DVD REVIEW: The Four Horsemen – Death Before Suckass – Live at Miami Arena

THE FOUR HORSEMEN – Death Before Suckass – Live at Miami Arena  (DVD – Version 2.0 sourced from original 8mm tape)

The Four Horsemen were so fucking good, and this DVD really is the proof.  Man, how cool did they look?  Frank C. Starr, rocking the stage all confident in his pirate shirt, black gloves, and white sneakers.  A look I admittedly tried to emulate in the 1990s.  Haggis wonders how this “guido car mechanic from Long Island” managed to end up opening for Lynyrd Skynyrd?  Because he was born to be there!

The video quality is surprisingly good for an audience bootleg.  The camera is high in a balcony, but close enough to the stage to get some great shots.  The camera moves around and zooms in from its vantage point, getting clear images of pretty much the whole band except the “big fucking Yeti” behind the drum kit.  The video isn’t all that grainy, and there’s a consistently entertaining commentary by guitarist Haggis!  He’s very grateful to whoever smuggled a suitcase-sized video camera into the arena to film the band with such care.

Opening for Skynyrd, Dimwit Montgomery (the aforementioned Yeti) swiftly kicks things into motion with “’75 Again”.  According to Haggis, the band were practising their “big stage rock star posing”, something he learned from the Cult.  Onto “Let It Rock”, the groove is honed and the band is synced up like conjuring “the ghost of Bon Scott”.  Frank Starr and Dave Lizmi are the most mobile of the band, moving from one side of the stage to the other, back and forth, while the others tend to stay put.  Haggis wonders how Lizmi could hear himself solo when his amps were on the opposite side of the stage!  Though the tune starts as a groove, it quickly turns into a blitz.

Onto “Hothead”, a track partly stolen from Humble Pie, says Haggis.  Apparently nobody noticed.  Frank’s in total rock star mode, just killing it vocally.  Then a cover of Savoy Brown’s “Can’t Get Next to You”, the band settle into a low groove.  An excuse for Lizmi to show off his stuff, but any excuse is a good excuse.  When he solos, he owns the stage.  You can see him break a string mid-solo; he just sweeps it out of his way and keeps going.

Moving on to “Wanted Man” (the first song recorded for Nobody Said It Was Easy).  Frankie is just fun to watch.  He truly was a great frontman.  Lizmi’s solo is out of this world, completely different from the album version.  A shirtless and tattooed Haggis is so skinny he looks like he should be hooked up to an IV instead of a guitar.  But enough with the deep cuts.  It’s time for the hits:  “Nobody Said It Was Easy” and “Rockin Is Ma Business”.  Why was this band not huge?  They were so fucking good and their songs were fucking brilliant!

Ironic fact I learned:  the man named after a pudding made of a sheep’s innards was a vegetarian.

This DVD can be acquired directly from the Four Horsemen store.  It is certainly worth it, even if you already own the Death Before Suckass CD.  It’s a different show with a similar setlist, but the audio seems superior.  The commentary seals the deal.  Essential Four Horsemen buy.

4/5 stars

COMPLETE FOUR HORSEMEN:

  1. Record Store Tales #224:  Rockin’ Is Ma Business
  2. Welfare Boogie (1990 – 21st Anniversary edition CD)
  3. Nobody Said It Was Easy (1991 – 21st Anniversary edition CD)
  4. Nobody Said It Was Easy (2018 double vinyl LP)
  5. Daylight Again (1994 “lost” album – 21st Anniversary edition CD)
  6. Gettin’ Pretty Good…At Barely Gettin’ By… (1996)
  7. Left For Dead 1988-1994 (2005 – CD/DVD set)
  8. Death Before Suckass – Live at Saratoga Winners 1991 (2012 CD)

Coming next:  Gettin’ Pretty Good…At Barely Gettin’ By… (CD with bonus tracks)

REVIEW: Def Leppard – Too Many Jitterbugs (The Early Years Disc 4)

Part Four of the Def Leppard Review Series

Original reviews:
The Def Leppard EP (1979)
“Wasted” / “Hello America” (1979)
“Hello America” / “Good Morning Freedom” (1980)
“Bringin’ On the Heartbreak” (1981)

DEF LEPPARD – Too Many Jitterbugs (The Early Years Disc 4) (2019)

Because of the non-chronological nature of The Early Years box set, we are now back at the beginning:  Def Leppard’s first rare EP, and singles releases.  Only on Disc 4 do we finally get to go back to the original Def Leppard EP, which has seen a few re-releases over the years, but none as convenient as this.

