hard rock

REVIEW: Def Leppard – Raw – Early BBC Recordings (The Early Years Disc 5)

Part Five of the Def Leppard Review Series

DEF LEPPARD – Raw – Early BBC Recordings (The Early Years Disc 5) (2019)

This final disc of Def Leppard early tracks consists of two separate BBC sessions: 1979, and a few songs from Reading in 1980.  Due to this fact, there is some minimal repeat in the song selections, but you won’t mind getting two versions of “Wasted” instead of just one!  This disc offers a variety of early Leppard songs and rarities.

BBC Andy Peebles Session – June 7 1979

The EP was out and Leppard were starting to get radio play.  They were invited to the BBC and recorded four songs for broadcast.

Opening with “Glad I’m Alive”, Leppard get one of their most underwhelming non-album tracks out of the way early.  It sounds better and heavier than the studio cut on Disc 4 produced by Nick Tauber.  Solos and backing harmonies are fire.  “Sorrow is a Woman” follows, with a quiet, cool laid-back intro of a different flavour.  Things kick in on the chorus of course, but this is not the definitive version of the track.  The guitar solo section has a nice shimmer to it.  Third up is “Wasted”, which opens with a growl.  That guitar is vicious, and Joe just goes for it on the vocals.  This recording has bite.  The final track, “Answer to the Master” is absolutely fine.

Friday Rock Show Session – October 3 1979

“Satellite” enters with a crash of drums, a little hesitant on the pace.  The fun “Rock Brigade” is similar to the early version on Disc 3, but heavier.  The second version of “Wasted” sounds heavier than the first — the band was growing.  Really this song is a highlight of anything it’s on.  This BBC sessions ends with “Good Morning Freedom”, probably the fastest and most pumped-up version we’ve heard yet.  This might be the best recording of the track available.

Live at the Reading Festival – August 24 1980

The next time the BBC caught up to Def Leppard, they had an album out.  With Ozzy Osbourne, Iron Maiden, Whitesnake and UFO on the same bill, Leppard were anxious.  Then Ozzy dropped out, and Leppard had to follow Slade in one of their best festival performances — a daunting task.  Fortunately the bandt fought hard and had some killer new material up their sleeves.

Opening with “Satellite” (2nd appearance on this CD) and “When the Walls Came Tumblin’ Down” mashed into a medley, you can hear that the band were fired up.  After this workout, it’s the unreleased “Medicine Man” which today we know as “Rock! Rock! (Till You Drop)”.  Imagine getting to hear that track back in 1980, and then when it was finally released in ’83 on Pyromania, going “I know that song!”  The early “Medicine Man” version is cool because that riff is unstoppable.

The apocalyptic epic “Overture” is right in the middle of the set, but it was already well known due to its inclusion on the original Leppard EP.  Joe’s unholy yelp of “Go!” at 1:50 is the moment that the band just tear it loose.  Then it’s another new song in “Lady Strange”, absolutely off the hook and hammering with delicious chord after chord, each one more addictive than the last.  Finally after some audience participation noise, it’s “Getcha Rocks Off”.  The audience goes nuts and Leppard leave triumphant.

This excellent disc collects some seriously well-recorded and preserved archival material.  It’s all valuable, showing the growth of the band as they get more comfortable with themselves and performance.  They were always great, with a serious knack for riffs, and this disc delivers plenty of them in unreleased format.  Untampered, unhampered, and unchained.

4.5/5 stars

Previous:  

Next:  

  • The Early Years box set wrap-up.

