebony Records, and litigation would soon follow. All of that drama unfolds tomorrow.

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Retro Spins: Masters Of The Universe

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

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

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

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

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

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

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

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

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

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

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Retro Spins: Grim Reaper - See You In Hell

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I'll pick up there tomorrow.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Retro Spins: Simple Minds - Street Fighting Years

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Retro Spins: Simple Minds - Sparkle In The Rain

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

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

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

But I digress.

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

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

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

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

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