hard rock

REVIEW: Def Leppard – Retro-Active (1993)

Part Fifteen of the Def Leppard Review Series

DEF LEPPARD – Retro-Active (CD Collection Volume 2 Disc 2) (Originally 1993, 2019 remaster)

Like Hysteria before it, Adrenalize produced a wealth of riches in B-sides.  Between the two albums, they had enough B-side studio material to turn into an album compilation.  Tellingly, the final album called Retro-Active featured very different cover art, and a toned-down logo.  It was intended to be the ending of an era, and the start of a new one.  Guitarist Steve Clark was gone, replaced by veteran Vivian Campbell.  The grunge era was two years deep, and Leppard were about to change sonically.  In their minds they needed to “clear the decks” of old material so they could focus on the new.

What’s interesting about Retro-Active is that it is not simply a compilation of rare material.  Everything has been reworked to some degree — everything.  There are even two “new” songs, unfinished tracks with Steve Clark that were finally completed for this album.  We will take this album track by track and go over the changes made to the original B-sides.  (The printing on this 2019 CD reissue is so small, I had to pull out my original 1993 CD to read the notes.)

1. “Desert Song”.  A track begun during the Hysteria sessions but left unfinished without lyrics or vocals.  Joe finished the words in 1993, while Phil laid down guitar overdubs and Rick Allen re-recorded the drums.  Steve Clark is featured on the second guitar solo.  What’s surprising about “Desert Song” is how modern it sounds even though it was originally written in 1987.  A slow, heavy groove is melded with middle-eastern vibes for a dark winner.

2. “Fractured Love”.  Another from the Hysteria sessions.  You can tell the intro is of more recent vintage compared to the body of the song.  Joe’s vocals suddenly revert to the old screamin’ Elliott and it’s absolutely brilliant.  Drums were re-recorded in ’93, along with the new intro by Joe and Phil Collen.  Both these songs sound ahead of their times and well suited to the darker moods prevalent in the early 90s.  “Fractured” is choppy, intense and reminiscent of the old band while still sounding like a 90s song.  Steve Clark on lead guitar!

3. “Action”.  This Sweet cover originated on the 1992 “Make Love Like a Man” CD single.  Vivian Campbell had joined the band by this time and the track features some of his guitar work.  Like most of the tracks on Retro-Active, the drums were re-recorded by Rick Allen in 1993.  “Action” became a Leppard staple over the years, and as a rare fast/heavy rock singalong, you can hear why.  In fact, it was later released as a single, from this album!

4. “Two Steps Behind” (Acoustic Version).  As we’ll see, “Two Steps Behind” exists in a number of different versions.  The demo was electric.  The first version released appeared on “Make Love Like a Man” as a purely acoustic song with no drums.  The second release had strings added by Michael Kamen for the Last Action Hero soundtrack, and that version was released as its own single.  The version on Retro-Active is the popular Kamen single mix.  This was Leppard’s very first acoustic song and it opened new doors for the traditionally hard rocking band.

5. “She’s Too Tough”.  Helix recorded this Leppard outtake themselves for 1987’s Wild in the Streets.  From their version, you could hear the song deserved wider renown.  Def Leppard released their finished version on the single for “Tonight” in 1993.  The drums were re-recorded for Retro-Active but there were no other changes made.  This blitz of a rocker features the screamin’ Joe voice and all the adrenaline you can handle (and was missing from Adrenalize).

6. “Miss You In a Heartbeat” (Acoustic Version).  This is actually a piano version of a song that exists in many forms.  It was first recorded by Paul Rodgers and Kenney Jones as The Law in 1991.  For that band, it was a low-charting single.  It faired better for Leppard themselves, who released it as a single A-side themselves in 1993.  This quieter version features a stunning acoustic guitar solo by Phil Collen.  There are many, many versions of this song, as you will see as we proceed through this series.  (And this album!)

7. “Only After Dark”.  The Mick Ronson cover was first released on the “Let’s Get Rocked” single.  Both Vivian and Phil added guitar overdubs for the Retro-Active version.  The additional guitar depth is noticeable.  Leppard are so good as these kinds of glam rock songs.

8. “Ride Into the Sun”.  From the very first EP, and then re-recorded on the “Hysteria” single.  Could this be the fastest Def Leppard tune?  It’s certainly among them.  Also ranks highly among the heaviest, and best, of Def Leppard!  Rick re-recorded the drums, and for some reason Ian Hunter from Mott the Hoople added a honky-tonk piano intro.  The “studio talk” at the end of the song has also been trimmed off.  Sonically, this could be the best sounding version of “Ride Into the Sun”, though the preferred will always be the “Hysteria” B-side.

