The Toy Box: 1983

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Retro Spins: Rod Stewart - Body Wishes

When you've had a decades long career, you're bound to have some hits and misses. For Rod Stewart, that was his 1983 released Body Wishes. Though it produced the singles, Baby Jane, which peaked on the Billboard Hot 100 at number fourteen, What Am I Gonna Do (I'm So in Love with You), landing at number thirty-five, and Sweet Surrender, which did not chart.

Despite the critical response, the album still kicked out gold and platinum certifications across multiple countries and landed in the top twenty across the world. Which just goes to show, even a bad album can result in a good day for a legacy artist.

The cover serves as a homage to 50,000,000 Elvis Fans Can't Be Wrong: Elvis' Gold Records, Volume 2, released in 1959.

Opening track, Dancin' Alone has an almost bluesy Rolling Stones vibe to it, and I dig it. It this is what Body Wishes was going to shape up to be, then I was prepared to endorse it. This was followed by the hit, Baby Jane, and I thought, "What was the critic's problem with this album?"

My head instinctively started bobbing with track three, Move Me, which picked up where Dancin' left off with that classic rock sound of the Stones. It was at this point that I formally submitted and confirmed for myself that I was a Rod Stewart fan. I had been missing out for a long time on some really great music.

Of course, after saying all of the above, my attention then got diverted, and the back half kind of fell off for me. When I did tune back in, things suddenly weren't resonating the same way. In fact, I found tracks to be relatively boring.

At the end of it all, I found myself still sitting on the fence. I certainly enjoyed what was side A of the album, and I'll take that as a win. But ultimately side B kind of failed. It doesn't deter me from wanting to hear more, and I'll certainly be continuing my Rod Stewart journey. Albeit, I'll be skipping over 1984's Camouflage, as I've already played through that one. As such, my next stop is 1986's Every Beat Of My Heart.

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Disclaimer: They Toy Box does not endorse or contribute to piracy. Retro Spins posts are intended for educational and entertainment purposes only. None of the music discussed here is available for sale, downloading or distribution.

And now, 31 Days Of Halloween!

I saw the first Exorcist once, and that was enough for me. I don't make it a habit to mess with films that openly blasphemy God. There are just some lines that I don't feel should be crossed. Candidly, the subject matter also just makes me squirmy because demonic possession has happened and been documented to quite an extent in the bible.

In regard to horror films, it's a little more difficult to enjoy when something can or has happened in reality. So, for me, The Exorcist film series is a hard pass, but maybe for you, you like that sort of thing, and if so, there are plenty of films to choose from in the series for Halloween.

Retro Spins: Rick Springfield - Living In Oz

After two successful albums back-to-back, Rick Springfield left the role of Dr. Noah Drake on General Hospital and focused strictly on his music career. Returning to the studio, he recorded what would become the tracks for his next album, Living In Oz (1983).

The album would prove to be another success, providing his fourth Billboard 200 top forty record, and his third consecutively. With it came the hit singles, Affair Of The Heart, which peaked at number nine on the Billboard Hot 100, Human Touch, which landed at number eighteen., and Souls which followed at twenty-three. Affair Of The Heart would also garner him a nomination, but not a win, for a Grammy Award for Best Male Rock Vocal Performance.

I'm finding it difficult to write Retro Spins on Rick Springfeild because honestly, there's not much to say about them. His records are straight up rock and roll albums. They have great instrumentation, and his vocals are superb. Beyond that, what is there to say?

I suppose I could note that as a result of the album being another solid one, there were standout tracks. For me, those were Human Touch, Alyson, Affair Of The Heart, Living In Oz (the song), Motel Eyes, Souls, I Can't Stop Hurting You. but from there, I'd just be typing words for the sake of filling space.

Point being, check this one out. Check out the previous two too. Then listen to the next one. I mean, maybe, I don't know. I haven't heard that one yet. Well, I take that back. By the time you read this, I will have, but you'll have to check back tomorrow for that. See, that's what happens when you type words to fill space. Rambling.

Before moving on to his next album, Rick returned to the screen, starring in the film Hard To Hold. Though it would be a box office flop, it would lead to his next studio / soundtrack album of the same name, and his fifth top forty album. Leave us not get too far ahead though and instead pick up there tomorrow.

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Retro Spins: Tom Tom Club - Close To The Bone

Today, I'm continuing my journey through Tom Tom Club. I left off yesterday reserving my judgement of the band, not sure if their music was genius or gibberish. I'm hoping today to answer that question.

The massive lineup of musicians present on the last album shifted a bit with members departing, but in doing so, all the more joined. 1983's Close To The Bone boasts a whopping twelve bandmates, which include founding members Tina Weymouth, and Chris Frantz, along with Alex Weir, Wally Badarou, Tyrone Downie, Raymond Jones, Rupert Hine, Steve Scales, Lani Weymouth, Laura Weymouth, Steven Stanley, and Roddy Frantz.

Unlike its platinum selling predecessor, the self-titled Tom Tom Club, their second album would not perform as well. Not only did it not receive any sales certifications, but as a whole didn't chart as well.

What's interesting about this particular album is that for the longest time it wasn't available on CD. It was made briefly available in Europe and the UK as a two-disc deluxe release packaged with their debut in 2009 from Island Records. This, however, quickly went out of print, and not being available in the USA made it difficult, and expensive to come by. It was only just recently released in the USA by Rhino Records, July 24, 2026, to be exact, and only as part of a box set which includes the entire discography of Tom Tom Club, entitled Let There Be Love.

Opening track, Pleasure Of Love starts out seems to want to be a sequel to their hit, Genius Of Love. Musically, it sounds almost like the same song, tweaked just enough through the vocals to stand on its own.

Things then shift to a funkier sound, and from there, the album kind of comes into its own, for a bit. On The Line Again clearly serves as the album's intended title track, with its chorus of close to the bone repeated throughout. This is followed by the equally fine tune, This Is A Foxy World. Though it comes later in the album, The Man With The 4-Way Hips stands out for its unique vocal sound effects.

