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.
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!
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?
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.
DEF LEPPARD – In the Round In Your Face (1989 VHS, 2001 Universal DVD)
When I was a kid, in love with music and watching every video on television, there was only one concert I wanted to see. Grade 10, going on grade 11, the only show I craved was Def Leppard. Their innovative stage in the round, in the center of the arena, seemed like the ultimate package. But I was just too young and had no one to go with, so I never made it. Fortunately, Def Leppard released a home video to satisfy those of us who could not be there. I rented the tape from Steve’s TV and made a copy. It was the best I could do on my allowance. To make up for it, I bought it three times since on different formats (VHS, DVD, CD).
I popped the tape into the VCR with anticipation. A sped-up collage of the stage assembly flashed before my eyes, to the sound of “Rocket”. A massive undertaking, but this was just pre-amble. The show was about to begin!
It was just as I had heard about in the highschool halls. The stage was draped on all four sides by massive Hysteria curtains.
“I know what you’re thinking,” says Clint Eastwood over the sound system. “‘Did he fire six shots, or only five?’ Well to tell you the truth you know in all is excitement, I’ve kinda lost track myself.” A laser show begins dancing on the curtains. “You’ve got to ask yourself one question. ‘Do I feel lucky?’ Well do ya, punk (punk punk punk)?”
Guitars replace the echo of Eastwood’s voice.
“I said welcome to my show!” screams Joe Elliot, teasing us before the curtains finally crash down and “Stagefright” kicks off the proceedings! Even in my armchair, there’s still goosebumps.
Def Leppard rip through “Stagefright”, completely in control, on fire as hot as their early days. Each member throws shapes on stage while Rick Allen keeps the whole thing moving, on drums in the middle. Leppard’s stage is not flat, with catwalks and staircases for the band to run and jump all over, which they do. Overhead cameras capture everything, from every angle. Nobody but Allen is confined to one space, as the band leap from place to place in the name of entertainment.
Continuing with the Pyromania, “Rock! Rock!” keeps the pace going at full speed. It brings a tear to the eye, seeing Steve Clark do his trademark whirlwind moves on stage, accented by his red scarf and made only more perfect in the round setting. A reminder that this was it — the last high point of the Clark era. Fortunately captured on camera and tape.
The first new song, and break in tempo, is “Women”. This is the famous version released as a single B-side with the “We got everything we need!” intro. You know it, you love it, it’s legendary: the live version of “Women”. Rick Savage mans the keyboard station for the time being while the lights get dimmer. Lots of echo on this one to duplicate the album ambience. “Too Late For Love” — a damn fine version — brings a ballady vibe, which they then lean into fully on an early appearance of “Hysteria”. The live version of “Hysteria” is lengthier with an extended bass intro. It feels like Def Leppard are a band with four frontmen, with the amount of shape-throwing going on here! And, for a moment, Joe Elliott on rhythm guitar! A funny little 80s axe with no headstock it is, locking down the riff while Steve and Phil embark on a glorious dual-guitar harmony solo.
Steve Clark gets a mini-solo to open “Gods Of War”, a Leppard epic that really shines in the live setting. We always thought it should have been the 8th Hysteria single. Rick Savage on acoustic guitar during the outro. The lights blast at the end, simulation “the bomb” and the band exist the stage as the lights go black. It’s a perfect transition to the gunshot sound effects that open “Die Hard the Hunter”. Lighters up! Off goes Phil’s shirt. This track is a return to the tempo of the opening duo, all three being from Pyromania.
Indeed, it is time to address the setlist. You may have noticed all the tracks are from Pyromania and Hysteria thus far. There is nothing from On Through the Night, and only one from High N’ Dry: “Bringing On the Heartbreak”. “This is one of our earlier songs, that we’re going to play a brand new way for ya,” says Joe. It seems they were trying to focus on the big albums that people had heard on MTV rather than their heavier metallic roots on this tour. Phil Collen gets a nice acoustic intro to show off his skills, along with Steve on doubleneck. This new semi-acoustic version of “Heartbreak” was so the band wouldn’t get sick of the song; it’s interesting anyway.
“Foolin'” ushers in a long stream of big, big hits. Steve’s still rockin’ the doubleneck. Then “Armageddon It” is nice and fresh. Much of this footage will be familiar to fans of the music video. “Animal” is tight, and received with a rapturous applause. Lots of girls in the front row dancing to this one.