The story goes that young Def Leppard used money loaned to them by Joe Elliott’s father, and booked a studio for one weekend.  Drummer Tony Kenning was fired just before the start of recording, for being sidetracked by a girlfriend.  Frank Noon from The Next Band (featuring Rocky Newton on bass) was chosen to fill-in temporarily.  It was The Next Band’s own three-song EP release that inspired Leppard to make their own.  They only had a handful of rehearsals with the drummer completed before it was time to hit the studio.

“Ride Into the Sun” was properly perfected when it was re-recorded in 1987 as a Hysteria B-side.  The original still boasts the same relentless riff, but without the increased velocity.  The chorus is a bit different, but here it is:  the beginning!  Out of the gates with a good song, with room to improve.  And improve young Def Leppard would.

Next on the EP is “Getcha Rocks Off”, the only track that has been available on CD for three decades.  It saw its first digital release on Lars Ulrich’s excellent 1990’s NWOBHM compilation.  The version that eventually made its way to On Through The Night is heavier, but this ground-floor version has an identical arrangement.  The solo work shows the band had early talent, and the riff demonstrates their ability to come up with the goods.

Finally: “Overture”, the big Def Leppard epic that later closed On Through the Night.  A little progressive, the 7:45 track meanders from mellow acoustic opening to galloping riff to blasting guitar workouts.  Much of it is first takes, with Joe having little time to finish the vocal.  However the job was complete.  The record was made.

All that was left was to ask Frank Noon to join the band full-time, which he declined.  15 year old Rick Allen was selected instead.  (Noon later reunited with Rocky Newton in Lionheart.)

All 1000 copies of the EP sold within a week.  Radio started to play Def Leppard.  Finally they signed the big record deal and the rest is history.  Still, there are plenty of rare tracks from the early years that were recorded.  Most were released but some are here in this box set for the very first time.

“Wasted” with “Hello America” on the B-side was originally released in 1979.  These are early versions that differ from the Tom Allom-produced tracks on the album.  Neither are as as heavy, with “Wasted” in particular needing more bite.  These versions, by Nick Tauber, were deemed not worthy of album release by the record company.  The ferocious “Wasted” riff is there but needs to be turned up – way up!  “Hello America” fares better as a more melodic rock tune.  It lacks that synth riff on the chorus of the song, which makes it a little more raw.  It also has a really long fade-out.

The Tauber sessions yielded two more songs that were never released.  “Rock Brigade” and “Glad I’m Alive”, for whatever reason, were held back until The Early Years box set.  “Rock Brigade” is probably the best of these tracks.  Rick Allen’s marauding drum rolls steal the show, but not as much as on album.  In general, the Tauber versions are less aggressive recordings, and Joe’s vocals are not as unleashed as on the final album.  “Glad I’m Alive” is the only one that didn’t make the album.  It is the song with the lyric “too many jitterbugs”, but is otherwise unremarkable.  Not many hooks (if any).  It is only available in The Early Years.

Leppard’s next B-side was “Good Morning Freedom” from the eventual “Hello America” single.  This is a song that surprisingly and delightfully was resurrected by Leppard live (more on that later in the series).  It is early quintessential early Leppard, centered on the riff and designed to get the heads-a-bangin’.  It is not without hooks, and might be as good as anything else On Through the Night has to offer, “Wasted” notwithstanding.

The next tracks are the disc are single edits, which are padding to some and valuable curiosities to others.  Moving into the High ‘n’ Dry era, they are edits of “Let It Go”, “Switch 625” and “Bringin’ on the Heartbreak”.  Nice to have to be complete, but not essential listening.  All three are obviously better in their full length versions, but you gotta try what you gotta to get on the radio.  “Let It Go” has a shorter intro, and a truncated middle section, weakening its impact.  “Heartbreak” fades out early.

“Heartbreak’s” B-side was a fast and heavy fan favourite called “Me An’ My Wine”.  It was given a raucous and fun music video when it was remixed by Mutt Lange in 1984.  Both “Wine” and “Heartbreak” were remixed for 1984 reissue, and were included in updated editions of High ‘n’ Dry.  All versions, original and remixed, are present in this box.  For some, the remixed “Heartbreak” with added keyboard accents will be the favourite, because it’s the one they grew up with.  It sounds more like a Pyromania single.  The keys do help spruce up the song, which honestly has a couple dead spots otherwise.  As for “Me An’ My Wine”, it has a longer intro and the drums have been treated to sound a little more 80s.  Incidentally, though you can get them on old High ‘n’ Dry CD pressings, this is the first time that these remixes have been available in a remastered form.

