Part Thirty-Three of the Def Leppard Review Series
There comes in a time in many, but not all, bands’ lives. Its a fan moment, not a band moment, but just as important. It’s the point in time when a fan starts losing interest. Every fan has their own reasons. I can chart the trajectory of my own Def Leppard love on a graph.
In grades 10 and 11, when Hysteria was at its peak, Def Leppard were my favourite band. I cut them some slack for the lack of anything truly new on Adrenalize, given what the band had endured to get there. Slang was the spiritual successor to Hysteria, returning to musical experimentation and dramatic change. But it didn’t catch on, so Leppard were forced to contrive a “return to roots” on Euphoria, which failed to resonate with me. The X debacle with all the boy-band pretensions was a right turnoff. Only on Sparkle Lounge did the trajectory start to return in the right direction.
But…it was not the same. A trust had been broken. The band that I had loved in highschool (when my previous favourite band, Kiss, made some dubious direction choices in the late 80s) had taken some serious detours over the years that left me unsure. As much as Kiss had let the quality slide themselves, I had a hard time forgiving Def Leppard over X. And I don’t think that feeling from the before-fore times ever really comes back.
The Taylor Swift thing was like a reminder. “Def Leppard are going to do things that you don’t like much.” Nothing against Taylor who has her own style of art. There is an entire demographic of fans that are not going to listen to a collaboration with Taylor Swift. Many of them are reading this now. Meanwhile, there are fans who have delighted to one degree or another in every twist and turn in the Def Leppard discography. And that’s fine too. There is no right or wrong. It’s only fair for you to know where the head of the reviewer is. This is your disclaimer.
Because of my love for this band, I’ll always give them a fair shot. I just won’t always care. And that’s the big difference. Def Leppard went from a band that I cared deeply about, to one that I was buying music from out of routine instead of passion. Similarly, with these reviews, they are being written out of diligence and not a place of deep commitment. It is becoming harder work, so beware!
CRY OF LOVE – “Bad Thing” (1993 Columbia CD single)
“Just a new song, that I gotta sing…”
Cry of Love were awesome. Most frequently they were compared to the Black Crowes, but perhaps like many bands who live in the shadow, they might actually have been better. On a technical level, they had a better singer and a stellar lead guitarist. The original lineup with Kelly Holland (R.I.P.) was something truly special so you may as well try to get all the tunes you can. To do that, you’ll need some CD singles. “Bad Thing” was a single in 1993, featuring four tracks – one remix and three live.
Leading the single is “Bad Thing” in the form of a “New Mix”. It is admittedly hard to tell specific differences without doing an A/B test, but it is ever so slightly new. One thing for sure: “Bad Thing” is a wicked cool groove, with a thumping bassline and incredible guitar work from Audley Freed. The man has such a tube-y sound! There’s really nothing better than a Cry of Love groove with Audley and Kelly wailing!
The three live versions are pretty clean sounding. Live in the studio? Probably. Their big hit “Peace Pipe” is way, way groovy. The way that bass rolls just makes your guts rumble.
Tearing the temple down! Burn down the sacred ground! Tear the temple down! In the name of God somehow. Burn down the sacred ground!
Sing it Kelly! What a chorus. The powerhouse blues rocker made short work of it, drilling the song fully into your noggin. While your grey matter focuses on that melody, your intestines are shaken by the groove. Then Audley takes a solo and bam! Instant classic. The live version is very authentic to the studio original.
The Willie Dixon cover “I Ain’t Superstitious” takes the blues and cranks it right up. You’d be forgiven if you thought this was a lost Crowes tune, but Cry of Love rock it just a little bit harder. This one is a party so bring your dancing shoes. It boils and bubbles through a jamming middle section and finishes with a bangin’ flourish.
The 7:10 “Bad Thing” opens with a two minute slow blues jam. Audley’s wiry guitar tone here is different and cool. Then the drums and bass kick in and we’re groovin’! Killer version of a song that was already killer.
If you haven’t checked out Cry of Love yet, then what are you waiting for? You’ve had 30 years!
