The Toy Box: Billboard Hot 100

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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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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: 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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Retro Spins: Bonnie Tyler - Hide Your Heart (AKA Notes From America)

Today wraps up my listening sessions of Bonnie Tyler's 80's discography. What constitutes as an icon and / or legacy artist? The industry would have you believe that Tyler qualifies for these titles, yet when you stand back and look at her career as a whole, she only had one number one Billboard Hot 100 hit, Total Eclipse Of The Heart. Her remaining singles from the 80's peaked between thirty-three and seventy-seven. I don't know. I hate to be so mean, especially on the heels of her unfortunate passing, but that just doesn't scream iconic to me.

As I mentioned in a previous post, 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. It turns out that Tina would in turn borrow from Bonnie, as this album would include Tyler's original recording of The Best, which Turner would then use for her 1989 record, Foreign Affair.

In addition to this, Bonnie would also record the Paul Stanley / Holly Knight written, Hide Your Heart, which Kiss would later use on their Hot In The Shade album the following year. Lastly, she would also record a cover of the Bee-Gee's 1967 second single, To Love Somebody.

Things start off with the roar of a live audience, giving the impression that you've been bamboozled into listening to a concert album, versus studio. However, as the song picks up, the crowd fades out, and the crisp studio recording takes over. Opening track, Notes From America is decent, but definitely nothing worth jumping up and down for.

Her version of Hide Your Heart was decent, but in retrospect, I dig Kiss's version more. This isn't surprising since it's not only the version I heard first, but it would make sense that the artist who wrote it would be able to produce the better rendition. This is my same impression of her cover of the Bee-Gee's tune, To Love Somebody, which honestly just feels unnecessary. Bonnie adds her own flourish to it, but frankly, it's just not good. She's literally just yelling through it.

Having heard it first is also the problem I have with tracks Don't Turn Around, and The Best. I'm sorry to say that Ace Of Bass does the first better, and Tina Turner owns The Best at this point. One I've yet to mention yet is her cover of Big Brother And The Holding Company's Turtle Blues. Tyler can definitely match the vocals of Janis Joplin, but does she achieve a better song in the long run? No, not really. Janis nails the rhythm and blues sound of the original, and it just fist more, time period wise with its 1968 roots.

USA album cover and title

Michael Bolton and Desmond Child contribute the song, Take Another Look At Your Heart, and you can definitely tell in listening to it that it's a Bolton song. It has his signature style to the lyrics. The unfortunate part for Bonnie, is that it prompted me to look if he ever recorded his own version of it, and sadly, he did not. I'd much prefer to hear him sing it.

Okay, so let me try and say something positive. I suppose the opening track was decent, and Shy With You is a poppy treat. They're about the only two tracks that really stood out in a good way among the rest. But, overall, the album just feels like a series of throw away tracks.

Columbia Records ended up dropping Bonnie from their roster when her contract expired, and while she would go on to release eleven more albums through 2021, it would be for a series of varying labels. She would also experience an uptick in sales in the 90's, with her three albums released between 1991 and 1993 going platinum on the International Federation of the Phonographic Industry (IFPI). Specifically, the Norwegian branch. However, her days on the Billboard Hot 100, and charting in the USA in general, were long over by this point.

Still, Bonnie Tyler remained highly popular around the world, and anyone who tells you otherwise is flat out lying or trying to fool themselves. She remained incredibly active through 2026, performing her last live show on March 19, 2026, in London. Had it not been for a tear in her bowel, which put her in the hospital, she would have been back on the road in May. Unfortunately, her health took an unexpected turn, leading to her sadly passing away on July 8, 2026, just one month to the day after her birthday.

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Retro Spins: Bonnie Tyler - Secret Dreams And Forbidden Fire

Leaping over 1983's Faster Than The Speed Of Night, which I've already done a Retro Spin on, today, I come to 1986's Secret Dreams And Forbidden Fire. While it's Bonnie Tyler's sixth studio album to date, it was only her second with Columbia, having left RCA after releasing 1981's Goodbye To The Island.

