hard rock

REVIEW: Def Leppard – Euphoria (1999)

Part Twenty-Two of the Def Leppard Review Series

DEF LEPPARD – Euphoria (CD Collection Volume 2 Disc 4) (Originally 1999, 2019 remaster)

This is where we deviate from the norm.  After perhaps oversteering into the 90s with Slang, Def Leppard made a harsh course correction with their next album Euphoria.  An early retail solicitation  emphasized that after the Pyromania and Hysteria, comes the Euphoria.  It was clear where they were going.  The modern organic touch of Slang was dropped like a hot hand grenade!  In its place was an attempt to retread the hits of the past.  Mutt Lange was brought back to help polish up some songs.

Perhaps worst of all, and like Scorpions, Motley Crue and Bon Jovi at the same time, Def Leppard’s image made a big change.  Hair was cut and styled.  Shiny suits and glammy modern clothes were purchased.  While the transition to Slang felt natural, the direction of Euphoria seemed terribly contrived.  It was no secret that Slang was not a hit, and Euphoria sounded like it was crafted to generate hits to multiple formats.

One of Euphoria‘s flaws is its length.  51 minutes isn’t a big deal, but 13 tracks was too many, as we’ll see.

Opener “Demolition Man” has cool stuttering guitars like bands of the 80s employed.  It’s fast, adrenalized, and stacked high with the patented layered backing vocals.  But it feels less like the triumphant return of Leppard and more…unnatural.  To go with the top speed pace of the song, F1 race car driver Damon Hill plays some outro lead guitar on the track.

“Promises” was undoubtedly the centerpierce of the album.  A pretty successful re-write of “Photograph”, it captures the classic Leppard sound and vibe without the contrived feel.  The rich vocals of the chorus are hard to beat, and that signature Leppard guitar lick is easy to love.  The liner notes also give you lead solo credits for you to follow along – Phil or Viv.  This one has both in that order.  It’s a way to learn their individual styles, if you haven’t already!

The first serious dud is “Back in Your Face”, a plastic “Pour Some Sugar” homage with purposefully thin drum samples.  The ballad “Goodbye” is also filler, even though it was selected as a single.  By this time Leppard had accumulated plenty of ballads, and this reeks of a rewrite of “Have You Ever Needed Someone So Bad”.

The worst track on the record could be the Collen/Lange atrocity called “All Night”.  Digital funk just isn’t becoming.  A band like Extreme might have been able to make something of “All Night” if they did it without all the tech-y sounds, but this is a horrible mis-step.

Fortunately, “Paper Sun” is a mid-album redeemer.  A Leppard epic in the tradition of “Gods of Wars” and “White Lightning”, this one is worthy.  Sure it’s nothing new, but it has the vibe of a third song in a trilogy.  Play all three of those tunes in a row for some back chills.

“It’s Only Love” is another unnecessary ballad, which combines an Adrenalize vibe with Slang, but not memorably.  Then we have the embarrassingly titled “21st Century Sha La La La Girl”, a title as bad at Bon Jovi’s “Captain Crash and the Beauty Queen From Mars”.  It’s not a terrible song, though suffers from a plastic production problem.  It’s punchy, and has a singalong quality, but we’re lowering the bar a bit here.  The third ballad “To Be Alive” is the best of the batch.  Quiet and unassuming, it crosses Slang with Adrenalize more successfully.  Viv’s solo is excellent.

Collen’s “Disintegrate” brings us right back to the glory days of High N’ Dry.  Perhaps as close as they could ever get.  The blazing instrumental has definitely “Switch/625” vibes.  It is followed by another above average track called “Guilty”.  It sounds like a cousin to “Stand Up (Kick Love Into Motion)” which isn’t a bad thing.  Mid-tempo Def Leppard, plinking guitars, all good.  Continuing with some decent quality tunes, “Day After Day” has a slower, dramatic Leppard vibe.  The riff sounds vintage.

Closing track “Kings of Oblivion” turns up the tempo one last time for a pretty killer outro.  There’s a hint of the old Joe Elliott scream.  Maybe a smidge of Van Halen.  Rick Allen uses a variety of drum sounds on this album, but he sounds best right here on “Kings of Oblivion”, with a nice loud traditional snare.

