Jethro Tull’s brand new album The Zealot Gene has people talking not just because it’s their first album without Martin Barre on guitar since their debut. It’s also because it’s really good! Christmas music aside, this is the first studio album under the Jethro Tull banner since 1999’s J-Tull.com. It’s essentially an outgrowth of Ian Anderson’s solo band, which he finally felt comfortable bringing back full circle to Jethro Tull. Whatever! It’s all good.
“Mrs Tibbets” is the first song on The Zealot Gene, and a surprising one at that. Thought it’s not short at 5:53 in length, it has distinct pop qualities. The 80s keyboards certainly bring to mind a past era, when Van Halen was topping the charts with their own keyboard-drenched music. The flute is a main feature, delivering the first melodies and, as always, many jaw-dropping passages. Florian Ophale on guitar makes comparisons to past lineups unnecessary, when the track gets heavily progressive mid-way through. The axework has a nice vintage sound to it.
The lyric book references Genesis chapter 19 verses 24-28.
24 Then the Lord rained down burning sulfur on Sodom and Gomorrah—from the Lord out of the heavens.25 Thus he overthrew those cities and the entire plain, destroying all those living in the cities—and also the vegetation in the land.26 But Lot’s wife looked back, and she became a pillar of salt.
27 Early the next morning Abraham got up and returned to the place where he had stood before the Lord.28 He looked down toward Sodom and Gomorrah, toward all the land of the plain, and he saw dense smoke rising from the land, like smoke from a furnace.
I don’t think this is a song I’m going to crack conceptually after a few listens. Give it a go and see what you think. Brilliant track!
Blinkered against the harsh and raging sun They said, divert your gaze, don’t look behind It was time, they said, to do that thing Mindful, they, of peace and peace of mind
Don’t feel bad, they said, about the numbers Don’t feel bad about the melting heat The burning flesh, the soft white cell demise And the shattered ground beneath the trembling feet
Mrs Tibbets’ little boy August morning silence breaks Eyes to Heaven, Manhattan toy Drops in for tea and Eccles cake
All for the good and ultimately Saving precious lives in longer run Set a course for home and happy holidays Tell yourselves thank God what’s done is done
Mrs Tibbets’ little boy August morning silence breaks Eyes to Heaven, Manhattan toy Drops in for tea and Eccles cake
Maybe if Lot had stopped and stood his ground And maybe if Peter hadn’t turned away What if that Judas stole no kiss? What if, what if, Enola Gay?
Mrs Tibbets’ little boy August morning silence breaks Eyes to Heaven, Manhattan toy Drops in for tea and Eccles cake
Have yourselves a merry little Christmas Open parcels, gifts of different kind A bigger bang will call for bigger bucks So pay the ransom, don’t look behind
DEF LEPPARD – In the Round In Your Face (1989 VHS, 2001 Universal DVD)
When I was a kid, in love with music and watching every video on television, there was only one concert I wanted to see. Grade 10, going on grade 11, the only show I craved was Def Leppard. Their innovative stage in the round, in the center of the arena, seemed like the ultimate package. But I was just too young and had no one to go with, so I never made it. Fortunately, Def Leppard released a home video to satisfy those of us who could not be there. I rented the tape from Steve’s TV and made a copy. It was the best I could do on my allowance. To make up for it, I bought it three times since on different formats (VHS, DVD, CD).
I popped the tape into the VCR with anticipation. A sped-up collage of the stage assembly flashed before my eyes, to the sound of “Rocket”. A massive undertaking, but this was just pre-amble. The show was about to begin!
It was just as I had heard about in the highschool halls. The stage was draped on all four sides by massive Hysteria curtains.
“I know what you’re thinking,” says Clint Eastwood over the sound system. “‘Did he fire six shots, or only five?’ Well to tell you the truth you know in all is excitement, I’ve kinda lost track myself.” A laser show begins dancing on the curtains. “You’ve got to ask yourself one question. ‘Do I feel lucky?’ Well do ya, punk (punk punk punk)?”
Guitars replace the echo of Eastwood’s voice.
“I said welcome to my show!” screams Joe Elliot, teasing us before the curtains finally crash down and “Stagefright” kicks off the proceedings! Even in my armchair, there’s still goosebumps.
Def Leppard rip through “Stagefright”, completely in control, on fire as hot as their early days. Each member throws shapes on stage while Rick Allen keeps the whole thing moving, on drums in the middle. Leppard’s stage is not flat, with catwalks and staircases for the band to run and jump all over, which they do. Overhead cameras capture everything, from every angle. Nobody but Allen is confined to one space, as the band leap from place to place in the name of entertainment.
Continuing with the Pyromania, “Rock! Rock!” keeps the pace going at full speed. It brings a tear to the eye, seeing Steve Clark do his trademark whirlwind moves on stage, accented by his red scarf and made only more perfect in the round setting. A reminder that this was it — the last high point of the Clark era. Fortunately captured on camera and tape.
The first new song, and break in tempo, is “Women”. This is the famous version released as a single B-side with the “We got everything we need!” intro. You know it, you love it, it’s legendary: the live version of “Women”. Rick Savage mans the keyboard station for the time being while the lights get dimmer. Lots of echo on this one to duplicate the album ambience. “Too Late For Love” — a damn fine version — brings a ballady vibe, which they then lean into fully on an early appearance of “Hysteria”. The live version of “Hysteria” is lengthier with an extended bass intro. It feels like Def Leppard are a band with four frontmen, with the amount of shape-throwing going on here! And, for a moment, Joe Elliott on rhythm guitar! A funny little 80s axe with no headstock it is, locking down the riff while Steve and Phil embark on a glorious dual-guitar harmony solo.
