The Toy Box: 1982

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Retro Spins: Huang Chung (AKA Wang Chung) - Huang Chung

For as many smash hits as there were in the 80's, there's not many bands I think of when the word, "anthem" comes to mind. However, that's exactly what comes to mind when I look back on the band, Wang Chung, or Huang Chung, as they were initially called. They'd take their name, and turn it into one of the most catchiest songs of 1986, with it creating an iconic slang verb that would remain predominant in the decades to come.

While they wouldn't initially last past the 80's, during their time, they'd churn out four albums, and with them, eight Billboard Hot 100 hits. Of those eight, to this day, I only know two, the first being the aforementioned hinted at Everybody Have Fun Tonight, and Dance Hall Days. Ironically, I was never really a big fan of either, but of course needed them in my collection of 80's music.

Further, I was unaware of the band initially going by the name Huang Chung until I started looking into their discography for this series of Retro Spins. It was in looking further into this that I found that wasn't even their initial choice. Rather, the band started as Intellektuals in 1977, when guitarist and lead vocalist Jack Hues (AKA Jeremy Ryder), and guitarist Nick Feldman met through Feldman's ad for musicians. They would add Bud Merrick on bass and Paul Hammond on drums to round out the group.

Less than a year would pass, and the band would break up, leading to Feldman and Hues joining drummer Darren Costin, bassist Leigh Gorman, keyboardist Simon Campbell and vocalist Glenn Gregory to form 57 Men. This band too would break up.

Hues, Feldman and Costin would go on to form Huang Chung. As a three piece, they would sign with 101 Records, and release one single, and three live tracks across two compilation albums from the label between 1980 and 1981. Rewind Records would also sign them to a two single deal in 1980, and upon releasing these, got the attention of Arista Records, who signed them to a two album deal in 1981. It was around this time that the band would also expand to a quartet, adding saxophonist Dave Burnand.

Rather than use their real names, the band adopted nicknames, with Ryder becoming Jack Hues, Nick Feldman becoming Nick de Spig, Darin Costin becoming Darwin, and Dave Burnand becoming Hogg. Of them, Hues would be the only one to adopt the name long term, still using it to this day.

The self-titled Huang Chung was released in 1982, but failed to garner much attention. This should have been no surprise to the label, as it comprised of multiple singles and b-sides released prior to its debut, and many of these were included on the album. As a result, in retrospect, it's no surprise that this particular album would fly under the radar of your casual Wang Chung listener.

As for me, I actually really liked it. I didn't see that coming, and perhaps this worked to its benefit, as I didn't go into it with any sort of expectation. Of the ten tracks, five were easily shuffle worthy. These included Ti Na Na, Straight From My Heart, Dancing, Why Do You Laugh, and I Can't Sleep.

What I equally found surprising was how the slower tempo tracks really stood out. In general, Wang Chung, or Huang Chung, aren't know for thrashing on their instruments, but they do keep a steady rock pace. As such, when they shifted to the milder ballad tempo, which I'm not usually a fan of, I was shocked to see I favored these more.

This was definitely a solid start for my listening sessions, and I'm totally psyched up to jump into their 1983 name change and follow-up album, Points On The Curve. That's subsequently their first album that delivered a top forty hit, Dance Hall Days, and paved the way for future success. However, that would be without Arista. That all unfolds tomorrow.

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Retro Spins: Squeeze - Sweets From A Stranger

Despite their iconic staple hit, Tempted, Squeeze wasn't burning up the charts with it back when it was initially released in 1981. In truth, the song would only be considered a minor hit, peaking at forty-nine on the Billboard Hot 100, though it would be their first single to chart. Unfortunately, for Paul Carrack, who joined the group that year, and was asked to sing it by producer Elvis Costello, since he didn't write the track, royalties were non-existent. Carrack would decide to forge out on his own solo career shortly after its release and be replaced by Don Snow.

This revised lineup, consisting of founding members Glen Tilbrook, Chris Difford, and Gilson Lavis, along with John Bentley, who joined in 1980, and newest member Don Snow, headed to the studio to record and release 1982's Sweets From A Stranger. It would be their third for the decade, and their fifth overall. Sadly, it would also be a massive critical flop.

Well, that's a fun note to start this one off on.

If it's a weaker album, I couldn't really tell. To me, it just sounds like more of the same. I'd call it average at best. Enjoyable to listen to once, but nothing I'm necessarily going to come back to.

Mind you, I say this while also noting that there were some standout tracks. These included I Can't Hold On, When The Hangover Strikes, I've Returned, Tongue Like A Knife, and His House Her Home. It almost feels like the band was going for a late era Beatles vibe. Layers of instrumentation and harmony.

Compounded by negative reviews, the stresses of touring, and conflict between band members led Difford and Tilbrook to break up the band later that year. However, this would be after releasing a final single, Annie Get Your Gun.

Though you might think the story ends there, the lineup of Chris Difford, Glenn Tilbrook, Jools Holland, Gilson Lavis, and John Bentley would reunite in 1985 for a one-off charity gig. This would lead the band to reform, and though there would be changes,

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Retro Spins: Devo - Oh, No! It's Devo

With the backing of David Bowie and Iggy Pop, which garnered them their original recording deal with Warner Bros. to the massive single, Whip It, Devo exploded on the 80's new wave scene, ushering in the era of synth pop. Among them were the likes of The Human League, Gary Numan, Kraftwerk, and to an extent, even Italian producer Giorgio Moroder.

