Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 55
Release Date: June 1981
Highlights
I first touched on Dutch duo Maywood back in January of this year with their 1980 debut, and had I adopted my motif that I have as of late, I would have ultimately stayed the course, and gone through their second and third albums as well. While that opportunity may have passed, that doesn't mean I can't pick up where I left off, and dive in.
Honestly, I didn't touch much on the history of sisters, Alice May (Aaltje de Vries), and Caren Wood (Doetje de Vries), during my initial post. The two have had a storied career together as an act, starting at a young age, and being a part of numerous groups. These included their first, De Karina's in 1974, followed by Colt 45 in 1976, and later their own duo The Lady Pop's. By 1979, the girls decided they would continue together under the name Maywood.
The single, You Treated Me Wrong, from their 1980 self titled debut, didn't garner much attention on the charts. However, it did pave the way for a series of successful hits to come. Sister Alice was the lead contributor to writing the English language tracks which would be their most successful. This was aided by ex-Kayak drummer Pim Koopman, who worked with the girls in his infancy years of producer.
Late At Night, also from their debut, would become their first number one hit. Though they wouldn't make a big splash in the United States, they would still become popular in fifty-two countries during this time. They would go on to win multiple prizes and awards at festivals in West Germany, Poland, Japan and Korea. Maywood also toured extensively in Sweden, Finland, Bulgaria, Indonesia and the Soviet Union.
Let's pause here on a picture perfect start to dive into their 1981 sophomore album, Different World, as while things started off on such a high note, they would ultimately sour, leading to a break up, cancelled reunion plans, and lawsuits.
Different World features the song Rio, which introduced me to Maywood. This song takes me back to a time when we were kids in South Africa, being treated to music by our sister, who would play various records and cassettes for us while mom and dad were off somewhere. It's the tune which prompted my looking for their albums, and led to me buying them all from a now forgotten website.
Playing through it, I was once again caught off guard by how much I enjoyed it. I really didn't expect Maywood to pack the punch that they did. Alice deliver's solidly written hits (in my opinion), while Caren's vocals continue to haunt my soul with their echoing pitches. Seriously, someone reading this has got to catch on, and give them a try. You're honestly missing out.
Tracks Rio, It's A Different World, You're The One, Pasadena, I'm In Love For The Very First Time, Distant Love, all became part of my ever expanding shuffle list. It's definitely a solid one from start to finish, and excited me for the prospect of hearing more.
Maywood would return in 1982 with their third album, Colour My Rainbow, and after a break, in 1987 with Beside You, wrapping up the 80's for them. However, they found themselves in a steady decline of sales and popularity. Despite this, the girls were chosen to go to Eurovision in 1990 by the Netherlands to perform Ik wil alles met je delen (I Want To Go Everywhere With You). However, technical difficulties throughout their performance would see them finishing in fifteenth place.
Things only got worse for Maywood from there, but we have to take a pause, lest we have nothing to add to tomorrow's post, where we pick up with 1982's Colour My Rainbow. I know, I know, just as things were starting to get juicy.
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| THIS WEEK ON THE CHARTS June 25, 1983 |
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| THIS WEEK ON THE CHARTS June 25, 1988 |
Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 54
Release Date: May 1981
Highlights
Okay, this is it. The last Duran Duran album from the 80's that I have to make my way through. I've talked about all the others, dug in extensively to the groups past, present, and future. Now it's time to cross the finish line with 1986's Notorious.
With nothing left to say about the band in general, let's just dive right in.
Notorious starts with the title track, and immediately sets the tone of a more mature Duran Duran. No longer riding the waves of the heartthrob images which all but tore them apart in 1985. Instead, it was back to the music. The core fundamental of what makes a band a band. The album also departs from the prior new wave and synth-pop sounds to focus on a more funk rock aspect.
The album came to fruition after the departure of core member Roger Taylor, and while parts of it featured Andy Taylor, he too would leave. Former guitarist of Missing Persons, Warren Cuccurullo, would be called in to complete Andy's work, along with producer Nile Rodgers, who also filled in. Cuccurullo would go on to remain with the group through 2000's Pop Trash. Steve Ferrone, and Jimmy Maelen would fill in on drums in the absence of Roger.