Steve Clark gets a mini-solo to open “Gods Of War”, a Leppard epic that really shines in the live setting. We always thought it should have been the 8th Hysteria single. Rick Savage on acoustic guitar during the outro. The lights blast at the end, simulation “the bomb” and the band exist the stage as the lights go black. It’s a perfect transition to the gunshot sound effects that open “Die Hard the Hunter”. Lighters up! Off goes Phil’s shirt. This track is a return to the tempo of the opening duo, all three being from Pyromania.
Indeed, it is time to address the setlist. You may have noticed all the tracks are from Pyromania and Hysteria thus far. There is nothing from On Through the Night, and only one from High N’ Dry: “Bringing On the Heartbreak”. “This is one of our earlier songs, that we’re going to play a brand new way for ya,” says Joe. It seems they were trying to focus on the big albums that people had heard on MTV rather than their heavier metallic roots on this tour. Phil Collen gets a nice acoustic intro to show off his skills, along with Steve on doubleneck. This new semi-acoustic version of “Heartbreak” was so the band wouldn’t get sick of the song; it’s interesting anyway.
“Foolin'” ushers in a long stream of big, big hits. Steve’s still rockin’ the doubleneck. Then “Armageddon It” is nice and fresh. Much of this footage will be familiar to fans of the music video. “Animal” is tight, and received with a rapturous applause. Lots of girls in the front row dancing to this one.
There’s a touching moment in the “Pour Some Sugar On Me” intro when Joe says that the return of Rick Allen “the Thundergod” on drums was the biggest “up” that the band ever had. They then make easy work of the hit single. Phil takes a solo rip on the fretboard before “Rock of Ages”, and then of course the obligatory long audience singalong section. (“You can do better than that!”) The encore “Photograph” closes the show, and a great song to do it with. Shirts are no longer required where Joe and Steve are concerned.
This video was expertly directed by Wayne Isham. It is simply one of the best shot and edited live concerts available on DVD. It’s also – sadly – a document of the last stand for this lineup of the band. They had hit the top. Unfortunately you can never stay.
Note: This being the thirdHysteria album review, we will be taking a different approach. The first two reviews were detailed and comprehensive so please check those out for all the nitty gritty. This one will be more nostalgic in nature.
DEF LEPPARD – Hysteria (1987 Vertigo)
Kiss were always my “favourite band”, but the majority of my highschool years from 1987 to 1989 were all about Def Leppard. Although they wanted to be the biggest band in the world with this album, many of us were cheering for them to win. The band had endured years of adversity since the triumph of Pyromania.
Most obviously was Rick Allen’s car accident. It was hard to imagine how the drummer was going to come back from it, losing his left arm and almost his right as well. But he did. He frickin’ did it. Rick Allen, the Thundergod, returned and Joe Elliott said it was biggest “up” the band ever had. How could you not want them to win under those circumstances?
The biggest change on Hysteria (so named to characterise the last four years of their lives) was obviously the drum kit. Rick Allen had a style, employing classic grip and wicked rolls. Now he had a new electronic kit, with samples triggered by foot pedals and an arsenal of modern sounds. Allen adapted with a fresh style, leading the charge with a chugga-chugga and some bam-pow. His new style is one of the defining traits of Hysteria.
The first single here, and first taste of the new Leppard, was “Women”, an unorthodox pick. A slow grind led by a synth-y sounding bassline from Rick Savage, it is neither a ballad nor a scorcher. It’s not immediately catchy either, but it drew us all back in for a second third and fourth lesson until we were hooked. The sound: clean, precise, with layers of vocals and assorted melodic tones. But shit, did the band ever look cool in the video.
Hysteria arrived on my tape deck Christmas of 1987. It quickly monopolized my listening time, though it took a couple spins to “get it”.
“Rocket” threw me for a loop. I considered it filler; too contemporary and not enough rock. Bogged down with samples, backwards vocals and tricks. It sounded like the kind of song that would be impossible to perform live (though they did). Over the years I’ve warmed up to “Rocket”. The tribal beat inspired by Burundi Black makes it quite unique in hard rock, and the lyrics are delightful once you realize that Joe’s just naming all his favourite bands and albums. The meticulously recorded chorus really illustrates the intricate kind of process at hand. Each voice recorded separately and mixed down to the final product. Then there’s the long droning middle section, a unique construction worthy of a detailed listen. “Rocket” was another odd selection for a single, but it was a hit as the seventh and final one almost two years after the album was released.
It was hard to resist “Animal”, even though it was a blatant sonic declaration that Leppard were going for hits. As the second single from the album, it made some impact with its circus-themed music video. Light rock, with a punchy chorus, “Animal” was a well-written track with yet more of those immaculately recorded backing vocals. In the lead singer department, Joe was content to sing more and scream less, a trend that would continue. The fact is, the guy didn’t have to scream, though he’s terribly good at it.
Hysteria has a variety of tracks, but only two are ballads. “Love Bites” was selected as fifth single, and a smash hit it was. I wondered why they used a Judas Priest song title, but the song actually has country origins. Producer “Mutt” Lange brought the bones of it to the band as a twangy country song. The end product is nothing like that, with odd computerized voices and a slow dramatic build. Like every song on the album, the chorus kills. The band (with Lange) had really honed in on writing and recording technically perfect songs. There’s a lot going on in the mix on “Love Bites” but none of it is wasted. Everything’s necessary for the right vibe.
“Step inside, walk this way! It’s you n’ me babe, hey hey!” Shakespeare it ain’t. A hit, it was! “Pour Some Sugar On Me”, the fourth single, was the breakthrough smash that launched this album on the charts for two years. Def Leppard had ripped off a couple classic rock tunes here, but they were selling them to kids who never heard the originals. Mixing rap and rock, Leppard sold a bajillion singles and umptillion albums to kids worldwide. It wasn’t even an obvious hit. The genre-bending song took some getting used to initially.