DEF LEPPARD – Yeah! Bonus CD With Backstage Interviews (2006 Walmart exclusive)
Hard truth: A lot of the Yeah! bonus tracks were better than the album itself. Bonus tracks were issued to iTunes, Best Buy, Target, and Japan, but Walmart received an entire bonus CD. If you could only afford two versions, Walmart would have been the way to go. Sold separately, their bonus CD included both Japanese bonus tracks, three exclusive songs, and three exclusive backstage interview tracks. That means if you owned this CD, you didn’t have to track down the Japanese printing to get all the songs. You just had to buy three other different versions too!
The five songs on the Walmart set are as follows:
“American Girl” (Tom Petty)
“Search & Destroy” (The Stooges)
“Space Oddity” (David Bowie)
“Dear Friends” (Queen)
“Heartbeat” (Jobriath)
Because these tracks are included on a disc called Yeah! II in The CD Collection Vol. 3, we will review them individually (along with the other five bonus tracks) when we get there. For now we’ll just give you some spoilers. The Petty song is incredible, surprisingly so. “Dear Friends” features Rick Savage on vocals and all instruments, and is completely different from Queen’s original (in a good way). In fact all the songs tend to spotlight one or two members without the full band. When we get to that disc in The CD Collection Vol. 3 then we’ll spill all the beans.
The CD Collection does not include the interviews, which isn’t surprising. They remain exclusive to the Walmart CD. They are in the 2-3 minute range and total just 7:55 combined. Still, that’s better listening than 45 minutes of Lars Ulrich in the Metallica box set.
Backstage interview #1 is compiled from all five members, and concerns the 2005 tour, and Leppard’s longevity. It was Joe’s first tour as a non-smoker, though they didn’t get around as much as they would have liked.
Interview #2 is about the Yeah! album. Joe is credited with the idea by Phil, having wanted to do his version of Bowie’s Pin-Ups album. Coincidentally, someone at the record label thought it would be a good idea to do right at the same time that Joe felt the same way at the end of the X tour.
In interview #3, Joe discusses the reasoning for picking the songs. There were three rules: all songs had to be hits, British, and pre-date Leppard signing their record deal. Clearly, these rules applied to the core album only and not the bonus tracks! When it came down to the members agreeing on covers, things went much more smoothly than anyone expected.
With the very cool exclusive songs here alongside the interviews, this Walmart CD was a must! It’s less so today due to the songs now being reissued in box set form, but Leppard fans will certainly enjoy giving it a spin.
Why Def Leppard, why a covers album? The idea seems to have come from Joe Elliott, who had been pushing to do something like this for over 20 years. Upon the completion of promotion for the X album and the two greatest hits that followed, Def Leppard had no new songs to put toward another album. Therefore, Joe’s cover album concept seemed like the right move.
We had sneak previews of two songs, “Waterloo Sunset” and “No Matter What” on Best Of and The Definitive Collection respectively. After nearly two years’ wait, we finally got the Yeah! album in 2006. All told, 22 different studio covers and two additional live versions were released over the many different CDs released to various retailers. That’s a total of 24 songs to collect. Fortunately, every single one of those tracks is included in the CD Collection Volume 3. There are three bonus interview tracks that are not included, and we will discuss those next time. For this review, we will focus on the core album; the basic 14 songs.
Opening with T-Rex’s “20th Century Boy”, there’s little question that Leppard nailed the authenticity vibe. The guitar tones are perfect. So why is my finger itching to reach for the skip button? Doing covers is like performing magic. It either happens or it doesn’t. The highlight of this song is Canadian singer Emm Gryner’s awesome backing vocals.
“Rock On”? No thanks. I’ve never liked this track. Blame Michael Damien for that, but…skip.
“Hanging on the Telephone” (The Nerves) is awesome! Hard rocking, full speed, really kicking ass. It takes Def Leppard a little further out of their comfort zone and it rocks!
From Def Leppard’s Best Of (UK only) comes “Waterloo Sunset” (The Kinks), which was an awesome bonus track but feels diminished among the other covers here. It jumps out less in this context. Still buttery smooth, still tasty. They picked an excellent song to cover here.
The Sweet’s “Hell Raiser” was covered previously by Motley Crue, except they called it “Kickstart My Heart” I believe. The instantly recognizable Justin Hawkins from The Darkness joins Joe Elliott on the microphone. By the books, this should be a slam dunk. Maybe it’s just a tad sterile.