While most critics praised Notorious, the album, for its more mature tone, many also agreed that it didn't deliver the energetic pop hits that made the band popular to begin with. I suppose it's a compromise one has to make. Do you want Duran Duran to stay in their early years, rinsing and repeating the standard slate, or do you want to watch the members grow and mature? All bands ebb and flow, and sometimes that's the charm of it.
I agree with the critical reception. Notorious is definitely a more sophisticated and grown up album than what came before it. However, I'd be lying if I said I didn't wish for a campy pop hit to be thrown into the mix. Something free spirited and irresistibly giddy to just cheese out to. This album simply isn't going to do that, and it wasn't intended to. It's good, and stands on its own merit, but certainly lacks the hits of prior releases.
Standout tracks for me would be the title track, Notorious, Skin Trade, Vertigo (Do The Demolition), and Proposition. However, for the most part, it's kind of forgettable. Honestly, I felt like the whole thing was kind of dragging on, and it ultimately got relegated to background noise.
The album would also be the beginning of what would become the steady decline of album sales for the band. By the mid 90's they were shadowed so greatly by their continued underperformances of Notorious, 1988's Big Thing, and 1990's Liberty, that when they returned to record material for what would become the 1993 self titled Wedding Album, Capitol would only fund them incrementally as material was completed, submitted, and approved by the label.
Of course, despite this hiccup, and decline in the 90's, Duran Duran has since transcended to become one of the mainstay staples of the 80's, among the very few to continue to release new material, and stay relevant in the 2020's. That's no easy feat to accomplish. Heck, just surviving the 90's seemed like a life or death situation for many 80's artists.
While I certainly have many more Duran Duran albums to get through, owning their entire discography to date, that's definitely not something I'm going to be getting to soon. I mean, look how long it took me just to get to this point. It's on to someone "new" tomorrow.
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| THIS WEEK ON THE CHARTS June 24, 1989 |
Well, here we are. My top twelve of 1989. It's been a journey getting to this point, and along the way, I've picked up numerous contenders for the seventeen spaces available on my wall to frame albums. So far, the list consists of:
Prince - 1999 (1982)
Michael Jackson - Thriller (1982)
Cyndi Lauper - She's So Unusual (1983)
Ghostbuster (1984)
The Cars - Heartbeat City (1984)
Jacksons - Victory (1984)
"Weird Al" Yankovic - In 3-D (1984)
Prince And The Revolution - Purple Rain (1984)
Oingo Boingo - Dead Man's Party (1985)
USA For Africa - We Are The World (1985)
Prince And The Revolution - Around The World In A Day (1985)
Falco - Falco 3 (1985)
"Weird Al" Yankovic - Dare To Be Stupid (1985)
Bon Jovi - Slippery When Wet (1986)
Europe - The Final Countdown (1986)
Top Gun (1986)
Michael Jackson - Bad (1988)
Guns N' Roses - Appetite For Destruction (1987)
Aerosmith - Permanent Vacation (1987)
Def Leppard - Hysteria (1987)
Prince - Sign 'O' The Times (1987)
Roxette - Look Sharp (1988)
Bon Jovi - New Jersey (1988)
Today, we'll get the final nominations, and from there, make a decision.
It all starts with the last couple honorable mentions for the decade, which are Skid Row's self titled debut, and "Weird Al" Yankovic's studio album / soundtrack, UHF. The latter definitely has a cool cover, and I'm still considering getting all of Al's 80's albums for the wall. But, I haven't really committed in full to that yet.
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I've bounced all over the Duran Duran spectrum, having already talked about their debut self titled album, follow up Rio, and last 80's album, Big Thing. I've even go so far as to review their 2021 released Future Past. What I've typically found in playing through these albums is that I like the hits, but that Duran Duran, overall, isn't what I would call a "favorite".
Because I've listened to so many of their releases (from the 80's) already, it doesn't make much sense for me to go all the way back to the bands beginning, and carve out their history. I've already done that in the aforementioned posts.
So, straight to it. Let's dive into 1983's Seven And The Ragged Tiger. It was a turning point for the band as a collective. Sessions were marred with a lack of productivity, which led to the first signs of turmoil between members. As a whole, the band wanted to change direction from their previous releases, and this led to Tiger to become a dance synth-pop record, littered with ambiguous lyrics. While it featured the hit singles The Reflex, Union Of The Snake, and New Moon On Monday, critics panned it upon its release. Despite this, Seven And The Ragged Tiger would perform spectacularly in sales, as well as on the charts.
