Reviews

DVD REVIEW: Def Leppard – In the Round In Your Face (1989)

Part Eleven of the Def Leppard Review Series

DEF LEPPARD – In the Round In Your Face (1989 VHS, 2001 Universal DVD)

When I was a kid, in love with music and watching every video on television, there was only one concert I wanted to see.  Grade 10, going on grade 11, the only show I craved was Def Leppard.  Their innovative stage in the round, in the center of the arena, seemed like the ultimate package.  But I was just too young and had no one to go with, so I never made it.  Fortunately, Def Leppard released a home video to satisfy those of us who could not be there.  I rented the tape from Steve’s TV and made a copy.  It was the best I could do on my allowance.  To make up for it, I bought it three times since on different formats (VHS, DVD, CD).

I popped the tape into the VCR with anticipation.  A sped-up collage of the stage assembly flashed before my eyes, to the sound of “Rocket”.  A massive undertaking, but this was just pre-amble.  The show was about to begin!

It was just as I had heard about in the highschool halls.  The stage was draped on all four sides by massive Hysteria curtains.

“I know what you’re thinking,” says Clint Eastwood over the sound system.  “‘Did he fire six shots, or only five?’  Well to tell you the truth you know in all is excitement, I’ve kinda lost track myself.”  A laser show begins dancing on the curtains.  “You’ve got to ask yourself one question.  ‘Do I feel lucky?’  Well do ya, punk (punk punk punk)?”  

Guitars replace the echo of Eastwood’s voice.

“I said welcome to my show!” screams Joe Elliot, teasing us before the curtains finally crash down and “Stagefright” kicks off the proceedings!  Even in my armchair, there’s still goosebumps.

Def Leppard rip through “Stagefright”, completely in control, on fire as hot as their early days.  Each member throws shapes on stage while Rick Allen keeps the whole thing moving, on drums in the middle.  Leppard’s stage is not flat, with catwalks and staircases for the band to run and jump all over, which they do.  Overhead cameras capture everything, from every angle.  Nobody but Allen is confined to one space, as the band leap from place to place in the name of entertainment.

Continuing with the Pyromania, “Rock! Rock!” keeps the pace going at full speed.  It brings a tear to the eye, seeing Steve Clark do his trademark whirlwind moves on stage, accented by his red scarf and made only more perfect in the round setting.  A reminder that this was it — the last high point of the Clark era.  Fortunately captured on camera and tape.

The first new song, and break in tempo, is “Women”.  This is the famous version released as a single B-side with the “We got everything we need!” intro.  You know it, you love it, it’s legendary:  the live version of “Women”.  Rick Savage mans the keyboard station for the time being while the lights get dimmer.  Lots of echo on this one to duplicate the album ambience.  “Too Late For Love” — a damn fine version — brings a ballady vibe, which they then lean into fully on an early appearance of “Hysteria”.  The live version of “Hysteria” is lengthier with an extended bass intro.  It feels like Def Leppard are a band with four frontmen, with the amount of shape-throwing going on here!  And, for a moment, Joe Elliott on rhythm guitar!  A funny little 80s axe with no headstock it is, locking down the riff while Steve and Phil embark on a glorious dual-guitar harmony solo.

Steve Clark gets a mini-solo to open “Gods Of War”, a Leppard epic that really shines in the live setting.  We always thought it should have been the 8th Hysteria single.  Rick Savage on acoustic guitar during the outro.  The lights blast at the end, simulation “the bomb” and the band exist the stage as the lights go black.  It’s a perfect transition to the gunshot sound effects that open “Die Hard the Hunter”.  Lighters up!  Off goes Phil’s shirt.  This track is a return to the tempo of the opening duo, all three being from Pyromania.

Indeed, it is time to address the setlist.  You may have noticed all the tracks are from Pyromania and Hysteria thus far.  There is nothing from On Through the Night, and only one from High N’ Dry:  “Bringing On the Heartbreak”.  “This is one of our earlier songs, that we’re going to play a brand new way for ya,” says Joe.  It seems they were trying to focus on the big albums that people had heard on MTV rather than their heavier metallic roots on this tour.  Phil Collen gets a nice acoustic intro to show off his skills, along with Steve on doubleneck.  This new semi-acoustic version of “Heartbreak” was so the band wouldn’t get sick of the song; it’s interesting anyway.

“Foolin'” ushers in a long stream of big, big hits.  Steve’s still rockin’ the doubleneck.  Then “Armageddon It” is nice and fresh.  Much of this footage will be familiar to fans of the music video.  “Animal” is tight, and received with a rapturous applause.  Lots of girls in the front row dancing to this one.

There’s a touching moment in the “Pour Some Sugar On Me” intro when Joe says that the return of Rick Allen “the Thundergod” on drums was the biggest “up” that the band ever had.  They then make easy work of the hit single.  Phil takes a solo rip on the fretboard before “Rock of Ages”, and then of course the obligatory long audience singalong section.  (“You can do better than that!”)  The encore “Photograph” closes the show, and a great song to do it with.  Shirts are no longer required where Joe and Steve are concerned.