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

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

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

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

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

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

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

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

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

4/5 stars

COMPLETE FOUR HORSEMEN:

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

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

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

Part Four of the Def Leppard Review Series

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4.5/5 stars

Previous:  

Next:  

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

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

Part Three of the Def Leppard Review Series

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

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

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

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

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

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

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

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

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

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

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

4.75/5 stars

Previous:  

Next:  

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

 

RE-REVIEW: Def Leppard – High ‘n’ Dry (The Early Years Disc 2)

Part Two of the Def Leppard Review Series

Original review: High ‘n’ Dry (1981)

 

DEF LEPPARD – High ‘n’ Dry (The Early Years Disc 2) (Originally 1981, 2019 remaster)

Leppard’s pride in their debut album only extended so far.  They knew that the sound they heard in their heads was not captured on tape.  So they waited, and waited, and waited, until AC/DC producer Robert John “Mutt” Lange was available.  When he had completed the recording of Foreigner’s 4 (six million copies sold), they got to work on Leppard’s second record.  And work they did, with the band members unsure after many takes if they could even play it any better.  They could, and they did.  With Lange on hand to help refine the songs they had written, Leppard had never sounded better.

Today, High ‘n’ Dry is often cited by diehards as the band’s best record.  It bares the teeth of AC/DC, but the attention to melody and harmony was typical of more commercial bands.  It was a winning combination; High ‘n’ Dry has no filler songs.

The sharp opener “Let It Go” makes the changes apparent.  A better recording, a more confident (and screamy) Joe Elliott, and an incessant bass groove propels it.  The guitars cleverly lay back until necessary for the big rock chorus.  All dynamics missing from On Through the Night.  This time, they could afford a real cow bell — no more tea kettle!  With “Let It Go” opening on such a solid, fast note, where do we go from here?  No letting up!  “Another Hit and Run” is even better, with quiet parts contrasting with the increasingly heady!  Joe has found his voice, and uses it to rip and shred.  Don’t try to follow the lyrics — it’s all about how the frontman screams them at you.

Finally, Rick Allen is permitted to slow down for the sleek, slower groove of “High ‘N’ Dry (Saturday Night)”.  This tenacious track takes its time to blow you away.  It was also one of three they recorded in a single session for music video purposes.

Another video from that session was the hit ballad “Bringin’ on the Heartbreak”, although MTV aside, it didn’t really have the intended impact until later.   Originally titled “A Certain Heartache”, with Mutt’s help they steered it away from its Zeppelin-y origins and honed it closer to a hit.  Sad verses are coupled with a chuggy riff at the chorus, which is beefed up by the backing vocals of Mutt and the band, gradually finding that sound step by step.  The lyrics are nothing to write home about with, “You got the best of me,” predictably rhyming with “Oh can’t you see.”  But then the track ends not with a total fade, but with the urgent pulse of a new bass track.  It’s the brilliant instrumental “Switch 625”, paired with the ballad as if to say “don’t worry folks, we haven’t lightened up.”  Leppard were, after all, a part of the New Wave of British Heavy Metal bands.  “Switch 625” is something that would have generated melting heat on that scene.  Written solely by Steve Clark, this is one instrumental that is not filler in any way.  It’s a song.

So ended side one, but side two commenced with the crash of “You Got Me Runnin'”, a single-worthy number that scorches the skin with its burning tower of riffs.  Joe bemoans a girl that he don’t trust, while Steve Clark and Pete Willis do their best Angus and Malcolm.  Rick Allen, all of 17 years old now, keeps the beat minimal while Rick Savage maintains the pulse on bass.  When Pete breaks in with his guitar solo, it’s one of the best of his time with Leppard.  But it’s the crucial chorus that keeps you coming back, a singalong brute with gang vocals that could have been lifted from an era past.

Then things get eerie with “Lady Strange”, hurling multiple riffs at the speakers, and boasting a chorus to back it all up.  Tough guy Joe claims to have never needed love before meeting his “Lady Strange”.  This is the only track with a Rick Allen co-writing credit, and features a scorcher of a Clark guitar solo.  Elliott’s screams have never sounded more tormented.  Brilliant stuff.