The title, Oh, No! It's Devo, would come from word of mouth getting to the band that whenever they released something new, that was the response people often gave. As for the music itself on the album, this was conceived from the public's general consensus that the band were either fascists or clowns. As a result, when they set to the task of writing, they set out to answer the question, "what would a record sound like by fascist clowns?"

A unique aspect to the original vinyl pressings was the die-cut stand on the back of the jacket. Popping this out allowed the record to be displayed like a photograph in a frame. Schticks aside, the album didn't perform as well as its predecessors and would seemingly be the beginning of a steady decline for them.

The album would further come under scrutiny for the song, I Desire, for its lyrics taken directly from the letter John Hinkley Jr. sent to Jody Foster prior to his attempted assassination of Ronald Regan. Though the band obtained the approval from Foster to use the words, the FBI warned against doing so.

The opening track, Time Out For Fun, and the final, Deep Sleep, definitely feel like the groundwork for what Weird Al Yankovic's Dare To Be Stupid was based on. It kind of make me just want to listen to that.

It took the album about four tracks before things started to stand out for me, starting with Peek-A-Boo, and continuing through That's Good, Patterns, Big Mess, and Speed Racer. If you think the latter is about the cartoon, that wouldn't be the right assessment, but nonetheless, it's a very quirky tune.

Overall, it delivers the expected listening experience from a Devo album. New wave synth pop with lyrics that don't necessarily make much sense.

The band would tour extensively between 1982 and 1983 and even contributed two new songs to the soundtrack for the film, Doctor Detroit, the appropriately titled, Theme From Doctor Detroit, and Luv-Luv. This was followed by a music video for the theme song.

From there, they returned to the studio to record what would become 1984's Shout, their final record for Warner Bros. until 2010. It would also be their last with drummer Alan Myers. We'll pick up there tomorrow.

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Retro Spins: Hanoi Rocks - Self Destruction Blues

When you have a fair number of singles and B-sides, what do you do with them? In the case of Hanoi Rocks label, you compile them, and release them as the band's third album, 1982's Self Destruction Blues. But first and foremost, you don't get any input from the band and only tell them about it after the fact.

Love's an Injection would become a smash hit, reaching number one in Finland. It would also continue their success in Japan, garnering the attention of label, Nippon Phonogram, who they signed a distribution agreement with. It would further become a fan favorite, something which lead singer Michael Monroe would come to appreciate over the years.

One thing, however, would stand out to fans of Hanoi Rocks. That being the cover, which didn't feature drummer Gyp Casino. Rather, in his place was Nicholas Charles Dingley, AKA Razzle. Razzle had met Monroe at a show for Johnny Thunders, and after learning of his connection with Hanoi, started attending shows and making his way backstage.

During this time, Casino was struggling with drug abuse, suicidal thoughts, and depression, so when Razzle asked to join, he was accepted by Andy McCoy and Monroe almost immediately. Ironically, while he would appear on the cover, he didn't actually perform on any of the songs, as they were all recorded prior to his joining.

I'm going to have to once again agree with the fans and critics. Self Destruction Blues is a solid album. I dare say it may be my favorite so far. Being cobbled together the way it was, while it brings with it the overall sound of the band, it has varying styles, such as punk, blues, and straight up rock. This mishmash of styles works.

No, I won't call it a perfect album. However, there are more than a fair share of standout tracks. For me, these included Love's An Injection, I Want You, Nothing New, Kill City Kills, Beer And A Cigarette, Whispers In The Dark, Desperados, and Dead By X-Mas. That's still eight out of the twelve tracks.

So far, I'm really digging the Hanoi Rocks scene. So much so that I've taken to digging up interviews and performances by Michael Monroe in recent years. In doing so, I've learned about his appreciation for the greats which came before him, and the inspiration that they bestowed in him. I've also learned more about the tragedy that ultimately befell the band, bringing them to a close, the aftermath of it all, and the peace that has since been made. But now I'm getting too far ahead again.

With their popularity growing, Hanoi Rocks was given the opportunity to tour outside of their normal boundaries of Finland, the UK, and Sweden, leading them to Asia, where they were gaining momentum in popularity. However, a subsequent tour in Israel would not be as well received.

Monroe could purportedly not leave his hotel room, as the locals confused him as an improperly dressed female, and would spit on him. As a whole, the people of the country apparently did not understand or appreciate their loud music. Oh well, you can't win them all.

After that special treatment, Hanoi returned to the studio to lay down the tracks for what would become 1983's Back To Mystery City. It would not only be another successful release in Finland, but be their best charting in Japan to date, and their first to chart in the UK. Mystery City, here I come!

Hanoi Rocks would return to the studio to record their first with new drummer Razzle, 1983's Back To Mystery City.

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Retro Spins: Hanoi Rocks - Oriental Beat

After embarking on a Finnish record number of tours, Hanoi Rocks dove back into the studio to record and release their sophomore album, Oriental Beat (1982), as well as record their first ever music videos which included the tracks, Tragedy, Oriental Beat, and Motorvatin'. The song Tragedy would lead to the band's breakthrough in Japan, but overall, the album would be well received.

It would also serve as the first for vocalist Michael Monroe to contribute to song writing, whereas in their debut, all but one track was written by guitarist Andy McCoy. Katrina Leskanich, of Katrina And The Waves, would also step in to provide backing vocals on Don't Follow Me.

