The Toy Box: Retro Spins

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Retro Spins: Tina Turner - Foreign Affair

Anna Mae Bullock, known to most of the world as Tina Turner got her beginning in music after becoming enraptured with the music of Kings Of Rhythm, led by Ike Turner. She would regularly go with her sister to watch the band perform, which ultimately led to her sibling dating drummer Eugene Washington. Anna begged her sister to get him to convince Ike to let her sing with them. Though Ike would agree, he didn't ultimately follow through.

As a result, she took the initiative herself. During an intermission, she jumped on the stage, grabbed the microphone, and in true form, hammered out the B.B. King blues ballad You Know I Love You. Impressed, Turner invited her back, and she soon became a reoccurring vocalist for the band.

In 1960, Ike wrote the track, A Fool In Love for Art Lassiter. However, upon booking a studio for the recording session, the singer didn't show up. Rather than lose out on the money and studio time, Turner convinced Anna to sing on the track, but with the intensions of deleting her track later, and adding Lassiter to it. This wouldn't end up happening. Instead, the recording would end up in the hands of Sue Records president, Juggy Murray. He paid a $25,000.00 advance for recording and publishing rights of the song.

Murray would be instrumental in convincing Turner to make Anna the lead vocalist and start of his act. It was in this that Ike created the name Tina Turner and then trademarked it. This was with the intensions that if she left the group that he would retain the name, and could simply replace her with another singer, still utilizing it. A Fool In Love was released with the new name in July 1960.

The Ike & Tina Turner Revue were formed shortly thereafter, with Tina on lead, but remaining on backing vocals for Kings Of Rhythm. Together, they built up a solid reputation through constant high rigorous tours across the USA. Their high profitability also garnered them the opportunity to perform in front of desegregated crowds in Southern clubs and hotels. Between recording singles and touring, they remained highly active through 1965.

There's a lot that occurred between 1960 and 1971, including their marriage in 1962, but to avoid this post becoming a novel, we'll jump to '71 where mainstream success would come from their cover of Creedence Clearwater Revival's Proud Mary. The single would reach number four on the Hot 100, selling over a million copies.

By 1974, Tina was releasing solo albums, beginning with Tina Turns the Country On!. This was followed by an appearance as the Acid Queen in 1975's Tommy (The Who) and subsequently extended that same year into her second studio album which used the character's name for the title.

As commonly known, Ike was an abusive husband, and though she took this for over a decade, by 1976, Tina mustered the strength to walk out on him. Their divorce would be finalized in 1978. After which, she would record 1978's Rough, and 1979's Love Explosion. Unfortunately, these would both fail to chart, causing her label, United Artists to drop her. The joke would be on them.

Though it would take several years, in 1983 she recorded the Marvin Gaye single, Let's Stay Together, which became a major hit across Europe and the UK. Capitol Records dove into action, commissioning a full album, which would serve as Turner's unexpected comeback, 1984's Private Dancer. Upon its release, she took the world by storm, delivering hit after hit which flew up the charts. While she would peak with the album, overall success would continue with 1986's Break Every Rule, and lead us to today's Retro Spin, 1989's Foreign Affair.

Though it does feature six singles, most of them were popular in Europe, with only Look Me In The Heart charting on the US Adult Contemporary charts, and Steam Windows, along with The Best charting on the Billboard Hot 100. The latter is the only song I knew going into this one, but with that said, it's not the only good one.

Honestly, I was surprised how many hidden gems I found on this one. The first was Who (Is Doing You Know What), a peppy love / hate song, done only the way that Tina can do it. Following it were Look Me In The Heart, You Can't Stop Me Loving You, Ask Me How I Feel, Falling Like Rain, and I Don't Wanna Lose You. Of course, the icing on the cake is the smash, The Best.

All and all, it was a pretty solid decade ender. Good tracks, Tina's fantastic voice, and overall, just enjoyable to play through. It's funny in a way. You don't realize how much you miss someone you didn't even know when they're gone.

Following its release, Tina stepped out of the studio to focus on new projects. These included touring in support of the album throughout 1990, and the highly successful 1991 compilation, Simply The Best. Both her and Ike were inducted into the Rock And Roll Hall Of Fame in 1991. However, wanting to remain distant from her abusive ex, she did not attend the ceremony.

