The Toy Box: Billboard Hot 100

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Retro Spins: Tone-Lōc - Lōc-ed After Dark

Piggybacking on yesterday's post, today I'm jumping into Tone-Lōc, AKA Anthony Terrell Smith. Young M.C., who I listened to yesterday, would work with Lōc on his massive debut album hits, Wild Thing, and Funky Cold Medina. Both would become iconic successes on the Billboard Hot 100, peaking at number two and three, respectively.

The two tracks would become staples on MTV, helping to catapult the rapper into mainstream success. Further, the album itself would be certified double platinum in the USA, and reached number one on the Billboard 200, while also charting across the world.

Upon release, the single Wild Thing immediately garnered the attention of Van Halen who were neither asked nor paid for the sampling of their song, Jamie's Cryin'. Initially, the band's representation asked for a flat use fee of $50,000.00, but this went ignored. This led to suit, naturally, and Van Halen receiving $280,000.00 in settlement.

For its music video, Lōc would borrow from another artist, taking direct inspiration from Robert Palmer's Addicted To Love. Much like Palmer's video, the rapper's featured a line-up of similar looking girls, swaying their bodies while pretending to play instruments.

While Funky Cold Medina would also liberally borrow from other existing songs, such as Hot Blooded (Foreigner), Christine Sixteen (Kiss), and both (I Can't Get No) Satisfaction and Honky Tonk Women (Rolling Stones), just to name a few, the song wouldn't come under the scrutiny that its predecessor did. In fact, none of those bands seems to have even batted an eye. It did, however, lead to a lot of drinks being created at bars.

Not much has really been shared about the rapper's personal life. His upbringing was modest, having been raised with his siblings by his mother after his father passed away. Beyond that, the only other information is that he performed briefly with the group, Triple A. Though they don't appear to have made any major waves, nor released any albums.

Like millions of others, I bought this album for the two singles noted above. Beyond getting those, I really had no expectations.

I don't know why, but when the album started, I found myself asking, "Why does he sound like a smoking grandma sitting at a slot machine?" This perspective didn't leave my mind, making it difficult to listen to the music. This, however, wasn't the only aspect that made it a tough playthrough.

Tone-Lōc approaches the majority of the tracks with a smooth funk type sound, which doesn't really work for me. It's not my style. Further, it's the complete polar opposite of his hit singles, which take a harder rock / rap approach. My ears find the latter more appealing.

I did think it comical that in a lot of his songs he announces towards the end that he's out of there. Why do you have to keep telling the listener the song's ending? It was goofy.

Most disappointing was that by track six I found myself skipping songs after just a few seconds. I really wasn't enjoying my listening session, and I got to the point where I had no interest in continuing to subject myself to it. Honestly, I expected better from the stature of Tone-Lōc. His name built up a false sense in my mind of better quality than what was delivered. I almost anticipated a masterpiece, and perhaps that's my own fault for having such high expectations.

Still, at the end of the day, I got Funky Cold Medina and Wild Thing, and I'll happily take them. They're really solid tunes, and a necessity for my 80's collection.

Much like Young M.C., the landscape of rap was changing, and Tone-Lōc wasn't going to be able to shift with it. He would return to the studio and release 1991's Cool Hand Lōc, but at this point, people were more interested in gangster rap and moving rapidly away from the more pop oriented sound which the foundation had been built on.

Unfortunately, the album would not fare well, and as a whole failed in comparison to its predecessor. Single, All Through The Night would only find mild success, peaking at number eighty on the Billboard.

Rather than dwell on this, Lōc would make a successful transition to films, most notably (for me) appearing in 1990's The Adventures Of Ford Fairlane, 1993's Posse, 1994's Ace Venture: Pet Detective, 1995's Heat, and 1996's Spy Hard. That's the tip of the iceberg for his acting credits though. Bottom line, he's made a successful go at it.

Side note: Booty Time! If there's any reason to watch The Adventure's Of Ford Fairlane, it'd be for Ed O'Neill's Booty Time!

He does continue to tour periodically, but appears to need to do so in moderation, as he has a history of falling from passing out. These have been caused by a combination of struggles with seizures, and general exhaustion from pushing himself too hard. Regardless, he continues to hit the road, and push through it.

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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.

Retro Spins: Young M.C. - Stone Cold Rhymin'

Sticking in the world of rap, specifically, artists who debuted at the end of the 80's, today I come to Young M.C. Born Marvin Young, he would move from Wimbledon, London with his parents to Queens, New York. There, he would dedicate himself to school, eventually ending up in University of Southern California, where he earned a degree in economics.

It was while attending college that he would rap over the phone to Delicious Vinyl execs, Michael Ross and Matt Dike. Impressed, the two would deliver a recording contract to him at his dorm. This would lead to his 1989 debut, Stone Cold Rhymin'.

Led by the single, Bust A Move, he'd separate himself from the pack of most rappers. While the completion remained confined to the rap charts, Young would break through into mainstream, peaking on the Billboard Hot 100 at number seven with the single. This was followed by the mildly successful Principal's Office which landed at number thirty-three, and I Come Off (featuring N'Dea Davenport), which fared less successful at seventy-five.

