hard rock

REVIEW: Queensryche – Take Cover (2007)

Scan_20150801 (4)QUEENSRYCHE – Take Cover (2007 Rhino)

As bad as things got at the end of the Tate era for Queensryche (cabaret, anyone?), Take Cover was a musical low.  Queensryche were busy in 2007, with a double live performance of both Mindcrime albums (Mindcrime at the Moore),  a double best-of (Sign of the Times featuring a new song called “Justified”), and Take Cover, a covers album.  Considering the number of releases in 2007 (double CDs no less), Take Cover looks all the less necessary.

The five members of Queensryche each chose some songs for the album, and you have to admit that most of these choices are pretty cool.  Where things go sideways is in the recording of them, and it usually comes down to Geoff Tate’s voice.  Floyd’s “Welcome to the Machine”, which opens the album, should have been a slam dunk.  The dark musical backbone is there, but Geoff’s shaky multi-layered vocals do not send shivers up the spine the way Gilmour’s did.  It’s nice that Geoff threw some of his trademark sax in here, and the solos (Michael Wilton and Mike Stone) are great.  The problem is the vocal and that’s a big problem.

“Heaven on Their Minds”, from Jesus Chris Superstar, was chosen by Mike Stone, who left the band after this album.  Musically this works, and I never would have guessed its origin just from its metallic riff.  Thumbs up for this one, no complaints about the singing.  CSNY’s “Almost Cut My Hair” is a dud though, and they should have left well enough alone. Following that is a flat “For What It’s Worth” (Buffalo Springfield), a double whammy of stinky renditions of hippy anthems.  Thanks Geoff, for picking those two….

When I spoke to Eddie “edbass” Jackson back in 2001, he told me “I love funk, I really like a really hard driving sound. I tend to focus more on the sonic end of it than the performance end.” That’s a great way to describe his take on the O’Jays “For the Love of Money”. Even Geoff’s sour singing fails to sink it, such is the relentless groove. Queen’s “Innuendo” is another brave choice. Long I have loved this Zeppelin-esque Queen classic. This masterwork of beauty, elegance and strength is rendered limp as a noodle by the vocal chords of Mr. Jeffrey Wayne Tate. This is painfully bad. It reminds me of Bad News’ version of “Bohemian Rhapsody”. Now my head hurts, and I must now do an ear-cleanse by playing the immaculate original as sung by Freddie Mercury. [Note: I’m not kidding, that’s exactly what I did! Here you go.]

From Freddie Mercury to Ronnie James Dio, there are some difficult vocalists here to cover. Right there are two of the greatest of all time, without question. Geoff struggles a little less with the Dio approach on “Neon Nights”. But he’s absolutely screwed on “Syncronicity II” by The Police. Scott Rockenfield, who I have always thought must have been a Stewart Copeland fan, picked this song. One of the things about the original was how effortlessly Sting sang it. He hit each note perfect and cleanly. Geoff is wavering all over the place, and it robs the song of all its biggest hooks.

Geoff Tate recovers on “Red Rain” by Peter Gabriel…oh man, what a song! Edbass shines on this one, as does Scotty Rock. “Red Rain” is one of the album highlights. Tate then indulges his every fantasy on “Odissea”, part of an Italian opera. It’s up to you whether you hit the skip button or not. Just keep in mind what Geoff Tate did to poor defenceless Freddie Mercury. He sings in Italian, so kudos for him for doing this, but the end result is an experiment that doesn’t need repeating. Finally, the live take of U2’s “Bullet the Blue Sky” is by far the best song. This is a recording from the Q2k era featuring Kelly Gray on guitar before he was replaced by Mike Stone. It’s a 10 minute extended workout complete with an epic Tate rant.  “Don’t step outside of that box!  Don’t step outside of that box!  It’s dangerous there…outside that box.”

As much as Take Cover is a slog to get through, “Bullet the Blue Sky” is arguably enough to make it worth it.

2/5 stars

Scan_20150801 (5)

REVIEW: Deep Purple – Bombay Calling – Bombay Live ’95

BOMBAYDEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)

There are very rare circumstances under which I will pay for a download from iTunes.  I’ve made my case for physical product here over the years many, many times.  When it’s a band that I obsessively collect, like Deep Purple, I make an exception.  Bombay Calling is an interesting live release.  It says “Official Bootleg” right there on the cover art, but I’m not really sure what constitutes an official bootleg anymore.  I look at this as the soundtrack to a DVD that Deep Purple released in 2000, also called Bombay Calling.  That’s essentially what this is — the audio to Bombay Calling, the DVD.  In contains the entire show.