And that’s the disc — a damn fine one in fact, because it manages to include every non-album track that Leppard released during those early years.  It makes for a fun listen, as you hear the band evolve.  Even if some songs repeat, they are different enough to not interrupt the flow.  Many of the B-sides have never been released on CD format before, so the value here cannot be understated.

4.5/5 stars

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  • The Early Years Disc Five – Raw – Early BBC Recordings

VHS Archives #116: Joe Elliott and Rick Allen of Def Leppard in June ’88

On June 10 1988, Def Leppard rolled into Toronto on their massive Hysteria tour.  Michael Williams of MuchMusic was on hand to ask them about Rick’s accident and remarkable recovery.  They also discuss writing with Phil Collen for the first time.

Die Hard by Shooting Your Eye Out: The Christmas List LeBrain Train

A great quartet of fellows and a wonderful set of lists!  Tonight’s list of favourite Christmas movies ranged from the 1930s to the present day, and spanned multiple genres.  I’m sure you’ll find something to love here!

Your panel of merry-making Xmas Xperts:

This was the last show until the New Year’s Eve drop-in party on December 31.  If you’d like to participate in that, let me know and I will make sure you get the link to join!  Have a Merry Christmas and a safe holiday!

 

Merry Christmas! Top Five Xmas Films on the LeBrain Train

The LeBrain Train: 2000 Words or More with Mike Ladano

Episode 91 – Top Christmas Films

No need to explain this one!  As a followup to the popular Top 5 Horror Films show, we just had to do a list of Top Christmas Movies!

The panel tonight is as epic as the Christmas cheer we will be spreading:

There will also be two bonus lists:  one submitted by Scott Peddle and one by John T. Snow!

This will be the last show until the New Year’s Eve drop-in show on December 31.  If you’d like to participate in that, let me know and I will make sure you get the link to join!  Have a Merry Christmas and a safe holiday!

Friday December 17, 7:00 PM E.S.T. on YouTube, Facebook and also Facebook!  (We decided to discontinue Twitter as Facebook is preferred by most.)

#960: Spoilers? [Spoiler-free]

RECORD STORE TALES #960:  Spoilers?

How do you like to enjoy a movie?  Do you prefer to go in stone cold with no spoilers?  Or do you like to be hot with anticipation, awaiting every mega-moment that you have seen leaked on Reddit?

Spoiler alert:  I like spoilers.

Gimme them spoilers!  Movies today are so predictable anyway.  But I have zero tolerance for jagoffs who post this stuff in public.  It’s inconsiderate.  Therefore, this will be a spoiler-free chapter about spoilers.

We’ve all seen the classic Simpsons episode, am I right?  Homer walks out of The Empire Strikes Back, saying aloud, “Who’d have thought Darth Vader was Luke Skywalker’s father!”  Everyone in line was furious at him for revealing the big one.  More recently came a douchebag who spoiled a Harry Potter book for all the faithful waiting in line to buy it.  “Snape kills Dumbledore!” he yelled from the safety of his car as he drove by like a true coward.

I think it’s safe to say that whether you are pro or anti spoiler in your personal lives, nobody likes an asshole like that who goes out of their way to ruin an experience for everybody.  Go back home to mommy’s basement, spoiler-troll.

When we were kids, we never went to see movies in their first weeks.  Our family waited until things had died down a bit.  By then we’d already bought the Marvel Comics adaptations.  The Empire Strikes Back was the last Star Wars movie I saw that wasn’t spoiled.  My dad bought the Marvel comic adaptation while we waited in the lobby.  It was just the two of us.  The big reveal had less an affect on me — I simply assumed Vader was lying, as did most of us kids.  We’d already seen him lie to Lando.   Then, starting with Return of the Jedi, pretty much every Star Wars movie I saw was spoiled in some way.  I discovered this didn’t hamper my enjoyment of the films at all.  In fact it made me want to see them even more, and savour the moments when they came.

Phantom Menace?  Spoiled by Lucasfilm themselves, on the soundtrack CD to the movie.  Attack of the Clones?  By this time, Ain’t It Cool News was getting regular clicks.  I just can’t resist the allure of spoilers!  The internet has made it hard to keep a movie secret in any way.

Look at Spiderman: No Way Home.  The film’s not even out yet.  Pretty much everything has already been up on YouTube before Sony could take them down.  (And taking them down, they are!)  So I’ve seen everything.  I’ve seen all the villains.  I’ve seen the end credit scenes (both).  The heroes, the cameos, the big moments.  All filmed on some shitty, shaking cell phone where you can barely hear the dialogue.

My sister has rules about spoilers.  She doesn’t want to know anything that isn’t in the official trailers.  I think that’s a sensible policy.  For her.