On a side note, if you haven't checked out Bill McClintock on Youtube, I highly recommend you do. His channel focuses on high-quality mashups, one of which is a fantastic rendering of Stop And Bust A Move, a mix of Young M.C.'s Bust A Move, and Buffalo Springfield's For What It's Worth. I've found a ton of great tunes from Bill.

While check out his channel, I'll dive into Young's debut.

There's something to be said about rappers who showcase talent over shock value, and that's exactly what Young M.C. does. Yes, there is an occasional wordy dirty mixed in, and it's definitely unnecessary. However, for me, it wasn't that good of an album. I enjoyed yesterdays from The D.O.C. much more.

Unlike The D.O.C., I actually bought this one for a reason, that being the single, Bust A Move. It stands out as the most superior on the album, and if nothing else, I'd have been glad I got this one tune. Fortunately, Principal's Office isn't terrible either. Though as a whole, the rest of the album is pretty forgettable.

Both tracks received music videos and became mainstays on MTV. So much so, that Principal's Office would win an MTV Music Award in 1990 for best rap video.

The sudden success allowed Young to leave Delicious Vinyl, citing restrictions to his work, and unwanted changes on his album. The label would respond with a lawsuit for breach of contract, which would ultimately be settled out of court.

Capitol Records would pick him up, and release his follow-up album, Brainstorm (1990). However, this would prove to be less popular than his debut, producing only one minor hit, That's The Way Love Goes, which peaked at fifty-four on the Billboard. He'd release one final album for the label, 1993's What's The Flavor? before being dropped.

Without having heard these albums, I can't necessarily say that this was any fault of the music itself. Rather, that around this time most major labels were moving away from pop friendly rap in favor of the more popular gangster iteration, a sad reality, but reality, nonetheless.

Between 2000 and 2008, Young would label hop, releasing four albums, but a steady decline in popularity resulted in him stepping away from the studio. These days, he focuses primarily on licensing material and appearing on reality television shows.

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Retro Spins: The D.O.C. - No One Can Do It Better

The D.O.C., AKA Tracy Lynn Curry was one of those blinks and you'll miss him rappers that showed up in the late 80's. 1989, to be specific. Despite this, he made a relatively hard impact upon hitting the scene.

His debut, No One Can Do It Better, boasted production from Dr. Dre, featured N.W.A., and was released under Eazy-E's label, Ruthless. Led by the number one single, It's Funky Enough, the album shot up to the number one slot on the rap charts. This was followed by the second number one single, The D.O.C. & The Doctor.

The hits continued to come for The D.O.C., with The Formula, which peaked at number four, and Mind Blown, which laned at number three. While there was an additional single released, Portrait Of A Masterpiece, this one would fail to make many waves, and only charted in the UK at number eighty-four.

The album starts out really funky, and the first three tracks benefit from this greatly. However, things take a massive turn with Comm. Blues" (featuring Michel'le), which slows everything down to an old jazz club sound. Fortunately, this is short lived interlude doesn't derail things, and we're back to the funk quickly.

What I kept noticing was how Curry felt the need to keep reminding the listener that he was The D.O.C. It got kind of silly.

Despite this, there were standout tracks. This included It's Funky Enough, Mind Blown, Lend Me An Ear, The D.O.C. & The Doctor, No One Can Do It Better, and Portrait Of A Masterpiece. However, even better than those was Beautiful But Dealy, which featured an awesome shredding guitar throughout it.

The D.O.C. seems to stand as one of the last bastions of "good" rap acts. Rather than focusing on lyrics filled with guns, violence, and / or drugs, he instead crafts songs which are designed for pure enjoyable. With that said, there's a ton of curse words in it, and that particular aspect I could have done without. It definitely earned its parental advisor sticker.

Honestly, I'm surprised how much I enjoyed this one. It was an album I picked up at random from one of my recent used CD shop outings. I'd never heard of him prior to this and combined with the eight-dollar price tag would normally have been a deterrent. However, I took the chance, probably because I saw it was his debut, and only release in the 80's. It turned out to be a good purchase.

Poised to be the next biggest name in rap, things were suddenly derailed in 1989 when Curry was involved in a near fatal car crash after falling asleep behind the wheel. The accident crushed his larynx and permanently damaged his vocal cords. Sadly, this destroyed his ability to rap, and he spent the following years dealing with depression, substance abuse, and adjusting to a behind-the-scenes songwriting career before attempting a difficult vocal comeback.

1996's Helter Skelter would peak at number five on the rap charts, seemingly returning him back to form. Unfortunately, performing became intensely difficult with his altered, raspy voice, leading to a deep creative block. This once again pushed him into a deep depression.

While he'd release a final album in 2003 entitled Deuce, since then he's focused primarily on writing for other artists. Most notably, tunes for Dr. Dre and Snoop Dogg. I suppose in that regard, his voice is still being heard, despite an accident that tried to take that away.

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Retro Spins: Loverboy - Wildside

By the time 1987 rolled around, hair metal was all the rage. Rock was still prevalent, but the legacy acts who initially led the 80's charge, such as Journey, Foreigner, and Toto were quickly disappearing. Loverboy would make a final stand that year with Wildside, which would become the band's last studio album before disbanding.

