DVD REVIEW: Def Leppard – Video Archive (1995)

Part Eighteen of the Def Leppard Review Series

DEF LEPPARD – Video Archive (1995, 2001 Mercury DVD)

Only two years since their last home video, Def Leppard went back in for round three.  There were not many new video clips waiting to be released, just the four from Retro-Active and Vault, plus an alternate version.  Mostly, this Video Archive focused on live material.

Def Leppard’s big hometown gig in Sheffield was something they were very proud of, and so it appears here and on the previous album’s Vault double disc edition  Well, some of it anyway.  Nine songs were on Vault; you can watch eight of those on video here.  (The ninth, “Photograph” is available on Visualize.)  The whole show has never been released (22 songs total) but this small handful can be had.  The hometown gig had 40,000 people going nuts for Leppard, something Joe mentions in the opening interview.

No shirts for Phil right from the first song, “Let’s Get Rocked”.  The editing in this concert relies on minimal gimmicks, but the choppy slo-mo bits probably were not necessary.  It also seems like the songs aren’t in order, because at the outdoor gig it gets dark and then light again.

On CD, “Armageddon It” comes second.  Here, it’s “Foolin'”.  I like when the camera switches to Phil when Joe sings “take your fill”.  Take your “Phil”?  Solid version of “Foolin'” and nice to see it with Vivian picking away for the first time on video.  “Rocket” features a cool light show, but what’s cool here is seeing Phil Collen and Vivian Campbell taking turns soloing.  Getting the chance to appreciate the differences between the two.  It’s definitely fun seeing Viv do the ol’ two-handed tapping like it was the 80s again.  Then Joe goes into “Whole Lotta Love”, before “Rocket” resumes its course.

The acoustic B-side “Two Steps Behind” is introduced as being from their next album Retro-Active.  The crowd already knows it.  The atmosphere goes from campfire singalong to party mode in seconds flat as “Armageddon It” begins.  Vivian does an admirable job of Steve Clark’s original solo – and then Joe Elliott jumps down to crowd level!

The familiar drum beat to “Pour Some Sugar On Me” is greated with the appropriate “hey! hey! heys!” necessary to start the song.  Viv is really having fun on this one, running and sliding across the stage.  “Rock of Ages” is a natural song to follow it with.  Rick “Sav” Savage doubles on bass and keys.  Some good shots here of Rick Allen doing his thing on his specialised drum kit.  Finally, “Love Bites” closes this portion of the program dramatically.  Fantastically fitting solo work by Viv, and Sav on keys one more time.

The next section of the DVD focuses on the music videos released since “Visualize”, beginning with their latest hit “When Love & Hate Collide”.  It’s here in two forms, but the straight performance is better than the “Epic 8 minute version”, which is bogged down by boring story and dialogue.  The simple, stripped version of the video suits the 90s even though it doesn’t really fit the string-adorned track.  “Two Steps Behind” was a cool grainy clip, featuring a string section this time!  The backwards-walking footage is fascinating and trippy.  Next is the rarely seen “Action” filmed on tour.  Joe’s sportin’ a goatee this time.  Toto, I don’t think we’re in the 80s anymore!  Also rarely seen, “Miss You In A Heartbeat”.  It’s the version with piano & band, and Joe’s tinklin’ the ivories, goatee still intact.  It’s like Lifestyles of the Rich and Famous, as each band member is playing in beautiful mansion settings.

The highlight of the video is the final section:  Def Leppard unplugged at the Wapantake Club back in Sheffield, 1995.  In the interview footage, Phil says that he enjoys the acoustic setting because it proves that Def Leppard’s famous backing vocals are indeed live.  Meanwhile, Rick Allen appreciates the challenge of using an acoustic drum kit again.  But what’s really special is that the last time Def Leppard played the Wapantake, it was 1978.  Their triumphant return in 1995 is really cool and really should be released in CD form.  Fortunately it was filmed!

