Comics Corner: Peter Parker, The Spectacular Spider-Man Annual 3

   

Title: Peter Parker, The Spectacular Spider-Man 3
Issue Number: 3
Release Date: September 1981

Highlights

  • Reference is made to The Amazing Spider-Man 190, and Marvel Premiere 41
  • Peter has the sense to not give photos of Man Wolf fighting Spider-Man to Jonah, what with the man thinking his son was dead
  • Lance Bannon doesn't have that same sense, and gets yelled at when he presents his photos
  • John Jameson wants to be rid of the curse of Man Wolf, and turns to Doctor Connors for help
  • The treatment works, and the moon stone falls from John Jameson's body
  • The moon stone crumbles to dust
  • Fun section after the main story featuring Aunt May's photo album, Peter's office layout at Empire State University, Pete's Pals and Gals (a one pager based on his co-workers at ESU), and a pinup gallery of numerous Spidey villains which not only includes bios, but notes their first appearance and list of issues they've appeared in since
Low Points
  • Cliche title on every level
  • J. Jonah Jameson buckles under the medical experiments that Doctor Connors is performing on him, and lets the Man Wolf out of captivity
Oddities
  • Spider-Man crashes through the window of Kristen Saunders, and I once again have to ponder - who gets stuck with that bill?
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Heart - Private Audition


Heart entered a dark time between 1982 and 1984. While their 1980 released Bébé le Strange offered up the band's third top ten album, their follow-up, Private Audition (1982) only allotted the group a minor hit with The Man Is Mine. This should have been no surprise, as when planning the recording of the album, producer, Jimmy Lovine, informed the Wilson sisters that the album lacked any hits. Ultimately, the two would end up producing it themselves.

Private Audition was one of the last two albums I opted to track down in the band's discography. This was mainly for the purposes of having a complete discography from their 1975 debut through 1990's Brigade. I'd never heard any of the tracks from it, and frankly, when I purchased it, really didn't have the interest to. But, as I make a push to finally get through all those albums I've amassed over the years, their rotation has come. It's finally time to listen to it, and see what it's all about.

Let me go ahead and skip to the second song, which is the title track. It has almost a country vibe mixed with cabaret. It's not good. In fact, the album as a whole feels like a whole bunch of miss matched concept ideas thrown at a wall, with music styles not matching from track one song to the next.

It's interesting that Steve Fossen and Mike Derosier were fired after its release. Though varying reasons as to why will be told, depending on who you ask, one such reason boils down to creative differences. The two were cited as wanting to stay with the more traditional style which had made the band popular. Listening to Private Audition, each song feels like it's fighting with the other. Like I said, it's like a bunch of miss matched songs. One minute it's traditional Heart, the next a power ballad, country, cabaret, tap dancing intros, etc. It's a mess is what it is.

The sad part is that when Heart sticks to their guns of the tried and true, such as on the tune, Fast Times, and City's Burning there's potential here. The latter could very well be the best this album has to offer. It's both surprising and disappointing, but at the same time understandable. It was a new decade, music was changing, and this 70's band was navigating how to stay relevant on a new landscape. Obviously, by 1985 they found the answer to that, hitting with both fists with their self titled comeback album.

However, before that could happen, Heart had to first go through a bit more struggles ala their 1983 Passionworks. We'll get to that one tomorrow.

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THIS WEEK ON THE CHARTS
July 9, 1983
 
THIS WEEK ON THE CHARTS
July 9, 1988


Comics Corner: Peter Parker, The Spectacular Spider-Man 58

   

Title: Peter Parker, The Spectacular Spider-Man
Issue Number: 58
Release Date: September 1981

Highlights

  • First appearance of Beetles MK III armor
  • The school semester starts up again
  • Reference is made to Peter Parker, The Spectacular Spider-Man 53, and Defenders 51
  • Spider-Man laughs in Ringer's face when the villain tells him his name
  • Peter and Debra Whitman patch things up
  • One of the best I've read in a while
Low Points
  • None
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Lou Gramm - Long Hard Road


Yesterday, I took a listen to Foreigner singer, Lou Gramm's first solo outing, Ready Or Not (1987). While I may have come off critical of the album, I want to reiterate that I didn't think it was bad. I just expected better, and something which sounded a bit more unique to that of your average Foreigner album.

