The Toy Box

Retro Spins: Bonnie Tyler - Secret Dreams And Forbidden Fire

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

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

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

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

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

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

On that note, let's dive right in!

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

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

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

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

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

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

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

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

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

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Disclaimer: They Toy Box does not endorse or contribute to piracy. Retro Spins posts are intended for educational and entertainment purposes only. None of the music discussed here is available for sale, downloading or distribution.

Retro Spins: Bonnie Tyler - Goodbye To The Island

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

But I'm getting way too far ahead.

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

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

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

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

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

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

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

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

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

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

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Retro Spins: Simply Red - A New Flame

With their first two albums peaking at number two in the UK, where was Simply Red to go from there? Well, number one of course, and that's exactly what happened with their 1989 released A New Flame.

Led by the number one single, If You Don't Know Me By Now, a remake of the 1972 Philadelphia soul classic by Kenny Gamble and Leon Huff, and the minor hit, It's Only Love, which peaked at number fifty-seven, the world was opening wide for the band. This was highly contributed to by the band purposefully aiming for a more mainstream versus critical successful sound, a gamble which paid off.

Once again, it takes a bit for the album to gain momentum for me. I will also say, if this is considered mainstream, especially in 1989, I'd like to know where. There was no music like this over the airwaves in my neighborhood that year. Rather, the radio was blaring the likes of Roxette, Janet Jackson, Phil Collins, Madonna, Bonnie Ratt, Aerosmith, and Mötley Crüe.

Despite the addition of saxophone player, Ian Kirkham, it still manages to reduce the jazz and soul sound, again, probably from the conscious decision to become mainstream. Basically, his inclusion, and use, feels a bit wasted. They lose something in what created their charm in the process.

Still, there were some decent tracks to be found, which for me, included A New Flame, the song, More, She'll Have To Go, and Turn It Up. The latter, I don't know why, but I feel like I've heard before. Yet, I can't place where or when. I appreciate the cover tune, If You Don't Know Me By Now for what it is, but I can't say it's among my favorites.

By this time, lead singer Mick Hucknall was a major international superstar, often resulting in him being photographed with other celebrities and super models. Whether it was from an inflated ego, or truly how things were going, he would declare in a 1991 interview that Simply Red was basically a solo project for him. Whether it was coincidental timing, or the declaration itself, Chris Joyce and Tony Bowers quit the band around this time.

This would be the start of a heavy rotation of members coming and going to the point that Hucknall would eventually become the only remaining original member when Tim Kellett, and Fritz McIntyre left in 1993 and 1996, respectively.

1991 would also be the biggest year for Simply Red with the release of their album, Stars. Surprisingly for an 80's band entering the grunge era, it would become their biggest selling record of their career, certifying at a whopping 12X platinum in the UK, along with peaking at number one. Further, it would reach the top ten in seven additional countries. However, with it would also come their final Billboard Hot 100 hits, Something Got Me Started (peaking at twenty-three), and Stars, the song, peaking at forty-four.

Despite that being the last for the USA, the band remained a massive success around the world. As I've noted a couple times at this point across previous posts, all thirteen of their studio albums have peaked in the top ten in the UK, spanning a career of 1985 to 2023. Even then, while the band isn't releasing studio albums these days, they, or I suppose more correctly stated, Hucknall as Simply Red, remains very much so active.

Overall, this was a pretty good series of listening sessions. I definitely didn't expect to like Simply Red as much as I ultimately did. Ultimately, what started as a band I added to my collection for appreciation of their contributions to the decade, turned into an appreciation for the music directly. Though I wouldn't call myself a mega fan by any means, I'm definitely down with them at this point.

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Retro Spins: Simply Red - Men And Women

Did you know that Holding Back The Years wasn't initially performed by Simply Red? Rather, while written by lead singer, Mick Hucknall, it was added to the catalog of his first band, The Frantic Elevators. However, it would be the success of that song which would lead to them breaking up in 1984, and Hucknall forming Simply Red, though first as World Service, Red and then Dancing Dead before settling on the band's name.