Once again, it’s “Two Steps Behind” but without a screaming crowd.  It’s just Def Leppard in a very packed but respectfully quiet room.  “Armageddon It” is bouncy, and the audience responds.  This take is one of the best versions of “Armageddon It” out there; just fun and perfectly performed in the right setting.  Then the new song:  “When Love & Hate Collide” was made available in live form right here mere weeks after its single release.  The acoustic setting works, but novelty aside, Def Leppard have better ballads.  “Animal” and “Sugar” bring the party atmosphere back to the Wapantake.  “Animal” works great acoustically, and “Sugar” takes on a different form.  Phil makes a good point about the backing vocals.  It’s great to hear them live and bare like this because they’re stellar!

Even though Joe said that was the last song, he lied because for the first time, and “for a laugh”, it’s “Ziggy Stardust”!  Joe says it’s the first time they ever played it live as a band in front of a crowd, so that’s special.  It’s also a brilliant version which doesn’t hurt.  Leppard nailed it with pure love.

But wait, there’s more!  The closing interviews discuss the new album Slang:  “Up to date”, “stuck in the 90s”, “different direction”, “complete different turn”, “experimental” are a selection of words used…but then there’s a preview.  Live at the Wapantake, and only for a few seconds, is the new song “All I Want Is Everything”.  One chorus and that’s all we get, though the folks at the gig that night heard the whole song.  The viewing audience at home only got a taste.  Not enough to judge by.  Not enough to get a feeling of what Def Leppard meant when they used words like “experimental”.

We’d find out soon enough.

The end credit music is an instrumental version of “When Love & Hate Collide” with only piano and strings and no band. Now that would be something cool to include in a future box set.

4/5 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
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault

Next:

19. “Slang” (UK single)

Sunday Screening: Morning Summer LakeCam x 64 speed

Here’s just what you needed on this cold, windy Sunday morning: a sun coming up on a July summer webcam! This is from the July 20, 2021 morning LakeCam, but two hours compressed into under two minutes. Feel the rays of the sun drift across your face in this fun time-lapse video. Stay warm! Music is a sneak preview of “Randy” by Max the Axe, remixed in 2022 by Robi Banerji.

“Have A Cigar” by the Foo Fighters on the Sunday Song Spotlight

Rest in peace to drummer Taylor Hawkins, who died tragically at age 50. The B-side “Have A Cigar” (originally from the 1999 “Learning to Fly” single) is a Pink Floyd cover sung by Hawkins, later appearing on the album Medium Rare.

 

A Vision In Sound: Celebrating 2 years of Rob Daniels and the LeBrain Train

It was my pleasure to honour the man who got the ball rolling for us back in the very beginning: Robert Daniels from Visions In Sound.  Because he inspired the LeBrain Train in the first place, I decided to share this anniversary special with him!

Not only did we surprise Rob with a brand new Tee Bone Erickson song called “A Vision In Sound”, but we also brought in his long time friend Erik Woods to enjoy the tribute.

Joining Rob, Erik and myself this evening were:

Pre-show viewers got to see a really cool gift unboxed from Aaron, Mr. KeepsMeAlive himself!

Show highlights included clips, although you may be well advised to skip the middle one, “The Author Reads:  Record Store Tales Part 7, A Shitty Story”.  Lots of gratitude to Uncle Meat who was the center of several clips we played.  Added bonus:  a vintage video and story from the Meat Man!

You will be able to buy the track “A Vision In Sound” from Tee Bone’s Bandcamp site soon.

Thanks for watching!  If you didn’t, don’t hesitate to see it below.  Another big thanks to Marco the Contrarian for sharing the show with the Contrarians Patreons.


NEXT WEEK:

April 1 – 7:00 PM – The Prank Show with Chris Thuss

COMING UP:

April 23 – 12:00 noon – Polychuck’s back!