While the album was noteworthy for the number thirty-eight Billboard Hot 100 hit, Notorious, co-written by Jon Bon Jovi and Richie Sambora, as a whole, it was another disappointing performance for the guys. While sales had been in a steady decline since 1983's Keep It Up, this record would tank in comparison. The album not only performed poorly sales wise but failed to chart in most countries. It didn't even crack the top twenty in the limited locations it did chart.

In addition to credits to Jovi and Sambora, as noted above, Wildside also features writing credits from Bryan Adams. Though his contribution, Hometown Hero, would not become a charting single. Further, if you purchased the album on CD, you would also get a bonus track, Don't Keep Me In The Dark. This tactic of additional materials on CD's was becoming a mainstay on the format in an effort to prompt consumers into adopting the format.

Despite only providing the above noted single, you can definitely see Bon Jovi's fingerprints all over this album. Loverboy took a page straight out of their book, howling screams and all. This is very much so prevalent on the hidden gem, Love Will Rise Again.

All of this makes sense considering the album was produced by Bruce Fairbairn, who not only worked with Bon Jovi on 1986's Slippery When Wet, but again with them for 88's New Jersey. His impressive credits also include Aerosmith's Permanent Vacation (1987), Pump (1989), Get A Grip (1993), and AC/DC's The Razor's Edge (1990), just to name a few.

I can also give a nod of approval to Can't Get Much Better, the title track, Wildside, and Don't Let Go. Mind you, they're not mind blowing, but they're pretty okay. As for the single Notorious, yes, you can hear the writing style of Jovi and Sambora, but it's not a very good song. I can definitely understand why they didn't personally record it for any of their albums. Adam's Hometown Hero is slightly better, but still nothing to get excited about.

Overall, it was a better album than the previous two, but I think this is more so from the band adopting a more "Jovi" style. It sounds relatable to the timeframe in which it was released, and familiar to the ears, which makes it easier to get into. Don't misunderstand though. It's no opus by any means. Further, there's no reason to settle for Loverboy trying to sound like Bon Jovi when you can just listen to Jovi.

By 1988, their popularity had waned to the point that the band was no longer performing at arenas. Ticket sales simply didn't necessitate such a large venue. Their formidable years were most definitely behind them.

1989 closed with the compilation album, Big Ones, which featured the song, Too Hot, which was recorded specifically to be included on the album. It would become their last Billboard Hot 100 hit and peaked at number eighty-four.

Led by ongoing poor sales, compounded by fighting between Mike Reno and Paul Dean, the band disband. Though it's noted as occurring in 1988, this timeline doesn't seem to correlate, considering that Big Ones was released in October of '89, and included a newly recorded track. But the bottom line is that they broke up.

In 1991, the band joined fellow rockers Bryan Adams, Colin James, Chrissy Steele, and Bill Henderson of Chilliwack at a benefit show at Vancouver's 86 Street Music Hall. After the event, they noted it was the most fun they'd had in years and decided to reform. However, a new studio album would not be released until 1997's Six.

One of the greatest aspects about Loverboy is that the lineup that started it all in 1978: Mike Reno, Paul Dean, Doug Johnson, Scott Smith, and Matt Frenette, not only stuck it out until their initial breakup in 1988 (or 1989) but then came back together to do it all again. I don't think they'd have made any changes to the lineup had it not been for the tragic death of Smith in 2000 who was lost at sea during a boating accident.

They would bring in Ken Sinnaeve to ultimately replace him, but not before embarking on a massive dedication tour to Smith. Since then, this revised lineup has released three additional albums (between 2007 and 2014). They remain together to this day, touring periodically.

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Retro Spins: Loverboy - Lovin' Every Minute Of It

The landscape of 1985 was a unique time in music. Rap had become mainstream, new wave had taken over but was also on its way out at this point, rock and roll was shifting to hair metal, Prince was making movies, and Michael Jackson's Thriller was the biggest album of all time. Competition on the Billboard was coming from every direction.

Among all of this, Loverboy wasn't faring well. The band had taken a consider drop in sales with their 1983 released Keep It Up, and this was only going to continue with 1985's Lovin' Every Minute Of It. While it spawned multiple Billboard Hot 100 hits, which included the title track, which peaked at number nine, Dangerous (sixty-five), This Could Be The Night (ten), and Lead A Double Life (sixty-eight), the album itself would move less units then its predecessor.

Much like I said yesterday, selling four-times platinum is no small feat. For those of you who don't know, one platinum certification is a million albums. However, when your previous two records sold seven million each across Canada and the USA, your label starts to take notice. Especially when your latest album does even less, which is what Lovin' Every Minute Of It did. It would "only" go platinum in Canada and two-times platinum in the USA. Again, that's a lot, but not in comparison to previous success.

Perhaps at this point I'm listening to too much Loverboy back-to-back, and the fatigue is setting in at this point. I listened to their first two albums on day one, and their third and fourth on another. Or maybe the quality of their albums really is taking a nosedive.