Despite going on to be listed on the 100 Greatest Rock Albums by the Finnish radio show, Radio Rock, the members of the band are not fans of Oriental Beat. Monroe blames the work of producer, Pete Wooliscroft, who he states mixed the album while they were on tour, with no working knowledge of who they were, or what their sound was about. Bassist Sam Yaffa would sum it up even shorter, by simply stating it as a piece of s**t.

Well, on that note, let's jump right in.

I think I'm going to have to agree with the critics and fans on this one. The album is pretty solid, and a good follow-up to their 1981 debut, Bangkok Shocks, Saigon Shakes, Hanoi Rocks. Songs, Motorvatin', Don't Follow Me, No Law Or Order, Devil Woman, and Fallen Star were all standouts for me.

Nothing really steps out of a comfort zone in terms of the band evolving or changing their sound. Instead, it's just more of what came before it, and I'm fine with that. About the only addition is more prevalent use of the saxophone. As I noted in my previous review, I don't typically associate that instrument with hair metal, but it works for Hanoi Rocks.

Overall, I'm still on board, and interested in hearing more from them.

By this time the members had fully relocated to London. While taking in a show of Johnny Thunders, Monroe would meet Nicholas Charles Dingley, AKA Razzle, the drummer for a local punk band called The Dark. After learning Monroe was the lead singer for Hanoi Rocks, he began attending shows, and showing up backstage, where he soon asked to join as their new drummer. With their current drummer, Gyp Casino struggling with drug abuse, depression, and suicidal thoughts, Monroe and guitarist McCoy took him up on his request, firing Casino.

However, before the above could happen, the band would release their third album, Self Destruction Blues (also released in 1982), which comprised of singles and B-sides recorded between 1981 and 1982. That's where I pick up tomorrow.

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Retro Spins: Judas Priest - Screaming For Vengeance

Judas Priest was never on my want list when initially creating it, and remained relatively out of mind until July of 2022, when one day, "You've Got Another Thing Comin' popped into my head. It was like a lightbulb that had turned on. "Oh yeah," I said to myself. "I know that song." Searching for it, I found that the 1982 album Screaming For Vengeance was not only where it was from, but that it was relatively cheap. So, I picked it up.

The band remained no more of interest to me beyond it, but when I came across 1980's British Steel, and 1986's Turbo at a used CD shop in January of 2024, I picked them up. Again, life went on, and Judas Priest remained generally just another part of my ever-expanding CD collection, but not a priority to dig into further. August of 2025, and another used CD store visit added 1984's Defenders Of The Faith to my collection, but still, no interest in really looking into the band.

Enter April 2026. I'm going through my list of albums to play for a Retro Spin post, and I decide that it's time to focus in on them. It made sense. I was presently in a heavy metal phase, picking up bands and discographies based on what a co-worker was recommending, as well as others which I happened to come across in diving deeper into the rabbit hole. It was finally at this point that I looked into just how many albums the band had in the 80's and got around to actively completing my collection with 1981's Point Of Entry, and 1988's Ram It Down.

I was hyped to hear this one, and playing through it, I got everything I was expecting. What I did notice was that the tracks were harder than those of 1980's British Steel, and 1981's Point Of Entry. Whereas those focused on mainstream pop rock radio friendly type tracks, Screaming For Vengeance was punchier, more so geared towards straight up hard rock.

Overall, it was enjoyable from start to finish, and at this point, I'll even go so far as to call myself a Judas Priest fan. For me, the standout tracks included The Hellion, Bloodstone, Fever, and of course, You've Got Another Thing Coming. But again, as a whole, I liked it from start to finish.

Tomorrow I'll swing back around to the history of the band, picking up where I left off with my post on 1981's On The Run. I'll also be running through their 1984 released Defenders Of The Earth. It's been a good time so far, and I'm down with keeping it that way.

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Retro Spins: Iron Maiden - The Number Of The Beast

After hearing their debut, I told my heavy metal co-worker that I was concerned to read that Bruce Dickinson was going to be replacing Paul Di'Anno on vocals. I told him how much I was digging the latter's vocals, to which he assured, "You're going to enjoy Dickinson even more." Is that true? Well, I guess we'll find out today.

Di'Anno was let go in 1981 due to his erratic behavior from drug abuse. Following a September audition, Dickenson would be immediately hired to replace him, and the band embarked on a series of road shows prior to recording and releasing 1982's The Number Of The Beast. It would become their first number one record in the UK, crack the top ten in multiple countries, and reach the twenties in others. It would only be the USA where it would falter a bit, peaking at thirty-three on the Billboard 200.

While the band embarked on yet another successful world tour, The Beast on the Road's US leg proved controversial when political activists claimed the band to be satanic and destroyed their albums in protest. Dickenson would call the whole thing silly, and state that their protest actually made them more popular. The Number of the Beast sold 2.5 million copies in its first year.

I found myself immediately frowning when opening track, Invaders, kicked things off. Specifically, when first hearing Dickenson's vocals. Though my ears didn't want it, I tried to push aside my own prejudices, and act as though this was essentially Iron Maiden's debut. It didn't work.

You can't give someone Cocoa Puffs for two years, and then suddenly switch up to Count Chocula. Sure, this is still a chocolate cereal, but it's not the same chocolate cereal, and this one also has marshmallows. If you like marshmallows, then sure, this could be considered better, but if you don't, then this perhaps isn't the cereal you're looking for. As for me, I like Cocoa Puffs and Count Chocula, for two different reasons, but if given the choice, I'd take Puffs over Chocula. Same comparison for Iron Maiden.

