The Toy Box: 1981

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Retro Spins: Rod Stewart - Tonight I'm Yours

Rod Stewart had always been an artist that was adaptable to the times, reinventing himself as the years passed to stay relevant. As a result, it's not surprising that with the dawn of new age and synth pop that he'd immediately take to this new style with his 1981 released, Tonight I'm Yours. The album not only featured a more radio friendly sound but shifted drastically in musical style to fit in with the shifting landscape, while also offering fans a bit of old with the new.

Further, Stewart would immediately embrace the age of MTV by filming four music videos in support of the album. All would quickly be put into rotation on the infant channel.

As the for the album, it performed better than its predecessor, going multi-platinum in Australia, Canada, and the USA, while also reaching gold in the UK. With it came the hit single, Young Turks, which peaked on the Billboard Hot 100 at number five, as well as the title track itself, which landed at number twenty. As 1981 switched to 1982, How Long would join then on the Billboard at number forty--nine.

Rod Stewart did indeed embrace the synth pop and new wave era. Very clearly evident by the opening title track, and Young Turks. These are peppy, catchy, and fast paced, easily drawing me in.

With that said he doesn't fully transition his music to this style. The majority of the album is filled with his familiar soft rock sound. This, I suppose, would help fans of his traditional style to transition with him gradually, versus suffering system shock from a full 180.

It's a decent album, and it's great to hear Stewart in general. Like sitting down to chat with an old friend from the past. It's just easy to get into the conversation, or in this case, the music. The familiarity makes you comfortable.

Typically, Stewart returned to the studio, producing a new album annually. However, this time he turned his attention to a massive world tour, and in the process, a live project, releasing Absolutely Live in 1982. It was also during this time that he left long time label, Riva Records, signing with Warner Bros.

During this time, his backing band would also shift, with long time drummer, Carmine Appice opting to leave. Additionally, he found himself needing a new keyboardist right before his tour commenced. These sudden shifts resulted in a bit of a musical shift for Stewart, resulting in his follow-up album, Body Wishes (1983) being heavily synthesized.

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.

And now, 31 Days Of Halloween!

When I saw the trailer for Army Of Darkness in 1992, I immediately wanted to see the film. But having a mom who was quite adherent to the rating system of films, I wasn't allowed to. Still, it remained in the back of my mind, and eventually, I got my own copy on VHS. What I didn't know at the time was the film's tie into Evil Dead. How could I? There was no regular use of the internet at this point. No search engines or Wiki's to cross reference. Honestly, at this point, I can't even recall when or how I figured it out, but ultimately, I did end up getting the first two films and finally watching the trilogy in order.

What's not to love about the character Ash? He's cocky, confident, and yet at the same time his arrogance gets him into more trouble than a more reserved person would find themselves in. Somehow, all of this serves as additions to his strengths as he goes toe to toe with the demonic undead. Did it cost him his hand? Absolutely. Did he get a really cool chainsaw to put in its place? Heck yeah, he did!

Retro Spins: Tom Tom Club - Tom Tom Club

When Talking Heads bassist Tina Weymouth, and drummer Chris Frantz initially launched the band Tom Tom Club, it was only meant to be a side project. One which served as a creative outlet for the two as they dealt with David Byrne who had taken full creative control of the Heads. However, as their self-titled debut took off in dance clubs, and peaked at number twenty-three on the Billboard 200, it became clear that they were here to stay.

For the adventure Weymouth would bring along sisters Lani, Laura, and Loric, but in addition several other members of the Compass Point All Stars family would join. This included Adrian Belew, Monte Brown, Tyrone Downie, and Uziah Thompson.

Depending on what format you buy will dictate not only the tracks you get, but subsequently the runtime. Using the original vinyl as the definitive version, if you bought the cassette version, the final track, Booming And Zooming would be replaced by a cover of Under The Boardwalk. However, the CD version would include both of these tracks, plus three bonus tracks. However, the bonuses would just be a remix and extended version of already included songs.

Wordy Rappinghood pretty much sums up the 80's. Pure nonsense gibberish, all set to a beat and synthesizer. It was stupidly fantastic in its own way. This is followed by the equally goofy lyrical Genius Of Love. The irony of this is that I never cared for either of these songs, but yet they were the reason I bought the album.

As a whole, the album approaches the music with a very nursery rhyme and childish style. Candidly, it can be annoying at times because it doesn't feel like the band itself is taking things seriously, but rather just goofing off in the studio, yet somehow producing a full record in the process. Of course, you could also go to the opposite spectrum, embrace it, and find pure joyful bliss in the simplicity of pop music.

For me, it's a relative miss. While I got into the first two tracks, as things continued in this manner, it wore thin fast. Sorry, but I need more substance to my music than just goofy sounds and rambling. It's perhaps clear why David Byrne took control of Talking Heads. If he left Weymouth and Frantz to their own devices, their music and legacy may have crumbled fast.

With that harshness stated, I will say that As Above, So Below, Lorelei, and On, On, On, On... were a pretty decent tune, and I admittedly will add Wordy Rappinghood and Genius Of Love to my shuffle. Again, those two are what I bought the album for.

I don't know. I'm on the fence with Tom Tom Club right now. On one hand, I want to say their musical geniuses for taking basic lyrics, gibberish, and solid musicianship to create a unique listening experience. However, on the other, I want to say it's so basic that it's dumb. Maybe it's both, and perhaps it depends on what your own mood is when you play through it. I'll reserve judgement until I hear their follow-up, 1983's Close To The Bone.

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Retro Spins: The Time - The Time

Has it really been since 2023 since I last jumped into The Time? Jay and Silent Bob get it.

In the early 80's, Prince wanted to explore other areas of music, while retaining the styles he had built the foundation of his career on. For this, he exercised a clause in his contract with Warner Brothers to recruit and produce new talent, forming The Time.