9. “From the Inside”.  Originally released as part of a three-song session with Hothouse Flowers on “Have You Ever Needed Someone So Bad“.  Billing themselves as “Acoustic Hippies from Hell”, Leppard were really leaning into their acoustic side!  The song originated as a TV broadcast on a program called Friday at the Dome with Joe Elliott and Liam Ó Maonlaí.  The only modification made to this version is that the count-in at the start has been deleted.  Leppard fans may be surprised by the tin whistle but it’s not too much of a stretch.  The bleak song is about the dark side of addiction.

10. “Ring of Fire”.  Dipping back into the Hysteria B-side collection, “Ring of Fire” has a new intro.  The drums were re-cut and backing vocals thickened up.  It’s one of two Mutt Lange co-writes on the album and stands as one of Leppard’s harder rockers from the era.  An excellent track, “so stick around and settle down, enjoy the mystery.”

11. “I Wanna Be Your Hero”.  From the “Animal” EP, this is the second Lange co-write on Retro-Active.  With new drums added, here it stands as one of the highlights among many highlights.  The track should always have been on Hysteria.  Combining ballad and rocker into one meaty package, “I Wanna Be Your Hero” is a stone cold Leppard classic.

12. “Miss You In a Heartbeat” (Electric Version).  Nothing was overdubbed or re-recorded for this track, but the opening fades out of “I Wanna Be Your Hero”, meaning it is still different from its original B-side release on “Make Love Like a Man”.  Another stone cold Leppard classic.  A majestic electric ballad with layers of Phil’s sweetest guitars and backing vocals.  A masterpiece.

13. “Two Steps Behind” (Electric Version).  Previously unreleased.  Joe’s original backing track was fully Leppardized with all the band members including Vivian.  This gives you an idea of how the song was originally envisioned before it took its better known acoustic guise.  The acoustic version is more original, but this one does boast a big huge Leppard chorus.

14. Unlisted bonus track!  “Miss You In a Heartbeat” (Acoustic, Acoustic Version).  This third version of the ballad is the softest.  It is the piano-based version, but without the backing band.  Just Joe, the piano, and Phil on an acoustic guitar solo.  A nice surprise.

There are more demo versions of these songs on the B-sides of singles, that we will get to when we arrive at the appropriate disc in the CD Collection Volume 2.

As it turns out, Retro-Active was not entirely the clearing of the vaults we thought it was.  There was still one more song with Steve Clark unfinished.  One more compilation to release.  The future was on the horizon, but the past had to be dealt with first.  Which doesn’t diminish Retro-Active in any way.  Where there is repeat of tracks, it is justified by the versions being completely different in tone and direction.  It plays like a “new Def Leppard studio album” to the layman, but a compilation of the deepest cuts to the faithful.  Cuts that have been freshened up and don’t repeat the exact B-sides in their collections.  A win/win.

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

Next:

16. Visualize DVD

REVIEW: Def Leppard – Live at the Freddie Mercury Tribute Concert (1992)

Part Fourteen of the Def Leppard Review Series

DEF LEPPARD – A Concert For Life – Tribute to Freddie Mercury (Wembley Stadium, 20 April 1992)

Metallica had come and blown the crowd of 72,000 away.  Extreme impressed the skeptics with a Queen medley.   Live broadcast to 50 countries, there was no pressure at all on Def Leppard!  The Freddie Mercury Tribute Concert was only the biggest show of 1992.  And they had a new member to show off.

The band had given their new guitarist an easy warm up at a club gig at home in Ireland.  But his first high profile show would be the biggest imaginable.  Without an introduction, out walked former Sweet Savage / Dio / Whitesnake / Riverdogs / Shadow King guitarist Vivian Campbell!

What a choice!  There he was with his new band, completely confident and nailing “Animal”.  In his Union Jack jeans, Joe Elliott bounced on the massive stage, working the crowd without missing a note.  After a brief pause, he then asked the throbbing mass of people, “Do you wanna get rocked?”

It was the first major live outing of a brand new Def Leppard hit.  Hamming for the camera, Vivian ably handles the backing vocals, adding more depth to the live Leppard sound.  The late Steve Clark didn’t sing as many backing vocals, and Viv was a natural.  The crowd ate it up, fists in the air and digging the new tune.  One of the coolest moments is the solo, in which Phil Collen’s picking hand turns into a blur.

One more tune.  And then an even bigger moment:  Brian May himself joined Def Leppard for a cover of Queen’s “Now I’m Here”!  (This track was later included on the 2 CD Adrenalize deluxe edition.)  Of course we all awaited the guitar solo.  Viv went first (introduced by Joe for the first time), and Phil took the second solo.  They really made ’em wait for Brian May!  It was, of course, not May’s first time with Def Leppard.