Without a break, we plow “On Through the Night”, and one of the fastest tracks on the album.  There’s a surprising, quiet Zeppelin-y middle breakdown that’s welcome, but otherwise this track is built for speed.  “Rock n’ roll is no safety net!” screams Joe.  If there were any single track to delete from High ‘n’ Dry, you could make an argument for “On Through the Night”.  However, fact is you need it to set up “Mirror, Mirror (Look Into My Eyes)”.

Displaying their penchant for parentheses, “Mirror, Mirror (Look Into My Eyes)” takes Def Leppard back to dark territory.  A single spare Clark riff carries the song while Allen and Savage lay back.  It’s the kind of brilliant construction that Clark was becoming the master of.  Tension building riffs, stinging solos, topped with another perfect Joe Elliott vocal melody.

Finally it’s the all-out chaos of “No No No”, a memorable way to close out a hell of an album.  Breakneck pacing, top lung screaming, and a blitz of a Willis riff.  Melody?  Unimportant!  If the guitars weren’t so obviously well arranged, this could have been punk rock.

Different versions of “No No No” run different lengths.  This one is 3:12 with a slight fade and then abrupt stop.  One can never go wrong with an original vinyl LP, featuring an infinite groove at the end, with Joe Elliott shouting “No!” over and over again, until you either stop the record yourself, or wait until the ultimate end of the universe — your choice.  Another variation of interest is the the 1984 reissue of High ‘n’ Dry, with two remixed bonus tracks.  We will discuss those later as they are included on Disc Four of this set.

Praise today for High ‘n’ Dry is fairly universal.  Martin Popoff rated it higher than Pyromania.  It truly is a remarkable photograph (pun intended) of a brief period in Def Leppard when they were still solidly riff-focused, but with the moderate temperance of Mutt Lange.  A period that has never and can never be repeated.

5/5 stars

Previous:  The Early Years Disc One – On Through the Night 

Next:  The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980

REVIEW: Rush – Working Men (2009)

RUSH – Working Men (2009 Anthem)

Rush weren’t really known as a “cash grab” kind of band.  That’s why the Christmas 2009 release of Working Men was so surprising to fans.

12 tracks, all but one previously released on live Rush albums of recent vintage. It is not difficult to figure out that this disc was created to keep Rush product on the shelves while the band was on break during the Christmas season. While the music is excellent (obviously), it is hard to imagine a Rush fan that would play this single-disc album before listening to the actual live albums that the tracks were sourced from.  This is Rush’s version of You Wanted The Best by Kiss, but with only one unreleased recording instead of four.

Here’s a tracklist, and a breakdown of where these tracks were lifted from:

1. “Limelight” (From Snakes & Arrows Live)
2. “The Spirit of Radio” (From R30)
3. “2112 Overture/The Temples of Syrinx (From Rush in Rio)
4. “Freewill” (From Snakes & Arrows Live)
5. “Dreamline” (From R30)
6. “Far Cry” (From Snakes & Arrows Live)
7. “Subdivisions” (From R30)
8. “One Little Victory” (From the R30 tour) (Previously Unreleased)
9. “Closer to the Heart” (From Rush in Rio)
10. “Tom Sawyer” (From Snakes & Arrows Live)
11. “Working Man” (From R30)
12. “YYZ” (From Rush in Rio)

“One Little Victory”, a stormy firecracker of a version, is the lone previously unreleased song. Is that one song worth your $15? You decide. Unfortunately “One Little Victory” is basically all you’re going to get for your money. There is no booklet and there are no liner notes to speak of. The cover art, once again by Hugh Syme, is quite nice, hinting at past works.

The songs fade-in and fade-out, rather than flow as a seamless listen. The selections lean heavily on oldies as opposed to newer tracks, which does not really reflect what a Rush concert was about at that time. Clearly, this was to entice consumers who wanted songs they have heard frequently on the radio. At least the running order is well sequenced for maximum firepower.

This release is not particularly for anybody except completists and Rush diehards. Everyone else would be well advised to spend their money on Rush In Rio, R30, or Snakes & Arrows Live.