By 1989, both Mick Jones (guitarist for Foreigner), and Gramm were releasing studio albums. For Jones, it would be his first, for Gramm, his second. After completing his tour for the album, Long Hard Road (1990), Gramm would make the decision to leave Foreigner, prompting Jones to recruit new singer, Johnny Edwards for the band's 1991 Unusual Heat.

But, let's stop the tape, and rewind a bit to 1989 to have a listen to the second album, which apparently was so good that it convinced Gramm to go it alone.

Long Hard Road was led by the single, Just Between You And Me, which would reach number six on the Billboard Hot 100, just one place behind his prior hit, Midnight Blue, which reached number five. It would also spawn the minor hit, True Blue Love, which peaked at forty.

Playing through it, the two above noted hits are definitely the standout tracks. I did also grab Angel With A Dirty Face, and I'll Know When It's Over for my shuffle. However, as a whole this record falls right into the category of mediocre at best. It has the benefit of familiarity from Gramm's vocals, but this isn't enough to push the songs over the top. Everything is just okay, and at the end of the day, that's not okay. We're talking about an artist who once sold platinum albums, and had consecutive number one hits.

Again, I go back to what I said yesterday about his first solo outing. Just because you can go solo, doesn't mean you should. Artists need that yin and yang. Someone to say this is good, but this not. Try something different here, abandon this, or run with that. Without that feedback, you end up with something the artist themselves love, but as a whole is just...well, mediocre.

It's not that the effort isn't there. It's that you don't have enough creative juice in the room to take an okay thing and make it good, or to make a good thing great. That about sums up my perspective on Long Hard Road. I don't know, maybe I'm just not a big Lou Gramm fan, so I'm being over critical. Maybe I just expect more than I should based on his name and history.

Gramm returned to Foreigner in 1994 to release Mr. Moonlight. However, the album would far worse than the band's 1991 outing (with new singer Edwards). Despite this, things seemed back on track for the band. That is until 1997 when Gramm underwent surgery to remove a brain tumor. The unfortunate side effects of the procedure and medications to get him back on his feet resulted in severe weight gain, as well as weakening his voice. Though he was able to resume touring in 1998, he visibly struggled for several years on

Though the group would continue through 2002, Gramm would once again leave the band from continued communication issues with Jones. He'd release his final studio album to date, Lou Gramm Band in 2009, and briefly reunite with Foreigner for shows in 2013. Gramm remains active, and even promised new music. However, as of this writing, January 2025, that has not come to fruition.

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THIS WEEK ON THE CHARTS
July 8, 1989

 

Just Doodling: Jim Shooter Through The Years


When I created these below images, it was long before they went live today. It saddened me greatly to hear that since their inception and today that Mr. Shooter had died on June 30, 2025, no more than a month after I last saw him in person at Big Lick Nova 2025.

The few times that I got the privilege to meet Jim, he was always smiling, happy to sign books, and fill the ears of anyone who would listen with all the fantastic stories about comics, and his time at Marvel. He was a true legend of the industry.

He openly admitted he was a tough boss at Marvel, but also talked about the positive changes he made there, such as providing creators with royalties, and even the basics in terms of supplies to draw the comics they were creating. The positives far outweighed the negatives, and for the fans looking from the outside in, our reward was quality books that delivered consistently on time, while introducing us to other legends in the industry. Jim knew what talent was, and in turn, despite what they said, that talent wanted to work for him.

Though he's no longer with us, I just want to again thank him for all that he helped create in the world of Marvel Comics, for signing all those books for me that he did, and for the commission piece he created for me. I honor his life through this visual retrospective of his storied career.