They were formed from the foundation of existing group, Flyte Tyme, which consisted of Alexander O'Neal, Anton (Tony) Johnson, David Eiland, Jellybean Johnson, Jimmy Jam, Monte Moir, and Terry Lewis. However, after asking too many questions about the business and finances during a contract meeting, Prince would end up firing O'Neal, replacing him with childhood friend, Morris Day. Around this time, Jesse Johnson also joined.

Jerome Benton would be the final member to join the band, but not as a musician. Instead, he served as Day's onstage comedic foil. He famously got the role when during a rehearsal or show (it's not been confirmed which), Day asked for a mirror. Benton ripped one off the wall in the club's restroom and brought it onstage to him.

Since this was merely an offshoot for him, Prince's fingerprints are all over this album. He not only played the majority of the instruments on it but recorded most of the guide tracks for Day, while remaining heavily on backing vocals. Not to mention that all the songs were written by him. Basically, this was just another Prince album, but one from an era that I'm personally not too fond of.

This is why, unfortunately, I didn't really get into it. I don't particularly like his first two albums, For You (1978), and Prince (1979). Further, 1980's Dirty Mind, and 1981's Controversy are pretty hit or miss for me. Basically, I'm more of a pop Prince fan, which this album has none of.

I did not hear any songs that necessarily stood out, and this was disappointing because I really wanted another Ice Cream Castle. Not getting that left me in a 50 / 50 scenario. I want to jump into their follow-up, 1982's What Time Is It? However, at the same time, I don't. I mean, I will, but I'm not really feeling all that enthusiastic about it.

The Time were invited to open for Prince And The Revolution in 1982 for the Controversy tour. However, a rivalry soon spurred, with Day trying to get his band to outperform Prince's band. This was all sparked by the group's frustration with lack of input on their albums and being underpaid. Ever the comedian, Prince responded by throwing eggs at them from offstage, and then handcuffing Johnson to a coatrack backstage.

When Prince took the stage, he demanded no interruptions, which was met by a food fight. When the "battle" continued at the hotel, Prince held Morris personally responsible, making him pay for all damages.

Despite all of this, Prince and Morris remained good friends. Sure, the competitive music rivalry was still there, but they were still friends, nonetheless.

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Retro Spins: Loverboy - Get Lucky

Hey, everyone! It's Tuesday. Are you working for the weekend?

Today I'm continuing my stroll through the 80's discography of Loverboy, picking up with 1981's Get Lucky. Much like its predecessor, their 1980 self-titled debut, it would be a massive smash for the band, equaling it in seven times platinum certification across Canada and the USA. It would further spawn the Billboard Hot 100 hits, Working For The Weekend (which peaked at number twenty-nine), and When It's Over (which peaked at number twenty-six).

Paul Dean and Mike Reno had already begun their careers before coming together as Loverboy. Dean served as guitarist for Scrubbaloe Caine, and Streetheart between 1970 and 1978, while Reno, as then Michael Rynoski, was the lead vocalist for Moxy. With these connections to the industry already, Dean's manager, Lou Blair, was able to connect the two with Bruce Allen, the biggest rock manager in Canada at the time. Allen would set to task of ushering in their debut as an opening act for Kiss in November 1979.

The band would be rounded out with Doug Johnson on keyboards, Scott Smith on bass, and Matt Frenette on drums. This lineup would stay together through their initial 1988 breakup, and reunion in 1991 through the tragic death of Smith in 2000.

Though they tried, every major label in the USA would reject the band, prompting them to sign with Canada's Columbia Records. Things from there went rather quickly, with the boys heading to the studio to cut their self-titled debut. As noted above, it was a smash and served as a major breakthrough for them. Its relative quick success garnered them the opportunity to hit the road with Cheap Trick, ZZ Top, Kansas, and Def Leppard, performing over two hundred shows.

Their 1981 follow-up, Get Lucky equally took off, putting them in arenas with Journey to support its release. This same year, they would receive seven Juno Awards, Canada's highest award for music. To this day, they retain the title of most Juno's received in one year.

For me, Loverboy was a surprise. I didn't expect to enjoy their debut as much as I did. When listening to it, I noted similarities to The Cars, The Babies, and even a little Oingo Boingo. However, with their second album, they seem to have shifted more so into the territory of Foreigner. In particular, the song Gangs In The Street could easily have been led by the vocals of Lou Gramm.

While I was enjoying things up through the previous noted track, admittedly, song five, Emotional, really derailed me. Out of nowhere, Paul Dean takes over lead vocals and delivers a country twanged bar style song. It wasn't for me.

With the exception of the above note Dean tune, I definitely found another enjoyable record in their discography. When It's Over is probably my all-time favorite from the guys, but Working For The Weekend can't be shunned. If nothing else, it's a major staple from the 80's, and easily one that you'll find on most compilation albums. With that said, I don't know that there would be anything beyond these two that would make a shuffle list on my end.

In light of that, I am noticing a little dip in quality, I'm hoping that as I continue on that I'll still enjoy their albums as much as I did their first and second. Though I'm not too sure how that will go, as with their 1983 released Keep It Up, Loverboy saw a massive drop in sales and chart positions. I guess we'll find out.

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Retro Spins: The Rolling Stones - Tattoo You

Today, I'm continuing my way through the Stone's 80's discography. As I sit here thinking about it, I can't honestly pinpoint the first time I heard one of their songs. What keeps popping into my head is a high school buddy I hung out with a lot after we graduated. Between him and his brother, they pretty much had everything The Rolling Stones (and Led Zeppelin) released. It may have been from him, but at the same time, I don't recall ever listening to any of their music with him. So, back to square one of I don't know.

Regardless, here we are today, picking up with 1981's Tattoo You. When The Rolling Stones began work on what would become 1980's Emotional Rescue, Richards and Jagger would have so much material leftover that tracks would spill into what would become this record.

Much like their preceding albums, it would perform incredibly well, becoming their eighth consecutive release to peak at number one in the USA. Critics would generally be favorable of it, stating it was a return to form for the band, and ranking it among their finest work. Though that opinion didn't necessarily translate across the board, as some critics called it sexually vulgar, and mean spirited in its lyrics.