Instead, she focused on her 1993 biographical film, What's Love Got To Do with It, and then 1995's theme song to 007's GoldenEye, written by Bono and The Edge of U2. It would be the latter that would rekindle her desire to return to the studio for 1996's Wildest Dreams. This was followed by her final studio album, 1999's Twenty Four Seven.

In 2008, she embarked on a farewell tour, which wrapped up in 2009. After which, she formally retired from the music industry. Though she would remarry in 2013, leading up to this, she suffered a stroke, which would have lasting effects on her. Sadly, life didn't get much easier from there. In 2016 she was diagnosed with intestinal cancer, passing away after a long battle with it in 2023. Prior to her death, she was inducted into the Rock And Roll Hall Of Fame as a solo artist in 2021, but once again did not attend. Still, it was one final honor in a storied career which spanned multiple decades.

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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: Tina Turner - Break Every Rule

Man, 2021 feels like a lifetime ago, yet it was way back then that I did my first Retro Spin on Tina Turner. Over the next two days, I'll be going through her remaining two 80's albums between today and tomorrow, starting off with 1986's Break Every Rule.

Riding the waves of her 1984 comeback, Private Dancer, Tina was enjoying a resurgence in popularity, and financial gain. Further, she was hammering out the hits with Better Be Good To Me, What's Love Got To Do With It, Private Dancer, Let's Stay Together and Show Some Respect which all peaked on the Billboard Hot 100. This was followed by her duet with Bryan Adams on It's Only Love, for his forthcoming Reckless album. Keeping with the trend, it too performed well on the Billboard.

It was around this time that director George Miller and co-writer Terry Hayes conceived the character of Aunty Entity for an upcoming film, Mad Max: Beyond Thunderdome. For this, they had one person in mind. Tina. She would be the first and only person they approached with the role. Not only did she appear in the 1985 box office hit but contributed to the soundtrack with We Don't Need Another Hero (Thunderdome), and One Of The Living, which both also flew up the Billboard charts.

Tina Turner was back, bigger than ever, and ready to conquer! But how do you top Private Dancer, a top ten album in nine countries?

Unfortunately, you don't.

Break Every Rule saw Tina working with big names, Phil Collins, Steve Winwood, Bryan Adams, Rupert Hine, Mark Knopfler, and many, many more during the 1986 recording sessions. Despite not topping her previous album, out of the album's eleven tracks, eight were released as singles, either in Europe or the United States or both; and all peaked on one form of chart or another. It would further go on to reach multi-platinum status across several countries, landing in the top ten in all countries except Australia where it landed at number eleven, and France, where it didn't chart at all.

Playing through it, the harder edged Tina Turner continues to come through, belting out powerful vocals to thunderous guitars. It's the perfect continuation to Private Dancer, evolving from pop to rock.

With that said, it's not a perfect album, for me at least. I think its predecessor has far better tracks, and as a result more longevity. But again, how do you top Private Dancer? That's like asking Bryan Adams how he outperforms Reckless, or Toto where they go from Toto IV. That doesn't mean everything after is necessarily bad. It just can't be outdone.

The album is a good listen. If nothing else, it's great to hear Turner's voice coming through the speakers. Like an old friend who you haven't visited in a long time. But I will still call out the standouts for me which are the title track, What You Get Is What You See, and Typical Male.

As things often happen, her downward turn continued on, with her final album in the 80's, 1989's Foreign Affair performing far worse in comparison. While tomorrow's post wraps up my journey through this particular discography, it's far from where things ended, and doesn't even touch on the legacy beginning which led up to it all.

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Retro Spins: Red Hot Chili Peppers - Mother's Milk

June of 1988 was a tragic time for the Red Hot Chili Peppers. Despite the success of their third album, The Uplift Mofo Party Plan, all of this would be overshadowed by the death of founding member, Hillel Slovak, who lost his battle to heroin rehabilitation. The band would recruit John Frusciante on guitars and be forced to also find a new drummer in Chad Smith, when Jack Irons departed the band over the grief of Slovak's death.

Though it would serve to be their most popular album to date, reaching platinum certification in the USA, and peaking at number fifty-two on the Billboard 200, Mother's Milk would receive mixed reviews. While some would praise it as a pivotal album for the Peppers, serving as their breakthrough, others would ne unimpressed with the excessive distortion found throughout it.