A final assessment for Euphoria is difficult to reach.  It’s clear they were out to please old fans that were alienated by Slang.  We’ve argued that the superior Slang was a more creative attempt to adapt to the 1990s.  Euphoria felt like an absolutely commercially motivated attempt to capture “that sound” from the –ia albums, but also with a nudge towards late 90s pop rock.  The modern production does no favours.  But Leppard were unafraid to push further in that direction next time; not folding but going all-in.

Euphoria failed to crack the top ten in America, but “Promises” did hit #1.  It enabled them to go out on a long supporting tour.  But like many bands, the next few years would be rocky in musical direction.

2.5/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault
  18. Video Archive
  19. “Slang” (UK single)
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales

Next:  

23. Rarities – Volume Two

#981: I Got A Bad Feeling About This: Euphoria

Part Twenty-One of the Def Leppard Review Series

RECORD STORE TALES #981:  I Got A Bad Feeling About This: Euphoria

Without sounding like a broken record, the 90s were a rough time for rock and roll bands.  Those who suffered did what they had to do to survive.  When that didn’t work out, they’d revert to formula.  In the case of some high-profile groups, the moves were quite obvious attempts to recreate the past.  Take, for example, Bon Jovi.

1995’s These Days was a daring attempt to do something different, a little more laid back and organic.  The result was, with the benefit of hindsight, one of the band’s best records.  But it sold half as many copies as 1993’s Keep the Faith, which sold less than a third of what New Jersey sold, which sold just over half of what Slippery When Wet sold.  The law of diminishing returns.  So what did they do?  The wrote a song called “It’s My Life” which was just “Livin’ On A Prayer 2000” no matter what they admitted to.  Back was the talk box, Tommy, and Gina.  It was embarrassing.  The fans didn’t mind though, and they ate it up like crack-covered ice cream.

Hell, even Motley Crue got back with Bob Rock for a couple new throwback tunes.  They stepped back from the cliff of Generation Swine and scored some minor redemption before Tommy Lee fucked off.

In 1999, Def Leppard were faced with a similar situation.  Like Motley Crue, they leaned into the 1990s on Slang.  The difference was that Def Leppard made a coherent disc that felt natural, unlike the slop that Nikki Sixx fed us.  Instead of selling half of what the triple-platinum Adrenalize sold, Slang only mustered up gold in the US.  Alarm bells were ringing and something had to be done.  And like Bon Jovi at the same time, Leppard too attempted to recreate the past.

A certain Robert John “Mutt” Lange was summoned, and one of the resultant tracks called “Promises” sounds a dead ringer for “Photograph”.  And then, this artwork was released.

“After Pyromania and Hysteria comes…Euphoria.”

My buddy T-Rev was working at the Cambridge location of the Record Store.  He received the press release for Euphoria featuring that slogan in his morning shipment of CDs.  He laughed and gave me a ring to tell me.

Another “-ia” album.  For fucksakes…

I can’t recall my exact words, but I do remember my exact feeling:  “I got a bad feeling about this.”

It was as if the last decade didn’t happen.  Let’s forget the last couple records, no matter how good they may be.  And the cover art?  The dominant blue recalled the past hits, but the return of the classic logo was a clear message.  You’re going to get the Def Leppard you remember.  You’re going to get the Def Leppard album that should have followed Hysteria.  That’s the message here.

While the majority of fans were in love with the idea, I had reservations.  It seemed contrived.  Slang deserved better than to be buried like this.  In fact this move really does a disservice to the whole Slang era.  That album was a brave attempt to try some new hats on.  This looked like a timid step back into safe territory, afraid to do anything but.

Is that what happened?  Find out next time.

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault
  18. Video Archive
  19. “Slang” (UK single)
  20. Slang

Next:  

22. Euphoria

 

 

#980: Uh! All Night

RECORD STORE TALES #980: Uh! All Night

My final year of grade school, 1985-86 was momentous.  I’ve written an entire 1986 saga about those times.  I had mono which kept me home sick for much of the end of Grade 8.  This meant plenty of music listening time while I recovered.  Music and comic books.  Discovering so many new songs and bands made it a uniquely special time.  Being sick wasn’t so bad.  It kept me away from the bullies while learning about Van Halen songs such as “Unchained” and “So This Is Love”.  I sat in the basement and watched a lot of Pepsi Power Hours, during (arguably) the peak era of the show.

Additionally, it was the year I decided my favourite band was Kiss.