These glimpses don’t spoil movies for me.  I still got the shakes, watching the terrible YouTube videos.  My tear ducts got a little wet when I saw…nevermind.  And based on past experience, it’ll happen again when I finally see No Way Home in theaters.  Whenever that will be.

See, that’s currently the problem.  With the latest Covid variants, who knows when I’ll be back in the theaters.  Originally I planned to see Spiderman during Christmas holidays.  Now I’m not so sure.  I have to play it by ear.  My grandmother (age 97) is in the hospital right now, and seeing her is more important than seeing Tom Holland and his new friends on the big screen.

So, yeah, spoil me!  Spoil me rotten — but ask me first.

VHS Archives #115: Erica Ehm talks to Bret Michaels about Native Tongue while Richie Kotzen just sits there

1993:  Native Tongue was not doing well on the charts, but MuchMusic dutifully had Bret Michaels and new guitarist Richie Kotzen on hand for an interview with Erica Ehm.  It’s a pretty solid 10 minutes, touching on the following topics:

  • Getting “serious” lyrically
  • Safe sex
  • C.C. leaving the band, Bobby breaking his hand
  • Reasons for being in a band, still
  • The “Stand” video, and the Bill Clinton inauguration
  • Critics
  • Bret writing “country music”?
  • Toning down the image

Richie Kotzen utters one complete sentence the whole time.  This interview is remarkable not because Bret Michaels is always entertaining, but because Richie Kotzen didn’t fit in and it’s painfully obvious.

TRIUMPH AND DEFINITIVE AUTHENTIC ARE PLEASED TO ANNOUNCE THE OPENING OF THE TRIUMPH VAULT – A CELEBRATION OF CANADA’S OWN ROCK & ROLL MACHINE!

Fans of classic Canadian rockers Triumph are in for a special treat – the launch of the ‘Triumph Vault’ website on Tuesday, December 14th, 2021.

By accessing triumphvault.com, fans will be able to discover artifacts from the band’s career beginning with a celebration of Triumph’s classic 1981 album, ‘Allied Forces.’

This inaugural collection will feature a selection of newly discovered artifacts personally curated by Mike, Gil and Rik in collaboration with Definitive Authentic. Several pieces are partnered with new audio commentary directly from the band.

New collections will be added to the Vault regularly for fans which will unlock over 45 years of Triumph’s illustrious rock & roll history through rare photos, audiograms, video, behind the scenes content, and exclusive collectables.

Commemorating the launch, the Triumph Vault will offer signed and numbered limited-edition memorabilia that have never been made available until now. And as part of the celebration and in keeping with the iconic ‘Allied Forces’ cover, fans who sign up for updates via the site are automatically entered to win a Dean Flying V guitar with a personal note from the band!

“We’re super excited to have our loyal fans experience the launch of the Triumph vault. Finally, after years of touring and recording, we’re able to unearth and display rare elements and artifacts from Triumph’s history. We can now share with our fans what we’ve been stowing away for years at Metalworks Studios.” –Gil Moore

The Triumph line-up – Rik Emmett, Gil Moore, and Mike Levine – rocked the world, and in the process, gave us countless classic hard rock anthems (“Fight the Good Fight,” “Hold On,” “Magic Power,” “I Live for the Weekend,” “Lay It On the Line,” and of course, “Rock & Roll Machine,” and albums (Just a Game, Progressions of Power, Allied Forces, Never Surrender, Thunder Seven, etc.).

Originally formed in 1975 and hailing from Mississauga, Ontario, Canada, the trio was always proud of their Great White North roots. And seemingly ever since their inception, Triumph was on the cutting edge of technology when it came to their live show – particularly lighting, sound, and effects. Sophisticated lasers, pyrotechnics and moving lighting rigs, all computer-controlled – Triumph was one of the first arena rock bands to incorporate all of these elements into their shows.

Triumph’s headlining tours were legendary, and the band was featured on many memorable stadium/outdoor shows – including the US Festival, the World Series of Rock, the American Rock Festival and Texxas Jam, Day on the Green, to name but a few. And earlier this year, the band was the focus of a documentary, ‘Triumph: Rock & Roll Machine,’ directed by Banger Films’ Sam Dunn and Marc Ricciardelli.

And now, Triumph fans will be able to celebrate the history of the band – with the launch of triumphvault.com.

REVIEW: Polychuck – Part II: Shadows Remain (2021)

POLYCHUCK – Part II: Shadows Remain (2021 EP)

Polychuck’s back.  The diverse Montreal musician / singer / songwriter / shredder has returned to cap off 2021 with a followup EP to this year’s Shadows Exposed, and it’s a step into a larger world.  Everything seems bigger and bolder.  According to the man himself, these two new songs are a closing of the Shadows chapter, as he moves on to prepare his full length album debut — a concept album.

