The Toy Box: 1981

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Retro Spins: Gen X - Kiss Me Deadly

Before we start: A lot of changes have been occurring for me both personally and professionally as of late, which are taking up a good chunk of my time. This is necessitating I pull my focus away from things I'd rather be doing, such as this blog. While I hope to keep up with daily Retro Spins, the reality is that this may not be a feasible goal. If you see a sudden drop off in posts, it's not because I wanted to stop, but rather that other matters simply took over my time.

Before the snarling one stepped out into the spotlight in the 80's, Billy Idol was fronting Generation X, the English punk band formed in London in 1976 with Derwood Andrews, Tony James, and John Towe. Unfortunately, the latter would be asked to leave over his playing style and be replaced by Mark Laff.

They released their self-titled debut in 1978 on Chrysalis and followed suit with 1979's Valley Of The Dolls. Both would perform fairly well in the UK. However, Idol would seem to only benefit from this, as the label would fly him around to promote the records, leaving the remainder of the band behind.

Despite chart success, their label grew increasingly unhappy that they money they were investing was not resulting in hits. They informed the band that if their next single failed that they would be dropped.

Work would commence on a new album, but during these sessions, both Andrews, and Laff would quit. Ultimately, this led to the album being aborted, and shelved. Idol and James would reform as the newly branded Gen X and commence work on what would become 1981's Kiss Me Deadly. Though they would disband after its release.

The irony is that Kiss Me Deadly contained the exact same tune which Idol would eventually take to number twenty-seven on the Billboard Hot Dance Club Play charts, Dancing With Myself. Albeit in its original form, which truthfully doesn't sound all that different from the re-recorded solo version.

It's great hearing young Billy, and taking in some of the roots that ultimately led to his massive solo success. Candidly, I don't understand how this album was unsuccessful. I think it's on par with any of his earlier solo work and in addition to the above, features a handful of standout tracks. For me, these were Untouchables, and Heavens Inside.

Is it an amazing? No. But were any of his solo album's magnum opus pieces?

Billy would pack up and leave London for New York, where he took the MTV generation by storm, releasing several hit records, and causing waves through controversy and publicized legal troubles. The bad boy of punk was leading the scene in America and becoming incredibly successful (and rich) in the process.

As for the aborted Generation X album, it would eventually see the light in 1998, released as K.M.D. – Sweet Revenge. Further, the band would reunite in 1993 to perform for a single night at London's Astoria Theatre.

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And now, 31 Days Of Halloween!

You've made it through October, hopefully watching several horror films. But, now it's time to

Retro Spins: Dokken - Breaking The Chains

Before we start: A lot of changes have been occurring for me both personally and professionally as of late, which are taking up a good chunk of my time. This is necessitating I pull my focus away from things I'd rather be doing, such as this blog. While I hope to keep up with daily Retro Spins, the reality is that this may not be a feasible goal. If you see a sudden drop off in posts, it's not because I wanted to stop, but rather that other matters simply took over my time.

I was going through a spurt of tracking down metal and glam bands, and in doing so, one immediately came to mind. Dokken. What did I know about the group beyond their name? Absolutely nothing. Which was ironic, because I already owned their 1985 released Under Lock And Key, but hadn't yet played through it.

Their remaining 80's discography was readily available, fairly cheap, and based on that became an immediate priority. Within a few clicks of the mouse button, I had purchased them all on ebay, and simply needed to wait for their arrival.

Fast or slow, it wouldn't matter how quickly they came because ultimately, they'd sit on the shelf until I finally got around to them. This is something that often happens in my world of CD collecting. I need it now, even though I know it's going to be a while before I get to it.

Don Dokken formed the band Airborn in 1976 with Bobby Blotzer, and Juan Croucier, only for them to quit shortly thereafter. It was around this time that Don would also find out that another group named Airborne had just signed a recording deal, meaning he not only needed a new band, but new name.

Not to worry. He'd simply adopt his own last name for this new group, bringing in Greg Pecka and Steven R. Barry to be part of this first iteration. This would change though, and while there's not much to fill in the gap, by 1979, Dokken, featuring Don, Greg Leon, and Gary Holland, Gary Link were touring Germany. This lineup too would fall apart.

Seeking a recording deal, a new iteration of Dokken, now featuring Don, George Lynch, Mick Brown, and returning original member, Juan Croucier, headed to Germany to find a label. The secured this through Carrere Records, after recording a series of demos with Accept manager, Gaby Hauke.

Their 1981 debut would initially be released under Don Dokken, with the original title, Breaking The Chains. However, this would be updated to the band name for subsequent releases. Also featured on the album were bassist Peter Baltes, and drummer Bobby Blotzer, who filled in on multiple tracks.

Side Note: As noted in my previous Retro Spin about the Scorpion's Blackout album, Don also filled in on the demo tracks when their lead singer, Klaus Meine underwent vocal surgery.

All was going well for Dokken on German shores. Meanwhile, back in the USA, manager, Cliff Bernstein secured a contract with Elektra Records for a stateside release of their debut, which would be remixed for American audiences. While this would lead to a US tour, the end of it would leave them relatively broke, with an album that was considered unsuccessful, almost causing them to be dropped from the label.

Let's pause here a moment, and actually have our own listen.

While I didn't know what to expect from the album, one thing was for sure was that I didn't anticipate at all to be treated to harmonies, and solid rock. In retrospect, it was reminiscent to bands such as Def Leppard, and Van Halen, as well as what would come from Bon Jovi shortly thereafter.

As a whole, the album is very easy to listen to, and while it features the title track Billboard Mainstream Rock single, candidly, I wouldn't necessarily call any of the songs on here a hit. They're good. It's all enjoyable. It's also just not very memorable.

Still, I'm in a positive position with Dokken, and I'm down for hearing more from them, which is a good thing considering I have three more albums to go. If nothing else, it was certainly better than expected. Admittedly, I envisioned hearing loud instrumentation, followed by screeching vocals, and I'm happy to say that is not at all what I got.

Following the above noted tour, the band would focus their efforts on a music video for the song, Breaking The Chains, but leading up to the shoot, Croucier would once again leave, being replaced by Jeff Pilson.

With the lineup now consisting of Don, Lynch, Brown, and Pilson, the band returned to the studio to record the tracks for what would become their breakout success, 1984's Tooth And Nail. Further, this lineup would stay in place through 1997's Shadowlife, with a caveat that occurred in 1988. But now I'm getting way ahead of the game. First, I pick up tomorrow with their second album.

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And now, 31 Days Of Halloween!

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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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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