In 1965, Jim started writing comics
for DC at the age of 13

He joined Marvel Comics in 1976,
succeeding Archie Goodwin as
Editor-In-Chief in 1978

Throughout the 80's, Marvel Comics
became an industry powerhouse under
his watch

He would go on to found Valiant Comics
in 1989 with Steven Massarsky, but sell
it to Acclaim Entertainment in 1994

Throughout the 2000's, he returned to Marvel,
DC, and also worked with Dark Horse, and
newly formed Illustrated Media

During his final working years, Jim still did
freelance work, as well as frequently appears
at comic book conventions across the world
to meet fans and sign autographs

I ended up giving a stack of these to Jim at Big Lick Nova, 2025, and got one signed from him. He kept one personally for himself, and gave all the rest to people who stopped by, signing them as he did. I can't tell you how happy that made me that he not only embraced what I had created, but wanted to share it with everyone else. It saddens me deeply to know he's no longer here with us.

Thank you Mr. Shooter for everything you did not only for the comic book industry, but me personally. Your legacy lives on in my home. I hope we meet again when I too come home to the Lord.

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Retro Spins: Lou Gramm - Midnight Blue


By 1986, touring for Foreigners platinum hit Agent Provocateur had come to a close, and lead guitarist and founder, Mick Jones left for a seven month trip around the world with his wife. Finding this out, singer Lou Gramm went to the head of Atlantic Records and said during Jones' absence that this would be the perfect time for him to release a solo album. The end result was 1987's Ready Or Not.

Upon its release, Gramm was invited to head out on tour with Steve Miller as his opening act. While his plan was to complete the entire series of shows, an unceremonious call from Jones would interrupt this indefinitely. From the mouth of Gramm himself, Jones gave him an ultimatum of either coming back to record an album, or Jones would find another singer to front Foreigner.

Unhappy, Gramm returned to the studio. The singer felt his bandmate had intentionally sabotaged the success of his solo album by all but forcing him to cut his promotion short. Allegedly, Jones also went to the head of Atlantic himself, and informed him that if the label continued to promote Gramm's solo work that Foreigner would be done. Without warning, the label cut all support. Ready Or Not was 15,000 sales away from going gold.

Back in the studio, Gramm remained unhappy with Jones, not only for his disruption of the album, but because the guitarist had taken more of an interest in keyboards, adopting the synthesizer as a core part of the song structures. Gramm told Jones flat out that this wasn't the type of band he wanted to be in. Regardless, Gramm stayed the course, which ultimately led to the album, Inside Information.

But, let's take a step back to Ready Or Not. Not only to listen to it, but to dive look a little more at the lead single, Midnight Blue. Though he stated he couldn't remember anymore what album Foreigner were working on, Gramm has noted that he initially offered the song to Jones to be included. After hearing it, and even attempting to play it, the song was declined, something Gramm was secretly happy about.

Ready Or Not opens with the title track, which sets a solid tone of hard rock, a sound very reminiscent of prior Foreigner work. In fact, as a whole, the album sounds like it could easily be tucked into the Foreigner catalog.

To pause for a moment, that's one thing I've never understood about artists who go solo from their bands, only to make album that sound equivalent to the group they desperately wanted a break from. Steve Perry did this, as did Gloria Estefan, Debbie Harry, and Ric Ocasek, to name a few. To me, when you take the time to go solo, it should be to express yourself artistically in a different way. Otherwise, what's the point?

Something else that stands out amongst the songs is the heavy use of keyboards. I find it ironic that one of Gramm's biggest gripes with Jones was the excessive use of synthesizers, yet they are a very clear aspect of his solo work. Yes, there is a mix of solid guitar work, and perhaps I'm missing the full story. It was, after all, just a quick statement he made during an interview, without deep diving into the whole scenario. This, however, is just an observation, and not a dig at the album.

Another thing I noticed, and probably the biggest aspect, was that the majority of the songs were just okay. This is another flaw I've seen with artists who decide to go solo. When nobody is there to tell you no, try something different, or that something simply isn't the best, you end up releasing mediocrity. Prince immediately comes to mind as the biggest offender of this one, but Lou Gramm isn't exempt.

