The Toy Box

Retro Spins: Icehouse - Primitive Man

When we last saw Icehouse, you know, last week, they had gone 5X Platinum in Australia, and 4X Platinum in New Zealand, and were poised as one of the greatest new bands of 1980. While their label, Chrysalis, would spend a good part of 1981 releasing their material previously under the name Flowers as Icehouse, the band would be busy on the road.

Their lead track, Icehouse, as well as the album itself, was released in 1981 throughout the UK, generating some buzz, as well as in the US, where it peaked at number twenty-eight. The band would spend the second half of the year touring the US, Canada, and UK, to support not only the re-releasing of their material as Icehouse, but also to capitalize on the recognition of their single across international borders.

By 1982, lead singer Iva Davis, returned to the studio to work on a second album. The foundation for what would become Primitive Man, iniitally started as solo project for the artist, but would ultimately be released as the second studio album for the band. Between Davis, and Producer Keith Forsey, they oversaw most of the instrumentation for the tracks, with the band only contributing to what would become bonus tracks for later releases. The remaining few gaps would be filled in with studio musicians.

Led by the hit single, Hey Little Girl, Primitive Man would go on to be an international breakthrough. It would peak at number seven in Australia, two in Switzerland, five in Germany, and twenty in the UK, Sweden, and Netherlands. However, it wouldn't stir any airways in the US, where it only reached number one hundred twenty-nine. The single itself would reach thirty-one on the Billboard Hot 100 charts.

The second single, Greath Southern Land would be equally successful in Australia, reaching number five. Fun fact, in 1988 it would also be used on the soundtrack for the Yahoo Serious film, Young Frankenstein.

To promote the album, Davis brought back previous members, Michael Hoste, and John Lloyd, as well as new members, Robert Kretschmer, Guy Pratt, and Andy Qunta to head out on tour. Together, they would also release the EP Fresco in 1983. Additionally, in 1984 Davis would provide the instrumental soundtrack to the film Razorback. However, we're now getting far ahead of ourselves. First, it's time to go back to 1982, and actually play through Primitive Man.

Much like their prior release, we have two choices here. The original Australian pressing which contains the song, Break These Chains, or the US / UK release, which ommits the song, but includes, Love In Motion instead. Well, I say there are two choices, but for me, there's only one. I only own the US / UK pressing. So, Love In Motion it is! So, I guess technically, we're going back to 1983, because that's when the album saw an international release.

Uniform doesn't give the record as strong a launch as their previous albums opener did. It's mediocre at best. While things picked up slightly with the second and third tracks, I was begining to get concerned that this release was going to be subpar at best. I suppose it's common for the second album to never be as superior as the first, especially when that first is deemed lightning in a bottle. However, I think part of the issue may have also been the solo approach noted above. When someone doesn't have a band, or anyone really, to tell you, "That's not working, let's try something else," often a solo artist can quickly release poor material. It's happened to the greats - Michael Jackson, Prince, Madonna. Point being, someone has to be able to tell you when something isn't good enough, and I don't think that happened here.

That's not to say that Primitive Man was garbage from start to finish. It just wasn't as impactful as round one's Icehouse, or Flower's Icehouse album. It was just okay for me. Nothing really stood out as, "This is the reason you should buy this CD." Apparently, I wasn't alone in this aspect, as it would "only" reach platinum status in Australia and New Zealand. I have to put only in quotations in my prior sentece becuase obviously that's no small achievement. In retrospect, it was also a considerable drop from their previous release, something I'm sure their label noticed.

Truthfully, fatigue set in fast for this one. By the halfway point, I kind of just wanted it to be over, but, I stuck through it.

The lineup would change again, and in 1984 the band would return to the studio to produce and release, Sidewalk. Sadly, this would also continue the downward decline of their popularity and overall sales. However, that's a post for next time.

I hope to see you there!

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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
May 12, 1984

Retro Spins: Icehouse (AKA Flowers) - Icehouse

Australian band, Flowers was initially formed in 1977 by lead vocalists, and multi insturmentalist Iva Davis, and bassist Keith Welsch. They would pick up Michael Hoste on keyboards and Don Brown on drums. However, the two would be replaced in 1979 by John Lloyd (ex-Paul Kelly and the Dots), and Anthony Smith (who was sometimes called Adam Hall), on keyboards.

Still known as Flowers, the band would sign with Regular Records in 1980, and release the single, Can't Help Myself. The track would be a surprise hit, reaching the top ten in Australia. This was followed by their debut album, Icehouse. However, during recording sessions for the album, Michael Hoste, would replace Smith on keyboards. This would prove to only benefit the overall end result, which would see the record reaching number four on Australian charts. It would also go on to be one of the biggest of the year in their home country.