This concert was recorded on April 18 1995, which eagle-eyed fans will realize is well before the Purpendicular album.  Bombay Calling was recorded not long after “the banjo player took a hike” and Purple carried on without Ritchie Blackmore.  Joe Satriani stepped in for a short while, but it was Dixie Dregs guitar maestro Steve Morse that took the Man in Black’s place permanently.  This concert was recorded at the very start of Morse’s tenure, and features a few songs they would drop from the set a year or two later.  It also features a brand new tune they were working on called “Perpendicular Waltz”, later changed to “The Purpendicular Waltz” on the album.

There is one earlier concert available from this period, which is Purple Sunshine in Ft. Lauderdale Florida, exactly two weeks prior.  That one is truly is an official bootleg, taken from audience sources and released on the 12 CD box set Collector’s Edition: The Bootleg Series 1984-2000.  The setlists are slightly different.  When they hit India for this concert, a new song called “Ken the Mechanic” (retitled “Ted the Mechanic”) was dropped, as was “Anyone’s Daughter”.  They were replaced by long time favourites “Maybe I’m a Leo” and “Space Truckin'” from Machine Head.

Special treats for the ears on Bombay Calling include Steve Morse’s incendiary soloing on “Anya” (which would be dropped from the set in 1996).  His feature solo leading into “Lazy” is also excellent, and of course very different from what Ritchie used to do.  Jon Lord’s keyboard solo is among the best I’ve heard, and even features a segue into “Soldier of Fortune” from Stormbringer.  The solo segments that Deep Purple did often allowed them to play snippets from songs from the David Coverdale period of the band, and this one was unexpected and brilliant.

I love a good, raw live performance captured on tape, and Deep Purple don’t muck around.  This one is kind of special, coming from that transitional period when Steve Morse was just getting his feet wet.  Considering how different he is from Ritchie Blackmore, this smooth switcheroo is quite remarkable.  The band had changed, but into something just as good.  How many other groups can make that claim?

3.5/5 stars

Since you can’t take a picture of a non-physical product, here are pictures of the 2 CD set that I burned from the iTunes download!

REVIEW: Ratt – Out of the Cellar (1984)

Scan_20150801RATT – Out of the Cellar (1984 Atlantic)

Out of the Cellar was my first Ratt album, acquired in a trade from next door neighbour George.  Considering how big Ratt were at the time, I expected it to be better.  In the 80’s, I felt like Out of the Cellar was a handful of singles padded out by filler.  I haven’t played the whole album in years (at least five), so this review is coming from a fresh perspective.  Dusting off the CD, I note on the credits the name of producer Beau Hill — never one of my favourites.

One of the aforementioned singles, “Wanted Man”, opens the album on an up note.  The cowboy motif has been popular in hard rock at least since David Lee Roth wore buttless chaps.  Tough, slow and menacing is “Wanted Man”.  Everything about it is classic hard rock.  Finger-blurring solos, thick backing vocals (courtesy of Juan Crocier mostly), and a big chorus are all it takes in the world of Ratt.  “Wanted Man” has always been a high point from Out of the Cellar, and it remains just as cool today.

“You’re in Trouble” kinda smells funny, as rock songs with funky bass often do.  Great chorus, but the rest of the song fails to generate any sort of fist-pumping.  This is easily forgotten since the third track is the big one.  “Round and Round”…what is it about this song?  It’s still irresistible today.  Why?  Everything clicks.  It is the perfect formulation of Robbin’s riffing, Warren’s picking, and Steven’s sneer.  Bobby and Juan keep the pulse tough and punchy.  It’s just one of those magical songs from that era that still has the goods.

Moving on, “In Your Direction” is suitable for an album track.  Ratt referred to their sound as “Ratt N’ Roll”, because according to them, it was their own sound unlike other bands.  That may be so, but unfortunately Ratt N’ Roll is pretty limited as far as genres go.  If you cross “Wanted Man” with “You’re In Trouble”, you get something like “In Your Direction”.  Ratt albums have always suffered from too many soundalike songs.  Smoking solo though — very Eddie-like.  “She Wants Money” is pretty good.  These old melodies are coming back, as are old memories.  “She Wants Money” is one of the strongest non-singles on Out of the Cellar.