What I will say is that had this been my entry Duran Duran album in 1983, it definitely would have intrigued me enough to ask, "What else has this band done?" I dare say I'd also have been excited for what they would follow up with. However, it's 2025 at this point, so all I can do is look at it as it stands here and now, which is just okay. I suppose it's easier to do that when you already have everything from before and after, and are relatively familiar with the best the band has to offer.
Seven And The Ragged Tiger doesn't make me a super fan of Duran Duran. It just makes me happy to have the album. There's good stuff on it, some of which is a staple of the era it's from. I would even go so far as to say that it's one you "need" in your collection if you collect 80's music.
Upon its release, the band would head out for a massive world tour, which would lead to the 1984 (somewhat) live album, Arena, and an appearance at Live Aid, by 1985. It was at this world event where Le Bon would be bestowed the honor of "The Bum Note Heard Round the World" when he inadvertently hit an off-key falsetto note in the chorus of "A View to a Kill". The singer would later recall it as the most embarrassing moment of his entire career.
The band intended on taking a break, and probably should have, as by 1986 they lost two core members from fatigue and tension. Roger Taylor left after their Live Aid performance, content to retire to the English country. Andy Taylor would leave from rising tensions, as well as creative differences during the recording sessions for what would become Notorious. Though all would reunite eventually for the 2004 album Astronaut, and world tour. There was also the brief stint in 1985 of Arcadia and The Power Station.
Simon Le Bon, Nick Rhodes, and John Taylor would continue the legacy of Duran Duran with 1986's Notorious, and 1988's Big Thing. They'd pick up new guitarist (and former guitarist of Missing Persons), Warren Cuccurullo, who would stay with them for 1990's Liberty, 1993's Duran Duran (The Wedding Album), 1995's Thank You, 1997's Medazzaland, and 2000's Pop Trash. However, by this latter album, bassist John Taylor would briefly depart. Drummer Sterling Campbell, would also be credited for his contributions to 1988's Big Thing, and 1990's Liberty. However, he would quietly depart during the early stages of 1993's Wedding Album to join Soul Asylum.
Upon reuniting for the above noted Astronaut, Andy Taylor would once again depart, leaving the four remaining core members in place for subsequent albums, Red Carpet Massacre (2007), All You Need Is Now (2011), Paper Gods (2015), Future Past (2021), and Danse Macabre (2023). It would also be this latter album that Andy Taylor and Warren Cuccurullo would return to the group to contribute.
All in between this, the group would continue to tour extensively, selling out just as big of crowds as they did in their prime. To say that Duran Duran has survived and thrived in the last few decades would be an understatement.
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| THIS WEEK ON THE CHARTS June 23, 1984 |
Title: Marvel Team-Up
Issue Number: 103
Release Date: March 1981
Highlights
Before he became a meme and running gag as a result of Chappelle's Show, Rick James was considered a solid producer and musician. He began performing in bands in his teenage years, but then to avoid the draft, moved to Toronto, Canada, where he continued his music aspirations. It was in this new country that he formed The Mynah Birds, a group which would later be signed to Motown. Unfortunately, the military would catch up with him, and convict him for desertion. After spending several months in jail, James would relocate to California, continuing his musical work.
Forming the group, Stone City Band, would garner the attention of Motown's Gordy Records, and lead to him signing with the label, releasing his 1978 debut, Come Get It! Led by singles, You And I, and Mary Jane, the album would ultimately be gold certified.
The 1979 sophomore album, Bustin' Out Of L Seven, garnered the top ten hit, Bustin' Out (On Funk), and was followed that same year with his third release, Fire It Up. James was by far burning up the charts at this point, and this trend continued with his 1980 album, Garden Of Love. Probably the best thing to come from James around this time was the discovery (so to speak) of Teena Marie, who had worked with a number of producers at Gordy Records, but never got her material released until James began working with her.