Even bigger things were in store for the Wembley Crowd as day turned to night.  Queen emerged, playing a long set of classics with a series of incredible guest singers.  And Joe got to open their set, with Slash on guest guitar.  With one of his very favourite bands, Joe got to sing “Tie Your Mother Down”.  And nailed it.

The big question for Leppard fans was “who could possibly replace Steve Clark?”  In Vivian Campbell, they selected a guy who could play with both feel and shred, as well as write songs and sing.  The personalities worked.  The ironic thing is, post-Dio, Vivian had been seen as something of a “hired gun” guitar player.  Would he last in Def Leppard?  In his early interviews, he insisted that he was always looking for a band situation that he could stay in for life.  It turns out that Def Leppard was that band.

Club gig aside, the Freddie Mercury tribute concert was Vivian’s real trial by fire.  It was obvious the band had made the right choice.  Nobody could truly “replace” Steve Clark as the band’s in-house riffmaster.  Vivian helped Leppard evolve into the 1990s.  On with the tour!  Leppard might not have been the biggest rock band in the world anymore, but they rocked 72,000 people, plus millions more at home worldwide.  Not too shabby.

5/5 stars

MuchMusic broadcast the whole show, and then did a repeat performance of the entire thing at night.  It was then that I set my VCR and taped the entire broadcast, with Erica Ehm’s interviews with various bands, including Def Leppard.  Wembley were treated to Queen videos on massive screens in between bands, and those videos are also part of the broadcast.  MuchMusic’s feed was superior to MTV.  I was in Frankenmuth, Michigan mere days later at the end of final exams, watching MTV.  Our coverage was better.  The complete show has never been officially released in any format.

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

Next:

15.  Retro-Active

REVIEW: Guns N’ Roses – Hard Skool (2022 CD, cassette, 7″ vinyl)

GUNS N’ ROSES – Hard Skool (2022 Universal CD, cassette, 7″ vinyl EP)

The first new physical music from Guns N’ Roses since 2008’s Chinese Democracy has finally arrived in the form of an EP!  Good enough; we’ll take it.  Beggars (and hangers-on) cannot be choosers.  Considering how scarce new Guns music has been since the early 90s, the new Hard Skool EP almost feels like manna from the gods.

There are six tracks in total spread over multiple formats:  two new studio songs, and four live.  The last of the live songs, “Shadow Of Your Love”, shipped in June 2022 on a club-only clear 7″.  The other five tracks are all here.

To the disappointment of some, the two new songs are slightly old:  Chinese Democracy outtakes that have been reworked with Slash and Duff McKagan.  The duo have writing credits on “Hard Skool” along with Axl Rose and former members Robin Finck, Josh Freese, Tommy Stinson and Paul “Huge” Tobias.  Formerly known as “Jackie Chan”, this song comes closest to capturing the classic Guns vibe – think Illusions era GN’R.  Slash imbues the riff with his trademark snakelike style, and Axl is in full-scream mode on the powerful chorus.  The cowbell brings us back to the 80s a bit, but the experimental solo section is more modern.

The other new/old song “ABSUЯD” is much more Chi-Dem, and more divisize.  Formerly known as “Silkworms”, it was largely enjoyed by those who knew it from live bootlegs but thought it should have been on the album.  The keyboard intro has been axed, the riff emphasized and the lyrics slightly modified.  The main hook “What can I do, with a bitch like you?” has been replaced with a refrain of “Absurd!” The words are otherwise just as angry.  “Listen motherfuckers to the song that should be heard!” bellows Axl on the opening line.  “Parasitic demons sucking acid through your heart!”  I wonder who this was written about?  Vocally, Axl’s in the faux accent he utilized on “Down on the Farm” and you’ll love it or hate it.  Interestingly former keyboardist Chris Pitman, who was credited with songwriting on the original “Silkworms” version, no longer has a credit.  It is now credited to Axl, Slash, Duff and Dizzy.  Presumably the Pitman parts were chopped.  At the time of its writing, Pitman said: “It ended up being this incredible track that sounded like Guns N’ Roses 10 or 15 years in the future. It was so far removed from our other songs that we had to put it in this other place. Concept-wise, it didn’t fit with Chinese Democracy. We hope we will have other songs that match that kind of futuristic sound. It’s a really exciting track because it morphs into this crazy sound, but it was out so much in the other direction that we have to let time catch up with it.”  While that was true of “Silkworms”, the version known as “ABSUЯD” is more guitar-oriented.

The live songs commence with “Don’t Cry”.  Slash and rhythm guitarist Richard Fortus sound great together on this, but Axl struggles when the singing gets high at the end.  It’s a demanding song, and 1991 was a long time ago.  “You’re Crazy” on the other hand is really good.  Using the slower Lies arrangement, but played on electric, this version is like brand new.  A real cool addition to your GN’R library.