Throughout the year, several nominations and acolades came as a result of Icehouse. These included receiving the TV Week / Countdown Rock Awards 'Johnny O'Keefe New Talent Award, and nominations for Best Album, Best Album Cover, and Best Songwriter.

In 1981, Flowers would sign with Chrysalis Records, but in doing so would need to change their name for legal reasons, and potential confusion with the Scottish group, The Flowers. Icehouse was officially born. Their debut would be repackaged, and re-released under the label.

Enter today's Retro Spin.

Icehouse, the album, is heavy synth pop driven, and lyrically, feels deeper than your average pop album. Yes, there are songs here simply meant to get one tapping their toes. However, then you delve into the more mature style on songs such as Sons.

I think one of the biggest hooks to the album is the vocals of lyriscist, Davis. He has a Bowie vibe. He's able to sing in a deep tone, or grab you with haunting chords. It's definitely the standout aspect of Icehouse as a whole. This is particularly noticable, because the album is far from perfect. Yet, at the same time, I found myself invested becuase I just wanted to hear his voice. He made even the most mediocre song, and there were many, still something worth listening to.

Despite lacking perfection, overall, it's enjoyable. Additionally, there were songs here worth adding to my shuffle list, with standout track being the first, also aptly entitled, Icehouse. Basically, the groundwork shows potential to me. I have to stipulate the "to me" part, becuase in addition to the above noted accolades, the album went 5X Platinum in Australia, and 4X Platinum in New Zealand. Clearly what I saw as potential, many others saw as amazing. I mean, I grabbed six of the ten tracks for my shuffle, so heck, maybe I don't know what I'm talking about either.

Unfortunately, there is also a missing track on the US / UK releases of the album. The original Australian pressings contained eleven songs, while the international releases only held ten. The ommission of Nothing To Do is disappointing, but not necessarily a make or break moment. Firing it up on Youtube, it's just another one of those "okay" tunes.

The group would countinue to find major success in Australia throughout 1982 to 1985, and achieve their career biggest hit in 1986 with, Electric Blue, from the album, Man Of Colours, which I've already covered as a Retro Spins. However, before we can get to the latter, we have a few more records to fill in the gaps.

Join me next time as I do just that!

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THIS WEEK ON THE CHARTS
May 11, 1985

Retro Spins: Jump 'N The Saddle Band - Jump 'N The Saddle Band

When your whole career is based on a fluke novelty song which skyrockets into popularity based on frequent airplay, aided by a music video filled with clips, it's probably best to not bite the hand that feeds, and follow their directive. However, this is exactly what members of Jump 'N The Saddle did, and it cost them any further success past their single debut album.

Because of their short lived success, there isn't much information floating around about the band. What is known, is that they released an album through their label, Acme, in 1981, which garnered little attention. This was followed by their self released, Alive & Set To Go in 1982. They would once again turn to Acme to release their 1983 single, The Curly Shuffle. Designed to be pure fun, novelty at its best, it surprised everyone when the song started to get frequent airplay. It was this that would lead them to sign with Atlantic Records, and release their self titled record.

Released in 1984, and led by the single, Jump 'N The Saddle were off to a good start. However, when it came time to produce a follow up, the label insisted the band record a version of Benny Bell's 1946 classic, Shaving Cream. Not keen with the idea, the band delivered a track filled with lyrics critical of the label. This, as I'm sure you can understand, wasn't well received, and the group was unceremonious dropped.

While the group continued to perform through the 2000's, they never received another recording deal after ruining their careers. Sadly, their fifteen minutes were over.

As for the album itself, there's not much to really get excited about here. There's no denying that The Curly Shuffle was a fluke hit. A novelty hanging out in an era of synth pop. A time where music was eclectic, and anything was deemed acceptable. Had it been released any time other than when it was, it probably wouldn't have even gotten noticed. Frankly, a follow up, even in 1985, probably would have been glanced over. There's just nothing to write home about regarding the band. Their album is full of covers, and though the band showcases talent, their efforts are forgettable.

Maybe, and I do mean MAYBE, this would fly as background noise at a busy party, where the music only serves as a damper to stop the echoing of voices. Again, maybe.

I think the most comical thing about the album is the asking price. With average sales of $25.00, and high ends of closer to fifty, that's pretty hefty for a novelty song which is probably on a hundred comedy compilations for a fraction of the price.

Though I let it play from start to finish, I'm not going to sit here and say anything was worthy of my time, memorable, or worth getting excited about. Frankly, I turned it off by song six of ten. It wasn't resonating, and I wasn't going to force myself to continue listening to something which my gut was telling me wasn't going to get any better than a lackluster one hit wonder which had already played. This is why its important to carefully curate one's collection, and not just say, "Oh, I know that one song." Lesson noted, but probably not learned. I'm just being honest.