Playing through Street Songs, I definitely endorsed the singles noted above, as well as Ghetto Life, Call Me Up, Below The Funk (Pass The J). I suppose that's a solid entry, considering it's over half the album. I was really hoping to get into the Teena Marie duet, Fire And Desire. Unfortunately, this was a very sappy ballad that just didn't work for me.
In general, Rick James was never really an artist I got into, even in the 80's. Which is why I'm a bit surprised I enjoyed this as much as I did. While I'd be intrigued to hear a bit more of his early to mid 80's stuff, it's not something I would go out of my way to do, nor pay a lot of money to do. I'm talking dollar bin finds would be the only thing that would probably get me to bite.
As for Rick James, his career appears to have piqued in 1985 with his appearance on The A-Team. While he released three albums in that 1981 - 1985 time span, Throwin' Down (1982), Cold Blooded (1983), and Glow (1985), none seemed to compare to his 1981 smash. Further, his album Glow was essentially labeled by Rolling Stones as James having run out of ideas. Ouch! That's mean.
With album sales continuing to drop, Gordy Record's would release James following his 1986 album, The Flag. Reprise would pick him up, and release his 1988 wonderful, and 1989 Kickin' albums. However, they too would then drop the artist.
By the 90's, James's career was hampered by drug addiction, and ongoing legal issues. Following a conviction in 1993 for kidnapping and assault, receiving a three year sentence. After his release in 1996, he released the album Urban Rhapsody (1997) for the Columbia label, Private-I. However, after suffering a stroke in 1998, he announced his semi-retirement. Since then, he has only released one additional album, 2007's Deeper Still under the Stone City label.
Perhaps the best thing that could of happened for James was to become a running gag and meme on Chappelle's Show. Otherwise, would people even be talking about him today?
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| THIS WEEK ON THE CHARTS June 22, 1985 |
Title: The Amazing Spider-Man
Issue Number: 218
Release Date: July 1981
Highlights
The sun, for me, sets on INXS with their final 1980's album, Kick. While it would go on to be the band's best selling album, spawning multiple Billboard hits, their label Atlantic didn't initially see this. Instead, upon its completion, the label offered the band one million dollars to return to the studio to record a new record. The fortunately declined.
Worldwide popularity ensued upon its release, with Kick landing at number one in Australia. Its success would be aided by hits, Never Tear Us Apart (Billboard number 7), New Sensation (3), Devil Inside (2), and their number one hit, Need You Tonight. They found additional success with their single, Good Times (7), which was featured in The Lost Boys.
While their music videos occupied airtime on MTV in 1988, the band focused on a world tour. They would wrap up the year by sweeping that year's MTV Music Awards, winning in five categories for their videos for Need You Tonight / Meditate.
With all that said, let's dive headlong into Kick. It's an album I've heard many times before, but will gladly listen to again for today's Retro Spin. This unto itself is ironic because truth be told, as I may have mentioned before, INXS was not a band I liked in the 80's. I knew the hits, which is what led me to ultimately buying this album. This in turn led me to buying more from them, eventually amassing their entire 80's catalog.
For me, the album delivers hand over fist. Yes, you have the above noted hits, but then you also get the likes of Meditate, and The Loved Ones, which should have been a hit. Not enough for you? No problem. You also get Wild Life, Mystify, Calling All Nations, and Tiny Daggers.
Kick is solid. There's just no other way to say it. It's also a fantastic end of the 80's era for INXS. Granted, they did go on to the 90's where they continued to be successful. Sadly, the momentum came to an end in 1997 when Michael Hutchence was found dead in a hotel room, ruled as suicide. The singer struggled with depression, as well as substance abuse. Further, he was struggling with not being able to see his daughter much. That in and of itself is a story which includes Bob Geldof, and Paula Yates. It's tragic to the core, and a sad note to end on, though an ending none the less.
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| THIS WEEK ON THE CHARTS June 21, 1980 |
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| THIS WEEK ON THE CHARTS June 21, 1986 |
Title: The Amazing Spider-Man
Issue Number: 217
Release Date: June 1981
Highlights
INXS won seven awards at the 1984 Countdown Music and Video Awards ceremony, and an international breakthrough was on the horizon. It would come in the form of 1985's Listen Like Thieves, led by lead single, What You Need. However, before this, the group would also be among the many to support Live Aid by performing What You Need, and the aforementioned single.