One of the most pleasant surprises on the album is ELO’s “10538 Overture”. They captured the lushness, the complexity and the many melodies. It sounds very little like Def Leppard; another example of them stepping outside the box and absolutely nailing it.
Roxy Music appears via “Street Life”, which fails to make much of a lasting impression. As the album progresses, most of the tracks seem to just inhabit this nondescript Glam Leppard vibe. It happens again on Bowie’s “Drive-In Saturday”, and it really shouldn’t.
Free’s “Little Bit of Love” is highly polished, but sounds awesome just the same. It’s like a jolt after being sleepy for the last couple songs. Another jolt comes next. Ian Hunter himself appears on Mott’s “The Golden Age of Rock ‘n’ Roll”, and it’s not his first time with Leppard either for those who remember the Retro-Active album. That’s Emm Gryner on piano too. This song truly does recall the golden age of rock and roll. Well done.
The previously discussed “No Matter What” by Badfinger is slotted in here, previously heard on Rock Of Ages: The Definitive Collection. Pop genius, rendered well by the Leppard. They take some chances on “He’s Gonna Step On You Again” by John Kongos, a different kind of rhythm for Leppard. It’s memorable and tends to work more often than not. Sounds a bit like what got their engines pumping in the Hysteria days.
Covering Thin Lizzy, now that verges on sacred ground. And the good news is “Don’t Believe A Word” doesn’t sound bad. Joe Elliott has worked on Thin Lizzy remixes in the past and he knows what he’s doing when it comes to this band’s music. It’s not bad. That’s accurate. It’s not Thin Lizzy but it’s pretty close.
Phil Collen takes the lead vocal on “Stay With Me”, and he actually nails Rod Stewart’s voice. Rod was a real screamer back in the Faces days, not the crooner he is now. Phil probably needed about a thousand lozenges after singing “Stay With Me”.
Yeah! is uneven and unnecessary. We mentioned earlier that context is important. “Waterloo Sunset” made a much bigger impact on the Best Of album. Here, it struggles to be felt among 13 other covers. Had these tracks come out on the B-sides of singles, some would probably be cult classic covers. If anything, Yeah! got Def Leppard back into rock and roll music after the meandering X and Euphoria records. Too many ballads, right? That’s what we said. So here’s some rock and roll for you like you ordered, right?
GUNS N’ ROSES – Hard Skool (2022 Geffen 7″ Nightrain club clear vinyl EP)
Back in February, Guns N’ Roses released the Hard Skool EP (or single, or whatever!), containing the first two new Guns songs since 2008’s Chinese Democracy. With five tracks total (two studio, three live) over three separate formats (CD, cassette, 7″), it was already a pretty good listen. Axl’s voice has adapted to singing these demanding songs, 35 years after. But there was always the promise of more in June 2022, and now it has come.
Members of the Guns N’ Roses Nightrain club received a brand new Hard Skool release on clear vinyl, with one exclusive live track added. The cover art colour has been changed from red to dark charcoal grey, and a “Nightrain Limited-Edition Clear” notation has been added to the front. This wasn’t cheap, costing $60 Canadian ($45 US) dollars to join. There are other perks but really, the truth of the matter is I paid $60 for one song.
They had better not reissue this track!
The new exclusive song is “Shadow Of Your Love”, a recent live version recorded with Axl, Slash, Duff, Dizzy Reed, Richard Fortus, Frank Ferrer, and Melissa Reese. If you cast your minds back to the recent Appetite For Destruction super deluxe edition, “Shadow Of Your Love” was released as a single and it got a bit of airplay. Live with the new version of the band, it does recapture that Appetite vibe and let’s face it, the song was possibly superior to a couple tunes that did make the final album. You can hear Melissa on backing vocals, a touch that isn’t on early live versions of the song. That backing vocal part is present on the studio version from the third disc on the Appetite box, but not the others included. It’s cool that they’ve brought it back. This version is just as fast as the old ones too. It’s awesome to hear Frank Ferrer playing the drum part originally recorded by Steven Adler. As for Axl, he adapts. This is one of the most high and raspy of the original Guns repertoire. Axl delivers it smooth without the rasp and still manages to get his voice way, way up there. Say what you want about Axl Rose, he’s sounding better than many of his contemporaries. Of course the real treat is just hearing Slash wail on it, as he should.