Many tracks that would encompass the album would come from Tyler continuing to work with Jim Steinman between 1983 and 1986. It's during these sessions that the song, Holding Out For A Hero would be recorded, and contributed to the 1984 Kevin Bacon film, Footloose. As such, it's a bit odd that it would get dusted off and added to her studio album two years later. At that point, it was more than readily available on that soundtrack and had candidly run its course.

Steinman in turn recruited Desmond Child to assist with writing tracks, and in doing so, made a very specific request for one song. He wanted a song about androgyny. The verses have to sound like Tina Turner, the B Section has to sound like The Police, U2, or Hall & Oates, and the chorus has to sound like Bruce Springsteen. The directive spawned the song, If You Were A Woman (And I Was A Man). The album would also include the track, Ravishing, which Steinman originally wrote and contributed as Hulk Hogan's theme for the World Wrestling Federation compilation album released in 1985, appropriately titled, The Wrestling Album.

Upon its release, it received very mixed reviews, with most negativity being directed towards Jim Steinman. Some critics were just flat out rude about it, such as Steven Wine, who stated, "Only Bonnie Tyler's parents would want to listen to her sing the same song for six minutes, but three of the eight tunes on [the album] exceed that span." He'd go on to say the album was a, "bombastic bore."

Things didn't settle down from there. Tom Ford stated that "although Tyler proves able to do some interesting things, she is outdistanced by the tiresome ponderousness of the material," concluding that "the prissy, self-indulgence here is just too much to stand." Meanwhile, Paul Speelman opined that Tyler and Steinman were "deeply entrenched in a rut," and found the music to be excessive. He would say, "There are banks of synthesizers, layers of percussion, dramatic electronic gimmickry and huge production: no wonder poor old Bonnie had to yell to be heard above that lot."

Say what you will, the music video for If You Were A Woman, And I Was A Man is an absolute 80's banger! I mean, come on. There's a guy in full shoulder pads, and head gear playing a violin that eventually starts smoking. It makes absolutely no sense, but at the same time, it makes complete sense. It's the 80's, baby!

On that note, let's dive right in!

First and foremost, what you listen to depends on which version you buy. The original vinyl featured eight tracks, which were also included on the CD and cassette releases. However, the CD includes one additional track, Before This Night Is Through. The cassette version includes all nine of these songs, plus Under Suspicion.

Right here is where I'm going to get potentially controversial for Bonnie Tyler fans.

Yes, the CD and vinyl formats had the most restriction back then, in terms of runtime. It's because of this that there are not only omitted track, as noted above, but many of the songs vary in run times from version to version. The best example of this is Loving You Is A Dirty Job (But Somebody's Got To Do It). On the vinyl, this track is seven minutes twenty-eight seconds. On CD, it's seven minutes forty-seven seconds, and on cassette, it's seven minutes forty-nine seconds. I would argue that finding a standard runtime for songs, probably the shorter versions, and omitting the 1984 track, Holding Out For A Hero, would have allowed for the remaining nine tracks to fit on all three formats. It just doesn't make sense to have this varying degree of alternate versions.

Further, I will echo what the critics said, the runtime of a lot of songs is way bloated. You just don't need a seven-minute Bonnie Tyler song. Her tunes should be to the point, and radio edit friendly. I daresay this is what led to them including Holding Out For A Hero on the album. Without it, there's nothing really to put out there for airwaves to promote the record. But again, its inclusion is unnecessary from being readily available for the prior two years at this point, and let's face it, everyone owned the Footloose soundtrack. Candidly, it's also just lazy to include it.

For me, If You Were a Woman (And I Was a Man), and Rebel Without A Clue are the only two standout tracks. I wanted to like Ravishing, mainly because it did take me back to the 80's of watching WWF on cable. But ultimately, I prefer my version to be from Hulk Hogan's Rockin' Wrestling.

The version on Tyler's album is hindered by two thing. First, the lyrics are dumb. Second, at six minutes twenty to twenty-four seconds (depending on the format you're on) it's too freaking long. That's actually ironic for me to say, since Rebel Without A Clue has a runtime over eight minutes.

Of course, since we're on the subject, if you're down with the Hulkster, and a true Hulkamaniac, then you can't top his true theme, Real American!