I will admit that things did pick up for me with the song, The Prisoner, specifically the guitar solo which kicks in around the three minute forty second mark. Things quickly tapered off though, and I found myself just going through the motions of listening. That is until the title track came on and was followed by Run To The Hills. Now we were talking. Yes, I will take more Bruce Dickinson Iron Maiden like this. Sadly, this didn't turn out to be the case, and I was soon back to subpar tunes until the album closer, Hallowed Be Thy Name.

My biggest problem with Dickinson is his need to continuously screech like he stubbed his toes. Whereas Di'Anno brought a singing voice with character, Dickinson is just a bellowing harpy. It's actually a bit annoying when I think about it. Though he retained a good relationship with his prior bandmates, Di'Anno never rejoined, mainly because Dickinson never stepped down, and sadly he passed away in 2024. In a sadistic way, I keep seeing the father from Dewey Cox popping into my head and saying, "Wrong kid died."

By December of 1982, drummer Clive Burr was fired from the band for a combination of reasons, which included personal issues, intense touring fatigue, and, according to band members, lifestyle choices that affected his performance. He would be replaced by Nicko McBrain. Burr would later claim to have been unfairly ousted.

For their next three albums, the band would find a home at Compass Point Studios in the Bahamas to record them all. The first being 1983's Piece Of Mind, an album which I do actually know a song from because of my Xbox 360 Guitar Hero II days. But before I get too far ahead of myself, I suppose that's a decent stopping point. I'll pick up tomorrow, crossing over the halfway point of my journey through Iron Maiden.

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Retro Spins: Simple Minds - New Gold Dream (81–82–83–84)

By 1981, Simple Minds had made quite the waves in the UK, having not only successful singles, but full albums. Their previous double album, Sons And Fascination / Sister Feelings Call, would also go gold in the country. Despite this, a global breakthrough had yet to come. That would all change with 1982's New Gold Dream (81–82–83–84).

When they began recording the tracks which would become their next record, Simple Minds wanted to achieve a sound akin to that of their live shows. This desire led to producer, Peter Walsh recording the album in live studio sessions. However, during recording, new drummer, Mike Ogletree's style wouldn't mesh with what the band were going for. Ogletree had recently replaced new drummer, Kenny Hyslop, who also recorded on the album, but find himself too being replaced by Mel Gaynor.

Upon its release, New Gold Dream (81–82–83–84) would not only crack the top ten in the UK, but also in New Zealand, Australia, and Switzerland. It would find mild success in Canada, Germany, and the USA, peaking at 57, 47, and 69, respectively. It would further be certified platinum in the UK, Netherlands, and New Zealand, while reaching gold in Canada, France, and Sweden.

The band had already built up a popular following across multiple countries, and by 1983 were beginning to gain traction in the USA. However, despite seeing their albums released abroad by Arista Records, Arista USA had right of first refusal for any US releases, and so far had declined. This would change with their signing to A&M, and this would actually be their first released in the states.

I was definitely down with the more pop oriented sound that the album delivers over previous entries. Mainly, I was happy that I could hear the band I became familiar with in 1985.

Overall, it's a more enjoyable listening session from previous albums, Empires And Dance (1980), which took on a more disco and electronic aspect, and the double album, Sons And Fascination / Sister Feelings Call (1981), which had pop aspects, but just felt bloated. New Gold Dream (81–82–83–84) felt focused, and more mainstream appealing. With it came some standout songs, Someone Somewhere In Summertime, Promised You A Miracle, New Gold Dream (81/82/83/84), and Hunter And The Hunted were the standout tracks for me.

Beyond that, I really don't have much more to say about it.

Simple Minds would spend the next two years touring in support of the album, but during this, also work on what would become their next album, 1984's Sparkle In The Rain. It would surpass New Gold Dream (81–82–83–84) on the charts, continuing to push the band across the globe. I'll be diving in there tomorrow.

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Retro Spins: Alice Cooper - Zipper Catches Skin

As a teenager, Alice Cooper's Trash (1989), and Hey Stoopid (1991) were the only albums. This was eventually followed by his 1994 album, The Last Temptation Of Alice Cooper. After playing it, it was the last album I purchased from him (at the time). I not only didn't hear anything reminiscent of the previous two albums but recall not liking it as a whole. Pretty soon, the artist was nothing more than a footnote in my music collection, and I eventually parted with the albums.

When I eventually began rebuilding my CD collection, Trash, and Hey Stoopid were among must haves for me, and I checked them off relatively quickly. Years would pass by, and I'd find myself at the local used CD shop, as I often did. Pursuing through the multiple rows, I came across his section and found multiple studio albums. I'm not sure what it was that compelled me, but I ended up picking them all up.

From the band era, I had managed to collect five albums, and from his solo area, also an additional five. However, what I soon found out was that this was not only just the tip of the iceberg, but that there were four remaining just from the 80's. Still, they weren't a priority to me. This became all the more so after playing through their 1969 debut, Pretties For You. That listening session didn't go well.

Still, every now and then I would look into those "missing" 80's albums, look at the prices, and move on. It wouldn't be until about a month and a half ago (as of the date of this post), that I'd finally decide to pull the trigger. This all came about when watching a Youtube video from Michael Noland on Cooper. It dawned on me just how old the artist was, and having seen what happened with the prices of Ozzy's lower print latter discs, I felt I best get the remaining ones checked off before the same thing happened with him. Like my comment on Noland's video said, I can only imagine how much more expense these albums would have been had I waited. As it was, it cost me close to two hundred dollars to grab them.