As for the other songs on the single; we’ve discussed them before so we won’t spend much more time on them. “Hard Skool” is a Chinese Democracy outtake that has been reworked with Slash and Duff McKagan. The duo have writing credits on “Hard Skool” along with Axl Rose and former members Robin Finck, Josh Freese, Tommy Stinson and Paul “Huge” Tobias. Formerly known as “Jackie Chan”, this song comes closest to capturing the classic Guns vibe – think Illusions era GN’R. Slash imbues the riff with his trademark snakelike style, and Axl is in full-scream mode on the powerful chorus. The cowbell brings us back to the 80s a bit, but the experimental solo section is more modern. The other new/old song “ABSUЯD” is much more Chi-Dem, and more divisize. Formerly known as “Silkworms”, Guns started playing “ABSUЯD” live after a 20 year absence last year as a surprise. Axl’s voice is pretty strange here, sounding a bit muppet-ish. (The screaming portion sounds like tape.) This live track will take some getting used to. It’s not that Axl’s voice is bad just…different than what you’re used to.
Both vinyl releases came with a sticker. This fan club edition also comes with a Nightrain 2022 pin. The pin comes packaged in a little mini-folder. It is made of metal and heavy for a pin. Made for a jacket, not a shirt. For a higher tier, you could sign up for four pins and a hoodie. But I really only wanted to shell out for the exclusive track.
You can’t blame Axl for wanting to get some of these old songs out since he laboured for years over them. It’s fitting that only now with Slash and Duff back in the band, the songs are “finished”. Keep the releases coming guys. It doesn’t have to be an album. It just has to be Guns.
4/5 stars
All cautions made Every chance was given No effort spared to save what we had All in good faith I would not hesitate To extend myself and lend you my hand
But you had to play it cool, had to do it your way Had to be a fool, had to throw it all away Too hard school and you thought you were here to stay If that were true, it wouldn’t matter anyway
As tempers fade And lies forgiven No cause embraced could break what we had In its place A storm is lifting I would’ve thought you could be more of a man
But you had to play it cool, had to do it your way Had to be a fool, had to throw it all away Too hard school and you thought you were here to stay If that were true, it wouldn’t matter anyway
But you had to play it cool, had to do it your way Had to be a fool, had to throw it all away Too hard school and you thought you were here to stay If that were true, it wouldn’t matter anyway
You had to play it cool, had to do it your way Had to be a fool, had to throw it all away Too hard school and you thought you were here to stay If that were true, it wouldn’t matter anyway
You had to play it cool, had to do it your way Had to be a fool, had to throw it all away Too hard school and you thought you were here to stay If that were true, it wouldn’t matter anyway
DEF LEPPARD – Rock Of Ages: The Definitive Collection (2005 Universal)
The Def Leppard’s Best Of released in the UK in 2004, North America followed suit in 2005 with Rock Of Ages: The Definitive Collection. We’re not going to comment on that “definitive” claim, but this new compilation covered a bit of ground that the UK version did not. With ten years and three albums since 1995’s Vault, it was a logical time to put out an updated collection. With the musical Rock of Ages hitting the stage in Los Angeles, everything seemed to be lined up for Leppard.
Disc One is much the same as Best Of and Vault. Same tracks in the same order with some slight variation. The big difference here is that Disc One closes on something very special: The High N’ Dry instrumental scorcher “Switch 625”. It was a side closer on High N’ Dry and so fits the role of ending Disc One very well. It’s the heaviest song on the disc by a mile, and the only one that was not a single somewhere. A brilliant surprise especially to those who didn’t know Leppard’s heavy side. This version fades in from “Bringin’ On the Heartbreak” just like it did on album. Really, it’s a one-two combo.
Disc Two is a larger departure from that on Best Of. They both begin with “Rock Rock (Till You Drop)” and then diverge. Here, we carry on with a killer streak of early tracks from High N’ Dry and Pyromania. “Let It Go”, “High ‘N’ Dry (Saturday Night)”, “Too Late For Love”, all rifftastic tracks of Clarkian proportions. “Let It Go” isn’t on Best Of.