2 Years of the Train! Tee Bone, Robert Daniels and friends join for a celebration

The LeBrain Train: 2000 Words or More with Mike Ladano

Episode 103 – 2 Years of the Train

On March 20, 2020, I went on my Facebook and hit that “go live” button.  The previous week, Rob Daniels began his Wednesday live streaming and he was undoubtedly the inspiration.  And look what he did!  His show continues today.  Without Rob there would be no LeBrain Train and ergo, no Scotch on the Rocks either.  Here we are still, two years after the fact!

Some of you were watching from Day One:  Rob, Chris Sarre, Kevin Simister, Uncle Meat and more.  Soon Deke was on board, and the show went to another level with interviews, deep dives, and Tee Bone.  The two biggest influences on the show were undoubtedly Deke who brought in what I think were incredible and groundbreaking interviews, and Uncle Meat who introduced the list shows.  On the 10th episode, Meat created the “Nigel Tufnel Top Ten” list format and we were off to the races.

Tonight I’m not just celebrating two years of some of the most fun I’ve ever had, but also the people who made it possible.  We will have clips, songs and brand new music from Tee Bone Erickson.

See you tonight!

 

Friday March 25, 7:00 PM E.S.T. on YouTubeFacebook and also Facebook!

 

2 years later: “LeBrain’s Covid-19 Message”

This did not age well. The comment about hoarding toilet paper is funny. I remember my dad didn’t like this video. He found it too “angry”. It did start the whole “VoiVod!” thing with Rob Daniels though! This is just after lockdown began, but before the LeBrain Train launched. Interesting from a certain point of view. Where’s that Queen shirt now? Can’t find it anywhere!

Originally posted March 18 2020.

The Adventures of Tee Bone Man – Chapter Two: Hell Freezes Over (by Harrison Kopp)

CHAPTER TWO:  HELL FREEZES OVER

by Harrison Kopp

In the snowy climes of Thunder Bay, two friends sat in the basement of Deke’s Palace listening to records. The name of the establishment was a tongue-in-cheek reference to the fact that this place was most certainly not anything resembling a palace. Those that had the dubious honour of visiting the place would often claim that the only thing holding up the walls were the cockroaches. Legend even has it that Sloan actually refused to play there.

Of course, this was all in service of a very deliberate attempt to keep prying eyes away, because underneath this dilapidated structure was the well-equipped basement these two friends operated from.

As the Scotch flowed and the needle hit wax, their discussion continued.  They had just defeated a mighty sasquatch, saving some new friends from utter doom in the process. Not usually normal conversation topics for a pair of Canadian buddies, but these were not ordinary individuals.

“You know, from a distance that sasquatch kinda looked like my brother Rugg,” said the first man, the spandex-clad superhero Tee Bone Man. A devil on the guitar, he was a champion of arena rock, fine alcohol and Canadian hospitality.

“That’s true, the resemblance was uncanny,” said the second man, the reliable gentleman and (currently) regular hero known as Superdekes who assisted Tee Bone in his heroic endeavours.  “But back to the tunes.  I don’t care what that Brainiac from Southern Ontario thinks.  5150 is killer.  Sammy Hagar was no Roth, but comparisons are silly.”

Tee Bone took a moment to think.

“True, his friend, that meaty guy, seems to agree with you though.”  He paused to sip his drink.  “Drop the needle, let’s play it again.”

Superdekes leaned over the turntable.  “Just like old times man,” he proclaimed as the needle fell.

“Hellllllllllo baby!” screamed Sammy Hagar as the record started playing.

Then came a strange noise that was definitely not the opening guitar squeal to “Good Enough”. While it wasn’t out of the realm of possibility that the noise the two men were hearing was indeed Eddie Van Halen, it would have taken some interesting hand positions to pull it off.

Then a skip. And the record seemed to start again. “Hellllllo…Hell…Hell…Hell…”

“Uh oh” proclaimed Superdekes.  “That’s not a good sign.  That’s the danger vibes again!  Someone needs our help.”