There's a drastic shift in sound with Mother's Milk. While it still features that traditional Flea funk, led by Kiedis's rhymed-rap, spoken-word, and melodic rock vocals, it comes with an edgier metal guitar from Frusciante. I do, however, hear, and agree with the critics that several songs are hindered by heavy, and candidly, unnecessary distortions. Overall, it's just a very loud album.

With that said, this is most definitely the sound of the Peppers that fans of their 1991 released Blood Sugar Sex Magik will most likely resonate with the most. As for me, I'm not necessarily feeling it. But in truth, I was never really into them, even when they took off like a rocket across airwaves and MTV. I will though give credit to the tune Knock Me Down, which was a definite standout for me.

If nothing else, it was interesting to go on a journey with them through their roots, evolution, and ultimate seeing how they blossomed and peaked the following decade. Am I a fan? No, probably not. But again, I never really was to begin with. My buying their 80's albums was led more so by curiosity, and not by the desire to actually find something I would like.

Following the release of Blood Sugar Sex Magik, the sudden fame and success didn't sit well with Frusciante, causing him to leave the band in 1992. The Peppers would find themselves in a period of continuous guitarist turnover. Further, Kiedis would relapse for five years into addiction, triggered by a dentist visit which saw him prescribed Tramadol, triggering a physical and psychological craving.

For 1995's One Hot Minute, Dave Navarro would join on guitar but be fired in 1998 when he fell into addiction himself. Though it's arguable that his firing wasn't necessarily a result of his addiction, but rather that Kiedis, at this time, was attempting to once again get sober.

Frusciante would rejoin in his place, and they'd release their biggest album of all time, 1999's Californication. This was followed by two more albums with the lineup of Kiedis, Flea, Frusciante, and Smith, but then the guitarist would quit again to pursue electronic music. This was further led by a proposed two-year hiatus from Flea, where it became apparent that the band was no longer getting along.

The Peppers would reconvene with 2011's I'm With You, but this time with Josh Klinghoffer on guitars. Though he would stay with them for their follow album, 2016's The Getaway, the band would want to invite Frusciante back into the fold by 2019. Since then, they've release two more studio albums, both in 2022, Unlimited Love, and Return Of The Dream Canteen.

The band is purportedly working on new material for release in 2027, but as of this writing, October 12, 2026, there hasn't been much information given about it. Though they also remain active, they are not presently on tour. But should a new album come to fruition, or I suppose even if it doesn't, future tours can be expected.

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Retro Spins: Red Hot Chili Peppers - The Uplift Mofo Party Plan

By 1986, Red Hot Chili Peppers had released two albums and come full circle back to the original founding lineup of vocalist Anthony Kiedis, guitarist Hillel Slovak, bassist Flea, and drummer Jack Irons. The latter two had departed prior to the band's debut, with Slovak returning for their second record, and Irons stepping back in after that albums support tour.

Unfortunately, the uphill battle was still in full force. The Peppers had yet to break out into mainstream music, and their 1987 released The Uplift Mofo Party Plan would not be that opening either. In fact, if things had gone differently, it may very well have never been released at all.

By this point, both Kiedis and Slovak were heavily addicted to heroin. Things got so bad for Kiedis that he couldn't even contribute to writing sessions for the album and was ultimately asked to leave the band to get rehabilitated. It was during this time that the band would also win the LA Weekly Band of the Year award. It turns out that this was all the vocalist needed as motivation. With the help of his mother, he checked into Salvation Army rehabilitation clinic in Grand Rapids, completing the program, and moving back in with her before rejoining the band in L.A.

Upon its release, The Uplift Mofo Party Plan would perform better than its 1985 predecessor, being their first to peak on the Billboard 200 at number one hundred forty-eight. It would also become their first to be certified gold. However, it would still not prove to be a breakthrough for the guys.

It features the signature funk sound that the Peppers are synonymous for. As you play through it, you can picture Flea doing his signature bobbing and hopping about, and it even gets you moving your head and feet to it all.

With that said, it's a rather mediocre album. Nothing stands out as memorable, and there's certainly no singles hits, such as those that would come with their 90's era. Truthfully, this one made me lose a bit of interest in the band.

If I had to pick a standout, I suppose it would be Fight Like A Brave. Of all the others, it at least has a catchy chorus. Though I doubt I would actively seek out hearing it again.