Kiss were hot on the TV with “Tears Are Falling”, the first single from their newest album Asylum.  Kiss were one of those bands that just made me want to collect them all.  Although I had acquired some used Kiss records in a trade, Asylum was my first brand-new Kiss purchase from a store.  That’s a special thing, because it felt like a rite of passage.  A year earlier I would have been walking up to the counter with an action figure in hand.  In autumn of 1985 I approached the cash register with what was once forbidden fruit.  Kiss used to seem dangerous, even disgusting when I was a kid.  Here I was buying the new Kiss album, for the first of many times.

I like to think that I have a knack for picking the singles for albums today.  It all started with Asylum and their little ditty called “Uh! All Night”.  While “Tears Are Falling” was a really obvious choice for single #1, it seemed to me that album closer “Uh! All Night” should be second.  A lot of albums I owned back then seemed to have a handful of good songs, and a lot of filler.  Asylum has filler (mostly the Gene songs) but “Uh! All Night” was catchy from first listen.  It was also far more upbeat than “Who Wants To Be Lonely”.

If Kiss were out to corrupt young minds, then they would have been happy to know that my sister and I jumped around the basement singing, “When you work all day you gotta UH! all night!”

I wasn’t 100% certain what “uh!” meant in this case.  The Pepsi Power Hour was little help.

With VCR at the ready, I watched attentively as VJ Christopher Ward introduced the video on the Power Hour for the first time.

“What does it mean, ‘Uh! All Night’?” teased Ward.  “Do your homework all night?  I think it means do your homework all night.”

I figured “uh” had to be something naughty.  Partying?

The video came on, and Paul Stanley descended a dark staircase wearing a white captain’s hat.  He removed his overcoat revealing more sequins, reflectors and hair than I could take in.  Dated looking by today’s standards.   The epitome of cool for 1985.  All of them looked cool, except for Gene who really struggled to find the right image, until the Revenge era.  The stage set was cool, like a construction zone at night adorned with lights and speakers.

Kiss danced, and posed, and lipsynched up a storm.  Kiss were designed for pubescent boys like me, who were giving up on action heroes and discovering rock and roll.  And girls.  The “Uh! All Night” video was criticised for, of course, objectifying scantily clad women.

Funny enough, this is where Kiss missed the mark with me.  I liked girls, but not…not the ones in “Uh! All Night”.

I liked David Lee Roth’s “California Girls”.  I ogled the ones in the video for “Blondes In Black Cars” by Autograph.  I didn’t like the platinum blonde Dolly Parton lookalikes in “Uh! All Night”.  Not at all.  Their striptease with the white nylons did nothing for me.  After Bruce Kulick whips out a wicked solo with tapping and guitar faces, the Partons beds turn into bed/car hybrids with headlights and grills.  But the Partons couldn’t drive the car-beds; they had to push them.  Dozens of Partons pushing the car-beds wearing fuzzy high heels and lingerie.  It was ludicrous and completely un-hot.

At least Kiss looked cool, so I watched the video over and over, doing my best to ignore the Dolly Partons in their white beds.

David Mallet directed “Uh! All Night” and the other two singles from Asylum as well.  They all share a similar look, but “Uh! All Night” stands out among them, and not for any good reasons.  Considering the good stuff that Mallet did direct (Maiden, Bowie, Leppard, Queen, AC/DC and many more) it’s best if “Uh! All Night” just goes forgotten on a dusty shelf somewhere in the Kiss archives.

RE-REVIEW: Def Leppard – Slang (1996)

Part Twenty of the Def Leppard Review Series

Original Review:  Slang 2 CD edition (1996)

DEF LEPPARD – Slang (CD Collection Volume 2 Disc 3) (Originally 1996, 2019 remaster)

“Too alternative!”, they moaned.  “Doesn’t sound like old Def Leppard!”, they whined.  But what choice did Def Leppard have?

The world of 1996 was not the same as 1992, when Def Leppard re-emerged after a long hiatus with Adrenalize.  Leppard experimented wildly with their music on 1987’s Hysteria, but tended to stick to formula on Adrenalize.  After the hardship of losing Steve Clark, we can forgive them for not trying to re-invent the wheel a second time.  But by 1996, grunge had passed and the decade continued to move further away from classic hard rock and heavy metal.  It was overdue for Leppard to re-invent themselves one more time.  They owed it to themselves.  But it was actually more natural that that.