Frustratingly, “Lack of Communication” is a good song that lacks a good chorus.  “Lack of communication, back off!”  Something’s not clicking there, which is too bad because the rest of the song was really decent.  What we need now is another single.  “Back For More” was always outstanding for a Ratt song. The acoustic intro was the only soft moment, on an album composed 100% of rockers. “Back For More” is punchy and memorable, a pretty great example of Ratt N’ Roll because it doesn’t sound too much like the other songs.

Stormy guitars and cool Pearcy vocals keep “The Morning After” rocking ’til dawn. “I’m Insane” ain’t too bad, another nondescript pedal-to-the-metal Ratt N’ Roller. “Scene of the Crime” is another fairless faceless Ratt song, which closes the album. It’s a fairly limp ending, and there’s nothing about the production that really aids or abets the album.

Listening to Out of the Cellar today is much the same as it was in the 80’s. It has enough high points to give credit where credit is due, but given the chance to listen to it or a “best of” CD, you’re going to go with the compilation. It’s too bad Ratt couldn’t have tightened up some of these songs a bit first, in the writing stage.

3/5 stars

WTF Comments: Joakim Larsson edition

WTF Comments III:  Joakim Larsson edition

The world of Rock and Roll fandom is filled with many varieties:  The Uber Fan who owns everything, the Casual Fan who owns what they want, and the Obsessed Fan.   They have a complete set of Tico Torres’ toe nails, and a collection of restraining orders against them.  These are just some examples.  There are many more fan types, across every genre of music.  While I’m usually more interested in the collections of the Uber Fan, sometimes the Obsessed can provide hours of entertaining befuddlement.

Based on limited exposure to one of these categories, we at LeBrain HQ have scientifically determined that the rock band Europe have an inordinate amount of Obsessed Fans.  What it is specifically that attracts them to the authors of “Let the Good Times Rock” and “Cherokee”, Trump only knows.  But there is a particularly vehement subsect of the obsessed focusing specifically on their lead singer Joey Tempest, aka Rolf Magnus Joakim Larsson (he of the well-coifed head).  We have first-hand evidence of this, presented below.

 

Our first encounter with an Obsessed Tempest Fan came with someone called “Carieann”, in June.  “Carieann” insisted that Joey Tempest was not really Joey Tempest.  An excerpt from her lengthy comment:

“This is for all those who say that the band Europe is still great or that still make great albums – STOP writing such a shocking nonsenses and stupidities!! All last albums are false and absolutely horrible and this fake band has nothing in common with the real group Europe from the 80’s, now they make fake records, fake and lifeless music without a soul, fake “shows”, all is fake and false and that’s because since the middle of 1989 the real Joey Tempest is not in this band and Joey was truly the only one who has made this group huge with his talents, awesomeness and uniqueness!! And since 26 years there’s such a horrible imposter and liar in this “group”, that’s not the real Joey Tempest!! The real Joey Tempest had to leave the group because of this horrible liar!! It’s so obvious and so clear to see that it’s just someone different (unless you’re blind and deaf, like bunch of ignorants).”

OK, then.  But things took on a religious slant:

“This horrid demon also released solo albums under the name of Joey, still insolently pretending to be Joey Tempest!!! And this disgusting, hideous and rude imposter has nothing in common with the real Joey Tempest, Europe’s vocalist in 1982-1989, not only his looks and sound of voice are completely different but also behaviour, eyes, facial features, personality and absolutely everything!! And the excuse that it could be because the years have passed, it’s just such a stupid and lame excuse!!! This is just a totally different person!! It’s not even a person, he acts like some kind of a devil!! He isn’t even real Joey’ Tempest’s look-alike and never, ever will be like Joey!!! […] There’s not even comparison between him and the real Joey Tempest!! This demonic devil only cares about himself, this whole falsity and not about the “fans”, his main and the only goal is to make fools of as many people as possible to still gain more and more as long as it’s possible undeservedly and you all brainless idiots still help him to do this!!!”

Even though we are all “brainless idiots”, some Googling revealed that “Carieann” had been dumping steaming piles of this conspiracy theory all over the web since 2014.

JOEY THEN NOW

Always looking to prod the grizzly, we posted a parody of a Europe review that lampooned “Carieann’s” comments.  This parody review was loaded with over-the-top statements that served to underline just how weird this conspiracy theory is.  I wish I came up with all of these statements myself, but it was a collaborative effort, with a Godlike genius of the written word who not only refuses to be identified, but has now hired 24 hour security for his premises.  Here are some excerpts from that parody review, which we felt was a fairly obvious pastiche.