It's when the Weymouth sisters unite their vocals that things stop working for me. It sounds almost like a seance, or a group of high schoolers singing together in a car. It sounds like Bananarama almost, but not in a good way.

Further, while they get away from the gibberish that plagued their debut, once again they put forth very basic lyrics that sound almost childish. This is where things really baffle me because instrumental wise, everyone knows what they're doing. Most of it comes crashing down from the poorly written word things strung together.

Overall, I'm not seeing myself becoming a fan of Tom Tom Club, and truthfully, I'm glad tomorrow's Retro Spin is the last from them. That may sound harsher than intended. It's not like they're Martha And The Muffins terrible, they're just not really resonating as much as I hoped.

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Retro Spins: The Waterboys - The Waterboys

What do I know about The Waterboys? Honestly, not much. I came across them 2022 while perusing and samplings songs from Future Flashback's 10,000 80's songs playlist. Though he's not posted since 2023, his 2016 list has been an incredible source for finding music from the era I either didn't know or had forgotten about.

It was from that list that I came across the tune, The Whole Of The Moon. Its unique sound resonated, and I quickly tracked down the album it was from, 1985's This Is The Sea.

From there, I found even more from them, including my favorite (so far) The Pan Within. That's all been talked about before in my Retro Spin on the record.

Ironically, though I found them enjoyable, I never really looked into anything else from them. I did, however, come across another album from them in the wild during my birthday of 2022, that being 1988's Fisherman's Blues. While I added it to my collection, still I made no effort to look into them further. It wouldn't be until June of 2026 that I'd finally focus my attention back on them, and actively seek out their 1983 self-titled debut, and 1984 follow-up, The Pagan Place.

That brings us to today, and my next series of Retro Spins.

Though I didn't know what to expect, I was hoping things would stay relatively grounded in the familiar territory I was introduced to with their 1985 album. By this, I mean I was wanting to hear fantastic melodies, driven by acoustic guitars, piano, and violins, all enveloped in the haunting, and strangely poetic vocals of Mike Scott.

I'm pleased to say all of that is exactly what I got.

No, you won't hear mainstream rock here. In fact, as a whole, they've only had three minor hits on the Billboard Hot 100, and those didn't come until much later. Specifically, 1989's Fisherman's Blues (the song), which peaked at seventy-six. From there, two additional singles would chart in 1990, and 1993. These were Room To Roam (charting at one hundred eighty), and Dram Harder (which landed at one hundred seventy-one).

However, if you want to hear beautifully crafted music, created by musicians who know what they're doing, or you simply want to hear something different, check out The Waterboys. Standout tracks from their debut, for me, were December, Gala, I Will Not Follow, The Girl In The Swing, and Savage Earth Heart.

I'm going to keep riding this wave, and dive right into their next album. I'm hoping to continue the trend so far of discovering fantastic new music.

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Retro Spins: Loverboy - Keep It Up

Loverboy's 1983 album, Keep It Up wasn't one that was on my want list. Instead, I came across it in a used CD shop one day, it was relatively affordable, and as such it came home with me. It would be the fourth of their five 80's albums, and yet oddly, knowing this at the time, I still didn't pick up the "missing" one.

By this time, the band was living high on the success of their previous two records, their 1980 self-titled debut, and 1981's Get Lucky. Both had gone a combined total of seven-time platinum across Canada and the USA. Additionally, both spawned major hits on the mainstream rock and Billboard Hot 100 charts.

Unfortunately, with the release of their third album, sales would drop drastically. Granted, to people like us, selling four-times platinum would still be a major accomplishment. However, when you're Loverboy, or more specifically, the label supporting the band, that's a considerable red flag.

The album would once again perform well in the USA and Canada, and this time even chart in Germany, something which its predecessors had failed to do. Though in achieving this, it also had the opposite effect in Australia and New Zealand, where it didn't chart at all.

With it did come the Billboard Hot 100 hits, Hot Girls In Love, which peaked at number eleven, and Queen Of The Broken Hearts, which landed at number thirty-four. Personally, I'm not a big fan of Hot Girls, and prior to hearing it, I didn't even know Queen Of The Broken Hearts.

This one definitely takes a step down from previous records, and I can see the massive decline. I found myself not necessarily interested in Keep It Up as it played through, and the hits are definitely ones I could take or leave. Basically, they're just not that impressive as compared to the other hits they've churned out.

I really wanted to find a hidden gem tucked on this one, and while I will give a nod to Prime Of Your Life, it's not going to be something I remember by the end of the day. As such, I didn't end up coming away from this one with anything, which was disappointing.

Had you asked me two days ago, I would have said there was something to Loverboy, and I was quickly becoming a new fan. Today, not so much. I still have two albums to get through from them, so who knows, that may flip flop as those come into play. I mean, I certainly hope it does. I want to like the band.

They wouldn't actually release another album until 1985's Lovin' Every Minute Of It, which as many of you reading that already know was a major hit for them, so there's potential. However, before getting to that, they stopped off in 1984 to record the USA's team theme for the Olympics that year. This was compiled on the album, The Official Music of the XXIII Olympiad, which included Foreigner, Toto, Herbie Hancock, Quincy Jones, Christopher Cross, Philip Glass, Paul Engemann and Giorgio Moroder. That in and of itself sounds pretty hot, and I may need to track down a record.

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Retro Spins: Robert Plant - The Principle Of Moments

It always makes me scratch my head when I see an album that performs worse than its predecessor in both sales and overall charting, only to then see that it spawned singles that were more popular and peaked relatively high. That math just never adds up for me, but that's exactly the case for Robert Plant's second solo studio album, 1983's The Principle Of Pleasures.

As I noted in closing of yesterday's post, this album was one I actively tracked down for a few songs I wanted. Those would be the two Billboard Hot 100 singles, Big Log (which peaked at number twenty), and In The Mood (with peaked at thirty-nine). However, the most popular tune from the album would turn out to be, Other Arms, which would peak at number on the mainstream rock charts.