Mind you, if I wanted to collect the rest, there are still thirteen more out there. Thankfully, as of now, I don't have any intensions of doing that. But I suppose I said that about Ozzy too and ended up eventually grabbing all of those.

Over the past few days, I've been working through my 80's discography, starting with 1980's Flush The Fashion, and chronologically reaching today's entry, 1982's Zipper Catches Skin. Failing to chart, nor reach any sales certifications, it was a massive flop.

This is ironic because as I played through it and picked out the songs I was digging, that essentially became the whole album. I daresay it was a practically perfect album.

In retrospective reviews, it appears many people seem to have that opinion. Even Alice himself has said he should go back and re-record this, and his other "blackout era" albums, to give them the justice they deserve.

I mentioned yesterday that Zipper Catches Skin was noted as being a mash up between the Knack and Cars, and I stated that it sounded good on paper. It appears in execution, it works.

Unfortunately for the artist, he continued in a downward spiral. There was no tour to promote the album, probably contributing to its failure. Further, not only did his next album, DaDa (1983), also fail, but he would reach a point in his life where his drug and alcohol abuse was causing physical damage to his body. If that weren't enough to pile on, his wife was at a point where she simply couldn't take any of it anymore. That story all unfolds tomorrow.

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Retro Spins: Tom Petty And The Heartbreakers - Long After Dark

Now that I've gone back a few days, and completed my run through Sade's albums, it's time to hop back into Tom Petty And The Heartbreakers. I daresay that the mind-numbing experience that was the smooth jazz band was just what I needed to put me in the mood for the faster paced Southern rock of Petty.

The storied history of Tom Petty begins as the Epics in 1976, which eventually evolved into the Mudcrutch. The band featured future Heartbreakers, Mike Campbell, and Benmont Tench. There's a history there in and of itself, and though they didn't at the time, Mudcrutch would eventually release two studio albums in 2008 and 2016. However, at the time, their music was going unnoticed, and they decided to disband.

Petty would reluctantly pursue a solo career, only to end up collaborating again with Campbell, Tench, Ron Blair and Stan Lynch, forming Tom Petty And The Heartbreakers. This lineup would land their first recording deal with Shelter Records, releasing their 1976 self-titled debut, and 1978 follow-up, You're Gonna Get It! The latter would become their first top forty album.

By 1979, Shelter was sold to MCA, Petty wasn't interested in joining. He'd state he felt like a piece of meat being bought and sold and had no interest. This resulted in a legal battle over his recording contract, one which Petty would file for bankruptcy to get out of. The suit was eventually settled, and as part of it, MCA agreed to form Backstreet Records to re-sign him and the band. It's been stated that this whole process inspired the hit, Refugee, released on their first Backstreet album, Damn The Torpedoes.

The album would become their first platinum seller, followed by 1981's Hard Promises. While as a whole they were going strong, internally, bassist Ron Blair had hit a wall. Exhausted and burnt out, he wanted a quitter life, prompting him to leave the Heartbreakers prior to 1982's Long After Dark. He'd be replaced by Howie Epstein.

Long After Dark doesn't necessarily deliver the hits that you'll hear across airwaves, especially these days. However, what it does have going for it is a solid rock album. It was surprising really good. Standout tracks for me included A One Story Town, You Got Lucky, Deliver Me, We Stand A Chance, and Straight Into Darkness.

I don't know, maybe it was the mind-numbing experience of Sade that really hooked me on this more up tempo album. Perhaps the music was just good. Maybe, I'm just turning into a Tom Petty And The Heartbreakers fan. Whatever it was, I endorse this album, and I'm keen on hearing some more from the fellas.

This is what I was hoping would happen. There's no doubt they're a legacy act, and I candidly wanted in on that scene. I'm glad that, so far, it's not disappointing. I'll pick up tomorrow with 1985's Southern Accents, an album that would continue the band's success, but wouldn't be without its own problems.

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Retro Spins: Billy Squier - Emotions In Motion

There's nothing worse than an ingrate who bites the hand who feeds. However, that's exactly what happened with Billy Squier, who after his previous success working with Reinhold Mack, returned to the producer for his 1982 album, Emotions In Motion. Apparently, Billy was known for his short temper, and strive for perfection, which all began to clash with Mack. The end result was their relationship dissolving.

Despite this, the album would become Billy's second most successful of his career and also be his first collaboration of a few with members of Queen. Both Freddie Mercury and Roger Taylor would provide backing vocals on the title track. Billy would also embark with Queen on their Hot Space Tour as an opening act. This in turn led to a boost in his own popularity, and as he began to headline his own shows, would bring in Def Leppard as his opening act for their Pyromania Tour.

But now we're just getting ahead of everything.

Emotions In Motion would reach number five in both the USA and Canada and provide Squier with his first number one rock charts hit, Everybody Wants You, which would also peak at thirty-five on the Billboard Hot 100. It would also become 2x platinum certified in the USA, and platinum in Canada. The title track followed as the next single, and reached number sixty-eight on the Hot 100, and She's A Runner, which stalled at seventy-five.

Like its predecessor, this album sounds very much so like a Queen album. Specifically, The Game. No surprise, again, being the product of Mack.