As a whole, Ready Or Not is simply not that good. If this solo effort were the world's introduction to Gramm, I have doubts that it would have impacted as big as it did. While I don't hate this album, I will say his solo effort for The Lost Boys soundtrack, also released in 1987, is better than any of the hits on here.

I did grab a few tunes for my shuffle list, which included Ready Or Not, Midnight Blue, If I Didn't Have You, Chain Of Love, and Lover Come Back. However, if you were to ask me how any of those went, with exception of Midnight Blue, I wouldn't be able to tell you. They piqued my interest at the time, as many songs so often do that get added to my shuffle, but quickly left my mind.

Again, I didn't hate this album. I just felt it could have been better, and more unique from the familiar Foreigner sound it adopts.

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THIS WEEK ON THE CHARTS
July 7, 1984

 

Comics Corner: Marvel Team-Up Annual 4

   

Title: Marvel Team-Up Annual 4
Issue Number: 4
Release Date: August 1981

Highlights

  • First appearance of Heinrich von Schnickelschnapp, and Kingpin's henchmen, Pigeon and Scudd, and Kingpin's assistant, Hildy
  • First appearance of the location, Fisk Towers
  • Reference is made to Daredevil 154
  • Kingpin is not affected by Killgrave's power to control minds
  • Impressive Team-Up featuring Moon Knight, Iron Fist, Power Man and Daredevil...Oh, and don't forget Spider-Man
Low Points
  • None
Oddities
  • Matt Murdock throws a lit cigar at an empty seat to start a fire so that he can yell, "fire" to clear out the place before his secret identity is revealed - how about just yelling fire without the actual arson, and potential risk to people's lives?
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Freur - Get Us Out Of Here


We left Freur yesterday with their 1983 debut, Doot-Doot, a song (and album title), which would become the band's one and only hit, officially labeling them one hit wonders. As noted in that post, Freur didn't make a big impact outside of a few foreign countries, and failed to chart in the USA during a time where synth pop was in full swing. I concluded that possibly that they just got lost in the shuffle of volume during this timeframe.

I too missed Freur, and didn't become aware of them until one day when watching a Professor of Rock video on Youtube (great channel). Even then, while I added their album Doot-Doot to my want list in Discogs, I didn't make it a priority to track down until recently. After playing through it, I thought I would try to track down their remaining studio album, 1986's Get Us Out Of Here.

While this album was released on CD in 2005 by Cherry Red Records, which also included their debut Doot-Doot, there is a problem. See, to make both albums fit on one CD, Cherry Red decided to trim two minutes of music from the latter album, prematurely fading out tracks Emeralds and Pearls, The Devil and Darkness, The Piano Song, Happiness and Endless Groove. That's kind of annoying. I mean, blank CD's cost pennies. Just put each album on its own separate disc. It not only would have presented better, but the obvious resolution is that you get the entire album, and not some Frankenstein hack job. Disappointing.

Turning to the original vinyl pressing, we'll use that to have our Retro Spin session, and conclude that Get Us Out Of Here isn't worth buying on CD.

Unfortunately, the other downside is that Get Us Out Of Here also isn't really worth listening to. Take everything Doot-Doot had to offer, toss it out the window, and replace it with generic forgettable synth pop. The album is bland, boring, and like I said forgettable.

Apparently the label didn't have much faith in it either. CBS Records only released it in Germany and Netherlands. John Warwicker left the group that same year, and the remainder of the band took an unannounced hiatus. They would later form the band Underworld with Baz Allen, and had minor success in 1988 with their single Underneath the Radar, which reached number five in Australia.

Underworld would disband in 1990, but reform in 1991. Since then they've become quite popular on the dance and electronica  scene, especially with their 1996 hit, Born Slippy .NUXX. They've since continued to release albums every few years, with their latest being 2024's Strawberry Hotel. So, there you go. A happy ending for Freur, the forgotten band of the 80's.