Though both Kiedis and Slovak agreed to get clean, with Kiedis being successful, Slovak struggled daily with addition, often in isolation, refusing to get help from others. Sever withdrawal during tour led him to be unable to play, forcing a guitar free set. Though he would recover, it would be followed by the band dismissing him, who would invite him back in a few days later.

Kiedis in particular would try to help Slovak, attempting to get him into counseling. Unfortunately, his bandmate had difficulty acknowledging the severity of his addiction and ultimately didn't get the help he needed. Slovak would be found dead from overdose on June 27, 1988. Shocked by this, Irons would leave the band, stating he couldn't be involved with something that saw his friends dying.

Tragic as it was, this would give birth to the classic lineup of the Peppers consisting of Anthony Kiedis, Flea, Chad Smith, and John Frusciante. They would enter the studio in mid-1988 to record Mother's Milk, and album which would actually be released on my birthday in the following year. It's where I pick up tomorrow, and my last stop on the Red Hot Chili Peppers 80's discography train.

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Retro Spins: Red Hot Chili Peppers - Freaky Styley

Today, I'm circling back to Tony Flow & The Miraculously Majestic Masters Of Mayhem. You probably know them as their later adopted name, Red Hot Chili Peppers. Vocalist Anthony Kiedis, guitarist Hillel Slovak, bassist Flea, and drummer Jack Irons would form the band in 1982 only intending on playing one show. However, crowd reception not only changed their minds, but brought with it the change of their name.

A six-track demo would garner the attention of EMI Records, who signed them in 1983, but not before Irons would step away to focus on his other band, What Is This? with Hillel Slovak. Irons would be replaced by Chris Martinez, and Slovak by Jack Sherman. Their 1984 debut would garner little attentions, and tensions in 1985 would cause Sherman to exit, leaving room for Slovak to return.

This new lineup of Kiedis, Flea, Slovak and Martinez would return to the studio to record their sophomore album, 1985's Freaky Styley. Once again, they would fail to garner any mainstream attention. However, critically, it would be well received.

Funk, with a hint of jazz horns make this one a very unique listening experience. But what else would you expect from a producer like George Clinton?

It's fun, it makes you feel good, and it leaves you wanting more. That's something I would have never expected to say about a Red Hot Chili Peppers album, but I'm also not surprised. I pretty much felt the same way about their debut, which I reviewed previously.

Standout tracks for me were Jungle Man, and If You Want Me To Stay. But as a whole, it's a fairly solid album. Admittedly, I'm beginning to wonder if my ignoring the band has resulted in me missing out on some good music throughout the 80's. Well, hold that thought a moment. I suppose in my defense, I didn't exactly know they even existed until MYV put Under The Bridge into steady rotation in the 90's. Maybe this one's not my fault.

The tour for the album would be the beginning of heroin (and other drugs) addiction for Kiedis and Slovak, a journey that would end tragically, eventually taking the life of Slovak. Further, following the tours, Martinez would decide to leave the band, having more interest in electronic music than what the Peppers were performing. This, however, would make room for Iron to return to the band. With the original founding members back together, they released 1987's The Uplift Mofo Party Plan. That's where we pick up tomorrow.

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Retro Spins: Gen X - Kiss Me Deadly

Before the snarling one stepped out into the spotlight in the 80's, Billy Idol was fronting Generation X, the English punk band formed in London in 1976 with Derwood Andrews, Tony James, and John Towe. Unfortunately, the latter would be asked to leave over his playing style and be replaced by Mark Laff.

They released their self-titled debut in 1978 on Chrysalis and followed suit with 1979's Valley Of The Dolls. Both would perform fairly well in the UK. However, Idol would seem to only benefit from this, as the label would fly him around to promote the records, leaving the remainder of the band behind.

Despite chart success, their label grew increasingly unhappy that they money they were investing was not resulting in hits. They informed the band that if their next single failed that they would be dropped.

Work would commence on a new album, but during these sessions, both Andrews, and Laff would quit. Ultimately, this led to the album being aborted, and shelved. Idol and James would reform as the newly branded Gen X and commence work on what would become 1981's Kiss Me Deadly. Though they would disband after its release.