  • “Without Joey’s talent and unique abilities, the band is a lost joke; twisted and sad – imagine, it would be like Deep Purple without Nick Simper – just unthinkable!”
  • “Joey would NEVER let his hair go flat like that! Wake up people!”
  • “I have proof written on the back of a beer mat that in 1994 Matt Groening was forced to rewrite a Futurama episode that obliquely referenced the scandal. “

The article was credited to author “Jesse A. Jones” (a portmanteau of noted conspiracy theorists Jesse Ventura and Alex Jones), who is “Professor Emeritus of Applied Conspiracy at the University of Punkeydoodles Corners and author of ‘Paul is Dead: The Amazing Beatles Conspiracy’, ‘Lennon Lives! Why John Isn’t Dead’ and ‘George! Satan’s Favourite Beatle’.”  Not to put too fine a point on it, but we felt this was a pretty obvious joke, especially with credits like those.

All a bit of an innocent giggle; some harmless fun, yes?  Not where the Obsessed Tempest Fans come in!  Several weeks after posting, this parody review was hit with comments from…Joey Tempest’s wife “Miranda” and her friends “Billy” and “Doreen”?!  What is this?!  More disgruntled minor celeb encounters to add to my collection?

At first, I took it all at face value, until I actually looked into Joey’s marital status, which was when it all got a little bit strange.  All sources state that his wife is named Lisa Worthington, not “Miranda Larrson”.  In fact a little digging revealed even more:  accusations that “Miranda” had been making the rounds online “claiming” to be Joey’s wife.  Then I found a slew of Youtube videos by Miranda:  low quality “duets”with Europe songs straight from the album, claiming to be by “Joey and Miranda”.

Come on; we’ve all done it, haven’t we?   I once spent the whole summer of ’90 pretending to be married to Lita Ford.

Read the whole thing unfolding for yourself.  Follow the links below directly for the best comments by Miranda and her friends, “Billy Low” and “All-Caps Doreen” (aka “Caps-Lock Doreen”).    If you’d rather read the whole thing from start to finish, then hit up the first comment from “Doreen” for the beginning of this…discussion. (?)  Make a coffee, sit down and enjoy!

Doreen:  “NEVER READ SO MUCH RUBBISH IN MY LIFE! ANYONE WHO BELIEVES THIS NEEDS TO GET A REALITY-CHECK…”

Miranda Larrson: “Ok…where to begin…must post fast since I’m sure the guys in white coats coming for ya…”

Billy:  “WHAT A LOT OF NONSENSE! ARE YOU FOR REAL? I AM A PERSONAL FRIEND OF JOAKIM LARSSON’S…”

Doreen:  “I FORGOT TO SAY THAT I AM A PERSONAL FRIEND OF JOAKIM LARSSON…”

Doreen:  “IF THIS IS A JOKE, I DO NOT FIND IT AMUSING. NEITHER DO JOEY AND HIS WIFE…”

Billy:  “You read what Joey’s wife has said on here. I am a personal friend of hers too…”

 

After intensive study (at the University of Google), we have concluded that not only does Joey Tempest have at least one fan who think he’s not really Joey Tempest (a mind-boggler in itself), but he also boasts deluded followers who think he’s married to them!  At the very best, even if we took Miranda’s claims purely at face value, and assumed she is indeed the new Mrs. Larrson, then Joey Tempest has friends who have serious problems with reading and comprehension.  The entire thing just went completely over their heads.  That’s the best-case scenario here.  That is the sunniest possible outlook.

The life of a rock star!  We only see the glamorous side, but then you have this dark side dealing with obsession.  Or, as the great man (the real Joey, I mean) sang on “Love Chaser”:

Someone’s at your door tonight,
Someone wants your love,
Is it real or just imagination?

(Posted from our secret underground bunker, Nunavut Canada.)

REVIEW: David Lee Roth – Eat ‘Em and Smile (1986)

Scan_20150728DAVID LEE ROTH – Eat ‘Em and Smile (1986 Warner)

1986 was the year it all went down. If you were a Van Halen fan, it was time to choose.

Of course, nobody really had to choose between Van Hagar and David Lee Roth. It’s not like every fan had only $10 to spend on albums that year. Fans did choose anyway, and even today almost 30 years later, we still argue about who’s best: Diamond Dave or the Red Rocker?

No matter who you sided with, there is no question that David Lee Roth stormed into 1986 with a killer new band and album.