The key “bait” on these new greatest hits compilations was the inclusion of one new cover song. On Best Of, it was “Waterloo Sunset” by the Kinks. Here it is “No Matter What” by Badfinger, a truly poptastic inclusion that benefits from Leppard’s vocal prowess. According to Phil in the liner notes, the band started playing it live on the X tour and therefore decided to record it. With two great covers in the bag and on the shelves, we’d certainly expect the band’s forthcoming covers album to knock the socks off….
More great songs follow the Badfinger cover, beginning with the hit “Promises” from Euphoria which does deserve the spot. “Mirror Mirror (Look Into My Eyes)” (which wasn’t on Best Of) and “Another Hit and Run” sandwich the hit “Women” from Hysteria. It’s just a constant stream of awesome. “Slang” follows, which although a great song indeed, sounds out of place next to these riff rockers.
The excellent ballad “Stand Up (Kick Love Into Motion)” is a disc highlight. So is the early track “Rock Brigade”, a blazer from On Through the Night. “Now”, from X, could have been left off. It is however the only representation of the X album here. The superior “Long, Long Way to Go” was included on Best Of, but not here. Instead, we get a great epic track that was not on Best Of called “Paper Sun”. A universal favourite from Euphoria, it really deserved to be on a compilation of some kind. Then “Work It Out” from Slang is a modern sounding track that might not be heavy, but sure is worth uncountable listens over the years.
The closing trio of rockers are a delight. “Die Hard the Hunter”, “Wasted” and “Billy’s Got a Gun” are beloved Leppard non-singles that have been cherished by fandom for a long time. Particularly “Wasted”, likely the heaviest Leppard track of all time. It’s all riff! As for “Billy’s Got a Gun”, it gets the closing position that it should have had on Best Of. They got the running order right this time.
Similar to the UK Best Of, this compilation has ample photos and liner notes inside. The band track commentary remains, as does the opening essay. For overall listening, this is probably the better of the two.
Nine years after Vault, why not another “best of” collection? And why not make it a double? And a “limited edition” too?
The approach was all but perfect for Def Leppard’s double Best Of. Except when you look at it in hindsight. You always need some bait, and this time the bait was an unreleased new track. Suggested by Phil for a forthcoming covers album, Leppard recorded “Waterloo Sunset” by the Kinks, and quite well in fact. The problem was it was going to be re-released in two years on 2006’s Yeah!. So we spent all that money on one new track that we were going to end up re-buying in two years. Hard to justify.
Fortunately, “Waterloo Sunset” is an excellent version. It defies expectation in fact. Phil and Vivian sound absolutely stellar on guitar, with warm tones. It’s soft, laid back, and Joe Elliott nails the lead vocal in his own style. It does sound like Def Leppard, but it does not sound like them bastardizing the Kinks in any way. It sounds just fine, like a Waterloo sunset!
The compilation kind of plays as if disc one was the “greatest hit” and disc two is the “bonus disc”. The first disc is almost an exact repeat of the UK version of Vault., with only slight differences. It opens with the “video version” of “Pour Some Sugar On Me”, and then rolls through a what’s-what of Leppard hits. Every song, in order, from the UK Vault, until you get to track 10. Originally “Foolin'”, track 10 was swapped for “Action”. Then for track 11, they inserted the recent ballad “Long, Long Way To Go”, a good selection. “Make Love Like A Man” is also wedged in here, which let’s face it, most of us can do without. The Vault tracklisting then resumes, with “Armageddon It” through to the end, but minus “Miss You In A Heartbeat”. “Foolin'” eventually appears on CD Two, but “Miss You In A Heartbeat” does not. In the end, CD One is two songs longer, and overall a better listen than the original UK Vault.
CD Two is the one that hardcore fans will enjoy more. “Rock! Rock!”, what an opening number. “Promises” is the only inclusion from Euphoria, and justifiably so. Then you get “Slang” for a double dose of fun, and then the melancholy “Foolin'”. An unfortunate inclusion is the morose “Now” from the X album, but it’s worth sitting through to get to “Rock Brigade” from the debut. That’s an odd transition, by the way. From Lep’s latest with programming and loops and bleeps and bloops, to their early hard riffing stuff. Very weird. Sounds like two different bands presented that way.