Vivian Campbell was on board for his first real album with Def Leppard, only to find they were “moving the goalposts”!  After making two painstakingly produced albums, it was time for change.  The band desired a fresh start with Campbell, using no holdover music from the past.  They wanted a more organic album, and part of that was Rick Allen incorporating acoustic drums back into his setup.  They were going to try and express themselves a bit more, and take some serious chances.  To hell with the critics, expectations, and old ways of doing things.

Regardless of how it sold, the final album Slang became a cult favourite for good reason.

Opening on a fade, the new Leppard begins different from any in the past.  “Truth?” is a slow, exotic groove with background samples and loops.  Not a stretch from “Rocket” in a technical sense, but completely different results.  Deeply distorted chorus vocals are a striking shift from the past, but are just as fetching.  An middle-eastern sounding solo nails the vibe, and drum loops offer more modern twists.  The mix sounds just as dense as anything you hear on Hysteria, but with completely different elements.  And fortunately Leppard haven’t forgotten how to write hooks, even if in a darker tone.

“Turn to Dust” takes the scene to India, with sitar and tabla.  Tempos are still slow and deliberate.  “Turn to Dust” has a bit more of the Def Leppard sound on the chorus, with Phil Collen singing backup, but the lyrics sure are different:  “Sentence rape me, segregate me” is a stark turn from “Let’s Get Rocked”.  But everybody was pissed off in the 90s.  This one drones on with ample musical genius towards the end.  Lots of strings and exotic instrumentation, backed by the grind of electric guitars.

The title track “Slang” is an immediate and fun change of pace.  With a modern sound, it could have been a “Pour Some Sugar” for the 90s had it caught on.  Beats and samples mixed in with an irresistible chorus make for a catchy concoction.  It’s really the only upbeat song on the album, but a treat it is.

The ballad “All I Want Is Everything” was briefly previewed on the VHS release Video Archives, in an October 1995 acoustic performance at the Wapentake Club in Sheffield.  That acoustic rendition did not really hint at the dark ballad on Slang.  A simple but effective droning guitar part forms the backing, but the luscious Leppard melodies are delivered vocally and with guitar flourishes.  It’s a different kind of ballad for Def Leppard, but no less stirring.  It was a single, but underperformed compared to past Leppard hits.

Vivian’s “Work It Out” sounded more like a Crowded House song in demo form, poppy and quirky.  Once Leppard wrestled with it, a different kind of track emerged.  Duskier, heavier, with really dominating drums and surprisingly slinky bass from Rick “Sav” Savage.  The final Leppard version is certainly superior to Viv’s demo in the long run though both have merit.  “Work It Out” was another Slang single that should have done better.

One of the biggest album surprises (and perhaps most divisive) is the supple ballad “Breathe A Sigh”.  Gentle tic-tic-tic R&B drum samples back a song that is mostly vocal with minimal instrumentation.  Drums, piano, and understated guitar melodies should have guided this to a hit spot on the charts.

Flip the record for a darker turn of events.  “Deliver Me” is more straight-ahead rock, but certainly not upbeat.  This is heavy, foreboding and dangerous Def Leppard.  Again, not without their knack for a melody.  The quiet/loud dynamic is very 90s, but that doesn’t make it bad.  The fact that Leppard always strove for a melodic foundation keeps it from falling into the morass of soundalike 90s rock.

“Gift Of Flesh” is another surprising twist.  Blasting fast and loud, this track is the most old-school, but still dark like a cloudy sky.  With lyrics like “scorch the Earth and torch the sky,” this is a more apocalyptic kind of rocker for the Leppard we were used to.  But it does rock, and hard!  You could bang your head to it even if you can’t rock rock ’til you drop.

Was Slang too ballady?  “Blood Runs Cold” is the third such song, followed by a fourth called “Where Does Love Go When It Dies”.  Joe Elliott really nails a killer vocal on “Blood Runs Cold”, which is very light and airey.  “Where Does Love Go When It Dies” lightens the skies further.  Acoustic strumming is a more traditional sound for Leppard.  It’s a little more like the acoustic Adrenalize B-sides, with a minimal arrangement.

The last few Leppard studio albums had “album epics”:  “Gods of War” on Hysteria and “White Lightning” on Adrenalize.  Slang ends on an epic called “Pearl of Euphoria”.  There’s a lot going on in this track, with guitar overdubs and drones.  It’s a very Zeppelin-y song, but done in a modern way.  It draws from the same worldly wells that Zeppelin often explored.  Its fade-out alone is a minute long!