While I can't remember when I first heard Robert Plant as a kid, be it his solo work or opus career with Led Zeppelin, I do remember vividly when I re-heard In The Mood. I was driving down the toll road from work to home in the early 2000's when it came on the radio. My mind immediately woke up, shouting, "Hey, I remember that song!" Since then, it stayed tucked in my brain nice and neatly among the thousands of other 80's tunes rattling around.

Once again, Phil Collins joins Plant in the studio to provide drumming. It's interesting to me how Collins is able to produce a signature sound that is easily recognizable, at least to me. Despite his own successful career, both with Genesis and as a solo artist, he would stay with the band for their North American leg of the tour that followed.

The challenge in writing this post at this point is that I wrote the above but then didn't get back to it for several days. Time has not been kind, and I've forgotten the majority of it.

I do recall that it was a solid rock album, but that the above noted hits were the only standouts. Still, with that said, I wasn't a bad album by any means, but still, this didn't stop the remaining tracks from falling into obscurity. I mean, at this point I couldn't even tell you anything from The Principal Of Moments beyond Big Log and In The Mood.

Unfortunately, and mainly because of my memory lapse, there's not much more I can say at this point.

Plant went on to release his third solo album, Shaken 'N' Stirred in 1985, and by then, things were changing mentally for him. Not in a bad way, kind of interesting actually, but more on that tomorrow. For now, let's just put a pin in this very poorly written post.

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Retro Spins: Pink Floyd - The Final Cut

I toughed a little bit on the legacy band, Pink Floyd when I played through their debut album, The Piper At The Gates Of Dawn. While it wasn't my first exposure to them, it was my first, and to date, only Retro Spin on the band.

Today, I'm diving into their 80's era of music. At first glance, it may seem odd how they can produce eleven studio albums between 1967 and 1979, but only two between 1980 and 1989. However, events in play were definitely the driving force in that regard, and hopefully by the end of this post, for those of you who don't already know (I'm sure you all know), it will make sense.

When Roger Waters began working on the tracks that would become 1983's The Final Cut, he initially conceived a soundtrack and expansion of the feature film, The Wall, based on their opus album from 1979. However, he'd quickly change course when the undeclared war between Argentina and the United Kingdom erupted in 1982.

It would be released to mixed reviews and become Floyd's lowest selling album to date since 1971's Meddle. Despite this, it would still peak at number one in the UK, as well as four other countries. It would also land in the top five in four other countries and reach number six in the USA. All and all, that's not bad for a low selling record.

The Final Cut is fantastic from a creative perspective. It delivers that solid Pink Floyd song made iconic with Dark Side Of The Moon (1973), Wish You Were Here (1975), Animals (1977), and The Wall (1979), and this is certainly appealing. Ironically, the aforementioned David Gilmour led Not Now John was probably my favorite.

With that said, what you won't find here is a top ten hit, or anything that's necessarily radio friendly. Then again, their legacy was never one really built on the Billboard Hot 100, having only five songs over their storied careers to actually chart, none of which came from this album.

I also discovered in my listening session that between 1983 and 2003, any version you bought of this album would have twelve tracks, while as of 2004, it included thirteen, having added, When The Tigers Broke Free. This song was apparently initially intended for The Wall but rejected. When The Final Cut came back around for re-release, Waters and the producers felt it fit perfectly, and added it.

All tracks were credited to Roger Waters, who also provided lead vocals on all but one song, Not Now John. As a result, he looked at it more as a solo project rather than an album from the band. This perhaps only served to fuel Waters own ego, as he considered himself more and more the driving force behind the band. By 1985, intense creative friction, ideological clashes, and a struggle for artistic control were at the forefront. Believing the band was creatively spent and that the Pink Floyd brand was inherently tied to his own songwriting, he resigned hoping to dissolve the group, though the remaining members continued without him.

With his departure, David Gilmour would focus on his solo career, releasing his second studio album, and only release in the 80's, About Face (1984). Waters in turn went on to his own solo career, releasing his debut, The Pros and Cons Of Hitch Hiking (1984). Nick Mason also sought other projects, teaming up with Rick Fenn to release their duo debut, Profiles in 1985. Despite each member actively working on other projects, Pink Floyd was not done, and with its resurgence would come a continued rift between Waters and his prior bandmates, as well as a lawsuit over the name and rights of the music.

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Retro Spins: The Rolling Stones - Undercover

Times were changing when The Rolling Stones entered the studio to record what would become their 1983 album, Undercover. While Mick Jagger was keenly aware of these new styles, and was eager to keep adapting, in turn keeping the band relevant in the changing landscape of music. However, Keith Richards wasn't so much on board, wanting instead to focus on traditional rock and rhythm and blues. This would lead to a lot of turmoil in the studio between the two and laid the foundation for what would become the infamous Jagger / Richard's feud which lasted all the way through May 1989, necessitating a formal piece talk before heading into the studio for their final album of the decade.

Upon its release, the album would underperform, breaking the consecutive streak of number ones in the USA when it peaked at number four. Despite falling a bit from grace, it did spawn two hits, the first being the title track, which peaked at number nine on the Billboard Hot 100. This was followed by the minor hit, She Was Hot, which landed at number forty-four.

An interesting aspect of Undercover is that the cassette, and forthcoming CD version featured a different mix of the song Wanna Hold You. These versions included the verse, "You sure look good to me, so what's it gonna be, it's up to you to choose, I'll make you an offer you can't refuse," which of course also alters the runtime of the track.

Beyond that though, there's not much to say. So, let's get into it.

It starts off with the aforementioned hits, which are okay, but certainly nothing amazing. Personally, I don't see how the title track made it so high up the charts. Take a look at the top twenty from this week above. In comparison to other tunes on the Billboard Hot 100 at the time, I don't see it as all that comparable.

I did, however, really enjoy Too Much Blood, Too Tough, and All The Way Down. These were surprising hidden gems, especially since they were tucked near the end, and by this point I had reserved myself to receiving yet another generic Stones album.