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THIS WEEK ON THE CHARTS
July 6, 1985

Comics Corner: Marvel Fanfare 2

   

Title: Marvel Fanfare
Issue Number: 2
Release Date: May 1982

Highlights

  • Al Milgrom returns in a single page story to continue discussing the all-new Marvel Fanfare series
  • Both Angel and Spider-Man are turned into horrible creatures
  • Karl Lykos absorbs the mutant transformations done to Spider-Man, Angel, and Tanya Anderssen (not a typo), transforming him again into Sauron
  • Back-up story featuring Fantastic Four
Low Points
  • There's no happy ending to the story arc which began in issue 1 - Karl wasn't rescued by Tanya, instead, he once again became a villain
  • Savage Land stories are never all that good
  • Marvel Fanfare is not a series that intrigues me enough to get further invested
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Freur - Doot-Doot


So, yeah, I decided to take a brief hiatus from Kiss, switching gears to the obscure Freur.

Karl Hyde, Rick Smith, and Alfie Thomas, formed the group in the early 80's. After adding John Warwicker and Bryn Burrows to the lineup, they were able to secure a recording deal with CBS Records. Though their band name was initially a squiggly symbol, the label insisted they adopt a formal name, and thus Freur was born.

They released their debut album, 1983's Doot-Doot, which would garner one and only hit out of the title track. The song would peak in Italy and New Zealand at number 17, 24 in Germany, 36 in Netherlands, and 59 in the UK. While they would release five additional singles between 1983 and 1985, none of them would chart. As a result, Freur fell into obscurity, becoming a lost one hit wonder of the era.

Let's pause there to take a dive into the album, and see just what it has to offer.

Frankly, if you're looking for some good early synth pop of the early 80's, you're going to want to listen to this one. Doot-Doot, the album, has some hidden gems tucked in it. After hearing it, I'm honestly surprised that they didn't make any form of impact in the USA. It's on par with the likes of A Flock Of Seagulls, Depeche Mode, Berlin, and other such notable acts of the time. Perhaps it just got lost in the shuffle of the abundance that was available.

For my shuffle purposes, I walked away with the title track, Doot-Doot, Riders In The Night, Theme From The Film Of The Same Name, and Matters Of The Heart. It does taper off just over the halfway mark, with most of the second half of the album feeling like filler.

However, overall, it intrigued me enough to track down their one and only follow up, 1986's Get Us Out Of Here. That to me is always a plus. Nothing wrong with more 80's music. Well, I guess I can't say that was their one and only follow up. Technically, they created all the music for the 1985 Clive Barker film, Underworld (AKA Transmutations). However, it doesn't appear that a soundtrack was ever released.

We'll leave the boys of Freur here for now, and pick up with Get Us Out Of Here tomorrow.

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THIS WEEK ON THE CHARTS
July 5, 1980
 
THIS WEEK ON THE CHARTS
July 5, 1986


Comics Corner: Marvel Fanfare 1

   

Title: Marvel Fanfare
Issue Number: 1
Release Date: March 1982

Highlights

  • First appearance of Vertigo
  • Powerhouse Marvel team of Jim Novak (letterer), Michael Golden (pencil, inks and coloring), Chris Claremont (writer), Al Milgrom (editor), and Jim Shooter (editor-in-chief)
  • Reference is made to X-Men 60, 61, 63, 64, 94, 113 through 116, and Amazing Spider-Man 103, and 104
  • Michael Golden animates Spider-Man's eyes / lenses to help tell the story
  • A one-page story, starring Al Milgrom, with special appearance by Jim Shooter, tells readers all about the all-new Marvel Fanfare title
  • Holiday back-up story featuring Daredevil and Santa Claus - well, not really, but a guy dressed as Santa
  • I already have this signed by Michael Golden and Jim Shooter - I should get it signed by Al Milgrom and Chris Claremont at Baltimore Comic Con 2025
Low Points
  • Despite the comic being 32 pages, the story ends on page 17 with a "to be continued" cliffhanger
  • Savage Land stories have never been among my favorites, and this one is along those lines
Oddities
  • None
Rating (based on a 1 through 5 Stans grading system)



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Retro Spins: Kiss - Lick It Up

 

We have to play a little leap frog, and spring over 1982's Creatures Of The Night, because I've already done a Retro Spin on that album. We'll bounce right into 1983's Lick It Up instead. This era of Kiss is what we'll call part of the brief Vinnie Vincent period, which began with the aforementioned Creatures album.