Unfortunately one of Slang‘s strengths, its adherence to the darker side of pop rock and hard rock, is also the factor that keeps it from hitting 5/5 stars like Hysteria.  It doesn’t necessarily make you feel as great after hearing it.  It does feel like you’ve heard something deeper and more profound, but not something that brightens your soul.

4/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault
  18. Video Archive
  19. “Slang” (UK single)

Next:

21.  I Got a Bad Feeling About This:  Euphoria – Record Store Tales

REVIEW: Helix – “Don’t Get Mad Get Even” (7″ single)

HELIX – “Don’t Get Mad Get Even” (1983 Capitol Records 7″ single)

Here’s a rarity for you, with a picture sleeve, even!  “Don’t Get Mad Get Even” is one of Helix’s least-known singles.  As a No Rest for the Wicked track, it has always been overshadowed by “Heavy Metal Love”.  I saw the music video, which was filmed at the same time as “Heavy Metal Love”, just once.  You never heard it on the radio.  It’s only on one (out of print) Helix “best of” CD appropriately titled Deep Cuts.  It wasn’t even on Over 60 Minutes With…, which focused on this period from Capitol Records.  In short, it’s a forgotten track except among the faithful.

Written by Lisa Dalbello and Tim Thorney, “Don’t Get Mad Get Even” boasts dual strengths. First there is the guitar hook, as tasty as any on classic rock radio today. Second is the chorus, an exceptional one at that, the kind Helix are good at. Powerful, melodic, emphatic and rebellious! Add in some cool solo work and what you have is a lost Helix classic. It’s truly a gem that deserves another listen from strangers and fans alike.

Interestingly enough, in 1982 “Don’t Get Mad Get Even” was recorded by Canadian rock singer Lydia Taylor (1983’s Most Promising Female Vocalist at the Juno Awards).

The B-side, “Check Out the Love” (credited to Helix as a band) is a little more well known than the A-side.  It was on both Over 60 Minutes With… and a live album recorded in Buffalo, NY.  I’ve probably heard ’em play it live on one of the many times I’ve seen Helix since 1987.  One way or another, this is a solid Helix banger with a dirty guitar hook.  The guitars on this song are just lethal, whether soloing or sliding.  Brian Vollmer’s vocals are melodic with grit.  It’s just the kind of song Helix are known for.  Rough n’ tough, but memorable.

The picture sleeve is an added bonus.  On the front, back row, that’s Greg “Fritz” Hinz, Brian Vollmer and Mike Uzelac.  In the front, the guitar duo of Paul Hackman and Brent “The Doctor” Doerner.  Every kid on our street thought Doctor Doerner was the coolest.  You can see why — he just that “look”.

Thanks to pal Craig Fee for locating this and many other Helix singles for me.

5/5 stars

 

REVIEW: Def Leppard – “Slang” (1996 UK single)

Part Nineteen of the Def Leppard Review Series

Alternate review:  “Slang” Souvenir pack single

DEF LEPPARD – “Slang” (1996 UK Mercury single)

Kobayashi Maru:  The no-win scenario.  By 1996 the musical landscape had drastically shifted.  Five years of musical upheaval had left many bands in the dust, but Leppard were one of the few survivors.  They simply could not rest of their laurels, and they knew that.  Had Def Leppard come out with another soundalike album in 1996, they would have been accused of retreading the outdated and obsolete 1980s.

We knew Leppard were interested in a more organic way of recording after being locked in studios for so many years.  Their interest in acoustic music was now expressing itself in songs like “Can’t Keep Away From the Flame”, a truly excellent if obscure Japanese Vault bonus track that was also included as a B-side from the new album Slang.  If a track this solid was considered a B-side, you could imagine what the new album was going to be like.  It was a positive sign.  But the album wasn’t going to be acoustic.  Where were Leppard headed this time?

A clue was revealed by the title track, released as a single in May 1996.  Def Leppard had returned to experimentation.  Just as Hysteria was different from Pyromania, now they finally had something just as different from Hysteria.