There’s a touching moment in the “Pour Some Sugar On Me” intro when Joe says that the return of Rick Allen “the Thundergod” on drums was the biggest “up” that the band ever had. They then make easy work of the hit single. Phil takes a solo rip on the fretboard before “Rock of Ages”, and then of course the obligatory long audience singalong section. (“You can do better than that!”) The encore “Photograph” closes the show, and a great song to do it with. Shirts are no longer required where Joe and Steve are concerned.
This video was expertly directed by Wayne Isham. It is simply one of the best shot and edited live concerts available on DVD. It’s also – sadly – a document of the last stand for this lineup of the band. They had hit the top. Unfortunately you can never stay.
Note: This being the thirdHysteria album review, we will be taking a different approach. The first two reviews were detailed and comprehensive so please check those out for all the nitty gritty. This one will be more nostalgic in nature.
DEF LEPPARD – Hysteria (1987 Vertigo)
Kiss were always my “favourite band”, but the majority of my highschool years from 1987 to 1989 were all about Def Leppard. Although they wanted to be the biggest band in the world with this album, many of us were cheering for them to win. The band had endured years of adversity since the triumph of Pyromania.
Most obviously was Rick Allen’s car accident. It was hard to imagine how the drummer was going to come back from it, losing his left arm and almost his right as well. But he did. He frickin’ did it. Rick Allen, the Thundergod, returned and Joe Elliott said it was biggest “up” the band ever had. How could you not want them to win under those circumstances?
The biggest change on Hysteria (so named to characterise the last four years of their lives) was obviously the drum kit. Rick Allen had a style, employing classic grip and wicked rolls. Now he had a new electronic kit, with samples triggered by foot pedals and an arsenal of modern sounds. Allen adapted with a fresh style, leading the charge with a chugga-chugga and some bam-pow. His new style is one of the defining traits of Hysteria.
The first single here, and first taste of the new Leppard, was “Women”, an unorthodox pick. A slow grind led by a synth-y sounding bassline from Rick Savage, it is neither a ballad nor a scorcher. It’s not immediately catchy either, but it drew us all back in for a second third and fourth lesson until we were hooked. The sound: clean, precise, with layers of vocals and assorted melodic tones. But shit, did the band ever look cool in the video.
Hysteria arrived on my tape deck Christmas of 1987. It quickly monopolized my listening time, though it took a couple spins to “get it”.
“Rocket” threw me for a loop. I considered it filler; too contemporary and not enough rock. Bogged down with samples, backwards vocals and tricks. It sounded like the kind of song that would be impossible to perform live (though they did). Over the years I’ve warmed up to “Rocket”. The tribal beat inspired by Burundi Black makes it quite unique in hard rock, and the lyrics are delightful once you realize that Joe’s just naming all his favourite bands and albums. The meticulously recorded chorus really illustrates the intricate kind of process at hand. Each voice recorded separately and mixed down to the final product. Then there’s the long droning middle section, a unique construction worthy of a detailed listen. “Rocket” was another odd selection for a single, but it was a hit as the seventh and final one almost two years after the album was released.
It was hard to resist “Animal”, even though it was a blatant sonic declaration that Leppard were going for hits. As the second single from the album, it made some impact with its circus-themed music video. Light rock, with a punchy chorus, “Animal” was a well-written track with yet more of those immaculately recorded backing vocals. In the lead singer department, Joe was content to sing more and scream less, a trend that would continue. The fact is, the guy didn’t have to scream, though he’s terribly good at it.
Hysteria has a variety of tracks, but only two are ballads. “Love Bites” was selected as fifth single, and a smash hit it was. I wondered why they used a Judas Priest song title, but the song actually has country origins. Producer “Mutt” Lange brought the bones of it to the band as a twangy country song. The end product is nothing like that, with odd computerized voices and a slow dramatic build. Like every song on the album, the chorus kills. The band (with Lange) had really honed in on writing and recording technically perfect songs. There’s a lot going on in the mix on “Love Bites” but none of it is wasted. Everything’s necessary for the right vibe.