Everybody Wants You, is a solid starting point, and sets a good tone for the things to come. Unfortunately, those things are the title track, which despite the inclusion of Queen alums, is just okay. I dare say it would have been more successful with Freddie on lead. Its overall tone feels more so his persona than Squiers.

From there, the album gets a bit dull, and doesn't shine again until track seven, One Good Woman. Unfortunately, this was also the only other gem to be found, as the remaining songs didn't impress much. Overall, I'm definitely seeing the decline as it unfolds.

With Mack out, Squier turned his attention to Mutt Lange for his next studio album. However, the producer was already committed to The Cars for their opus, Heartbeat City, and was completely burned out, to the point he suffered a breakdown after its release. As a result, he instead looked to Jim Steinman for what would become 1984's Signs Of Life. It's the album I'm headed to tomorrow.

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Retro Spins: The Flirts - 10¢ a Dance

Hey, who remembers The Flirts? Hello? Anyone? No surprise.

Before he penned West End Girls for Pet Shop Boys, Bobby Orlando was the mastermind behind Hi-NRG, new wave group, The Flirts. Between 1982 and 1992, they released six albums, featuring Orlando himself with a rotating female lineup consisting of Andrea Del Conte, Rebecca Sullivan, Holly Kerr, Linda Jo Rizzo, Pamela Moore, Christy Angelica, Debby Gaynor, Tricia Wygal, Geri, and Jodie Rocco.

Orlando would often call in female session musicians to record the tracks, but then hire others to be the faces performing, often with backgrounds as dancers. Basically, talent in the studio, looks on the stage. You know, Milli Vanilli.

Though they didn't have many, there were some hits which came from the efforts. However, despite being a US group, most of their success would be found overseas in European countries. In fact, their final 1992 album, Take A Chance On Me, would only be released in Switzerland.

Their debut, 10¢ A Dance, was released in 1982, and music videos for Jukebox (Don't Put Another Dime), and Passion would become mainstays on the channel's during MTV's infant years. The two songs would also hit the Billboard Dance Charts, peaking at twenty-eight, and twenty-one, respectively. Additionally, the single, Calling All Boys would chart, and also peak at number twenty-one.

The album is fun, in that cheesy 80's new wave type of way. It almost has a B-52's vibe, wherein the music feels like it's intended to be a long party that everyone's invited to. During its thirty-minute runtime, the tempo never slows down.

The Flirts take a stab at the Dusty Springfield hit, I Only Want To Be With You. It's a serviceable cover, maybe not as good as the Samantha Fox rendition, but still okay.

Passion is a pretty decent track, but I find that I have to like Jukebox, (Don't Put Another Dime). It's the first song I ever heard from the group. Mind you, that wasn't until recently when I randomly came across it on Youtube. In fact, I wouldn't even own their entire 80's discography if not for that chance listening session and finding a seller on ebay who just so happened to have them all for around ten dollars each. Everything just clicked into place on this one.

Again, it's a fun album. It's not Michael Jackson's Thriller by any means, and there's probably nothing on here that I'll find myself saying, "let's hear that again." If nothing else, it's just cool to have found something obscure, that at the same time was enjoyable to hear. Will that hold up for four more albums? I don't know, but I'll find out.

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Retro Spins - Huey Lewis And The News - Picture This

In 1982, Huey Lewis And The News was not yet the multi-platinum band it would become, nor a household name. Instead, they were a struggling band, still trying to find a foothold in mainstream rock. With the failure of the debut, the band needed a hit, and got one, they did.

The "Mutt" Lange produced, Do You Believe In Love, would single handedly push the album up the Billboard 200 charts, where it peaked at number thirteen. In total, Picture This spent thirty-five weeks on the charts. Follow-up singles, Hope You Love Me Like You Say You Do, and Workin' for a Livin' wouldn't fare as well, only finding mild success.

The sound that I associate with the band would definitely start to emerge with Picture This. Part rock, part crooner, even a little funk at time. As a whole, it was far superior to their debut, and certainly more enjoyable as a result.

Unlike its predecessor, which yielded no satisfying tracks for me, this one brought several: Tell Me A Little Lie, Hope You Love Me Like You Say You Do, Workin' For A Living, Do You Believe In Love, and The Only One. As I've said before, Huey Lewis And The News was never one of my favorite bands from the 80's, but this album changes my mind. This I can back. This gets me excited to hear more.

The band was starting to get exposure, and things were certainly on an upward turn, with the album going gold. But if superstardom was what they wanted, it wouldn't come overnight. Instead, they'd have to gruelingly work for it.

Chrysalis would delay their 1983 album, Sports, and the effects of this would result in the band hitting the road in a bus to tour and perform in small clubs. The series of shows would become known as the "Workin' For A Living Tour".

Upon its release, Sports would initially reach number six on the Billboard 200 and slowly climb to number one by 1984. All of this was pushed by the band themselves, who continued to tour non-stop in support of the album, as well as continue to record promotional music videos, which aired frequently on MTV. The album would finally go platinum in 1985.

Singles, Heart and Soul, I Want a New Drug, The Heart of Rock & Roll, and If This Is It, would all reach the top ten of the Billboard Hot 100, eventually pushing the album to over ten-million-unit sales in the USA alone.

Huey Lewis And The News were now a household name. They'd go on to produce the massive single, The Power Of Love, for 1985's Back To The Future, which would also include the less popular single, Back In Time. I've already touched on Sports in a Retro Spin, as well as the soundtrack to the film. So, at this point, I don't have anything else to add to them. Instead, my next stop is 1986's Fore! I'll see you tomorrow for that.