Of this new release, Polychuck explains:  “Those were the two songs that originally didn’t make the cut because of their darker, more aggressive sound. These are the heavier tracks that were written and recorded at the same time as the other ones on the EP.”

The progressive “Scarred” has elements that harken back to classic Alice Cooper.  Haunting keyboard touches, cinematic dialogue in the backdrop.  The song soon evolves into a chugging metallic stomp, with double bass setting an aggressive tone.  The icing on the cake is the second solo, a guest guitar spot by 17 year old Justus Hajas.  Wait until you hear this one!

The second track, “Lay a Claim”, stirs more ingredients together, including 80s pop and record scratching.  This classic-to-be brings us out of the Shadows with positive lyrics and outstanding melodies.  “I’m here to fuckin’ stay,” sings Polychuck with intent.

With talent like this, he’s sticking around!

Indeed, Polychuck has a vision, and it’s going to be cool to watch him unfold it.  As his sound grows we can assume his forthcoming album will be even bigger in scope.

4.5/5 stars

REVIEW: Def Leppard – When the Walls Came Tumbling Down (The Early Years Disc 3)

Part Three of the Def Leppard Review Series

DEF LEPPARD – When the Walls Came Tumbling Down – New Theatre, Oxford 1980 (The Early Years Disc 3) (2019)

Of Leppard’s many live releases, When the Walls Came Tumbling Down is the most ferocious.  The early Leppard including Steve Clark and Pete Willis was a different kind of predator.  This particular setlist, captured after the release of the debut album On Through the Night, is extremely valuable to fans.  The band performed all 11 albums tracks, a clutch of early singles, and unreleased material.

“When the Walls Came Tumbling Down” is played first, full speed ahead.  Joe playfully changes one of the choruses to “When Oxford Came Tumbling Down”, and without pause they barrel right into the adrenalized “It Could Be You”.  There are no touch-ups or fixes done to these recordings.

The single “Rock Brigade” has a different flavour, more focused on the melody, with the foot less on the gas pedal.  Joe Elliot demonstrates confidence.  Rick Allen is a monster on the drums and Rick Savage is audibly holding it down.  Keeping to a similar tempo, “Satellite” swaggers all over the stage with determination, and Pete Willis absolutely slaughters on the solo.

There’s only a brief respite.  “Medicine Man” is an unreleased song that was later reworked into “Rock Rock (‘Til You Drop)” from Pyromania.  The quiet opening only lasts a moment before that now-familiar riff kicks in.  There’s no question that “Medicine Man” benefited from its later evolution, but many elements of the song were already, joyfully, in place.

“Answer to the Master” is rolled out with that snakey riff, and Joe is extra-engaging.  A trend is now apparent:  virtually all these songs are better than they are on album.  Another unreleased gem called “When the Rain Falls” might be more familiar under its later name, “Let It Go” from High N’ Dry.   Some elements including the riff survived to the final track, but what a serious riff that is!  When Leppard had both Willis and Clark in the band, they were a riff factory.

Back to On Through the Night, “Sorrow is a Woman” is more lively than it is on LP.  Same with the non-album single “Good Morning Freedom”.  From the drums to vocals to sheer energy, it’s better than its studio counterpart, with an intense solo to burn.

“It Don’t Matter” has a cool groove, and more drive than it does on album.  This version is evidence that Joe already had ample frontman abilities.  This takes us to “Overture”, the Leppard epic with the soft opening and big arrangement.  This is where Leppard’s two lead guitarists get to show off in dramatic fashion.

The last unreleased song is “Lady Strange” from High N’ Dry, which is in more complete shape than the other two.  As it is on album, it’s one of Leppard’s most impressive songs so far.  Riff, verse and chorus are combined in perfect form.  Only minor tweaking would be needed before it was album ready.

The final batch of album songs for the night are laid out.  “Getcha Rocks Off” is a blast.  “Hello America” is looser than album.  And “Wasted”?  Total blitzkreig.  Unstoppable and unbelievable.  Finally the very last track, “Ride Into the Sun” is the timeless beloved B-side, originally from the Def Leppard EP making it three for three EP tracks.  It’s over before you know it, two and a half minutes are gone and that’s all folks!

Even though it is completely lacking in hit singles, it might not be going out on a stretch to say that When the Walls Came Tumbling Down is a strong contender for Best Live Def Leppard album.

4.75/5 stars

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  • The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased