heavy metal

REVIEW: KISS – Off The Soundboard – Poughkeepsie NY 11.26.1984

 – Off the Soundboard – Poughkeepsie NY 11.26.1984 (2023 Universal)

Are you getting sick of reading all the same complaints about the new Kiss Off the Soundboard CD from Poughkeepsie NY 1984, the fifth in this series?

Me too!

If you can’t appreciate the historical value of a Mark St. John show with Kiss, then I can’t help you.

If you didn’t know Kiss played these songs at lightspeed in the 1980s, then you never saw Animalize Live Uncensored.

And if you don’t know what an official bootleg is, then this CD is not for you anyway.

Actually, the only thing I’m really sick of is typing “Poughkeepsie”!

There are Kiss bootlegs with Mark floating around out there.  I can’t vouch for the audio quality on those.  This, I can tell you, is soundboard quality, which in my opinion is the best way to hear a live album.  Unpolished, the way it was that night on the board.  I love hearing the band make mistakes.  I have no problem with the fact you can barely hear the bass on some tracks, and too much on others.  The vocals are clear and each member is distinct in their singing.  Whether you think Paul is too “erratic” or not, that’s personal taste.

The setlist is similar to Animalize Live.  You won’t hear any Animalize deep cuts that were not on that video.  Two songs are incomplete (“Young and Wasted” and “Rock and Roll all Nite”) due to tape issues but are included for their historical significance.  No issues here.  In fact, “Rock and Roll all Nite” might be better this way…it often drags on too long at the end of a show!

The jazz-influenced Mark definitely added his own style and twists to the solos, even simple ones like “Detroit Rock City”.  There, he inserted an extra note or two to make it his.  Mark was a shredder, and that was the direction Kiss wanted to go in at that time.  It was the 80s.  Bands had to have shredders if they wanted the kids to take them seriously.  Mark wasn’t even Kiss’ first shredder, but he was certainly unique.  There’s a lot of whammy bar, and some pretty wicked licks on songs like “Fits Like a Glove”.  Now, before you get too excited, the “Guitar Solo” listed on the back cover is Paul Stanley’s familiar solo that he was playing during that era.

Mark aside, Eric Carr is a star on this album.  He was a busier drummer than Peter Criss and he goes to town on songs like “Cold Gin” and “Under the Gun”.  Fox fans will not want to miss this CD in their collection.  Peak Eric.  His drum solo will be familiar, yet will also most likely sound better than any version you currently own.  Unfortunately he stops singing on part of “Young and Wasted”, which is one of the partial songs anyway, so no big deal.  We have him singing that on Animalize Live.

Paul Stanley’s performance is pure rock and roll, and especially expressive on “I Still Love You”, but many have complained about the F-bombs dropped during his intro to “Love Gun”.  Hey…check out the Animalize Live version for something naughtier than an F-bomb!

If you’re Kiss collector, this is ending up in your library regardless.  Choose your format and go wild like the animals.

3.5/5 stars for the quality

3.5/5 stars as a “Kiss show”

5/5 stars for historical value and significance to the Kiss army

Neurotic Outsiders on Grant’s Rock Warehaus TONIGHT!

Tonight I will be LIVE on Grant’s Rock Warehaus to discuss a forgotten 90s supergroup: the Neurotic Outsiders!

The 90s were a weird time.  For all intents and purposes, one of the biggest bands in the world was gone:  Guns N’ Roses.  We had to settle for solo albums from Duff, Slash, Gilby and Izzy.

Matt Sorum and Duff McKagan teamed up with Steve Jones from the Sex Pistols, and John Taylor from Duran Duran, to form the punky supergroup Neurotic Outsiders.  They made one album.  One and done!  But what an album it was.  We’ll be discussing all this and more tonight on Grant’s Rock Warehaus!

7:00 PM EST

#1045: The Lost Chapters: Doctor Kathryn

The original title for this chapter was “My Sister, Age, and How Things Change”.  It was originally Chapter 8.

RECORD STORE TALES #1045: The Lost Chapters: Doctor Kathryn

My sister had some distinct musical phases.  Early on, she decided that she was going to like most of the music that I liked.  At first that meant Quiet Riot, Kiss, and Motley Crue.  Motley Crue was her favourite, but not for the right reasons.  They were her favourite because a) Nikki and Tommy were really tall, and b) they both had spikey hair.

There was further evidence that my sister was bordering on wimp territory.  One was that she didn’t like W.A.S.P.  In fact she hated W.A.S.P.  I’m not sure if it was Blackie Lawless’ voice, or if it was the fact that he drank “blood” from a “human skull”.  Either way, I liked W.A.S.P. a lot, and if she didn’t like them too, this demonstrated an unhealthy streak of independence.