Still, I wouldn't say I'm necessarily becoming a fan. Rather, I'm seeing the potential, not that my opinion impacts their legacy in any way. While it does intrigue me to dig into their next album, technically, I'm skipping over 1986's Dirty Work because I've already played through it. Instead, I'll be going to the end of the Jagger / Richards feud and finishing off their 80's discography with 1989's Steel Wheels.

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Retro Spins: 10,000 Maniacs - Secrets Of The I Ching

As I mentioned in my very first post on the band, 10,000 Maniacs, I don't know much about them. Sure, I've got the basics; Natalie Merchant is the singer, and they performed for MTV Unplugged in the 90's. In my write up of their 1989 album, Blind Man's Zoo, I was not too kind about my opinion on them.

The band was formed in 1981 as Still Life by keyboardist Dennis Drew, bassist Steven Gustafson, drummer Chet Cardinale, guitarist Robert Buck, and vocalist Terri Newhouse. Gustafson would extend an invitation to a young Natlie Merchant to provide some vocal work, as well as offer John Lombardo a full-time role in the band as an additional bassist and guitarist. Later that year, Newhouse and Cardinale and would quit, and Merchant would become their lead singer. This was followed by a temporary name change to Burn Victims, before settling on 10,000 Manicas, a name inspired by the horror film, Two Thousand Maniacs.

Several drummers would come and go, but it would be Tim Edborg who would debut with Merchant, Lombardo, Buck, Drew, and Gustafson on Labor Day, September 7, 1981. He'd depart soon thereafter, and Bob "Bob O Matic" Wachter would fill the role for the remainder of the year. He'd eventually be replaced by Jim Foti.

Tired of being a cover band, Merchant and Lombardo would take on the role of main song writers for the band, with Natlie focusing on lyrics, while John arranged music. Alongside Buck, Drew, Gustafson, and Foti, they'd record the 1982 EP, Human Conflict Number Five. The recording would be financed by Drew's mother, and a mere 1,000 copies would be pressed on vinyl by the label, Mark Records.

By 1983, Jerry Augustyniak had joined as their new drummer, and with this revised lineup in place, set to task on recording the tracks that would become their debut studio album, Secrets of the I Ching. Much like their EP, it was pressed in limited quantities of just 500 by Mark Records. The album would garner the attention of UK DJ John Peel, who began playing tracks from it, boosting their popularity around London.

One of the interesting aspects about their debut EP and studio album is that you won't actually find these on a standalone CD. Meaning, you're not going to find a CD titled Human Conflict Number Five or Secrets Of The I Ching. Instead, the band would remix all of these tracks, and compile them together on their 1990 compilation album, Hope Chest: The Fredonia Recordings 1982–1983. It's a convenient, and cheap way to get them both, but at the same time, a bit disappointing that they're not the original versions.

Back in New York, Peter Leak would also take an interest in the band, and upon reaching out would become their manager. It was through his efforts that they'd get signed to Elektra Records, and release their mass distributed The Wishing Chair in 1985. However, for now, I'm getting too far ahead.

I don't know if the album was mixed poorly, or my ears weren't working. I could barely understand Merchant's vocals, to the point that it felt like she was singing either gibberish, or in a foreign language. Another odd aspect was it seemed to be heavy reggae influenced, with her trying to sound like she had a South African accent. The whole thing was just weird, which was also part of its charm. It wasn't bad.

While Grey Victory and Daktari were the standout tracks to me, I can honestly, and surprisingly say, there wasn't anything bad from the album. I actually quite enjoyed it. I imagine hearing it in 1982 would have potentially been system shock for how different it is in comparison to the standard radio fare of that year. It almost seems out of place in comparison.

Bottom line is I'm down with this one and intrigued to jump into their 1985 mainstream follow-up. Further, I'm curious if I was too critical of their 1989 album that I initially listened to last year. Depending on how things go, I may have to revisit that one. We'll see.

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Retro Spins: Martha And The Muffins (M + M) - Danseparc

Though I didn't want to continue on with my listening sessions of Martha And The Muffins, I worried that if I stopped that I would never go back to them. It's not been an enjoyable series of albums to get through, and I am definitely not a fan at this point.

Canada on the other hand was still all in on them. When Danseparc was released in February of 1983, it somehow managed to peak at number thirty-six, the exact same chart position of their previously released This Is The Ice Age (1981). It even garnered a little attention in the USA, where it peaked on the Billboard 200 at 184. Overall, it was only their second album to chart in the US, with the first being their 1980 debut, Metro Music.

The landscape of Martha And The Muffins shifted considerably between 1981 and 1982. This began with the departure Carl Finkle just prior to the recording sessions for their previous album and was followed after its release by Nick Gane calling it quits. Shortly after the tour for the album, Andy Haas would also say his farewells. To fill the void, the band would bring in Jocelyne Lanois, and Nick Kent.

Now reduced to a four piece, the lineup of Martha Johnson, Mark Gane, Lanoise, and Kent headed to the studio in the spring of 1982 to lay down the tracks that would become 1983's Danseparc. Though it would continue their new wave style of music, the album would also adopt a dance sound.

In addition to changing their overall sound, at the bequest of Gane, the band would start to adopt the new name, M + M. However, not wanting to do so right away, the album would sport both Martha And The Muffins, as well as M + M on the cover. While subsequent albums would simply use M + M, Johnson would state in later interviews that the new name never stuck because their legacy was Martha And The Muffins.

For as much as I was dreading getting into yet another release from them, I have to admit that Danseparc started out pretty solid with Obedience, World Without Borders, and Walking Into Walls. The added layer of dance music really helped to elevate these tracks, which in turn made it a bit disappointing when the songs that followed returned to form of their previous material.

I don't know why, but their new wave dance combination gave off an almost Prince vibe. It's probably what helped me to get into it. However, by the end of it, and with the shift back, I was once again finding myself tuning it out, kind of bored. That was kind of disappointing because the band showed potential.

As I shifted my attention to their next album, 1984's Mystery Walk, I was immediately taken aback. I'm not sure what happened, because there's not much information there to fill in the gaps, but somehow, we went from four members of a band to an album where seventeen people are credited. Meanwhile, members Jocelyne Lanois and Nick Kent are nowhere to be found on it.

