Retro Spins: Wang Chung - Points On The Curve

 

With their debut a flop, Huang Chung returned to the studio, intent on recording and releasing their second studio album. Things started out with a new single Dance Hall Days. However, this too would fail to chart, prompting the band's manager, David Massey, to asked Arista to release them from their contract. He felt that the potential was there, and moved the band to Geffen Records, where they became the second UK act to be signed to the label (the first being the band Asia).

It was around this time that two things would happen. First, saxophonist, Dave Burnand would opt to quit the group around this time, citing creative differences as the reason. Second, Huang Chung would become Wang Chung. The latter would be at the request of Geffen Records, who felt it needed to be easier for people to pronounce. As for Burnand, he would go on to become a music teacher at University of London and the Royal College of Music.

Upon its release, Points On The Curve would spawn three top forty Billboard hits, which included the re-recorded Dance Hall Days (peaking at number sixteen), Don't Let Go (peaking at number thirty-eight), and Don't Be My Enemy (peaking at number eighty-six). The success of their first single would garner them the ability to tour the US alongside The Romantics and Berlin. As a whole, the album would also chart across six countries. Despite this, it would not reach any sales certifications.

Things kick off with the single, Dance Hall Days. However, depending on which pressing you have will dictate this. While the original UK release contains the same tracks as what would be repackaged and shipped worldwide, the initial UK order of songs is quite different from the rest. As for the song, there's not much to say about it. It's the tune I bought the album for.

Unlike their debut, which really impressed me, Points On The Curve doesn't quite stand up. It's not a bad album, and there are definitely standout tracks, but they're just fewer and further between. I also noticed a significant change in musical style, and this is probably based on the departure of Burnand. Whereas with his inclusion, the debut came off as a smoother jazz and pop fused release, this album goes straight for synth pop.

When Look At Me Now came on, my mind immediately told me, "This sounds like Hall And Oates." That wasn't necessarily a bad thing and served to make it quite an enjoyable tune. As for the remaining singles, Don't Let Go, and Don't Be My Enemy, I didn't find them all that impressive. In fact, with exception of Even If You Dream, and Talk It Out, the rest of the album was pretty bland.

Following the subsequent tour for Points On The Curve, drummer Darren Costin would depart, stating he wanted to pursue a solo career. This not only left Wang Chung without a drummer but reduced down to just two core founding members. Rather than call it quits or hire new members, Jack Hues and Nick Feldman opted to continue on as a duo.

However, the two found themselves dissatisfied with their latest album, and as a result, they asked their manager about the possibility of working on soundtracks. Timing seemed to line up, as someone who wasn't disappointed with it was director, William Friedkin. He invited the guys to write and record the music for his upcoming film, To Live And Die In L.A., which would be released in 1985 alongside Wang Chung's soundtrack. While I own that one, I'll be skipping over it, for now, instead focusing strictly on their studio releases. As such, tomorrow, I jump into 1986's Mosaic.

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

 

After wrapping up their 1983 tour in support of their album Danseparc, founding members Martha Johnson and Mark Gane, decided they'd grown tired of the efforts needed to coordinate a band, and disbanded Martha And The Muffins. However, it was never the two's intensions to actually stop recording albums and performing. Instead, parting ways with members Jocelyne Lanois and Nick Kent was simply a way to take full creative control.

By this point, they were actively trying to change their group name to M + M and had even used both names on their previous album cover. Taking full authority allowed them to adopt this new moniker without pushback from any remaining members. Ironically, when they returned to the studio to lay down tracks for 1984's Mystery Walk, they would continue to utilize the services of producer, and brother to Jocelyne, Daniel Lanoise.

Further paradoxical was that in no longer having a band, they would have to bring in multiple instrumentalists to fill these now vacated rolls. In total, fifteen additional musicians were called in to record tracks alongside Johnson and Ganes. In their desire to not have to manage a band, they ended up coordinating an orchestra.

The album would garner them their biggest hit in years, Black Stations / White Stations, which would serve as a protest song against radio stations who refused to play certain music. Whether it helped or not, I don't know. What I am sure of is that it went to number two on the US dance charts and was also a hit in Canada. So too was their second single, Cooling The Medium.

Based on what I previously read, I was promised an album that shifted from new wave dance to electronic dance. So, where is that? Because opening track Black Stations / White Stations certainly isn't it. In general, I wasn't catching that vibe from any of the tracks which encompassed the album.

Black Stations / White Stations was followed by the second single, and the question of the day I asked myself. Is the song Cooling On Medium actually okay, or was it just the best of the worst? I'd like to think it was good, but regardless of that answer, I have no clue at all what's happening in the music video. But I suppose, that's the 80's for you. Quirky, and nonsensical at its best.

Overall, Mystery Walk was another mediocre listening session that only serves to make me want to get away from Martha And The Muffins. I'm so glad tomorrow is the last one. I have zero hopes that it's going to be any good, and frankly, I just want to listen to something else at this point. Anything other than M + M will do.

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Retro Spins: Difford & Tilbrook - Difford & Tilbrook

One more Squeeze related album before we move on to other things. When the group initially broke up in 1982, Chris Difford and Glenn Tilbrook decided to continue writing together, and eventually released their one and only album under the name Difford & Tilbrook in 1984.

Despite being released by the duo, since the two were the main songwriters for the band, their "solo" effort has often been regarded as a Squeeze album. In fact, remastered tracks have been included on the band's compilation albums, Piccadilly Collection and Excess Moderation, both released in 1996.

Unfortunately, it continues the trend of Squeeze, wherein the album really doesn't make many waves in the sea of 80's music. While it produced three singles, only one, Love's Crashing Waves, would be a minor hit, peaking at fifty-seven in the UK. It does, however, introduce us to bassist, Keith Wilkinson, who would join Squeeze when formally reform in 1985.

With the opening track, Action Speaks Louder, my mind immediately went to the territory of Queen's Hot Space. It's that kind of system shock, in terms of abrupt musical style change. It even sounds like it belongs in an 80's dance club.

Things then shift without warning to a string and bass disco type sound for Love Comes Crashing Down. So far, this album felt like it was going to be all over the place, unfocused, and incohesive. Ironically, the first two tracks also weren't bad. They just didn't really fit together.

Depending on your view, for better or worse, the disco sounds continued. For me, it worked out just fine. I am, after all, a fan of ABBA, Kool & The Gang, and Bee-Gees. Despite this, I soon found myself only mildly paying attention. At this point, the whole aspect of Squeeze had run its course with me. It was growing monotonous, and my brain needed something else. It didn't help that when I did tune in mentally, things were mediocre at best. I did notice though that at some point in all of this, things did shift back to a more new wave and pop sound.