“Step inside, walk this way! It’s you n’ me babe, hey hey!” Shakespeare it ain’t. A hit, it was! “Pour Some Sugar On Me”, the fourth single, was the breakthrough smash that launched this album on the charts for two years. Def Leppard had ripped off a couple classic rock tunes here, but they were selling them to kids who never heard the originals. Mixing rap and rock, Leppard sold a bajillion singles and umptillion albums to kids worldwide. It wasn’t even an obvious hit. The genre-bending song took some getting used to initially.
Closing side one, the sixth single: “Armageddon It”. The stuttering guitar riff made it easy to like, if a bit light. This tune is fun to listen to with headphones on, to help break down all the different tracks of guitar. The cool thing that each guitar part is catchy on its own.
The North American videos for “Sugar” and “Armageddon It” were filmed live, and showed off Leppard’s innovative “in the round” stage. From the TV in the basement, it sure looked like the ultimate concert experience. We’d get a full taste of it on the In the Round: In Your Face home video (1989). Today you can get this concert on both CD and DVD. The CD version is included in the comprehensive Hysteria 30th Anniversary box set.
Opening side two is the track we all thought should have been a single: “Gods of War”, an epic in its own right, from the same lineage as “Overture” from the 1980 debut album. With Ronald Reagan and Margaret Thatcher sampled in the tune, it just sounded cool. Steve Clark’s E-bow opening drone sets the stage for a dramatic tune full of riffs, hooks and guitar action. It’s not political, just anti-war like many Ozzy tunes of the time. Its length probably prohibited it from being a single…but they did edit down “Rocket”.
The first non-single on the album is the hard rocker “Don’t Shoot Shotgun”. Some odd vocal effects keep it from being a standard guitar rocker; almost every song on Hysteria has some strange twist in the mix. Though more laid back in groove, this is the first tune that hearkens back to old Leppard. Slicker, sugar coated and easier to swallow though. It is paired with “Run Riot”, a similar track with a faster tempo. Tasty guitars from Collen and Clarke, chugging drums from the Thundergod. Screamin’ Joe sounding like the Joe from Pyromania, and Savage sounding less synth-y than the other tracks.
The last single on the album was actually the third single released: the brilliant title track “Hysteria”. The diamond-like flawless ballad was laid down literally one note at a time, giving it a precise but delicate nature. It was arguably the most pop Leppard had ever been, and that’s just fine. When you have a song this good, it doesn’t matter what you call it. Best tune on the album? Arguably. The precise picking is delectable and Joe has one of his best vocal performances right here. Unlike other songs on the album, it’s low on sonic gimmicks.
If there was one song to eject from the album, it’s the penultimate track “Excitable”. Back to gimmicks, it relies too much on samples and weird digitally manipulated vocals. It sounds like it was intended to be a crossover hit. It could have been replaced by a superior B-side (which we’ll get to).
The album closer is a majestic mid-tempo not-quite-ballad-thing called “Love and Affection”, possibly the second best tune on the whole album after “Hysteria” itself. It’s all about taste, but this deep cut is one of the strongest. It’s all about the song, no extra trimmings, just melody and arrangement. It easily could have been a single. There’s this one chunky Steve Clark lick that just slays me. Rick Allen’s pound has never been more suited to a track as it slams through the chorus. A really triumphant track that I would have released as ninth single after “Gods of War”!
Although it took a year (until the release of “Sugar”) to recoup its costs, Hysteria was an undisputed win for the band that worked so hard for it. Their loyalty to their drummer was not to lost to fans and media alike, and actually worked in their favour creating a new and exciting 80s rock sound.
But there was more to Hysteria than just the 12 tracks. Remixes and live material aside, there were five notable B-sides. All excellent in their own right.
Backing “Women” was the straight-ahead rocker “Tear It Down”. These B-sides were not produced by Mutt and therefore have a more raw edge, akin to older Leppard. “Tear It Down” rocked relentess, hard but mid-tempo cool. After a one-off live TV performance, the song was earmarked for re-recording on the next album….
On the flipside of “Animal” we find “I Wanna to Be Your Hero”, with a ballady opening and hard rocking middle. How did this song not make the album? Clearly one of the best tunes, it has both a chugging riff and a pop-smart melody.
The heaviest tune backed the softest. “Ride Into the Sun” was the B-side to “Hysteria”, and what a smoker it is. A re-recording of a song from the Def Leppard EP, it is also re-arranged with new lyrics and new chorus. It’s far superior and kicks every ass in the room. The B-side to “Sugar” was “Ring of Fire”, just as heavy as “Ride Into the Sun” but not as immediately catchy.