Closing side one, the sixth single: “Armageddon It”. The stuttering guitar riff made it easy to like, if a bit light. This tune is fun to listen to with headphones on, to help break down all the different tracks of guitar. The cool thing that each guitar part is catchy on its own.
The North American videos for “Sugar” and “Armageddon It” were filmed live, and showed off Leppard’s innovative “in the round” stage. From the TV in the basement, it sure looked like the ultimate concert experience. We’d get a full taste of it on the In the Round: In Your Face home video (1989). Today you can get this concert on both CD and DVD. The CD version is included in the comprehensive Hysteria 30th Anniversary box set.
Opening side two is the track we all thought should have been a single: “Gods of War”, an epic in its own right, from the same lineage as “Overture” from the 1980 debut album. With Ronald Reagan and Margaret Thatcher sampled in the tune, it just sounded cool. Steve Clark’s E-bow opening drone sets the stage for a dramatic tune full of riffs, hooks and guitar action. It’s not political, just anti-war like many Ozzy tunes of the time. Its length probably prohibited it from being a single…but they did edit down “Rocket”.
The first non-single on the album is the hard rocker “Don’t Shoot Shotgun”. Some odd vocal effects keep it from being a standard guitar rocker; almost every song on Hysteria has some strange twist in the mix. Though more laid back in groove, this is the first tune that hearkens back to old Leppard. Slicker, sugar coated and easier to swallow though. It is paired with “Run Riot”, a similar track with a faster tempo. Tasty guitars from Collen and Clarke, chugging drums from the Thundergod. Screamin’ Joe sounding like the Joe from Pyromania, and Savage sounding less synth-y than the other tracks.
The last single on the album was actually the third single released: the brilliant title track “Hysteria”. The diamond-like flawless ballad was laid down literally one note at a time, giving it a precise but delicate nature. It was arguably the most pop Leppard had ever been, and that’s just fine. When you have a song this good, it doesn’t matter what you call it. Best tune on the album? Arguably. The precise picking is delectable and Joe has one of his best vocal performances right here. Unlike other songs on the album, it’s low on sonic gimmicks.
If there was one song to eject from the album, it’s the penultimate track “Excitable”. Back to gimmicks, it relies too much on samples and weird digitally manipulated vocals. It sounds like it was intended to be a crossover hit. It could have been replaced by a superior B-side (which we’ll get to).
The album closer is a majestic mid-tempo not-quite-ballad-thing called “Love and Affection”, possibly the second best tune on the whole album after “Hysteria” itself. It’s all about taste, but this deep cut is one of the strongest. It’s all about the song, no extra trimmings, just melody and arrangement. It easily could have been a single. There’s this one chunky Steve Clark lick that just slays me. Rick Allen’s pound has never been more suited to a track as it slams through the chorus. A really triumphant track that I would have released as ninth single after “Gods of War”!
Although it took a year (until the release of “Sugar”) to recoup its costs, Hysteria was an undisputed win for the band that worked so hard for it. Their loyalty to their drummer was not to lost to fans and media alike, and actually worked in their favour creating a new and exciting 80s rock sound.
But there was more to Hysteria than just the 12 tracks. Remixes and live material aside, there were five notable B-sides. All excellent in their own right.
Backing “Women” was the straight-ahead rocker “Tear It Down”. These B-sides were not produced by Mutt and therefore have a more raw edge, akin to older Leppard. “Tear It Down” rocked relentess, hard but mid-tempo cool. After a one-off live TV performance, the song was earmarked for re-recording on the next album….
On the flipside of “Animal” we find “I Wanna to Be Your Hero”, with a ballady opening and hard rocking middle. How did this song not make the album? Clearly one of the best tunes, it has both a chugging riff and a pop-smart melody.
The heaviest tune backed the softest. “Ride Into the Sun” was the B-side to “Hysteria”, and what a smoker it is. A re-recording of a song from the Def Leppard EP, it is also re-arranged with new lyrics and new chorus. It’s far superior and kicks every ass in the room. The B-side to “Sugar” was “Ring of Fire”, just as heavy as “Ride Into the Sun” but not as immediately catchy.
Finally, the last of the B-sides was a cover. A very confusing cover indeed. “Release Me” featured their roadie Malvin Mortimer doing something that might be considered singing. To add to the mess, the band all switched instruments with Joe on piano, so nobody really knew what they were doing. The band credited the song to “Stumpus Maximus and the Good Ol’ Boys” and in the liner notes, Joe claimed “Rarely in my travels have I come across such a monumental talent as Stumpus Maximus.” Only when Stumpus unfurls his unholy screams at exactly 2:36 did I get the joke.
The Hysteria sessions yielded some unfinished material as well, that Leppard would finally release in the 1990s. One of these tunes, a screaming “She’s Too Tough”, first saw the light of day on Helix’s 1987 album Wild in the Streets, released two months ahead of Hysteria. Brian Vollmer is one of the few singers who can do justice to Joe’s challenging vocal.
Hysteria is available in a comprehensive 5 CD/2 DVD box set with all the B-sides, remixes, and live tracks. It includes the Classic Albums “making of” documentary, all the music videos, and the entire In the Round: In Your Face concert on CD. It is, without a doubt, the best way to own the most important Def Leppard album.
But before you buy, some perspective.
There’s a legendary 0/10 review by Martin Popoff that I’d like to share some quotes from. If I’m over-enthusiastic about Hysteria, then consider this.
“High tech, tasteless, and devoid of life whatsoever.”
“Even Elliott’s vocals, probably the last vestige that hasn’t completely been swallowed by robots, sound like some kind of dry-wheezing mechanical lung wired to the man’s death bed.”
“Hysteria is a major assault to anyone’s intelligence.”
“An offensive kick in the head sent straight from the rock ‘n’ roll bored room.”