It's sad that the coming of Vincent led to Kiss focusing on the hard rock because this is style prior core member Ace Frehley all but begged Stanley and Simmons to adopt. What could have been had the two actually acquiesced? Instead, Vinnie Vincent took the helm of lead guitarist, and worked closely with Paul, co-writing the majority of the material for what would become Lick It Up. 

Unfortunately for Vincent, things with Kiss were relatively short lived. He never signed a contract with the band, allegedly from disputes over profit sharing, and was never offered full membership into the group. Additionally, he caused a rift with the remaining founding members when he made claims that he was solely responsible for the resurgence in popularity of Kiss. I mean, music quality wise, he may not be wrong in that claim. Regardless, he either left the band, or was fired, depending on who you ask.

Considering he was asked to return for the Lick It Up Tour, I'd say it was probably of his own volition that he left. Though this too would be short lived. Further fighting would ensure when he extended his on stage solos, without notice or permission, infuriating his bandmates. Whether he left of his own accord, or was once again fired, again, depending on who you ask, Vincent's last show with Kiss was on March 17, 1984.

Man, that's a whole lot of drama, and we haven't even gotten to talk about one song from the record. So, let's shift gears to do just that.

Lick It Up, the album, delivers a hard rock extravaganza, which would please most vintage Kiss fans, as well as draw in new ones...because it did. However, for me, what it lacks is hits. Beyond the title track, and A Million To One, I didn't really hear anything that necessarily appealed, or made me want to hear again.

What I will give it credit for is its straight forward hard rock, solid guitar work, and raw energy. I say again, if this were the Kiss album made when Frehley was around, he might not have left.

The conundrum here is that for as much as I praise Lick It Up, the album, for its raw rock, and sound, I also find it too loud. It's just an intense wall of sound that is unrelenting to my ears. Maybe I'm getting old, and that doesn't work for me anymore.

Considering I've listened to six albums back to back today from various artists, what I may simply need is a break from music to give my ears and senses a rest. While I still have a couple Kiss albums to get through for the 80's, I may also take a break from the band for a bit. I don't know. I guess we'll find out tomorrow.

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THIS WEEK ON THE CHARTS
July 4, 1981
 
THIS WEEK ON THE CHARTS
July 4, 1987


Comics Corner: The Amazing Spider-Man 219

   

Title: The Amazing Spider-Man
Issue Number: 219
Release Date: August 1981

Highlights

  • First appearance of Armand DuBroth
  • Jim Novak does some really unique lettering on the "credits" splash - It's not often the letterer stands out
  • Reference is made to Daredevil 73, and The Amazing Spider-Man 213
  • Peter dawns his old faded costume he ruined with his homemade detergent
  • Peter also utilizes his original web shooters he used in high school
Low Points
  • Peter Parker breaks into a prison to take photos, and hopefully get photos of a break out in progress - Which he does, and then gets caught and arrested
  • The whole story is a complete 180 of who Peter Parker is
  • After retrieving his costume and web shooters, Spider-Man tosses his faded outfit and old web shooters into the ocean
  • Story just abruptly wraps up and ends, and it doesn't even conclude with Peter being proven innocent, but instead just implied he will be
  • Story was so bad that I wished I had created a 1/2 Stan rating option
Oddities
  • Editor's Day Off: DuBroth's name is changed incorrectly mid story to DuBroil
  • Editor's Continued Day Off: A few panels later, DuBroth is incorrectly refered to as DuBrow
Rating (based on a 1 through 5 Stans grading system)



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