Finally, the last of the B-sides was a cover. A very confusing cover indeed. “Release Me” featured their roadie Malvin Mortimer doing something that might be considered singing. To add to the mess, the band all switched instruments with Joe on piano, so nobody really knew what they were doing. The band credited the song to “Stumpus Maximus and the Good Ol’ Boys” and in the liner notes, Joe claimed “Rarely in my travels have I come across such a monumental talent as Stumpus Maximus.” Only when Stumpus unfurls his unholy screams at exactly 2:36 did I get the joke.
The Hysteria sessions yielded some unfinished material as well, that Leppard would finally release in the 1990s. One of these tunes, a screaming “She’s Too Tough”, first saw the light of day on Helix’s 1987 album Wild in the Streets, released two months ahead of Hysteria. Brian Vollmer is one of the few singers who can do justice to Joe’s challenging vocal.
Hysteria is available in a comprehensive 5 CD/2 DVD box set with all the B-sides, remixes, and live tracks. It includes the Classic Albums “making of” documentary, all the music videos, and the entire In the Round: In Your Face concert on CD. It is, without a doubt, the best way to own the most important Def Leppard album.
But before you buy, some perspective.
There’s a legendary 0/10 review by Martin Popoff that I’d like to share some quotes from. If I’m over-enthusiastic about Hysteria, then consider this.
“High tech, tasteless, and devoid of life whatsoever.”
“Even Elliott’s vocals, probably the last vestige that hasn’t completely been swallowed by robots, sound like some kind of dry-wheezing mechanical lung wired to the man’s death bed.”
“Hysteria is a major assault to anyone’s intelligence.”
“An offensive kick in the head sent straight from the rock ‘n’ roll bored room.”
DEF LEPPARD – Pyromania Live – L.A. Forum, 11 September 1983 (2009 deluxe edition)
Leppard were riding high when they hit the L.A. Forum in 1983. Pyromania was selling hot enough that every kid in the neighbourhood had heard at least one of its singles on the radio. MTV was factoring in now, and its impact can’t be understated. Leppard had some high budget and good looking videos on offer. Their live show was just as impressive.
Remixed and remastered, the second L.A. show is now easily available on the Pyromania deluxe edition — the first official release of a live album with Steve Clark, although it did not come until 2009.
“Rock! Rock! (Till You Drop)” is a natural opener. Since it already opened Pyromania itself, it was well suited, but its extended (taped) intro made for a dramatic band entrance. Joe’s road-worn scream is employed to great effect. Even so slightly faster than LP, “Rock! Rock! (Till You Drop)” defined the mood. Rock rock till you drop indeed! Keeping with the “Rock” theme, “Rock Brigade” was locked and loaded for the second spot. It sounds fresh with Phil Collen on lead guitar and backing vocals. His solo is balls-out technical, and completely unlike those of Pete Willis.
Joe pauses to say “good evening”, and then it’s straight into “Saturday Night (High ‘N’ Dry)”. This ode to getting wasted from 1981 is not a vast departure from the album version despite Phil amping up the guitar work. Into “Another Hit and Run”, it’s pure adrenaline and foot on the gas pedal. Screaming into the ether, Joe sings of youthful self-destruction. It turns into a jam towards the end, before careening through the finish line.
“Billy’s Got a Gun” is one of those songs that can get a bit rickety live, but this version is solid. The excellent “Mirror Mirror (Look Into My Eyes” follows, and it’s very slightly revised to increase the tension. Some won’t notice the differences. As usual, the chorus kills. It’s been all album cuts thus far, and no hits. But then Joe invites Steve Clark to the spotlight to play an acoustic guitar solo, which becomes “Foolin'”, the first of the three massive hits rolled out in a row. This might be considered the center of the show: “Foolin'”, “Photograph” and (a slightly fast) “Rock of Ages”. Each one a perfect gem, but with the live edge intact. To take it over the top, a ragged “Bringin’ on the Heartbreak”, Leppard’s other recognisable hit, is rolled out immediately after. What do you do for an encore? We’ll get to that.