DEF LEPPARD – Pyromania Live – L.A. Forum, 11 September 1983 (2009 deluxe edition)
Leppard were riding high when they hit the L.A. Forum in 1983. Pyromania was selling hot enough that every kid in the neighbourhood had heard at least one of its singles on the radio. MTV was factoring in now, and its impact can’t be understated. Leppard had some high budget and good looking videos on offer. Their live show was just as impressive.
Remixed and remastered, the second L.A. show is now easily available on the Pyromania deluxe edition — the first official release of a live album with Steve Clark, although it did not come until 2009.
“Rock! Rock! (Till You Drop)” is a natural opener. Since it already opened Pyromania itself, it was well suited, but its extended (taped) intro made for a dramatic band entrance. Joe’s road-worn scream is employed to great effect. Even so slightly faster than LP, “Rock! Rock! (Till You Drop)” defined the mood. Rock rock till you drop indeed! Keeping with the “Rock” theme, “Rock Brigade” was locked and loaded for the second spot. It sounds fresh with Phil Collen on lead guitar and backing vocals. His solo is balls-out technical, and completely unlike those of Pete Willis.
Joe pauses to say “good evening”, and then it’s straight into “Saturday Night (High ‘N’ Dry)”. This ode to getting wasted from 1981 is not a vast departure from the album version despite Phil amping up the guitar work. Into “Another Hit and Run”, it’s pure adrenaline and foot on the gas pedal. Screaming into the ether, Joe sings of youthful self-destruction. It turns into a jam towards the end, before careening through the finish line.
“Billy’s Got a Gun” is one of those songs that can get a bit rickety live, but this version is solid. The excellent “Mirror Mirror (Look Into My Eyes” follows, and it’s very slightly revised to increase the tension. Some won’t notice the differences. As usual, the chorus kills. It’s been all album cuts thus far, and no hits. But then Joe invites Steve Clark to the spotlight to play an acoustic guitar solo, which becomes “Foolin'”, the first of the three massive hits rolled out in a row. This might be considered the center of the show: “Foolin'”, “Photograph” and (a slightly fast) “Rock of Ages”. Each one a perfect gem, but with the live edge intact. To take it over the top, a ragged “Bringin’ on the Heartbreak”, Leppard’s other recognisable hit, is rolled out immediately after. What do you do for an encore? We’ll get to that.
“Switch 625” follows “Heartbreak” as it should. With the hits behind them, Leppard spend the end of the set rocking really, really heavy. “Switch 625” is already a steamer, but it’s followed by “Let It Go”, “Wasted” and an encore tease, and then “Stagefright”. Clearly, this setlist was designed to rock! “Wasted” in particular stands out from this trio. Phil’s blazing solo technique adds that extra dimension to the song, but it is just as amped up and the best versions from the early years.
But “Stagefright” isn’t the real encore.
“Right, I said we got a surprise for ya. And we have a big one at that. Ladies and gentlemen, will you please welcome all the way from England — Queen’s Brian May!”
Queen were not on tour, but they were in Los Angeles recording their 1984 album The Works. The long friendship between Leppard and Queen began right here. A cover of Creedence Clearwater Revival’s “Travelling Band” is the earliest recording of Joe and May together, but certainly not the last! This is not only a piece of history, but it’s a brilliant track! Joe’s screaming voice is strangely well suited to an overblown CCR cover. But hearing the guitar trio solo together, each with their own style, is the real icing on the cake. May is so creamy!
There are no other live releases from the Pyromania era, and the band’s sound transformed permanently when they next hit the road. This live album is the end of an era, and an excellent good time of it too.
5/5 stars
The Pyromania tour wrapped up 18 December in Dortmund Germany, another two-nighter. Two weeks later, on New Year’s Eve, Rick Allen had the car accident that severed his left arm. In a heartbreaking twist, the arm was reattached, but after an infection set in, had to be removed again. This devastating tragedy united the band. Ambulance-chasers were ready and waiting to take the drum stool away from Rick Allen, but the band refused to see it as the end for the drummer. We all know what happens next. It was total Hysteria!
AEROSMITH – The Road Starts Hear (2021 Universal RSD vinyl)
Are Aerosmith kicking off a series of official bootlegs too? That would be just swell! The label on this record indicates it comes from the “Vindaloo Vaults”. It seems likely there would be more in the vaults besides this October 1971 recording. But even if this is all there is, we sure got lucky. This tape from Boston is Aerosmith’s earliest known recording, and sounds bloody great. Currently it’s only available on RSD vinyl, but don’t be surprised if it gets a CD reissue when Aerosmith re-release their entire catalogue.
Aerosmith’s first LP was different. Tyler hadn’t found his voice yet. The distortion wasn’t cranked up. But there is certainly a fondness for that period, which birthed “Dream On” and a number of other classics. That’s the setting for The Road Starts Hear.
This record commences with some slow, laid back guitars jamming on “Somebody” while the people in the venue chit and chat amongst themselves. Then it really starts – Tyler kicking it up, but drummer Joey Kramer being the real driving force. This recording is clear! There is some minor distortion on Tyler’s microphone, but you can hear both guitars distinctly, along with bass, drums and cymbals.
The blues cover “Reefer Head Woman” wasn’t recorded by Aerosmith properly until 1979’s Night in the Ruts, but this version predates the familiar by eight years! They’re very different but both boast a Steven Tyler harmonica solo. This transitions into “Walkin’ the Dog”, slower and bluesier than the other versions out there. This is a long jam, and for the brilliant guitar work, it’s likely the best take of “Walkin’ the Dog” that you’ll hear.
“Moving Out” leads side two, definitely edgy and sharp. Tyler is at the top of his game and the rest of the dudes provide the momentum. Then they lay back on “Major Barbara”, another song they didn’t release until much later. Though they did record it in a proper studio in 1974 for Get Your Wings, it didn’t get a release until it was added as a bonus to Classics Live in 1987! On this version, listen for a detour into “Hail to the Bus Driver”!
