The Toy Box

Retro Spins: The Beat - I Just Can't Stop It

Depending on which area of the world it was, The Beat went by different name, such as The English Beat, or The British Beat. However, despite the name change, the band remained the same, consisting of vocalists, Dave Wakeling (also on guitar), Ranking Roger, guitarist Andy Cox, bassist David Steele, drummer Everett Morton, and Saxa AKA Lionel Augustus Martin on saxophone. Together they released three studio albums in the early 80's before abruptly calling it quits, separating into two groups.

The group stood out for its incorporation of a Jamaican vocal flavor from Rogers, and ska style saxophone riffs from Saxa. This served to give them a unique voice among the punk scene, and was only boosted further by the success of their debut album, 1980's I Just Can't Stop. Led by their strong singles, Can't Get Used to Losing You, Mirror in the Bathroom, Hands Off...She's Mine, and Best Friend, the album would reach number three in the UK charts.

Pumping the brakes here, we jump into today's Retro Spin. The Beat's debut is not the album I first bought from the band. Rather, it was their final release, 1982's Special Beat Service. Specifically, for the song, Save It For Later. However, before I even got to listening to that album, I came across an episode of Bands Reunited, which really intrigued me to dig deeper. Not a hard thing to do considering they only have three albums, and all are very affordable. Since I now had them all, I figured I may as well start from the beginning.

I Just Can't Stop It wastes no time going for the hook, line and sinker. Mirror In The Bathroom, setting the tone for the coming thirty-five minutes of music. It has a groovy guitar and bass line, reminiscent of The Police. This is interjected with nicely by the Jamaican sounds noted above, and serves to deliver an elevated punk album.

While there are definitely political and social undertones, common amongst the genre, where The Beat stands out all the more is in their desire to simply deliver dance friendly tracks that keep one entertained vs. preached to. It's easy to understand why their debut was often referenced in "best of the year" articles in 1980.

With that said, the singles are definitely the stand out tracks for me. Overall, they just come off as more refined and polished versus the other songs that encompass the record. Still, it leaves me excited to dive into their other albums, which is always a nice bonus feeling when I get done having a Retro Spin session.

The Beat would go on to release the equally successful follow up, 1981's Wha'ppen?, which would also go to number three on the UK charts. This was followed by the aforementioned 1983 release, Special Beat Service. However, just as worldwide success was on the horizon, the unexpected happened. Both vocalists split from the band, leaving to form General Public. In retrospect, singer Roger stated he felt he didn't have a choice but to depart with Wakeling, but in hindsite wished he hadn't. Rather, he felt if the group would have just taken a break, things would have been very different.

Cox and Steele would go on to form Fine Young Cannibals with Roland Gift, becoming the more successful of the two offshoots of The Beat. The two would also be the only members to decline to reunite in the noted Bands Reunited episode. In fact, they wouldn't even appear in the episode.

But what happened? What was the reason this band at the peak of popularity suddenly disbanded? Well, it unfortunately all came down to money. As The Beat, all royalties were split five ways. Rather than keep it that way, Wakeling's mindset was with just two members, that's a fifty / fifty split. Yes, the tried and true tale of greed before need was what caused The Beat to crash and burn. A sad, but often reoccurring story.

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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.

THIS WEEK ON THE CHARTS
March 31, 1984

Retro Spins: New Kids On The Block - New Kids On The Block

Man, that song by Wahlberg is dope! "It's such a good vibration!" Oh....wait....that was the other brother.

As a kid, I didn't like New Kids On The Block. That was that group of kids that were causing a wave, and making the girls act funny. Give me a pass here. I was only nine years old. I didn't know what was going on. All I knew was that I wasn't a fan. However, as an adult collector of all things deliciously 80's music, I'm not about to have such a negligent hole in my collection by omitting the boy band.

Maurice Starr found great success exploiting...er....discovering teen sensation group, New Edition, that when that all fell apart on him, he and his partner, Mary Alford, sought out a whole new batch of gullible kids to syphon money off of. This time, they specifically wanted to focus on white kids.

Donny Wahlberg impressed the two with his rapping skills, and it would actually be him who spearheaded putting the members together. At first, he recruited his younger brother, Mark, who left early on, as well as school friends, Jamie Kelly, Jordan Knight and Danny Wood. Jordan's brother, Jonathan, would soon follow his brother, and join the group as well. However, Kelly would also leave early on, and be replaced by Joey McIntyre.

So many flashbacks of the movie Mallrat spring to mind..."How's your favorite New Kid? Call me Joey...Call me Donnie."

Though first called Nynuk (na-nook), Columbia Records demanded that the group be renamed, to which they settled on New Kids On The Block. Despite the heights which they would eventually reach, when the group released their debut album, things did not go well. Their first two singles failed to gain any momentum, and the boys were left performing wherever Starr could get them booked.

As we pause here to fire up their first outing, I have to admit I'm not really looking forward to it. As I said above, this album exists in my collection for the sake of being thorough, and not because I necessarily enjoy it. Though I suppose, in truth, I haven't exactly given it a chance until today. So, let's do that.

Well...