Better watch out, Bonnie Tyler, Hulk Hogan is high jacking your post. But actually, that's not a bad thing, as I honestly don't really have anything else to say about Secret Dreams And Forbidden Fire. It's just not that good, and I can understand where the critics came from with this one. Sure, they didn't have to be so mean about the way they put it, but the bottom line is it's bloated, and kind of boring.

Bonnie released one final album in the 80's, 1988's Hide Your Heart, or Notes From America, as it was called when released in the USA. That's where I'll pick up, and subsequently end my journey through her discography.

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Retro Spins: Bonnie Tyler - Goodbye To The Island

Prior to listening to her album, Faster Than The Speed Of Night, I think I could count the number of Bonnie Tyler songs I knew on one hand of a Ninja Turtle; Total Eclipse Of The Heart, and I Need A Hero. An interesting tidbit about the latter was that while it came out in 1984 on the Footloose soundtrack, was that it would be dusted off for her 1986 studio release, Secret Dreams And Forbidden Fire.

But I'm getting way too far ahead.

Born Gaynor Hopkins on June 8, 1951, she was discovered by Roger Bell at the age of twenty-four (1975) performing with her band, Imagination under the name, Sherene Davis. It was the name she'd switched to in 1969 to avoid confusion with Welsh folk singer, Mary Hopkins. However, when RCA Records began negotiating her contract shortly thereafter, she was once again prompted to change it, selecting Bonnie Tyler.

RCA would choose a unique strategy to promote their new artist, inviting thirty journalists to meet her over a four-course meal. This was followed by the single, Lost In France, which would climb the local charts to number nine, prompting an appearance on Top Of The Pops. The release of her next single, More Than A Lover would not be as favorable, and actually be banned by the British children's TV series, Get It Together. Tyler would actually be grateful for the offhanded exposure and publicity.

Folling this, her 1977 debut, The World Starts Tonight would hit store shelves. While it would fail to chart in the UK, it would peak at number two in Sweden. However, persistent singing would lead her to visit a doctor for a chronic sore throat. It was here that she learned that nodules had grown on her vocal cords, necessitating surgery. Though the procedure was successful, she was instructed to rest her voice for six weeks. During this recovery period, frustration would lead her to screaming out, creating her permanent raspy tone.

1978's Natural Force, issued in the USA as It's A Heartache would be the first to feature her new, and signature vocals. The album would go gold in the USA, and platinum in Canada. While this prompted her first US tour, RCA also wanted another album straight away, leading to 1979's Diamond Cut. By this time, Tyler was growing frustrated with the label, feeling they were pushing her to record country-oriented music, something she didn't want to do. Though she'd finish her contract with them with 1981's Goodbye To The Island, upon being invited to renew for an additional five albums, she'd instead walk away.

It's interesting that Tyler felt this way, because as I was playing through the album, my mind kept trying to decipher what it sounded like. It was upon reading about the reference to country music that it clicked, and felt very much so prevalent with the current track I was on, At first, Wild Side Of Life, and the one that followed, Whiter Shade Of Pale.

That aside, what it definitely sounds is dated. Mind you, I'm not saying it's bad. It just doesn't hold up well, quality wise. You know how some old albums have that flat sound to them?

Music Lesson: Old albums often sound flat because they lack dynamic range and deep bass. Vinyl physical limitations required cutting low-end frequencies so the needle wouldn't skip. Early recording equipment (like primitive tape machines), mono mixing, and mastering meant for AM radio also restricted the overall depth.
There were physical and historical limitations. These included:
Vinyl Mastering: To keep the needle from jumping out of the groove, engineers rolled off low-end frequencies and compressed the audio.
Frequency Roll-Off: Early microphones, analog tape, and cutting lathes simply couldn't capture the ultra-low or ultra-high frequencies we are used to today.
Dynamic Range: Unlike modern music created during the "loudness wars" which pushes overall volume to the max, older records have a lower average volume.

So, yeah, basically the vinyl mastering is what this one has. But with all that aside, there's still good songs to be found. For me, these were I'm Just A Woman, Wild Love, and Sitting On The Edge Of The Ocean. No, it's not the best I've heard from Bonnie Tyler, but it's serviceable.