“Dream On” is fully realized, Tyler tinkling on the piano, but the guitar solos still in prototypical form. This brilliant version is probably the heaviest. Finally “Mama Kin” closes the record, a bit different than the way it sounds on the Aerosmith album: more garage-y.
What a band Aerosmith always were! The chemistry is evident on their earliest recordings, as is their hard edged approach to rocking the blues. You cannot go wrong with this record.
THE FOUR HORSEMEN – Gettin’ Pretty Good…at Barely Gettin’ By (Reissue with bonus demos)
By the time the Four Horsemen managed to get a second album on the shelves, it was already far too late.
It didn’t matter how good the album was; the climate was completely different in 1996. Not only had grunge come, but it had already gone! Sadly, so had original T4H drummer Ken “Dimwit” Montgomery. He was not the only casualty. Struck by a drunk driver in late 1995, their charismatic frontman Frank C. Starr fell into a coma he would never come out of. (Starr finally passed away in 1999.) The Horsemen had a second album in the can with Starr, but were all but out of action.
Even though the debut was produced by the biggest name in 90s rock, Rick Rubin, the mercurial Starr had always been the key. When the band first arrived, his shriekin’ AC/DC mannerisms earned the band some series MTV play. The frontman had a whole lot to do with that. Then he blew it. Starr wound up in jail for a year while Kurt Cobain took over, something addressed in the lyrics on several tracks. Horsemen guitarist Haggis attempted to move on with new singer Tim Beattie and, through trials and tribulations, recorded a southern rock album called Daylight Again that was not released. Then guitarist Dave Lizmi tried to give the can one more kick, and reunited with Starr for what could have been an incredible second ride. They had the tunes to back it up, and Gettin’ Pretty Good…at Barely Gettin’ By is the proof. With Canadians Randy Cooke on drums and Pharoah Barrett on bass, they finally had a second Horsemen album on the shelves. But with Starr in a coma, they were stuck in the mud once again. They toured with Little Caesar vocalist Ron Young doing an admirable job of it, but it was the end.
For shame. A forgotten album that could have been mega was largely ignored.
You can’t really tell that Gettin’ Pretty Good…at Barely Gettin’ By was made through such hardship. The songs are largely upbeat and party-hardy. The exceptions are the contemplative “Song for Absent Friends”, dedicated to the passed Dimwit Montgomery, and the angry “Back in Business Again”. This ode to Seattle was certainly not a love letter to Kurt or Eddie. Singing about his year in jail, Starr says he “heard a bunch of whining, little wussy rock n rollers, complaining about how fame and fortune’s got them down.” Ouch.
Otherwise, this a rip roarin’, liquor snortin’ good time. “Lots of whiskey and beer!” Starr’s singing style had changed too. No longer was he trying to be Brian Johnson (one has to assume doing that is hard on the voice). Singing in a more natural throat, Starr could still pull it off, just shoutin’ instead of screamin’.
Here’s something else: 13 tracks, and no filler. Not one skipper, and more variety than the first LP. Most of the tracks are fast or mid-tempo rock n’ rollers, adorned with some absolutely stunning lead guitar work from Dave Lizmi. The man has not seen a slide or a wah-wah pedal he couldn’t master, and the album is drenched in that kind of feel. It also sounds more loose. Frankie seems to crack up laughing mid-sentence on “Drunk Again”. “It’s been 40 days since I looked at my face (laughs)…ah shit…”
Some of the tunes that deviate from the norm are the highlights. “Song For Absent Friends” hits hard, right in the feels. “And I know that you all are out there somewhere, on a leave of absence from this place.” Then there’s the aforementioned “Back in Business Again”, probably the heaviest tune the Horsemen have put to tape. The anger is palpable, but it’s not without a smile and a wink. It’s more a declaration of the kind of music the Four Horsemen represent in the era of “wussy rock n’ rollers” from some “nowhere town”. As Frank sings, they’re a “trail blazin’, skin lovin’, whiskey drinkin’, motherfuckin’ rock and roll band”. The exact opposite of the kind of groups Frank seemed to despise.
There are a couple singalongs (“My Song” and “Hit the Road”) and the traditional Horsemen album closing epic. Seven minutes long, Frankie asks “What the Hell Went Wrong”, and I’m sure there are many different answers to that question. A slow blues rocker with some sweet organ, it’s kind of like two songs in one. They pulled a similar trick on the debut album with a track called “I Need a Thrill / Something Good”. Regardless, when Lizmi starts soloing it goes into epic territory.
Like other Horsemen releases, Gettin’ Pretty Good was reissued on CD by the band with bonus tracks. These are 1995 demos for “Livin’ These Blues”, “Keep Your Life” and “Hit the Road”. All three tracks differ in some ways from the album versions, either in lyrics or solos. These feature Canadian Ken Montgomery’s brother, Chuck Biscuits, on drums.* Surprisingly, the soulful backing vocals on “Livin’ These Blues” was there from the demo stage. The demo of “Hit the Road” is even looser than the already pretty lubricated album version! More twangy, too, with a wicked dobro solo. The demo of “Hit the Road” is probably the superior take for its genuine party atmosphere.
These albums are finally available from the Horsemen shop on CD once more. You know what to do.
Disruption! Midway through the recording of Def Leppard’s crucial third album, guitarist Pete Willis was fired. It had been coming for a while. His alleged alcohol consumption was causing problems and the band had their eye on Phil Collen from Girl already. They were lucky to get Phil, as he had already been approached about joining Iron Maiden to replace Dennis Stratton.
This was serious. Once again working with “Mutt” Lange, whose schedule was booked solid, time was money. And music, perhaps unsurprisingly, is a business. The third Def Leppard album was critical. The potential of the band was not underestimated. “Bringin’ On the Heartbreak” made the top 20 in the US and the new album was intended to do better. Lange has a songwriting credit on every song, indicating the level to which he was involved to make the album as perfect as could be. It took 10 months to record, a mind-numbingly long time to the young band. If only they knew….