“Switch 625” follows “Heartbreak” as it should. With the hits behind them, Leppard spend the end of the set rocking really, really heavy. “Switch 625” is already a steamer, but it’s followed by “Let It Go”, “Wasted” and an encore tease, and then “Stagefright”. Clearly, this setlist was designed to rock! “Wasted” in particular stands out from this trio. Phil’s blazing solo technique adds that extra dimension to the song, but it is just as amped up and the best versions from the early years.
But “Stagefright” isn’t the real encore.
“Right, I said we got a surprise for ya. And we have a big one at that. Ladies and gentlemen, will you please welcome all the way from England — Queen’s Brian May!”
Queen were not on tour, but they were in Los Angeles recording their 1984 album The Works. The long friendship between Leppard and Queen began right here. A cover of Creedence Clearwater Revival’s “Travelling Band” is the earliest recording of Joe and May together, but certainly not the last! This is not only a piece of history, but it’s a brilliant track! Joe’s screaming voice is strangely well suited to an overblown CCR cover. But hearing the guitar trio solo together, each with their own style, is the real icing on the cake. May is so creamy!
There are no other live releases from the Pyromania era, and the band’s sound transformed permanently when they next hit the road. This live album is the end of an era, and an excellent good time of it too.
5/5 stars
The Pyromania tour wrapped up 18 December in Dortmund Germany, another two-nighter. Two weeks later, on New Year’s Eve, Rick Allen had the car accident that severed his left arm. In a heartbreaking twist, the arm was reattached, but after an infection set in, had to be removed again. This devastating tragedy united the band. Ambulance-chasers were ready and waiting to take the drum stool away from Rick Allen, but the band refused to see it as the end for the drummer. We all know what happens next. It was total Hysteria!
AEROSMITH – The Road Starts Hear (2021 Universal RSD vinyl)
Are Aerosmith kicking off a series of official bootlegs too? That would be just swell! The label on this record indicates it comes from the “Vindaloo Vaults”. It seems likely there would be more in the vaults besides this October 1971 recording. But even if this is all there is, we sure got lucky. This tape from Boston is Aerosmith’s earliest known recording, and sounds bloody great. Currently it’s only available on RSD vinyl, but don’t be surprised if it gets a CD reissue when Aerosmith re-release their entire catalogue.
Aerosmith’s first LP was different. Tyler hadn’t found his voice yet. The distortion wasn’t cranked up. But there is certainly a fondness for that period, which birthed “Dream On” and a number of other classics. That’s the setting for The Road Starts Hear.
This record commences with some slow, laid back guitars jamming on “Somebody” while the people in the venue chit and chat amongst themselves. Then it really starts – Tyler kicking it up, but drummer Joey Kramer being the real driving force. This recording is clear! There is some minor distortion on Tyler’s microphone, but you can hear both guitars distinctly, along with bass, drums and cymbals.
The blues cover “Reefer Head Woman” wasn’t recorded by Aerosmith properly until 1979’s Night in the Ruts, but this version predates the familiar by eight years! They’re very different but both boast a Steven Tyler harmonica solo. This transitions into “Walkin’ the Dog”, slower and bluesier than the other versions out there. This is a long jam, and for the brilliant guitar work, it’s likely the best take of “Walkin’ the Dog” that you’ll hear.
“Moving Out” leads side two, definitely edgy and sharp. Tyler is at the top of his game and the rest of the dudes provide the momentum. Then they lay back on “Major Barbara”, another song they didn’t release until much later. Though they did record it in a proper studio in 1974 for Get Your Wings, it didn’t get a release until it was added as a bonus to Classics Live in 1987! On this version, listen for a detour into “Hail to the Bus Driver”!
“Dream On” is fully realized, Tyler tinkling on the piano, but the guitar solos still in prototypical form. This brilliant version is probably the heaviest. Finally “Mama Kin” closes the record, a bit different than the way it sounds on the Aerosmith album: more garage-y.
What a band Aerosmith always were! The chemistry is evident on their earliest recordings, as is their hard edged approach to rocking the blues. You cannot go wrong with this record.
Disruption! Midway through the recording of Def Leppard’s crucial third album, guitarist Pete Willis was fired. It had been coming for a while. His alleged alcohol consumption was causing problems and the band had their eye on Phil Collen from Girl already. They were lucky to get Phil, as he had already been approached about joining Iron Maiden to replace Dennis Stratton.