The album would spawn the band's first Grammy Award for Best Album Package. Unfortunately, this would also come with some faults. It would be the last album to peak at number one in the USA, and the last to have a single that would chart as high as number two on the Billboard Hot 100. On the horizon was also the infamous Jagger / Richards feud, a falling out that would last almost the entire decade and risked destroying a legacy built over the past fifteen years. However, that starts taking us a bit to far ahead. For now, let us pause, and hear today's Retro Spin.

This one hit my want list for the tune, Start Me Up, which happens to be the (appropriate) opening track on the album. From there, things fall, for me, into that "standard" Stones category. Basically, it sounds like what I would expect from the band, and nothing more (or less).

What threw me for a loop in yesterday's post, and what continued to do so with Tattoo You, was the songs where Jagger digs deep into a falsetto style. It just doesn't work for me.

I am really surprised that for a band as touted as the Stones that their albums aren't better. Candidly, I'm not seeing where all the hype is coming from. It feels like they're a band that's built a legacy around longevity versus actual material worth getting excited about. I still have two more albums to get through, and maybe that perspective will change, but for now, I'm not really into it.

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Retro Spins: Bonnie Tyler - Goodbye To The Island

Prior to listening to her album, Faster Than The Speed Of Night, I think I could count the number of Bonnie Tyler songs I knew on one hand of a Ninja Turtle; Total Eclipse Of The Heart, and I Need A Hero. An interesting tidbit about the latter was that while it came out in 1984 on the Footloose soundtrack, was that it would be dusted off for her 1986 studio release, Secret Dreams And Forbidden Fire.

But I'm getting way too far ahead.

Born Gaynor Hopkins on June 8, 1951, she was discovered by Roger Bell at the age of twenty-four (1975) performing with her band, Imagination under the name, Sherene Davis. It was the name she'd switched to in 1969 to avoid confusion with Welsh folk singer, Mary Hopkins. However, when RCA Records began negotiating her contract shortly thereafter, she was once again prompted to change it, selecting Bonnie Tyler.

RCA would choose a unique strategy to promote their new artist, inviting thirty journalists to meet her over a four-course meal. This was followed by the single, Lost In France, which would climb the local charts to number nine, prompting an appearance on Top Of The Pops. The release of her next single, More Than A Lover would not be as favorable, and actually be banned by the British children's TV series, Get It Together. Tyler would actually be grateful for the offhanded exposure and publicity.

Folling this, her 1977 debut, The World Starts Tonight would hit store shelves. While it would fail to chart in the UK, it would peak at number two in Sweden. However, persistent singing would lead her to visit a doctor for a chronic sore throat. It was here that she learned that nodules had grown on her vocal cords, necessitating surgery. Though the procedure was successful, she was instructed to rest her voice for six weeks. During this recovery period, frustration would lead her to screaming out, creating her permanent raspy tone.

1978's Natural Force, issued in the USA as It's A Heartache would be the first to feature her new, and signature vocals. The album would go gold in the USA, and platinum in Canada. While this prompted her first US tour, RCA also wanted another album straight away, leading to 1979's Diamond Cut. By this time, Tyler was growing frustrated with the label, feeling they were pushing her to record country-oriented music, something she didn't want to do. Though she'd finish her contract with them with 1981's Goodbye To The Island, upon being invited to renew for an additional five albums, she'd instead walk away.

It's interesting that Tyler felt this way, because as I was playing through the album, my mind kept trying to decipher what it sounded like. It was upon reading about the reference to country music that it clicked, and felt very much so prevalent with the current track I was on, At first, Wild Side Of Life, and the one that followed, Whiter Shade Of Pale.

That aside, what it definitely sounds is dated. Mind you, I'm not saying it's bad. It just doesn't hold up well, quality wise. You know how some old albums have that flat sound to them?

Music Lesson: Old albums often sound flat because they lack dynamic range and deep bass. Vinyl physical limitations required cutting low-end frequencies so the needle wouldn't skip. Early recording equipment (like primitive tape machines), mono mixing, and mastering meant for AM radio also restricted the overall depth.
There were physical and historical limitations. These included:
Vinyl Mastering: To keep the needle from jumping out of the groove, engineers rolled off low-end frequencies and compressed the audio.
Frequency Roll-Off: Early microphones, analog tape, and cutting lathes simply couldn't capture the ultra-low or ultra-high frequencies we are used to today.
Dynamic Range: Unlike modern music created during the "loudness wars" which pushes overall volume to the max, older records have a lower average volume.

So, yeah, basically the vinyl mastering is what this one has. But with all that aside, there's still good songs to be found. For me, these were I'm Just A Woman, Wild Love, and Sitting On The Edge Of The Ocean. No, it's not the best I've heard from Bonnie Tyler, but it's serviceable.

After her contract expired, Tyler obtained a record deal with Columbia, who prompted her to begin the search for a producer that she wanted to work with. Though her first choice was Meat Loaf alum, Jim Steinman, she also considered Phil Collins, Jeff Lynne and Alan Tarney. With Steinman flat out declining, she may have indeed had to go with a backup plan. However, after sending him some rock demos she was working on, and meeting with him, he would ultimately agree, leading to her biggest album at the time, the aforementioned 1983's Faster Than The Speed Of Night.

As I noted above, I've already played through that one, so my next stop is her 1986 released, Secret Dreams And Forbidden Fire. But before I head there, fun fact. Did you know that after the second verse of the song, Getting So Excited from Faster Than The Speed Of Night, that Jim Steinman speaks the words, "I'd do anything for love, but I won't do that"? Foreshadowing to Meat Loaf's comeback song? You decide.

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Retro Spins: Martha And The Muffins - This Is The Ice Age

At $200.00, Martha And The Muffin's This Is The Ice Age, is their most expensive album in their discography to collect on CD. In general, none of them have been reasonably priced, and this is mainly because they didn't exist on anything other than vinyl and cassette for the longest time. They were slowly released by various labels between 2003 and 2017, a period when the world had seemingly shifted to digital formats. Meaning when CD's were produced, it was in by no means any form of volume. As such, funding pressed discs from that musical wasteland period does tend to get costly. So, to that regard, I understand what's driving the price, but that doesn't mean I have to like it.