Pete Willis had writing credits on four songs, including two singles. With rhythm guitars laid down on all tracks by Willis, Collen just needed to whip up a few solos and finish off some bits and pieces. He and Steve Clark made a formidable duo. Collen had a more schooled sound than Willis and the contrast added a new dimension to Leppard’s solos. Meanwhile, the songs were streamlined. Sleaker, more hooks per minute, more direct…more commercial.
Some feel this is where Def Leppard started to go over the cliff. The majority probably see it as Def Leppard becoming the real Def Leppard.
The opening music would have been familiar to anyone who caught Def Leppard live in the early years. “Medicine Man” was an early track with an absolutely killer Clark riff. With Mutt’s help they re-wrote it into the now-esteemed “Rock! Rock! Till You Drop”, but that riff is still the main feature. After the headbanging commences, a screamin’ Joe Elliott lays down one of his most raging lead vocals. Collen’s style is audible from the solo; a fretburner. “Rock! Rock!” isn’t really that far off from High ‘N’ Dry, but you can tell it’s spent more time at the polishing wheel. The production also seems colder and more clinical.
The triumphant “Photograph” really showed where Leppard were going. Sure there’s a riff, but the main features here are the vocal melodies and harmonies. Noticeable keyboard accents de-clawed the Leppard, and the sweetened harmonies have the full-on Mutt Lange treatment that you hear elsewhere with Bryan Adams and Billy Ocean. None of that is necessarily a bad thing, but this is where Def Leppard decidedly left the New Wave of British Heavy Metal behind them. “Photograph” went to #1 in the United States. Mission accomplished.
Track three, “Stagefright” opens with a faux-live intro and a biting riff. Credited to Joe Elliott, Mutt Lange and Rick Savage, it’s surprisingly one of the heaviest songs. Back then Joe’s voice could deliver both menace and melody simultaneously, and he does that here.
While not a deep cut (#9 US), “Too Late For Love” is a lesser-known classic. No music video was made though they did a lip-synched TV appearance that later ended up on their home video Historia. A dark ballad with edge, “Too Late For Love” has cool atmosphere and just the right amount of scream.
“Die Hard the Hunter” opens with synthesised war sound effects and a soft guitar melody that deceives into thinking it’s another ballad; but no. This rocker burns hot, but damn those drums are really sample-y sounding. Rick Allen had a better sound on High ‘N’ Dry, but of course the times were changing. Eliminator by ZZ Top was out the same year.
One of the big singles (#9 US once again) is the undeniable “Foolin'”. Mixing rocker and ballad formulas, it set a template for bands to attempt to copy on their way up the charts. The stuttering chorus is now a Leppard hallmark, and not a second of the song is boring.
You can imagine, spending 10 months in the studio, how monotonous some tasks must be, take after take after take. The simple act of counting in a band — one, two, three, four — must be tedious the hundreth time. Perhaps the next time, to stave off boredom, it’s uno, dos, tres, quatro. Then something else, language by language until finally you end up with “gunter, glieben, glauten, globen”, a nonsense phrase that sounds vaguely Germanic. And suddenly, without knowing it, you’ve created a catchphrase. At least that’s how it happened for Mutt Lange on “Rock of Ages”!
That’s the story of “Rock of Ages” (#1 US), one of Leppard most irresistible hits, and also one indicative of the shift in Leppard’s sound. A very synth-y bassline and tech-y drums stamp out a a robotic 80s groove that was destined for radio and video stardom. The chorus was even more potent. “What do you want?” yells the band in harmony. “I want rock and roll!” you respond, fist in the air. It all seems very contrived, and perhaps it was. Is that so bad? Back then, it really felt like you had to fight for rock and roll. It seemed every church and every politician wanted to neuter rock bands. A good, defiant, radio-ready smash hit like “Rock of Ages” tapped into the 80s.
The killer deep cut here is called “Comin’ Underfire” which, had there been five singles, would have made a fine fifth. Tapping into the angst and tension of earlier tracks like “Lady Strange” and “Mirror, Mirror”, this is nothing but awesome wrapped up in a taut chorus like a bow. Steady, strong, and loaded with hooks. Pete Willis had a hand in writing it, demonstrating the guitarist’s often overlooked value.
Another wicked deep cut is the terrifically fun “Action! Not Words”, which, if there was a sixth single… Anyway, the slippery slide-y riff is reinforced by a simple and effective chorus. Let’s face it, there’s very little fat on Pyromania.
If anything, perhaps it’s the closing track “Billy’s Got a Gun” that might be the the only one that could be argued as filler. Laid back and emoting a dangerous vibe, it’s less exciting than the preceding material. It is, however, the closer, which has to draw the album to a proper close, and end it on the right vibe. “Billy’s Got a Gun” does the job. The album concludes with a song that feels like an ending, especially with that “bang bang” at the end.
A brief record-spinning coda is tacked at the end of the album for those who let it play all the way to the end. It probably fooled a few kids into thinking their turntable was broken, as the record seemingly spins fast and slow, over and over.
There were no B-sides or bonus tracks recorded. No extras, no unreleased songs. Talk about having your eye on the prize!
Pyromania had broad appeal. The numbers showed it. It put Leppard in the big leagues. To date it has sold 10 million copies in the US. It was the end of obscurity. The band toured relentlessly. Though they did not release a live album, the 2009 Pyromania deluxe edition contains one from the L.A. Forum in 1983. We’ll look at that next time.