This video was expertly directed by Wayne Isham.  It is simply one of the best shot and edited live concerts available on DVD.  It’s also – sadly – a document of the last stand for this lineup of the band.  They had hit the top.  Unfortunately you can never stay.

5/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia (Record Store Tales)

 

Next:

12. The Wait for Adrenalize (Record Store Tales)

REVIEW: The Defiants – Zokusho (2019)

THE DEFIANTS – Zokusho (2019 Frontiers)

The Defiants:  Paul Laine, Bruno Ravel and Rob Marcello.  Call ’em what you like.  A side project of Danger Danger, a power-pop trio, whatever you want.  There’s nothing wrong with any of that.  Just be sure to listen, because in 2019’s Zokusho, the Defiants created one of the best albums of the year.  It is an intensely catchy, varied, well-executed album that sticks to the brain like peanut butter.  The production is slick and pounding.

“Love is the Killer” opens the album in grand fashion.  It’s a big dramatic pop rock song with modern production, but hooks rooted in 80s classic rock.  Huge chorus, which Paul Laine gets to wrap his able pipes around with ease.  A ripping solo takes a little extra time, proving this isn’t simply a pop band, but one of talented players doing what they want.  And even though “Love is the Killer” is a fine opener, it’s not even close to best track on the album.

Heavy mid-tempo “Standing on the Edge” cranks up the tension.  The chorus absolutely kills — unforgettable.  Until this point though, the album’s edges were dark-tinged.  “Hollywood in Headlights” is the first celebratory rock song, perfect for the summer cruising season.  There’s a nice crunchy guitar riff that goes with it.  A catchy, perfectly written rock classic.  But like a sequel, “Fallin’ For You” continues the good time vibes where they left off.  Unlike a sequel, it’s just as good if not better.  It’s faster and even more upbeat, with irresistible singalong vocals, and a stunning solo.

A Def Leppard vibe inhabits “Hold On Tonight”, with that kind of picked Phil Collen guitar hook.  A power ballad with plenty of power indeed.  Leppard’s “Stand Up” but cranked up?  Something like that at least.  But that’s it for sentimentality for the moment.  “Allnighter” is a party rock pounder.  Definitely something of a rallying cry for those about to hit the town.  Still with the hooks though.  I don’t think Paul Laine knows how to write a song without hooks.

“U X’d My Heart” is not the finest song title ever composed (it means “You Crossed My Heart”), but the classy ballad defies its title.  Delicate picking followed by crunching guitars create a vital sounding rock ballad.  It’s quickly followed by “It Goes Fast”, with progressive vibes & keys guiding the way to outer space.  Another killer song.

Track nine, “Stay”, goes upbeat again, fast and overflowing with catchy components.  There’s a sudden key change towards the end that’s a little jarring but that’s the worst thing I can say about it.  Following that is a spacey, Journey-like tune intro to a tune called “Alive”.  Once more the hooks are front and center, as the guitar goes Holidays in Eden-era Marillion.  That’s before it explodes in a massive chorus.

The final track is “Drink Up!” and it’s obviously the party rock closer, with just a hint of country twang via Laine.  Pure fun and nothing more.  Nothing wrong with that.

If you like melodic hard rock with punch and plenty of production, the Defiants deliver.  Get some Sokusho.

5/5 stars

 

REVIEW: Accept – Symphonic Terror – Live at Wacken 2017 (2018)

ACCEPT – Symphonic Terror – Live at Wacken 2017 (2018 Nuclear Blast)

They weren’t the first, but they did it with their own twist.  It was inevitable that even a band with the heavy metal roots of Accept would eventually go symphonic.  Guitarist/leader Wolf Hoffman released his first classical album in the 90s, and in 2016 made the Headbanger’s Symphony record, adapting classical pieces to metal with Czech National Symphony Orchestra.  Accept’s Symphonic Terror combines their own metal masterpieces with the classical/metal hybrid Headbanger’s Symphony at Wacken 2017, to create a unique musical experience.

Like Kiss with their symphonic detour, Accept chose to break the set into sections.  The first consists of five Accept songs, mostly new, performed straight by the band with no extras.

“Die by the Sword” was the logical opener, also being the starting track on Accept’s newest album The Rise of Chaos.  The biting riff storms the Wacken stage.  It is vocalist Mark Tornillo who proves his worth over and over again through the entire show.  With voice set to full-grit he delivers all the power and melody that Accept’s material demands.  Not an easy gig.  Second, it’s the riffy “Restless and Wild” from Accept’s 1982 album of the same name (an album that they return to more than once on this night).  It’s singing the old Udo material that people will judge Tornillo by, and he does the job.  By necessity, it’s done with his own twist.  Another sharp Rise of Chaos standout, “Koolaid” is rolled out to great effect.  They dig back to the first album with Mark for “Pandemic”, riding the Peter Baltes bass groove to heavy effect.  Finally it’s the speed metal of “Final Journey” from the Blind Rage album.  Not the finest song of the set, but a banger indeed.