Whatever it is, I'm definitely noticing that as I keep going through their discography that each subsequent record is less and less appealing. Even the title track, which I bought the CD for didn't really hold much of my attention. As a whole, I found my mind wandering quite a bit throughout this one.

Once again, I kept waiting in anticipation for that hidden gem to come, but it never did. The other hits were okay, but definitely not the best I've heard from Loverboy.

If there's one thing that stood out to me, it's that the band sure did embrace the MTV age. They churned out a ton of music videos between 1980 and 1985. Even better is that they released them all on a VHS titled, Any Way You Look At It, in 1986.

Moving forward, I may take a new approach to my Retro Spins. Wherein I've been going from start to finish through an 80's discography, I think I'm going to start rotating between a handful of musicians. This way I don't get bored of any one particular person, or if it truly is terrible, looking at you Martha And The Muffins, I'm not banging my head against a wall trying to get through it.

Loverboy released one final album in the decade, 1987's Wildside. Though, prior to this, they participated in the massively successful Top Gun soundtrack with their contribution, Heaven In Your Eyes. It would peak at number twelve on the Billboard Hot 100.

While you won't find the music video for Heaven In Your Eyes on the aforementioned VHS, this was included on the 2004 Collector's Edition of Top Gun. Along with that, it also includes the music videos for Kenny Loggin's Danger Zone, Berlin's Take My Breath Away, and Harold Faltermeyer and Steve Steven's Top Gun Anthem. Sadly, no video for Playing With The Boys.

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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: Loverboy - Get Lucky

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

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

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

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

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

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

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

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

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

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

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Retro Spins: Loverboy - Loverboy

When did Loverboy hit my radar in the 80's? It's a question I truly have for myself. Did I know their hits, Working For The Weekend, The Kid Is Hot Tonite (P.S. not how you spell that), Lovin' Every Minute Of It, Hot Girls In Love, Turn Me Loose, and When It's Over? Candidly, if I did, I didn't associate it with them. Instead, I think they hit my radar with their 1986 contribution to the Top Gun soundtrack with Heaven In Your Eyes.

The band was an early addition to my 80's want list when I started building my CD collection, but not necessarily everything. My sights were initially on their 1980 self-titled debut, 1981's Get Lucky, and 1985's Lovin' Every Minute Of It. Essentially, I was after the hits I knew, and these albums were where they were hiding. However, as often happens, I came across others in a used CD show, picked them up, and then eventually finished off the list in anticipation of this series of Retro Spins.

Upon the release of their debut, it became not only their breakthrough, but a massive success, peaking in the top twenty in four countries. It would fare the best in the UK where it landed at number five. With it would come the Billboard Hot 100 hits, The Kid Is Hot Tonite, and Turn Me Loose, which reached number fifty-five and thirty-five, respectively.

With its hot synthesizer and guitar rock blend, the album comes off as a solid comparison to that of what was being churned out by The Cars and The Babies at the time. It was quite enjoyable, and by track four, I hadn't heard anything I wasn't digging.

Sure, by this point it had already hit me with the two aforementioned hits, bit in addition had delivered Always On My Mind, and Lady Of The 80's. When Little Girl came up next, my mind immediately shot to Oingo Boing. Not only did they have a song similar in title, but very different in context, but Loverboy was sounding a bit like their early decade material as well.

I didn't expect to like a song titled, Prissy Prissy, but it actually had a pretty catchy lyrical hook, and a solid guitar riff. By this point, I was really asking myself, "Self, where has this album been all my life?" I really enjoyed everything from it, and I'm down with keeping this momentum going by immediately jumping into 1981's Get Lucky.

There's not much to say in between all of that, and beyond continuing to elaborate on the enjoyable listening session, which I think I've more than made the point on, the only other thing to do is be on my way to their next album. Okay, actually I will say this; if you haven't heard this one, I highly recommend you check it out. But now I'm out of here.

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Retro Spins: Robert Plant - Now And Zen

When Robert Plant released his previous album, 1985's Shaken 'N' Stirred, it was met with critical backlash for its changed musical style, which Plant himself admitted was because of his fondness for Talking Heads. The singer had convinced himself he would be opening for the new wave band, though this would never come to fruition.

After a botched Led Zeppelin reunion performance at Live Aid that same year, he headed out on a solo tour. However, this wouldn't be a full-blown series of shows. Rather, select dates throughout the years. It wouldn't be until three years later that he'd return to the studio to record the tracks that would become Now And Zen.

Returning to form, Plant focused on a more direct rock and roll album, and with it came his biggest selling solo album of his career. Now And Zen would go triple platinum in the USA, and gold in the UK, peaking in the top fifteen, and in most cases top ten, across six countries. Singles, Tall Cool One, Heaven Knows, and Ship Of Fools would become major hits on the mainstream rock charts, with the first two taking the number one spot, and Fools peaking at number three. Tall Cool One and Ship Of Fools would also hit the Billboard Hot 100, but not fare quite as well, landing at twenty-five and eighty-four, respectively.

Personally, I bought this album for the hits, but I was glad to see this wasn't all it had to offer. I really dug The Way I Feel, Helen Of Troy, and Why. Overall, it's a solid rock album, and it's great to see that Robbie has gotten back to his A-game.