With hip-hop beats and a big guitar, “Slang” shocked the faithful.  Rick Allen was starting to incorporate acoustic drums back into his kit and they sounded fresh and hot.  All the old Leppard ingredients were shaken n’ stirred, and the new concoction was an acquired addiction.  It’s an upbeat celebration of the new Leppard.  They had indeed gone outside the box.  They had to.  And they did it with creativity and integrity whether you like it or not.

This UK single came with three acoustic bonus tracks, all recorded for the BBC.  Continuing their acoustic side road, “Animal” and “Pour Some Sugar On Me” fare well in acoustic form.  Other acoustic versions were coming, on a limited 2 CD edition of Slang (which we will discuss when we get to that disc of CD Collection Vol 2).

The real treat of this single is the acoustic version of “Ziggy Stardust” (also included on CD Collection Vol 3).  A brilliant take, in fact.  Most bands sound like jackasses trying to cover classic Bowie.  Not Def Leppard.  Their acoustic version has just as much edge as an electric take would.  Joe Elliott’s penchant for Bowie will become relevant a few years down the road, when we take a detour on a Cybernautic misadventure.

“Sugar” and “Animal” acoustic at the BBC remain exclusive to this single.  Worth tracking down.  Though ultimately there are other recordings out there, these are just as good and collectible as ever.

4/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault
  18. Video Archive

Next:

20. Slang

DVD REVIEW: Def Leppard – Video Archive (1995)

Part Eighteen of the Def Leppard Review Series

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

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

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

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

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

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

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

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

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

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

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

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

We’d find out soon enough.

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

4/5 stars

 

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault

Next:

19. “Slang” (UK single)

REVIEW: Ghost – Impera (2022)

GHOST – Impera (2022 Loma Vista)

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

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

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

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

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

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

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

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

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

4.5/5 stars

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

Part Seventeen of the Def Leppard Review Series

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

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

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

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

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

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

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

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

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

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

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

3/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize

Next:

18. Video Archive

 

 

REVIEW: Scorpions – Rock Believer (2022 2 CD)

“Steamrock fever, screaming rock believers.” – Klaus Meine, 1977
“Scream for me screamers, I’m a rock believer.” – Klaus Meine, 2022

SCORPIONS – Rock Believer (2022 Universal 2 CD edition)

The album of the year could be from a 57 year old band!

Although they’ve been trying hard, off and on, to recreate the past for the last 20 years or so, Scorpions never convinced us it was the 1980s again. Until now.

Whatever happened (be it the intense focus granted by a worldwide pandemic, or just the magic of interpersonal chemistry), Scorpions have issued their best record since Love At First Sting. Even the cover art recalls an earlier time in Scorpions history. With Rock Believer, the band have proven that time is no obstacle.

There are a lot of songs here and almost all of them are highlights. Opener “Gas in the Tank” feels like vintage, top-notch Scorpions. While Matthias Jabs emulates the sound of a car chase on his guitar, Rudolph Schenker lays down the first of many fully-leaded riffs. Though vocalist Klaus Meine no longer screams all the time, neither does Ian Gillan or very many other singers his age. The singer is still recognizable as nobody else, hanging onto his power and range. Nowhere on the album do you miss the screaming. Never do you say “all this song needed was a scream.” With the title “Gas in the Tank”, Klaus Meine may have unknowingly come up with a new anthem for 2022.

The only track that comes off as substandard by comparison is the second one, “Roots In My Boots”. On any past album from Crazy World on, it would be a high-speed highlight. On Rock Believer, we headbang along knowing that something better is coming. The chorus fails to land and neither do the lyrics. We are redeemed on third track “Knock ‘Em Dead”, which has the patented mid-80s Scorpions chug. Throw some candy-coated Matthias fills on top and it’s the classic sound. Klaus mentions “The Zoo” in the lyrics but it’s not all Judas Priest-like self-referencing (though there’s plenty of it on this album).

The gem of the album is “Rock Believer“, a truly remarkable ballad/rocker that strikes all the boxes. Klaus’ vocal performance is truly remarkable, going from forceful to tender in a single line. I am a rock believer like you too, Klaus. “Rock Believer” is an example of hard rock songwriting perfection. Every ingredient and aspect of the performance is flawless. Nothing extraneous, although drummer Mikkey Dee gets to go a little nuts at the end, which is a brilliant touch. It is rare to hear a song as immediately catchy as “Rock Believer” these days, but here you go, rock believers! This chorus is the kind that can stick in your head for the whole of a long weekend. (Trust me.)