2/5 stars, not for the music, but just because it’s a bit of a Christmas cashgrab.

 

REVIEW: Suicide Star – “The Day that Christmas Comes” (2021)

SUICIDE STAR – “The Day that Christmas Comes” (2021)

Suicide Star recorded a Christmas song?  Then you know it’s going to rock heavy!  To make it even more interesting, this is not some overplayed Christmas pop hit from years past.  It’s a brand new original song, and the first new single since their excellent debut album Isolation.  Let’s celebrate!

As soon as singer Rob Barton opens his mouth, you know it’s Suicide Star.  He makes the band easy to identify even on shuffle.  Anchored by a melodic guitar line from Les Serran, “The Day that Christmas Comes” relays the bright hopeful feeling of the Christmas season.

There will be presents underneath the tree…
But the only thing I need, is you and me.

Lyrically the song captures the spirit and magic of Christmas.  Most importantly, the melodic tune (complete with jingle bells) makes it a delight to rock out to.  Production is stellar – up there with the album or even exceeding it.  There is even a fun and hilarious music video that really nails the Christmas vibe.  Well done, Suicide Star, and may your trees be overloaded with joy this Christmas!

Get in on yer iTunes or Spotify!

5/5 stars

REVIEW: Vandenberg (1982)

VANDENBERG – Vandenberg (Originally 1982, 2011 Rock Candy remaster)

I must the only person in the world who doesn’t care about the first Vandenberg album.

There’s nothing wrong with it. I can’t say anything too critical about it. A track or two aside, it just fails to click.

Of course the standout is “Burning Heart”, the song that Whitesnake rehearsed but never released on Slip of the Tongue as they should have. This hot ballad would have been a hit for the ‘Snake, had Adrian Vandenberg not got hurt and replaced on album by Steve Vai. It’s a truly remarkable song that, honestly, deserved the Coverdale treatment. (Fortunately, you can get a rough version of the song by Whitesnake.) It was good enough to use as an effective side one closer.

On another highlight, Adrian plays some stunning classical acoustic stuff on “Wait”. It transforms into a slow, cool dark rocker but has the unfortunate chorus of “Wait, wait, wait, ’til the shit hits the fan.”

“Your Love Is In Vain” is fine, B-level hard rock, akin to Helix, or Talas, or any band of that nature. Bert Heerink is a somewhat generic singer who doesn’t help elevate the track higher. Kind of a Derek St. Holmes style singer. “Back On My Feet” sounds like a Quiet Riot B-side, right down to the high notes that the bass occasionally hits. “Ready For You” could have been a Van Halen-like speed rocker but lacks the teeth that superior production can bring. “Too Late” has a cool riff and boogie, also recalling Van Halen. Wicked neoclassical, finger-tappin’ solo work too. “Nothing to Lose” is a decent song, with a good chorus that sounds like Talas. “Lost in a City” and “Out in the Streets” are not memorable at all and the production does them no favours.

Let’s say three keepers:

  • “Burning Heart”
  • “Wait”
  • “Nothing to Lose”

Whitesnake should have re-recorded “Burning Heart” properly on the road, when Adrian returned to the band after his injury. They blew a huge opportunity for a timeless hit by not doing so.

The best thing about this album is the guitar work. The songs are secondary.

2.5/5 stars

REVIEW: Harem Scarem – Rubber (Domestic and Japanese versions)

HAREM SCAREM – Rubber (1999 Warner Japan)
RUBBER – Rubber (2000 Warner Canada)

Time hasn’t been too unkind to Rubber, the experimental Harem Scarem album where they actually changed the band’s name to match.  Except in Japan where Harem Scarem were huge, a strange album by a band called Rubber emerged in the summer of 2000.  A generic, low budget rubber duckie adorned its cover.  No picture of the band on the back, but the mixing credits of Harry Hess and Pete Lesperance revealed the connection.  In Japan, the album was released in 1999 as a full-on Harem Scarem album, with all four band members depicted on the back, including Barry Donaghy and Darren Smith.  (Notably, Smith is not pictured nor listed as a band member on the domestic CD, as by the time it was released, he had left the band.)