Here's the thing. New Kids On The Block offers nothing new that New Edition didn't deliver on in droves since 1983. Songs like Popsicle, tread ground so reminiscent to Candy Girl, and Popcorn Girl that it's no surprise people didn't want to hear it all again from the New Kids. It's corny, clownish, and childish, and it doesn't resonate at all with me as a middle aged man.

Ultimately, its same failures lie where my problems with the older New Edition stuff is. A bunch of twelve year old's singing about love and girls just doesn't work. I know times have changed, but the reality of it is that most kids that age in the 80's didn't think or talk like this, and as an adult, to reiterate, it's clownish.

New Kids On The Block are going to be a hard pass for me, and based on critic reviews at the time, apparently for a lot of people at the time.

Despite the group floundering, Starr was able to convince the label to move forward with a second album, 1988's Hangin' Tough. The first single, Please Don't Go Girl, once again paved the way for failure, and poised the label to sever ties. However, in a twist of fate, the song was picked up by a radio station who played it, only to receive multiple follow ups to keep playing the track. When Columbia caught wind of this, they began heavily promoting the Kids, reshooting the video, and releasing further singles. Each one picked up more momentum than the last, and soon the group was consistently reaching the top ten with each "new" song.

Hangin' Tough would ultimately go X8 platinum, and in the wake of its success boost sales of their debut album, while leaving fans hungry for more. So much so, that even their 1989 Christmas album was certified X2 platinum.

Though they entered the 90's on a high note with Step By Step. However, controversies of lip syncing, backlash from self promoting themselves, and frequently being dismissed by critics led to declining sales. This was not helped by the changing landscape of the new decades music scene, and New Kids On The Block would split from Starr.

While they shortened their name to NKOTB, and released their fourth studio album to somewhat success, the tour scene wasn't as friendly. Venues shrank, and the group which was once playing arenas was back to playing clubs and theaters. Panic attacks would set in for Jonathan Knight during this period, causing him to leave the band. Shortly thereafter, the remaining members decided to throw in the towel.

In 2008, the group reunited, releasing a new studio album, and setting off on a highly successful world tour. This was followed in 2013 by their next album, 10. The group continues to remain active, having appeared on Fuller House, and still touring.

Despite what I may personally think of the group's music, there's no denying the massive impact they've had in the industry, as well as the road they helped pave with former boy bands of the 70's and 80's for those who came after them.

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THIS WEEK ON THE CHARTS
March 30, 1985

Retro Spins: Naked Eyes - Burning Bridges

Founding members, Pete Byrne and Rob Fisher, would first work together in the band Neon with future members of Tears For Fears before breaking off and forming their own group, Naked Eyes. However, despite this rich pop history, and having four top forty singles, very little is published about the band's overall roots. Rather, their biography seems to cut straight to the chase of them recording their debut album, Burning Bridges between 1982 and 1983, releasing it the latter year, and their final album before a long hiatus, 1984's Fuel For The Fire.

We'll go ahead and pause right here and now for today's Retro Spin of their debut.

If you're looking for synthpop, then Burning Bridges is going to deliver you a hearty helping of it. Its heavy use of the Fairlight CMI sampling synthesizer gives it a very familiar sound, though attached to the wrong performer(s). For those of you unfamiliar with the Fairlight synthesizer, think Prince and the Revolution in the 80's. It's what (t)he(y) used to get those crunchy snare sounds for a majority of the hits.

Despite this overall familiarity, what Naked Eyes lacks over Prince is the ability to craft masterpieces. The tracks on their debut are generic at best, making the hits, Always Something There To Remind Me, and Promises Promises, seem out of place. It's like you're serenaded with mundane songs, losing interest in the process, only to be slapped in the face with such a massive hit just as you're dozing off.

The fact that these two tracks are so amazing only serves to make the album feel all the more weak. Because now you know the duo had it in them, they just didn't deliver. With that said, I'm not going to sit here and say that I didn't grab additional tunes for my shuffle list. Fortune & Fame, and Could Be, were decent songs, and made the cut.

I do want to touch on the CD release for a moment. Burning Bridges didn't get a CD release until 2012, and being in the digital age, is so over amplified that some songs are almost painful to the ear to hear. Everything is smashed together in a wall of sound, with no subtle blending of instruments as they would have been heard on the original vinyl pressing. A perfect example of this is the beginning of Always Something There To Remind Me, where the opening notes sound like a pile of pans being dropped on a concrete floor. This is a perfect example of why I hate remasters. Too many studios think louder equals better, and that's just not the case.

After releasing their 1984 follow up, Naked Eyes disbanded. While Byrne would form a touring band under the groups name in 2007, and even release additional studio albums, unfortunately Fisher passed away in 1999. If the two ever got the opportunity to reunite, I wasn't able to find any information on it.

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THIS WEEK ON THE CHARTS
March 29, 1980

THIS WEEK ON THE CHARTS
March 29, 1986

Retro Spins: Ministry - With Sympathy

Before they became the industrial metal band they are more so known for today, Ministry was just another synthpop band hitting the 80's scene. Al Jourgensen founded the band in 1981, though frequent lineup changes have left him as the only remaining original member these days.