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Retro Spins: Chicago - Chicago 16

Having sold over one hundred million records worldwide, Chicago remains one of the most successful and longest running bands of all time. Their success is second only to The Beach Boys in terms of sales, and Billboard hits.

Let's rewind a moment.

Chicago Transit Authority came out of the gate swinging with their 1969 self-titled debut, reaching platinum certification. From there, they shortened their name to Chicago, and this sales success followed for the subsequent eleven albums, through 1978's Hot Streets, a rare album in the band's catalog to not have a number in the title, though technically number twelve.

However, things weren't jiving for the band at this point in time. While the band was still living paycheck to paycheck, producer, James William Guercio, was buying places like Caribou Ranch, a historic, private 1,600-acre mountain property near Nederland, Colorado. It was at this point that the band realized he was taking advantage of them financially. They realized his contract allowed for him to take fifty-one percent of profits and accused him of keeping their royalties. The 1977 dissolvement of their partnership was far from amicable.

The following year, guitarist Terry Kath was found dead from an accidental self-inflicted gunshot wound. At his funeral, it would be Doc Severinsen, band leader of The Tonight Show Starring Johnny Carson, who would encourage the remaining members to continue on. After thirty (plus) auditions, Donnie Dacus, would land the job.

Phil Ramone would step in to take over the role of producer, releasing the aforementioned Hot Streets, and 1979's Chicago 13. However, when it came time for 1980's Chicago XIV, new producer Tom Dowd was brought in. Through him, the sound of the band started to change. Specifically, he relegated the once prominent horns to the background of numerous tracks. I already talked about the spectacular failure that was this album, and ultimately how Columbia bought out the band's contract, and dropped them after its release.

Full Moon / Warner Bros. would sign them, and release Chicago 16 in 1982. New producer, David Foster would step in to guide the band, and at the risk of getting too far ahead, continued to work with them through Chicago 18. Lineup changes also occurred, with the departure of Laudir de Oliveira and Marty Grebb, and the addition of Bill Champlin.

Much like the previous Phil Ramone produced albums, less emphasis was placed on the horns, replacing them instead with synthesizers and power ballads. Additionally, Foster would bring in outsiders to assist with writing, and session musicians to record the music, which included several members of Toto.

This more mainstream sounding Chicago resulted in a return to the charts, led by the number one Peter Cetera penned hit, Hard to Say I'm Sorry / Get Away. The tune would also garner them a Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The album, as a whole, shot up to platinum status, and peaked at number nine on the Billboard 200. Chicago was back, and ready for the 80's, or in my case, ready to be discovered by a new generation.

Sixteen definitely showcases the potential of things to come with the next Chicago album. However, without that retrospective history, it's relatively weak. Hard To Say I'm Sorry / Get Away and Love Me Tomorrow are definitely solid hits and are the reason I bought it. A nice hidden gem emerged in, Rescue You.

Mind you, at this point, it was the second to last track, which would be followed by Love Me Tomorrow. So, basically, by this point I'd given up completely on hearing anything else that stood out. It was a pleasant surprise, for sure.

Was it enough to make me a fan of the band? No, not necessarily. I mean, I like their hits, and that's pretty much enough for me. May that will change as I go through their remaining 80's albums, and I'd be all for it if that did happen. I definitely prefer their more mainstream synth sound to that of their earlier horn driven stuff, so there's potential.

Chicago catapulted into mainstream success with their follow-up album, 1984's Chicago 17, an album I've already talked about in a previous Retro Spin. Led by hit singles, Hard Habit To Break, Stay The Night, Along Comes A Woman, and You're The Inspiration, the album would reach six times platinum certification, becoming their biggest selling album of all time. While they wouldn't win, they would receive two Grammy Award nominations for Record of the Year and Best Pop Performance by a Duo or Group with Vocals.

They were at the peak of their popularity, and unfortunately, the only way to go from there was down. The decline was swift, relatively overnight. 1986's Chicago 18 would drastically underperform, and from there, things only further declined. But that's where we pick up tomorrow.

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Retro Spins: Twisted Sister - Under the Blade

It feels like a lifetime ago (2019) when I first spun a Twisted Sister album, their massive breakthrough, Stay Hungry. It was my second year of doing album reviews, and I hadn't quite hit my stride, nor landed on my formula for each post, but for what it's worth, I enjoyed the album.

At that point in time, I had three of the five 80's albums from the band, and if you would have asked me then if I would fill in the gaps, I would have said no. Of course, this was also back when I was really focused on my collection, adamantly working towards albums that had songs I actually knew, and actively wanted to own. Fluff was rare back then, unless I was hitting up a Timonium show to dig through piles and piles of dollar CD's.

Well, time has a way of changing a man. As the years rolled by, I found myself looking into their debut, Under The Blade, and their final album of the decade, Love Is For Suckers but would never pull the trigger. Both cost more than I really wanted to spend, and not knowing any of the tracks, it just didn't make sense. Yet for some reason, I kept coming back to their debut. I'd search for it. See the pricing and move on, and in late 2025, finally pulled the trigger, and picked up the two stragglers.

When Under The Blade was initially released, it was only on cassette and vinyl. CD, at this point in time, was just starting up, and the format was reserved for select few albums, typically back catalogs of already established legacy artists. As a result, when it did finally see a pressing in 1985, it was remixed by Atlantic Records prior to release, a decision which was initially criticized by Sister fans.

