Retro Reviews - July 2026 Part One!!

I have to concede that summer is the hardest time for me.  I was supposed to be through the year of 1986 at the end of May, but here we are, still reviewing stuff.  This time, I'm mainly wrapping up what I wanted to listen to for 1986 and moving on, as I do want to get through all these Top 5 lists I have planned!  It's a bit of a hodgepodge, mostly of glam metal, but it's what I've been listening to lately.

Ratt - Dancing Undercover

While their debut album Out of the Cellar was an excellent set of pop metal, and Invasion of Your Privacy was a solid follow up, the band decided to toughen up their image a little, dropping the attractive girl on the cover to black-and-white images of themselves.  However, the music is pretty much more of the same solid rockin' that they've rocked before.

There might be a few tweaks here and there in the production, but honestly, the differences are minimal at best.  This album is just straight-ahead 80s hard rock with that glam metal flair for the sensual.  Everyone performs their parts well, and there really isn't a weak track.  They also shake things up a little with a bluesy groove on a few songs, mostly on "7th Avenue" and "Take a Chance," but otherwise, this is peak MTV material.

There are a few standouts, like the singles "Dance" and "Body Talk," the latter of which had some interesting chord progressions in the chorus.  I also liked "One Good Lover" and "Looking for Love," mostly for being a little faster than the others.  I'm discovering that I really like this band, largely because they're so consistent, at least across their first three albums.  I read some reviews saying that this album was darker and heavier, like getting into thrash metal territory, but I don't really hear it.  I'll probably end up listening to all their albums eventually, so we'll see if they can stay strong as the years go on.

Cinderella - Nightsongs

Coming from Philadelphia, Cinderella was another glam metal band that was able to catch a quick road to success thanks to the 80s being the best time for this kind of music.  While they weren't the biggest of the decade, they were able to find decent success with this debut album, thanks to some strong singles.

While this is certainly a solid chunk of hard rock, I admit I was only familiar with the big songs.  Now that I'm digging into them, I'm hearing some interesting things.  First of all, singer Tom Keifer sounds a lot like AC/DC's Brian Johnson, and many of the songs feature bluesy riffs similar to the Australian band.  Combined with the glam metal, it gives the band this strong foundation to build on, making for some very catchy songs.  Another surprise was the little touches of Dio that I heard.  They would often show up in the chorus or in ways that Keifer would sing a line, and some of the lyrics had some 80s Dio attitude as well.  Overall, it's an interesting blend that takes the standard pop metal sound and elevates it a little.  The only real problem I had was that many of the songs' endings were very similar, often repeating the chorus into a fade-out.  It's not awful, but it did make some of the songs feel a little too formulaic at times.

As is typical for this era, the singles are the best songs.  "Nobody's Fool" is this slow-burning power ballad that put the band on the spot, "Somebody Save Me" gets a bit dramatic, and "Shake Me" has that AC/DC charm.  I also liked "Hell on Wheels" for its uptempo boogie style.  I understand it was hard for rock bands to stand out at this time, as glam metal and MTV were big business affairs, but I do think this debut showed a band that had a little more than just fashionable clothes to their name.

Victory - Don't Get Mad...Get Even

While I've enjoyed some of their later releases, I decided to dig back into their history and check out their earlier material.  Their debut album (which I didn't review) was a decent collection of 80s rock songs that featured some solid production but little originality.  However, the following year, they picked up Herman Frank on guitars.  He had left Accept and worked with a few other German bands, but in 1986, he joined Victory and stuck around for quite some time.

So to say that they sound a bit more like Accept is mostly true, however, they retain their pop metal sensibilities, especially with some very clean production.  Frank has brought some more metal-like chugging riffs, and his solos certainly add to his robust collection of excellent fret work.  The album starts with "The Check's in the Mail," featuring a rather AC/DC-like sardonic bite, and "Not Me" has this interesting, slower groove riff that tries to sound tough.  I don't think it quite succeeds, but it's a catchy song nonetheless.  "Arsonist of the Heart" is a very curious ballad, not really going for an anthemic height but something more subdued, "Hit and Run" picks up the double-kicking drums for a shred fest, "She's Back" is more more of a cinematic, AOR-style song, and the closer "Running Wild," while not a Judas Priest cover, definitely features a lot of their rockin' energy.  The album never feels like it's stuck in one idea without it feeling jarring or schizophrenic as it jams through its setlist.  