Ministry performed their debut concert among the likes of Medium Medium, A Flock of Seagulls, Culture Club, and Depeche Mode, and it was this added attention that Arista Records would take notice. Signing a six figure deal led to the release of their debut, With Sympathy. Unfortunately, upon its release, critics were not kind. The band was noted as having no originality, yet were praised at the same time for having dance friendly tunes.

Jourgensen would soon voice his own concerns against his record label, claiming they forced him into recording a synthpop style album, when this wasn't what he wanted to do. Ministry would leave the label, and of course, lawsuits would ensue. Since then, Ministry has desperately tried to separate themselves from their debut, with Jourgensen claiming a number of facets as to why he dislikes the album every time he's asked. Apparently it was enough for him to claim that he had destroyed the masters.

Well, if the creator hates it so much, the album must be terrible, yes? Well...No.

The stand out track for me is definitely the single, I Wanted To Tell Her, but the remaining nine are far from bad. Here We Go would have been a decent B side to the single. What He Say was equally intriguing not only because of the music, but for the weird vocals incorporated into the track.

I guess what I'm trying to say is that, overall, there is good stuff here. Certainly not something to hate. If anything, it makes me kind of sad that their music style would change with future albums to the nose bleed noisy headache that it would become. Personally, I want more Ministry like their debut, and less like what they are now.

Though it would be three years after their debut, Ministry would release their follow up, Twitch on Sire Records in 1986. This would be the band's final synthpop style album before their 1988 breakthrough, The Land Of Rape And Honey. It would be on this album that Paul Baker would join as bassist, and serve as inspiration for Jourgensen to start moving towards the style of music he actually wanted to make. Both Land, and 1989's The Mind Is a Terrible Thing to Taste would go gold.

Since then, and the unfortunate coming of the 90's, the band has continued to release albums catered to a more "noisy" audience. For me, that's a shame, but hey the artist has to do what the artist likes, and clearly that's the style of music Jorgensen wants to play. I don't hate him for it. It just means that most of the band's stuff isn't for me.

1992's ΚΕΦΑΛΗΞΘ, remains to this day Ministry's most popular album, and the only one to be certified platinum. However, this hasn't slowed them down at all. They have continued to release albums, with their latest being 2024's Hopium for the Masses.

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THIS WEEK ON THE CHARTS
March 28, 1981

THIS WEEK ON THE CHARTS
March 28, 1987

Retro Spins: Technotronic - Pump Up The Jam

Technotronic was the brain child of Belgian beats producer, Jo Bogaret. Though Ya Kid K (born Manuela Barbara Kamosi) would provide lead vocals on the tracks, she would be replaced on the single cover for Pump Up The Jam, as well as during performances and music videos by model Felly Kilingi. In fact, the singer wouldn't even be credited on the early project, with it being credited to Technotronic featuring Felly.

Through the success of the single, the full album, Pump Up The Jam was released, and while it would continue to feature Ya Kid K (and MC Eric), Felly would once again take the cover. When the album became a top ten in the UK, Bogaret was forced to reveal Felly's overall lack of involvement, and finally gave Kid and Eric their due credit. His defense for the ruse was that he needed Felly to create the image of the group, and promote the album.

Being released in November of 1989, Pump Up The Jam, the album, often gets mistaken as a 90's release. That freshman year of the decade is after all where the majority of its popularity hit, so the confusion is understandable.

My brother would play this album all the time when he first got it on cassette, and it was here that I got most of my exposure. Despite this, I dare say it had been over thirty years since I'd heard it, and doing so was quite nice. Like meeting up with an old friend, but seamlessly picking up right where we left off.

There are awesome tracks on the album, but it would be difficult to say which ones they are. Pump Up The Jam is something I like from front to back. Each song either delivers on catchy lyrics which get stuck in your head, or thumping beats that keep your head bopping. Ya Kid K sums it up perfectly in the lyrics to Move This, "Toes be tappin', fingers snappin', hands clappin', my mouth rappin'."

In my book, it truly is one of the last great albums of my favorite decade. Not much more I can really say about it.

Rather than focus on an immediate follow up album, Technotronic would instead release the 1990's remix album Trip on This: The Remixes. It was here that the track, Spin That Wheel, which would also be featured on the soundtrack for the original Teenage Mutant Ninja Turtles movie would be born. However, when released on the film's soundtrack it was credited to Hi Tek 3.

1991 would see Technotronic join Madonna for the Blonde Ambition Tour as her opening act. However, upon its completion, Ya Kid K would leave the group. She is not featured on their follow up album from that same year, Body To Body. Her hiatus would be brief, as thanks to a Revlon commercial in 1992 which made the song, Move This, a hit that year, she would rejoin. She would also return to the world of Teenage Mutant Ninja Turtles with the self credited, Awesome (You Are My Hero) as the opening track for the soundtrack to Secret Of The Ooze.

Pump Up The Jam would be re-released in 1993, this time with the singer's face on the cover. This was followed in 1995 by their final studio album, Recall. Since then, Technotronic emerges sporadically to release a single, remix or compilation album, but to date have not delivered any full studio releases.