The initial lineup consisted of Hucknall on vocals, David Fryman on guitar, Tony Bowers on bass, Fritz McIntyre on keyboards and additional vocals, drummer Chris Joyce, and multi-instrumentalist Tim Kellett on brass and live backing vocals. They quickly garnered the attention of Elektra Records, but after recording just one track for them, Fryman quit, replaced by Sylvan Richardson. With their core in place, their debut, Picture Book was released in 1985.

It would be a massive success, charting in multiple countries, receiving multiple sales certifications, ranging from gold to 5X platinum, becoming their first of non-stop consecutive top ten album in the UK. It would also spawn two Billboard Hot 100 hits, the number one chart topper, Holding Back The Years, and Moneys Too Tight (To Mention), which would peak at twenty-eight. Simply Red is probably the only band I've come across to date that has had every single album they released chart in the top ten in that country. That's thirteen albums between 1985 and 2023.

The follow-up, 1987's Men And Women, their second number two album in the UK, and with it came the Billboard single, The Right Thing, which peaked at number twenty-seven. A fun fact of the album would be that a handful of tracks were co-written by Hucknall, and legendary Motown veteran, Lamont Dozier. When putting the credits in the album jacket, it was noted as Hucknall/Dozier/Hucknall, a nod to the Motown writing team of Holland–Dozier–Holland.

Admittedly, it took me a bit longer to get into their sophomore album. It starts off with the aforementioned hit, which didn't really resonate with me. I got a little worried, as this continued through the first 1/3 of the album.

However, once I Won't Feel Bad came around, I started to get some material I was digging. While this didn't stay consistent for the remainder of the album, there were other standouts, which included Love Fire, Move On Out, and Shine.

Men And Women definitely wasn't better than its predecessor, but it did (eventually) offer some good stuff up. It also continues that mixture of pop and soul, with a hint of jazz. This makes it a very unique offering from the 80's, and I am happy to see that there was indeed something I was missing out on back in the day, not that I would have appreciated it back then. Not with all the hair and metal bands I was into at the time.

Upon its release new guitarist Richardson would leave, citing disillusionment with the industry. He'd be replaced by Heitor TP. Additionally, Ian Kirkham, who provided saxophone to Men And Women, would be officially added to the fold.

The band would venture into the studio between 1988 and 1989 to release their final album of the decade, A New Flame. However, following its release, the foundation of Simply Red would be shaken, eventually leading to a non-stop rotation of members, and Hucknall being the only remaining original member. That unfolds and wraps up tomorrow.

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Retro Spins: Simply Red - Picture Book

If you were to have told me prior to starting my latest Retro Spin series that Simply Red was a band who have charted in the top ten in the UK with every single album they've released from their 1985 debut through their latest 2023 release, I'd have told you that's not possible. The Holding Back The years guy? That's not even that good of a song. But it's true. Thirteen albums in a row have all gone top ten, with the lowest being number eight, and the highest, and multiple, being number one.

As I kind of hinted at, one of the band's most noteworthy hits is a song I didn't even think was all that good. In fact, when I started putting together my 80's collection, they really only got included as an honorable mention of sorts. An, "I'll buy it because they had hits" scenario. So, the question I hope to answer starting today is, "What have I been missing?"

Though I knew they had a unique pop sound from the hits I knew, what I didn't expect was the smooth soul sound that they implemented into a lot of their work. For example, Sad Old Red could easily be played in a local jazz club, I dare say even to this day. It has a slick bass line, and is filled in with a selection of horns, and a slick swing feel in the drums. The vocals of Mick Hucknall really shine through. So much so that when the upbeat pop tune, Look At You Now follows, the latter feels out of place. I found myself actually wanting more jazz versus pop.

Yeah, sure you'll get their big hits from the record, the aforementioned Holding Back The Years, and Money's Too Tight (Too Mention), but in between that you get a solid record that really caught me personally off guard. I wasn't expecting to enjoy this one. I think I've grown a new appreciation for the two mentioned hits, but also came away with Sad Old Red, Heaven, Jericho, and No Direction.