It turns out that at the end of the Danseparc tour on August 15, 1983, founding members Martha Johnson and Mark Gane had grown exhausted of the efforts of keeping a band together, and decided they wanted full creative control over the music. This resulted in them disbanding the group. Immediately following this, they began working strictly as M + M. This would come with a pivot in sound to that of electronic and dance. So, hey, maybe there's hope for them after all. I guess I'll find out tomorrow when I jump into M + M's pseudo debut, 1984's Mystery Walk.

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Retro Spins: Hanoi Rocks - Back To Mystery City

With new drummer, Razzle in place, and an agreement for Asian distribution in place with Nippon Phonogram, Hanoi Rocks were off on tour throughout the remainder of 1982. However, unbeknownst to them, their label, Johanna Kustannus, was preparing to capitalize on the band's growing success by compiling a stack of singles and B-Side into what would become the band's third studio album, Self Destruction Blues. Though at the time the members of Hanoi would hate the album, and resent the studio for their decision, the album itself would prove to be popular with fans and critics.

Unfortunately, this memo wouldn't make its way to Israel, where the band was shunned for their loud music, and overall appearance. Lead singer, Michael Monroe would literally be trapped in his hotel because if he left, was mistaken as an improperly dressed woman, and spit on.

Returning to the UK, the band recorded and released 1983's Back To Mystery City. The album would prove to be another success in Finland and become their first to chart in the UK. Further, it would also chart in Japan, becoming their highest to date in that country.

Hanoi Rocks is quickly becoming a favorite of mine. Back To Mystery City, though not perfect, is definitely another solid entry in their discography. Tracks Back To Mystery City, Ice Cream Summer, Beating Gets Faster, Until I Get You, Tooting Bec Wreck, Mental Beat, and Malibu Beach Nightmare.

Beyond that, I don't know that I have much to say.

With a desire for a major-label budget, professional production, and the global distribution necessary to achieve their massive commercial breakthrough in the US market, Hanoi Rocks would leave the small independent label, Johanna Kustannus, and sign with CBS Records.

The 1984 released Two Steps From The Move would become their biggest to date and poise the band for a massive breakthrough and success. Unfortunately, tragedy was also lurking around the corner. One which would derail all the momentum, and lead to the band splitting up. The story concludes tomorrow.

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Retro Spins: Iron Maiden - Piece Of Mind

Ah, Guitar Hero II. Such great memories. I remember playing that game incessantly when it hit the Xbox 360. I would also subsequently introduce my brother and sister to it, and when Rock Band became a thing, that became our thing across Xbox Live. As for GHII, it's what introduced me to the song, The Trooper from Iron Maiden. So many times, I played that song, working my way to completion of the entire game on Expert, one of the few I got one hundred percent of the achievements on.

But I digress. This is not a post about Guitar Hero II.

By 1983, the lineup of Iron Maiden had changed considerably since the band's debut. Original bassist, Steve Harris, and guitarist, Dave Murray, remained the only two consistent members. The group now also featured Adrian Smith as an additional guitarist, Nicko McBrain on drums, and Bruce Dickinson on vocals.

Maiden would head to Compass Point Studios in the Bahamas, to record the tracks for what would become 1983's Piece Of Mind. The experience would leave an impression, so much to the point that they'd return to record their two follow-ups.

Upon its release, the band would once again chart across the globe becoming their fourth consecutive successful record. Though it featured the popular tracks, The Trooper, and Flight Of Icarus, the latter would become mainstays on radios in the USA. Maiden would once again set out on a world tour to support the album, performing one hundred forty-seven shows.

As I went to play the album, I accidently put on 1984's Powerslave. Rather than turn it off, I listened to it, so hold please.

Okay, I'm back, and I've now listened to not only that one, but the correct album for today.

Where Eagles Dare is a solid starting off point for the album, and things pick up nicely with Flight Of Icarus. Then there was The Trooper, a song I was familiar with from my Xbox 360 Rock Band days.

I really dug the guitar work on the track, Quest For Fire, but then, that's really where I keep getting hung up with Iron Maiden. The instrumentation is always top notch. It's when the vocals kick in that I start to lose interest. Still, Piece Of Mind is another solid entry from the band.

Returning from their world tour, Iron Maiden went back to Compass Point Studios and laid down the tracks that would become 1984's Powerslave. As noted in my very first post, this album proved to not only be the rarest to find on CD, but among the more expensive. Will it have been worth the price? Well, I guess we'll find out tomorrow.

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Retro Spins: Grim Reaper - See You In Hell

Today I'm on to a band that I was one hundred percent unfamiliar with. My co-worker swung by my office one morning, after many of talking about 80's metal, and asked, "Have you heard of Grim Reaper?" With that question, I was off to Google, and then eventually ebay.

What I learned about was a band who began in England in 1979, released three albums in the 80's, two in the 2010's, and were mocked relentlessly on Beavis and Butt-Head.

Well, the latter certainly doesn't help their cause. I mean, if Beavis and Butt-Head are mocking you, that means you're probably not as metal as you think you are. Still, I found myself intrigued, and willing to take the chance since it was coming as a recommendation.

What I noticed when tracking the three 80's entries down was that there were multiple options, and none of them necessarily cheap. First up were the Japanese pressed versions. These ranged between $20.00 and $30.00. This was followed by the 2000 remastered releases from Spitfire, which ranged between $30.00 and $50.00. The last, and the one I went with, was the Grimm Chronicles from Reaper Records.

Though not usually my go to format for collecting albums, this omnibus set contained all three albums from the 80's, each on their own disc, for $20.00. While I would have preferred to own each album separately, I simply couldn't justify the price of each separately. Frankly, I also didn't want to put in the effort of tracking them all down individually. In this case, the box set simply made the most feasible and cost-effective sense.

