Loudness made a distinctly commercial move when giving original lead singer Minoru Niihara his walking papers. They replaced him with American singer Mike Verscera, and on some tracks, they made a turn towards radio-playable rock. Their second record with Vescera was an interesting one. 1991’s On The Prowl features only three new songs, and eight re-writes from their first four Japanese albums. To most listeners, they would be like new songs anyway.
“Down ‘N Dirty” is predictably a hard rocker, slightly sleezy like something Extreme or Bulletboys would have put out. Not a bad song by any means. It surpasses many of its better-known contemporaries by being a bit heavier and by virtue of Vescera’s amazing voice. Having a schooled shredder like Akira Takasaki on lead guitar doesn’t hurt either. But this is a far cry from a “Rock and roll Crazy Night”!
Second track, “Playin’ Games” attempts to go back to the speedy metal of Loudness’ past. It is partially successful. There’s some ripping and shredding going on between Akira and drummer Munetaka Higuchi, who is awesome on this.
Third and last of the new songs, “Love Toys” does compete for “worst title”. Not a bad track actually, with some different playing from Akira, just a bad title. It seemed obvious they were trying for something that worked in America. No songs about crazy doctors this time. Good tune, cool riff, and some great drumming.
Vescera rewrote all the lyrics for the re-recordings. Not all the originals were in Japanese before, but perhaps Vescera was meant to make the lyrics more accessible. “Never Again” was once known as “Silent Sword” (single B-side), a fine ballad indeed, but you can see how the lyrical change would make it a little easier for some to digest. The chorus is also beefed up, massively. Keyboard adornments sweeten the tune further.
“Deadly Player” (formerly “Lonely Player) was an early thrashing diamondback snake in the original days, and it still kicks tremendous ass. There’s a Rush-like quality to the opening, but then Vescera gets a-screamin’. A frantic mixture of disparate metallic parts welded together, this tune is aimed at the brain. Akira even takes a jazzy guitar interlude.
1984’s Disillusion boasted a cool but challenging tune called “Milky Way”; here it is re-titled “Take It Or Leave It” but it is no less slammingly fun. The chorus is probably an improvement, but that’s highly subjective. The playing is awesome.
“Girl” is one of only two tracks not re-titled in some way. This oldie from Devil Soldier is one of the most twisty & turny tunes, with challenging timing. It is faithful to the 1982 original. Though far heavier, it even has a Zeppelin-like flavour to one of the main riff sections. You could picture Page and Bonham jamming on it, but then the track goes full metal (with some serious jazz to the guitars).
1988’s “Long Distance Love” is the most recent track on this album to get the re-recording treatment. From the Jealousy EP, it was never available in the States even though Loudness already had three studio records out in North America. It’s more mid-tempo and melodic than the earlier tracks tackled here. Presumably, Loudness felt it was overlooked. Re-titled “Long Distance”, it came pre-packed with a solid chorus and Van Halen-like hooks.
The legendary “In the Mirror” (no title change) was always one of the early band’s greatest triumphs. Like a lost Judas Priest classic, it combines riff and tempo in that magical way that gets the heads a-bangin’. Vescera’s high pitched screaming (his control is enviable!) adds a modern taste, but the song is just as fortified as ever.
“Sleepless Nights” is now a plural. The original (singular “Sleepless Night”) from The Law of Devil’s Land boasted one of Akira’s very best riffs. Recreated here, with modern production, it is like concrete. Perhaps Minoru Niihara’s original vocal was harder to digest, so here Mike sings with more attention to melodic sensibilities. What a riff though! Let’s not kid ourselves — this song is about the riff. The chorus is different though, and perhaps less of a fit than the original.
The last track is the earliest: “Find A Way” was originally known as “To Be Demon” on the Loudness debut album The Birthday Eve. This classic is half ballad, half monster riff-race! It’s shorter than the original, beginning as a ballad without the speed-rock intro. The vocal melody is completely different and certain memorable sections of the song are missing or altered. While the new version is undeniably more immediate, it might be at a cost. In both versions, Akira slays.