A fun aspect of Tall Cool One is the influence that the Beastie Boys had on it. With their 1986 breakthrough debut, Licensed To Ill, the trio sampled Led Zeppelin songs across three tracks. Taking inspiration from this, Plant would in turn do the same thing, sampling multiple Zeppelin hits on the song.

The fun doesn't stop there. If you owned the original CD or vinyl release of the album, you could have scored yourself a boss red satin flag packaged inside. This was included as Plant's own tribute to his favorite association football team, the Wolverhampton Wanderers.

These days, the flag isn't too common of an item, and as such, has become a forgotten piece of memorabilia.

At this point, I would normally close with my, "Where are they now" information, but I mean, come on. We're talking about Robert Plant. If you think he faded into obscurity after the 80's, dig yourself out from under the rock you've been living under. He's a legacy act, an icon, and a major influence on the world of music. He kept going, and he's still going. Probably the only thing that surprises me at this point is that he's only seventy-seven years old. I really expected him to be in his eighties by now.

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Retro Spins: Robert Plant - Shaken 'N' Stirred

By 1985, Robert Plant was looking towards a different musical direction. In his mind, he was bound and determined to become the opening act for Talking Heads, and as a result of this started crafting more oblique pieces of music. The stylistic pivot, particularly on tracks like the single Too Loud, was largely rejected and ridiculed by his mainstream audiences at the time, and he never actually secured the opening slot he sought.

Regardless, his third solo effort, Shaken 'N' Stirred garnered him another gold record, and the Mainstream Rock chart number one hit, Little By Little. It would further reach number thirty-six on the Billboard Hot 100. Sixes And Sevens would also make its way to the mainstream charts, peaking at number eighteen.

On thing is for sure. This album is different from his previous work. It starts off with the strangely intriguing Hip To Hoo and only goes deeper down the rabbit hole from there.

Too Loud reminds me of the experimental shifting sounds that Prince dove into between 1986 with his Camille persona. It almost has that quirky charm that you would get from something like Housequake.

I think its overall uniqueness is what makes it stand out, and mind you, that's in a good way. I actually kind of dug it. Mainly because it was so different. With that said, I honestly only grabbed one more track for the shuffle list, that being Easily Lead.

You definitely have to come into this one with a clear mindset. If you're expecting a traditional rock and roll album, you're not going to get that. Though you will get moments of it, such as on the track, Trouble Your Money. However, if you're interested in hearing an experimental Robert Plant trying on different hats, then you'll be in for a treat.

Personally, I'd like more from him like this. While I'd love that to be what happened on future albums, sadly, I'm already aware that by 1988's Now And Zen, he had retracted back to his rock roots.

Following its release, Led Zeppelin reunited for an appearance at Live Aid. Robert Plant, Jimmy Page, and John Paul Jones, joined by guest drummers Phil Collins and Tony Thompson, alongside bassist Paul Martinez performed Rock And Roll, Whole Lotta Love, and Stairway To Heaven.

The performance would be widely panned by critics, and Plant himself would later call it horrendous. Throughout it, the dual drumming of Collins and Thompson was out of sync, Page's guitar out of tune, and Plant's voice strained. It was considered so bad that the band have blocked its release from subsequent home video releases, including the 2004 four-disc DVD release.

In the band's defense, Plant's appearance at Live Aid was initially planned to be with his side project, The Honey Dippers. However, this quickly spiraled into a full-blown reunion, putting the members on stage, but having not played together since 1980. Essentially, little practice and rehearsal time garnered the end results.

With that said, this wouldn't be the last time Robert Plant would be part of a massive concert, only to perform so poorly that he's block future releases. Such was the case at the 1991 Freddie Mercury Tribute Concert, where he absolutely butchered his cover of Innuendo. So, you know, say what you want, but I think at the end of the day, this is a Robert Plant issue. Either from not being prepared or not having the talent his legacy professes. Regardless of which it is, it's unprofessional.

As noted above, Plant would go on to release 1988's Now And Zen, a return to form album for him. It would become his biggest selling solo album of all time, and his final release in the decade. It's where I pick up tomorrow and wrap things up.

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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: Robert Plant - Pictures At Eleven

With the unexpected, and accidental death of founding member, John Bonham, who died on September 25, 1980, Led Zeppelin made a decision most probably didn't expect. The already legacy band disbanded, stating it was out of respect for their former drummer. Vocalist, Robert Plant would eventually launch a successful and probably expected solo career. This was kicked off in 1982 with his debut, Pictures At Eleven.

Upon its release, it would perform moderately well, but probably not as good as expected. The two singles, Burning Down One Side, and Pledge Pin would only prove to be minor hits, peaking at sixty-four and seventy-four, respectively. It was also cool to hear Phil Collins on skins, and cool to learn that Cozy Powell also provided drums on the album.

Admittedly, my exposure to Plant as a youngster was relatively limited. In fact, I couldn't honestly say when or how I first heard anything from him, be it his solo work or catalog with Led Zeppelin. Regardless, I somehow came to own all of the band's discography, and all of Plant's 80's discography. Mind you, I've listened to none of them, well, with exception of today's album.