Leading up to the recording sessions that would ultimately churn out their third record, bassist Carl Finkle would depart for undisclosed reasons and be replaced by Jocelyne Lanois. She'd introduce them to her brother, Daniel, who the band felt would be the best choice as producer for their next album. However, this would come with a caveat from Virgina Records, who informed the band that selecting an unknown producer would also mean they'd work with a lower budget.

The end result would be a more experimental album, one which would become a hit in their native Canada. It peaked at number thirty-six, and spawned two dance chart singles, Women Around The World At Work, and Swimming.

That's a perfect segue into today's Retro Spin, as the latter kicks the album off. While I'm not necessarily a fan of the vocals of Mark Gane on the track, he shines through with his fantastic guitar work, which makes the song quite enjoyable.

The second aforementioned single would follow but really didn't impress me all that much. In fact, that's pretty much the territory I once again find myself with Martha And The Muffins. Just not really impressive.

What I did notice, was that in the absence of Martha Ladly as co-vocalist, Gane was stepping in more as more to sing tracks. The problem here is that his style is very monotone, and candidly, quite boring. It doesn't add anything to any of the songs he takes the lead on.

As if to decide things weren't monotonous enough, the band shove a two-and-a-half-minute instrumental track in the middle of the album. It's very drab, serves as more atmospheric than a display of solid musicianship, and feels like its only purpose is to fill space. It misses the mark of everything that makes an instrumental track good. If I had to choose any additional standout tracks, I suppose Casualties Of Glass was decent, but as a whole, the album is pretty unsatisfying.

Needless to say, the "investment" on the albums is not paying off at all. But at least I wasn't the only one at this point who wanted to quit. Not wanting to tour anymore, Nick Gane would leave the band after the release of This Is The Ice Age. He'd be replaced by Nick Kent. Following the supporting tour, Andy Haas would also depart, citing creative differences. However, the band would not replace him and instead carry on as a four piece.

Unfortunately for me, I'm only at the halfway point of the band's 80's discography. With three more to go, I'm not looking forward to any of it. I don't know if I'll jump into their next album tomorrow, or if I'll tap out for a while. I'm really not enjoying their music.

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Retro Spins: Squeeze - East Side Story

I love to see all the connecting threads when poking around the history of music from the 80's. There are so many recognizable people in the industry that pop up here, there, and everywhere, linking everything together. Such is the case with today's Retro Spin.

Despite not having a band, Chris Difford stole 50p from his mother's purse in 1974 and placed an advertisement to put a card in a local sweetshop window to advertise for a guitarist to join his group. Glenn Tilbrook would be the only person to respond. The two began writing songs together, and soon added Jools Holland on keyboards, and Paul Gunn as their drummer.

In the early years, they performed under several names, which included Captain Trundlow's Sky Company, and Skyco. However, they would eventually adopt the name Squeeze, a tribute to the Velvet Underground album of the same name.

Gilson Lavis joined in 1975, replacing Gunn on drums. Additionally, bassist Harri Kakoulli would be added to the lineup. Together, they became part of the local scene, which included Alternative TV and Dire Straits.

Initially they would sign to Miles Copeland III's BTM Records, but the label would go under in 1976. This resulted in their early singles and debut EP, 1977's Packet of Three, being released on Copeland's other label, Deptford Fun City label, an affiliate label of I.R.S., ironically also co-founded by Copeland with Jay Boberg in 1979. Apparently, the man has owned many labels, and it's quite a messy pile to sift through.

Side note: Miles Copeland III had a brother in the industry. You may have heard of him, Stewart Copeland, drummer for The Police.

Velvet Underground co-founder, John Cale, would be brought in to produce the band's 1978 self-titled debut. However, the songs he worked with the guys on would be deemed uncommercial, and their self-produced tracks, Take Me I'm Yours and Bang Bang would ultimately become their first hit singles.

Because of an already existing banded called, Tight Squeeze, for releases outside of the UK, the band was required to adopt the name, UK Squeeze. This would be something that would stick with them through 1985's Cosi Fan Tutti Frutti.

While the original lineup would return to the studio to record their second album, 1979's Cool For Cats, Harry Kakoulli would be fired shortly thereafter, with no public explanation ever being given. He would be replaced by John Bentley. The new lineup of Difford, Tilbrook, Holland, Bentley, and Lavis would record and release 1980's Angrybargy, their most popular album to date at the time, and the one which garnered them their first Billboard 200 album, peaking at number seventy-one.

Holland would depart in 1980, wanting to carve out a solo career. However, this wouldn't be something which would come immediately for him, nor be as successful as his time with Squeeze. It wouldn't be until 1987 that he formed Jools Holland and His Rhythm & Blues Orchestra. Holland would be replaced by Paul Carrack.

For their 1981 album, East Side Story, Carrack would be handed a microphone by producer Elvis Costello and asked to re--record the lead vocals on the Difford and Tilbrook penned, and initially sung by Tilbrook, Tempted. The song would later become a staple of the decade and be the one the band was predominantly remembered for. However, the reality of it was that the song would actually chart the lowest of all their Billboard Hot 100 hits, which only included three. Tempted would peak at only forty-nine.

Further, not being written by Carrack, he would only be paid for recording the song. All royalites would go to Difford and Tilbrook. It wouldn't be until he re-recorded the song in 2010 for his own retrospective album that Carrack would get royalties, but only if his version is used over Squeeze's.

Part of the problem with writing all of the above, is that it detracts me from actually listening to the album. As a result, East Side Story really only got attention from me when I remembered it was on.

While mildly paying attention to it, I did conclude that it was essentially more of where their debut left off. That's not necessarily a bad thing. In Quintessence, Tempted, Picadilly, and Labelled with Love were the standout tracks for me.