After her contract expired, Tyler obtained a record deal with Columbia, who prompted her to begin the search for a producer that she wanted to work with. Though her first choice was Meat Loaf alum, Jim Steinman, she also considered Phil Collins, Jeff Lynne and Alan Tarney. With Steinman flat out declining, she may have indeed had to go with a backup plan. However, after sending him some rock demos she was working on, and meeting with him, he would ultimately agree, leading to her biggest album at the time, the aforementioned 1983's Faster Than The Speed Of Night.

As I noted above, I've already played through that one, so my next stop is her 1986 released, Secret Dreams And Forbidden Fire. But before I head there, fun fact. Did you know that after the second verse of the song, Getting So Excited from Faster Than The Speed Of Night, that Jim Steinman speaks the words, "I'd do anything for love, but I won't do that"? Foreshadowing to Meat Loaf's comeback song? You decide.

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Retro Spins: 10,000 Maniacs - In My Tribe

With the departure of co-founding member, John Lombardo, remaining members Natalie Merchant, Robert Buck, Dennis Drew, Steve Gustafson, and Jerome Augustyniak would continue on as a five piece, seemingly undeterred. While one would expect the absence of Merchant's co-writer on the majority of their material to be a potential problem, instead, 1987's In My Tribe would serve to be the band's biggest album of all time.

Having said that, it's not like the singles from the album were burning up the charts. Rather, Like The Weather, and What's The Matter Here? would only turn out to be moderate hits, peaking at sixty-eight and eighty, respectively, on the Billboard Hot 100. Mainly, the group continued to find a strong foothold amongst the college radio scenes.

The overall sound continues the hipster trend which started with 1985's The Wishing Chair. It's a style I would definitely say I'm not the biggest fan of, but that it's okay in moderation. What I will say is that I found myself flipflopping back and forth. Either I would like a song for its solid instrumentation or Merchant's unique vocals, but usually never at the same time. This was incredibly prevalent for In My Tribe.

What I was definitely surprised about was the number of songs I did enjoy. There were quite a few; What's The Matter Here?, Hey Jack Kerouac, Like The Weather, The Painted Desert, Don't Talk, My Sister Rose, and A Campfire Song. The latter, I immediately picked up on the co-vocals of R.E.M.'s Michal Stipe, making it all the more enjoyable.

Look, I'm not going to call myself a fan of the band, but I will say that of the four albums, this was certainly the most enjoyable for me. Does it make me want to hear more from them? No, not necessarily. However, I will give them a nod of 80's approval.

Merchant, Buck, Drew, Gustafson, and Augustyniak would remain the 10,00 Maniacs until 1993 when Merchant would quit in a vain push for a solo career, to work with other musicians, and have full creative control. While part of this discography includes the 1989 album, Blind Man's Zoo, as noted in my post about their debut album, I've already played through that one for a Retro Spin.

The aftermath of Merchant leaving the band was Elektra unceremoniously dropping them from their label in lieu of signing directly with Natalie. The remaining members, Robert Buck, Dennis Drew, Steven Gustafson, and Jerry Augustyniak would reach out to previous member John Lombardo and his new bandmate, Mary Ramsey to join the band. Initially, they didn't have the rights to use the band's name, and as a result, started out as the long winded, John & Mary, Rob, Steve, Dennis, & Jerry. However, once they reobtained the name, they released two albums between 1997 and 1999.

Buck would take a short break in 1998 but return to the band the following year. Unfortunately, shortly after, he would pass away from liver failure, prompting the remaining members to take a break. Gustafson, Drew, and Augustyniak would regroup in 2002, and decide to carry on. However, upon learning that they'd hired a new guitarist, and singer, Jeff Erickson, and Oskar Saville, respectively, Lombardo quit the band again. This iteration would tour through 2004.

In 2006, Saville left, leaving room for Mary Ramsey to rejoin. This lineup released two more studio albums, with 2015's Twice Told Tales being their last. This would also feature Lombardo, who returned to the band. Since then, lineup changes continued to occur, with both Ramsey and Erickson departing, replaced briefly by Leigh Nash, and Matt Slocum. As of 2024, the band has consisted of founding members Dennis Drew, Steven Gustafson, as well as long standing members, Jerry Augustyniak, John Lombardo, and Mary Ramsey. Since her initial departure, Natalie Merchant has enjoyed a solo career and appears to have no intensions of ever reuniting with her former bandmates.

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