About the only other standout among the ten tracks was Picking Up The Pieces, but with that noted, I can't honestly say I'd ever find myself stating, "I need to hear that again." In fact, that's pretty much how I feel about the whole album. As I sit here and reflect on that statement, I ponder I would be happier if I actually learned to let go, and purged my CD collection down to the albums I would actually play again. It will probably never happen, but I image if I did that my collection would deflate to two or three shelves, versus the seven it's currently at.

I digress though.

As noted above, Difford and Tilbrook eventually reformed Squeeze, and from their, the history of the band has remained ongoing, albeit with another brief breakup in 1999. If you want to read all about that, please dive into the last series of posts for my listening session of their entire 80's discography. Until then, I'm off to find my next Retro Spin adventure.

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Retro Spins: Devo - Shout

 

As the 80's progressed, Devo attempted to stay relevant among a sea of other massive acts. This brought them to a change in musical style with their 1984 album, Shout. While the transition in musical style had begun somewhat with their previously released, Oh, No! It's Devo (1982), this new record would see a further embrace of synthesizers, and less reliance on drummer, Alan Myers. Shout, instead, utilized the popular Fairlight CMI digital sampling synthesizer. Those of you familiar with the Purple Rain era of Prince And The Revolution will easily pick up on its unique drum sound.

However, fans of Devo were not looking for Prince, and the end result was an album which was poorly received. Further not embraced was the music video for the Jimi Hendrex cover, Are You Experienced? The band would controversially depict a white Hendrix, played by Randy Hansen, emerging from a coffin in the video, drawing criticism as tasteless and disrespectful. Of this, Gerald Casale would later state that it was the lawyers who now run Hendrix estate who simply didn't understand the video and thought they were making fun of the iconic guitarist. He would further elaborate stating, "That's like saying Whip It makes fun of cowboys. This is so stupid it's unbelievable."

Devo ended up not touring in support of Shout, which perhaps hurt album sales further. Its release continued the decline of the band's overall popularity, lacking any charting singles, and as a whole peaking worse than previous records.

The musical shift is very noticeable from the start. Gone are the very clear and previously present drums of Myers, and in its place a more recognizable 80's pop sound. Depending on your tastes, that could be a good or bad thing.

Personally, I thought it was a good evolution for the band, and one which felt inevitable as the decade progressed. By 1986, new wave was declining, and tastes were shifting towards the emerging glam metal, alternative rock, and dance-pop. Devo was gravitating naturally to the latter as the only genre they would have really fit into at the time.

Much like its predecessor, it takes a couple tracks for the album to really pick up momentum, but this does begin to happen (for me) starting with Don't Rescue Me, and continuing with The Fourth Dimension, and C'Mon. Though things do seem to decline a bit from there. Not necessarily to "bad" territory, but definitely more forgettable. Towards the tail end I also enjoyed Please Please.

The album closes with Are You Experienced. First and foremost, I have to preface, I don't know the original from Hendrix and company. As such, I can't compare it. What I will say is that as a standalone track, it's not very good. Honestly, I don't see a problem with the music video either.

With repeated decline in sales from album to album, and minimal hits which didn't leave lasting marks, not to mention the noted controversy from their video and lack of touring, Warner Bros. made the decision to part ways with Devo in 1984. From the band's perspective, the label didn't understand their avant garde artistic style, and instead kept pushing for pop hits to replicate the success of Whip It. Despite this, the band would return to the label in 2010, but we'll go into that more tomorrow.

Feeling his role as a drummer had been diminished by the overuse of synthesizers, Alan Myers opted to leave Devo in 1986. Gerald Casale would beg him to stay, but these pleas fell on deaf ears. Myers ultimately left the music business behind upon his departure, moving into construction and running his own electrical contracting business in the Los Angeles area.

Following all of this, Mark Mothersbaugh would turn his attention to composing for the TV show Pee-wee's Playhouse. Additionally, he would release the solo album, Musik for Insomniaks through Tra Project. As for the Devo, they would take an extended hiatus until 1988's Total Devo. It was their final album for the 80's, and where I'll pick up tomorrow.

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Retro Spins: The Human Leage - Hysteria

 

Before we start, I have to say a sad farewell to Mrs. Bonnie Tyler. May she rest in peace.

Bonnie passed away on July 8, 2026, after complications from an illness she was being treated for in a Portugal hospital. She had just celebrated her seventy-fifth birthday one month (to the day) earlier.

Fun fact: Ace Of Base popularized the song, Don't Turn Around in the 90's, but it was originally recorded as a B-side by Tina Turner for her single, Typical Male in 1986. Bonnie Tyler would then record her own version of the song in 1988 for her studio album, Hide Your Heart. That album would be retitled to Notes From America when released in the USA.

Okay, now back to today's post.

Third times the charm? Maybe. So far, my journey through The Human League has been lackluster at best. I've found no new tunes to add to my shuffle list, and candidly, have been quite bored with what I've been hearing.

When I last left off on the history of the band, founding members Ian Craig Marsh, and Martyn Ware departed the group over musical direction disagreements with singer, Philip Oakey. While Marsh and Ware wanted to stay true to their original roots, Oakey in turn was leaning more towards a commercial new wave sound. Though their manager, Bob Last attempted to reconcile the trio, it was ultimately agreed that Oakey could continue performing as The Human League, but that in doing so, he would need to pay the other two members one percent of the royalties from the next album. Further, in doing so, he remained under contract with Virgin Records, assuming all of the band's debt. Ware and Marsh would go on to create Heaven 17 with Glenn Gregory, who was actually their first choice as singer for The Human League.

Word quickly began to spread that the group had broken up, and was ultimately finished. One reporter would even go so far as to state that all of the talent had departed. Rude.

It was mere days before a scheduled tour was to occur, leaving Oakey scrambling for backup singers. Deciding he needed a female to match the higher ranger of Ware, he and his girlfriend frequented clubs in the area, looking for anyone who could fit the bill. He found this in Joanne Catherall and Susan Ann Sulley, who were dancing together at the Crazy Daisy Nightclub. Finding out they were both friends, and only seventeen, he decided to hire them both, so that they could look after each other on the tour. For final approval, he also visited their parents, and got not only their approval, but permission from the schools they were attending at the time.

Lastly, Ian Wright was brought in to fill the gap as synthesizer player. With the lineup complete, the tour was successfully completed. Based on its success, and the girl's professionalism, Oakey and Last offered them a full time role in the group.

Things, however, were not well for the band. Heavily in debt to Virgin Records, both Oakey and Wright new they needed a hit. For this, they knew they needed a musician, and found this in Ian Burden. They released the single Boys And Girls, which reached number 47 in the UK, and restored some faith from the label in them.

Producer Martin Rushent was brought in to guide them on further singles, and under him, they released, The Sound Of The Crowd, which would become their first top forty UK hit, peaking at number twelve. Feeling the group could utilize the talents of another musician, Jo Callis was then brought into the fold as their sixth member. This was followed by the single, Love Action (I Believe in Love), which outperformed their previous, peaking at number three in the UK. This surge in popularity caused their first two albums to start selling again, and both would chart for the first time, eventually going gold.