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THIS WEEK ON THE CHARTS
March 27, 1982

Retro Spins: Talking Heads - Naked

Described as one of the most critically acclaimed bands of the 80's, Talking Heads would release a total of eight albums between their 1977 debut, and 1988 final album. Consisting of founding members, David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass), and Jerry Harrison (keyboards, guitar), the group would come out swinging with their first hit single, Psycho Killer, from their Talking Heads: 77 debut. However, it would be their follow up album, 1978's More Songs About Buildings And Food, where the band would start to mix music styles, finding their sound.

Upon releasing two more albums, 1979's Fear The Music, and 1980's Remain In The Light, the band took a break. This would lead to Weymouth and Frantz forming a secondary group, Tom Tom Club. Though they would release their self titled album in 1981, Talking Heads would return to the studio to record their breakthrough album, 1983's Speaking In Tongues. Burning Down The House would reach number nine on the Billboard charts in October of that year, becoming their highest charting single to date.

Talking Heads embarked on a major tour in support of the album, spawning the critically acclaimed documentary / concert, Stop Making Sense, released in 1984. Riding this wave, the band returned to the studio to record their equally successful follow up, 1985's Little Creatures. The album, with its radio friendly pop sound, helped to not only provide more airplay, but also bring in further fans.

Byrne would shift his focus, co-writing and directing the film True Stories, which he and the band also appeared in alongside a very young John Goodman. The movie featured several cast recordings of the songs which would ultimately become Talking Head's 1986 album, also entitled True Stories. However, this studio album / soundtrack would only include the band's recordings, with the cast recording concept being scrapped.

1988's Naked was heavily driven by politics, sex, and death. Naked would not only close out the decade for Talking Heads, but ultimately become their final studio album. It's here that we jump into today's Retro Spin.

Anytime I listen to Talking Heads, I expect a level of weirdness, sprinkled in with a little bit of "deepness". While it's great to get a pop song from them here and their, it's their heavier material which seems to better suite their overall style. The band has always seemed to have a message they want to convey with each recording, and that's exactly what you'll find here.

The first four songs hooked me, while admittedly, the remainder of the album seems to taper off at a steady pace, losing my interest with each subsequent track. It was as if that same structure I noted above was serving as both the hook and sinker. While intriguing at first, never came up for air as it continued to sink into the depths. Perhaps a solid pop song stuck in the middle of the album would have given me as the listener some time to come back from the persistent low that Naked seemed to want me to feel. A little pep to break it up would have gone a long way.

By the end of it, I honestly couldn't tell you what song was what, or even remember what the first four songs I professed to enjoy even sounded like. Everything just kind of sounded the same, making everything ultimately forgettable. Mind you, I'm not saying it was a bad album. It just wasn't memorable.

Talking Heads officially disbanded in December 1991. Frantz recalled he would only find out about it after reading in a Los Angeles Times article that Byrne had left the band. Since then, the band have reunited, but as of this writing, there have been no further studio albums (October 2023 - Gotta do these in advance to pack in a whole year of posts). However, with how successful it has been, that is potentially subject to change.

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THIS WEEK ON THE CHARTS
March 26, 1983

THIS WEEK ON THE CHARTS
March 26, 1988

Retro Spins: Company B - Company B

One hundred percent manufactured, Company B were the brain child of producer, Ish "Angel" Ledesma. He created the group with members Lori L. (Ledesma), Charlotte McKinnon and Susan (Gonzalez) Johnson. However, before their first album could be released, McKinnon left and was replaced by Lezlee Livrano. After its release, Susan Johnson left and was replaced by Sheena B.

Firing up their self titled debut, the word generic immediately springs to mind. These songs feel like they were produced in a factory, with none of the performers behind it really bringing anything to the table other than a voice.

Though their single, Fascinated, received significant radio play, and was the track I bought the album for, in hindsight, it really wasn't worth the high(er) buy in price. It's twenty bucks that I definitely could have put towards a much better album.

Overall, track after track of their 1987 debut was forgettable. As if to compound being uninteresting, songs seems to drag on ad nauseum. This probably was not helped by each of them averaging five minutes in length. Inevitably, I ended up tuning it out, but then ultimately turning it off. Company B just didn't interest me.

The downside to being a manufactured group was that none of the members seemed to have any real loyalty or overall longevity. For the group's second album, 1989's Gotta Dance, Sheena B. and Lezlee Livrano both left the group and were replaced by Donna Huntley and Julie Marie. The group would then disappear until 1996's "3", which was followed that same year by Jam On Me. Both albums recycled older material, not really helping their success. Their final album to date would be 1998's Irresistible, which would be re-released in 2011 as Goddess of Love.

in 2006, Charlotte McKinnon and original member Susan (Gonzalez) Johnson, joined by newest member Rachel Leslie reformed Company B. Johnson would later purchase the trademark for Company B in 2014. Though the group continues to perform, since '06 to present, it continues to see a rotation of members.

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THIS WEEK ON THE CHARTS
March 25, 1989

Just Doodling - Peanuts...Er...Batman...?!