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THIS WEEK ON THE CHARTS
May 10, 1980

THIS WEEK ON THE CHARTS
May 10, 1986

Retro Spins: Janet Jackson - Janet Jackson's Rhythm Nation 1814

Before saying goodbye to the 80's, Janet Jackson decided to punch everyone in the fact with the massive uppercut that was Janet Jackson's Rhythm Nation 1814. Would you believe that even after selling twelve million units, the album isn't her biggest seller to date? Yeah, she's sold a lot of records worldwide.

Though her label wanted a repeat of music styles from her 1986 Control album, Jackson instead opted for a concept album, heavily focused on social issues Turns out that her direction was right, as the singer would be praised for her commentary, and be labeled a youth role model for her socially conscious lyrics, which touched om poverty, racism, substance abuse, and romance.

Further, Rhythm Nation remains the only album to date to have seven commercial singles peak within the top five positions. A sidebar that many people also don't seem to know, but which I found out while reading the Billboard chart sheets for these posts, is that Janet single handed kept the 80's alive on the charts in the early 90's, with songs from this album continuing to linger.

While the new decade saw a trickle of artists from 1989 stay through mid 1990, it was Janet and Phil Collins (for hits from ...But Seriously) who would be the final two holdouts. Collins would fall off in late 1990, with Janet being the "last man standing" through early 1991.

Personally, I don't find the album to be as perfect as people profess. The biggest hindrance for me is the prologues and interludes between tracks. They feel unnecessary, and preachy. Frankly, I don't need an artists opinion on the world when I'm listening to their music. I just want the entertainment.

For example, she says in between State of the World, and The Knowledge, "We are in a race for education..." to which I can only respond, "Well, better to be in a race for education than a race for the toilet."

I have to take a step back, disagreeing still with the critics who state that this album garnered her a level of cross-cultural appeal unmatched by industry peers. Sorry, but if boundaries were broken, that was done in 1982 by her brother Michael, who to date has sold an estimated seventy million copies of Thriller. This happened again in 1984, when Prince too broke boundaries with Purple Rain, which to date has sold an estimated twenty-five million copies. While Janet's twelve million sold is no short accomplishment to be scoffed at, it's nowhere close to the impact of those two.

With that said, the tracks I do like off the album are hard hitters. I could easily play the title track, Miss You Much, Love Will Never Do (probably my favorite), Escapade, and Black Cat every day of the week, and be happy. Overall, again, I just don't find the album as a whole to be perfect from start to finish. While there are some stragglers, such as Alright, and Come Back To Me, which are decent, it's just not the powerhouse the critics want you so desperately to believe it is. I mean, it's good, okay even. Just not flawless.

That, of course, is just one persons opinion, and not one that impacted Janet in any way, shape, or form. Her follow up, 1993's Janet, would sell fourteen million copies, and though to date, her sales would decline, we're talking about eight million (1997's The Velvet Rope) to five million (2001's All For You), to three million (2004's Damita Jo), to one point five million (2006's 20 Y.O.). Yes, that's a steady decline, and things only got worse with Discipline (2008), and Unbreakable (2015), which didn't crack a million.

While she's announced new music is coming, Unbreakable has been her last album to date. Personally, I'd like to see her form a new iteration of The Jacksons with her brothers, and headline that bad boy into the future. She could absolutely pull off the vocals for brother Michael's hits all the way back to the era of Jackson 5. I mean, I get it, it would just be her carrying the others to success, much like Michael did. I suppose at the end of the day, why sing the songs of someone else when you can sing your own. Wouldn't that be something though?

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THIS WEEK ON THE CHARTS
May 9, 1981

THIS WEEK ON THE CHARTS
May 9, 1987

Retro Spins: Janet Jackson - Dream Street

When we last left Janet, she had just come off of her critically lackluster 1982 self titled debut. While things wouldn't ultimately fair any better with 1984's Dream Street.

Dream Street is not only the lowest selling album of all time for Janet, but also her only album which never spawned any hits. This to me is odd, because frankly, the title track is a powerhouse. Further, the opening track, Don't Stand Another Chance, had the benefit of being produced by brother Marlon Jackson, and featured backing vocals by Michael. That to me seemed like a recipe for airplay, no questions asked.

As I played through it, I got out of the album what I fully expected. Strong vocals from Janet, all laid across relatively throw away tracks. It's not a terrible record, it just wasn't what it needed to be to produce major label success.