Tee Bone turned to the nearest computer.  “You’re right.  Something’s wrong.  And it’s global this time.  It seems… earthquakes everywhere!”

Suddenly Superdekes had a hunch.

“My metal senses are tingling,” he said.  He placed AC/DC on the turntable.  Dropping the needle on “Highway to Hell”, the skipping was far more pronounced. The danger signs were clear.

“Australia is the epicenter,” said Superdekes.  “Looks like you’re on your own this time.  I’ll monitor from here and do what I can.  Why is it again that you’re the only one who can fly?”

Tee Bone grabbed the nearest guitar and donned his cape.  “You know the origin story as well as anyone, let’s not rehash it. You’re my roadie, remember?” he said with a wry smile, motioning towards the motorbike leaning against the wall. “Quite literally”.

“Har har,” came Superdekes’s reply. “You know that’s not how it goes”.

“I know, and I’m still looking for another one for you, but they don’t sell spares Dekes over at Canadian Tire. So where in Australia am I heading?  It’s not a small country you know.”

Superdekes listened carefully to the skipping record.  “I can’t pinpoint it,” he said in frustration.  “But you’re gonna need to find the Highway to Hell.”

Then he had an idea.

“Give me that guitar a minute. I think I can help narrow it down”

Tee Bone handed his guitar across, and Superdekes began tuning it. After a short time, he handed it back.

“I’ve put it in the same tuning as the danger vibes. It should react the closer you get,” Superdekes explained.

“Thanks, Super Roadie” Tee Bone replied with a smile, flying off into the sky with the guitar.


Tee Bone Flight 666 direct to Australia was pretty uneventful, other than the guitar occasionally humming as he approached the country, and soon enough he was hovering above the western city of Perth.

And he was sweating like never before. This place gave a new meaning to the word hot, and if Tee Bone didn’t know better, he’d have said that it was hotter than hell in this place. Heck, it was even hot in the shade! He was at least somewhat pleased, however, that the inhabitants hadn’t been literal when they said that everything here was trying to kill you.

Then the world began to shake underneath him. He knew it must have been another earthquake because he hadn’t had enough Scotch to affect his vision yet.

The tremor passed quickly, and he flew down to see if anyone needed his assistance. He was relieved to find that no one appeared to be hurt. But then something caught his attention. It was the sound of music. He didn’t recognise the baritone singer, but he knew good riffs whenever he heard them.

He followed it to its source: a house occupied by a moustache-clad young Australian. To go with his shoulder-length hair and moustache was a small tuft on his lower lip that completed the look.

Tee Bone silently remarked that the man’s facial hair was arranged in the shape of an arrow. He wasn’t really sure who needed directions to this man’s nostrils, but whoever they were, they had them.

Needless to say, the moustachioed man was taken rather aback by this sudden development. He was not in the habit of inviting spandex-clad superheroes into his backyard, not that he’d really had the chance too before.

But there was a sense of familiarity about the man hovering before him. Perhaps it was the Van Halen logo on his mask and enjoyment of the music, but the Australian felt like he was in the presence of a friend.

“Hey, uh, Mr. Van Halen. Can I…help you with anything by any chance?” He cautiously asked.

“Call me Tee Bone Man, and, actually, I think you can,” Tee Bone replied “I need to stop these earthquakes, and to do that I need a return ticket to hell. I’ve been told the only way to get that is through the Highway to Hell, which I’m going to need some directions to.”

The moustachioed man thought for a second.

“I know the place. There are a few slight wrinkles though,” he said. “One does not simply drive into hell. There’s a specific ritual that needs to be done”.

“Well, what is it?” came Tee Bone’s reply.

“That’s the other wrinkle,” the Australian sheepishly replied. “The ritual is said to be written on the vinyl sleeve for the AC/DC album Highway to Hell, and I…err…don’t own that album.”

Tee Bone smiled.

“Well lucky for you, I know someone who does,” and he pulled out his phone “Hey Deke, I need you to do something you’re not going to like.”