Listen Like Thieves would reach number three in Australia, and eleven in the USA. The single itself would reach number five on Billboard, becoming their first US hit. The album itself would become the group's third biggest seller of all time, with second being The Swing (1984), and Kick at number one (1987).
Ironically, their hit, What You Need, wasn't initially part of the recording process for the album. As work was finishing on Listen Like Thieves, Producer Chris Thomas would inform the band that he felt the only thing missing from it was an actual hit. The band left the studio that evening knowing they had just days left to come up with a hit, and record it. Andrew Farriss would sum it up best with his comment, "Talk about pressure." The end result was What You Need, a demo pulled from the remaining tracks he and Michael Hutchence had put together during production sessions for the album.
In hindsight, I honestly didn't know What You Need was from this album. I guess, personally, I just don't remember it becoming a big thing until around 1987 when the group was at their peek of success, and all over MTV. I always find it fun during these Retro Spin posts to back into this kind of history, and see the map as it was truly drawn.
Though a solid entry, Listen Like Thieves didn't really resonate with me the way that The Swing did. What I found here was a departure from the funk and pop sound that appealed last time, replaced by a more straight forward rock album. It's not bad. It's just now what I came to the table expecting, or necessarily wanting. I dare say it's overall sound would have been passable as an early 90's album, which overall doesn't necessarily appeal to me.
I suppose after hearing it, I agree with the initial statement of Thomas. Everything, other than What You Need was indeed okay, but not a hit. Without the final inclusion of the single, I dare say the album would essentially be passable in every aspect of the word. It's just not all that impressive without it. I won't be as harsh as the UK's New Musical Express, who called the band "INX-cusable", and calling the album a, "complete and utter turkey." Such fowl (See what I did there?) printed language in 1985. Still, Listen Like Thieves, with exception of a select few tracks, is going to be a pass for me.
With just one more INXS album left to go, I'm kind of on the fence. While on one hand, I know it's their biggest of all time, and certainly has the hits, I'm not necessarily chomping at the bit to get into it. Though you'll see that post tomorrow, for me, it will probably be a few days before I circle back to them.
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| THIS WEEK ON THE CHARTS June 20, 1981 |
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| THIS WEEK ON THE CHARTS June 20, 1981 |
Title: The Amazing Spider-Man
Issue Number: 216
Release Date: May 1981
Highlights
With a platinum album under their belts, 1983's Shabooh Shoobah, work commenced on their fourth album, The Swing, originally titled, Brand New Day. The lead single, Original Sin, was not only produced by famed producer (and Chic founder) Nile Rogers, but also featured backing vocals from Daryl Hall of Hall & Oates. It would not only garner them international recognition, but become their first number one single in Australia, Argentina, and France. Despite also charting in New Zealand (number 6), Canada (11), Switzerland (23), Netherlands, (31), and USA (58), it was widely ignored by the UK.
After the album's release, INXS would embark on a major tour, performing across Europe, the UK, and USA. By December, The Swing would reach double platinum status, and to date has gone 6X platinum It's their second highest selling album, just behind 1987's Kick.
Well, that's a high expectation set right out of the starting gate. So, nothing left to do but dig in and find out if the album meets the high expectation of myself.
Things kick off with Original Sin, which is ultimately the tune I bought the CD for. From there, the energy level stays high with the equally enjoyable tracks, Melting In The Sun, and I Send You A Message. What I noticed in hearing these was the strong funk sound which joined the pop sounds familiar from Shabooh. This blend works well, and really allows singer Michael Hutchence to shine with his distinct vocal style, a mixture of what feels like he's talking to you, the listener, while blending in singing.
By track "X", I had consecutively added each song to my shuffle list, a decision I may regret in the long run. As noted in my last post, I have a problem where I add songs that are okay at the time to this, but ultimately aren't all that memorable in the long run.
What I found was that from song to song, I was digging it for specific aspects. Whereas Original Sin intrigued because of the lyrical style, tracks like Melting and Message appealed for the funk sound. However, then you had the title track, The Swing, which caught my attention from its drumming, and Johnson's Aeroplane grabbed me with the synthesizer. Every song worked with the last, but had its own thing going for it. What I also took notice of was that the album was devoid of ballads, which I don't hate it for.