The irony is that Kiss Me Deadly contained the exact same tune which Idol would eventually take to number twenty-seven on the Billboard Hot Dance Club Play charts, Dancing With Myself. Albeit in its original form, which truthfully doesn't sound all that different from the re-recorded solo version.

It's great hearing young Billy, and taking in some of the roots that ultimately led to his massive solo success. Candidly, I don't understand how this album was unsuccessful. I think it's on par with any of his earlier solo work and in addition to the above, features a handful of standout tracks. For me, these were Untouchables, and Heavens Inside.

Is it an amazing? No. But were any of his solo album's magnum opus pieces?

Billy would pack up and leave London for New York, where he took the MTV generation by storm, releasing several hit records, and causing waves through controversy and publicized legal troubles. The bad boy of punk was leading the scene in America and becoming incredibly successful (and rich) in the process.

As for the aborted Generation X album, it would eventually see the light in 1998, released as K.M.D. – Sweet Revenge. Further, the band would reunite in 1993 to perform for a single night at London's Astoria Theatre.

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And now, 31 Days Of Halloween!

You've made it through October, hopefully watching several horror films. But, now it's time to

Retro Spins: Dokken - Back For The Attack

Following a tour with Scorpions to support their 1985 released Under Lock And Key, Dokken returned to the studio to record the single, Dream Warriors (1986) for the third installment in the A Nightmare On Elm Street franchise. It would help them to finally garner some attention in the UK. This would be followed by a six-month break before they began work on what would become their final 80's album, 1987's Back For The Attack. The aforementioned single would be among the tracks included on the album.

Back For The Attack would become their third and final platinum album, peaking at number thirteen on the Billboard 200. Further, it would be their first, and only album, to peak in Sweeden, Switzerland, and the UK, reaching nineteen, twenty-five, and ninety-six, respectively.

Let's just jump into this and get it done and over with. Yes, it's another mediocre Dokken album, with the exception of one standout track, Heaven Sent.

You know, I should have seen this coming. When I told a co-worker of mine, who's a massive metal fan, that I would be listening to Dokken, he gave me a funny look. He would state that he didn't know much about the band, and in hindsight, I can see why. They never really made all that big a wave to garner the attention of most heavy metal fans.

At the end of it all, I'll say that their music was okay, but as I've relatively said over and over since going through their 80's discography, nothing spectacular. The biggest takeaway from all of their albums continues to be the thunderous guitar solos of George Lynch. Even then, when it's all said and done, I doubt I'll be going back to any of their tunes.

Dokken signed on to be one of the headliners at the 1988 Monsters Of Rock festival. However, this would prove to be the final nail in the coffin for them. The band would be overshadowed each night by Metallica, who took the stage before them, leaving Don to proclaim that he felt like his band was The Monkees in comparison, outdated, outplayed.

Internal fighting ballooned, with bandmates bickering over egos, control, and finances. Though they would professionally complete their tour on July 30, 1988, by March of 1989, they formally broke up. As people went on to other projects, Don planned to record and release the next Dokken album, Up From The Ashes. That is until all the other band members sued him. A judge would rule that neither side could use the name "Dokken" without each other, forcing Don to release the album as Don Dokken.

Don began work on his second solo album in 1994. However, somehow be convinced to work with George Lynch, Jeff Pilson, and Mick Brown to release a new Dokken album. This came with a deal from Columbia Records who released 1995's Dysfunction. Unfortunately, tensions between Don and George immediately resurfaced, and after a botched live event where Lynch walked out prior to it, forcing rehearsal footage to be broadcast instead, Columbia dropped them.

Dokken would manage to stay together, and even obtain a new label, CMC International. However, for their 1997 released Shadowlife, Lynch would take complete control of the project, change their musical style, and even change the band's logo. It's considered the bands worst album among fans, and Don would go on to state that he felt George was actively trying to destroy the band with the album. Lynch would ultimately be fired for this, replaced by Reb Beach for 1999's Erase The Slate.

Reb would be unable to commit to the band long term and be replaced by John Norum for 2002's Long Way Home. However, by this point, Pilson had also departed, sick of the ongoing internal tensions of the band, and simply tired of playing the same music over and over. He would be replaced by Barry Sparks.

Norum wouldn't last long either. Suffering a hand injury which impeded his playing, he'd be replaced on tour by Alex De Rosso. Unfortuantely, Rosso would lose his Visa and be forced to return to Italy. Jon Levin would then step in for 2004's Hell To Pay. The lineup of Don, Levin, Sparks and Brown would also release 2008's Lightning Strikes Again.