The third live track is exclusive to the 7″ vinyl:  “ABSUЯD”.  Not only do we get new songs on this EP, but we already get one in a live version.  Guns started playing “ABSUЯD” live in 2021 as a surprise before it was released on iTunes.  Axl’s voice is pretty strange here, sounding a bit muppet-ish.  (The screaming portion sounds like tape.)  This live track will take some getting used to.  It’s not that Axl’s voice is bad just…different than what you’re used to.

The 7″ vinyl came with a sticker while the cassette and CD versions come with no extras.  The CD is packed in a slipcase, and the cassette in a cassingle cardboard sleeve.  This got crushed a bit in the mail; a jewel case would have been better.

Completing this tracklist is “Shadow Of Your Love (Live)” on an additional 7″ single, available only by joining a “Nightrain” membership on the official site.  The cheaper of the pricey packages gives you access to the usual online perks such as pre-sale tickets, but your only physical merchandise is the vinyl, a sticker, and a pin.

The cover artwork includes an interesting visual clue.  On a school locker door, the classic Guns N’ Roses logo is stickered overtop a graffiti style logo reminiscent of Chinese Democracy.  Almost a metaphor for what these new songs are.

It’s encouraging that Guns N’ Roses have finally released something new, even if the songs are just reworked tunes from 20+ years ago.  Perhaps they’re clearing the decks before working on truly new material.  It’s all but certain that we will see more, and hopefully a longer release next time.  While some moments on the live tunes are shaky, and the new tunes were not as warmly received by some, the Hard Skool EP is wonderful to hold in hand.  New physical music from GN’R!  About time.

4/5 stars

All cautions made
Every chance was given
No effort spared to save what we had
All in good faith
I would not hesitate
To extend myself and lend you my hand

But you had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

As tempers fade
And lies forgiven
No cause embraced could break what we had
In its place
A storm is lifting
I would’ve thought you could be more of a man

But you had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

But you had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

You had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

You had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

RE-REVIEW: Def Leppard – Adrenalize (1992)

Part Thirteen of the Def Leppard Review Series

Original review:  Adrenalize deluxe (2009)
Singles reviews:
“Let’s Get Rocked” (1992)
“Make Love Like a Man” (1992)
“Have You Ever Needed Someone So Bad” (1992)
“Heaven Is” (1993)
“Tonight” (1993)

DEF LEPPARD – Adrenalize (CD Collection Volume 2 Disc 1) (Originally 1992, 2019 remaster)

Here they were again!  A #1 album.  Adrenalize eventually sold three million, no small feat during the peak of the grunge era.  A step down from Hysteria, but a success.  And after yet another devastating loss.  Choosing to record without replacing the fallen Steven Maynard Clark, it was up to Phil Collen to handle all the guitar work.  He rose to the occasion and the quartet emerged from their years of toil with an album they were satisfied with.  And they figured out how to do it on their own, without Mutt Lange tending to every detail.

It all begins with Joe asking the musical question:  “Do you wanna get rocked?”

“Let’s Get Rocked” didn’t break any new ground nor did it need to.  It served it purpose of putting Leppard back on the charts.  But it also highlighted something missing.  Where were the riffs?  “Let’s Get Rocked” is decidedly unriffy.  It relies on a bass groove and guitar pyrotechnics, but the razor sharp riffs of the past are seemingly missing.  That didn’t stop it from hitting #1 in the US during a year when bands like Def Leppard were getting dumped by their labels.

One of the most poppy of the new tunes, “Heaven Is”, hits the second slot running.  A little of that Steve Clark is present, but this one’s main feature is the melodically constructed vocal melodies.  The thick chorus harmony proved that Leppard had learned Mutt’s tricks.  Lange did help co-write most of the tracks, but his meticulous studio touch was no longer needed in a producer’s capacity.  This time, Leppard produced with Mike Shipley.  Mutt was “executive producer”, which pretty much means “quality control”.

The first stumble of album the was second single “Make Love Like a Man”.  This cowbell-inflected mid-tempo rocker would have been B-side material five years earlier.  Listen carefully for Phil Collen’s “Cockney rhyming rap”.

Fortunately side one is redeemed by one of Def Leppard’s greatest ballads.  Demoed during the Hysteria sessions, “Tonight” was the darkest Leppard ballad to date.  The standout Rick “Sav” Savage guitar structure is the foundation for a damn special song.  There’s Joe utilising his screaming voice a little bit on the chorus.  It used to be his trademark, but here reserved only for moments of great expression.

The first side concludes on the Steve Clark tribute “White Lightning”.  The brilliant Collen intro is designed to emulate Clark’s trademark guitar drones on “Gods of War”.  Tesla tried a similar trick on their own tribute called “Song and Emotion”.  In this track, Elliott warns of the dangers of addiction.  “You wanna dance with the devil, you gotta play his game.”  Clark’s demons are starkly laid out in the words, and the seven dramatic minutes of music are as epic as any of Leppard’s most ambitious moments.