Wanting to pursue his own solo career aspirations, Paul Carrack would leave the band after the album's release. He'd be replaced by Don Snow, and this revised lineup would record 1982's Sweets From A Stranger. Negative reviews, burnout, and stress from constant touring would come to a head, and the band would break up. But fear not, their story wouldn't end there. But we'll pick up there tomorrow for that story.

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Retro Spins: Devo - New Traditionalists

It's interesting how something as simple as a pamphlet can inspire the inception of an entire band. Jocko Homo Heavenbound which included a winged devil illustration called, "D-EVOLUTION". However, it was this very thing found by Mark Mothersbaugh, who showed it to Gerald Casale and Bob Lewis, that would start to kick things off. That same pamphlet would later inspire the Devo tune, Jocko Homo.

The first iteration of Sextet Devo featured Casale, Lewis, Mothersbaugh, brother Bob Casale, Rod Reisman and Fred Weber. Though this lineup would only perform together once in 1973. Someone had the foresight to film the event, and it's actually been released on Devo's The Complete Truth About De-Evolution (1993).

The lineup would continue as the Casale brothers, Bob Lewis, Mark Mothersbaugh, and his brothers Jim and Bob Mothersbaugh. Though in 1974, Lewis would step down as a member and actually take on the role as band manager. They'd record music videos for Secret Agent Man and Jocko Homo and stay together until Jim's departure in 1975. He'd be replaced by Alan Myers. The core members were now in place; Gerald Casale, Mark Mothersbaugh, Bob Mothersbaugh, Bob Caslae, and Alan Meyers.

Fame would start to come with the 1976 Chuck Statler directed film, The Truth About De-Evolution. After it won first place at the Ann Arbor Film Festival, David Bowie would take a direct interest in the band. Bowie would make it his mission to get them signed with Warner Bros. Shortly thereafter, they were asked by Neil Young to participate in his film, Human Highway. Filming would begin in 1978, and not wrap up until 1981, with it eventually being released in 1982. Devo would play nuclear garbage men and provide Mark Mothersbaugh with his first opportunity to score a soundtrack.

In 1977, Devo released their first single, Mongoloid backed with Jocko Homo. This was followed by a cover of the Rolling Stone's (I Can't Get No) Satisfaction. This was followed by the EP, B Stiff, released on Stiff Records. This was followed by another EP, Mechanical Man (1978), which contained so many demo versions that people initially thought it was a bootleg.

By this point, both David Bowie and Iggy Pop were pushing Warner to sign the band, and eventually they acquiesced. While Bowie initially agreed to produce their debut, previous commitments required him to back out. Brian Eno was brought in to fill the roll, and the end result was 1978's Q: Are We Not Men? A: We Are Devo!

An appearance on Saturday Night Live would garner them national attention, and riding this wave, delivered their sophomore album, Duty Now for the Future (1979). Though not as successful as its predecessor, it did allow the band to tour Japan, as well as appear at Don Kirshner's Rock Concert that same year.

As part of their act, the guys embraced the Church of the SubGenius, a parody religion. Under this guise, they would perform as the band, Dove, serving as their own opening act as a joke. Dove would then appear in the 1980 televangelism spoof film Pray TV.

1980's Freedom Of Choice would serve as the band's breakthrough album with its hit, Whip It. This not only put them on radio airwaves but become a staple on MTV during its early years. Additionally, their boom in popularity allowed them the opportunity for a massive tour of Japan, UK, Germany, Canada, France, Italy, and Netherlands, in addition of course to the USA. Multiple television appearances also followed. The EP DEV-O Live kicked off 1981 for them, and was followed by their next album, New Traditionalists, which is where we start things off today.

My first exposure to this one was the song, Race Of Doom, which randomly came across my shuffle list one day. It immediately got my attention, as was added to my regular rotation. As such, I was kind of looking forward to today's Retro Spin, anxious to see what more would come from it.

It certainly delivered a synth pop and new wave filled listening experience, and an enjoyable one at that. I also found some other noteworthy tracks, which included, Jerkin' Back 'N' Forth, and Through Being Cool. The latter was a bit of a shock for me, because I initially recognized it. No, not from hearing it on the radio, but instead in the animated film, Heavy Metal.

Along with the single, Working In The Coal Mine, which was recorded during the Freedom Of Choice sessions, Devo contributed Through Being Cool, which plays during the bar scene, with an animated band performing it. While Working In The Coal Mine appears on the soundtrack, and plays during the end credits of the film, Through Being Cool was not included on the record.

From there, Devo worked with Toni Basil as her backing band to record her debut, Word Of Mouth. The album would also feature Basil covering three songs from Devo, Be Stiff, Space Girls, and You Gotta Problem. Of course, most notable from that would be the smash hit, Mickey.

Not ready for a rest, they returned to the studio to record 1982's Oh, No! It's Devo. This is where we'll pick up tomorrow.

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Retro Spins: The Human Leage - Dare

Well, yesterday's Retro Spin, and my start of making my way through the 80's discography of The Human League was a bust. 1980's Travelogue wasn't for me, and it left me in a relative mundane state to want to continue on through their albums. But today, perhaps there's hope. With 1981's Dare, I at least know I'm going to get a hit that I know and like.

Computer operators, Ian Craig Marsh and Martyn Ware, met at the youth arts club, Meatwhistle in 1977. The event provided an unstructured space for teenagers to experiment with music, early video equipment, and drama, fueling the two's creativity. Together, they purchased a Korg 700S synthesizer and learned how to play it. They'd be invited to perform at a friend's 21st birthday party, and in turn, form the band, The Dead Daughters.

A few months later, they added friend, Adi Newton, and changed their name to The Future. Newton would serve as another synth player, but leave relatively early to form the group, Clock DVA. Rather than focus on adding another keyboardist to replace him, the two focused on finding a singer. While they initially had their sights set on Glenn Gregory (Heaven 17), he was unavailable. Instead, they turned invited a school friend, Philip Oakey to take the helm. The only snag was that Oakey had no musical background. Instead, he was more so known for his sharp style of dressing. Ware would say he was ideal because, "he already looked like a pop star".