Superdekes most certainly did not like that suggestion.

“You want me to do what!? Submerge the sleeve for Highway to Hell in the vintage ’66 Scotch? Are you out of your mind?”

“It’s the only way to read the ritual process,” Tee Bone countered “We need it. I’m in Australia, I’ll buy a new copy”

This perked Deke up a little.

“Well now that you mention it, you are indeed in Australia. How’s about you pick up an original Aussie pressing for me.”

“That’s pretty rare you know, they don’t exactly grow on trees. Not that I see many trees around here anyway.”

Deke stood his ground like a bass player on stage.

“Alright, you win. We’ll get that LP for you.”

“Excellent” he said, with a slight grin “You’ll want the Albert Productions vinyl. Shouldn’t be too hard for a man of your abilities.”

“Not at all. We’ll get on it as soon as we finish up here.”

Mollified, Superdekes went to work grudgingly defacing the vinyl sleeve. Sure enough, bright red text appeared on it and, soon enough, he had the answer the two men needed.

“Alright, here it is: You need to drive down the Highway to Hell at 142 kilometres per hour*, in the chariot of death, to the tune of pure rock.”

“Great, that’s going to be a hassle”, Tee Bone grumbled.  “Thanks Deke, we’ll figure it out somehow.”

He hung up and turned back to his new Australian acquaintance.

“I’m guessing it’s been a while since there’s been any chariots around here, so I reckon we’ll need to find a regular old car that suits the criteria.”

It was the moustachioed man’s turn to smile.

“Well lucky for you, I know somewhere that will have what we’re after.”


The Clairemont car show was quite the spectacle. There were certainly vehicles that caught the notice of the two men. Shiny, chromed muscle cars abounded, but none of them had the presence the men required. Until one did, towards the very end of the building, tucked away in the back. The way it caught the attention of both men was ironic, given its black-on-black paint job, but they knew this was the machine they were after. It was difficult persuading the owner to lend it to them, but an unending bottle of Scotch courtesy of Tee Bone and a mobius strip of a guitar solo did the trick.

And so the two men drove their new ride to the site of the ritual: Canning Highway. When they arrived, Tee Bone noticed an immediate problem.

“It’s too crowded now. It would be too dangerous to try and reach those speeds with all these other cars around. We’ll have to wait until night-time.”

The moustachioed man agreed, and decided to kill the time with the Canadian man inside one of the legendary Bon Scott’s favourite haunts along the road, the Raffles Hotel.

Over the next couple of hours Tee Bone found himself treated to some of Australia’s finest Scotch, a revelation about the actual number of people called Bruce in the land, and a particularly amusing crowd interaction with one of the songs on the jukebox.

“No way. Get fucked. Fuck off!” came the crowd’s reply every time the singer asked a seemingly sincere question about seeing someone’s face again.

Tee Bone raised an eyebrow in the direction of the Australian beside him.

“Australian tradition since 1977. We can be an odd bunch sometimes.”

Tee Bone silently wondered if the heat might have had some sort of effect on the people living here, and then went back to his drink.

Eventually nightfall finally came, and the two men left the respectable drinking establishment, more than a little hydrated. As they returned to their new vehicle, Tee Bone put his hand on the moustachioed man’s shoulder.

“Hey, I’ve got something to help this baby hit the speeds we need.”

Resting a bottle of Scotch on the bonnet, Tee Bone played a fiery guitar solo, imbuing the alcohol with an orangey glow.

“Put this in the fuel tank to give it an extra kick” he said, handing the, now very warm, bottle of Scotch to the moustachioed man, who obliged.

Tee Bone breathed in the cool night air and casually observed the road to make sure there weren’t any cars nearby. Satisfied, he turned back to his partner.

Now having finished adding the Scotch mixture to the fuel, the moustachioed man instinctively reached for the driver’s side door, but paused, looking at the Canadian superhero next to him.