Overall, it has a heavy pop sheen to it, which is better in my book to its soul R&B predecessor. What I won't do, is agree with Ken Tucker with The Philadelphia Inquirer, who stated it was better than The Jackson's Victory. That's going too far.

Personally, I think a lot of times the charm with hearing older, or forgotten albums, from artists after they've hit their biggest success is the familiarity of it. Basically, it makes it easier to appreciate, and even like, an album when you're already into that artist. Again, familiarity. Even when it's not their best work, it still finds a way to resonate. I think that's a benefit for Dream Street.

Two years after its release, Janet would eat a bunch of cake, and with more girth to her loins, return to the studio to rock out the powerhouse, Control. With songs driven by pure emotions from her recent divorce from James DeBarge, and severing management with her father, the autobiographical themed album would go on to be a major success. The album was so popular, that it spawned a sequel, of sorts, in the form of 1987's Control: The Remixes. 1989's Janet Jackson's Rhythm Nation 1814 would then blast the artist into orbit.

I've already talked about Control, check that post out "HERE". As such, we'll dive into the powerhouse which is Rhythm Nation next time!

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THIS WEEK ON THE CHARTS
May 8, 1982

Retro Spins: Janet Jackson - Janet Jackson

She's the most successful Jackson after her brother Michael, and of the sibblings, the most financially successful. Janet not only masterfully managed her career, but also her money, having a net worth of over one hundred seventy-five million dollars. That's a lot of greenry in the garden.

Janet mad her debut at the MGM Grand in 1976, and from there went on to star, and provide supporting roles, in various television series. Her noeworthy appearances included those on Good Times, Diff'rent Strokes, and Fame (the series). However, by 1982, she was following in the footsteps of her brothers, releasing her debut solo album, self titled, Janet Jackson. It was not very successful, and remains one of her lowest selling albums of all time. The question I raise, "Did A&M sign her because they saw talent, or because they saw a Jackson?"

Being only sixteen, you know her father, Joseph, was there to ~~exploit~~ guide her, among a series of writers and producers. Upon its release, it managed to make minor waves in New Zealand, but in general was considered a flop. Despite promotion on television shows such as American Bandstand, and Soul Train, the general consensus among critics were that the songs simply weren't that good.

Well, this I have to check out. I love a good train wreck.

It all kicks off with, Say You Do, which has a funky goove and beat to it, almost reminiscent of the sounds from brother Michael's Thriller, released that same year. It's not bad, though at nearly seven minutes, it is a tad bit long.

With track two, things seem to step backwards. Again, using her brother as the example, You'll Never Find (A Love Like Mine), seems familiar to the sounds of Off the Wall (the album). Very horn and strings driven. Again, it's not bad. However, considering it came in 1982, in retrospect, it feeels dated.

Where it starts to fall apart for me, is when the ballads come into play, starting with Love And My Best Friend. The overall feel, and Janet's voice on the song, seem to tread familiar ground of, again, brother Michael's Ben, but not in a resonating way.

Truthfully, the album started to settle into background noise for me at this point. I was kind of hoping it would just end so that I could go on to other things. I mean, it was okay overall, but it was no Rhythm Nation by any stretch of the imagination. I guess by the end of it, the whole thing was just lackluster. Okay, but nothing special. Janet certainly had the voice in 1982, but the songs just aren't strong enough to pack a lasting punch. I wouldn't have hedged any bets on superstardom based on this album.

As we all know, with its lack of success, Janet went on to be the forgotten sibling of the Jackson family, never to produce anything further. Oh, wait...that was Tito. No, Janet, after another lackluster release, 1984's Dream Street, would refocus, and punch hard with 1986's Control, and the even more successful, Janet Jackson's Rhythm Nation 1814 (1989).

Fun fact, while the 80's were kept alive on the 90's Billboard charts through August 1990 by the likes of Paula Abdul, Michael Bolton, Technotronic, and Skid Row, it was Janet along with Phil Collin who would be the final two holdouts. They'd keep the era alive into early 1991 before finally exiting stage left. Of course, for the two of them, it would be far from the last time they charted.

While she fell off my radar in the 90's, and into the New Millenium and beyond, there's no denying that Janet has solidified herself as a pop and R&B icon in the world of music. She's earner her place as a legacy. Though she will probably never supercede her brother in popularity (Who honestly could?), she stands on her own merit.

In fact, let's do this right. Let's add Janet to the Retro Spins template. She deserves a spot on it.

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THIS WEEK ON THE CHARTS
May 7, 1983

THIS WEEK ON THE CHARTS
May 7, 1988

Retro Spins: Divinyls - Temperamental

The moment of truth was at had for Divinyl in 1988. After struggling to make international success with their prior two albums, their label, Chrysalis, pulled no punches with remaining, and founding, band members, Christina Amphlett and Mark McEntee. Either make it, or break it.