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Retro Spins: Mötley Crüe - Too Fast For Love

Sex, drugs, rock 'n roll, and excess. Those words sum up Mötley Crüe in a nutshell.

Bassist Nikki Sixx and drummer Tommy Lee first joined together with guitarist/lead vocalist Greg Leon came together in Hollywood, California, in 1981, but Leon would rather quickly be replaced by Mick Mars, and new vocalist, Michael White. However, White's time would also be short, being replace by Vince Neil. With the classic lineup in place, Mötley Crüe was officially formed.

After meeting manager, Allan Coffman, the band would release their first single under Leathür Records, Stick to Your Guns / Toast of the Town. Their self produced debut album, Too Fast For Love, would follow in 1981, and we immediately pause here to jump into today's Retro Spin.

The first edition of their album was limited to 900 copies, and featured not only a different track listing, but different mixes and recordings of the songs which remained, and would be used for later pressings under Elektra Records. Critics praised the album and band, but stated they came across as a bar band shingling more in their enthusiasm than for their technical skills. Despite this, the album would go gold, and grab the attention of Elektra, who signed them to their label.

As I played Too Fast For Love, what I immediately picked up on was the garage band feel it had. The sound wasn't crisp like one would expect. Rather, it sounded almost dampened, muffled even. This was odd, because one would have expected from a re-recorded and mixed Elektra first print that this would have produced a better sound quality.

Still, perhaps where it also shines is in this arena where it does come across as raw. Though the album was lead by the single, Live Wire, I personally favored Merry-Go-Round, and Take Me To The Top, the latter which was not included in the original Leathür release. Further, the guitar work of Mick Mars on Piece Of The Action, really drew me in, even if Neil's screaming tried as best as possible to deflect my ears.

I also want to pause a moment, and focus on the album cover. It borrows quite liberally from the Rolling Stones 1971 album, Sticky Fingers. Homage, or rip off?

Overall, it was the work of Mars which kept drawing me into tracks, and I dare say he may have been the driving force for why the Crüe's debut was so successful. Of course, unless you were living under a rock in the 80's, or (gasp) born too late to have been part of it, Mötley Crüe went on to only get bigger and bigger throughout the decade.

1983's Shout At The Devil, 1985's Theatre Of Pain, 1987's Girls, Girls, Girls, and 1989's Dr. Feelgood, all went platinum, with the latter being their biggest album to date. But, a career of excess certainly took its toll, and none of the members were without problems.

Neil was charged with manslaughter in 1984 when he killed the passenger of his car, and left two passengers of the vehicle he struck with brain damage. Mick Mars has openly talked about drug abuse, and his suffering from ankylosing spondylitis, a debilitating form of arthritis. Tommy Lee was the dictionary definition of excess, constantly in the spotlight for over the top behavior, not helped at all when his personal videotape was stolen from his home and distributed across the world. However, perhaps even that couldn't top Nikki Six literally dying, and being pronounced dead from overdose before being miraculously resuscitated.

Turmoil within the band eventually came to a head, and Neil was ultimately left in 1992, replaced by John Corabi for their 1994 self titled album. Fans were not amused.

While the original members would reunite and release 1997's Generation Swine, increasing tensions between Neil and Lee would lead to the drummer quitting in 1999. He was replaced by former Ozzy Osborne drummer, Randy Castillo for 2000's New Tattoo. Unfortunately, the album failed to chart, or reach any level of certifications. It remains their worst selling to date.

The original lineup would eventually reconcile, well, long enough to release 2008's Sons Of Los Angeles. In 2023, Mick Mars filed a suite against his former band mates stating they were gaslighting him, and cutting him out of future profits after saying he was retiring from touring.

Sadly, it seems the Crüe will never be the same, bowing out from the spotlight together as a unified band, but rather opting to go down fighting amongst themselves. Perhaps things should have simply been neatly tied up in a bow in 1989 at their peak with Dr. Feelgood. Things honestly haven't been the same for them since.

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THIS WEEK ON THE CHARTS
March 24, 1984

Retro Spins: Siouxsie And The Banshees - Juju

I woke up one day, knowing little to nothing about Siouxsie and the Banshees, but having a sudden itch to scratch. I needed every album they (and The Cure) released in the 80's. Up until this point, my only exposure to the band was their 1990 inclusion on the Batman Returns soundtrack, but quite frankly, that was one of my favorite things about that album. It was this that I was hoping to get more of.

Siouxsie and the Banshees formed in 1975 by vocalist Siouxsie Sioux and bass guitarist Steven Severin, and found themselves immediately part of the emerging punk scene. Their first gig at the 100 Club found them among the likes of the Sex Pistols, Clash, and Subway Sect, where they performed a twenty minute version of the Lord's prayer. The irony of the show was that the only member of the band who knew how to play an instrument was guitarist Marco Pernoi. The Banshee's goal, in true punk form, was to simply annoy the crowd as much as possible, but found themselves getting bored far quicker than that audience.