“You’d better take the wheel,” Tee Bone assured him. “You’re familiar with the road rules here, and which side of the road to drive on.”

“Right. Good point” came the Australian’s reply.

“And you haven’t just drank a tonne of Scotch,” Tee Bone continued, mounting the car, guitar in hand.

With no rear window, Tee Bone was able to situate himself atop the car, looking forward. Not only did this cut a much cooler image for anyone lucky enough to witness the coming proceedings, but it also allowed him to see any hazards as they came and react to them in time.

The Australian, meanwhile, had taken his seat on the right side of the car and took a brief moment to gather himself for the coming task. It was not going to be easy, but that wasn’t going to stop him from giving it his all. There was no turning back now. He quickly adjusted his moustache, tuned the radio to rock and keyed the ignition. The familiar hum of an internal combustion engine filled him with some warmth.

His nerves somewhat settled, he turned his head back towards the man he might end up spending the rest of his life with, if things went south here.

“Ready?”

“As I’ll ever be” came Tee Bone’s reply. “Let’s do this”

The Australian pressed the accelerator, and with the roar of the eight-cylinder engine, the car lurched forward and began its journey towards hell. The needle climbed with every passing second, but even with the power of Tee Bone’s Scotch coursing through it, the old Ford was not what it used to be.

The Australian began to worry. They were not going fast enough, and they would run into a turn or, worse, another car soon. He threw his head back towards the direction of Tee Bone

“I don’t think we’re gonna make it!”

“Hold on!” Tee Bone yelled back. Then he began to wind his arm around a couple times, gathering air. The supercharger roared with delight. Then he hit the loudest power chord he had ever played, and the car surged forward as the world seemed to disappear in a flash of white.

For several seconds the only sound either of the men heard was the engine in front of them. Then colour returned to their vision. The colour red.

They had made it to hell. Now they just needed to find the source of these disturbances, stop them and get back to the real world without dying. Somehow.

 

 

To be continued in Chapter 3: Hell Ain’t A Bad Place To Be

 

 

* 88 miles per hour

REVIEW: Ghost – Impera (2022)

GHOST – Impera (2022 Loma Vista)

Ghost have been pretty consistent over the years.  In all honesty the only album of theirs that I seldom spin is their second Infestissumam.  Everything else has been pretty solid to me so hopes were high for the new Impera.  Tobias Forge and Ghost have steadily evolved since Opus Eponymous in 2010.  From their melodic gothic metal origins, Ghost have gradually shed metal elements and replaced them with pop sensibilities.  Impera is most similar to their last album, Prequelle.  Let’s take a deep dive and analyse what Forge and his Nameless Ghouls have come up with this time.

Inspired by the real life rise and fall of empires, but through the lens of 2020, Ghost seem less interested in Satan while remaining fascinated by the dark side.  The idea had been long-simmering in Forge’s skull:  empires, repeating patterns in history, followed by annihilation.  The opening instrumental “Imperium” sets the stage with acoustic and electric guitars, layered in a way that recalls classic 80s Leatherwolf but far more lush.  Then we are suddenly engulfed not in darkness but in Darkness — the opening guitars sound like the British band, and Forge’s opening scream is a dead ringer for Justin Hawkins!  “Kaisarion” could easily have been a Darkness song.  High speed and instantly memorable, it’s the only song that will have you singing words like “Far away from the stench of the heavens,” this summer.  An immediate triumph, “Kaisarion” has it all from wickedly melodic guitars, deep backing vocals and clever instrumental prowess in all corners.  Can’t wait to road test this on a warm day in the car with the windows down.

“Spillways” might recall Trash-era Alice Cooper, with a tremendous amount of attention paid to the incessant melodies.  One after the other, the hooks keep coming.  Be it the vocals, the guitars or hell even the goddamn drums, “Spillways” is nothing but hard catchy rock they way you remember it from ages past.