Recording of began in 1986, but immediately came with issues and snags. Guitarist Bjarne Ohlin left ,and upon the insistance of producer Mike Chapman, drummer JJ Harris was fired. Before knuckling down, the band focused on some local gigs in Australia, but upon completion, bassist, Rick Grossman, left the band, checking in to rehab for addiction to heroine.

The duo returned to Los Angelos in 1987 to formally begin recording. with keyboardist Kenny Lyon, and a new lineup featuring, guitaris Tom Lang, drummer Warren McLean, and bassist Tim Millikain, the album commenced at Rumbo Recorders...Then it was shut down due to noise complaints from Neil Diamond, who was working in the nextdoor studio. The band moved to Sunset Sound Records with Chapman to finish the album.

Drama, drama, drama!

When I fired it up, I was greeted by the title track, which led into the amazing Back To The Wall. At this point, I determined that either Chrysalis and / or the general public were deaf. This album was fantastic (so far). This momentum didn't let up, and by track five, I was still all in on Temperamental.

I have to agree with Amphlett. The album features some of the band's best material. This was a record produced with emotion, pain, and a fight to prove themselves. Sadly, that didn't seem to be the same sentiments of their label.

After its release, and in debt millions of dollars to Chrysalis for advances on prior albums, promotions, and tours, the writing was on the wall. Their label dropped them, and figuring they'd yet to make it big, simply opted to write the band off as a tax deductable bad debt.

Again, I didn't understand this. By track six, I was 100% all in, having not heard anything bad. At just over the halfway point, Temperamental was gearing up to be a perfect album. Ultimately, this didn't happen. There were some weaker tunes on the back half, but overall, still a very enjoyable listening experience.

Reagrdless of my opinion, as noted, the label dropped them, and it wouldn't be until 1991's hit single, I Touch Myself, that Divinyls would finally reach the US audience they had so long been looking for. However, this success was short lived, quickly lost in an era of grunge. While band would release 1996's Underground, it would be their last studio album.

On a side note, it was kind of enjoyable to write a continuation piece over the past three days, going through the history of the band. I'd kind of like to do that again, but I would need to first dig through my CD's and see what bands I haven't already poked holes in that would prevent that from happening. Stay tuned.

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THIS WEEK ON THE CHARTS
May 6, 1989

The Dirty Dozen - My Top Twelve Albums Of 1982

Ah, the music of the 80's. It's the gift that keeps on giving. Pick a year, scroll through its releases, and you're sure to find not only something you like, but iconic hits which have withstood the test of time.

I continue my journey in the hunt for the top albums which will be bestowed the honor of being purchased for showcasing on my wall, and today, that takes me to 1982. This year, for me, is where the decade really took off. Some albums, for obvious reasons, were selected for my top twelve, but others were just personal gems for multiple reasons.

First, let's kick out the one and only honorable mention, which was considered for the list, but didn't make the final cut. That would be the soundtrack to Grease 2. I mean, come on, the first film is so amazing, and frankly, I'm considering grabbing that soundtrack for the wall. However, the follow up, while not resonating with most, stands out as a solid entry in the world of sequels. The soundtrack doesn't deliver the punch of the original, but still has a fair amount of memorable tunes.

Number twelve on the list takes me to my childhood, and yet another one of those moments I've mentioned multiple times already here at The Toy Box, my sisters record collection. Jona Lewis' Can You Stop The Cavalry, was a song she would play frequently from her Top Of The Pops, or Springbok records, and when it came on, we would walk around in a circle pretending to play the brass instruments. You know, just kids being kids. Its one of my oldest personal memories, and one which cemented the track in my mind.

Creatures Of The Night, the song, was my introduction to Kiss, and it came via the opening track of Alive III. Even as I typed this up, I decided to throw the song on. Creatures, the album, isn't jam packed with hits, far from it, but its title track and the Gene Simmons led, I Love It Loud, are massive ones. Plus, I just really dig the cover.

Fantastique is a prime example of why its important to never stop looking for hidden gems. I heard, Mama Told Me on a random radio station one day while driving down the road. At first, I thought it was a song from the current era, and really liked how it had adopted an 80's sound. Little did I know, until looking into it further, that it was from the relatively unknown dutch duo, and released in 1982. Since then, it's become one I play frequently in rotation.

Did I know Electric Avenue was a protest song when I was a kid? No. Of course not. I thought Electric Avenue was a place where people go to have a good time. Well, despite the education I would get in my adult years, when I finally listened to the words with mature ears, that I would get a full understanding. Still, I find myself bopping my head frequently to the song, just enjoying it for what it is, a classic 80's hit.