What’s the fuss, then?  Harem Scarem had released a series of excellent albums with rarely a dud, but little impact in Canada or the United States.  Their albums had been skewing progressively more pop as the 1990s wore on.  By Rubber, it could almost have been considered a complete re-invention to a pop rock sound, heavily influenced by the simplicity of 90s pop-punk bands.  So the band was relaunched in hopes that some people thought they were a new hot group on the scene with a sizzling debut.

The Japanese and domestic CDs had different running orders, but since it was released in Japan first that’s the track list we’ll be following, including exclusive bonus song “Enemy”.  To its merit, the domestic CD includes an exclusive remix of “Sunshine” by noted producer Arnold Lanni.

“It’s Gotta Be” opens the album with a very 90s-sounding simple descending guitar riff.  It stands upon a catchy chorus, which Harry Hess delivers with the usual melodic expertise.  There are stronger tunes on the album, but “It’s Gotta Be” sounds very much like what was on the radio and video at the time.  Bands like Marvelous 3.

The oddly titled “Who-Buddy” is more like it!  Fast-paced (again, think pop-punk), with twang and candy-coated melody.  The build-up to the chorus can’t be resisted.  So very different from Harem Scarem of old, but the same four guys do it well.  Hess and Lesperance have always had a foot in pop, as demonstrated on the very mainstream Harem Scarem debut.  Pop changed quite a bit from 1990 to 2000, and “Who-Buddy” is a reflection of that evolution.

“Coming Down” is a different kind of pop, more lush with Spanish-influenced guitar twang.  Slower paced, but just as focused on melody, “Coming Down” is a lovely song that reminds of the melancholy music of the time.  “Didn’t know the grass is always greener, and then those blades cut my own hands.”

Thing really go pop-punk on the outstanding single “Stuck With You”.  As Hess sings, “There couldn’t be anymore anarchy if we tried,” you believe he’s 22 years old.  Smith’s busy drumming is on the mark, and the chorus just soaks into you until it’s just…stuck with you!  On the cover for the CD single, the three remaining guys are depicted with contemporary short spiky hair.  If not for the lack of neck tattoos they could have been Blink 192.  There’s even a reference to the current events of the time.  “The killer bees, casualties, everybody’s paying a price.”  Remember the killer bee scare of the late 90s?  The bees never came.

Unfortunately the hit never came either.  Though a brilliant song, it was impaired by a truly terrible music video about a kid who eats a variety of objects including a rubber duckie (seemingly containing the band), a doll and his little sister.  Somebody should have deep-sixed that idea.

“Sunshine” opens with typically late-90s skippy sound effects and adornments.  The Japanese version is 4:56 in length; Arnold Lanni trimmed his mix down to 3:54.  A slow pop song with distorted watery vocals on the Japanese mix, it’s a unique sounding track that fit into the alterna-flavours of the era.  Motley Crue made a whole album mixed like this, except it was shit and called Generation Swine.  The Lanni mix on the domestic CD retains the sound effects but ditches the vocal distortion, in favour of a clean mix that is easier on the ears, including additional backing harmonies.  Both versions have their merits, with the Japanese as a more spacey, experimental track and the Lanni version more aimed at radio.

Next up is the rockabilly “Face It”, continuing the twang of previous songs.  Unfortunate album filler compared to the others.  Smith’s drumming up a storm though!  “Trip” is more fun with a bendy 90s riff, and lead vocals by Pete Lesperance.   The chorus is suitably snotty.  Another odd title, “Pool Party” conceals an interesting if not quite memorable enough song.  The music is a little off-kilter, hinting at the band’s truly excellent schooled musicianship that was largely simplified for this album.