Aerosmith enter the stage as the sun at Donington makes its final descent. Opening with the stalwart “Train Kept-A-Rollin'”, Steven Tyler leaps, covered by a traditional native headdress. (Strangely nobody screamed “cultural appropriation!” in 2014.) It’s off before he can start twirlin’ across the stage anyway. Though desiccated, the band are cookin’ like a group 1/3 of their age. Brad Whitford takes a welcome solo on “Train” and the band look happy to be up there.
Without missing a beat, Aerosmith travel forward in time two decades to “Eat the Rich”. At first it sounds as if Tyler’s voice can’t hack it but then he’s right back in the game. Nice to see Joe employing a whammy bar, but has the young crowd any idea what Grey Poupon is? Tyler throws down a solid burp before the skippable “Love in an Elevator”. His older, rougher voice gives it a tougher vibe but it’s overplayed radio filler now.
It’s a string of Geffen hits during this portion of the show. “Cryin'”…interesting only because the band thought they had to play it for the millionth time. “Jaded” has the stage bathed in purple but it’s Aero by the numbers. Tyler spends the end of the song hanging out with some girls in the front row. But when Joe Perry starts the growling drone of “Livin’ on the Edge”, things come back to life. The song still has teeth.
The Geffen hits are interrupted by the legendary funk of “Last Child”, and then we see why this band is really special. It’s not just Tyler and Perry, but it’s the sweet jam that the five of them make together when they really get down. Brad Whitford is the captain of this particular ship, taking us to the green waters of Mt. Funk with Mr. Joey Kramer in the engine room. Highlight of the show.
Aerosmith couldn’t have shown less enthusiasm for their newest album Music from Another Dimension. “Freedom Fighter” with Joe Perry on lead vocals is the only new song presented. Tyler’s not even on stage for it, but he’s back for “Same Old Song and Dance”. Kramer’s absolutely the backbone, with his pal Tom Hamilton on bass. That necessary piano part is provided by Buck Johnson near the back of the stage. But they just can’t keep playing oldies without giving the kids a hit, it seems. “Janie’s Got a Gun” is overdue to be retired. It’s not the band, who are at 110%, it’s just the song and the years.
“Toys in the Attic” is like a sudden wake-up! Second best tune of the night and no small thanks to Tommy and Joey on rhythm. Unfortunately all this momentum is spent by playing “I Don’t Want to Miss a Thing”, which should be buried and never resuscitated. But what do we know, Doningon goes absolutely nuclear for the movie hit ballad. Fortunately, Steven’s favourite Aerosmith song, “No More No More” is just what we needed to keep the train a-rollin’. You just have to listen to the guys play and interact with each other to appreciate what makes ’em special, but it’s trippy seeing a big passenger jet landing in the middle of the song.
“Come Together” belongs to Aerosmith as much as it belongs to the Beatles now. Their version is their own jam. Unfortunately this perfect moment is ruined by the robotic “Dude Likes Like a Lady”. Moving on to “Walk This Way”, an oldie but surely just as familiar. It’s certainly just as cool, especially when Tyler starts playing loose with the words.
The first encore is also the only serious deep cut of the night, an abbreviated “Home Tonight”, followed by “Dream On”. It’s kind of cheesy when Steven changes the words to “Cream on, cream until your jeans are blue.” “Sweet Emotion” (with Tom bass solo) and “Mama Kin” complete the night, with the ravishing applause from a crowd of 80,000, breaking curfew to do it.
After a chant of “fuck curfew!” the band launch into “Mama Kin” with the energy of a first song instead of an after-hours closer. And that’s the proof that there’s nothing wrong with Aerosmith aside from some question of how many hits you need to play vs. deep cuts. The engine still motors ahead like they haven’t been through multiple splits and illnesses. Long live Aerosmith!
The concert is well edited with excellent camera angles, relying on minimal slow-motion gimmicks.
The fine folks in Def Leppard have been doing an outstanding job of getting their rarities and fan-wishes on the store shelves. We wanted the Def Leppard EP reissued, and they did it. A few times in fact, including a cool 3″ CD included in a recent box set. We wanted all the early B-sides available on CD, and here they are. We begged for decent remastered CD editions of High N’ Dry and On Through the Night, and the band delivered. More than once.
Now there is a wealth of Def Leppard riches out there for you to buy in your format of choice. The Early Years 79-81 is the way to go for a complete set of the music from those years. We’ve gone over it all disc by disc so let’s talk about the box itself.
The 10″ x 10″ box format is awkward to store, but Leppard seem committed to the size, with their London to Vegas set having the same dimensions. They’ve at least maximised the space, with a generous hardcover book included inside. This book has the liner notes and essays you expect, broken down disc by disc. A generous set of unreleased photos keep the eyes from being bored while your ears indulge themselves. The CDs are stored separately in a cardboard folder, and they don’t seem to move around in there. Each one has its own cardboard mini-sleeve. The packaging works.
The sequencing is perhaps the only complaint. The set is not a chronological anthology of the early years. In terms of sequencing it’s best looked at as a On Through the Night / High N’ Dry deluxe edition. Two albums, remastered in their original track listing (not the 1984 track listing for High N’ Dry) with a bonus live CD, a bonus disc of B-sides and rarities, and a bonus disc of BBC sessions from the period. Which really doesn’t matter so much, except when trying to review a chronological Def Leppard series and figuring out what order to do it in! The sequencing matters little because the discs are so complete. All those singles, B-sides, edit versions, unreleased versions, and live recordings are what fans have been demanding ever since the idea of “deluxe reissues” were conceived. This is it!
Oh sure, there are a few things left in the vaults. We know of a couple more early tracks called “Heat Street” and “See the Lights”. These are unlikely to ever see official release, but one must leave some scraps for the bootleggers. If the band ever changes their minds, that’ll be cool, but the best stuff is right here.