Every single track after the dull “Now” is a killer. “Women” wasn’t on Vault. Strange, right? Rectified here. Then onto “Let It Go”, the killer “Too Late For Love”, and “High ‘N’ Dry”. A trifecta of perfect right there. The disc takes a turn to the modern side again on “Work It Out”, but at least this track isn’t a waste of space. It might not fit with the early Lep songs so well, but it has integrity and wickedly choppy guitars. When it fades, we go into “Billy’s Got A Gun” which ups the Pyromania factor a notch. “Hit and Run” and the ever-loved “Wasted” bring more of that old-school vibe, but sandwiched between them is the ballad “Stand Up (Kick Love Into Motion)”. A great ballad and highlight of the disc, but in an odd setting to be sure.
Following “Wasted”, the disc closer is “Die Hard the Hunter”, another strange choice. Would “Billy’s Got A Gun” not made for a better closer? Or even “Wasted”? Probably. Good song, but in the wrong position for sure. It’s just not the kind that closes an album. It’s more the kind that closes a side (which it did on Pyromania).
Sonically, the second disc is the most uneven since it combines tracks from both the first album and the most recent. It’s also a much more fun listen just because it includes a couple deeper cuts and some lesser heard gems. I mean…”Wasted”, right? Just wish it was the closer.
On the plus side, Best Of Def Leppard has a nice booklet with track commentary from the band members. There’s an essay and a few photos. It also comes in a nice cardboard slipcase with an embossed Def Leppard logo in shiny black. The cover art, with that slate background, is simple, cool and effective. There’s even a picture of Steve Clark inside (but no Pete Willis).
So what about that covers album? In the liner notes, Joe says it’s recorded, but it took them until 2006 to release it. In the meantime, the US would put out their own 2 CD compilation album, with a slightly different running order, a few different deep cuts, a Badfinger cover instead of the Kinks, and a better closing track. How does the US compilation stack up against the UK? Check in next time.
The opening boops and bops of lead single “Now” sounded like some pop band from Sweden, not Def Leppard. Worse, they sounded desperate.
The last studio album Euphoria was sonically calculated to bring back the good old days, but only sold half a million copies in the US, in a case of diminishing returns. To turn the ship around commercially, professional hitmakers Marti Frederiksen, Per Aldeheim and Andreas Carlsson were employed to help produce. Songs from professional songwriters were used. The band’s core sound was watered down and only now and then does the real Def Leppard surface for air.
It has been argued that eliminating the first single (and first track) “Now” would strengthen the album. While may be, we simply cannot ignore this track co-written by pro Marti Frederiksen. While opens with clicks and wheezes like a life support machine, acoustic guitars and keyboards set up the tune. Dark, soft and unimpressive until the main guitar hook kicks in at the chorus. But the chorus is lifeless and uninspiring. Only the chunky guitars have any impact, unfortunately hobbled by more clicks and sonic idiocy. At least drummer Rick Allen, who co-wrote this and a number of the album tracks, sounds lethal.
The sonic blemishes go unabated on the ballad “Unbelievable”, written entirely by hitmakers including Max Martin. The drum and sound effect programming is irritating and adds absolutely nothing to do the song. Only on the chorus, where Leppard drown it out with their harmonies, do we get relief. On X, Def Leppard had reach Peak Ballad, and that’s not a good thing. Their reliance on them was hurting their credibility as a rock band. If their voices were not so recognizable, you would not have been able to identity “Unbelievable” as a Def Leppard song.
Fortunately “You’re So Beautiful” has some spark. This upbeat pop rocker has a nice, laid back chug and very sweet harmonies. It’s not overly encumbered by programming. Phil Collen sings a chunk of it which adds another element. It’s decent.
More acoustics abound on “Everyday”, making us wonder if Leppard ever intend to rock on this album. As far as pop rock goes, “Everyday” is pretty good, with some pretty undeniable hooks. Expertly constructed with the aid of Frederiksen, “Everyday” is a keeper.
One of Leppard’s softest ballads is “Long, Long Way to Go” written by One Direction hitmakers Wayne Hector and Steve Robson. Fortunately it’s a song that Leppard makes work. Rich strings and heavy production do not impede this time. There’s an acoustic version included on the Japanese version of the album that lacks a lot of the excess, and is actually superior. Fortunately, that version is included on a later CD in The CD Collection Volume 3. “Long, Long Way to Go” is an album highlight. Even though they didn’t write it, it deserves to sit up there with some of Leppard’s best balladeering.