Sparks would leave in 2009 to focus on other projects, with Sean McNabb taking up base for 2012's Broken Bones. What's interesting to note is that while Mick Brown is credited on this album, he actually didn't play on it. Rather, drumming was handled by Jimmy DeGrasso. Though Brown would continue to tour with the band, he retired in 2019.

Prior to this, the lineup of Don, Lynch, Pilson, and Brown partook in a series of reunion shows throughout 2016. However, none, other than Don, would appear on Dokken's forthcoming, and last studio album to date, Heaven Comes Down (2023). While Levin returned for guitars, Chris McCarvill would be added on bass, and BJ Zampa on drums. This is the lineup which remains on tour to date.

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And now, 31 Days Of Halloween!

Retro Spins: Dokken - Under Lock And Key

Since the inception of Dokken, the relationship between Don Dokken and George Lynch had been a volatile one, with both fighting for control, while clashing over egos. It's what drove them to push their music further and further, leading to their massive success.

The recording sessions for what would become Under Lock And Key were no different, with the two continuing their feud. To help ease the tensions, the band made a decision to credit all album tracks to Dokken, versus individuals.

Under Lock And Key would become their second platinum record, scoring better on the Billboard 200 by reaching number thirty-two. It has since gone on to be noted on Rolling Stone's 50 Greatest Hair Metal Albums of All Time (number twenty-one), and Metal Rules Top 50 Glam Metal Albums (number eleven).

As for me, it's the first Dokken album I actually bought. At the time, it was because of a song I came across while perusing the internet for "new" 80's songs. However, when I first fired up the album, I couldn't for the life of me remember what that song was. Playing through it, I think it may have been In My Dreams, which would be terrible because it's not a good song.

My biggest problem so far with the band has been that everything is simply just mediocre. Sure, I managed to pull out one noteworthy track, Don't Lie To Me, but even as I type this, I couldn't honestly tell you how it went. There's just no amazing material that makes anything memorable. It's okay music, it's just not great.

I have one more Dokken album to go, 1987's Back For The Attack. Candidly, I'm not expecting anything from it. But I'll find out tomorrow if the juice was worth the squeeze.

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And now, 31 Days Of Halloween!

Retro Spins: Dokken - Tooth And Nail

With a lackluster debut album, and ongoing rotations of band members since its inception, Dokken was not in a solid position in the industry. Original bassist, Juan Croucier, who had quit and come back, once again departed. Further guitarist, George Lynch quit and rejoined multiple times. Fortunately, his final rejoining would be his last, and he'd stick with the band from that point on.

If that weren't problem enough, Elektra Records, who initially agreed to distribute the band in the USA was on the cusp of dropping them based on lackluster sales of their first album. It was only through their management group, Q Prime, that the label would be convinced to finance a second record.

The guys worked diligently to write upwards of twenty-five songs for consideration on the album, which would be whittled down and selected with the help of Elektra's chosen producer, Tom Werman. Unfortunately, Werman didn't work well with sound engineer, Geoff Workman, leading to constant arguments. The toxicity of recording session was only impacted further by George Lync and Don Dokken's egos clashing with each other, fueled by cocaine and alcohol abuse.

Though Werman tried to control the two by setting them on separate recording schedules, things came to a violent end between him and Lynch when the guitarist physically rejected the producer's suggestions for how some of his work should be laid down. Over it all, Werman quit on the spot, and left on family vacation with his wife and kids.

Leading up to the initial recording sessions, and Werman being selected, Don had proposed Michael Wagener as the album's producer. However, the band rejected this request. When it was brought up again as a suggestion when Werman departed, they once again denied this, leaving the singer to go directly to the label and beg them to intervene. Werman would be brought in to work with Don, with Roy Thomas Baker also being hired to keep the rest of the band in check.

Things would ultimately pay off. Tooth And Nail would pay off as the band's breakthrough album, going platinum in the USA, and peaking at number forty-nine on the Billboard 200.

Playing through it, my sentiments echo that of their debut, wherein the music is good, led mostly by Lynch's amazing solos on each track, and followed closely by the unique harmonizing of the vocals. It's a solid playthrough, and time well spent.