I do think this is quite the improvement over their first album, mostly with the songwriting having more meat to it.  However at the same time, I don't know if it really stands out from the rest of the year in terms of catchy, melodic metal.  This really won't blow anyone away, but at the same time, there really aren't any weaknesses, either.  Just solid, well-executed (and very shiny) heavy metal.

Ozzy Osbourne - No Rest for the Wicked

After the slump that was The Ulimate Sin, a duet with Lita Ford, and two years, it was time for another lineup change.  While bassist Bob Daisley rejoins as drummer Randy Castillo returns from the last album, this album would be the debut of Zakk Wylde.  He had gotten an audition tape to Ozzy who wasn't sure at first, but was later convinced to take him on board.  Helping to write every song, Wylde gave the band quite a strong shot in the arm, as this album has some very good energy.

Once again, Ozzy straddles the line between glam and traditional metal.  While the riffs and subject matter are often gritty, there are still plenty of poppy choruses and vocal harmonies to fit in with MTV and mainstream rock radio.  The production is a massive improvement over the last album, especially with Castillo's drumming which is powerful without being overwhelming.  Naturally, Wylde gets his moments to shine, playing some very electric solos (and his iconic pinch bends), and his riffs really push these songs forward.  John Sinclair's keyboards also provide some extra cinematic layers on the songs in a way that isn't  messy.  The album is not perfect, of course.  "Crazy Babies," which was one of the singles, has some strange riffs and this talk-style chorus, and "Fire in the Sky" is trying to be this somber ballad, but goes on for way too long.

Still, this is quite the improvement over The Ultimate Sin, largely because of how energized it feels.  They kick off with "Miracle Man" and "Devil's Daughter," starting the album with a lot of impact.  "Bloodbath in Paradise" is classic spooky Ozzy, talking about the Manson Family murders like they're a slasher film, and despite the subject matter, I can't deny that "Demon Alcohol" is a fun song.  Overall, I was surprised by how much of this I enjoyed.  Zakk Wylde's introduction to the world makes for a pretty entertaining Ozzy album!

Retro Reviews - June 2025!

Wow, this has been a rough start to summer!  Between all the heat and the pollen, I've had some pretty terrible headaches and a complete drain of energy.  It's taken a while, but I think I've finally wrapped up all I want to try and listen to for my Top 5 of 1985 article, which should be coming soon.  At the very least, here are a few more retro reviews, this time focusing on more straight-ahead rock from that year.

AC/DC - Fly on the Wall

After the lackluster Flick of the Switch, the band were able to carry on through the 80s on their touring prowess.  When it came time to get back into the studio, the brothers Malcolm and Angus took over production duties and wanted to get back to their more iconic roots.  The result is a bit of a mixed bag, as little of it really hits, but it's at least better than the album that came before.

Once again, production is an issue, this time pushing Brian Johnson's vocals to the back, like he's singing from a tunnel.  While he's being buried by the riffs, I do think the writing is a little better this time around.  The band certainly still knows how to get heads bobbing with their bluesy grooves and chunky riffs, and there's a little more energy going around.  Unfortunately, the lyrics do feel like leftovers from their career, often covering the same topics with less wit or creativity.  Still, the band remains pretty consistent with their sound, so there are no major shake-ups naturally, and none should be expected.

As always, reviewing AC/DC is perhaps a moot effort.  Either you already know by now if you like them or not, but as I'm going through their discography, it's fun to find a gem or two.  "Shake Your Foundation" is probably the closest they get to Back in Black anthem territory, and I did like the bluesier groove of "Danger."  Overall, it's a pretty bog-standard effort for them as they tried to find their place among the growing glam metal movement.

Lee Aaron - Call of the Wild

For some reason, I thought Metal Queen was Lee Aaron's first album, but it turns out it was her second.  I guess I should take the time to go back and give that listen, but for now, I'm moving forward and catching this one while I'm focused on 1985.  While the music is still wearing tons of metal clichés on its sleeves, I do think it's a bit of a stronger album than the last one.