The Swing was an overall solid success for me. I ended up grabbing every single track for my shuffle list, which could come back to haunt me in the future. In the interim, it excites me to jump right into the next INXS album. I'm seeing the train steadily moving down the track, and I want to be on it, even if I am three decades too late.
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| THIS WEEK ON THE CHARTS June 19, 1982 |
Title: The Amazing Spider-Man
Issue Number: 215
Release Date: April 1981
Highlights
I took a few days off from listening to music, mainly to enjoy Thanksgiving (2024), and continue packing up the house for an upcoming move. This not only gave me a well needed break from INXS, but reinvigorated me a little bit to jump into their 1982, third studio album, Shabooh Shoobah.
Personally, I wasn't too impressed with their prior released Underneath The Colours. My opinion seemed to mirror that of fellow band member, Kirk Pengilly, who felt they, INXS, didn't have enough material ready when it was recorded. Overall, it just didn't resonate with me as much as their self titled debut.
During my review of Colours, I noted the bands previous work on singles with Producer Mark Opitz, which led to them signing with WEA, as well as other labels for international distribution. However, when it came time to work on their next release, both the band and their manager didn't feel Opitz would be able to produce a full album which would garner international attention. After visiting the UK and USA in search of someone else for the job, they not only found that the individuals they sought after weren't available, but were informed that Opitz's work on their previous singles was the best they could hope for.
Lead single, The One Thing, would not only become their first USA chart topper, but be the first (of many) videos from INXS aired on MTV. Their native popularity saw a boost in 1983 when the band joined the lineup of musicians playing at the Australian Stop The Drop, a concert promoting nuclear disarmament. However, when performing their first show in the USA, there were a mere twenty-four people there. Things would eventually pick up as they continued touring the states, supporting acts such as Adam And The Ants, The Kinks, Hall & Oates, The Go-Go's, and Men At Work.
Shabooh Shoobah would become INXS's first platinum album, and even be nominated as Best Australian Album at the 1982 Countdown Australian Music Awards. Must be an amazing album then, right?
Well, it's okay. It's definitely better than Underneath The Colours. It ventures away from the prior ska sound of the band, and adopts a more pop friendly tone. This definitely, for me, makes things stand out a bit more for me. That 1982 - 1983 new wave sound is my sweet spot.
Let me explain that a bit. For me, the 80's can be broken down as follows:
1980 - 1981: Fading sounds of the 70's
This is the infancy of the 80's where you would still hear tunes that were akin to those of the 70's. This was a mixture of soft rock, disco, and what would become classic rock. I equate these years to the likes of Olivia Newton-John, Kool & The Gang, Pretenders, Eagles, Electric Light Orchestra, The Police, etc. Yes, many of these artists would go on to pop success, but in these early years, it was very much trapped in a decade of disco, soft rock, and again, classic rock.
1982 - 1983: New Wave and Synth Pop
This was the era of bands that embraced the synthesizer in all its glory, typically utilizing these with drum machines to bring about a full pop sound, even when accompanied by a full band. This is the time of Duran Duran, A Flock Of Seagulls, Kim Carnes, Devo, Men At Work, Hall & Oates, Culture Club, Thompson Twins, and far too many more to note here. These are the groups that built the foundation of the 80's. There was also that one cat, maybe you heard about him, Michael Jackson. He had this little album called Thriller, which was kind of a big deal.
1984 - 1985: Pop Rock and Legends
Here is where the legends came out to play. They took the 80's sound, built on it, and revolutionized the era; Madonna, Prince, Whitney Houston, Pat Benatar, Lionel Richie, Phil Collins, Van Halen (David Lee Roth would hate being categorized as pop rock), Billy Ocean, Huey Lewis And The News, Bruce Springsteen, and so on.
1986 - 1987: Hair Bands and Rap
A resurgence of guitars, shredding, and solos. Basically, things started to get loud. You had Mötley Crüe, Guns N' Roses, Bon Jovi, Def Leppard, Aerosmith, and Poison, just to name a few, leading the charge. It was all about the volume of the band, and the length of the guitar solo. A lot of "pretty dudes" in makeup, which as Steven Tyler himself said, (Dude) Looks Like A Lady, a song he wrote after mistakenly thinking Crüe lead singer, Vince Neil, was a hot chick from behind. Rap also went mainstream, ushering in the likes of Run-DMC, Salt-N-Pepa, LL Cool J, Beastie Boys, and even DJ Jazzy Jeff And The Fresh Prince.