To approach this from a positive perspective, it's a solidly crafted rock and roll album. This is by far his first rodeo, and Robert knows what he's doing in the studio. In that regard, you're going to get something worth listening to backed by top notch vocals. Further, the two noted singles are pretty okay, with Pledge Pin being the more favorable among them to me. I'll also give an honorable mention to Like I've Never Been Gone.

However, what you won't get is really anything memorable. There are no iconic riffs or classic choruses to really keep this at the forefront of your mind. Perhaps this was a result of the three-to-four-year hiatus between Zeppelin's 1979 album, In Through The Out Door, and Plant's solo debut. There may just have been some cobwebs that needed to be shaken off.

With all of that stated, I'm down with diving into his 1983 The Principal Of Moments. This is actually one I do know a few songs from, and an album I actively sought out to add to my collection when I started putting it together. So, basically, I'm also a bit excited to get into it.

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Retro Spins: Tom Petty - Full Moon Fever

Today's a day for a little bit of Retro Spins cleanup. Back in May, I ran through the albums of Tom Petty And The Heartbreakers, but in doing so, I skipped right over Petty's 1989 solo debut effort, Full Moon Fever. That's pretty ironic, considering that it touts some of his greatest hits of all time, including the overplayed, very tried and true...and boring, Free Falling. Admittedly, I'm diving in today more so out of necessity to check a box than an actual desire to hear this one.

The album was spawned from a desire to do something without his backing band, a decision which didn't sit well with most of the members. However, this would be odd unto itself, as all but Stan Lynch would contribute to the album. It was more so an opportunity for Petty to work with his friends, such as members of the Travelling Wilbury's; Roy Orbison, George Harrison, and Jeff Lynne, the latter who would write most of the songs with Petty, as well as play multiple instruments, and provide backing vocals on the record.

Full Moon Fever would become his biggest selling album in his career, including among those with the Heartbreakers. As a whole, it would peak at number three in the USA, as well as rank in the top ten in four other countries, while also charting in three others. With it came the 1989 Billboard Hot 100 hit single, Free Falling (of course), which peaked at number three, and was followed by I Won't Back Down, which stalled out at number forty-one. A final single, A Face In The Crowd would chart in 1990, and finish out at number forty-six.

If you picked up the CD version of the album, you'd get a little hidden treat not provided on the original vinyl and cassette releases. That would be the hidden track, Feel A Whole Lot Better, tucked in between songs six and seven. Not a song per se, but rather a monologue from Petty, laid over animal sounds. The liner notes for the disc refer to it as, "Attention CD Listeners"., and the monologue itself states:

"Hello, CD listeners. We've come to the point in this album where those listening on cassette, or records, will have to stand up, or sit down, and turn over the record, or tape. In fairness to those listeners, we'll now take a few seconds before we begin Side Two. Thank you. Here's Side Two."

Free Falling kicks the album off, and admittedly, I had zero interest in hearing this. It's a song which made my Dirty Dozen's list of most overplayed songs of all time, and is one I really don't enjoy at this point as a result of its overexposure. This was followed by; I Won't Back Down, another hit which has relatively run its course with me at this point in my life.

Finally, with track three, I was into new territory. You can hear the sound shift with Love Is A Long Road, and this is most likely because of Lynne not being involved with it. Instead, it's penned by Petty, and longtime Heartbreakers member, Mike Campbell. It was here that things started to get into better territory for me, albeit because it was relatively all new to me.

I won't shun the hits, the two aforementioned, along with Runnin' Down A Dream are definitely solid. I just find them to have run their course at this point. Resulting from that were other standout tracks for me, such as the above noted Love Is A Long Road, A Face In The Crowd, and Yer So Bad.

As a whole, it's a decent album, but more importantly, I'm just kind of glad to be done with Tom Petty in my CD collection. Unfortunately, there's not much more to say. While I'd normally go into further history, I pretty much covered all of that ground in my post on the album, Let Me Up (I've Had Enough). So, instead, I'm off to find something "new" for tomorrow.

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Retro Spins: Pink Floyd - A Momentary Lapse Of Reason

By 1987, one wouldn't have expected Pink Floyd to return with another studio album. Roger Waters had departed in 1985, launching a solo career. In turn, David Gilmour returned to his own solo career, while Nick Mason joined up with Rick Fenn of 10cc to work as a duo. Everyone, except Richard Wright seemed to have moved on at this point.

Unfortunately, for David Gilmour, this was not panning out as expected. His 1985 released About Face was not making the impact needed, and the results were shows that weren't selling well, prompting several dates to be cancelled. During this time, he'd been actively writing new material, considering it for a third studio album. However, CBS representative Stephen Ralbovsky wanted a Pink Floyd record, and when he was presented with the demos in November of 1986, bluntly informed Gilmour that the music, "doesn't sound a *bleeping* thing like Pink Floyd." By the end of the year, he opted to rework the material the label found objectional.