The standout tracks would be the awesome instrumental intro, Without Warning, and the power ballad, Alone Again. The latter is something I find odd to be admitting since I'm not typically a fan of ballads. As for the remainder of the album, it's good, but I'm not going to say it's the greatest thing I've ever heard, and everyone should check this one out. However, if you're a fan of hard rock / 80's metal, then sure, this one could be for you.

I'm still all in on Dokken, eager to continue my trip through their 80's discography, with the next stop being 1985's Under Lock And Key, the first album I actually picked up from them. What's funny is I can't actually remember what song off of it led me to even buy it. Oh well, maybe it will hit me when I play through it.

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And now, 31 Days Of Halloween!

Retro Spins: Dokken - Breaking The Chains

I was going through a spurt of tracking down metal and glam bands, and in doing so, one immediately came to mind. Dokken. What did I know about the group beyond their name? Absolutely nothing. Which was ironic, because I already owned their 1985 released Under Lock And Key, but hadn't yet played through it.

Their remaining 80's discography was readily available, fairly cheap, and based on that became an immediate priority. Within a few clicks of the mouse button, I had purchased them all on ebay, and simply needed to wait for their arrival.

Fast or slow, it wouldn't matter how quickly they came because ultimately, they'd sit on the shelf until I finally got around to them. This is something that often happens in my world of CD collecting. I need it now, even though I know it's going to be a while before I get to it.

Don Dokken formed the band Airborn in 1976 with Bobby Blotzer, and Juan Croucier, only for them to quit shortly thereafter. It was around this time that Don would also find out that another group named Airborne had just signed a recording deal, meaning he not only needed a new band, but new name.

Not to worry. He'd simply adopt his own last name for this new group, bringing in Greg Pecka and Steven R. Barry to be part of this first iteration. This would change though, and while there's not much to fill in the gap, by 1979, Dokken, featuring Don, Greg Leon, and Gary Holland, Gary Link were touring Germany. This lineup too would fall apart.

Seeking a recording deal, a new iteration of Dokken, now featuring Don, George Lynch, Mick Brown, and returning original member, Juan Croucier, headed to Germany to find a label. The secured this through Carrere Records, after recording a series of demos with Accept manager, Gaby Hauke.

Their 1981 debut would initially be released under Don Dokken, with the original title, Breaking The Chains. However, this would be updated to the band name for subsequent releases. Also featured on the album were bassist Peter Baltes, and drummer Bobby Blotzer, who filled in on multiple tracks.

Side Note: As noted in my previous Retro Spin about the Scorpion's Blackout album, Don also filled in on the demo tracks when their lead singer, Klaus Meine underwent vocal surgery.

All was going well for Dokken on German shores. Meanwhile, back in the USA, manager, Cliff Bernstein secured a contract with Elektra Records for a stateside release of their debut, which would be remixed for American audiences. While this would lead to a US tour, the end of it would leave them relatively broke, with an album that was considered unsuccessful, almost causing them to be dropped from the label.

Let's pause here a moment, and actually have our own listen.

While I didn't know what to expect from the album, one thing was for sure was that I didn't anticipate at all to be treated to harmonies, and solid rock. In retrospect, it was reminiscent to bands such as Def Leppard, and Van Halen, as well as what would come from Bon Jovi shortly thereafter.

As a whole, the album is very easy to listen to, and while it features the title track Billboard Mainstream Rock single, candidly, I wouldn't necessarily call any of the songs on here a hit. They're good. It's all enjoyable. It's also just not very memorable.

Still, I'm in a positive position with Dokken, and I'm down for hearing more from them, which is a good thing considering I have three more albums to go. If nothing else, it was certainly better than expected. Admittedly, I envisioned hearing loud instrumentation, followed by screeching vocals, and I'm happy to say that is not at all what I got.

Following the above noted tour, the band would focus their efforts on a music video for the song, Breaking The Chains, but leading up to the shoot, Croucier would once again leave, being replaced by Jeff Pilson.

With the lineup now consisting of Don, Lynch, Brown, and Pilson, the band returned to the studio to record the tracks for what would become their breakout success, 1984's Tooth And Nail. Further, this lineup would stay in place through 1997's Shadowlife, with a caveat that occurred in 1988. But now I'm getting way ahead of the game. First, I pick up tomorrow with their second album.

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