Who would have thought that a song called, See You In Hell, could have such a peppy chorus? It's the track that kicks everything off, and while I'm not necessarily a fan of lead singer Steve Grimmett's high pitched vocals, when he tapers this back, it does get rather enjoyable. I think for me, the standout tracks, in addition to the above opener, were Liar, The Show Must Go On, and All Hell Let Loose.

Music wise, it's 80's metal through and through. Speedy instrumentation, with a howling madman belting out the vocals. Mix in thrashing guitar solos, and of course drums that thunder across each song. To borrow from the band's Wiki page, "Since achieving mainstream success, Grim Reaper has been known for embodying every single aspect of cheese in heavy metal and going over the top with poppy hooks and edgy lyrics."

I'm actually looking quite forward to diving into their next album. For as cheesy as it is, I'm really enjoying what I'm hearing so far. When I dive into 1985's Fear No Evil tomorrow, I'll also back pedal a bit, and touch more on the band's history. Until then, that's about all I've got for this one.

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Retro Spins: Lita Ford - Out for Blood

Who's ready for more hard rock?

Born Lita Rossana Ford to her British father, and Italian mother, the Ford's relocated from the UK to the USA in 1965, eventually settling in Long Beach, California. Drawing inspiration from Ritchie Blackmore of Deep Purple, she began learning guitar at the age of eleven.

At the age of sixteen, she was recruited by Kim Fowley to join The Runaways, serving as lead guitarist. They would release their self titled debut in 1976, and make a fairly significant impact on the heard rock scene. However, by 1977, lead singer Cherie Currie, and bassist Jackie Fox would quit. Currie would sight burnout as her reason for departing. Fox, unfortunately, would face far worse circumstances prompting her to leave, citing sexual assault from her manager.

The band would part was with manager Fowley, and continue on, bringing Vickie Blue in on bass. Lita Ford and Joan Jett would share lead vocal duties. However, by 1978, the girls found themselves disagreeing on their musical style. While Ford and Sandy West wanted to continue on as a hard rock band, Jett pushed for a more punk sound, influenced by The Ramones. Unable to compromise, The Runaways disbanded in 1979.

It wouldn't be until 1982 that Lita would sign with Mercury Records, and record her solo debut, Out For Blood (1983). Unfortunately, the album would prove unsuccessful for her, garnering very little, if no attention.

Upon its initial release, the cover featured a leather clad Ford standing in front of a spider web, and holding a bleeding guitar. However, being deemed too controversial for the label, this would soon be changed to a cleaner version, having her stand before a purple backdrop, still in leather, and still holding a guitar, but free of blood. She would quip in an interview how the label was worried about blood on a guitar, but made no comment about her wearing a leather g-string.

Personally, I was never a big fan of her work, mainly because I don't know much of it. I picked up her 1988 released Lita, but really only to get the Ozzy Osbourne duet. With the exception of a handful of tracks from that record, that's about the extent of my knowledge on any of her music.

If you're not new to this Blog, and you've read my Retro Spins before, you know that I often end up with albums I initially have no interest in, and simply obtain them to check an 80's box. That's where we're at with Lita Ford. This album, and her 1984 follow-up, Dancin' On The Edge, ended up in my collection on a whim while completing my Alice Cooper 80's discography.

Playing through Out For Blood, it definitely had a hard rock sound to it. It even reminded me a bit in its overall presentation as a Runaways album. However, what it lacked was anything which stood out as good. For the most part, it was just mediocre and forgettable.

Her second album would fair a bit better, bringing with it two hits in multiple countries, but sadly, not the USA. Despite this, she would soon find herself without a label, and it would be another four years before she released her third album. But we're getting too far ahead. First stop tomorrow is 1984's Dancin' On The Edge.

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Retro Spins: Alice Cooper - DaDa

I'm all for a good time, but not when that good time involves being so black out drunk and high that you don't remember three years of your life. Yet, that's exactly where Alice Cooper found himself between 1981 and 1983. By his own admission, he doesn't even recall recording any albums in that period, yet at this point he'd released 1981's Special Forces, 1982's Zipper Catches Skin, and today's Retro Spin, 1983's DaDa.

Upon its release, Dyslexia was intended to be released as the lead single in the USA but ultimately wasn't. Oddly, the track, I Love America, was chosen for release in the UK, but failed to chart. As a whole, the album did pretty terrible, continuing the downward trend of Cooper.

Starting it up, it has an 80's horror flick to it. The instrumental DaDa sets a chilling mood and easily could have fit over the background of A Nightmare On Elm Street.

Here's the thing though. It doesn't stay that way. Out of nowhere, track two hits you with synth pop, and from there, things only get stranger. I'm talking to the point where I thought I was listening to an album by "Weird Al" Yankovic. I present to you for consideration verse six of I Love America:

I watch the A-Team every Tuesday night
I graduated, but I ain't too bright
I love Detroit 'cause I was born to fight
(I love America)

The whole song was pretty much over the top like this.

Just typing all of that made me have to pause, and literally say, "Um..." because I just didn't know where to go from there. I suppose the only thing more I can really say is that DaDa is a strange one. Is it bad? Is it good? I don't know. Let's just say that it's unique.

I suppose that it's not surprising. Things were at a head for Alice Cooper. Not only had substance abuse caused him to mentally lose years of his life by 1983, but he was to the point of cirrhosis of the liver. Further, his wife of seven years, Sherly Goddard, had also had enough, and the two filed for divorce.

His wife and manager checked him back into rehab, his second time since initially going in 1977, but relapsing. The happy ending to the story, but not his 80's discography, is that Alice successfully completed rehabilitation, and has remained sober since. Further, at some point between 1985 and 1986, he recommitted his life to Jesus, and his Christian faith.

Though he remained relatively out of the spotlight between 1984 and 1985, it was during this period that he realized that being a Christian didn't mean he couldn't be a rock star. Rather, that he just needed to change his lifestyle and focus. A refocused Cooper would return to the studio, and release 1986's Constrictor, which is where we pick up tomorrow.

However, before I do, I will also call out one more standout track, and that was Pass The Gun Around. I think it may very well be the only song that features a guitar. It was either really good, or the only standout track that sounded like a straightforward Alice Cooper song. Either way, I dug it.