Hall & Oates H2O was a surprise for me when I recently sat down and listened to it. They were a band I always equated to knowing the hits, and that was good enough. However, it was while listing to this one that I got an appreciation for the deep dive, and walked away with multiple additions to my shuffle. Was it perfect? No, but it made a big impression.

My appreciation for Siouxsie And The Banshees is relatively a new thing to me, and because of how I come up with these posts isn't something you'll find out about for another couple months. However, take my word when I say that A Kiss In The Dreamhouse is a solid entry. It was an unexpected treat to hear for the first time, and even though at number 7, I'd consider it for the wall.

For me, Boy George could easily be the poster child for the 80's. Culture Club wasn't a perfect band, by any means, and they didn't necessarily craft flawless albums. However, what they did have was presence, and when the hits were good, they were amazing. Depending on when and where you bought their debut, you could have any number of versions. The most popular would be the US release, which included the single, Time (Clock Of The Heart).

Africa and Rosanna may be two of the most overplayed song in history, but oddly enough, every time I hear them, I keep them on. Without those two, I doubt Toto IV would even be on my radar. This is one of those scenarios where I consider it for a spot on the wall because it's an iconic album, but at the same time, want to refrain because it's not perfect.

That's kind of the same situation for Duran Duran's Rio. I mean, say their name, and most people will immediately think of this album's title track, Hungry Like The Wolf, Save A Prayer, and The Chauffeur, all of which can be found here. Not only that, but who doesn't remember that iconic cover? This could easily be on my wall, if for nothing else, the pure nostalgia and iconic stature of the album.

It saddens me that a pressing of Oingo Boingo's Nothing To Fear will set me back around $50.00 because this is one which would definitely be a contender for the wall. Sure, not many people outside of the Boingo crowd would be able to name one song off of it, but for me, it was practically perfect, with the exception of a handful of tracks.

And, it's 1982, so everyone knew Thriller would be on this list. What may shock you is that it's not at number one. That's because for me, I don't consider it Michael Jackson's best work. Yes, the majority of it is amazing, and overall the album is killer, but there are a couple songs on it which just don't resonate with me.

For me, my number one spot goes to Prince's 1999. You want to talk about a solid entry for the year, look no further. It has the pop sound which catapulted Prince to stardome, and also starts to showcase The Revolution more than before, though still not noted as Prince And The Revolution on the cover.

This is a tough one because I still have so many years ahead of me to narrow down albums, so I can't very well pick all of these. Instead, I really need to edit myself to what truly would be the cream of the crop for the wall. For that, it comes down to the inclusion of Prince's 1999, and Michael Jackson's Thriller. Add that to the pile with 1980's The Game, from Queen, and Rush's Permanent Waves. While The Smurfs All Star Show was chosen from 1981 to be added to the pile, I've honestly already grabbed that one to put on my wall, but elsewhere.

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Retro Spins: Divinyls - What A Life!

I had a good time listening, and you had a good time reading (presumably) yesterday's post. So today, I'm just going to jump headlong into the Divinyls 1985 follow-up, What A Life!

Plagued by issues, recording their second studio album was no easy task. After their tour, the group returend to Australia, and began work on the recordings. However, after laying down three tracks with prior producer, Mark Opitz, Amphlett and McEntee were unhappy with the final results. Out of frustration, they returned to the road, and while out, continued to write. During this time, they would also replace drummer Richard Harvey with J.J. Harris.

After a year, they would return to the studio, this time with founding member of Art of Noise, Gary Langan, as producer, to try again. While they would lay down further tracks, once again, a full album failed to be completed. Finally, after two years of recording, What Life! would be released.

The band would head to Los Angelos, where they would meet with producer Mike Chapman. Chapman would return with them to Australia, but in doing so, only record two additional songs with them.

What's interesting to me, is that the final two songs, recorded with Chapman, Sleeping Beauty, and Pleasure and Pain, are actually my two favorites from the album. In fact, they're what initially drew me to the 80's era of Divinyls. I'm also quite the fan of Dear Diary, the album's closing track.

As a whole, the songs don't flow as smoothly as their debut. In retrospect, or rather knowing the history of the recording, it sounds like too many different creative inputs. It could also just simply be a product of being forced to completion. There's a mixture of commercial friendly, sprinkled with punk, and dabbled with synthpop. The end result isn't unenjoyable, it's just all over the place.

While What A Life! was highly successful in Australia, reaching number four, it didn't bring with it the international success the band needed. Their label, Chrysalis, would deem it a failure. By 1986, the group had been reduced to just Amphlett and McEntee, and they were on their last legs. Their label had already made it clear that their next album, 1988's Temperamental would be a "make-or-break" record. With the presure on, would the band deliver? Well, if you read yesterday's post, you know the answer to that question. Either way, let's (re)find out tomorrow!