The trio would change their name to The Human League, taking it from the boardgame, StarForce: Alpha Centauri. They'd be signed to the independent label, Fast Product, when Ware's friend, Paul Bower delivered their demo to owner, Bob Last. They released their first single and began performing live around the area. However, quickly became concerned of their stagnant stage presence from their reliance on technology and tape machines to deliver most of the music. To help with this, they brought in director of visuals, Philip Adrian Wright.

Their live performances began to see a boost, aided all the more by being invited to support Siouxsie and the Banshees. However, their biggest surge in popularity would occur in 1978, when David Bowie attended one of their shows, and stated to NME that he'd, "Seen the future of pop music".

1979's The Dignity of Labour EP would soon be released by Fast Product but be their last with the label, as they'd be approached and signed by Virgin Records. However, because of his early support, the band would extend an offer to Bob Last to take the role as their manager. Then the problems began. Despite offering the band creative freedom, Virgin immediately set stipulations and began demanding changes to their style for their first single to make them more commercial. Since they had received such a large advance, which they couldn't pay back, the band was in no position to push back, but requested the single, I Don't Depend on You, be released under the name, The Men.

The single would fail, and as a result, the label would permit them to return to their original sound and style for their 1979's studio album debut, Reproduction. The was led by the single, Empire State Human, which also failed. As a result, Virgin cancelled the anticipated tour which would have followed.

Virgin allowed The Human League to release the EP, Holiday '80, in 1980, which garnered them their first TV appearance on BBC TV's Top of the Pops. Unfortunately, their claim to fame as pioneers of electronic pop music was usurped by Gary Numan, which began causing internal rifts between Ware and Oakey. Whereas Ware wanted to stay true to their original roots, Oakey pressed for a more pop oriented sound. Things would come to a head, prompting Ware to walk out, and with him went Marsh.

Last tried to reconcile the three, but ultimately, it was deemed they simply couldn't go on together. Oakey would stay as The Human League, while Marsh and Ware would form Heaven 17 with their original choice for a singer, Glenn Gregory. In keeping the name, Oakey not only assumed all the debt of the band so far, but the obligations of the contract with Virgin. Further, the split required that he pay the two departed members one percent of royalties for the next album. Things got further complicated, as without a band, Oakey was pressed for how to perform at the upcoming tour, which was just ten days away, and the news already reporting that the band was done.

That seems a good place to pause on the history of the band until tomorrow. For now, let's dive into 1981's Dare.

I'm sorry to say that it was more or less the same drivel I was greeted by last time, with the exception of closing out with Don't You Want Me. Overall, it was a pretty lackluster listening session, which left me bored. In fact, that boredom actually equated to me paying very little attention to the music, which quickly fell to the background.

Frankly, I'm not seeing the appeal of The Human League. Rather than a legacy band of the 80's, I kind of feel like they just got lucky a handful of times. I'm not impressed. The band is 0 - 2 in my book, and I'm not enjoying hearing their albums so far. Rather, I'm drudging through them at this point simply to check them off.

Candidly, that sucks. Listening to music should be an enjoyable experience. Not a mundane checkbox. Sadly, for now, that's what it's become with The Human League. Maybe that will change with tomorrow's album, 1984's Hysteria. Sadly, I don't foresee it being as impactful as the Def Leppard variety.

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Retro Spins: Hanoi Rocks - Bangkok Shocks, Saigon Shakes, Hanoi Rocks

Welcome to Finland! Home of Hanoi Rocks, the band credited, or as lead singer Michael Monroe would say, blamed for the look and style that would become 80's glam hair metal. Men with big hair, makeup painted faces, and tight leather. Or, as Steven Tyler would say, "Dude (Looks Like A Lady)".

The band was formed by Michael Monroe, and friend, Andy McCoy in 1979, but soon expand to include Stefan Piesnack, Nasty Suicide (Jan-Markus Stenfors), Nedo Soininen, and Peki Sirola. Though they began touring local Finnish clubs, by 1980 relocated to the UK. While most of the members lived on the streets, begging for money, McCoy stayed with his wealthy girlfriend. As Monroe would state in a later interview, when invited to people's homes, the first place the boys would hit would be the refrigerator.

A deal was made with Johanna Kustannus, to release the debut single, I Want You / Kill City Kills, followed by a 102-day tour which kicked off in January 1981. The tour would be credited as the longest in Finnish rock history and also hone the boy's energetic onstage presence.

To keep pushing them forward, the band released the second single, Tragedy / Café Avenue in February 1981, following it a month later with their debut album, Bangkok Shocks, Saigon Shakes, Hanoi Rocks. Dubbed, The Muddy Twins, Monroe and McCoy would produce the record themselves. The album would become a relatively immediate success in Finland, peaking at number fourteen.

When I fired it up, I was expecting the likes of Mötley Crüe or Twisted Sister. Instead, I got something reminiscent of the early 80's punk scene, more comparable to The Ramones. It wasn't terrible by any means, just surprising.

I found enjoyable tracks in Village Girl, Cheyenne, 11th Street Kidzz, and Walking With My Angel, but most surprisingly, the original version of Don't Never Leave Me. Granted I had only recently come across this song, but I associated it with the much slower paced 1984 version from their album, Two Steps From The Move. While the latter version is definitely the superior, this faster tempo one isn't horrible.

Lead singer, Monroe, is by far among the likes of Freddie Mercury, Steve Perry, or candidly anyone else who could consistently hold a note. He frequently sings off key, aiming for notes that are clearly out of his range, which perhaps is part of the charm. It certainly makes his vocals unique, and for now, I'm interested in hearing more from Hanoi Rocks.

I will say that what Monroe lacks in hitting notes, he more than makes up for in his skill on saxophone and harmonica. I can honestly say that the sax isn't something I often equate with hair metal, but it works here. In particular on Walking With My Angel, and Pretender, where it's very prevalent.

After an extensive tour throughout 1981 of Sweden and Finland, the band returned to London to record their second album, Oriental Beat (1982). A lineup change would also soon occur, one which would not only change the course of the band, but end in tragedy. At the risk of getting too far ahead of the changes that would soon come, I'll stop there.