“Four Letter Word” is the first actual rocker, even though it steals part of its riff from the superior “Armageddon It”. Decent song, but unfortunately a knockoff. Better is “Torn to Shreds” which is ballady, but still boasts a pretty tough chorus. This song has a pop sound that implies it was cowritten by a hitmaker, but it was not. This is all Leppard. They were reaching for pop but at least they let it loose a bit on the chorus.
Irritating sound effects return on “Love Don’t Lie”, like ants at a picnic that just won’t go away. Not a bad song, with a nice stuttery guitar part that would be nice to hear breathing on its own. It’s not a total loss but the production is really un-rock in every way. Now, let’s not get into an argument about being open minded, or categorising Leppard as a “rock” band. Leppard have long called themselves a pop group, and that’s fine. There’s that, and there’s a step too far into sonic indigestion, and that’s where we are. Having said all this, the single “Gravity” is one of the most offensive of the songs. It could have been Backstreet Boys or N*Sync with guitars. Or worse.
“Cry” introduces the concept of a “guitar riff” to the X album. Too little, too late, on an unremarkable song. “Girl Like You” is a better song, but the programming and digital gunk are still there hovering in the background like a computer virus. At this point, patience is wearing this and we just want this album to end. One more ballad to endure, “Let Me Be the One” is over quickly, but what is the point? There are so many ballads seeping into the Leppard catalogue at this point in time, and few of them are notable.
Fortunately, X ends on the best song, “Scar”. Though not as heavy as “White Lightning” or as memorable as “Gods Of War”, “Scar” has that kind of dark edgy vibe. It checks pretty much all the boxes. It has a riff, a good melody, some very vintage Leppard-y guitar work, and great harmonies. One of X‘s strengths is the care put into the deeply layered vocals, a Leppard trait unheard to this degree since Hysteria. It truly is a cool sound.
There were a number of bonus tracks and B-sides available to augment your X experience for better or for worse. Japan had two bonus tracks: the aforementioned acoustic “Long, Long Way to Go” and “Kiss the Day”, another slow pseudo-rocker. The official website used to offer a song called “Perfect Girl”, which is a better demo of “Gravity”. All these and more such as “10 X Bigger Than Love” are now in the box set, and we’ll take a closer look at those songs when we get to disc four of The CD Collection Volume 3.
Oh, and why X as the title? Counting Retro-Active and Vault, it’s their tenth album. Yeah, Vault shouldn’t count, but what can you do?
If you were making a Def Leppard Best Of CD set (which, nine years after Vault, was Leppard’s next move), you could make a good case for including two songs from X, those being “Scar” and “Long, Long Way to Go” (preferably the acoustic version). Is that what Def Leppard did? Find out next time.
Part Twenty-Seven of the Def Leppard Review Series
CYBERNAUTS – The Further Adventures of the Cybernauts (2001 Arachnophobia Records)
While fans awaited the return of Def Leppard with another new album to follow 1999’s Euphoria, Joe Elliott and Phil Collen released more recordings from their Cybernauts side-project, a fun David Bowie cover band featuring members of the Spiders From Mars. This time they entered the studio (both in Ireland and Japan) to lay down some covers. These were released on a bonus disc in a very rare, very limited 2001 2 CD issue of the Cybernauts Live album.
Hendrix’s “Manic Depression” opens; organ-heavy and slightly more psychedelic. After that rocks your socks, an awesome rendition of “All the Young Dudes” follows. Purists may not like Joe Elliott’s straight-ahead delivery compared to the original, but his pure love of the song comes out. He’s not trying to be someone else. Just Joe. And that’s fine for Leppard fans!
Phil Collen opens “Moonage Daydream” with some very delectable guitar. An album highlight, the guys really do this one plenty of justice. Keyboards add the appropriate subtle lush backdrop. The solo section is sharp and wicked. Just a killer cover.
A fairly standard version of “The Man Who Sold the World” is satisfactory but the song is picky about who sounds good covering it. Phil’s guitar work is notable, as it has been throughout this set.