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Retro Spins: The Flirts - Born To Flirt

Yesterday, I began a journey through the obscure 80's group, The Flirts. Today, though I'm continuing on through the second of their five 80's albums, there's relatively nothing I can say leading into it. Information on the band is pretty limited, and there's nothing noted specifically pertaining to this album. As such, I just have to dive in to 1983's Born To Flirt, and see where things land.

It kicks off with Oriental Boy, a song which seems to want to tape into Aneka's 1981 hit, Japanese Boy, though a bit more upbeat in tempo. It's an okay tune, and kind of fun with all its new wave gooiness of cheese.

That's relatively where the whole album stays rooted. Not in oriental tone, but rather retro new wave guilty pleasures. It's just fun but certainly lacking in hits at the same time. You're definitely not going to turn on the radio today and hear this stuff. Which is a shame when you think about it.

Other standout tracks included Teenage Werewolf (I Was A), Dream Boy, and Danger. Mind you, none of this is earth shattering top forty material. Nor do I see myself going back to them in the future. Rather, they just contributed to an enjoyable thirty-minute listening session of obscure 80's. Sometimes, it's just nice to hear something "new", even if it's not a long lasting impression.

Probably the most noteworthy portion of 1983 for Bobby Orlando, would be the meeting between he and Neil Tennant. Tennant, and fellow Pet Shop Boys album, Chris Lowe, admired the music of Orlando, and specifically noted the previous Flirts album hit, Passion, as the most important song of their lives. They'd work with Orlando, producing twelve tracks, which included the original mixes of West End Girls, One More Chance, It's a Sin, Opportunities (Let's Make Lots of Money), and I Get Excited.

However, by the following year, Orlando and his gaggle of girls were back to The Flirts, recording and producing 1984's Made In America. With it would come another dance chart hit, but sadly, no further explosion in popularity. That's where I'm headed tomorrow. Hope to see you there.

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Retro Spins: Twisted Sister - You Can't Stop Rock 'N' Roll

John Segall, AKA Jay Jay French, joined Silver Star in late 1972 as their rhythm guitaris, which featured Mel Anderson (drummer), Billy Diamond (lead guitar), Wayne Brown (guitar and lead vocals), Tony Bunn (bass), and Steve Guarino (keyboards). Brown would depart and be replaced by Michael O'Neill. Hating the name of the band, Segall pushed to have it changed. It would be O'Neill who would come up with Twisted Sister.

Along with the name change, the band would also change stylistically. However, this wouldn't sit well with everyone, prompting Bunn and Guarino to leave. Kenneth Harrison Neill would join as new bassist. This lineup was able to find immediate work in New York, securing a tenancy at Mad Hatter in 1973.

Things were going well, as far as gigs, with the boys playing thousands of shows by December 1974. However, things were not well internally, and the band suddenly broke up. A second iteration was promptly formed, with Rick Prince on vocals, and Keith Angel on guitars. However, after not showing up for a rehearsal in early 1975, Prince was fired, and French took over vocals. Once again, things didn't work out, and the band once again disbanded.

In October 1975, another iteration of Twisted Sister emerged with French on rhythm guitars and co-vocals with new vocalist and second guitarist, Eddie Ojeda. Kevin John Grace took up drums, with bassist Neill remaining from the previous lineup. This time, the guys followed the emerging glam rock format, and while they played several gigs, got lost in obscurity.

At the suggestion of their manager, Kevin Brenner, Danny (Dee) Snyder was brought in on vocals in 1976, with the intensions of singing Led Zeppelin cover songs. After six weeks, Grace departed and was replaced by Tony Petri. The band would also take on a heavier (metal) sound. In 1978, Neill would become a born again Christian and leave the band. He'd be replaced by Mark Mendoza.

The band began recording demos at this time, which would make their way to compilation albums released at the time, and eventually be re-recorded for their first two albums. However, between 1979 to 1982, more lineup changes occurred. Joey Brighton replacing Petri, who was then replaced by Richie Teeter, only to be replaced by AJ Pero. Walt Woodward III would also join the band but depart after just three days.

Recognizing the importance of branding, Twisted Sister started their own t-shirt company and followed this up by launching their own record label. It was on said label that they recorded and released a few singles. These songs would make their way to Martin Hooker, president of the UK based Secret Records, who signed the band.

Along with relocating to the UK to work with Secret, the guys took $22,000.00 with them, and used it to appear on the show, The Tube. Secret released their first EP, Ruff Cutts, still featuring Tony Petri on drums at the time. However, the official lineup would soon be Dee Snider, Jay Jay French, Eddie Ojeda, Mark Mendoza and A.J. Pero, managed by Mark Puma, who would release their debut, Under The Blade (1982).

Despite limited pressings, the album became a massive success in the UK. Coupled with their appearance on The Tube, the boys were approached by Atlantic Records, who signed them. Ironically, Atlantic would be one of the labels the band initially tried to sign with during their club days but were declined.

Atlantic released You Can't Stop Rock 'N' Roll in 1983, which featured the UK chart hit, I Am (I'm Me), which peaked at number eighteen. It would become the bands first gold record in the USA.

Though production values were much higher, stylistically, the album captured that same hard and heavy metal sound of its predecessor. The title track would also become the band's first music video and capture the comedic style that future videos would follow, popularizing the Twisted Sister on MTV.

Things kick off with, The Kids Are Back, and right off the bat, it's definitely got a solid heavy metal sound. In retrospect, perhaps the original cut of their debut wouldn't have been so bad, in comparison to the poppy remixed 1985 re-release.

With that said, I do prefer the more pop rock-oriented sound of 1984's breakthrough, Stay Hungry. Probably because it's the era that not only produced the most hits, but where I originally got on board the train.

Standout tracks for me are I Am (I'm Me), and You Can't Kill Rock 'N' Roll (the song). However, the rest still delivered a solid metal experience.