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Retro Spins: Judas Priest - Point Of Entry

Hot on the heels of their decade debut, 1980's British Steel, I'm jumping into 1981's Point Of Entry. My previous listening session had been a bit of an eye opener. Not only did I really enjoy what I had heard, but I realized that Judas Priest had songs I had completely forgotten about. What became more interesting to me was digging into the band's history and finding out that none of the original members who formed it were even part of it when they recorded their debut album, 1974's Rocka Rolla.

The band was formed in 1969 by lead singer Al Atkins, bassist Brian "Bruno" Stapenhill, guitarist John Perry, and drummer John "Fezza" Partridge. This lineup would shift up relatively quickly, as Perry would take his own life at the age of 18. Ernest Chataway would fill the roll, but as part of their history, it's noteworthy that future guitarist Kenneth "K.K." Downing would also try out for the band at this time. While they initially started out as Earth, they would soon adopt, and take their name from the Bob Dylan tune, The Ballad of Frankie Lee and Judas Priest. Fred Woolley would join in 1970, replacing Partridge.

After recording a demo, the band obtained a three-record deal with Immediate Records. Unfortunately, prior to them being able to record anything, the label went out of business. The band would split up in 1970.

Later that year, Atkins would come across the band, Freight, who were rehearsing without a singer. It featured K. K. Downing on guitars, his childhood friend Ian "Skull" Hill on bass, and drummer John Ellis. He'd join them, and they'd adopt the name, Judas Priest. While they performed throughout 1971, but 1972 Ellis quit, and was replaced by Alan Moore. Prior to the end of the year, Moore too would quit and be replaced by Chris "Congo" Campbell.

Judas Priest signed on with Black Sabbath bassist, Tommi Iommi's management label, Iommi Management Agency, where Atkin continued to write material for the band. However, with a family to support, and bills to pay, he left in May of 1973. Campbell too would depart around this time, with both being replaced soon thereafter by drummer John Hinch and vocalist Rob Halford. With Atkin's departure, Judas Priest officially had no original members in the band.

After performing their first tour of Europe, Judas Priest returned to England and signed with Gull Records. At the suggestion of the label, they took on a second guitarist, Glenn Tipton. The lineup for their 1974 debut, Rocka Rolla consisted of Rob Halford on vocals, Gleen Tipton and K.K. Downing on guitars, Ian Hill on bass, and John Hinch on drums. Though a 1987 remastered release would also include credit for Alan Moore for his drums on the bonus track, Diamonds and Rust.

At the rist of this post becoming a novel, we'll pause there and get into the album.

Point Of Entry kicks off with Heading Out To The Highway, a solid into track to the album. That rocking sound that I familiarized myself with in their previous record was definitely present, and I was all in on it.

As expected, I didn't know any of the tracks on the album. At least, that's what I thought. For some reason, when Troubleshooter started up, I could have sworn I've heard it before, but if I did, I can't pinpoint when or where. Still, I feel in the back of my mind that I know it from somewhere.

Unfortunately, coupling all of the history above together did serve to take a lot of my attention away from the album as a whole, and while I didn't necessarily hear anything I would call bad, I also wasn't really attuned to it all to say what I heard. It was nice background noise, I suppose, but that's also not what I was wanting to get out of it. I may need to take some time and listen to this once again, but that's not going to happen any time soon. I have too many albums to get through.

My next stop is 1982's Screaming For Vengeance, which is actually the first album I got from Judas Priest, and the only one I owned for several years before finally branching out. I'll talk about all of that tomorrow, and then with 1984's Defenders Of The Faith swing back around to their continued history.

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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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Retro Spins: Simple Minds - Sons And Fascination / Sister Feelings Call

It's often interesting to go back into the history of bands which I knew of, enjoyed massive hits from, but stayed relatively away from their discographies. Such has been the case with Simple Minds. While I'm only one album in so far, two after today, it's been unique. Playing through their 1980 released Empires And Dance, their third album overall, I was introduced to a disco and electronica infused record. It definitely doesn't echo their 1985 powerhouse, Once Upon A Time, which prior to starting was my only exposure to the band, with exception of their Breakfast Club contribution. It was different, for sure.

As noted yesterday, while the band started on Zoom Records with owner / manager Bruce Findlay, he'd decide to shut the label down, and focus strictly on managing Simple Minds. This would lead them to a deal with Virgin, who would release their 1981 double album, Sons And Fascination / Sister Feelings Call.

While the first 10,000 pressings would release both together, the two would soon be split up. This resulted in some shifts on the charts. The original double album would peak at number eleven in the UK, but only the first half, Sons And Fascination, would chart elsewhere. It would, however, become their first gold certified album.

For me, it was interesting to find that the original pressing of the CD was not the ideal version to own. The reason being that when it was released in 1985, limitations in length were still a factor. Much like Prince's 1999, decisions had to be made on what tracks to cut if it were to be pressed onto disc. Sure, Virgin could have released it as a two-disc set. However, the label would not commit to the increased cost to do so. This resulted in tracks League of Nations, and Sound in 70 Cities, both from Sister Feelings Call, being cut. It wouldn't be until 2003 that a remastered version would contain all fifteen tracks.

The American would become their first single to peak on the UK charts, at number fifty-nine. Love Song would follow, and peak at forty-seven. Additionally, the song would reach the top twenty in Australia, and thirty-eight in Canada.

The album does shift to a more post-punk / new wave sound, and the vocals of Jim Kerr resonate more with the more popularly known era of Simple Minds. Though it still sporadically hits and misses the mainstream sound that would make many, if not most of the tracks radio friendly.

It does have some standout tracks, Sweat In Bullet, Love Song, and Seeing out the Angel from Sons And Fascination, and Theme For Great Cities, and Sound In 70 Cities from Sister Feelings Call. However, as a whole, it's a rather bland and bloated pair of albums. At least for me.