Steve Vai! That’s enough right there to make for an incendiary band — just ask David Coverdale. Before Little Stevie Vai was a household name, he had earned the respect of Frank Zappa who hired him on after Joe’s Garage. He made his Zappa debut on Tinseltown Rebellion, before being snagged by Graham Bonnet in 1985 for Alcatrazz’s Disturbing the Peace. In that band, he had the unenviable task of replacing a Swedish guitar player you may have heard of called Yngwie J. Malmsteen. Needless to say, Steve Vai was already experienced in filling big shoes by the time David Lee Roth made contact.

Billy Sheehan! A lot of people think he’s the world’s greatest bass player, period. Eight finger lead bass, baby! Three albums with Talas didn’t do much in terms of sales, but the material was strong enough that one song was re-recorded for the Roth album.

Gregg Bissonette! Once you learn how to properly spell his name, you will recognize Bissonette on loads of album credits. Joe Satriani come to mind? How about Spinal Tap? For your information, Gregg Bissonette is still alive, and is still the current Spinal Tap drummer.

Combine those three virtuosos with the greatest frontman of all time, and you have best new band of 1986.

Van Halen’s 5150 came out in March, going to #1. That’s a hard act to follow. Eat ‘Em and Smile, however, ending up standing the test of time. I would argue that even though it’s not Van Halen, it’s still the best Van Halen album since 1984….

As if to say “Eddie who?”, the album opens with Steve Vai’s trademark talking guitar. I’m talkin’ about-a-“Yankee Rose”! Here’s the shot heard ’round the world indeed. Lyrically, musically, and instrumentally, this song truly is the spiritual successor to classic Van Halen. David Lee was still in prime voice, and does he ever pour it on! Sassy as ever, Roth sounds exactly how he should: the showman in the rock and roll circus. And let’s not forget Billy and Gregg. Sheehan’s slinky bass on the outro is space age groove.

“Shyboy” is an atomic bomb. Billy brought in this song from Talas, but there is no question that Dave’s version is vastly superior. I have no idea how Vai makes his guitar create these sounds. When he goes into syncopation with Billy on the fastest solo of all time, your head may be blown clean off. Please, do not attempt to listen to “Shyboy” in the car, without testing it at home first. As Steve’s guitar flickers from left to right, Billy’s bass is the fastest, baddest groove on record. “Shyboy” is of such high quality that I do not think any self-respecting rock fan can live without it. Virtually every trick that Steve had at the time was in this one song.

One thing that was special about Van-Halen-with-Dave was their fearlessness in doing odd covers, such as “Big Bad Bill” or “Oh Pretty Woman”. Dave took that with him, and included oldie swing covers like “I’m Easy”. Horn laden and with Steve’s expert licks, it should be no surprise that they nail this one. It’s much in the spirit of Dave’s solo EP, Crazy From the Heat, only better.

Perhaps the most outstanding song on Eat ‘Em and Smile would be “Ladies Nite in Buffalo?” Dave has always said he loves disco and dance music. This is the most perfect melding of that world with rock. Vai is rarely so funky, and there is no question that Dave has the vibe right. Smooth and steamy, “Ladies Nite in Buffalo?” is a tune perfectly in synch with activities of the nocturnal persuasion. Who else but Dave would be perfect to deliver this message?

“Goin’ Crazy” was a great track to make into one of Dave’s typically high flying music videos. It’s party rock time, with a tropical vibe. “Goin’ Grazy” worked particularly well when Dave re-released it in Spanish, as “¡Loco del calor!”. I used to consider this tune a bit of a throwaway, but it has certainly endeared itself over the years. Another meticulously perfect Vai solo doesn’t hurt, and Billy’s bass popping helps end side one on an up note.

Now there is a story here that needs to be told. Billy Sheehan was in Canadian progressive rock band Max Webster for “about three weeks” according to lead singer Kim Mitchell. Upon joining Dave’s band, he introduced them to Kim Mitchell’s solo track “Kids In Action”, which they decided to cover. Bill called Kim up to ask him for the lyrics, because they couldn’t quite make them all out. Kim supplied the words, and Dave recorded the song. However, it was dropped at the 11th hour, for another cover — “Tobacco Road”. David Lee Roth’s version of “Kids In Action” has yet to be released or even bootlegged. Not that I am complaining about “Tobacco Road”, another old cover! Yet again, the reliably awesome Steve Vai just sells it. There is no question that the whole song just smokes, but getting to hear Stevie playing this old blues?  Pretty damn cool.