A loud gothic riff on “Shining Of Your Soul” gives way to a familiar lighter reggae vibe similar to Scorpions classic “In Trance”. It’s a brilliant melding of two styles, and one that reaches back to the glorious 1970s era of the band. Certainly not a re-write of “In Trance”, but possibly a sequel. Jabs’ solo is absolutely brilliant, but don’t ignore underappreciated bassist Paweł Mąciwoda who brings a schooled melodic approach.

“Seventh Sun” stomps like the Scorps of old, recalling “The Zoo”. The bass leads the way while a sharp, sparse riff punctuates the song. It sounds like a huge mammoth of a beast, prowling heavily through the steppe. Scorpions don’t lose sight of melody and so “Seventh Sun” is strong in this regard as well. At 5:30, it is longest song on the album and closest to an epic.

Back to high-octane rockers, “Hot and Cold” really kicks. The riff is heavy and Paweł really goes for those low bass notes. While the chorus on this song is fine and dandy, it could be an example of a tune where the verses are superior. At least in terms of interesting and mind-grabbing guitar work, they are. Soon there’s another stinging riff, on the thrash-paced “When I Lay My Bones to Rest”. If you like your hard rock blasting fast and loud, then you will love “When I Lay My Bones to Rest”. Another heavy tune, “Peacemaker”, has been well received by fans. Scorpions have a long history as a band with a consistent anti-war stance. “Peacemaker” is the latest and possibly heaviest of these tunes. From the guitars to the chorus, “Peacemaker” rocks massive with melody and catchy stabs of guitar.

“Call of the Wild” is a different kind of song for this album. Klaus mentions a “Lovedrive”, but this song is one of their heavy and slow sex romps. It is somewhat unremarkable next to other tunes on the album, but it is different and picks up towards the end. Dig the slight “Sympathy for the Devil” homage. But have you noticed it’s been 10 songs, and not a real ballad among them? Ballads used to be a scourge of Scorpions albums, becoming too numerous especially on 1996’s Pure Instinct. This time there is only one, and it’s a classy one left for the end. “When You Know (Where You Come From)” is a thoughtful song, but it is the rare Scorpions ballad that stands as strong as the classics. It has a late 70s, early 80s construction and an absolutely epic guitar solo section.

11 songs with no instrumentals, interludes or fillers already makes for a hearty album. Scorpions had enough material written to make it a double, and so there’s a bonus CD with six bonus tracks. Seven in Japan, including their exclusive bonus track “Out Go the Lights”, an Accept-like heavy metal warehouse stomp. While “Out Go the Lights” is clearly bonus track material, the other six songs are not. Some of them are among the heaviest songs.

“Shoot For Your Heart” is album-worthy, with a cool unique lick in the riff that leaves you crying for more. This is a high-speed driving tune, the Scorpions bread and butter. “When Tomorrow Comes” has spoken word choruses with a forceful heavy metal riff and more “ahh, ahh, ahhs” than you can shake a scorpion’s stinger at. Good banger, but perhaps a bit too different for the proper album? It would not have weakened the record, but could possibly alienate listeners with weaker stomachs. “Unleash the Beast” is another bangin’ track, and check out Paweł’s deft bassline. “Unleash the Beast” doesn’t have the same kind of melodic might that most of the album has, but its strengths lie elsewhere, such as the creative guitars or Klaus’ talk-sing stylings. The vibe changes on “Crossing Borders”, a laid back rocker with charm and hooks. The guitars have a sleazy rock vibe and the lyrics follow suit. The final bonus track is an acoustic version of the closing ballad “When You Know (Where You Come From)”. The acoustic guitar solo perfectly augments Klaus’ flawless vocals. It’s a lovely coda and an appropriate way to end the extended version of Scorpions’ best album in decades.

Even with the wealth of of material on the deluxe edition of Rock Believer, missing is the ballad “Sign of Hope“, their 2020 standalone download-only lockdown single. Hopefully we’ll get a physical release of that eventually, though with the world now emerging it seems less relevant.

Though there are a couple songs that strive to be as good as the others, there’s nothing here worthy of the skip button. Even with the bonus tracks, Rock Believer is a solid listen from front to back. You cannot go wrong with either version, so just get one. Lockdown sucked and it was good to know Scorpions were using the time to create new music. Let’s support them in their efforts and celebrate their success.

5/5 stars