It might be difficult to find an album that sounds more 80s than this, though.  Not only does it continue the glam/pop metal style of rockin', synths get added to a handful of songs, giving it a slight Night Ranger/Europe vibe.  Once again, Lee herself is a great singer, though I do think she tries to force a sense of toughness here and there with mixed results.  Otherwise, it's some pretty straight-forward 80s rock music.  The starts well enough with "Rock Me All Over" and "Runnin' From the Fire," and "Line of Fire" has a bit more of a cinematic feel, but the album is pretty consistent across its run time.  Fans of 80 MTV-savvy rock music will probably enjoy it, but again, it's hard to recommend when the music sticks to a formula that's done better elsewhere.  A nice listen, but not much else to it.

Ratt - Invasion of Your Privacy

While Ratt are often consider just part of the 80s glam metal pack, but they actually do have some decent songwriting.  Their debut album Out of the Cellar really is just non-stop rocking from start to finish, and after giving their sophomore effort a listen, they didn't lose a step!  

For what it's worth, there really isn't anything particularly innovative or noteworthy about what the band does here because they are very focused on straight-ahead, mid-tempo rock songs, with great results.  Things start off well with big singles "You're In Love," and "Lay It Down," but there are some decent gems further in, like "Got Me On the Line," and "You Should Know By Now."  Things get a little slower with "Closer to My Heart," but it's not really a ballad and features some interesting overlapping with acoustic and electric guitars.

Ultimately, the album is very consistent, with solid execution, making it quite the standout in a time where pop metal is really thriving.  There's a decent chance this might end up in my Top 5, but I need to listen to a bunch of others to decide.  As it stands, it's a great follow-up of a great debut album, and I kinda wish I had been paying more attention to these guys sooner!  I'll definitely be checking out the rest of their albums in the coming years.

AC/DC - Blow Up Your Video

So this is a few years later than the one I just reviewed at the top of the article, but I figured I should squeeze it in.  As I'm going to be listening to their subsequent three albums over the next few months for their respective Top 5 articles, and I didn't see the point is leaving this one out.  I also listened to Who Made Who, but that was more of a compilation with a few new songs for a Steven King horror movie.  (For what it's worth, those were instrumental except for one, and they're all okay.)  Now, a few years later, and bringing back the producers who helped them with their 70s albums, the band seems to have made some corrections with a solid chunk of new tracks.

The production is fixed, compared to previous albums, and honestly, the streamlined simplicity has taken center stage again, as these songs are actually pretty catchy and groovy.  The album starts well with their two singles "Heatseeker" and "That's the Way I Wanna Rock 'n' Roll," but then follow it up with the funk rock track "Meanstreak."  From there, the album just kinda cruises along as AC/DC always does, without any real surprises, though "This Means War" is a pretty nice and upbeat closer.  Overall, it's definitely an improvement over what they had been doing through most of the decade, probably their best album since For Those About to Rock We Salute You.  Once again, there isn't much to say when AC/DC is good, as you know what to expect.  While it isn't one of their better ones, they've definitely been worse, and it's good to hear a band find their groove again.

Anniversary Series - 1984!

I have to tell you that this is probably one of my favorite years.  So many good albums came out this year that it will be tough to condense it down into one article, but I've tried.  Metal is really growing, not only with the popularity with the pop stuff, but thrash also slowly building in the background.  Meanwhile, rock music was taking a bit of a backseat, but there were still some very good releases this year.

Things start off massive with Van Halen's 1984, dominating the charts with songs like "Panama," "Jump," and "I'll Wait."  It may have startled some fans with the synth riffs, but the songs won pretty much everyone over.  And right after that, Judas Priest shows up with Defenders of the Faith, a solid follow up to the massive Screaming For Vengeance.  Other big albums at the start of the year include Whitesnake's Slide It In, Saxon's Crusader, Europe's Wings of Tomorrow, and Scorpions' Love at First Sting, with the titanic hits "Rock You Like a Hurricane," and "Big City Nights."

This year would also feature a lot of debut albums, with some albums being better than others.  Bon Jovi's self-titled debut only shows hints of their future successes, Grave Digger's Heavy Metal Breakdown barely holds together, and even celebrated thrashers Anthrax started with the uneven Fistful of Metal.  However, the good debuts include Lee Aaron's Metal Queen, Savatage's The Dungeons Are Calling, Queensrÿche's The Warning, Autograph's Sign in Please, and Ratt's Out of the Cellar, blowing up radios with their big hit "Round and Round."  The rest of that album is quite good, too.