The Headbanger’s Symphony featuring the Czech National Symphony Orchestra has a different set of musicians in the front.  Wolf Hoffman and drummer Christopher Williams remain, while Mark Tornillo, Peter Baltes and Uwe Lulis are replaced by keyboardist Melo Mafali, guitarist Phillip Shouse and bassist Daniel Silvestri.  With the full might of the orchestra behind them, they take on  the tempests of “Night on Bald Mountain” (Mussorgsky). It’s not a pure adaptation, but more a thrash metal version with an orchestra.  “Scherzo” (Beethoven’s Ninth Symphony) is fully enjoyable and a better melding of the two styles.  Moving on to Prokofiev, “Romeo and Juliet” is slow and plodding.  Even with a burning hot Hoffman solo, it’s the least interesting.  I don’t think Beethoven envisioned the heavy riffing of “Pathétique” but you never know.  Did Beethoven invent speed metal?  Judging by this, he might have.  Vivaldi is next, the metal shredder’s favourite.  “Double Cello Concerto In G Minor” is less familiar but continues to combine the heavy and delicate music with an emphasis on the heavy.  Mozart closes the Headbanger’s Symphony set with “Symphony No. 40 In G Minor”, a familiar favourite made heavy enough to sound eerily similar to Queensryche’s “The Needle Lies”.

The orchestra stays on stage for the remainder of the show, peppered with new and old Accept classics.  Accept’s music works well with the orchestra behind, arguably better than Metallica’s does.

Back to 1982 and “Princess of the Dawn”, an awesomely enhanced Udo-era metal classic.  However it is “Stalingrad” that is the show stealer, a song clearly suited to the orchestral treatment.  It sounds as if the string section is charging into battle with the band.  Blind Rage‘s “Dark Side of My Heart” comes to life in this new form, a superior track to the original.  The punchy horns, the silky strings — everything comes together to raise the track to a higher level.

Back to 1981, the classical musicians may have had a difficult time keeping up with the speed metal of “Breaker”!  They get a “break” on the more deliberate pace of “Shadow Soldiers”, an excellent tune adapted well to the orchestra.  Another album highlight.  “Dying Breed” is a heavy track from Blind Rage, a little same-same sounding to other tracks like “Stalingrad”.

“Fast as a Shark” is the last of the speed metal tunes that the symphony has to try and keep up with.  They sure sound wonderful together on the neoclassical guitar solo section.  “Metal Heart” (with classical interlude) and “Teutonic Terror” both work well enhanced, but “Balls to the Wall” is surprising.  It’s always been a bit silly, but it sounds great with an orchestra.  Too bad Mark couldn’t nail that “sign of victory” part, but the absurdity of “Balls to the Wall” with a symphony is not lost.

Symphonic Terror was the second live album with Mark Tornillo on vocals.  Only about half overlaps with the previous one, and when you consider the differences offered by the symphony, not much overlap at all.

4/5 stars

Thanks Marco for letting me participate! The Contrarians Panel: Dark Horse Album #7 – Judas Priest’s Rocka Rolla

Last week, I asked Marco from the Contrarians to sit in with us for our Top Five Tony Martin albums.  Unfortunately he could not join us live due to a taping of the Contrarians that night.  Instead he sent us a great video that allowed him to participate, a highlight of the show.  And as an added bonus, Marco asked me to participate in his Contrarians taping!  My very first Contrarians appearance.  The subject was Judas Priest’s Rocka Rolla, an album I have been playing a lot recently due to my recent acquisition of the 50 Heavy Metal Years of Music box set.  My part is right near the beginning.  After watching the in-depth analysis the group did, I wish I had contributed something a little more insightful.  However, this is such an honour and privilege to participate.  I can’t thank you enough Marco!

REVIEW: Yngwie Malmsteen – I Can’t Wait (1994 Japanese EP)

YNGWIE MALMSTEEN – I Can’t Wait (1994 Pony Canyon Japanese EP)

Immediately following the Seventh Sign album, new Yngwie Malmsteen material surfaced in Japan.  Three songs and two live tracks served as a nice dessert after a pretty good studio album.  Mike Vescera remained on lead vocals.  The lineup is largely the same as The Seventh Sign, but with Barry Sparks added on bass (probably just for the live songs; it sounds like Yngwie on the studio cuts).

Title track “I Can’t Wait” is one of Yngwie’s strongest ballads.  Though it starts with uncharacteristic acoustic strumming, the song transforms into the kind of epic ballad that you expect from the guitar god.  Vescera’s range and power are on display.  Great song.  And you don’t always say that about Yngwie tunes.

“Aftermath” is a pounder.  Slower, determined, great drums.  Lots of shredding come solo time.

The two live songs are “Rising Force” and “Far Beyond the Sun”, hits from the days of yore.  Recorded live at the Budokan earlier in the year, it must have felt something like home for Mike after his stint in Loudness!  “Rising Force” is an ass-kicker, pedal to the metal, and the whole band rising to the occasion.  That’s it for vocal tracks though.  “Far Beyond the Sun” is one of Yngwie’s best known guitar compositions, familiar and beloved for its exquisite neo-classical stylings.  As for this version?  Flawless and inspired.