Another top ten would follow with the single, Open Your Heart, and then came the 1981 studio album, Dare, their most successful to date. It would reach number one in the UK, stay their for four weeks, and in total spend seventy-seven weeks on the charts.

For Dare, the group had recorded what Oakey referred to as a weak filler track. That song, Don't You Want Me, was selected by the label to be released as a single, which Oakey fought against, claiming it would damage the band's reputation. Overruled, a music video was also put into production. That little throw away track would skyrocket to number one. It would also become their first to chart in the USA, also reaching number one on the Billboard Hot 100.

The band headed out on a massive international tour, with Dare being the first of their albums released in the USA by A&M Records. The Human League had just achieved their breakthrough. But perhaps that's another good stopping point. For now, let's dive into 1984's Hysteria.

Things actually start off pleasantly, with I'm Coming Back and I Love You Too Much sounding like a different band than previous albums. With track three, Rock Me Again and Again and Again and Again and Again and Again (Six Times), I found myself enjoying it.

The Lebanon, and Don't You Know I Want You, were decent tracks, but for the most part, everything else fell into relative background music. As a whole, the album wasn't as interesting as I hoped it would be. Especially after such a massive start. Still, better than what I expected.

It's interesting how a group can start out, be kind of blah, but then with a lineup shift, skyrocket into legacy status. I can't help but wonder how the original members feel in that scenario. It's kind of like changing lanes when yours isn't moving, just for the lane you just departed to start moving, and your new lane to stop. It makes you wonder, "Oh, was I the problem?" In this case, I can't help but ponder if Ware and Marsh were like, "Oh, we were the ones who stunk the band up." I don't know. Maybe I'm overthinking it.

The problem with a successful album is that the label then wants you to follow up with something bigger and better. This put immense pressure on the band, and they struggled to come up with material. To fill the gap, their label released the EP, Fascination! in 1983, which contained the top ten hit, (Keep Feeling) Fascination, and the minor hit, Mirror Mirror. Hysteria was finally completed and released in 1984, but would under perform, producing no hits in the USA. It did, however, fare better in the UK, where The Lebanon, and Life On Your Own.

It was at this point in my historical search of the band that it finally dawned on me where I was more familiar with the name Philip Oakey...

Following Hysteria, Oakey would work with a personal idol to him, Giorgio Moroder, to record the single, Together In Electric Dreams for the soundtrack to the film, Electric Dreams. It would become another hit for him. This would lead them to record the album, Philip Oakey & Giorgio Moroder, for Virgin Records. However, it would not be as successful.

That's a nice positive note for things to end on. Tomorrow I wrap up my 80's adventure through The Human League with 1986's Crash.

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Retro Spins: W.A.S.P. - W.A.S.P.

Today brings me to yet another "new" band that I've had no previous exposure to or knowledge of. W.A.S.P. first hit my radar with my PMRC Filthy 15 post, but since then has been coming around my various searches over the past year or so. While I would look at the list of their albums, probably did an ebay search, and made mental notes, I never officially added them to my want list, or prioritized getting them. This was mainly because there was always something more intriguing to venture into, music wise. However, they consistently stayed on my mind, and I would come back around to them multiple times, never pulling the trigger.

Then I went on a buying binge of heavy metal and hair bands of the 80's, and they suddenly became one of the priorities to obtain, which I did along with Megadeth, Iron Maiden, and Hanoi Rocks. Despite only having four albums from the era, they were surprisingly a bit difficult to track down, with their second album being the most frustrating. I'll go into more of that tomorrow.

For now, let me kick things off with their self-titled debut. Released in 1984, the band immediately came under fire by the PMRC for their track Animal (F**k Like A Beast), and as a result, the track would be deleted from the album prior to its pressing and release. This, however, didn't stop W.A.S.P. from unleashing it on the UK as a single, making it an import many fans instantly went on the hunt for.

Singles, I Wanna Be Somebody, and L.O.V.E. Machine, would push sales momentum of the album, and in support, W.A.S.P. would head out on tour with several notable acts; Kiss, Iron Maiden, Dokken, Krokus, Helix, Quiet Riot, Armored Saints, and the (at the time) unknown Metallica. They also found a home on MTV with their music video for I Wanna Be Somebody.

This is the track that opens the album, and it starts things off relatively well. Their music is definitely on the heavier side of metal and takes me back to my previous weeks of listening to Maiden and Megadeth. It's not a bad thing per se, but coming off of Hanoi Rocks, definitely puts me back in louder territory, and that's not somewhere my mind was necessarily prepared to go back to so soon.

Despite this, I did stick it out, and find some standout tunes in Hellion, and Sleeping (In The Fire). But mostly, it was just kind of noisy. Again, this may have been my own hangup, and not necessarily a flaw of the band.

I will say that my immediate instinct is to put W.A.S.P. aside, and move on to other music for a while, and then come back to it, but I probably won't. I also won't say I hated what I heard. It was decent material, solid metal music.

Prior to wrapping up the year, the band made an appearance in the film, The Dungeonmaster, playing themselves. This was followed by Tormentor, the song they contributed to the soundtrack for Ghost Warrior. W.A.S.P. would then return to the studio to record their follow-up album, The Last Command, releasing it in 1985.

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Retro Spins: Hanoi Rocks - Two Steps From The Move

 

Wanting better production, and a larger budget for recording, Hanoi Rocks made the move to CBS Records in 1983. The band would invite Ian Hunter of Mott The Hoople to help write tracks, who in turn brought with him Jack Bruce (formerly of Cream), who brought with him bandmate Pete Brown. Despite all the talent contributing, by April of 1984, the label felt it was still missing a single. For this, the guys turned to a cover of Creedence Clearwater Revival's Up Around The Bend.

After wrapping up recording, Hanoi headed to Japan, where they discovered their massive popularity. Not only were all shows sold out, but the band couldn't even walk around the city without being followed by crowds of fans. A tour across England and Scotland followed, with British magazines not only raving about their shows, but stating that their next album would most certainly be their breakthrough.

With a last-minute title change from Silver Missiles And Nightingales, Two Steps From The Move was released, and did indeed become their most popular release to date. This led to another massive tour, this time of Sweden, and then to the USA. Unfortunately, this is where things would come to a head for Hanoi Rocks.

But first, let's play through the album.

It's a solid entry, and I can definitely see the breakthrough material here. Ironically, the single the label wasn't hearing at first, but got with Up Around The Bend, is probably the weakest track on the whole thing.