Consider that these three complaints about The Early Years 79-81 (box dimensions, sequencing, missing bootlegs) are so minor, we can disregard them in our final score. This box accomplished what it set out to do, and when listened to in completion, offers up a real clear picture of the band’s ability and determination. They had a bright future ahead, and a chapter was about to close while a new one opened. With the band scheduled to re-convene with producer Robert John “Mutt” Lange in early 1982, life would never be the same again.
DEEP PURPLE – Turning to Crime (2021 Edel / mailing list bonus track)
Deep Purple are more known as the kind of band that people cover, rather than a band known for doing covers. Sure, “Hush” (Billy Joe Royal) was a hit. “Kentucky Woman” (Neil Diamond) was almost a hit. Their first three records are cover-heavy, but that was the 1960s. Live covers, like “Lucille” (Little Richard) or “Green Onions” (Booker T. & the M.G.’s) were more of an in-concert thing. Until the surprising inclusion of “Roadhouse Blues” (The Doors) on 2017’s InFinite.
Stir in another surprise: a worldwide pandemic! You get one of the world’s greatest bands doing a covers album to keep from going stir-crazy! Re-teaming with producer Bob Ezrin, the boys in Deep Purple decided to turn to crime and steal songs from other artists. With twelve tracks plus one bonus, it’s 53 minutes of Deep Purple doing their thang all over the oldies. How salacious!
The excellent packaging even tells you who did the original tunes if you didn’t already know. Love’s “7 & 7 Is” has been covered numerous times by our beloved rock artists, including Alice Cooper (twice) and Rush. Without comparing, the charm of Purple’s version is threefold: 1) Ian Gillan’s mannerisms on lead vocals, 2) Ian Paice’s pace, and 3) Don Airey’s quaint 80s backing keyboards. Not to be outdone, Steve Morse turns in a solo that can only be described as brief but epic.
Sax and horns join the for “Rockin’ Pneumonia and the Boogie Woogie Flu”, once covered by Aerosmith. You so rarely get to hear Deep Purple gettin’ down with a horn section (although they once did a whole tour based on that concept). It’s brilliant, and listen for a nod to “Smoke on the Water” in a musical Easter egg. “Rockin’ Pneumonia” is reminiscent of “Purple People Eater” from Gillan/Glover.
Like a polar opposite, Fleetwood Mac’s “Oh Well” is built tough and heavy. Morse plays the main blues riff on an acoustic, while Don Airey’s big Hammond roars behind. This smoker will sound great if Purple play it live. Meanwhile, 73 year old Ian Paice plays those drums like a berzerker.
Mitch Ryder & the Detroit Wheels were an influence on early Purple. Ritchie Blackmore confessed to appropriating their kind of beat for “Kentucky Woman”. You can absolutely hear that here on “Jenny Take A Ride!”. The two songs are connected via Purple’s playing. There’s also a mid-track segue into one of Gillan’s big influences, Little Richard’s “Jenny Jenny”.
Bob Dylan isn’t an artist you think of in conjunction with Deep Purple. “Watching the River Flow” has a beat you can get behind. Ian Gillan’s actually the perfect singer to do Dylan, isn’t he?
The horns return on Ray Charles’ “Let the Good Times Roll”. It sounds like “Deep Purple go Big Band”! Which is not a bad thing. Especially if you want a varied covers album. Airey and Paicey really go for that jazz band vibe. You can picture this one in a big smokey club somewhere in Chicago.
It’s Little Feat next with “Dixie Chicken”, a track we can assume came in via Steve Morse. Airey and Morse are the stars here, but as a cover it’s a little nondescript. The Yardbirds’ “Shapes of Things” is similarly like sonic colourlessness, though Roger Glover gets to shine a little. They can’t all be highlights on this album.
Speaking of album highlights, this one will doubtless be divisive. Some will think it’s too corny for Deep Purple, others will love the fact that it’s so different and Purple’s take is so original. Lonnie Donegan’s version of “The Battle of New Orleans” is the main inspiration rather than Johnny Horton’s. You can hear that in the beat. But what might really surprise people about “The Battle of New Orleans” may be the singers. For the first time, that’s Roger Glover up front. Ian Gillan, Steve Morse and Bob Ezrin are also credited singers. As for Purple’s arrangement, it’s jaunty and slightly progressive where the guitar is concerned. It’s certainly not pure country though it does have plenty of twang and fiddle. Crossover hit material?
The album has not necessarily peaked as there are still great tracks ahead. “Lucifer” by the Bob Seger System is right up Purple’s alley. Purple could easily put it in a concert setlist. It’s jam-heavy and sounds right at home. Another track in the same category is Cream’s “White Room”. Keen-eared Purple aficionados will recall Purple opened for Cream on their first US tour. Of course, only Ian Paice is still around from that tour, but he got to witness the original band play it every night. It’s certainly odd hearing a band that is clearly Deep Purple playing such a recognizable Cream song, but damn they do it so well! What’s amazing is these jams were recorded separately in home studios by family members.
The final track on CD and LP is “Caught in the Act”, a medley of famous songs that they Purple-ized. Many of these, Purple have played live such as “Going Down” and “Green Onions”. We’ll save some of the others as surprises. They finish the medley with “Gimme Some Lovin'” by the Spencer Davis Group, and it’s a totally smashing way to finish an album that was some massively fun listening.
But it’s not really the last track if you signed up for Deep Purple’s Turning to Crime mailing list. A specially numbered 13th track was emailed to those who subscribed. “(I’m A) Roadrunner” by Junior Walker & the Allstars is another horn-laden Deep Purple soul jam. Just drop it in the folder and it’s already pre-numbered as the last track on Turning to Crime. Great sax solo!
What you won’t hear on Turning to Crime are any of Purple’s earlier classical influences, for those members are gone. Nor will you get any Beatles whom Purple covered twice in the early days.
How many times will you end up reaching for a Deep Purple covers album to fill your speakers? Hard to say, but know this — you will enjoy it every time you do.
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