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THIS WEEK ON THE CHARTS
May 5, 1984

Retro Spins: Divinyls - Desperate

Many peopel think the band Divinyls were a product of the 90's. It's understandable, considering most people hadn't heard of them until ther one hit wonder, I Touch Myself, from their 1991 self titled comeback album. However, to get to their roots, you'd have to go back over a decade to 1980, where the group was formed by vocalist Chrissy Amphlett and guitarist Mark McEntee.

Ex-Air Supply member, Jeremy Paul, who was working with Amphlett at the time in the band Batonrouge, would introduce the two. Later in 1980, they would recruit keyboardist Bjarne Ohlin, and in 1981, drummer Richard Harvey. With the aid of Paul, who negotiated their first recording deal, they would sign with WEA Austraila, and complete their first work, the soundtrack for the 1982 film, Monkey Grip. Two singles, Boys In Town, and Only Lonely, would provide early chart success, and lead to them becoming the opening act for the 1983 US Festivel.

Paul would leave as their manager, leading to a revolving door of management through 1988. The group would also sign with Chrysalis Records, and release their debut studio album, Desparate. Here is where we pause for today's Retro Spin.

The international release of the album opens with the two singles above. This is both interesting and disappointing at the same time. The reason being, that since the international release pulls from the prior soundtrack, songs from the original pressing are omitted. In fact, five of the ten tracks on releases outside of Australia are different from the original, with four being pulled from Monkey Grip.

I'm torn on this because I want to hear the original version for comparison purposes, but at the same time, the international release is pretty darn solid. Not being a fan of owning multiple pressings of albums, I don't know if I'll track this down. Additionally, what shocked me, is how expensive Divinyls albums have gotten on CD. An Australian pressing will set you back over fifty bucks, while all others will set you back between twenty-five and thirty!

For me, Divinyls are a hidden gem from the 80's. Amphlett's voice is haunting, and draws you in, while deep music, often led by a groovy bass, such as that on Elsie, create an atmospher that keeps you hooked. On the opposite spectrum, you then get punk type sounds, which hit fast and hard. The latter has a Go-Gos type vibe, which makes it all the more odd that the band wasn't able to really find a foothold in the 80's. If you're looking for something "new" in your music collection, I would highly recommend checking them out.

Divinyls would return to the studio multiple times before releasing their follow up, 1985's What A Life! However, it too would garner little success. Their label would give them one final opportunity to produce a hit, and sadly, this too didn't come with their 1988 release, Temperamental. The band were dropped from their label, and would go on hiatus until reamerging in 1991 on Virgin Records with their above noted hit. It would be five more years before the returned to the studio, this time on BMG, to release their final studio album, Underworld (1996).

Two years later, the band would unformally disband when Amphlett and McEntee had a falling out. While they would reunite shortly after their 2006 ARIA Hall of Fame induction, in 2007 Amphlett would announce an ongoing battle with multiple sclerosis. Things got complicated, when in 2010 she was diagnosed with breast cancer, but couldn't undergo readition because of her preexisting disease. She passed away in 2013.

McEntee announced in 2018 that he had plans to reform Divinyls with a new lead singer, and head out on a tour. This was met by outrage and backlash from fans and drummer, Charley Drayton (1990–1996, 2006–2009). Plans were scrapped, and the tour cancelled in February 2019. Frankly, I wish more people would speak out like this and put a stop to such silly efforts...Looking at you, Queen fans!

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THIS WEEK ON THE CHARTS
May 4, 1985

Retro Spins: DJ Jazzy Jeff And The Fresh Prince - And In This Corner...

I figured today would be a good day to wrap up my listening session of 80's albums from DJ Jazzy Jeff and the Fresh Prince, AKA Will Smith, and Jeff Townes.

It was my brother who introduced me to the duo. I don't know if he saw them on MTV, and from there decided to get the cassettes, or if he had heard about them before. Either way, the end result was he and I sitting on the floor, building Legos, and laughing to the tunes. I'm not gonna lie, back in the day, they were funny.

Playing through And In This Corner..., I was greeted by familiarity. Granted, it's been a while since my childhood, but I still remembered, Then She Bit Me, I Think I Can Beat Mike Tyson, Who Stole My Car?, and Too Damn Hype. Mind you, that was just the tip of the iceberg for this fifty-seven minute rap fest.