Twisted Sister would go on to release 1984's Stay Hungry, which would become their greatest album to date, going multi-platinum in the USA and Canada, while also reaching single platinum status in Australia, Sweden, and New Zealand. I've already played through that one, so I'll be skipping it, and instead heading into 1985's Come Out And Play. Unfortunately, for the band, this release wouldn't be as massive as its predecessor, and future releases would see a steady decline in sales.

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Retro Spins: Marillion - Script For A Jester's Tear

While preparing a post "recently", I came across the band name Marillion. Specifically, by way of Producer, Chris Kimsey. Unfortunately, I can't remember what post that was, but I do recall it being one of the Psychedelic Furs Spins. This took me down a rabbit hole, somewhat looking into this unknown band, initially mistaking them for drag queen pop star Marilyn.

For those of you who also read my Christmas 2025 posts, you may also recall me getting their entire 80's discography. I admit, this is a habit which has gotten me in trouble before. By that, I mean accumulating albums that after hearing them, I regret making the purchase. Hopefully, that won't happen as I go through their corresponding albums.

Though their first studio album wouldn't come until 1983, Marillion started taking shape in 1977 when Mick Pointer joined the band Electric Gypsy. He would depart shortly thereafter with member, Doug Irvine, and form Silmarillion, named after J.R.R. Tolkien's book. They were joined by Neil Cockle, and Martin Jenner, but this would change by 1979 with the two new editions departing.

The lineup, consisting of Mick Pointer, Steve Rothery, Doug Irvine, and Brian Jelliman, would play their first live show in 1980. It was also around this time that, per Pointer, the name was shortened to Marillion. However, other sources say this occurred in 1981 and was done so to avoid potential copyright claim from Tolkien's estate.

Following an addition at Leyland Farm, Fish (Derek William Dick) and William 'Diz' Minnitt would replace Irvine. This lineup would play their first show in the spring of 1981. By the end of the year, Mark Kelly had replaced Jelliman, with Pete Trewavas replacing Minnitt.

Marillion got the attention of Friday Rock Show, and after playing a session, were signed to EMI Records. This resulted in their first single, Market Square Heroes, which featured what some call, "the 17-minute epic B-side, Grendel." This was followed by their 1983 debut, Script For A Jester's Tear.

With its dark progressive rock sound, the album would become a massive success, peaking at number seven on the UK album charts, and reach platinum status. It would peak even higher in Germany, reaching number five. Though it would crack the top fifty in Sweden, it wouldn't fair as well in other countries. Regardless, Tear did spawn successful singles in the UK; He Knows You Know (peaking at 35), and Garden Party (peaking at 16).

He Knows You Know would also receive mild airplay in the USA, peaking at number twenty-one on the mainstream rock charts. The album would also reach one hundred seventy-five on the Billboard 200.

While Marillion was praised for giving progressive rock a second chance, others would accuse them of being Genesis knockoffs. Playing through their debut, I can understand this assessment. This very much so sounds like the Peter Gabriel era of the far more popular band.

The instrumentation is really good, but for me, I don't hear hits. With songs typically over the eight-minute mark, this is also understandable. These are not radio friendly tracks.

Overall, it was a relatively bland first impression, but I'm still hopeful things will get better as I progress through their albums. If nothing else, I know now what I'm in for, so my ears should be prepared for drawn out rock operas.

After wrapping up their support tour for Script For A Jester's Tear in 1983, the band unceremoniously fired drummer Mick Pointer. That's pretty messed up, considering he was literally the first founding member of the band. Fish would state the decision was made because his timing was awful, and he failed to develop at the same pace as the remaining members of the band.

Apparently, nobody was good enough for them because over the next six months, three drummers would come and go. These included original Camel drummer Andy Ward, followed by John 'Martyr' Marter, and Jonathan Mover. It wouldn't be until Ian Mosley arrived that they'd bring him into the fold long term, putting in place the classic lineup of Fish on vocals, Steve Rothery on guitars, Mark Kelly on keyboards, Pete Trewavas on bass, and Mosley on drums.

That's a pretty good stopping point for today. I'll pick up tomorrow with more Marillion, as I jump into 1984's Fugazi.

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Retro Spins: Kix - Cool Kids

After a seemingly lackluster 1981 debut, Kix would stay out of the studio until 1983's Cool Kids. In between this, guitarist Ronnie "10/10" Younkins would leave the band, driven by substance abuse and addition issues. Brad Divens would replace him for the '83 album.

Cool Kids would just barely crack the Billboard 200, peaking at number 177. It would also begin the trend of the band working with other writers and including covers of other artists material. For Kids, this included the Spider's Burning Love, and Franne Golde's Cool Kids.

Right from the start, the production value of their sophomore album seem night and day in comparison to their debut. The music itself is clearer. I also noticed a hint of synthesizers, an aspect that wasn't present in their previous release. Overall, it just felt more commercial mainstream sounding, and that's not necessarily a bad thing.

Body Talk was the first real track to get my attention. However, I was immediately disheartened when watching the official video, and the first comment stating that it was the jam at the local skating rink. That just made me sad that this "hard rock" band was rink material.

As I continued through the album, and with my perspective changed on the above skating rink comment, I couldn't help but start to think that this wasn't the album that Kix really wanted to record. Instead, this was a product of label interference looking for radio hits. This became all the more apparent to me with the very synthpop Loco-Emotion, which was promptly followed by Mighty Mouth, a track which opens with thunderous drums, and a screeching below from singer Steve Whiteman.

I also kind of dug track eight, Get Your Monkeys Out. Not sure if it's a metaphor for private parts, or acting a fool, but either way, it's enjoyable. But, yeah, I think it's definitely not about acting a fool. This was followed by For Shame, a slower ballad like track, but equally good.

The sad part is that the mainstream sound actually made Cool Kids all the more appealing to me as a listener. I would definitely take more Kix like this, and frankly, I hope to get that in their 1985 released, Midnite Dynamite.

For that album, Divens would depart, making way for a cleaned and refreshed Younkins to return, restoring the classic lineup. But will his return see the band revert into old hard rock habits? Or will they take everything they learned with Kids, and build on it? I guess I'll find out tomorrow.

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