However, when Waters started hearing about Gilmour and Mason collaborating on new material under the name of Pink Floyd, he promptly sprang into action, filing a class action lawsuit in 1986 over the band's name and music rights. This would not turn out to be financially sound for the ex-bandmate, and he'd eventually settle with the remaining members. This not only allowed them to continue on as Pink Floyd but granted Waters to retain full conceptual rights to The Wall, exclusive rights to the original inflatable pig, and he continues to own his individual songwriting and publishing rights.

Returning to the studio, the pressure was on for Gilmour and Mason. They needed a hit record. Not only to launch their comeback, but because they knew their ex-bandmate was watching. Waters felt he was the creative driving force behind the band, and there was no way that the remaining two could pull off a successful album worthy of the Pink Floyd Banner.

Upon its release, A Momentary Lapse Of Reason would outsell its predecessor and final Waters album, The Final Cut. While as a whole, it wouldn't chart as well as the previous record, it would manage to peak higher in the USA, reaching number three (versus number six of the prior).

Gilmour would tout the album as a return to Pink Floyd's earlier work, focusing on a balance between music and lyrics. This was in contrast to the concept (and more popular) era of the band, where Waters crafted poetic lyrics which often overshadowed every other aspect. Ironically, critics took notice of this, and while they gave it favorable reviews, panned the lyrics as a step backwards. Roger too took shots, calling the lyrics poor and third-rate. He labeled the album as a whole a clever forgery.

With opinions all over the place, what's one more?

For me, it was okay. It definitely lacks the conceptual structure of previous albums, and with Water's obvious absence, also the traditional voice behind it. It's not a bad album. If anything, it achieves what previous Pink Floyd albums didn't, that being standout singles. Whereas previous albums almost necessitated hearing the record from start to finish, here, you can pick out specific songs to play without worry.

For me, that included Learning To Fly, One Slip, and the amazing, On The Turning Away. The downside to this is that since the remaining tracks don't feel like required listening, they're fairly skippable and forgettable. While I won't say it with the vicious intent of Roger Waters, at the end of the day, A Momentary Lapse Of Reason doesn't feel like a Pink Floyd album. I appreciate the hits, but it's missing key elements. Specifically, the concept aspects, and structure that flows with that.

At the end of the day, it's great that Gilmour, Mason and Wright were able to pick up the pieces and keep the band afloat. It's also commendable that in 2013 Waters admitted that he was wrong in suing them. But, more so greater than all of that, it's just better when the four are working together. Such as the highly touted 2005 reunion at Live 8.

While fans soaked up this once in a lifetime event, behind the scenes, Gilmour and Waters continued to squabble, right down to what songs they would perform. That battle never really seemed to end, and the feud remains in full effect to this day. Despite this, the two have managed to work together a couple more times. Specifically, Waters appeared at a 2010 benefit concert at the request of Gilmour, and in turn, Gilmour promised to, and appeared at a 2011 concert with Waters. However, these appear to be nothing more than favors they did for each other, a mutual transaction so to speak.

The three-man lineup would release two additional albums, 1994's The Division Bell, and 2014's The Endless River. Sadly, the latter would only feature Wright posthumously, having passed away in 2008 from lung cancer.

Though Pink Floyd never officially retired, they haven't been active since their 2022 single, Hey Hey, Rise Up!, in support of Ukraine. Waters concluded his This Is Not A Drill farewell tour in 2023, and he too seems to have stepped away from the stage. With all three members in their 80's, perhaps its best to spend the rest of their years enjoying the fruits of their labors. One certainly can't say it's been for nothing. They remain legends of the music industry, with songs that will live on long past all of us.

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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 - Steel Wheels

By 1989, the infamous Jagger / Richards feud had been full fledge for six years. This all began during the recording sessions for 1983's Undercover, spawned by disagreements in musical directions. It blew up even further when Mick opted to focus on a solo career, kicking that off with 1985's She's The Boss, and then opted to work on his second album, instead of tour with the Stones for their 1986 released, Dirty Work (though he would later state this decision was based on the at the time state of drummer Charlie Watts). Keith in turn would launch his own solo career in 1988, releasing Talk Is Cheap.

The two would finally come to terms in "peace talks" in May of '89, deciding that the legacy and brand of the band was more important, and that they needed each other to stay relevant in the industry. Especially Richards, who's solo career didn't take off as he expected. Despite this, the two didn't fully bury the hatchet until around 2013, after Richard's published 2010 memoires, where he apologized for his behavior towards his longtime bandmate.

Steel Wheels needed to be a hit record and serve as comeback for The Rolling Stones. To support this, the Stones kicked off a massive world tour, consisting of three legs, and one hundred fifteen shows. The album would spawn the Billboard Hot 100 number nine hit, Mixed Emotions, and be followed by Rock And A Hard Place, which peaked at number twenty-three. While they would continue to chart over the following years, the latter would be the last top forty hit from the band to date.

Critics would be mildly supportive of the record, stating it was certainly a return to form, and the Jagger and Richards had returned to the element they thrived in. Others would claim it does its job, serving as the comeback the band needed. It's even gone on to be listed among Colin Larkin's All Time Top 1000 Albums.

I guess "return to form" is code for more of the same. For me, it just sounds like a continuation of the four releases that came before it. There are okay songs, but mostly nothing really worth jumping up and down for. I'm to the point where the Stones are like the Beatles. Wherein, I guess you had to be there to really understand the hype. I just don't hear anything special from them. I'll elaborate more on that below.