Better tracks, or as I like to call them, standouts, were I Can't Get It, Underwater World, Million Miles Away, Boulevard Of Broken Dreams, Cutting Corners, and Don't You Ever Leave Me. The latter is actually a remake from their debut album, and this slowed down version is far superior to the edgier first take.

It's unfortunate that Two Steps From The Move serves as their last album. I definitely would have liked to hear more.

While performing at USA Sam's in Syracuse, New York, lead singer, Michael Monroe would unknowingly fracture his ankle. Though he continued on with the tour, the pain got more and more, and upon getting checked out was informed of the injury. This would effectively take him out of the equation of events which were unknowingly unfolding.

Mötley Crüe was throwing a massive party at the home of Vince Neil in Redondo Beach, California. In attendance were Hanoi's lead guitarist, Andy McCoy, guitarist Nasty Suicide, bassist Sam Yaffa, and drummer Razzle. With everyone drinking heavily, guests soon found the place dry. Not content to call it a night, Vince Neil would make the decision to hop into his Pantera for a beer run. With him was Razzle. Though they made it to their location, when heading home, an inebriated Neil crashed his car into another. Razzle was rushed to the hospital, where he was pronounced dead. Both occupants of the other car, Lisa Hogan, and Daniel Smithers would be severely injured, suffering permanent brain damage.

When they didn't return, McCoy and Crüe drummer, Tommy Lee went looking for them. They drove past the scene just as Neil was being put in cuffs, and at that time learned of Razzle's passing. All but a handful of shows would be cancelled in the wake, with the remaining becoming dedications to Razzle. After the shows, Yaffa would be the first to leave the band, citing problems with McCoy.

Initially, they intended to go on, bringing in René Berg to replace him, while also incorporating Terry Chimes on drums, who filled in for the memorial shows.  Shortly thereafter, Monroe also wanted to quit the band, though he would be convinced by CBS to stay on, and instead head out for a short tour in Poland. In doing so, he made one request - No live album. while they agreed, CBS did the opposite and released Rock & Roll Divorce in 1985. It would be panned by the band, their management, fans, and critics.

Berg would start making claims that Hanoi Rocks was his band, leading to his prompt dismissal, and replacement by Timo Kaltio. However, the lineup of Monroe, McCoy, Nasty Suicide, Kaltio, and Chimes would never perform together. Michael would end up leaving in June 1985. McCoy wasn't upset by this decision, instead saying that the spirit of the band evaporated with the death of Razzle, and Yaffa's departure.

Michael would go solo, releasing his first album, Nights Are So Long in 1987. To date, he's released thirteen. Andy, on the other hand, created several new bands, none of which took off. When not performing, he spent his time creating art as a painter. Nasty Suicide returned to his life as Jan-Markus Stenfors in Finland, where he finished high school, educated himself as a pharmacist, and works for a reputable drug company. Sam also continued his work in the music industry, performing with such notable acts as Joan Jett, New York Dolls, and Johnny Thunders.

McCoy and Monroe would reunite in 2001 and discuss reforming Hanoi Rocks. While this would happen, they would be the only two members to return for this "rebirth" (as they called it). Stenfors was content with his life as a pharmacist, and Yaffa was working in a new band, Mad Juana. Though they did offer original drummer, Gyp Casino a spot in the lineup, he declined, stating he was no longer interested in the music business.

Initially, this new iteration consisted of McCoy, Monroe, Costello Hautamäki, Timpa Laine, and Kari "Lacu" Lahtinen, and together they'd release 2002's Twelve Shots On The Rocks. Hautamäki would leave in 2003 to focus primarily on the band, Popeda. Timpa would also end up leaving in 2004 because of family issues. Both were replaced by Conny Bloom, and Andy Christell, respectively. This lineup would record the final two Hanoi albums, Another Hostile Takeover (2005), and Street Poetry (2007).

Lacu would announce he was leaving in 2008 to also join Popeda. While he would be replaced by George Atlagic, by this point, both Monroe and McCoy felt the rekindled Hanoi Rocks had run its course. They performed a farewell tour with six shows in Japan in 2009, and eight in Finland before disbanding on amicable terms. Nasty Suicide would join them for three shows in Finland.

As noted above, Monroe continued focus on his solo career. However, the story of Hanoi Rocks doesn't end there. Michael Monroe, Andy McCoy, Nasty Suicide, Sami Yaffa and Gyp Casino reunited in celebration of Monroe's 60th birthday, at the Helsinki Ice Hall in 2022 for a one-off show. With Monroe still very active, it's possible that won't be the last we ever hear from them.

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Retro Spins: Doro - Force Majeure

  

After being bamboozled out of the rights to her own band's name by previous manager, Peter Zimmerman, Doro Pesch opted to carry on under her own name. Why not? She'd just broken the door wide open in the USA, finding success on MTV with videos to the band's 1986 album, True As Steel, and finally peaking on the Billboard 200 with 1987's Triumph And Agony. To stop now would be non-sensical.

However, how does one stay relevant with a sudden name change that may leave fans confused? Simple. When the album Force Majeure was released in 1989, original pressing included a sticker on the shrink wrap which read, "+ Warlock" next to her name. The end result was her highest charting album in Germany (peaking at number 5) and Switzerland (12). While it would still peak on the Billboard 200, it was far lower than the prior Warlock album, reaching 154.

At this point, while Doro was the only remaining German in the band, Force Majeure would also feature previous Warlock album bassist, Tommy Henriksen, though he would depart prior to the end of the year. The two would be joined by new guitarist Jon Levin, and drummer Bobby Rondinelli.

As I noted yesterday, Warlock was an up and down roller coaster ride, one album good, the next forgettable. With the previous being the latter, it's shocking, but not surprising that with this one, Doro comes back out of nowhere delivering another solid album. This inconsistency is what bums me out about the band as a whole, but at the same time, I'll take the good where I can.

With that said, the first half was the better of the album, with standout tracks being Save My Soul, World Gone Wild, Mission Of Mercy, and Angels With Dirty Faces. The second half, on the other hand, fell to quickly forgettable territory. Still a descent album, but not perfect by any means.

Doro would go on to release fourteen more albums to date between 1990 and 2023. Though throughout that, lineup changes would occur rather frequently, typically from album to album. This would stem from Pesch's own desire to never repeat herself, often seeking out new musicians to achieve the sound she was going for with projects.

At sixty-one years old, Doro continues to tour, showing no signs of slowing down, or retiring. As of May 2026, she's kicked off an extensive tour of Europe and the UK, which will consist of twenty-two shows, ending on December 17. She's also busy scheduling festivals and additional shows for 2027, with her first occurring May 7 and 8 at Braunschweig, Germany's Rock in Rautheim Open Air.

As for me, tomorrow I dive into another all-new territory band. One which was credited for, or as lead singer Michael Monroe would say, blamed for the look that became 80's hair metal. A band that at the height of their popularity, and on the brink of a breakthrough, was derailed by an avoidable tragedy which took the life of their drummer. I'm talking about the Finnish band, Hanoi Rocks.