Though they intended to break up after the show, they found themselves being asked to play again, and brought in drummer Kenny Morris and guitarist Peter Fenton to complete the lineup. However, after playing a few gigs, Fenton was removed from the band, and replaced by John McKay.

Wanting complete control over their music, the band found it difficult to get a recording contract. It wouldn't be until Polydor offered such an opportunity that the Banshees would finally get into a studio to record their first single, Hong Kong Garden. The song would reach the top ten in the UK, and laid the groundwork for their first album, The Scream (1978), which actually would not feature the single. This was followed in 1979 by their follow up album, Join Hands.

The Banshees would embark on a major tour, but soon find themselves shy two members after Morris and McKay began arguing with the other members over creative decisions, and quit mid tour. Budgie would join as their new drummer, but after difficulties in finding a replacement guitarist, Robert Smith (of The Cure) offered to fill in for the remainder of the tour, which they took him up on.

Budgie would join the band in the studio for their next album, 1980's Kaleidoscope, becoming a full member. However, still without a guitarist, John McGeoch, of the group, Magazine, would assist in the recording, and would ultimately join the band full time.

This lineup would remain through 1982's A Kiss In the Dreamhouse. However, before we get that far, we have to stop in the middle at today's Retro Spin, 1981's Juju.

Juju is the band's critically acclaimed fourth studio album, and considered to offer not only the sound that their fans have come to love, but also a strong pop feel, which helped to bring in new fans. Unlike their previous album, Juju returned to more guitar driven tracks, thanks in part to McGeoch.

Would it be here that I would find what I was looking for? Tunes reminiscent of Face to Face, from the Batman Returns soundtrack? Well...Maybe. I'm not too sure.

As a whole, Juju definitely delivers an edgy post punk, yet somewhat pop sound, and it is certainly "different" from what I'm used to. What I found interesting was that the two tracks, and major singles, Spellbound, and Arabian Knights, really didn't resonate with me. Rather, it was the song sandwiched in between them, Into the Light, which I dug.

Truthfully, by the twenty-five minute mark of Juju, I honestly stopped really paying attention to it. Everything just kind of fell into background noise, with nothing really sticking out. This was kind of unfortunate, as because I said at the beginning, I picked up every Banshee album from the 80's, a task that was not only a bit more expensive than I thought it would be, but also not as easy to find as one would have thought. Will I get around to listening to the others? Absolutely. Am I sitting on the edge of my seat waiting to do so? No, not at all. By the time Juju wrapped up, I was pretty done.

Researching this particular group / album, what I found the most interesting was how involved Robert Smith was within it. It was coincidental, I suppose, that I got a bug to get not only every 80's Siouxsie And The Banshees album, but also The Cure at the same time.

Smith would actually return to the group in 1986 upon the firing of McGeoch (due to alcohol addiction) for the studio album, Hyæna. However, he would step out again, and John Valentine Carruthers would become the new guitarist for 1986's Tinderbox, and 1987's Through the Looking Glass.

As part of the ever revolving door of guitarists, Carruthers was released upon completion of their 87' album, cited as not fitting in with the band. After a break, they would recruit Jon Klein as their newest guitarist, as well as multi instrumentalist, Martin McCarrick for 1988's Peepshow. This lineup would also release 1991's Superstition, and after a long break, 1995's The Rapture. However, this would be their last studio album (unless one has come out since this writing in 2023).

I say that last part in parentheses because in 2023, Siouxsie And The Banshees would shock their fans with an announcement in 2023 that they would be embarking on a tour. Not only has this been a major success for them, but as we all know, could lead to a return to the studio.

Before closing, we also have to rewind all the way back to 1981, where after the release of Juju, Siousie and Budgie would form the group, The Creatures, and release their first EP, Wild Things. The two would also start a personal relationship at this time. Fortunately, neither of these aspects appeared to hinder the Banshees. At The Creatures, Siousie and Budgie released four additional studio albums, and an additional EP.

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THIS WEEK ON THE CHARTS
March 23, 1985

Retro Spins: ABC - Beauty Stab

In the 80's, ABC could do little wrong. They were poised for greatness after their debut powerhouse album, The Lexicon Of Love. Then a decision was made, a bad one, which derailed it all, threatening to ruin everything in the process.

Beginning as Vice Versa in 1977, ABC was evolved into a lineup featuring singer Martin Fry, guitarist and keyboardist Mark White, saxophonist Stephen Singleton, and drummer David Palmer. Rather than fuss with the struggle of finding a label to sign them, the group founded their own, Neutron Records. With the aid of other members and musicians, The Lexicon Of Love, produced by Trevor Horn (The Buggles) was released in 1982, and quickly catapulted the band to success. It entered the UK charts at number one, where it stayed for fifty weeks. It would also become the fourth biggest selling album in the UK that year.

With such a monumental launch, ABC began work on their follow-up album. They took everything they learned from their debut, all the new wave goodness, their commercial sound...and promptly threw it all away.

1983's Beauty Slab was panned by critics and fans when it was released for its vast departure from the sound which made the band so immediately popular. Synthesizers were replaced by edgy guitars, and riffs akin back to the heydays of the 70's. Critics didn't like it, and fans didn't want it.