Remarkably, side two opened on another top tier Leppard track.  “Stand Up (Kick Love Into Motion)” boasted an odd title, and some of Leppard’s catchiest music.  Call it a ballad?  Sure, why not.  It’s somewhere in between ballad and rock tune, but every minute that it’s playing is a minute of the best of Def Leppard.  Something about its pulse; its uplifting chime.  The undeniable chorus is the icing.

Next is the ode to monogamy called “Personal Property”, not essential Leppard.  We do love the part when Joe threatens/screams, “You wanna stay healthy man? Take my advice! You better hit the road Jack, and don’t come back.”

A decent, but syrupy throwaway ballad with the overlong title “Have You Ever Needed Someone So Bad” is the weakest of the three here, but that didn’t stop it from being chosen as a single and going top 10 in Canada and the US.  It’s just nothing special given the quantity of superior ballads in the past (and future).  Following that is the most pop track of the batch, “I Wanna Touch U”, a bouncy good song if vastly removed from “Wasted” and “Ride in the Sun”.

The 10th and final track is the new version of the familiar “Tear It Down”.  This born rocker has been polished up and produced just right for album release.  Which do you prefer?  The final Adrenalize rendition, or the raw B-side from ’87?

Like Hysteria before, Adrenalize came complete with a number of important B-sides.  Perhaps the most crucial of these was a track that could have been a throwaway, but “Two Steps Behind” turned into Leppard’s first acoustic song.  This opened doors to entirely new worlds for the band.  We will take a closer look at these B-sides when we arrive at the appropriate discs in the CD Collection Volume 2 box set.

With an album completed, released, and on the charts, there was another challenge ahead.  Def Leppard were a two guitar band.  Phil Collen did admirably well, playing all the guitars on the album.  Live, they’d need someone both capable and dedicated.  What are the odds of finding the exact right match?

Adrenalize did what it had to do.  It kept the band alive and viable.  Hysteria was a period of exponential musical growth for Def Leppard.  If they couldn’t repeat that kind of experimental innovation this time out, they’d have to give it a shot next time.  And they would.

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

Next:

14.  Live at the Freddie Mercury Tribute Concert

 

REVIEW: Ghost – “Hunter’s Moon” (2022 7″ single)

GHOST – “Hunter’s Moon” (2022 Loma Vista 7″ single)

The new Ghost album Impera is almost upon us!  (March 11.)  The group’s sound has changed from album to album, progressing from a gothic metal band with a foot in the past, to something more perversely pop.  Their last album 2018’s Prequelle, pushed further in that direction, with at least one song (“Danse Macabre”) sounding like a keyboard-drenched rock single from back in ’86.  So who knows what we will get this time out?

The single “Hunter’s Moon” from the film Halloween Kills might be a clue. The single version does not appear in the film, but a much more elaborate mix runs during the end credits.  Presumably, the single version will be on Impera as well.

The beat is strong, and the melody is prominent.  The chorus is a little more old-school Ghost, so perhaps the album will be a hybrid of styles.  There’s a cool guitar line and the usual idiosyncratic Tobias Forge vocals.  It sounds like latter-day Ghost with a little of the early thump, and one particularly Sabbathy guitar bend.  Plenty pop, plenty gothic.  Good song though not up there with “Rats” or “Danse Macabre”.

According to Max the Axe:  “All the neat metal tricks save it from being a simple pop song, and transcends it to hook-laden heavy rock.  Lots of breaks and dynamics.”

On the B-side is the Halloween Kills main title theme by John Carpenter.  It’s a variation on the familiar, iconic Halloween piano theme, bare with synth and choir.  A very nice add-on to this cool single.

3.5/5 stars

#973: “Let’s Get Rocked” – The Wait for Adrenalize

Part Twelve of the Def Leppard Review Series

RECORD STORE TALES #973: “Let’s Get Rocked” – The Wait for Adrenalize

Before the internet, the best way to access your rock news in Canada was to buy magazines and watch the Pepsi Power Hour.  We had all the US magazines plus M.E.A.T and some of the best rock coverage with MuchMusic.  You’d be negligent in your rock and roll duties if you didn’t buy some magazines.

I remember buying one at the end of the 80s, the turn of the decade.  It might have been Metal Edge or something of a lower tier.  (You bought what was on the shelf when pickings were slim.)  But they had a column by a psychic who was making rock and roll predictions for the coming decade.  Stuff like “Will Jon and Richie break up?”  What interested me the most was what she predicted for Joe Elliott of Def Leppard.  The biggest rock band in the world, she claimed, would get only get bigger.  Joe’s next album would outsell Hysteria, and he would get involved with some important causes.