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Retro Spins: Warlock - Burning The Witches

 

In the sausage party known as heavy metal, it's refreshing to come across a female rocker who can hold her own. Vocalist Doro Pesch emerged on the West Germany scene in 1980 with Michael Bastian on guitar, Frank Rittel on bass and Thomas Franke on drums, forming Snakebite. Franke was replaced by Michael Eurich and, second guitarist Peter Szigeti also joined. However, the band would soon thereafter disband.

Pesch, Szigeti and Eurich formed a new band in October 1982 with Thomas Studier on bass and guitarist Rudy Graf. It would be Graf who would come up with the name Warlock, as well as several songs. They'd bring in manager, Peter Zimmermann, who was instrumental in contributing to their early success and recognition, mainly by getting them supporting gigs with the band, Trance.

The band secured a recording deal with Mausoleum Records, after submitting a four-track demo. However, just before recording their first album, Studier would leave, being replaced by Frank Rittel. Their 1984 debut, Burning the Witches, would be recorded in just six days, and after a quick remix by Rainer Assmann and Henry Staroste, was released.

That's a relatively short but sweet introduction and history of the band.

Truthfully, I didn't even know about Warlock until just recently. I stumbled across them by reading a list of "heavy metal artists of the 80's". When I first saw they only had four albums, my initial thought was, "Yeah, but they're going to be stupid expensive." This turned out to actually not be the case. I was able to get each album for around ten dollars, with this one actually being brand new / sealed.

I didn't know what to expect from Burning The Witches. I knew none of the songs. I'd never heard the vocals of Doro, or if I did, had no idea who she was, or what she sounded like. All I can say after doing so is, "Wow!" This is an amazing album! I'm an immediate fan.

Doro's voice is like Ann Wilson times ten. She has the range, but also the uniqueness that makes her stand out in a sea of female vocalists. She certainly holds her own in the heavy metal world. Graf and Szigeti create a guitar sound so familiar to that of Randy Rhodes earlier work with Ozzy Osborune that one might even think Rhodes himself was in the band. Their solos have a way of grabbing your soul, evoking an emotional feeling as the guitars howl.

This would be a wall album for me if I had it on vinyl. It's absolutely perfect from start to finish. Still, I have my favorites from it, which were Sign Of Satan, After The Bomb, Dark Fade, Without You, Metal Racer, and Holding Me. I actually want to listen to this whole album again. I may have to throw it on for my girl to get a taste, and as an excuse to play it again.

While the album was well received, bad distribution and poor financing from their label not only crippled their commercial success but severely hindered their support tour. Profoundly dissatisfied with Mausoleum, Warlock left the label, and signed with Phonogram, releasing their future albums through Vertigo Records. With little to no history in between that, I'll dive into their 1985 sophomore album, Hellbound, tomorrow.

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Retro Spins: Judas Priest - Defenders Of The Faith

  

When we last left the history of Judas Priest, the band had just released their 1974 debut album, Rocka Rolla on Gull Records. However, upon its release, the album was a flop, garnering negative reviews. In dire financial straits, the band requested a monthly payment of £50, which equates to £676.42 in 2026. Facing their own financial challenges at the time, Gull declined the request.

Though the reasons are disputed, depending on who you ask, John Hinch would leave the band in 1975. The most commonly agreed upon reasoning was that the other members were looking for a drummer who could match their evolving energy of music. Further, he had musical differences and personal conflicts, particularly with guitarist Glenn Tipton. Alan Moore, who had previously joined and quit in 1972, would return to the band to replace him.

With finances tight, the guy restricted themselves to one meal per day and even took part time jobs while recording their second album, 1976's Sad Wings Of Destiny. Though the band would embark on a tour of the UK in support of its release, the album would struggle, being overshadowed by the emerging punk rock spreading across the county.

Continued tight finances at Gull frustrated the band, leading to Moore quitting again, this time permanently. Fortunately, Sad Wings Of Destiny had caught the attention of CBS Records. With the help of new manager, David Hemmings, Judas Priest signed to the label, finally receiving a significant budget to record with. Unfortunately, the split from Gull required them to forfeit their rights to their two previous albums, including all demos.

Judas Priest would release their major label debut, 1977's Sin After Sin. However, without Moore, who actually quit during the initial recording sessions, Simon Phillips was brought in, who recorded all the songs which appeared on the album. While they offered him the position permanently, he would decline, resulting in Les Binks taking the role.

Both Stained Class and Killing Machine would be released in 1978, the latter receiving a title change to Hell Bent For Leather in the USA and released in 1979. Their three albums under CBS would not only chart in the UK, but become certified gold. Further, their latter two albums would also chart in the USA on the Billboard 200. It would be around this time that the band would also adopt their leather and studs image.

1979's Unleashed In The East would be the bands first of many live albums, and their first to go platinum. However, the album itself would be criticized for its studio overdubbing and enhancements. However, what would come from it would be the retooling of previous studio tracks to their faster and heavier live sound, which became more popular versions among fans.

At the time Les Binks was already feeling underappreciated for his contributions to the band, and more or less didn't feel like a full member of the band. Coupled with management suggesting he forego his fees for the Unleashed In The East album, he quit. He would be replaced by former Trapeze drummer, Dave Holland. The lineup of Rob Halford, K.K. Downing, Glenn Tipton, Ian Hill, and Dave Holland would go on to record six studio, and one live album between 1980 and 1988.

Among those releases was 1984's Defenders Of The Faith. For those of you keeping up with my listening sessions, you may be aware that Judas Priest kind of surprised me, and have become a band I'd call myself a fan of. While I've yet to hear an album that I'd consider perfect, what I haven't heard is anything I'd call bad.

Defenders Of The Faith delivers another solid entry in the Priest discography. While I knew nothing from it going in, standouts for me were Jawbreaker, Rock Hard Rock Free, The Sentinel, Love Bites, Eat Me Alive, and Night Comes Down. Not bad for an album I randomly picked up at a used CD shop.

What surprises me most of all is how excited I still am to go from album to album. Typically, when I've tackled an entire era discography of an artist, the music has its ups and downs, but even when good, leads to a bit of fatigue and burnout. I've yet to reach that point with them. I'm just as thrilled to hear tomorrow's album, 1986's Turbo as I was to hear todays, and all the ones that preceded it.

Beyond that, I've not much to say.

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Retro Spins: Iron Maiden - Powerslave

   

Following their successful tour in support of 1983's Piece Of Mind, Iron Maiden returned to Compass Point Studios, the location they recorded their previous album, to complete 1984's Powerslave. This is the album I initially talked about when playing through their debut. Mainly because of the 80's albums from the group, this one was the rarest, and most expensive to track down.