The final track is a studio instrumental called “Power and Glory (Takada’s Theme)”.  This was done as a theme for a Japanese pro wrestler and few will be familiar with it.  Slow, plodding, with the repeated chant of “Ta ka da!”, it is hard to really like.  Yngwie’s acoustic work is always brilliant, but difficult to digest here.

Good EP overall.  Hard to find.  Snag if you find for a good price.

3.5/5 stars

REVIEW: Yngwie Malmsteen – The Seventh Sign (1994 Japanese import)

YNGWIE MALMSTEEN – The Seventh Sign (1994 Pony Canyon Japan)

Former Loudness singer Mike Vescera can be forgiven for moving on with Yngwie J. Malmsteen.  The Swedish guitar wizard was on his 6th lead singer, and despite lacklustre sales, the gig was one that came with a certain amount of prestige.  Fortunately it was a winning combination.  Their first album together, The Seventh Sign, boasted a dozen tracks with most of them pretty good.

Opening “Never Die” recalls the fire of “I’ll See the Light Tonight”.  If you’re familiar with Yngwie, you know what to expect.  Blazingly fast neoclassic guitar licks, speedy riffs and aggressive vocals.

“Like the sky, I’m perpetual, I never die!”

It’s a good opener, in the fast-paced Dio vein of rock.  Fortunately Yngwie slows it down for the wah-wah inflected bluesy rock of “I Don’t Know”.  The main riff here is catchy enough and Yngwie adorns it with plenty of licks.  Vescera has a powerful set of lungs, an absolute requirement when singing with Yngwie.  He gets to show off his abilities a bit on the decent power ballad “Meant to Be”.  “Forever One” makes it two ballads in a row, though the second is less “power”, and employs some acoustic portions.

For heavy, don’t miss out on “Hairtrigger”.  Vescera is in top form here, and the sputtering speed rocker satisfies to the end.

An instrumental slow blues called “Brothers” follows, and you might think “this album sounds overloaded with ballads”.  But yet that isn’t the impression you get listening.  These are not wimpy songs.  They have power and loads of guitar.  The actual effect you get is that of a heavy album.

The awesome title track gets it cranked on side two right from the start.  There’s some intricate classical guitar but then, wham — the mighty riff.  It’s a blur but it smokes.  “The Seventh Sign” is one of Yngwie’s best tracks of ’em all, if you like ’em heavy.  Vescera rises to the challenge.  As for the playing, even when we’re focused on that heavy riff, Yngwie still has time for some whammy bar nuttiness.

“Bad Blood” is a heavy blues, maybe going for a heavy Purple vibe (check that organ), but without a memorable melody behind it.  Vescera is the star here; the guy can sing anything.  It really gets stinky on “Prisoner of Your Eyes”, the worst of the ballads.  Amberdawn Malmsteen is responsible for the fetid lyrics.  This is rotting limburger cheese topped with surströmming as a garnish.  Would you like a side of industrial vinegar?  One word:  “cringe”.

Back to quality, the sitar introduces “Pyramid of Cheops”.  Insofar as Egyptology in metal goes, this is not a top track.  It does crush, but up against classic Maiden, Dio or Blue Murder, it’s no competition for the champs.  One has to admire Yngwie’s restraint for the most part, as he just grinds at the riff.

Another album highlight, “Crash and Burn”, really goes for the neoclassic vibe.  The faux-harpsichord is a delightfully baroque touch, but then the song takes off for the skies.  Great Yngwie riff, a fine example of neoclassical gone right.  Vescera keeps it heavy.  Then it’s the final instrumental, “Sorrow” which sounds like it should.  Sparse classical guitars pick out a mournful melody.  It’s a comedown from “Crash and Burn” and works brilliantly in that regard.

The Japanese, of course, got a bonus track.  Called “Angel in Heat”, this unremarkable song features Yngwie on vocals.  He’s going for a Hendrix vibe again, but the song is pretty atrocious.  Without Vescera to save the song, it’s for collectors only.

Like any Yngwie record, you could objectively state that most of the songs on The Seventh Sign would be better with less playing.  But then it wouldn’t be Yngwie, would it?  He’s often been criticised for not coming up with enough memorable material, but most of the songs on The Seventh Sign are above average.  Having a great singer didn’t hurt either.  It’s one of the guitar madman’s better records.

3.75/5 stars

THREE-VIEW: Def Leppard – Hysteria (1987)

Part Nine of the Def Leppard Review Series

Deluxe edition review:  Hysteria deluxe (2006)
30th Anniversary edition review:  Hysteria 5 CD 30th (2017)
Classic Albums DVD review:  Hysteria (2002)
Historia VHS review (1988)

Note:  This being the third Hysteria album review, we will be taking a different approach.  The first two reviews were detailed and comprehensive so please check those out for all the nitty gritty.  This one will be more nostalgic in nature.

DEF LEPPARD – Hysteria (1987 Vertigo)

Kiss were always my “favourite band”, but the majority of my highschool years from 1987 to 1989 were all about Def Leppard.  Although they wanted to be the biggest band in the world with this album, many of us were cheering for them to win.  The band had endured years of adversity since the triumph of Pyromania.