Was she confusing Joe for Bono?  Cool if true, but outselling Hysteria?  Hard to imagine.

A few things were known about the next album at the start of the new decade.  They’d be trying to produce it without “Mutt” Lange for one.  “Mutt will be involved,” said Joe, but in a different capacity.  The goal was to make a “quick” album — one year instead of several.  They had one song earmarked from a B-side called “Tear It Down”.  They also had some unfinished ideas left over from Hysteria such as the ballad “Tonight”.  As kids, we imagined an album less produced than Hysteria, but hopefully just as good.  I had actual dreams of anticipation at night, imagining the new album cover sitting there on the shelves.  Continuing with the “-ia” naming convention, the next album was said to be titled Dementia.  A title they dropped in favour of something less negative, when once again things went down the toilet.

Rick Allen’s car accident was extremely unfortunate, but what happened this time was tragic.  Steve Clark, always the band’s riff-master and shape-throwing classic rocker, was gone.

The guitarist had been suffering from his addictions, and this time a deadly mixture of prescription pills and alcohol was enough to end his life.  January 8 1991, “Steamin'” Steve Clark was no more.

The band didn’t know what to do but carry on.  Record the the album as a four-piece.  Dedicate it to Steve.  Don’t even think about replacements until it’s necessary.

And so the fans mourned, and waited.  As the band toiled away, now producing with Mike Shipley, we anxiously awaited news.  Any news.  A few song titled leaked out:  “Have You Ever Needed Someone So Bad”, “Stand Up”, “Tonight”, “Tear It Down”.

And then, over a year after Clark’s death, listening to the radio one snowy afternoon:  Q107 out of Toronto, announced:  new Def Leppard.  Coming right up.

My sister and I huddled around the radio.  We may have popped in a tape to record it; I can’t remember.  We didn’t need to since it was about to carpet-bomb the nation with radio and video play.  “Let’s Get Rocked” was here!

And it was…

OK.

It was OK.  It sounded like Def Leppard.  It didn’t push the boundaries in any fashion.  It was safe, straightforward, and simple.

“Well, that classical section with the violins was different,” I said trying to see the bright side.

“Yeah, but that was just one short part,” answered my more realistic sister.

Through the years of anticipating a new Def Leppard album, we imagined some growth.  Maybe not as drastic a transition as they made from Pyromania to Hysteria, but something at least.  The one-time biggest band in the world shouldn’t just spin their tires musically.

“You know what, I’m gonna let it go,” I said.  “They’ve had to deal with so much, and when Steve died, they just needed to get an album out.  They can grow on the next album.”  (And boy did they!)

With that attitude, I counted the days until I would trek to the mall and finally get the new Def Leppard in my hands.  Now with the title Adrenalize, and with “Let’s Get Rocked” climbing up the charts, it was time for Leppard’s return.  A long time coming, if not the way it was planned!

 

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

Next:

13:  Adrenalize

REVIEW: Loudness – On The Prowl (1991)

LOUDNESS – On The Prowl (1991 Atco)

Loudness made a distinctly commercial move when giving original lead singer Minoru Niihara his walking papers.  They replaced him with American singer Mike Verscera, and on some tracks, they made a turn towards radio-playable rock.  Their second record with Vescera was an interesting one.  1991’s On The Prowl features only three new songs, and eight re-writes from their first four Japanese albums.  To most listeners, they would be like new songs anyway.

“Down ‘N Dirty” is predictably a hard rocker, slightly sleezy like something Extreme or Bulletboys would have put out.  Not a bad song by any means.  It surpasses many of its better-known contemporaries by being a bit heavier and by virtue of Vescera’s amazing voice.  Having a schooled shredder like Akira Takasaki on lead guitar doesn’t hurt either.  But this is a far cry from a “Rock and roll Crazy Night”!

Second track, “Playin’ Games” attempts to go back to the speedy metal of Loudness’ past.  It is partially successful.  There’s some ripping and shredding going on between Akira and drummer Munetaka Higuchi, who is awesome on this.

Third and last of the new songs, “Love Toys” does compete for “worst title”.  Not a bad track actually, with some different playing from Akira, just a bad title.  It seemed obvious they were trying for something that worked in America.  No songs about crazy doctors this time.  Good tune, cool riff, and some great drumming.

Vescera rewrote all the lyrics for the re-recordings.  Not all the originals were in Japanese before, but perhaps Vescera was meant to make the lyrics more accessible.  “Never Again” was once known as “Silent Sword” (single B-side), a fine ballad indeed, but you can see how the lyrical change would make it a little easier for some to digest.  The chorus is also beefed up, massively.  Keyboard adornments sweeten the tune further.