At this point, the band was churning out hit record after hit record, to the point that it was expected. Powerslave didn't disappoint. It charted across the world again and became another certified album. The tour which followed would be their largest to date, with the guys playing one hundred ninety-three shows across thirteen countries. One such show was the Rock In Rio festival, where they followed Queen onstage. That however, would just be the tip of the iceberg of the event, which also featured such notable acts over the ten-day event as Whitesnake, James Taylor, George Benson, The Go-Go's, AC/DC, Scorpions, Ozzy Osbourne, Yes, and The B-52's, to name just a very few.

Side note: Even McDonalds got in on the event, obtaining a Guiness World Record for selling 58,000 hamburgers that day. This was usurped in 2011 by Bob's, who sold 79,000 at the event. The sad part about this is that in 1985, an estimated 1.4 million people attended the festival. Whereas in 2011, it's estimated only 700,000 did. So, between a smaller crowd, they ate more burgers, and we wonder why everyone is so unhealthy.

Iron Maiden would be credited as the first Western band to bring a full production live show behind the Iron Curtain. This would be documented in the band's third official live video, aptly titled, Behind The Iron Curtain, released in October 1984. It would also become a milestone unto itself, being the first documentary released by a Western band touring Eastern Bloc. MTV would also license the rights, and air the show on their channel that year.

2 Minutes To Midnight was the first to grab my attention, but was quickly overshadowed by the amazing instrument, Losfer Words (Big 'Orra). Let's just take Bruce Dickinson out of the mix and focus on this style of music. I'd be down.

Things tapered off drastically and didn't pick up until the album title track. Looking at the cover of the album, things started to click in my mind. The riff which the song revolves around has almost an Egyptian ethos to it. The album would then close with Rime Of The Ancient Mariner, a decent, but definitely long song, at almost fourteen minutes.

Despite the gap between the songs that I liked from it, as a whole, it's not a bad album. Once again, Dickinson serves as the weakest link in the chain. Though I am, admittedly, getting a bit used to his voice at this point.

All the touring would prove to be grueling on the members, and upon its completion, they demanded six months off. They were granted four, and only after Dickinson threatened to quit. This resulted in the cancellation of a proposed tour to support their 1985 live album, Live After Death, which would also be another critical and commercial success for them.

When they finally returned to the studio to produce 1986's Somewhere In Time, the boys would change up their musical styling a bit. We'll dive into all of that tomorrow. 

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Retro Spins: Simple Minds - Sparkle In The Rain

  

After a two-year tour, rather than take some time off, Simple Minds jumped back into the studio to deliver Sparkle In The Rain. It would become their biggest selling album to date, surpassing previous album, New Gold Dream (81–82–83–84), on all the charts (with exception of Australia). However, despite charting better, it actually would sell less copies overall.

The band began work on the album while touring for their previous and released their first new single, Waterfront in November 1983. The same day of its release, they began the support tour for Sparkle In The Rain. Waterfront would zoom up multiple charts, taking the number one spot in New Zealand, peak at number five in Ireland, thirteen in the UK, and crack the top twenty in Australia and Sweden.

Upon its release, Sparkle In The Rain would hit number one in the UK, and as noted above, with the exception of Australia, perform better across the board in multiple countries. Though the band would spend most of 1984 touring, taking a break in May for Jim Kerr to marry Chrissie Hynde of the Pretenders. Despite having a child together, the two of them fronting their own bands meant they were often apart, making it impossible for them to actually have a relationship. They would divorce in 1990.

But I digress.

Yes, this is the Simple Minds I know. Pop friendly hits, and peppy beats. Not perfect from start to finish, but also not a bad album by any sense of the word. I think I favored what would be considered side "A" of the record. Up On The Catwalk, Speed Your Love To Me, and Waterfront stood out the most, and all from that side of the album.

I will say it's odd how very similar the vocals of Jim Kerr are to Bono. If I didn't know I wasn't listening to U2, I could easily have mistaken it as such. As I continued digging into the history of the band more, this became ironic, since Simple Minds was apparently considered a U2 knockoff by many critics.

Despite their growing success around the world, which included chart topping singles, none of their songs to date would peak on the Billboard Hot 100. It wouldn't be until their 1985 single, Don't You (Forget About Me) from The Breakfast Club that this would happen, and in a massive way. The song would shoot up the charts to number one. Shortly after its release, bassist Derek Forbes would depart, being replaced by John Giblin.

Capitalizing on this momentum, Simple Minds released the album Once Upon A Time that same year. It too would find chart success with Alive And Kicking (peaking at number 3), Sanctify Yourself (14), and All The Things She Said (28). I'll be hopping over that album, as I've already reviewed it in a Retro Spin. Instead, tomorrow I'll be wrapping up my journey through the band with their final release of the decade, Street Fighting Years (1989).

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Retro Spins: Lita Ford - Dancin' On the Edge

 

Wither her debut a commercial failure, Lita Ford was in need of a hit record. This would be somewhat achieved with her 1984 follow-up, Dancin' On The Edge.

The album itself would feature Randy Castillo on drums, who would later join Ozzy Osbourne, and Hugh McDonald, who would go on to join Bon Jovi in 1994, replacing founding bassist, Alec John Such. Singles, Fire In My Heart, and Gotta Let Go, would become international successes, and the album as a whole would peak at sixty-six on the Billboard 200.

Both Gotta Let Go, and Dressed To Kill would receive music video, and receive extensive airplay on MTV. The latter would feature a cameo from her then fiancé, Tony Iommi of Black Sabbath. The two, however, would not ultimately wed, and actually break-up in the mid-80's.

Dancin' On The Edge is definitely a better album than 1983's Out For Blood. Whereas her debut suffers from mediocrity, and no hits, her sophomore release offers better material, and though not perfect, a decent listening experience. It also feels a bit more polished.

Gotta Let Go, Dressed To Kill, Hit 'N Run, Fire In My Heart, and Don't Let Me Down are all decent tracks. I don't know that I'll necessarily remember them by tomorrow, but for now, they're pretty okay. Like I said above, it's a better album, but it's not amazing by any means.

What I will say is that so far, I haven't heard anything that would necessarily make me a fan, nor would any one album keep me invested to keep buying, nor listening if I didn't already own them. Like I've said before, I check a lot of boxes in the vast era of 80's music.

Lita would spend most of 1984 touring extensively in support of the album, and wrapped this up with an MTV recorded special concert. However, this tireless effort would not save her from her label, who dropped her in 1985.

This would be cited as a combination of her continued lack of commercial success, as well as a major management internal shakeups at the label. Ford would say that the new manager brought in o oversee the label didn't know how to market female pop-metal artists, and was more of a country fan. Though this has only been clarified from her own perspective.