Most obviously was Rick Allen’s car accident.  It was hard to imagine how the drummer was going to come back from it, losing his left arm and almost his right as well.  But he did.  He frickin’ did it.  Rick Allen, the Thundergod, returned and Joe Elliott said it was biggest “up” the band ever had.  How could you not want them to win under those circumstances?

The biggest change on Hysteria (so named to characterise the last four years of their lives) was obviously the drum kit.  Rick Allen had a style, employing classic grip and wicked rolls.  Now he had a new electronic kit, with samples triggered by foot pedals and an arsenal of modern sounds.  Allen adapted with a fresh style, leading the charge with a chugga-chugga and some bam-pow.  His new style is one of the defining traits of Hysteria.

The first single here, and first taste of the new Leppard, was “Women”, an unorthodox pick.  A slow grind led by a synth-y sounding bassline from Rick Savage, it is neither a ballad nor a scorcher.  It’s not immediately catchy either, but it drew us all back in for a second third and fourth lesson until we were hooked.  The sound:  clean, precise, with layers of vocals and assorted melodic tones.  But shit, did the band ever look cool in the video.

Hysteria arrived on my tape deck Christmas of 1987.  It quickly monopolized my listening time, though it took a couple spins to “get it”.

“Rocket” threw me for a loop.  I considered it filler; too contemporary and not enough rock.  Bogged down with samples, backwards vocals and tricks.  It sounded like the kind of song that would be impossible to perform live (though they did).  Over the years I’ve warmed up to “Rocket”.  The tribal beat inspired by Burundi Black makes it quite unique in hard rock, and the lyrics are delightful once you realize that Joe’s just naming all his favourite bands and albums.  The meticulously recorded chorus really illustrates the intricate kind of process at hand.  Each voice recorded separately and mixed down to the final product.  Then there’s the long droning middle section, a unique construction worthy of a detailed listen.  “Rocket” was another odd selection for a single, but it was a hit as the seventh and final one almost two years after the album was released.

It was hard to resist “Animal”, even though it was a blatant sonic declaration that Leppard were going for hits.  As the second single from the album, it made some impact with its circus-themed music video.  Light rock, with a punchy chorus, “Animal” was a well-written track with yet more of those immaculately recorded backing vocals.  In the lead singer department, Joe was content to sing more and scream less, a trend that would continue.  The fact is, the guy didn’t have to scream, though he’s terribly good at it.

Hysteria has a variety of tracks, but only two are ballads.  “Love Bites” was selected as fifth single, and a smash hit it was.  I wondered why they used a Judas Priest song title, but the song actually has country origins.  Producer “Mutt” Lange brought the bones of it to the band as a twangy country song.  The end product is nothing like that, with odd computerized voices and a slow dramatic build.  Like every song on the album, the chorus kills.  The band (with Lange) had really honed in on writing and recording technically perfect songs.  There’s a lot going on in the mix on “Love Bites” but none of it is wasted.  Everything’s necessary for the right vibe.

“Step inside, walk this way!  It’s you n’ me babe, hey hey!”  Shakespeare it ain’t.  A hit, it was!  “Pour Some Sugar On Me”, the fourth single, was the breakthrough smash that launched this album on the charts for two years.  Def Leppard had ripped off a couple classic rock tunes here, but they were selling them to kids who never heard the originals.  Mixing rap and rock, Leppard sold a bajillion singles and umptillion albums to kids worldwide.  It wasn’t even an obvious hit.  The genre-bending song took some getting used to initially.

Closing side one, the sixth single:  “Armageddon It”.  The stuttering guitar riff made it easy to like, if a bit light.  This tune is fun to listen to with headphones on, to help break down all the different tracks of guitar.  The cool thing that each guitar part is catchy on its own.

The North American videos for “Sugar” and “Armageddon It” were filmed live, and showed off Leppard’s innovative “in the round” stage.  From the TV in the basement, it sure looked like the ultimate concert experience.  We’d get a full taste of it on the In the Round: In Your Face home video (1989).  Today you can get this concert on both CD and DVD.   The CD version is included in the comprehensive Hysteria 30th Anniversary box set.

Opening side two is the track we all thought should have been a single:  “Gods of War”, an epic in its own right, from the same lineage as “Overture” from the 1980 debut album.  With Ronald Reagan and Margaret Thatcher sampled in the tune, it just sounded cool.  Steve Clark’s E-bow opening drone sets the stage for a dramatic tune full of riffs, hooks and guitar action.  It’s not political, just anti-war like many Ozzy tunes of the time.  Its length probably prohibited it from being a single…but they did edit down “Rocket”.

The first non-single on the album is the hard rocker “Don’t Shoot Shotgun”.  Some odd vocal effects keep it from being a standard guitar rocker; almost every song on Hysteria has some strange twist in the mix.  Though more laid back in groove, this is the first tune that hearkens back to old Leppard.  Slicker, sugar coated and easier to swallow though.  It is paired with “Run Riot”, a similar track with a faster tempo.  Tasty guitars from Collen and Clarke, chugging drums from the Thundergod.  Screamin’ Joe sounding like the Joe from Pyromania, and Savage sounding less synth-y than the other tracks.