That’s nothing. You thought “Shyboy” was fast? Check out “Elephant Gun”! Billy’s fingers didn’t fall off, but mine would have. “I’ll protect you baby with my Elephant Gun”, claims Dave. Nudge, wink! Steve Vai’s been known to write blazing fast songs, and “Elephant Gun” is so fast it’s almost showing off. Wisely though, things get slow and nocturnal once again on “Big Trouble”. That’s a title Dave recycled from an old unused Van Halen song. (That song became “Big River” on A Different Kind of Truth.) Steve’s guitar melodies and solo on this are particularly celestial. Roth uses his speaking voice, spinning a tale as only he can. “Bump and Grind” is a perfectly acceptable album track, a sleaze rocker as only Dave can do. If I am interpreting the lyrics correctly, Dave is a dance instructor in this one. “Shake it slowly, and do that Bump and Grind”.

Much like “Happy Trails” ended Diver Down on a jokey note, Dave ends his first solo album with a cover: “That’s Life”, the song that Sinatra made famous. Coming from the guy who did “Just a Gigolo”, we know he can do that kind of thing very well. The first time I heard the album years ago, I shrugged and said, “Another one?” Now, older and fatter, I sez it’s all good! Zop-bop-doop-zooby-dooby-doo indeed. Funny thing though. When I think of Diver Down, I think of a fun but fairly shallow album of half covers. When I think of Eat ‘Em and Smile, I don’t question the integrity of it. I don’t know why I seem to hold that double standard.

In this writer’s humble opinion, Eat ‘Em and Smile was David Lee Roth’s finest moment as a solo artist. It was not nearly as well known as 5150, OU812, or any of Van Hagar’s albums, and that is almost criminal. The talent in this band, pound for pound, outweighed anybody else going at the time, including Van Halen. Shame they couldn’t make it last.

5/5 stars

REVIEW: Def Leppard – “Two Steps Behind” (1993 CD single)

This is the sixth and final part in a series on singles from Def Leppard’s Adrenalize era, including hard to find B-sides!  This is a bit of a “bonus” review, since this song wasn’t actually on Adrenalize!

DEL LEP SINGLE_0014DEF LEPPARD – “Two Steps Behind” (1993 Phonogram)

From a B-side to an A-side in its own right, “Two Steps Behind” has seen more releases than most Def Leppard songs. Sure, it’s significant that it was Def Leppard’s first acoustic song, but it’s really not that exciting.  When Arnold Schwarzenegger comes a-knockin’ and says “I need a rock band to give me ballad for my new movie” in that threatening Arnie voice of his, nobody’s going to refuse him.*

However it unfolded, “Two Steps Behind” was selected for the Arnie turd, Last Action Hero in 1992, next to bands such as AC/DC, Alice in Chains and Megadeth.  In comparison to the aggressive contributions from them, Def Leppard’s track seemed hopelessly behind the times.  It still charted in the US, going to #5.  It was spruced up with strings courtesy of Michael Kamen, and was given a high-budget music video.

This single falls between two albums.  Visually, the cover art recalls the prior Def Leppard singles with its yellow and red lego, but features the photographic style that the Retro-Active singles would sport.  Since it cleans up a few B-sides from the era that didn’t carry over onto Retro-Active, I’ve decided to include it here.

The first B-side is a “warts and all” acoustic version of “Tonight”.  This was later released on the deluxe Adrenalize as the “Sun Studios version”.  In many regards, it’s as good as the original.  Perhaps it’s even better, with its sparse but rich sound.  Without the layers of a typical Def Leppard recording, the song breaths like never before.

The final track on the single (and this series!) to discuss is “S.M.C.” which is still unavailable anywhere else.  Unfortunately it is only 1:14 long.  Written and performed solely by Collen, it is a pretty acoustic instrumental track.  Jaunty and light, it sounds classical in vibe.  Leppard fans would be well advised to seek out this single, to add this brief guitar workout to their Leppard libraries.

4/5 stars

* I’m not sure that this is exactly how it played out, but it could have!

DEL LEP SINGLE_0015

Adrenalize singles:

Part 1:  “Let’s Get Rocked”
Part 2: “Make Love Like a Man”
Part 3: “Have You Ever Needed Someone So Bad”
Part 4: “Heaven Is”
Part 5: “Tonight”
Bonus Part 6: “Two Steps Behind”

REVIEW: Def Leppard – “Tonight” (1993 CD single)

Part five in a series on singles from Def Leppard’s Adrenalize, including hard to find B-sides!