Prior to being dropped, Ford did record a third album, The Bride Wore Black, produced by Tony Iommi. It was ultimately shelved, and unfortunately, is considered lost media at this point. Well, to an extent. Lita has stated she has a copy of the album on tape, but that it's never been released, nor do any bootlegs exist.

She would eventually find new management Satan, er...Sharon Osbourne, and sign with RCA records between 1986 and 1987. Teaming up with legendary producer Mike Chapman, and working alongside Osbourne's husband for the duet, Close My Eyes Forever, Ford would soon release her most successful album in the entirety of her solo career. That's where we pick up tomorrow, as we close out her 80's era discography.

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Retro Spins: Sade - Diamond Life

 Sade was unique when she emerged in the 80's. While mainstream was focused on new wave, and the emerging hair bands, she instead focused on a smooth jazz, pop soul sound. She paved the way for artists like Tool, Pantera, and Korn, just to name a few.

The group started as Pride, with members Sade Adu, Stuart Matthewman, Paul Denman, and Paul Anthony Cooke in 1982. However, they soon changed the name to Sade and began writing material. While they would spend the year performing locally in London, by 1983 they made their way to the USA for their first appearance. It was here that they picked up Andrew Hale. In early 1984, Dave Early, would replace Cooke.

As Sade (the group), they were garnering far more attention than Pride, and by October of 1983 signed a deal with CBS Records. Prior to their July 1984 album debut, Your Love Is King, was released as a single, and became a top ten hit on the Billboard US Adult Contemporary charts. Additionally, it peaked on multiple chart lists, not only in the USA. Its follow-up, When Am I Going to Make A Living didn't fare as well, barely cracking the charts.

Regardless, when their debut, Diamond Life was released, it smashed the Billboard Hot 200, landing at number five. It would remain on the charts for two more years, dropping to twenty-four in 1985, and sixty-one in 1986. The single, Smooth Operator would not only be the first to receive a music video but also hit multiple charts. They would be nominated for Best Female Video, and Best New Artist, for the 1985 MTV Music Video Awards.

Smooth and silky, with a funky beat. That's the best way I can explain it. As a singer, Sade has a sultry voice which easily cuts through the jazz infused tracks, and while it's certainly a calming experience, I won't say that it was my favorite album. Not by a long shot.

Sade was one of those, "Yeah, I know them," purchases. I wasn't necessarily chomping at the bit to have Smooth Operator, Your Love Is King, or in the case of her second album, The sweetest Taboo. But at the same time, I couldn't fathom building an 80's collection without them. Essentially, this is how her albums came to be in my collection. Not as a fan of her music, but a fan of the era in which it dominated.

Personally, I will probably never listen to this one again. I will, however, continue on through her other two from the 80's.

With a multi-platinum debut under their belts, Sade were sailing off to a grand start. All of this was aided by the continued success of singles from the album, Why Can't We Live Together, and Hang On To Your Love.

In July of 1985, Sade would perform at Live Aid, the UK portion, where they performed Why Can't We Live Together, Your Love Is King, and Is It A Crime. In between this, February to August, they worked on the tracks that would become their sophomore album, Promise.

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Retro Spins: Billy Squier - Signs Of Life

 

After his relationship with Reinhold Mack soured, thanks to Billy's inability to control his temperamental nature, he turned to Robert John "Mutt" Lange to produce his next album. However, Mutt would already be committed to producing The Cars Heartbeat City. Upon its completion, the producer would find himself burned out, and suffering a breakdown. Squier would then turn to Jim Steinman to fulfill the role.

On a side note, this would have a trickle down to Def Leppard. The band had also asked Lange to produce their forthcoming Hysteria album. They too turned to Steinman and would work with him on early tracks for the album in 1984, but this would be derailed by the accident which took drummer Rick Allen's arm by the end of that year. Allen wouldn't return until August of 1986, making his first appearance at 1986's Monsters of Rock festival. At that point, Leppard would return to the studio with Mutt to finish the album.

But let's get back to Squier.

The artist had long felt Steinman's work with Meat Loaf for 1977's Bat Out Of Hell had resulted in, "the most passionate and exciting rock record of our time." However, with him in the producer's chair, a change in musical style would also occur. Rather than be heavily guitar driven like his previous work, synthesizers would now take the lead.

The end result would be another platinum album for Billy, though sales were noticeably still in decline. Further, his chart success was too. While his past two albums had both peaked at number five on the Billboard 200, Signs Of Life would "only" reach number eleven. However, it was in Australia and Canada where the album would impress even less, showing a massive drop in chart success.

Some, including Billy would blame his music video for Rock Me Tonight, and its director Kenny Ortega for the rapid shift. The music video would feature Squier in a pink tank top dancing from room to room like nobody was watching. While MTV host Martha Quinn would later comment that she recalled the video being well received at the time, there was definitely a correlation between its release, and the artist suddenly not selling out shows. Though others would argue that it was perhaps the shift in musical styles which led the decline, and not the actual video. Take a look. You be the judge.

Regardless of what it was, Squier would dismiss both of his managers, and insult the director, stating he had misled and deceived him. Ortega simply dismisses the accusations, probably the best response. No sense in arguing with a fool.

The real shame in it all is that Rock Me Tonight is a really solid track, and the reason I bought Signs Of Life. Is it a goofy video? Oh, totally, but don't let that taint the song.

Yes, the album certainly sounds much different than its predecessors. The synthesizer work definitely takes the foreground, but this isn't necessarily a terrible thing. Tracks, All Night Long, (Another) 1984, and Can't Get Next toy You are pretty decent. Not his best work by any means, but not his worst.

What I will say is that I don't necessarily hear that flourish typical of Jim Steinman music. Had I not known he was the producer of the album, I don't think I would have picked up on it.

Overall, Signs Of Life is okay, and I can understand Squier's declining popularity at the time. I've been listening to it over the past four albums now. The songs are getting less and less appealing. He's just not capturing the energy of his debut, The Tale Of The Tape, and the hits of Don't Say No. What has been consistent is his unique vocals, which always shine through, regardless of whether the track is good or bad.

Billy would perform a series of shows in 1985, and contribute the song, Shake Down, for St. Elmo's Fire. Understandably, there was no music video for the song.

By 1986 he was back in the studio, working with producer Peter Collins on what would become Enough Is Enough. Despite featuring a duet with Freddie Mercury, the album would continue the decline of Squier's overall popularity, chart placement, and album sales. The peak was over.

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Retro Spins: The Flirts - Made In America

 

Bobby Orlando is often credited as one of the founding fathers of Hi-NRG music. As a multi-instrumentalist, he's single handedly crafted the music for entire albums, playing electronic keyboards, guitars, bass, synthesizers, drums, piano, assorted percussion, trumpet and saxophone.