The dark single “Call Me Little Sunshine” takes a different turn.  A simple spare guitar lick makes up the backbone of the song, with quiet verses and explosive choruses.  “Call me little sunshine, call me Mephistopheles,” sings Forge going full-Faust.  I’ll call it a song that takes a couple listens but will eventually bore its way into your permanent memory.

The second single, “Hunter’s Moon” follows, an upbeat prowl through dark woods.  (This is the single mix, with a more elaborate version included in the film Halloween Kills.)  While an impressive enough song on its own, “Hunter’s Moon” is over quickly, and overshadowed by the awesome “Watcher in the Sky”, a possible contender for album highlight.  Relentless bass and drums set up the biggest boldest chorus on the album.  The lyrics are hard to pin down, speaking of Machiavelli, bloodlines, and the rot of empires.  Possibly about looking to God for salvation but getting no reply.  Regardless of the dark theme, it’s one of the most party-ready tracks on the album.

The horns that blow on “Dominion”, an instrumental interlude, lead to a shocking transition.  “Twenties” is the strangest song on the album and contender for one of Ghost’s most bizarre tunes overall.  Beginning with a dark Metallica “Through the Never”-ish riff, “Twenties” soon transforms into something completely different.  Indescribable and simultaneously existing in the 1920s and 2020s alike.  Not sure if I like ir or not.

“Darkness at the Heart of My Love” is a pretty epic ballad, with suitably epic accompaniment from harpsichord type keys to angelic sonic backdrops.  Choirs of vocals join by the end, heaped on top of guitar harmonies in decadent fashion.  Brightening the mood, the poppy “Griftwood” returns us to a classic hard rock sound circa 1987.  The lyrics offer a critique of organized religion, but in the brightest musical frame.  Forge has leaned heavily into a specific kind of 80s hook of late, and “Griftwood” is soaked in them like cold gin.

A brief instrumental called “Bite of Passage” precedes the final song, “Respite on the Spatialfields”.  The empire has fallen, and Forge asks “I wonder, did no one hear the distant thunder?”  (We did, but we chose to ignore it.)  This complex track might be called a metal ballad, but it’s more progressive than that.  It has elements of Ozzy, Queensryche, Savatage, Whitesnake and Europe’s “The Final Countdown” all rolled into one.  An epic way to close the album.  “Nothing ever lasts forever.”

Musically invigorating and lyrically thought-provoking, Forge has created another memorable Ghost album for the masses.  While we hope the world doesn’t end too soon, and Forge can continue making albums, Ghost have harnessed the musical and apocalyptic themes of the 80s and brought them forth to the present day.  Job well done.

4.5/5 stars

REVIEW: Def Leppard – Vault / Limited Edition Live CD (1995 2 CD edition)

Part Seventeen of the Def Leppard Review Series

DEF LEPPARD – Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD (1995 Mercury 2 CD edition)

Truth:  Vault was a paint-by-numbers compilation that could have been assembled with an algorithm.

Leppard had been largely ignoring their first two albums live in concert.  Predictably the only pre-Pyromania track on Vault, their first greatest hits, was “Bringin’ on the Heartbreak”.  The disc contains all the key singles from, essentially, three studio albums and the Retro-Active B-sides compilation.  According to the liner notes, it was released in order to “clear the decks” before their underrated re-invention to come on Slang.

As such, Vault debuted the last song written during the Steve Clark era that they still wanted to release:  “When Love & Hate Collide”.  Now including his replacement Vivian Campbell, it indicated Leppard were indeed going in a new direction.  As opposed to the smokin’ power-ballady demo, this version is more modern with strings and an organic approach.  Not one of Leppard’s most uniqiue ballads in the grand scheme of their discography, it was still a hit nonetheless.  The strings were arranged by, of course, Michael Kamen, who previously did the same on “Two Steps Behind”.  He has that saccharine touch that powered bands into the top 40, and that’s what you get with “When Love & Hate Collide”.  Love it or hate it.  It became a hit single in its own right.