One tune that wasn’t on the live disc was “Time” from Aladdin Sane. Dick Decent (R.I.P.) tickles the ivories in glorious glee. From the same album comes “Panic in Detroit”, upbeat rock that doubtless inspired bands like The Darkness and Def Leppard. The Cybernauts sound at home covering it. The second half of the song is just a band jamming together and having a blast in the studio.
The closing track, “Lady Grinning Soul” is an excellent deep cut to go out on. Complex, passionate and performed with expertise. But is it really the end? The track time of 19 minutes tells us something is up. After a 10 minute silence, the Cybernauts return with an unlisted bonus track. It’s an acoustic version of “Moonage Daydream”! Probably even better than the first version! Stunning acoustic solo by Phil. Worth the wait? Well, I invite you to edit out the silence yourself and just enjoy the music.
This double disc of the Cybernauts will cost you a pretty penny. It goes for over $200 when you can find an original. Good hunting!
While fans awaited the return of Def Leppard with another new album to follow 1999’s Euphoria, Joe Elliott and Phil Collen released some recordings from their Cybernauts side-project, a fun David Bowie cover band.
But not just any cover band.
Cybernauts were formed as a tribute to the late Mick Ronson, featuring Spiders from Mars members Trevor Bolder, Mick Woodmansey, and Dick Decent. The liner notes are a little bit contradictory when it comes to specific recordings. One page in the booklet says the disc was recorded at the Olympia Theatre in Dublin, August 7 1997. On another page, Joe Elliott states that the album was “pulled together” from a five gig mini-tour. Dublin was the final date on that tour. 18 tracks, and almost 80 minutes of music comprise this live disc.
Without any preamble, we jump right into the rock and roll of “Watch that Man” from Aladdin Sane. Cybernauts are naturally a little more heavy handed but Leppard fans will love it. Things get punky with “Hang Onto Yourself”, full speed ahead, with Phil Collen whipping up some guitar magic to salute Ronson, while the original guys bang it out with bedevilling youthful energy. Massive hit “Changes” comes next, a little chunkier than the version you’re used to but still brilliant. Joe’s lead vocal has the Leppard sound, the Spiders’ backing vocals sound like Bowie. It’s a mash-up of two bands.
Acoustic guitars come out for “The Supermen”, but then Phil kicks in with the distortion. So far, an album highlight though purists might baulk at the heavier rock approach. It’s followed by an emphatic “Five Years”, with Joe doing an excellent job of the complex vocals. Bouncing from album to album, they do “Cracked Actor” next, a nice boogie. The familiar “Moonage Daydream” is welcome, and the keyboards recreate the lush backdrop authentically. Another album highlight with exceptional lead work by Phil.
A Mick Ronson solo cut called “Angel No. 9” from his second album Play Don’t Worry is rolled out next, with a wickedly tasty guitar lick. A brilliant selection, the backing vocals by the Spiders are quite sweet. “Jean Genie” is so familiar is almost skippable, but they pretty much had to play it — can’t blame them.
It’s pretty much non-stop classics from there on it. “Life on Mars” featuring Dick Decent on piano has a more delicate touch and they do a fine job of it. “The Man Who Sold the World” works well with the keyboards providing the backbone and Phil Collen doing his best Ronson. “Starman” is great fun; Joe is clearly enjoying himself.
“The Width of a Circle” is the long bomber, clocking in at almost 10 minutes. Progressive, guitar heavy and epic. After that exercise, “Ziggy Stardust” is rolled out, and always welcome. That guitar riff, the familiar melodies, they never tire. Of course, Leppard covered it a couple times but not as convincingly as this.
The Velvet Underground’s “White Light, White Heat”, which also appeared on Ronson’s second album, is a party. Backing vocals on this are awesome. Joe teases a “goodnight” at this point, but the tracklist on the back reveals three encores.
“Rock and Roll Suicide”, “Suffragette City” and Mott’s “All the Young Dudes” are a pretty good three-for-three. Encores that start slowly and laid back like “Rock and Roll Suicide” does are often like a mini-set unto themselves. “Suffragette City” blasts forth with punky energy and then “All the Young Dudes” is the anthem to end the party.
But that’s not it for the Cybernauts. In 2001 they did a Japanese tour, recorded some stuff in the studio, and released it. We’ll talk about that next time!
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