The last single on the album was actually the third single released:  the brilliant title track “Hysteria”.  The diamond-like flawless ballad was laid down literally one note at a time, giving it a precise but delicate nature.  It was arguably the most pop Leppard had ever been, and that’s just fine.  When you have a song this good, it doesn’t matter what you call it.  Best tune on the album?  Arguably.  The precise picking is delectable and Joe has one of his best vocal performances right here.  Unlike other songs on the album, it’s low on sonic gimmicks.

If there was one song to eject from the album, it’s the penultimate track “Excitable”.  Back to gimmicks, it relies too much on samples and weird digitally manipulated vocals.  It sounds like it was intended to be a crossover hit.  It could have been replaced by a superior B-side (which we’ll get to).

The album closer is a majestic mid-tempo not-quite-ballad-thing called “Love and Affection”, possibly the second best tune on the whole album after “Hysteria” itself.  It’s all about taste, but this deep cut is one of the strongest.  It’s all about the song, no extra trimmings, just melody and arrangement.  It easily could have been a single.  There’s this one chunky Steve Clark lick that just slays me.  Rick Allen’s pound has never been more suited to a track as it slams through the chorus.  A really triumphant track that I would have released as ninth single after “Gods of War”!

Although it took a year (until the release of “Sugar”) to recoup its costs, Hysteria was an undisputed win for the band that worked so hard for it.  Their loyalty to their drummer was not to lost to fans and media alike, and actually worked in their favour creating a new and exciting 80s rock sound.

But there was more to Hysteria than just the 12 tracks.  Remixes and live material aside, there were five notable B-sides.  All excellent in their own right.

Backing “Women” was the straight-ahead rocker “Tear It Down”.  These B-sides were not produced by Mutt and therefore have a more raw edge, akin to older Leppard.  “Tear It Down” rocked relentess, hard but mid-tempo cool.  After a one-off live TV performance, the song was earmarked for re-recording on the next album….

On the flipside of “Animal” we find “I Wanna to Be Your Hero”, with a ballady opening and hard rocking middle.  How did this song not make the album?  Clearly one of the best tunes, it has both a chugging riff and a pop-smart melody.

The heaviest tune backed the softest.  “Ride Into the Sun” was the B-side to “Hysteria”, and what a smoker it is.  A re-recording of a song from the Def Leppard EP, it is also re-arranged with new lyrics and new chorus.  It’s far superior and kicks every ass in the room.  The B-side to “Sugar” was “Ring of Fire”, just as heavy as “Ride Into the Sun” but not as immediately catchy.

Finally, the last of the B-sides was a cover.  A very confusing cover indeed.  “Release Me” featured their roadie Malvin Mortimer doing something that might be considered singing.  To add to the mess, the band all switched instruments with Joe on piano, so nobody really knew what they were doing.  The band credited the song to “Stumpus Maximus and the Good Ol’ Boys” and in the liner notes, Joe claimed “Rarely in my travels have I come across such a monumental talent as Stumpus Maximus.”  Only when Stumpus unfurls his unholy screams at exactly 2:36 did I get the joke.

The Hysteria sessions yielded some unfinished material as well, that Leppard would finally release in the 1990s.  One of these tunes, a screaming “She’s Too Tough”, first saw the light of day on Helix’s 1987 album Wild in the Streets, released two months ahead of Hysteria.  Brian Vollmer is one of the few singers who can do justice to Joe’s challenging vocal.

Hysteria is available in a comprehensive 5 CD/2 DVD box set with all the B-sides, remixes, and live tracks.  It includes the Classic Albums “making of” documentary, all the music videos, and the entire In the Round: In Your Face concert on CD.   It is, without a doubt, the best way to own the most important Def Leppard album.

But before you buy, some perspective.

There’s a legendary 0/10 review by Martin Popoff that I’d like to share some quotes from.  If I’m over-enthusiastic about Hysteria, then consider this.

  • “High tech, tasteless, and devoid of life whatsoever.”
  • “Even Elliott’s vocals, probably the last vestige that hasn’t completely been swallowed by robots, sound like some kind of dry-wheezing mechanical lung wired to the man’s death bed.”
  • “Hysteria is a major assault to anyone’s intelligence.”
  • “An offensive kick in the head sent straight from the rock ‘n’ roll bored room.”

Take my rating with a grain of salt.

5/5 stars

 

Gallery of single covers

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  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983

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 10. Soundtrack From the Video Historia (Record Store Tales)

#968: Go For the Songs From the Electric Heart

RECORD STORE TALES #968: Go For the Songs From the Electric Heart

Trapper is Emm Gryner, Sean Kelly, Frank Gryner and Tim Timleck.  For those who know, Trapper is also one of the best hard rock bands going, if you happen to like that retro-catchy sound done with expertise and skill.  This style of music never died, but it was definitely harder to find after grunge hit the “reset” button.  Bottom line though:  a good song is a good song.  Trapper write and play good songs!