At the end of it all, On The Prowl is mostly an exercise in improved production. Those Japanese albums were not recorded with the kind of expertise that Loudness were able to employ in Los Angeles. The raw appeal of the originals will always be there, but the sonics here are clearly better. That’s On The Prowl‘s strength. Not to mention the new singer was no hack. But there’s a certain commercial slant to new tracks, particularly “Down ‘N Dirty” that feels out of place.
Needless to say, On The Prowl did not reverse Loudness’ fortunes and they were soon without a singer once more. Abandoning the American adventure for the time being, they looked back to Japan for a new singer: E-Z-O’s Masaki Yamada. 1992’s incredible Loudness continued the story, with Yamada even adding “Down ‘N Dirty” to the setlist! Maybe it wasn’t so bad after all?
Anticipation has been high for Tony Martin’s new album Thorns. His last solo record was the excellent Scream from 2005, but it feels like it was back in the 2nd age of Middle Earth! Fandom seems to have warmed up to Martin in recent years. His Sabbath albums, once derided as lesser Dio clones, are looked back upon warmly by more and more people, which could be good for Martin. And with some of those albums getting the reissue treatment in the future, the time is right for Tony’s re-emergence.
Thorns is heavy. Heavier than expected. “As the World Burns” is out of the gates with salvos of double bass and a gut-punching downtuned riff. This is essentially thrash metal – fast, aggressive, varied and complex. It’s certainly beyond Sabbath. Martin’s range is fully intact, though it sounds like he’s pushing his voice a bit too much and maybe should have laid back a bit in a couple spots. Even so, there is no doubting the man’s enduring power.
“Black Widow Angel” is hellbent for heavy. Then there’s this crazy funk metal breakdown in the middle with some wicked bass stuff, right out of the blue. Many of Martin’s songs demonstrate surprising diversity within the walls of heavy metal. Choirs appear on “Book of Shadows”, a modern Maiden-esque track with a pretty incredible lead vocal. There’s also a solidly Sabbath gothic streak.
One of the most interesting tracks is “Cry Wolf”. An acoustic metal song is often intriguing (ask Wino) and this is a fine tune with a guitar solo to match. Cool instrumentation abounds, and Martin fans know that they can expect some wicked violin within a metal song. The violin emerges on “Damned By You”, slow melodic and heavy. Moving on to “No Shame At All”, the groove takes the spotlight. The chorus is pure vintage Tony, but the groove is new.
Metal ballads rule, and “Nowhere to Fly” is a black rose of a ballad. The music is understated so it’s all about Tony’s singing. (Nothing like Dio’s, incidentally.) “Passion Killer” on the other hand rocks, but is also all about the vocals. Those “woah-oh-woah-ohs!” kick ass. There isn’t much of a chorus to speak of, but the verses slay. Tony then goes for speed on “Run Like the Devil”, hook laden and wicked! But then we get swampy on the surprising “This Is My Damnation”. It’s the second acoustic song, but completely different from the first. “Why terrorism? Why Covid? Why cancer? Why AIDS?” asks Tony in the words, speak-singing like in a Robbie Robertson song.
The closing title track is the most epic, featuring an instantly recognizable Pamela Moore (Operation: Mindcrime). Moore has lost nothing and raises the game by several levels. At first, I wasn’t sure I liked that “ooh-ah-ah” bit that sounds like David Draiman. It grows on you. At least it’s not the main hook of the song like it is with Disturbed.
Acoustic interludes, spoken word, subhuman bass, snakey synth solos, Pamela Moore…Thorns has plenty of delectables on offer. Get yours.
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.
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.
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.
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!
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.
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.
Note: This being the thirdHysteria 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.”
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.
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.
LOUDNESS – On The Prowl (1991 Atco)
1984’s Disillusion boasted a cool but challenging tune called “Milky Way”; here it is re-titled “Take It Or Leave It” but it is no less slammingly fun. The chorus is probably an improvement, but that’s highly subjective. The playing is awesome.
mikeladano.com 