When Mixed Emotions kicked on, I did get a little treat in the form of, "Oh yeah, I know that song!" I do love when that happens. I would definitely say that this one, and Rock And A Hard Place are the standout tracks, but I suppose that's no surprise considering they were the charting singles from the album.

At the end of it all, I still find myself not necessarily a fan of The Rolling Stones, but at the same time, I can't necessarily say this is their fault. I think the biggest thing the band have working against them at this point is that they've influenced so many people that in turn have ripped their sound and style off thousands of times over the past several decades. As a result of me listening to these albums thirty plus years later, the impact is gone because at this point it's been (re)done a lot. With that said, I will definitely agree that the band can and do deliver a solid rock and roll sound.

While I would normally use this portion of my post structure to talk about where the band has gone since, and what they're up to now, much like their history, this is kind of irrelevant. At this point, they're beyond a legacy and iconic act. There's not much I can really fill in that millions of people don't already know. So, instead, I'll just head off on the hunt for my next Retro Spins series.

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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: The Rolling Stones - Tattoo You

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

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

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

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

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

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

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

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Retro Spins: The Rolling Stones - Emotional Rescue

It's ironic, yet timely that I would be starting a series of Rolling Stones playthrough leading up to my birthday. This is because I actually got several of these albums from my brother for my birthday several years ago. It has taken me this long to get to them.

As a band that's been around since 1962, there's a lot of history to go through, and candidly, I'm probably not the best person for that task. I mildly know of the band, and to date have only listened to their 1964 self-titled debut, and 1986's Dirty Work. Further, to go back through a sixty-four-year legacy would take well me time and posts than I'm going to dedicate to it. So instead, I'll just make up my own version based on my 80's child self-who's knowledge was limited to the then and now as it happened, or the rumors on the playground.

Michael Jackson was introduced to an already aged Mick Jagger through his friend, Freddie Mercury. The Queen lead singer let the guy crash at his house periodically, often times using him as an errand boy. It was at a recording session for the track State Of Shock, which would be included on The Jackson's 1984 Victory album, that the two would send Jagger out for sandwiches. However, two events would unfold from this seemingly every ordinary lunch run. The first is that the chicken salad sandwich which Mercury ate would see him in the bathroom the rest of the day with rolling pains and other unwanted side effects. This would lead to Jagger racing out of the studio to find more toilet paper, only to bang his toe on the doorframe. The bellowing howl he gave immediately caught the attention of Jackson, who put him in front of a microphone.

While conducting a wellness check on his friend later that week, David Bowie would get the opportunity to meet Jagger, who was also at Mercury's home, and once again serving chicken salad sandwiches. In a bizarre history repeating itself moment, the Queen singer would once again fall ill. Directed again to obtain more toilet paper, Jagger would head out, but Bowie would offer to accompany him. Rather than take a car, the two instead began skipping down the road, and dancing in the streets.

Across the road at the Twin Pines Mall was a young Marty McFly, who had come out in the night to meet his friend, Doc Brown. He happened to have a video camera with him, and when he saw the two, became fixated on them, filming the whole event. Angered by the unwanted voyeur, they would grab him and attempt to strongarm the cassette from him. It was only from a passing van of concerned Libyan nationalists who called the police that the cops arrived on-site, and the video footage eventually shared with the local news.

Despite the events, Doc Brown would take a keen interest in Jagger, taking him back in time to 1685, where they meet a young pirate named Keith Richards. They'd bring him back to 1980, form a band, and release their debut, Emotional Rescue. To ensure its success, after recording tracks, they'd travel ahead in time, confirm that the album was well received or not, make tweaks back in 1980, and craft the perfect record which would reach number one in the UK, Canada, USA, and other countries. Thus, The Rolling Stones were born!

It's ironic how I can know little to nothing about the band, yet at the same time, playing through 1980's Emotional Rescue, it sounds exactly as I would have expected. Heavily rhythm and blues influenced, with straight up rock and roll weaved in.

On one hand, the music is generic, and kind of uninspiring. At the same time, you still want or perhaps must respect it because it's The Rolling Stones. It puts one in quite the conundrum and honestly makes it difficult to differentiate between what the good songs are, and what really aren't, but that you'll never admit lest the mob come for you.

Instead, I'll turn to the critics and let them take the flak. It turns out, in comparison, I'm not alone in my initial thoughts of the album. Ariel Swartley of Rolling Stone, the magazine, would call it formulaic, and that there was hardly a melody you hadn't already heard from them. Others would simply label it just another ordinary album from The Rolling Stones and even go so far as to say it was comprised of nothing but filler tracks. But ultimately it sold and performed well, going back to what I said earlier. It's generic, but at the same time you must respect if for who it came from.

With that said, there was actually a song on the album that prompted me wanting it. This wasn't just a checklist want. That tune was She's So Cold. I will also be flat out blunt about the title track. It's horrendous. I don't know if Jagger is channeling his inner Prince with his high falsetto vocals, but it's awful. Like actually had to skip it awful.

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