Joe Elliott is a fan. Isn’t that enough?

I have liked Trapper since first hearing about the band in 2015, when they released their first cassette.  I knew Emm Gryner by reputation and quickly became a fan of her solo work.  Of course, I was will familiar with Sean Kelly from his many recordings with Helix, Lee Aaron, the Metal On Ice CD/book project, and so on.  But I missed out on that limited edition tape.  I also missed the five track CD release Go For the Heart, of which 300 copies were made.

I’d been listening to the band quite a bit on the weekend, since getting their newest tape Songs From the Electric North in the mail.  Only 50 were made, and this time I managed to get one!  Sean sent it to me with a nice note.  He’s a great guy.  Not only did he take the time to appear on the LeBrain Train in May 2021, but even before that he was instrumental in helping me identify MuchMusic personalities on my VHS tapes.  I always like adding more of his music to my collection.

And that is the point of this story:  the collector’s disease.  It’s a real thing, and I have the actual receipts.  I decided I wanted “all the Trapper songs”.  I looked on Discogs and much to my amazement, they had a copy of Go For the Heart for $75 plus shipping.  $100 total.  Last copy sold was $71, two years prior.  It had been on my wishlist for some time.  I did the math, and decided this was my best chance to own it.  Go For the Heart has “Grand Bender” and “The Warrior” from the debut tape, so this would get me “all the Trapper songs” in physical form.  Still flush with Christmas money, I decided to pull the trigger.  Collector’s itch:  temporarily scratched.

I felt quite satisfied with my myself!

The next day, I noticed my good buddy Aaron from the KMA had left a comment on my Friday January 14 live show, during which I unboxed my brand new Songs From the Electric North cassette.  “Jealous you got the new Trapper,” he said.  “I only have the one CD here.”

Wait…the CD?  They only have one CD and it’s Go For the Heart.  The one I just paid a hundred bucks for.  And Aaron’s was signed by Emm and Sean!  He paid a buck.

I had to tell Sean this story.  “No regrets!” I said.  And it is true.  I paid a lot — maybe the most paid yet for that particular CD.  But I wanted it.  I wanted it for a while.  I know what the last guy paid, and I paid $4 more.  Will it appreciate in value?  Not the point!  I collect music from artists I like in physical formats.  I wanted it, so I bought it.

Hey, I’m a collector and sometimes we splurge!

REVIEW: Trapper – Songs From the Electric North (2022 limited edition cassette EP)

TRAPPER – Songs From the Electric North (2022 limited edition cassette EP)

One gets the sense that, although Trapper take the quality of their music very seriously, Emm, Sean, Tim and Frank are doing it for the pure enjoyment.  They must be!  Trapper is a top-notch band honouring their 80s roots by writing that kind of catchy rock song with singalong hooks.  Each track on their brand new cassette EP, Songs From the Electric North (limited to just 50 copies!) sounds assembled with great care, and genuine zeal.

Fear not if you missed out on the cassette, for you can download the EP on your iTunes!

Songs From the Electric North consists of four originals and two covers.  The covers,  “Illégal” by Corbeau and “Bye bye mon cowboy” by Mitsou, were previously reviewed here so you can check that out if you want to know more about those two excellent tracks.  In particular, we praised “Illégal” for a beautifully chunky riff that Sean Kelly captured with a nice crunchy guitar tone.  We also singled out Emm Gryner’s lead vocal, with depth, grit, power — the whole package.  This is the first physical release for these tracks.

The four originals vary in flavour, so picking favourites will also widely vary from person to person.  On side A, “Winterlong” opens, hitting the ears on a nice tense Sean Kelly riff with a Campbell-era Dio feeling.  This track has it all, from the powerhouse vocals to thundering drums n’ bass.  “Winterlong” also boasts a lyrical guitar solo, carefully composed and executed.  This track is a rocker!  Heavy as metal, yet sweet as saccharine at the same time.

Power ballad territory ahead!  Perhaps “Almost Forever” is in the vein of ‘87-era Whitesnake or albums of that direction?  Whatever your inkling, “Almost Forever” is memorable, and done to perfection.  It’s a hard sound to get just right.  The keyboards and especially Emm’s melody put it exactly in the right ballpark.  A winning song, that you will be coming back to again and again when you want a new ballad with that nostalgic feeling that sends you back in time.

Opening side B, “You Need An Angel” has a nice chunky rock groove.  Here Kelly reminds me at times of Ratt’s Warren DeMartini in tone and feel.  Another fabulous classic rock composition, laden with hooks and punchy drums.  And completely different in direction from the other tunes.

The last of the originals is the pounding metal of “New Year’s Day”.  This track has an epic quality, harder to describe, except to say it’s different again from the previous songs!  Solid riff/groove combo, with Emm delivering a vocal that just divebombs you with hooks from the sky!  How’s that for a description?  Just listen to it.

I’m very grateful to score one of the 50 copies of this tape.  To give you an idea of demand, Trapper’s first cassette “Grand Bender” / “The Warrior” was limited to 100 copies and never turns up for sale.  Their CD EP, Go For the Heart, runs about a hundred bucks total with shipping these days.  I should know, because I bought the last one!

