The Toy Box

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

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Retro Spins: Mötley Crüe - Too Fast For Love

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THIS WEEK ON THE CHARTS
March 24, 1984

Retro Spins: Siouxsie And The Banshees - Juju

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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THIS WEEK ON THE CHARTS
March 23, 1985

Retro Spins: ABC - Beauty Stab

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

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

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

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

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

But, is Beauty Stab really that bad?

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

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

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

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

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THIS WEEK ON THE CHARTS
March 22, 1980

THIS WEEK ON THE CHARTS
March 22, 1986

Retro Spins: The Motels - All Four One

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

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

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

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

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

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

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

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

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

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

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

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

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

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THIS WEEK ON THE CHARTS
March 21, 1981

THIS WEEK ON THE CHARTS
March 21, 1987

Retro Spins: Berlin - Love Life

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

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

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

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

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

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

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

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

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

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

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

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THIS WEEK ON THE CHARTS
March 20, 1982

Retro Spins: Tommy Shaw - Girls With Guns

What do you do when you've just left one of the most popular bands of all time? Go solo!

Styx had already released five albums from 1972 to 1975 when Tommy Shaw joined. He replaced original founding member, John Curulewski, who departed to spend more time with his family. Shaw would stay in the band for seven albums between 1976 and 1984 before leaving to pursue his solo career. Unfortunately, for Styx, this would also set the wheels in motion for the band to disband temporarily.

For his first solo project, Shaw released 1984's, Girls With Guns, the title track being the reason I picked it up. As I played through it, I found it to be much better than I expected, but at the same time, I also felt like I was listening to a Styx album. It's very reminiscent in its sound, and I suppose that's to be expected.

There's definitely good music here, which is what ultimately surprised me that there's not necessarily any hits. Success wise, the title track would only reach number thirty-three on Billboard, and this was followed by Lonely School, which peaked at sixty. Personally, it's just okay. It has songs that are enjoyable, but not necessarily memorable.

It's because of this, that overall, Girls With Guns isn't what I would call a "must own". It's just okay, and because of its potentially to be costly, the aspect that kept me away from it for a long time, it's not one I rushed into grabbing for my collection. Rather, I got around to it eventually, when I came across one on ebay for half the normal asking price. Mind you, this was after being on my want list for over a year.

Shaw would eventually reunite with Styx, but throughout the remainder of the 80's released 1985's What If, and 1987's Ambition. His 85 release was most noteworthy for the inclusion of Remo's Theme, the hero theme to the failed franchise launch Remo Williams. He would also team up for the super group, Damn Yankees. Second only to their lineup, which featured Ted Nugent and Jack Blades, the band was most memorable for the platinum hit, High Enough.

He's definitely had his share of hits, which again, only makes it all the more surprising that this particular album wasn't a polished gem.

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THIS WEEK ON THE CHARTS
March 19, 1983

THIS WEEK ON THE CHARTS
March 19, 1988

On a side note, I also came across this, and thought it was hysterical.

If you're following the recent events which occurred around my neck of the woods, then you may see the comedic value here.

Comics Corner: The Amazing Spider-Man 207

Title: The Amazing Spider-Man
Issue Number: 207
Release Date: August 1980

Highlights

First appearance of Oswald Clum
Peter is on his first date with Debra Whitman
J. Jonah Jameson is back in charge at the Daily Bugle

Low Points

Villain of the week story, and not a very good one at that
Plot point is weak, too weak to be in Spider-Man's flagship title

Oddities

Editor's Day Off - On one page Debra is referred to as Debby, and then on another, Debbie
Oswald Clum walks towards the edge of a bridge, hypnotized, ready to jump, and thoroughly chained up with his hand behind his back - The latter a neat trick - How'd he do that to himself? Wait...where'd he get the chains from?

Rating (based on a 1 through 5 Stans grading system)

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Retro Spins: Martin L. Gore - Counterfeit E.P.

Fan of Depeche Mode? Then you might be on board for today's Retro Spin.

Martin L. Gore is known as one of the head founders of the group Depeche Mode, and along with guitarist and keyboards, he's credited as the band's main songwriter, and lead singer. So when he separates himself from the band to record his first solo work, Counterfeit E.P., it's no surprise that it sounds very familiar.

Much like how Paul Stanley proved in 1978 that he didn't need the other members of the band to create a Kiss album, so too does Gore on this album that he doesn't need his bandmates. Though a solo effort, this is very much so a Depeche Mode album, from it's sound to its structure. This in and of itself is odd, because the songs on the album are all covers.

The downside here, is that it ends up being an album without a lead single, or any real hits at all. I picked it up for the opening track, Compulsion, and while the song Gone is decent, the other four on the EP are easy to skip.

Ideally, when an artist from a band goes solo, it's because he wants to branch out from the music styles he or she has been "stuck" in, and spread their own creative wings. I look at Freddie Mercury's Barcelona album as an example. That's not something Queen would have ever gotten away with. Whereas here, Gore has just done more of the same, but on his own with other artists material.

Considering it's not a very expensive album, I can't grip about it too much. I mean, at least it's not like some of those one-hit wonder albums that will set you back over a hundred dollars for one song.

While Gore has continued to dabble in solo work here and there since its release, he has mainly stayed focused on Depeche Mode's albums. Perhaps that's for the better. Counterfeit E.P. isn't a bad album. It just feels unnecessary.

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THIS WEEK ON THE CHARTS
March 18, 1989

Cinnamon Toast Crunch Amazing Fantasy 15 (General Mills)

Cinnamon Toast Crunch Amazing Fantasy 15
General Mills
2022

On October 20, 2022, Wal-Mart launched an online exclusive box of Cinnamon Toast Crunch Cereal. Featured on the box was a fabulous rendering of the original 1962 cover of Amazing Fantasy 15, the first appearance of Spider-Man in Marvel Comics. Limited to just 1,962 boxes, and despite being priced at $10.00 per box, the cereal sold out fast - Mainly to scalpers, of course.

The main treasure within this collectable box was on the back. Flipping it over, it would open up, like a book, and featured an abridged reprint of Amazing Fantasy. Yes, that's right. A fantastic and iconic comic right there on the back of your cereal box!

Back in 2024, when I wrote this post, sealed boxes were still relatively easy to come by, on secondary markets, of course. Typically, they sell for between $20.00 and $25.00, with free shipping, which I suppose isn't terrible. I mean, it was decent enough for me to grab one, and by the time you read this, I may have opted to grab more. It's a unique collectible for comic fans, and a fun way to read the origin of Marvel's web spinning super hero.

Based on the label, the cereal expired as of April 20, 2023. While I suppose that's not too long a period between then and now, I still wouldn't recommend eating any of it. But, hey, to each their own if you opt to get a box or two.

For those of you who've never taken a moment to read this iconic story, I took the liberty of posting the book in its entirety below, ads and all. Personally, I'm not a fan of the "B" and "C" stories, but that Spider-Man debut makes up for it in spades. It's a classic read! Enjoy!

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