The common two-track single was easy enough to find, but fans were best advised to locate the four track release.  It contained the demo version of the ballad, featuring the last recorded Steve Clark guitar solo.  (This version will be discussed in greater detail when we get to the appropriate disc in the CD Collection Vol 2 box set.)      

Another cool inclusion on Vault was a CD release of the long-sought “Pour Some Sugar On Me” video mix.  It is probably more well known than the album version due the massive exposure it got over the summer of ’88.  A thoughtful inclusion.  (This remix is also on the CD single for “When Love and Hate Collide”, which preceded Vault.  Also included on “When Love and Hate Collide” is the “Nuclear Mix” of “Armageddon It”.  You can find both of these remixes on the Hysteria deluxe and super deluxe editions.)

Otherwise, you get what you get.  The biggest hits but not the best hits.  Take out “Have You Ever Needed Someone So Bad” and replace it with “Stand Up (Kick Love Into Motion)”!  Ditch “Two Steps Behind” and gimme “Too Late For Love”!  (Incidentally, different countries got different tracklists so your experience may vary.)

Vault is still valuable for the cool liner notes by Peter Mensch, and comments on every track by the band members.  The booklet revealed the title of the next album for the first time:  Slang!  An odd title that surprised fans by its left-field simplicity.

It’s also valuable if you can get your hands on the double disc Vault including the Limited Edition Live CD.  Yep…that’s the title, and it’s from a hometown Sheffield gig recorded by the BBC in 1993.  Leppard were running like a finely oiled machine in ’93 and the songs were performed with consistency.  The nine tracks (of 22 total played that night) are all hits, which means they’re all also on disc one!

“Let’s Get Rocked” is a reliable opener, and “Armageddon It” follows it ably.  It’s Leppard live doing what they do best, and the songs are performed as immaculately as you’d expect.  “Armageddon It” has an extended intro so the audience can clap along.  Later in the set, it’s the full nine minutes of “Rocket” with long instrumental break.  It seems like a tough song to play live, and the vocals prove this is really live.  No messin’ around.  Good versions, one and all!  At the time of release, there were no Def Leppard live albums, period.  A handful of B-sides notwithstanding, this was the first.  It has since been supplanted by superior live CDs like In The Round – In Your Face in the Hysteria box set.

Vault was a big deal in 1995, but Leppard have since released Best of Def Leppard (2 CD UK), Rock Of Ages (2 CD US) and the recent Story So Far.  These double disc compilations have all the stuff on Vault‘s first disc and plenty more — but we’ll get there in due time.  Only the Limited Edition Live CD is exclusive today but since you can buy so many Leppard live albums now, it’s only for collectors.

3/5 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
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize

Next:

18. Video Archive

 

 

“Lord of the Flies” by Iron Maiden on the Sunday Song Spotlight

Having recently acquired a Japanese import double CD copy of the controversial X Factor album by Iron Maiden, I have been revisiting what is usually considered the strongest of the two Blaze Bayley albums.  In some quarters, the Blaze years aren’t even considered “real” Maiden, while in others, the man with the sideburns gains more appreciation over the years.  The X Factor is a good Iron Maiden album, but certainly a departure and sometimes hard to recognize as the once-stampeding band.

“Lord of the Flies” was the second single, and for good reason.  So many songs on The X Factor were slow or dour, but “Lord of the Flies” at least had tempo going for it.  Maiden made an interesting choice in Bayley, choosing someone with a far deeper voice than Bruce Dickinson.  The 90s were a sour time for bands of Maiden’s generation and you can feel the personal pain of chief songwriter Steve Harris, who allowed his feelings to come out a bit more than usual.

However you slice it, “Lord of the Flies” should be considered a worthy song.  Listen to Nicko given’er on the drums and learn to appreciate Blaze’s signature delivery.  It’s a different kind of Iron Maiden, but now that Bruce has been solidly in front of the band for the last 23 years, can we give some of the better Blaze tunes some love?  I think we can.