“Deadly Player” (formerly “Lonely Player) was an early thrashing diamondback snake in the original days, and it still kicks tremendous ass.  There’s a Rush-like quality to the opening, but then Vescera gets a-screamin’.  A frantic mixture of disparate metallic parts welded together, this tune is aimed at the brain.  Akira even takes a jazzy guitar interlude.

1984’s Disillusion boasted a cool but challenging tune called “Milky Way”; here it is re-titled “Take It Or Leave It” but it is no less slammingly fun.  The chorus is probably an improvement, but that’s highly subjective.  The playing is awesome.

“Girl” is one of only two tracks not re-titled in some way.  This oldie from Devil Soldier is one of the most twisty & turny tunes, with challenging timing.  It is faithful to the 1982 original.  Though far heavier, it even has a Zeppelin-like flavour to one of the main riff sections.  You could picture Page and Bonham jamming on it, but then the track goes full metal (with some serious jazz to the guitars).

1988’s “Long Distance Love” is the most recent track on this album to get the re-recording treatment.  From the Jealousy EP, it was never available in the States even though Loudness already had three studio records out in North America.  It’s more mid-tempo and melodic than the earlier tracks tackled here.  Presumably, Loudness felt it was overlooked.  Re-titled “Long Distance”, it came pre-packed with a solid chorus and Van Halen-like hooks.

The legendary “In the Mirror” (no title change) was always one of the early band’s greatest triumphs.  Like a lost Judas Priest classic, it combines riff and tempo in that magical way that gets the heads a-bangin’.  Vescera’s high pitched screaming (his control is enviable!) adds a modern taste, but the song is just as fortified as ever.

“Sleepless Nights” is now a plural.  The original (singular “Sleepless Night”) from The Law of Devil’s Land boasted one of Akira’s very best riffs.  Recreated here, with modern production, it is like concrete.  Perhaps Minoru Niihara’s original vocal was harder to digest, so here Mike sings with more attention to melodic sensibilities.  What a riff though!  Let’s not kid ourselves — this song is about the riff.  The chorus is different though, and perhaps less of a fit than the original.

The last track is the earliest:  “Find A Way” was originally known as “To Be Demon” on the Loudness debut album The Birthday Eve.  This classic is half ballad, half monster riff-race!  It’s shorter than the original, beginning as a ballad without the speed-rock intro.  The vocal melody is completely different and certain memorable sections of the song are missing or altered.  While the new version is undeniably more immediate, it might be at a cost.  In both versions, Akira slays.

At the end of it all, On The Prowl is mostly an exercise in improved production.  Those Japanese albums were not recorded with the kind of expertise that Loudness were able to employ in Los Angeles.  The raw appeal of the originals will always be there, but the sonics here are clearly better.  That’s On The Prowl‘s strength.  Not to mention the new singer was no hack.  But there’s a certain commercial slant to new tracks, particularly “Down ‘N Dirty” that feels out of place.

Needless to say, On The Prowl did not reverse Loudness’ fortunes and they were soon without a singer once more.  Abandoning the American adventure for the time being, they looked back to Japan for a new singer:  E-Z-O’s Masaki Yamada.  1992’s incredible Loudness continued the story, with Yamada even adding “Down ‘N Dirty” to the setlist!  Maybe it wasn’t so bad after all?

4/5 stars

REVIEW: Tony Martin – Thorns (2022)

TONY MARTIN – Thorns (2022 Dark Star Records)

Anticipation has been high for Tony Martin’s new album Thorns.  His last solo record was the excellent Scream from 2005, but it feels like it was back in the 2nd age of Middle Earth!  Fandom seems to have warmed up to Martin in recent years.  His Sabbath albums, once derided as lesser Dio clones, are looked back upon warmly by more and more people, which could be good for Martin.  And with some of those albums getting the reissue treatment in the future, the time is right for Tony’s re-emergence.

Thorns is heavy.  Heavier than expected.  “As the World Burns” is out of the gates with salvos of double bass and a gut-punching downtuned riff.  This is essentially thrash metal – fast, aggressive, varied and complex.  It’s certainly beyond Sabbath.  Martin’s range is fully intact, though it sounds like he’s pushing his voice a bit too much and maybe should have laid back a bit in a couple spots.  Even so, there is no doubting the man’s enduring power.

“Black Widow Angel” is hellbent for heavy.  Then there’s this crazy funk metal breakdown in the middle with some wicked bass stuff, right out of the blue.  Many of Martin’s songs demonstrate surprising diversity within the walls of heavy metal.  Choirs appear on “Book of Shadows”, a modern Maiden-esque track with a pretty incredible lead vocal.  There’s also a solidly Sabbath gothic streak.