1988 - 1989: Everything Everywhere All At Once
The final two years of the 80's were a mish-mash of everything which had become the decade all sandwiched together. Rap, rock, pop, new wave, and synth pop all jumped in a blender together, with everything considered mainstream. On any given day you could hear most, if not all of these genres on The Weekly Top 40. The end results were Roxette, Rick Astley, Richard Marx, Debbie Gibson, Tiffany, Whitney Houston, Bobby Brown, Public Enemy, and even a resurgence of Cher.
Anyway, I type all of that just to then summarize that while Shabooh Shoobah definitely has that distinct sound which resonates with me, what it lacks, for sure, is the hits. The One Thing is probably the best it has to offer, and being the leading track on the album sets a stage that the rest of the songs just don't perform well on. It wasn't bad by any means.
I did grab a couple extras for my shuffle, Black And White, and Old World New World. However, I'd be lying if I said I honestly remembered them at this point. That in and of itself has been a common problem I create for myself. My shuffle list is riddled with songs that are just okay, but not necessarily memorable. I add them as I hear them, but then by the time they come back around, I find myself skipping them. I really need to do better in this regard.
Overall, I'm not hating INXS. I'm just waiting to hear that amazing sound that is garnering them accolades and awards across Australia. Maybe that will happen next time when I jump into their 1984 release, The Swing.
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| THIS WEEK ON THE CHARTS June 18, 1983 |
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| THIS WEEK ON THE CHARTS June 18, 1988 |
Title: The Amazing Spider-Man
Issue Number: 214
Release Date: March 1981
Highlights
Hot on the heels of their top 20 single, The Loved Ones, INXS returned to the studio to craft what would become their sophomore album, Underneath The Colours. Upon its release in October 1981, it would peek at number fifteen in Australia.
Soon after its recording, some of the members worked on other projects, which included Eric Clapton's album, The Great Escape, and a single for the soundtrack to the film Freedom. However, by 1982 they were all back on the road, touring in support of their album. It was during this time that their manager began to feel their future with current label Deluxe wouldn't last much longer. Instead, he had his sights focused on RCA, who were the distributors for Deluxe. Their manager felt that they needed a label who could get them the international attention they deserved.
Paying out of their own pockets, INXS recorded the single, The One Thing, with producer Mark Opitz. The results were so well received that they opted to record three more tracks. These recordings would also lead to WEA Australia signing the band for releases in Australia, South East Asia, Japan, and New Zealand. Atco Records (a subsidiary of Atlantic Records) would also sign them to release their albums in North America, and PolyGram for Europe including the UK. However, to fulfill their contract obligation to Deluxe, the band released the compilation album, INXSIVE.
Before we go any further in the history of the band, the pause button needs to be hit to actually sit down and listen to Underneath The Colours. Will it be good? Will it suffer the same fate as most debut follow-ups?
Let's first start by reviewing what some of the members of the group have said about it. Guitarist Kirk Pengilly stated, "It was very difficult for us. We'd toured the first album and then we had to come up with a follow-up. We weren't really prepared for it and I think the album suffered a bit because of that."
Meanwhile lead singer, Michael Hutchence said he was very happy with the album: "The first album was a cheapie, but with this one we had time to spend. We had Richard Clapton producing and he was a big help. We looked at things from a straight studio perspective."
Hmm...That's two very different perspectives.
For me, I'm going to lean more so towards the opinion of Pengilly. Colours doesn't have that punchy sound that their self titled debut had. Further, it doesn't have anything really memorable. Admittedly, I think this particular album ended up in my collection simply to check off the "last one" in my collection. Basically, there wasn't anything that really drew me to initially buying this album other than ticking a box.
Underneath The Colours is a pass for me. For me, it just doesn't have anything to offer. Nothing memorable at all. It truly felt like a list of throw away tracks, generic 80's at its best. If this was my first exposure to INXS, I would not have been impressed. I'm hoping things pick up with their next album.
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| THIS WEEK ON THE CHARTS June 17, 1989 |