As a solo artist, he composed the hits, She Has a Way, How to Pick Up Girls, Suspicious Minds, and I'm So Hot for You. However, by 1982, he was on to his next project, the formation and delivery of The Flirts. While he himself would provide all instrumentation and occasional backing vocals for their albums, for the lead singing, he brought in a rotating lineup of all female session musicians. For the face, AKA the on-stage performers, he hired models.

The Flirts released five albums throughout the 80's, and today, I'm at the halfway point with 1984's Made In America. The album itself is most notable for being the second to produce Billboard Dance Charts hits, this time being Helpless (You Took My Love) (peaking at number twelve), and Dancing Madly Backwards (peaking at forty-seven). However, much like previous hits, this didn't necessarily make the group a household name, and they continued to be more popular in European countries.

Helpless (You Took My Love) kicks things off for the record and quickly sets that 80's new wave tone. While I don't necessarily think it needs to be an eight-minute song, it's the track which actually first intrigued me about the group. Despite its length, it's definitely the standout track among the bunch.

As track three, Temptation, starts up, it sounds incredibly familiar. This is because it has the exact same beat and riff as that of Helpless. It's not until the lyrics kick in that it starts to show any differences, but still, it's kind of lazy song writing. The same thing happened with Physical Attraction, which too sounds familiar of the hit.

Despite that, The Flirts deliver an overall satisfying 80's album. Is it wearing a bit thin at this point? Yeah, maybe. I think the novelty of something "new" has worn off, and while the tracks aren't bad by any stretch of the imagination, their consistent genericness is starting to take its toll. I say this knowing I still have two albums to make my way through, and candidly, I'm not as excited for this as I was with previous ones.

The same month Made In America was released, The Flirts would also have their collaborate with Jan and Dean for the Karate Kid soundtrack, (Bop Bop) On The Beach, featured in the film. It's the song which plays during the beach scene, where Daniel first gets the idea to stalk Ali, and become Johnny's bully.

Though I would usually end my posts with some kind of segue into the next, there's honestly not much to say pertaining to the group. Instead, we'll all just have to meet up tomorrow for their 1985 follow-up, Blondes Brunettes & Redheads, the album which would feature their biggest career spanning hit. Is it the end all be all Flirts song? I guess we'll find out.

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Retro Spins: Marillion - Fugazi

 

Fugazi. It's a unique title, that on the surface might be written off as gibberish. However, the word actual has its roots in the 70's, used primarily by the New York Italian community, who used it to describe something fake, or bogus.

Upon wrapping up their debut album tour, Marillion was put under considerable pressure by EMI to deliver a new studio album. The problem was that they were currently going through a rotation of drummers, who had all been fired. In walked Jonathan Mover, who after auditioning was on tour with the band within days. However, as the group sat down individually to develop material, lead singer Fish would suggest they create a concept album. It would be Mover who would push back, stating that the songs everyone had worked on wouldn't creatively fit into that format, and would need to be scrapped. Fish apparently didn't like this challenge from the new guy and fired him.

After filling in as a session drummer, Ian Mosley would be added to the band full time in October 1983. This addition would put the classic lineup of the group in place with Fish on vocals, Steve Rothery on guitars, Mark Kelly on keyboards, Pete Trewavas on bass, and Ian Mosley on drums. Together, they began crafting the tracks that would become 1984's Fugazi. However, this was anything buy smooth sailing. 

Their production schedule would run so behind that they'd actually start the promotional tour for the album before it was even finished. The end result was called incoherent, not helped by the consistent rotation of musicians leading up to it, and the ten different studios in which it was recorded over four months.

Much like their debut, Script For A Jester's Tear, I hear a lot of solid musicianship, but in that, nothing that really resonated. While the previous album also suffered from tracks which were excessively long, eight plus minutes, the band seems to have reserved this for just two tracks. Unfortunately, the remainder typically huddle around the six-to-seven-minute mark, once again making them feel bloated.

I get it, they're a prog band, and that's king of their thing. But where I'm at as of now, I'm not necessarily seeing that this is going to pan out for me. I don't think I'm destined to be a Marillion fan. Such is the life when you blindly buy an entire era discography without knowing anything about what you're getting yourself into. Honestly, I don't really even want to listen to their next three albums. I mean, I will, but I'm not looking forward to it.

Fugazi proved less popular with fans as well, only reaching gold certification. In comparison with their platinum debut, this was considered an under performance. The album would, however, reach number five on the UK charts, and stay there for twenty weeks. It also produced two UK top thirty hits, Punch And Judy, and Assassing.

If Marillion was going to stay relevant in the hear today also gone today world of rock, they were going to need to come up with something bigger, and better. That they did with their 1985 released Misplaced Childhood. It would go on to be their biggest success with its more mainstream sound.

Okay, maybe I won't give up on the band just yet. Also, the title track of Fugazi, which is the final on the album, and was what was playing as I wrapped up this post, was pretty okay.

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Retro Spins: Kix - Kix

What the heck is Kix? I've never heard of them. I came across three of their four 80's albums while perusing my local used CD shop, and decided I'd not only pick them up, but eventually grab their fourth off ebay...or was it Discogs? Point being, I picked up all four, knowing nothing about the band, or any of their songs.

The lineup that would become Kix's first iteration came together in Hagerstown, Maryland by Donnie Purnell, Tee, Tunes, and Donnie Spence. While they started with the name, Kix, this was soon changed to Tee and Tunes. Ronnie "10/10" Younkins joined in December of 1976, but immediately thereafter, Tee and Tunes would depart.

In 1978, while known as The Shooze, Steve Whiteman joined, alternating drums and vocals with Spence. However, Spence would relent singing duties to Whiteman, stating he had a higher range.

A chance encounter with Brian "Damage" Forsythe, led to him joining the band. This was followed by Jimmy "Chocolate" Chalfant, and the departure of Spence, completing the classic lineup of Purnell, Whiteman, Younkins, Forsythe, and Chalfant.

Securing a recording deal with Atlantic Records, the quintet recorded and released their self-titled debut in 1981. Though it featured fan favorites from their live shows, the album failed to chart, nor make much of an impact at all.

It's a fairly generic hard rock / early metal album but not necessarily polished like your massive successors of that same year; AC/DC (For Those About to Rock We Salute You), Def Leppard (High 'n' Dry), Motley Crue (Too Fast For Love), Ozzy Osbourne (Diary of a Madman), Van Halen (Fair Warning), or Black Sabbath (Mob Rules). It's by no means bad, but it's also not the type of debut that necessarily excited me for the things to come.

Of the nine tracks, Heartache was really the only one that stood out to me. Still, it wasn't enough to excite me for future albums, and I started to wonder if I'd gotten myself into another one of those situations where I bought something because it was from the 80's, but not necessarily something worth having.

I suppose only time will tell in that aspect, and I'll only find out by continuing my Kix journey. Tomorrow I'll head into 1983's Cool Kids and see where that one takes me.

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