Lead single, That Was Then But This Is Now, has often been featured in worst lyrics polls, and even today critics continue to sight the album as an example of how a band can sabotage their own careers. To call it a bad decision seems an understatement.

But, is Beauty Stab really that bad?

Truthfully, no. In fact, if you're a fan of 80's rock, weren't accustomed to ABC's synth pop roots, or simply wanted something different from them, it's quite enjoyable. Personally, I liked the guitar work which was dominant across each track. Dare I say, I may like it more than their synth based tunes.

Now, with that said, what Beauty Stab lacks for me is hits. It's enjoyable, but ultimately unmemorable. By the halfway point, I still hadn't heard anything which I could recall or recite. Nothing was impacting enough to actually stick in my mind. Ultimately, there wasn't anything here that I necessarily needed to ever hear again. As a whole, it was forgettable. That, perhaps, is worse than being bad. Because at least with bad albums, they're memorable for the wrong reasons.

Members would depart, but ABC got back up in 1985 with the highly popular How To Be A ... Zillionaire!, intent on giving the fans what they wanted by returning to what worked. After its release, the group slimmed down to that of just Martin Fry and Mark White, and together they continued strong with 1987's Alphabet City. This was short lived, as by 1989's Up, sales were in decline.

The duo's synth pop style was quickly lost in the shuffle of 90's grunge, and after releasing 1991's Abracadabra, ABC would disappear until 1997's Skyscraping. However, by the latter, it had devolved into nothing more than a solo act for Fry, using the band's name as nothing more than a guise. Though he continued to release additional albums, the prime of ABC was over.

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THIS WEEK ON THE CHARTS
March 22, 1980

THIS WEEK ON THE CHARTS
March 22, 1986

Retro Spins: The Motels - All Four One

Single mother of two, Martha Davis made the decision one day that she had to live for herself, less she end up resenting her children for dreams she never pursued. The decision was based on finding her mother's journal shortly after her unfortunate suicide. Inside, Martha read about the woman who raised her and her sister to the age of fifteen, when both siblings got pregnant, and left home, as well as a husband who she put her life on hold for only to end up divorced when he didn't want to be with her anymore. Davis decided at that point that she had to follow her desires, and set off for California with her two children. She knew they would struggle. She thought it probably wouldn't happen, but she was determined to try.

Martha formed her first group with Lisa Brenneis (bass) persuaded Dean Chamberlain (lead guitar), and Chuck Wada (rhythm guitar), at the time as, The Warfield Foxes. The band would relocate from Berkley to Los Angeles in 1975, looking for a surroundings that would provide better exposure. Brenneis would depart shortly after the move, and the group would change their name to the Angels of Mercy, and then to The Motels.

The quintet of The Motels was completed when bass guitarist Richard D'Andrea and drummer Robert Newman joined. While performing locally, they recorded a demo for Warner Bros., but the album was rejected. It was followed by an offer from Capitol Records, which was turned down. Citing musical differences, the band then broke up.

In 1978, Davis and Jeff Jourard reformed The Motels, and began extensive auditions to hire new members. Jeff's brother, Marty, joined as saxophonist and keyboardist, with Michael Goodroe on bass, and Brian Glascock on drums. Sharing rehearsal space with The Go-Go's, the group would begin to perform locally, and noticing their crowd growing rapidly from venue to venue. This didn't go unnoticed by Capitol, who would again approach them with a recording contract, which this time, was accepted.

Motels, their 1979 debut album, produced the Australian hit, Total Control, but failed to garner much attention elsewhere. Davis was dating guitarist Tim McGovern at the time, and this would result in founding member, Jeff Jourard being fired from the band. This caused turmoil between he and his brother Marty, the latter who opted to stay with the group.

With this new lineup, The Motels released their second album, Careful (1980). This faired better then their debut, reaching number forty-five of the Billboard top 200, and going gold in Australia. They would then begin work on the album, Apocalypso, which was slatted for release in 1981. However, upon completion, their label rejected it, stating it wasn't commercial enough, and too weird.

Back to work, The Motels tried to re-record the rejected album, but McGovern and Davis's relationship fizzled in the process. McGovern would quit the band, replaced by guitarist Guy Perry, who was working as a studio musician with the group during this period. The end result was 1982's All Four One.

Their first single, Only The Lonely blasted up the charts, peaking at number nine. Additional singles, Take The L, He Hit Me (And It Feels Like A Kiss), and Forever Mine followed, but didn't make that big of an impact. Unlike the others, He Hit Me, didn't even charting. Despite this, the lead single was enough to catapult the band to success, which would ultimately also serve as a double edged sword. More on that in a moment.

As I listened to All Four One, I couldn't help but be blown away by one great song after the next. Mission Of Mercy, So LA, Art Fails, and all the tracks already noted above, kept delivering on the goods. While there were other tracks on the album that didn't necessarily wow me, they certainly weren't "bad". What I really dug was how that band known for Only The Lonely, were actually smashing out the hard rock.