This was serious. Once again working with “Mutt” Lange, whose schedule was booked solid, time was money. And music, perhaps unsurprisingly, is a business. The third Def Leppard album was critical. The potential of the band was not underestimated. “Bringin’ On the Heartbreak” made the top 20 in the US and the new album was intended to do better. Lange has a songwriting credit on every song, indicating the level to which he was involved to make the album as perfect as could be. It took 10 months to record, a mind-numbingly long time to the young band. If only they knew….
Pete Willis had writing credits on four songs, including two singles. With rhythm guitars laid down on all tracks by Willis, Collen just needed to whip up a few solos and finish off some bits and pieces. He and Steve Clark made a formidable duo. Collen had a more schooled sound than Willis and the contrast added a new dimension to Leppard’s solos. Meanwhile, the songs were streamlined. Sleaker, more hooks per minute, more direct…more commercial.
Some feel this is where Def Leppard started to go over the cliff. The majority probably see it as Def Leppard becoming the real Def Leppard.
The opening music would have been familiar to anyone who caught Def Leppard live in the early years. “Medicine Man” was an early track with an absolutely killer Clark riff. With Mutt’s help they re-wrote it into the now-esteemed “Rock! Rock! Till You Drop”, but that riff is still the main feature. After the headbanging commences, a screamin’ Joe Elliott lays down one of his most raging lead vocals. Collen’s style is audible from the solo; a fretburner. “Rock! Rock!” isn’t really that far off from High ‘N’ Dry, but you can tell it’s spent more time at the polishing wheel. The production also seems colder and more clinical.
The triumphant “Photograph” really showed where Leppard were going. Sure there’s a riff, but the main features here are the vocal melodies and harmonies. Noticeable keyboard accents de-clawed the Leppard, and the sweetened harmonies have the full-on Mutt Lange treatment that you hear elsewhere with Bryan Adams and Billy Ocean. None of that is necessarily a bad thing, but this is where Def Leppard decidedly left the New Wave of British Heavy Metal behind them. “Photograph” went to #1 in the United States. Mission accomplished.
Track three, “Stagefright” opens with a faux-live intro and a biting riff. Credited to Joe Elliott, Mutt Lange and Rick Savage, it’s surprisingly one of the heaviest songs. Back then Joe’s voice could deliver both menace and melody simultaneously, and he does that here.
While not a deep cut (#9 US), “Too Late For Love” is a lesser-known classic. No music video was made though they did a lip-synched TV appearance that later ended up on their home video Historia. A dark ballad with edge, “Too Late For Love” has cool atmosphere and just the right amount of scream.
“Die Hard the Hunter” opens with synthesised war sound effects and a soft guitar melody that deceives into thinking it’s another ballad; but no. This rocker burns hot, but damn those drums are really sample-y sounding. Rick Allen had a better sound on High ‘N’ Dry, but of course the times were changing. Eliminator by ZZ Top was out the same year.
One of the big singles (#9 US once again) is the undeniable “Foolin'”. Mixing rocker and ballad formulas, it set a template for bands to attempt to copy on their way up the charts. The stuttering chorus is now a Leppard hallmark, and not a second of the song is boring.
You can imagine, spending 10 months in the studio, how monotonous some tasks must be, take after take after take. The simple act of counting in a band — one, two, three, four — must be tedious the hundreth time. Perhaps the next time, to stave off boredom, it’s uno, dos, tres, quatro. Then something else, language by language until finally you end up with “gunter, glieben, glauten, globen”, a nonsense phrase that sounds vaguely Germanic. And suddenly, without knowing it, you’ve created a catchphrase. At least that’s how it happened for Mutt Lange on “Rock of Ages”!
That’s the story of “Rock of Ages” (#1 US), one of Leppard most irresistible hits, and also one indicative of the shift in Leppard’s sound. A very synth-y bassline and tech-y drums stamp out a a robotic 80s groove that was destined for radio and video stardom. The chorus was even more potent. “What do you want?” yells the band in harmony. “I want rock and roll!” you respond, fist in the air. It all seems very contrived, and perhaps it was. Is that so bad? Back then, it really felt like you had to fight for rock and roll. It seemed every church and every politician wanted to neuter rock bands. A good, defiant, radio-ready smash hit like “Rock of Ages” tapped into the 80s.