I had to shake my head when track five, You Got It (Donut), came on. The tune is all about (hopefully), a fictional girl who Will is seeing who is treating him like a punk by getting with other guys. It's such the opposite spectrum of how his real life wife treats him that it makes the song laughable.

What I also noticed while listening to it was how these songs probably wouldn't be socially acceptable these days. Tracks like The Girlie Had A Mustache. In this overly sensative era, I just don't think some would see the humor. You know how everyone likes to complain about something these days.

While I favored the more comical tracks, there were definitely moments of (somewhat) seriousness that stood out, such as, The Reverand.Jazzy Jeff certainly knows his way around a turntable and mixing board. Admittedly, I'm not to in tune with rap, but he defintiely stands out among what I know as top tier.

So how does their final 80's entry fare to their others? Well...I suppose it's better than getting slapped in the face. I kid...but not really. I do imagine that getting slapped would be far worse than listening to this, or any album. Overall, it's good. Separate the art from the artist, and you can't deny there's quality and enjoyment there.

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THIS WEEK ON THE CHARTS
May 3, 1980

THIS WEEK ON THE CHARTS
May 3, 1986

Retro Spins: David Bowie - Scary Monsters (And Super Creeps)

When David Bowie hit it big in 1983 with his album, Let's Dance, my young self would have told you, that was his first outing. I'd never heard any of his music from the sixties and seventies. Heck, I hadn't even heard Under Pressure (Queen) at this point. As far as I knew, he was a new 80's act. That happened a lot to me as a kid.

As I started growing my CD collection, I found myself inadvertantly hunting down Bowie albums. Somehow, I've managed to amass all but three of his studio releases from his debut in 1967 through 1987's Never Let Me Down, the latter being his last entry into the 80's. However, I've never really taken the time to listen to many of them. To date, I've only heard his debut and Let's Dance. It's something I definitely need to rectify, and I guess today we'll tick off another.

Since it's so vast, and I really only know what Wiki would tell me, I'll skip the history lesson. I've been doing that as of late anyway. Instead, I'll just dive headlong into 1980's Scary Monsters (And Super Creeps).

First and foremost, wow! Did David Bowie usher in the 80's, or what? This album feels way ahead of its time for what was the norm on the Billboard 100. If I had known Bowie could deliver like this, I would have checked in a lot sooner.

Personally, I favored the first half of Scary Monsters to the back half, or side B if referencing the vinyl. That's not to say that the second part was bad by any means, but perhaps the novely of it wore off by the twenty twenty-five minute mark. Whatever it was, I found myself less and less invested, and actually kind of wishing that it would just end.

Admittedly, part of this could have been an overall fatigue from music for the day. Including this one, I listened to five on a Saturday. It got to the point that I kind of just wanted to do something else, but yet at the same time was forcing myself through so I could be done with it.

At the end of it, I will still say the album was enjoyable. It had its better moments, but overall was good. It definietly makes me glad I have more Bowie at my disposal, and I'll defintiely be getting around to it sooner than later...I hope.

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THIS WEEK ON THE CHARTS
May 2, 1981

THIS WEEK ON THE CHARTS
May 2, 1987

Retro Spins: Bon Jovi - 7800° Fahrenheit

It was the band's second album. The final calm before the storm that was Slippery When Wet. It was an album even the band themselves try to forget...and I've never heard it.

7800° Fahrenheit has been in my collection as long as Slippery When Wet, and New Jersey, and yet it has never graced the CD player spindle. Lack of desire, uninterested, and not the biggest Bon Jovi fan to begin with, were probably the driving forces behind this decision. I knew none of the songs on it, so it really wasn't that big of a priority for me to get around to it. I mean, I knew I would eventually.

Well, eventually came today (that would make a great song title, by the way). As I turend it on, I braced myself for background noise. Something I would inneviatbly tune out, but at the same time be able to cross it off my list.

This is where it gets odd. I not only liked 7800° Fahrenheit, I liked every single song. On the same hand, I couldn't tell you at this point what any of them were - it's been several hours since listening to it. I just know they were enjoyable while hearing them.

I don't know, it just kind of felt like a rare gem. A part of music history that for the longest time had been overlooked, and as a result, forgotten. I really think more people, if they haven't already, give Bon Jovi's second entry a chance. It kind of has that b-side feeling. Good stuff, but not good enough to be a hit.

It apparently managed to have two Billboard 100 hits, granted, they didn't chart high. Only Lonely would reach fifty-four, and In & Out Of Love peaked at sxity-nine (rim shot). I want to say I vaguely remember the latter. If it was getting any type of airplay on the radio in 1985, I definitely would have come across it at some point.

The moral of the story here is that 7800° Fahrenheit is one worth checking out.

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THIS WEEK ON THE CHARTS
May 1, 1982