Atlantic's goal was to capitalize on the band's momentum from 1984's Stay Hungry, while fans eagerly awaited 1985's Come Out And Play. However, the problem they saw was that the original mix of the band's debut was far more aggressive, metal if you will, as compared to their popular hard rock pop sound which catapulted them to mainstream success. Because of this, the album was, as noted, remixed, making it sound more familiar to the current sound of the band. This version of the album would also feature a forgotten 1979 single from Sister, I'll Never Grow Up, Now!

The original cut would eventually get its day in digital. Eagle Records would restore the original mixes of the tracks and release them through online streaming sources. This was followed by Rhino Records producing a limited run of CD's, which are out of print at this point.

Personally, I own the 1985 re-issue, and I'm totally fine with this. I like the more poppy rock sound of Twisted Sister and really don't have any interest in hearing them as a hardcore metal group.

Because I don't know what the original mixes sound like, I have nothing to compare these remixed tracks to. However, as a whole, it was a pretty solid album. What You Don't Know (Sure Can Hurt You), Bad Boys (Of Rock 'N' Roll), and Under The Blade were the standout tracks that I took away from it.

It was actually kind of exciting to listen to and really ramped up my interest in hearing more from Dee Snyder and the boys. I'm already ramping up to play through 1983's You Can't Stop Rock 'N' Roll.

Tomorrow I'll also take a step back and hit a bit of history for the band. It'll be a nice segue into their sophomore album. Until then, that about wraps this one up.

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Retro Spins: Pointer Sisters - So Excited!

Would it be wrong to assume that when most people think of the Pointer Sisters that the song I'm So Excited is one of the tracks that comes to mind? Would you believe that when it was first released for their 1982 album, So Excited!, it didn't make as big of an impact as it would later?

Upon its initial release, the single would peak at number thirty on the Billboard Hot 100. However, it would be revived and re-released on the 1984 re-issues of their 1983 album, Break Out. It would be here that the song would once again hit the charts, peaking at number nine.

Overall, So Excited!, the album, would fare much worse than its predecessor, Black & White (1981) which went gold. Excited would receive not sell enough units to reach and sales certifications status, and as a whole, stall out with lackluster reception.

Playing through it, what I like about it is that you can hear the girls shifting in style. While it's still considered an R&B / soul album, there are hints of the synthpop / new wave sound that was on the horizon.

Things kick off with the title track, which sets a high bar for things to come. While the energy stays in place, the remainder becomes a hit or miss series of songs.

Yes, there were ones that I selected for the old shuffle list, All Of You, If You Wanna Get Back Your Lady, and Heart To Heart. However, just in typing this paragraph, I couldn't tell you a thing about them. They've already left my mind.

Maybe it's just me, but I'm tired of everyone doing a re-make of Prince's I Feel For You. First and foremost, as much of a fan of the guy that I am, that song is the stink. I don't like his versions, I don't like Rebbie Jackson's cover, Mary Wells sped up cover, and while Chaka Khan's is the best of all, I really don't like it much past the rap intro.

With what I know was to come from the Pointer Sisters with their next album, Break Out, I really was hoping that this one would have a few more hints of that. Some hidden gems or overlooked classics. Sadly, that's just not the case here.

Since I've already listened to, and written a Retro Spin on that one, and moving tomorrow into their 1985 released, Contact. It's the second most successful album from the girls, but is this just because of the momentum it was riding from their previous smash? I guess I'll find out tomorrow.

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Retro Spins: Irene Cara - Anyone Can See

After her successful work on the 1980 film, Fame, as well as recording the lead vocals for the main theme, Irene Cara was asked to reprise her role of Coco Hernandez for the forthcoming 1982 television series. However, she would decline, instead wanting to focus on a recording career.

She'd release her 1982 debut, Anyone Can See, that same year for Network Records, a new label created by industry legend Al Coury just a year prior. The title track would peak at number forty-two on the Billboard Hot 100, and overall, Cara was praised for her vocal versatility.

With all that stated, there is clarification needed here. While Anyone Can See is touted as her debut, it's technically not. She had already released the Spanish language album as Irene Escalera, her real last name. Specifically, 1967's Ésta es Irene (This Is Irene), at the age of eight. Her stage name, Irene Cara comes from her dropping her last name and instead using her first and middle name.

Personally, I didn't know anything from the album. Instead, it was an impulse buy after finding her 1987 released Carasmatic (Do you get it? Cara - smatic, instead of charismatic) for just a couple dollars during a used CD excursion. Basically, I ended up tracking down her debut because it was the only one missing in my collection from the 80's.

I did recognize the cover versions of the Four Top's Reach Out I'll Be There, and Leo Sayer's Thunder In My Heart, and they're serviceable. However, as it normally goes, these are inferior to the originals.

With that said, I will admit that Cara has an amazing voice, an incredible range, and can deliver solid music. All of the above is what drew me to her 1983 What A Feelin' album, which I've already done a Retro Spin on, and what ultimately made me grab her other albums from the era.

Overall, I would not rank this one a success. In fact, if it were my first exposure to her, I probably wouldn't go any further.

Fortunately, my first exposure was the aforementioned What A Feelin', and well, I suppose as a result of that, I now have all three of her albums from the 80's, which actually encompasses her entire discography of studio albums. Since, as noted above, I've already listed to Feelin', my next stop is 1987's Carasmatic, which I'll hit tomorrow. I'm hoping there's some unknown gems to be found.

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