All and all, it was a pretty solid start, and I'm down with hearing some more from Simply Red. Who knows, I may indeed find out what I was missing.

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Retro Spins: T'Pau - Rage

Man, I can't believe that it was all the way back in 2019 that I first, and last, talked about T'Pau. Granted, they only had two albums in the 80's, but seven years ago feels like a lifetime ago at this point.

After releasing their unique hit, Heart And Soul, T'Pau was a band that you would have thought the world would keep their eyes on. Sadly, this wasn't the case.

The group was formed in 1986 as Talking America before taking their name, T'Pau. It would come from a Vulcan leader of the same name who appeared in the season two opener episode, Amok Time from Star Trek's original series.

Heart And Soul would initially only chart in the USA. It had previously been a flop in the UK, but success would follow after the tune was featured in a Pepe Jeans commercial. The end result was a massively successful debut, Bridge Of Spies (1987), which peaked at number one in multiple countries, and in the top twenty in several others. The album would also go 4X platinum in the UK, and gold in both Canada and Germany.

Poised for greatness, they released their follow-up, Rage in 1988, and that's where it all ended. The record would fare best in the UK, landing at number four, and charting between fourteen and forty-four in four other countries. It would not chart at all in the USA and further produced no Billboard Hot 100 Hits. T'Pau had come and gone overnight.

Carol Decker's strong vocals kick things off a cappella followed by drums slapping, and the rest of the band coming in. Arms Of Love is a solid opener and sets a solid tone for what's to be expected.

Unfortunately, that's where things kind of end. While her voice stays formidable, the songwriting itself is lacking. It all feels like generic throw away material. Filler, at best. There are definitely no hits worth raving about. Though I will give a subtle nod to Between The Lines, and Road To Our Dreams.

Island feels like a lackluster attempt at recapturing what Heart And Soul delivered. It's a decent attempt, but simply can't hold a candle to its predacessor.

The CD version also contains an additional track, This Girl, but it's by no means anything that needed to be included. Rather, it feels like it's just there to extend the runtime and take advantage of the CD era. More is not necessarily better.

Side note: the above makes me laugh because it reminds me of the food reviews you'll see sometimes. "Food was terrible, and portions small." Why would you want more if it's terrible? Anyway...

As a whole, the album isn't terrible. It's just not as good as it could be, and the sad part is that Decker really does have a powerful and unique voice. With the right material, she could have become a powerhouse of the late 80's. I dare say that if they embraced it, T'Pau could have also transitioned formidably into the grunge scene, standing right next to the likes of Hole and Garbage.

The band kept things going through 1991, releasing their third album, The Promise. However, a continued lack of commercial success, and the relationship between Decker and guitarist Ronnie Rogers led to them disbanding.

Carol would reform the band in 1998, and release Red. However, she'd be the only original member from the band until Rogers returned. They'd release two more albums, 2015's Pleasure And Pain, and 2026's Be Wonderful. However, no albums since 1991 have charted, and the years of success appear to have been long left in the past.

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Retro Spins: 10,000 Maniacs - In My Tribe

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

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

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

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

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

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

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

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

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

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Christmas Catalogs - Sears Wish Book 1975

Hey! You want to spend the next two years looking at the fantastic Christmas catalogs produced by Sears, JCPenny, and Montgomery Ward? Cause I do! Yeah, I said two years, cause that's a lot of catalogs! Join me on most Monday's each month as I post up one of those fabulous books starting with 1970, and ending with 1989.

Look through every page, feeling every bit of nostalgia. Chuckle at the look and style of the wardrobes those zanny past decade people wore. Gawk at the toys you used to have, but long since parted ways with. Bring back all those memories of hours spent laying on the floor, combing every inch as your young mind pined over everything you wanted. Reminisce over the Christmas that followed as you unwrapped those lucky few that you got.

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