I've yet to hear that one track that makes me say, "Yes, this is what I want from Simple Minds." Or perhaps better stated, I already have, and that's from their 1985 released Once Upon A Time. There are still two more albums to go before getting to that point, so maybe something will pop. At least that's what I'm hoping. As for Sons And Fascination / Sister Feelings Call, it's not really for me. It's not bad, just bloated. Too long for its own good.

Shortly after the recording sessions, Brian McGee would quit, citing the grueling touring schedule had exhausted him, that he didn't feel he was getting the credit he deserved for his contributions, and ultimately wanted to spend more time with his family. The latter is a bit odd of a statement considering he would go on to join the band Endgames, and later Propaganda.

Kenny Hyslop would initially be brought in to replace McGee for the first leg of the tour which followed, and he would also contribute to the studio track, Promised You A Miracle, for the forthcoming album. It would be deemed that Hyslop was not clicking with the other members, and be replaced by Mike Ogletree, who would not only fill in for the second half of the tour, but also record a few tracks for the next album. However, he too would be replaced by Mel Gaynor who finished the album when the band didn't like Ogletree's drumming style.

1982's New Gold Dream (81–82–83–84) would serve as the breakthrough album Simple Minds needed. But before I get too far ahead of myself, I first need to get to tomorrow where I'll play through it.

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Retro Spins: Peter Cetera - Peter Cetera

Coming off my recent venture through the 80's era of Chicago, I was a little hesitant to dive into Peter Cetera. I also didn't own his debut solo album at the time and didn't know if I wanted to buy it. However, not having it only served to make me not want to go through his other two albums of the 80's just yet.

This aspect didn't get much better when I saw the asking price of said 1981 self-titled debut. At $20.00 (average) for a used copy, that wasn't a very intriguing purchase option. As I looked further at the album on Discogs, I soon discovered that the reason for this was because his solo debut didn't actually get a release in the USA until 2004 by Wounded Bird Records.

I'm familiar with the label for its release of Ēbn-Ōzn's Feeling Cavalier. The label specializes in forgotten media from the 60's through 80's, and I definitely recommend checking out their catalog. Lots of niche stuff to be found.

Things start out really solid with Livin' In The Limelight and drew me in right away. The guitar work of Steve Lukather (Toto) is immediately recognizable. While he didn't contribute beyond the opener, I Can Feel It keeps the energy up and even touches on a bit of a Chicago sound, less the horn section.

From there, things got a bit weird as Cetera experimented with his vocals. The vocals of How Many Times seems to want to channel Eric Clapton, and it really doesn't work. Then there's Holy Moly, where I can't even explain the vocal styling, but it does manage to be entertaining.

While side one of the album close out uneventful, side two picks up with the slower rocker, On The Line. It's followed by the equally good, Not Afraid To Cry, a more acoustic and twangier guitar sounding track.

My head kept bobbing, and my foot tapping with Evil Eye, and the peppy Practical Man. Seriously, where has this album been my entire life? I don't know what disappoints me more, that I didn't hear it until now, or that it only peaked at 143 on the Billboard 200. I'll go into more detail on that aspect tomorrow.

The album ends with the slow-paced Ivy Covered Walls. It's one of the weaker on the album, but ends things on a softer note, achieving what every artist should strive to do, leave them wanting more, and more I definitely wanted.

This turned out to be a great purchase, and I'm really happy with that. It was totally worth the expense, and it excites me to dive into his next solo album, 1986's Solitude/Solitaire. This is an absolute hidden gem of the 80's, and one I highly recommend.

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Retro Spins: Alice Cooper - Special Forces

Yesterday, I not only touched on the 1980's Alice Cooper album, Flush The Fashion, but also the history of the original iteration of the band, featuring the lineup of Vincent Furnier, Glen Buxton, Michael Bruce, Dennis Dunaway, and Neal Smith, who stayed together until 1974. Today, I continue my journey with 1981's Special Forces, and will also deep dive into the solo years of Alice Cooper.

When the band broke up, Furnier was interested in continuing a solo career. As of 1968, people had begun to refer to him directly as Alice Cooper, and wanting to continue using the name without any legality issues, would choose to change his name to that in 1975. Building off the momentum of the band's success between 1971 and 1974 with hits such as I'm Eighteen, School's Out, Billion Dollar Babies, and No More Mr. Nice Guy, Cooper returned to the studio to release the 1975 classic, Welcome To My Nightmare.

This was followed by 1976's Alice Cooper Goes To Hell, and 1977's Lace And Whisky. However, a steady decline, fueled mostly by drug and alcohol abuse, would begin with 1979's From The Inside, and continue throughout the 80's. Cooper himself would state that he was so heavily using cocaine during this time that he doesn't even remember recording albums between 1981 and 1983.

1981's Special Forces would be his last album to peak on the Billboard 200 (at 125), until 1986's Constrictor. It would also be his last album that he would tour for until the aforementioned '86 release. Forces would also continue the trend of changing musical styles, with the sleek hard rock sound being pushed aside for synth pop. It went as far as to reimagine one of his own previous tracks in this new style, Generation Landslide '81, and as a whole confused long time fans.

Though I'm no Alice Cooper aficionado, I do hear the very different musical style from what once was he shock rocker of the 70's. It's as if he's trying to keep up with he likes of the Cars, which is unfortunate. Alice Cooper was a persona who built himself from the ground up, so to hear him trying to be like other bands of the time is a bit disappointing.

While certainly a misstep, I won't say it's a total failure. There are standout tracks here, such as Who Do You Think We Are, Seven And Seven Is, Skeletons In The Closet, and You're A Movie. But as a whole, this doesn't sound like an Alice Cooper album, and that's ultimately not what you want when you put on one of his albums.

Cooper would release the pop-punk oriented, Zipper Catches Skin, in 1982. Critics would describe it as a mixture of the Knack and Cars, which sounds great on paper. However, as I said above, one doesn't pick up an Alice Cooper album with the intensions of not hearing an Alice Cooper album. Who knows, maybe it will turn out o be a hidden gem. I guess I'll find out tomorrow.

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