DEF LEPPARD – “Tonight” (1993 Phonogram CD singles)

LeBrain HQ has two different “Tonight” singles in the library, each with its own B-sides.  Things get murky when we start looking at singles released in different territories, but each CD features the same great A-side.  Although the lushly layered harmony vocals that lead off the track sound overly sweet, that’s not indicative of the song itself.  “Tonight” is the sparsest ballad on Adrenalize, and also the toughest.  Original guitarist Steve Clark had a hand in writing it, so perhaps he supplied some of the memorable guitar hooks.  As far as the Adrenalize album went, “Tonight” was a highlight in a mixed bag of songs.

The US single has “She’s Too Tough” as its second track, but we already looked at that song (originally released by Helix but written by Joe Elliot) last time.  Skipping to the end, we get a live version of “Pour Some Sugar on Me” from the 1992 club tour.  This was from Bonn, Germany and is also available on the deluxe Adrenalize.  I don’t think “Sugar” has ever particularly worked well live.

Onto the UK single, there are some more interesting B-sides. For Def Leppard fans, one of their most memorable appearances had to be the Freddie Mercury tribute concert in 1992. As part of their set, Brian May came out on stage to play “Now I’m Here”. What a great version of a Queen song perfectly suited to Def Leppard. With Brian May on stage it doesn’t get much more authentic. From Bonn once again comes “Photograph” performed live.  This is probably the best of the recordings from Bonn.

Unusually for Def Leppard singles of this period, every single track is available elsewhere. “She’s Too Tough” was on the single for “Heaven Is”, and all the live songs were later reissued on the deluxe Adrenalize. Therefore, collectors can breath a little easier. If you don’t have “Tonight”, you probably don’t really need it. If you do, at least the two singles combine to form an excellent listening experience.

4/5 stars

Adrenalize singles:

Part 1:  “Let’s Get Rocked”
Part 2: “Make Love Like a Man”
Part 3: “Have You Ever Needed Someone So Bad”
Part 4: “Heaven Is”

Up next:  bonus instalment  “Two Steps Behind”

REVIEW – Def Leppard “Heaven Is” (1993 CD single)

Part four in a series on singles from Def Leppard’s Adrenalize, including hard to find B-sides!

DEL LEP SINGLE_0007DEF LEPPARD – “Heaven Is” (1993 Phonogram CD single)

“Heaven Is” and “Stand Up (Kick Love Into Motion)” were released as singles at roughly the same time (different territories and whatnot),  but I don’t have a copy of “Stand Up”.  It doesn’t matter though, since both singles shared the exact same B-sides.  These are an interesting mix of new and old.

The Canadian rock band Helix released “She’s Too Tough” on 1987’s Wild in the Streets album.  While their version is faster and louder, the Leppard version sounds way better.   Helix had production issues on their album, while Leppard recorded theirs with trusted engineer Pete Woodroffe as a quartet during the Adrenalize sessions.  The single contains the original version of the track.  Rick Allen re-recorded the drums in June 1993, and that version was released on the Retro-Active album.  No matter which version you have, it’s an absolute pleasure to hear Leppard with Joe screaming like he used to.

“Elected” is indeed a live cover of the Alice Cooper classic.  This one dates back to 1987 and features the late Steve Clark on guitar!  A young, energized Leppard  have no problem filling this with all the electricity needed.  One must assume the old tapes were not the best, since the credits claim the track was “salvaged” by engineer Pete Woodroffe!  Following this is a new live recording, of “Let’s Get Rocked” in 1992, from Bonn, Germany.  Naturally that means this features the new boy Vivian Campbell on rhythm guitar.  This version, from the 1992 club tour, is available on the deluxe Adrenalize.

As for the A-side itself, “Heaven Is” works as a pleasant enough pop rock song.  Fans were tiring of that schtick, but “Heaven Is” is fine for a second-tier Def Leppard hit.  When Steve Clark died I don’t think the band felt it was the time to stretch out and find new musical avenues.  Writing safe rock was the easiest and probably only real course of action.

4/5 stars

Adrenalize singles:

Part 1:  “Let’s Get Rocked”
Part 2: “Make Love Like a Man”
Part 3: “Have You Ever Needed Someone So Bad”

Up next:  “Tonight”

REVIEW: Def Leppard – “Have You Ever Needed Someone So Bad” (1992 CD single)

Part three in a series on singles from Def Leppard’s Adrenalize, including hard to find B-sides!