Metal continues to evolve as the year goes on.  We have some early efforts in doom metal with Trouble's Pslam 9, and Saint Vitus' debut, ensuring that Sabbath-y slow, ominous riffs wouldn't go out of style.  Cirith Ungol would have their own take on epicness with King of the Dead.  Yngwie J. Malmsteen, after trying to make it with Steeler and Alcatrazz, introduces the world to neo-classical metal with Rising Force.  Of course, the big winner is thrash metal, featuring two massive albums: Metal Church's self-titled debut, and Metallica's Ride the Lightning.  Both are excellent examples of blending melody with aggression, making them some of my favorites.

Metal would continue to dominate the year as it goes on.  Twisted Sister told us "We're Not Gonna Take It" on Stay Hungry, Dio would sing about the Last in Line, and Iron Maiden would cement their metal supremacy with Powerslave, going on a massive world tour.  Manowar would end up releasing two albums this year: Hail to England and Sign of the Hammer.  Towards the end of the year, Dokken put out Tooth and Nail, expanding their sound into their own brand of pop metal.

With all this metal going on, what about rock?  Well, like I said, it was in the background, occasionally popping out with some good songs.  .38 Special started the year with Tour de Force, Queen got experimental with The Works, Rush continued their synth-based sound on Grace Under Pressure, Steve Perry went solo with Street Talk, and Bill Squier showed Signs of Life.  The big story, however, was Deep Purple's Mark II reunion, recording Perfect Strangers, which is an interesting blend of 70s and 80s styles.  

As the year came to a close, there were more big albums.  The Alan Parsons Project would release two this year, Ammonia Avenue and Vulture Culture, which would be their last two efforts to follow the mainstream popularity of Eye in the Sky.  Then, at the very end, Foreigner would come back with Agent Provocateur and the big ballad "I Want to Know What Love Is." While rock may have been fading at the time, it certainly wasn't going out without a fight!

As you can see, this was a massive year.  Be sure to check out the playlist below for more awesome music, and if you think there's still something I may have missed, let me know in the comments below.  I know 1984 is a year I keep coming back to, and maybe when I come around on these Anniversary Articles again, I'll have even more to talk about!  Until then, rock on!  \m/

Anniversary Series - 1986!

Yup, time for another anniversary article.  1986 is definitely a peculiar year, as rock and metal were evolving in a lot of directions by now.  Still, plenty of great songs and albums came out, so let's take a look.

Starting off, we have Ozzy himself, carrying on his solo career with The Ultimate Sin.  Featuring the big hit "Shot in the Dark" (not to be confused with the Great White album of the same name that also came out this year), it would also be the last Ozzy album to feature the fretwork of Jake E. Lee.  Another big name featuring some lineup changes was Van Halen, giving us 5150 and new singer Sammy Hagar, dividing the fans for many years to come.

However, the big metal shift came with the advent of thrash metal.  After kicking around for a few years, bands starting coming out with monster records that would expand the fanbase as well as metal's diversity of sound.  While I generally don't cover a lot of thrash on this blog, I can't deny the melodic chops of Metallica's Master of Puppets and Megedeth's Peace Sells...But Who's Buying.  These two albums would become thrash classics for the genre, and it's easy to see why.  Proggy elements mixed with fierce riffing and shredding, and some iconic vocal hooks, ensured that these bands meant business.

Of course, pop metal was only getting bigger.  Europe would finally crack the US with their third album The Final Countdown, Poison's debut Look What the Cat Dragged In also did well with the singles "I Want Action" and "Talk Dirty to Me," Ratt followed up their second album Dancing Undercover, Cinderella gave us Night Songs, and Bon Jovi's Slippery When Wet would go to #1 thanks to their three massive singles.  Even Judas Priest started to glam it up with Turbo, putting a little color in their classic black leather look.

Metal certainly dominated things by this point of the 80s, but rock was still going strong, in it's own way.  AC/DC found success with the single "Who Made Who," Journey was able to work with Steve Perry's health to release Raised on Radio, Genesis continued their pop success with Invisible Touch, and Queen mixed up their sound even more with A Kind of Magic.  Even Boston was finally able to work out their legal troubles and released Third Stage, featuring the big track "Amanda."

Rock was certainly in a lot of different places by 1986, leading to greater diversification later on, and you can find more of that in the playlist I've provided below.  As always, let me know if I've missed something.  Until then, rock on!  \m/