I really liked the album as a whole, and it kind of made me want to just right into their follow up. I definitely want to hear more. Which brings me to an oddity. When it was initially released, All Four One did not receive a CD pressing. When this finally occurred in 1996, One Way Records included their biggest hits, Suddenly Last Summer from Little Robbers, and Shame from Shock, as bonus tracks. It doesn't make sense to me that they would do this, because it feels like the label is trying to tell you, "These are the only good songs from their other albums." This is all the more odd, because the label would then go on to release Little Robbers in 1997.

Let's now go back to that double edged sword comment I made. When The Motels released 1983's Little Robbers, and, Suddenly Last Summer, became their next big hit. The group found themselves being popular among soft rock fans, and this in turn changed their concert scene. Whereas the crowd were once teens, they were now shifting to middle aged moms. This only served to segregate their original fans for newer, older ones, which came out expecting to hear a bunch of soft rock, only to be blasted with heavy hitting riffs. As a result, not only did the old fans thin out, but this new crowd didn't stick around.

Also unfortunate, was the record label's desire to divide and conquer the band. Davis was constantly under pressure to ditch her bandmates, and go solo. Though they released 1985's Shock, it failed to be a success. This resulted in their label not providing the funds needed for the group to continue. As the band individually arrived to the studio to begin their next album, Davis was tasked with giving each the bad news that it was over, and she would be moving on solo.

The classic lineup members were brought back together in 2004 by VH1 for their Bands Reunited series, and all five returned to the stage for the first time in decades for a one off show. However, since then, Davis has returned to her solo career, while also releasing The Motels albums with her touring band. Sadly, for the members who brought you All Four One, there's no sign of another reunion.

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THIS WEEK ON THE CHARTS
March 21, 1981

THIS WEEK ON THE CHARTS
March 21, 1987

Retro Spins: Berlin - Love Life

Formed in 1976 as The Toys, by founding members John Crawford (bass guitar), Dan Van Patten (drums), Chris Ruiz-Velasco (guitar), and Tyson A. Cobb (vocals) and later becoming Berlin, the group would amass an audience of New Wave fans across the globe through their heavily sexualize lyrics and stage persona. This in part was due to lead singer Terri Nunn, and John Crawford having a very public relationship which was the jumping point for a lot of their material. Through the ups and downs of their love lives, these points in time served to inspire songs of love, passion, and anger.

Nunn would ultimately replace both Cobb, and Toni Childs, who spent a brief period as the lead singer of the band, but leading up to their debut album, 1980's Information, would actually leave the band to pursue an acting career. Virginia Macolino would take lead vocals for their first album. However, with the departure of Nunn, record labels which initially showed interest suddenly were not. This led to Berlin breaking up.

After a brief period, Nunn would express interest in rejoining, and the group was somewhat reformed, and released the one-off single, Tell Me Why / The Metro. Crawford was working with a new band, Fahrenheit, and wasn't invested in a long term project with Berlin. However, when The Metro became a success, the group signed to Enigma Records, with the proceeds from the single helping to fund their first EP, Pleasure Victim.

The album would feature their next hit, Sex (I'm a ...), which was promptly banned by many radio stations. The band didn't seem to care much, as the song was intentionally written with the intentions of being played on stations which specialized in broadcasting songs others wouldn't.

Geffen Records would sign the band, and would re-release their EP along with their next record, 1984's Love Life. The album featured hard hitting producers, Mike Howlett, Giorgio Moroder, and Richie Zito, but despite this, failed among critics initially. The group's biggest success would ultimately come from New Zealand, where the album ranked number three.

As I played through the album, I actually found it to be rather enjoyable. I ended up grabbing the first three tracks, When We Make Love, Touch, and Beg, Steal Or Borrow, for my shuffle list. However, for me, it was No More Words, which I picked it up for, and which probably stands out the most on the entire record.

The CD version includes two additional tracks which were not included on the original LP release, Fall, and Lost In The Crowd. While it's great to get a couple more tunes, these really don't make or break, or ultimately add anything to it as a whole.

Overall, though, I enjoyed Love Life. If I didn't already own the band's discography from 1982 to 1986, it would definitely hype me up to get dig further. Though, I may eventually get around to giving their debut a chance, despite not having Nunn on it.

Berlin would go on to release their 1986 album, Count Three & Pray, which would include their most successful single, Take My Breath Away, as also featured in the film, Top Gun. Despite its success, the band would be split by it. Being written by Giorgio Moroder, many didn't feel the song represented Berlin, and with it becoming so popular, would also serve to anger the members who now felt forced to perform it. Though certainly not the final nail in the coffin, it was just one more which would lead to the band disbanding.

Things only got worse from there when Nunn purchased the rights to the band's name, and informed founding member Crawford that if he wanted to perform as Berlin that he would in essence be working for him. Nunn would go on to release Berlin albums on her own in 2002 (Voyeur), and 2005 (4Play).

It would take VH1, with their show, Bands Reunited, to finally bring the classic lineup back together for a reunion and one-off concert. While the entire band would reunite and play together, not all of them stuck around for the long haul or future albums, 2013's Animal, 2019's Transcendence, and 2020's Strings Attached.

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THIS WEEK ON THE CHARTS
March 20, 1982