You can get your copy on iTunes, so head on over and get rocked by the Songs From the Electric North. 

5/5 stars

RE-REVIEW: Def Leppard – Pyromania Live – L.A. Forum, 11 September 1983

Part Eight of the Def Leppard Review Series

Original review:  Pyromania deluxe (2009)

DEF LEPPARD – Pyromania Live – L.A. Forum, 11 September 1983 (2009 deluxe edition)

Leppard were riding high when they hit the L.A. Forum in 1983.  Pyromania was selling hot enough that every kid in the neighbourhood had heard at least one of its singles on the radio.  MTV was factoring in now, and its impact can’t be understated.  Leppard had some high budget and good looking videos on offer.  Their live show was just as impressive.

Widely bootlegged, the second night in Los Angeles must have felt like a victory lap, even though there were still months left on the tour.  They hit the stage psyched to perform.  Earlier, Frank Zappa phoned up to ask if he could score some tickets for his kids, Moon Unit and Dweezil.  Members of Van Halen and Heart were in attendance.  Best of all, Queen legend Brian May was in town, and he surprised  Leppard by playing them the twin guitar part of their hit “Photohraph” all by himself!

Remixed and remastered, the second L.A. show is now easily available on the Pyromania deluxe edition — the first official release of a live album with Steve Clark, although it did not come until 2009.

“Rock! Rock! (Till You Drop)” is a natural opener.  Since it already opened Pyromania itself, it was well suited, but its extended (taped) intro made for a dramatic band entrance.  Joe’s road-worn scream is employed to great effect.  Even so slightly faster than LP, “Rock! Rock! (Till You Drop)” defined the mood.  Rock rock till you drop indeed!  Keeping with the “Rock” theme, “Rock Brigade” was locked and loaded for the second spot.  It sounds fresh with Phil Collen on lead guitar and backing vocals.  His solo is balls-out technical, and completely unlike those of Pete Willis.

Joe pauses to say “good evening”, and then it’s straight into “Saturday Night (High ‘N’ Dry)”.  This ode to getting wasted from 1981 is not a vast departure from the album version despite Phil amping up the guitar work.  Into “Another Hit and Run”, it’s pure adrenaline and foot on the gas pedal.  Screaming into the ether, Joe sings of youthful self-destruction.  It turns into a jam towards the end, before careening through the finish line.

“Billy’s Got a Gun” is one of those songs that can get a bit rickety live, but this version is solid.  The excellent “Mirror Mirror (Look Into My Eyes” follows, and it’s very slightly revised to increase the tension.  Some won’t notice the differences.  As usual, the chorus kills.  It’s been all album cuts thus far, and no hits.  But then Joe invites Steve Clark to the spotlight to play an acoustic guitar solo, which becomes “Foolin'”, the first of the three massive hits rolled out in a row.  This might be considered the center of the show:  “Foolin'”, “Photograph” and (a slightly fast) “Rock of Ages”.  Each one a perfect gem, but with the live edge intact.  To take it over the top, a ragged “Bringin’ on the Heartbreak”, Leppard’s other recognisable hit, is rolled out immediately after.  What do you do for an encore?  We’ll get to that.

“Switch 625” follows “Heartbreak” as it should.  With the hits behind them, Leppard spend the end of the set rocking really, really heavy.  “Switch 625” is already a steamer, but it’s followed by “Let It Go”, “Wasted” and an encore tease, and then “Stagefright”.  Clearly, this setlist was designed to rock!  “Wasted” in particular stands out from this trio.  Phil’s blazing solo technique adds that extra dimension to the song, but it is just as amped up and the best versions from the early years.

But “Stagefright” isn’t the real encore.

“Right, I said we got a surprise for ya.  And we have a big one at that.  Ladies and gentlemen, will you please welcome all the way from England — Queen’s Brian May!”

Queen were not on tour, but they were in Los Angeles recording their 1984 album The Works.  The long friendship between Leppard and Queen began right here.  A cover of Creedence Clearwater Revival’s “Travelling Band” is the earliest recording of Joe and May together, but certainly not the last!  This is not only a piece of history, but it’s a brilliant track!  Joe’s screaming voice is strangely well suited to an overblown CCR cover.  But hearing the guitar trio solo together, each with their own style, is the real icing on the cake.  May is so creamy!

There are no other live releases from the Pyromania era, and the band’s sound transformed permanently when they next hit the road.  This live album is the end of an era, and an excellent good time of it too.

5/5 stars

The Pyromania tour wrapped up 18 December in Dortmund Germany, another two-nighter.  Two weeks later, on New Year’s Eve, Rick Allen had the car accident that severed his left arm.  In a heartbreaking twist, the arm was reattached, but after an infection set in, had to be removed again.  This devastating tragedy united the band.  Ambulance-chasers were ready and waiting to take the drum stool away from Rick Allen, but the band refused to see it as the end for the drummer.  We all know what happens next.  It was total Hysteria!

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  • Hysteria