One of the most interesting tracks is “Cry Wolf”.  An acoustic metal song is often intriguing (ask Wino) and this is a fine tune with a guitar solo to match.  Cool instrumentation abounds, and Martin fans know that they can expect some wicked violin within a metal song.  The violin emerges on “Damned By You”, slow melodic and heavy.  Moving on to “No Shame At All”, the groove takes the spotlight.  The chorus is pure vintage Tony, but the groove is new.

Metal ballads rule, and “Nowhere to Fly” is a black rose of a ballad.  The music is understated so it’s all about Tony’s singing.  (Nothing like Dio’s, incidentally.)  “Passion Killer” on the other hand rocks, but is also all about the vocals.  Those “woah-oh-woah-ohs!” kick ass.  There isn’t much of a chorus to speak of, but the verses slay.  Tony then goes for speed on “Run Like the Devil”, hook laden and wicked!  But then we get swampy on the surprising “This Is My Damnation”.  It’s the second acoustic song, but completely different from the first.  “Why terrorism?  Why Covid?  Why cancer?  Why AIDS?” asks Tony in the words, speak-singing like in a Robbie Robertson song.

The closing title track is the most epic, featuring an instantly recognizable Pamela Moore (Operation: Mindcrime).  Moore has lost nothing and raises the game by several levels.  At first, I wasn’t sure I liked that “ooh-ah-ah” bit that sounds like David Draiman.  It grows on you.  At least it’s not the main hook of the song like it is with Disturbed.

Acoustic interludes, spoken word, subhuman bass, snakey synth solos, Pamela Moore…Thorns has plenty of delectables on offer.  Get yours.

4.5/5 stars

 

DVD REVIEW: Def Leppard – In the Round In Your Face (1989)

Part Eleven of the Def Leppard Review Series

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.

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)

 

Next:

12. The Wait for Adrenalize (Record Store Tales)

REVIEW: The Defiants – Zokusho (2019)

THE DEFIANTS – Zokusho (2019 Frontiers)

The Defiants:  Paul Laine, Bruno Ravel and Rob Marcello.  Call ’em what you like.  A side project of Danger Danger, a power-pop trio, whatever you want.  There’s nothing wrong with any of that.  Just be sure to listen, because in 2019’s Zokusho, the Defiants created one of the best albums of the year.  It is an intensely catchy, varied, well-executed album that sticks to the brain like peanut butter.  The production is slick and pounding.

“Love is the Killer” opens the album in grand fashion.  It’s a big dramatic pop rock song with modern production, but hooks rooted in 80s classic rock.  Huge chorus, which Paul Laine gets to wrap his able pipes around with ease.  A ripping solo takes a little extra time, proving this isn’t simply a pop band, but one of talented players doing what they want.  And even though “Love is the Killer” is a fine opener, it’s not even close to best track on the album.

Heavy mid-tempo “Standing on the Edge” cranks up the tension.  The chorus absolutely kills — unforgettable.  Until this point though, the album’s edges were dark-tinged.  “Hollywood in Headlights” is the first celebratory rock song, perfect for the summer cruising season.  There’s a nice crunchy guitar riff that goes with it.  A catchy, perfectly written rock classic.  But like a sequel, “Fallin’ For You” continues the good time vibes where they left off.  Unlike a sequel, it’s just as good if not better.  It’s faster and even more upbeat, with irresistible singalong vocals, and a stunning solo.

A Def Leppard vibe inhabits “Hold On Tonight”, with that kind of picked Phil Collen guitar hook.  A power ballad with plenty of power indeed.  Leppard’s “Stand Up” but cranked up?  Something like that at least.  But that’s it for sentimentality for the moment.  “Allnighter” is a party rock pounder.  Definitely something of a rallying cry for those about to hit the town.  Still with the hooks though.  I don’t think Paul Laine knows how to write a song without hooks.

“U X’d My Heart” is not the finest song title ever composed (it means “You Crossed My Heart”), but the classy ballad defies its title.  Delicate picking followed by crunching guitars create a vital sounding rock ballad.  It’s quickly followed by “It Goes Fast”, with progressive vibes & keys guiding the way to outer space.  Another killer song.

Track nine, “Stay”, goes upbeat again, fast and overflowing with catchy components.  There’s a sudden key change towards the end that’s a little jarring but that’s the worst thing I can say about it.  Following that is a spacey, Journey-like tune intro to a tune called “Alive”.  Once more the hooks are front and center, as the guitar goes Holidays in Eden-era Marillion.  That’s before it explodes in a massive chorus.

The final track is “Drink Up!” and it’s obviously the party rock closer, with just a hint of country twang via Laine.  Pure fun and nothing more.  Nothing wrong with that.

If you like melodic hard rock with punch and plenty of production, the Defiants deliver.  Get some Sokusho.

5/5 stars