DEL LEP SINGLE_0005DEF LEPPARD – “Have You Ever Needed Someone So Bad” (1992 Phonogram CD single)

On their last single, “Make Love Like a Man”, Def Leppard released their first acoustic recording in a song called “Two Steps Behind”.  This time, they went all-in.  Not content with a couple acoustic guitars, Joe called up some friends from Hothouse Flowers (Fiachna Ó Braonáin, Liam Ó Maonlaí, and  Peter O’Toole) and formed an octet* called the Acoustic Hippies from Hell!  As the Acoustic Hippies, they did three songs:  an unreleased Joe original called “From the Inside” and two covers.  The Flowers brought tin whistle, piano and mandolin to the table.

“From the Inside” is a haunting number, with Joe singing about addiction from the perspective of the drug.  “I’ll shoot through your veins, I’ll drive you insane.”  Joe first played it for a television program called Friday at the Dome.  Liam Ó Maonlaí and he played it together as an experiment in artists from two different fields colliding.  Joe liked the song enough to record it here with the Acoustic Hippies.  This song was re-released in 1993 on Retro-Active, but added the original count-in from the session.  It’s certainly a good song but not easy for some Leppard fans to appreciate.

The guys then jam on 7 1/2 minutes of “You Can’t Always Get What You Want”.  This is a highlight of the single, a fantastic version that deserves more attention. You might be surprised just how good this is. It sounds 100% live, with people calling out cues and hoots and hollers. Almost as good is Hendrix’s “Little Wing”. Softer and less rambunctious, it is haunting more like “From the Inside”.  Thankfully these two tracks were later reissued on the Adrenalize deluxe edition.

These three B-sides completely outshine the A-side, the putrid “Have You Ever Needed Someone So Bad” from Adrenalize.  This annoying title is only slightly worse than the song itself, one of the most by-the-numbers ballads that Def Leppard have foisted upon the fans.  Of course it became a top 10 charting single in the US.

3.5/5 stars

* There are no drums but Rick Allen is credited for “acoustic inspiration”.

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Adrenalize singles:

Part 1:  “Let’s Get Rocked”
Part 2: “Make Love Like a Man”

Up next:  “Heaven Is”

REVIEW: Def Leppard – “Make Love Like a Man” (1992 CD single)

Part two in a series on singles from Def Leppard’s Adrenalize, including hard to find B-sides!

DEL LEP SINGLE_0003DEF LEPPARD – “Make Love Like a Man” (1992 Phonogram CD single)

For the life of me, I couldn’t understand why this song from Adrenalize was ever chosen as a single, let alone the second one.  As stated in my album review, it “sounds like a hard rock version of a Shania Twain hit”.  No thank you.

Def Leppard singles are always exciting for collecting B-sides, but “Make Love Like A Man” was the first one to include three brand new songs. Each one was completely different from the other, while remaining of very high quality.

First up is a not-cover of “Miss You In A Heartbeat”, originally recorded by Paul Rodgers’ band The Law. Phil Collen wrote it, but The Law was first to release it in 1991. Atmospheric, moody, but bright, it was a worthy successor to the lofty heights of Hysteria.  It’s superior to some of the songs that made it to Adrenalize, and it’s certainly better than its own A-side.  In fact, a bare piano version was later as released as a single in its own right, supporting Retro-Active in 1993.

Next is cover of The Sweet’s “Action”. This is the original mix.  The one on Retro-Active has re-recorded snare drums and possibly additional backing vocals.   Leppard have played this one live, steadily for years.  It fills the niche of a solid rocker with a solid riff needed on this otherwise fairly mellow single.  Like “Miss You In A Heartbeat”, it too was released as a single in 1994, but with the re-recorded drums.

“Two Steps Behind” was the band’s first ever acoustic recording, a trend picking up at the time. It was a bit of a throw-away at the time, with a sparse unadorned arrangement and a pleasant but ordinary melody.  However, it too was released a single as well!  It was chosen for Arnold Schwarzenegger’s Last Action Hero soundtrack, and had strings added courtesy of Michael Kamen.  Once again this is the original version and the first to feature “new guy” Vivian Campbell!

In the context of 1992, this was a pretty special single.  Viv’s first Leppard recording, Lep’s first acoustic foray, and some quality tunes ensured solid play time that summer.  A-side aside, this was Leppard’s most satisfying single for the dollar yet.

4/5 stars

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Adrenalize singles part 1:  “Let’s Get Rocked”

Up next:  “Have You Ever Needed Someone So Bad”