The killer deep cut here is called “Comin’ Underfire” which, had there been five singles, would have made a fine fifth. Tapping into the angst and tension of earlier tracks like “Lady Strange” and “Mirror, Mirror”, this is nothing but awesome wrapped up in a taut chorus like a bow. Steady, strong, and loaded with hooks. Pete Willis had a hand in writing it, demonstrating the guitarist’s often overlooked value.
Another wicked deep cut is the terrifically fun “Action! Not Words”, which, if there was a sixth single… Anyway, the slippery slide-y riff is reinforced by a simple and effective chorus. Let’s face it, there’s very little fat on Pyromania.
If anything, perhaps it’s the closing track “Billy’s Got a Gun” that might be the the only one that could be argued as filler. Laid back and emoting a dangerous vibe, it’s less exciting than the preceding material. It is, however, the closer, which has to draw the album to a proper close, and end it on the right vibe. “Billy’s Got a Gun” does the job. The album concludes with a song that feels like an ending, especially with that “bang bang” at the end.
A brief record-spinning coda is tacked at the end of the album for those who let it play all the way to the end. It probably fooled a few kids into thinking their turntable was broken, as the record seemingly spins fast and slow, over and over.
There were no B-sides or bonus tracks recorded. No extras, no unreleased songs. Talk about having your eye on the prize!
Pyromania had broad appeal. The numbers showed it. It put Leppard in the big leagues. To date it has sold 10 million copies in the US. It was the end of obscurity. The band toured relentlessly. Though they did not release a live album, the 2009 Pyromania deluxe edition contains one from the L.A. Forum in 1983. We’ll look at that next time.
To go along with the occasional Sunday Screenings and Sunday Chuckles, it’s the Sunday Song Spotlight! With all due respect to John at 2Loud2OldMusic, who has been doing a feature called My Sunday Song for years now. I’m going to try and spotlight songs that I have loved for a long time, but have not written about in recent years. Hoping to shine a light on some great music that you missed.
For the debut Sunday Song Spotlight, I want to talk about a tune that I first heard in 1986. All I had was a taped copy of a taped copy of an original cassette, but the power of the song remained among the hiss: “Shadows” by Rez.
Rez were a Christian rock band (Resurrection Band) and that was all I knew. I had no other information. I’d never seen a picture of them. But I loved “Shadows”! And you don’t have to be Christian to love it. There’s only a hint of religion in the words. A warning tale of drugs and suicide, “Shadows” is a power ballad with emphasis on power. It resonated with us as kids. Singer Glenn Kaiser has the rasp of Rod with lungs to spare. What a singer! The way his voice powers through the song takes it to another level. Add in a cool guitar solo and relentless rock beat. “Shadows” kicks ass. The most powerful power ballad you’ll hear today. Truly an awesome song, and the words still give me chills.
In the words of his mama, “He was my only son.” In the words of his sister, “He was on the run.” In the words of his girl, “How could it end this way?” In the words of his daddy, “Well he never had much to say.”
Goodbye Kathy and goodbye Mom, there’s voices in my head Angel dust and tortured dreams say I’d be better dead
You, you chased the shadows because your hopes And dreams have been lost to the night
Hey, Billy, did you hear the news? Johnny’s gone for good They say his mama’s all broke up They found him in the woods Kathy just couldn’t understand Sheriff, he just looked tired Some will play and some will pay And Johnny played with fire
Goodbye Kathy and goodbye Mom, there’s voices in my head Angel dust and tortured dreams say I’d be better dead
You, you chased the shadows because your hopes And dreams have been lost to the night
You, you chased the shadows because your hopes And dreams have been lost to the night
Johnny’s dead and buried now out on the edge of town Drove by his grave the other day, that’s when the fear came down I hate the night that took his life, but now it’s haunting me I may be young, may be confused but I gotta be free
God, are You there, can You hear me now? Show me how to hope Lost in the dark on a dead end road, please save me from myself
Lord, You, You took the shadows All my fears and doubt and brought me out of the night Lord, You , You take the shadows Give me hope and love and turn my darkness to light
Lord, You, You took the shadows All my fears and doubt and brought me out of the night Lord, You , You take the shadows Give me hope and love and turn my darkness to light
GHOST – “Hunter’s Moon” (2022 Loma Vista 7″ single)
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