Back to the upbeat, “Headache” is pure bangin’ fun, with influences from rock to punk to ska.  Then an understated ballad called “Everybody Else” sits in the penultimate slot, building tension with a stealthy backdrop of strings.  Similar to past dark Harem Scarem ballads though wildly different in production.  Then we close on the Japanese exclusive “Enemy”, an upbeat track with a big chorus.

Harem Scarem continued with the dual identity for a few more albums before reverting back to their original sound and name.  As Rubber, they next released Ultra Feel, Weight of the World and Live at the Gods.  Weight of the World was a return to their classic, slightly progressive hard rock sound and so the name change back to Harem Scarem was sure to follow.  By 2003 the Rubber experiment was fully exhausted and the album Higher was the first to have no connection to that name.  From the Rubber era, only Weight of the World was included in the expansive Harem Scarem box set.

Rubber the album isn’t bad though.  It’s better than the followup Ultra Feel, and though dated, still contains a number of good songs that are fully enjoyable today.  The best track is clearly “Stuck With You”, despite the atrocious music video.

3.5/5 stars

REVIEW: Quiet Riot – Hollywood Cowboys (2020 Japanese import)

QUIET RIOT – Hollywood Cowboys (2020 King Record Co. Japanese import)

We all wanted Frankie Banali go out on a high note.  He fought hard.  His battle with cancer was inspiring.  Unfortunately, his last Quiet Riot album Hollywood Cowboys is not memorable except as the drummer’s finale.  The shame of it is, they previous album Road Rage was pretty decent so it wasn’t unreasonable to get hopes up for the sequel.

The songs just aren’t memorable enough.  It’s bad when you can’t remember which track was the single (“In the Blood”).  The opener “Don’t Call It Love” is better; singer James Durbin was able to infuse the chorus with some passion.  The problem is none of the songs stick.  Can you remember how “Change Or Die” or “Wild Horses” goes without a listen?  “In the Blood” isn’t terrible by any stretch but there are no real singles on this album.

The musicianship is fantastic, with Frankie drumming like only he could.  There’s some tasty organ on “The Devil You Know”, but no hooks.  You can hear that they worked hard on Hollywood Cowboys, adorning songs with “woo oo ooo” backing vocals and lickity-split solos by Alex Grossi.

Some highlights include an AC/DC-like blues called “Roll On”, and the ballad “Holding On” which nails the vintage Quiet Riot vibe.  There’s also a blast of Priest-like metal called “Insanity” that has plenty of power if lacking in melodies.

The album sounds as if rushed, which would be understandable given the circumstances, but that’s the impression it gives.  Even the cover looks rushed.  The mix is really saturated and could have used some more loving care.  To its credit, it is probably the heaviest Quiet Riot album ever, from drums to riffs.

Here’s the mindblowing part.  Only one guy on this album is still in Quiet Riot, and that’s guitarist Alex Grossi.  James Durbin left before it was released, and he was replaced by former QR singer Jizzy Pearl (from the 10 album).  Legendary bassist Rudy Sarzo is returning in 2022, replacing Chuck Wright.  Lastly and most regrettably, Frankie’s stool was filled by former Type O Negative drummer Johnny Kelly.  None of that is relevant a Hollywood Cowboys review, it’s just recent history.  One does wish for more stability in the lineup, and perhaps Sarzo will bring that.

The Japanese import bonus track this time out is a lacklustre acoustic version of “Roll On”.  Frankie plays with brushes, so it’s interesting from a drummer’s point of view.  Sadly it’s the kind of bonus track that’s just not worth the price paid for the import.

Hollywood Cowboys is a scattershot collection of parts that never coalesces into songs.  Everybody wanted Frankie Banali to succeed, in every way possible.  But one must also be honest in a review, and can take no pleasure in shitting all over Frankie’s last record.

2/5 stars