Then, the proverbial shit hit the fan.  (We didn’t have air conditioning back then, just fans.)  One day in 1985, she decided that she liked The Pointer Sisters.  And Cyndi Lauper.  And Corey Hart.  She always liked Bryan Adams, but I forgave her this.  Bryan wore jeans and T-shirts, so he was still firmly in rock territory, even if he wasn’t heavy metal.  (I didn’t find out for a while yet that Bryan did in fact have some metallic roots.  He wrote several songs with Kiss, including the heaviest material on the Creatures Of The Night album.)  The music that Kathryn liked was incorrectly labelled by us as “New Wave”.  We didn’t know that New Wave was a term usually used for bands like Blondie, Devo, or the Talking Heads.  We just assumed all crappy pop music with synthesizers was New Wave.  And New Wave was bad.  Very very bad.

Back then, life was simple.  Life was black and white.  Whatever MuchMusic’s “Power Hour” played was good.  Everything else was bad.  The only exceptions to that that rule were Kim Mitchell and Bryan Adams.  I’m not sure why Kim was an exception, except that he and long hair, and that I liked him, and so did the next door neighbour.  If you wanted to boil it down further, stuff with guitars was good.  Stuff with keyboards was bad.  And the stuff Kathryn listened to didn’t have any guitars, just lots of keyboards, fake synth drums and people with really silly clothes and hair.

There were a few exceptions.  I had never known a Van Halen without keyboards, so I accepted them.  They were clearly a heavy metal band.  The Power Hour played them all the time, David Lee Roth had wicked hair, and everybody was talking about that guitar player.  Even if I didn’t know the difference between a guitar and a bass, and thought that Michael Anthony was in fact Eddie Van Halen, I decided that Van Halen were cool.  You were allowed to like them.  Eventually I sneaked ZZ Top into the list of music that was allowed as well, because one of the neighbours said they were like Van Halen.

So if the music Kathryn liked was bad, and the music I liked was good, you can imagine the arguments.  They were glorious and often ended in physical injury and/or destruction of property, and not just by me.

Her awful taste in music even held back my own progress.  She liked Bon Jovi first, therefore I had to dislike Bon Jovi—until they released that damned “Wanted: Dead Or Alive” song.  The song was so good, so undeniable, I had to let Bon Jovi into my life.  I still think it’s a fantastic song, well written, well played, with some beautiful 12 string guitar.  (Another reason Bon Jovi didn’t make the grade at first was due to their keyboards.  This does not explain why Europe did make the grade.  There were many inconsistencies.)

Kathryn’s rebellion worsened.  Her taste in music declined.  I won’t even begin to list some of the awful music she listened to, but I will say that she bottomed out in 1990 with New Kids On The Block, MC Hammer, and Vanilla Ice.  Obviously, this was a person who had no clear idea about integrity within music.  However, like a junkie who hits rock bottom, she eventually started to rise up again, with a little encouragement from Her Loving Brother.

The turning point was when Vanilla Ice cancelled his Kitchener tour date in early 1991.  His reason stated was that he was too big a star to play a town like Kitchener.  There was an instant hatred for the man all over town.  Kathryn sold her Vanilla Ice tape immediately.

There were some other clear signs of improvement.  A newfound obsession with Cheap Trick was good.  Sure, they weren’t metal, but they were definitely rock!  Hell, they even worshipped Kiss within their song lyrics.  I happily encouraged this love of Cheap Trick, and even bought her Cheap Trick tapes.  I think most of her Cheap Trick collection was courtesy of moi.

Rod Stewart came next.  I feel that perhaps Rod snuck in the door due to his enormous hair, but I didn’t care.  Rod still had a rock pedigree.  I encouraged her love of Rod.  I asked her questions about him and his music.  It was like carefully manipulating a mentally ill person back to health, and I was succeeding in a marginal way.  I felt that she’d never come all the way back to metal, even though she owned tapes by Bon Jovi, Def Leppard and Poison.  Yet I was satisfied with the progress we were making.

Now, 15 years later, I own Rod Stewart, Cheap Trick, Bryan Adams, The Payola$…all music that she introduced me to.  She got the last laugh.  I’ll never admit that she was always the smarter one (I can’t, since she never understood any movies we watched) but I’ll admit that she got the better of me on this one.  We even attended concerts together.  It started with Blue Rodeo, then we saw Jann Arden and Amanda Marshall.  While I still won’t own any albums by Arden or Marshall, they both put on excellent shows.  Blue Rodeo blew us both away and now they’re one of my favourites.  I’ve never seen any band more often than Blue Rodeo, and I’ll argue that they’re Canada’s best band, with Rush as a close second.

Even my parents get points.  They sure hated “Big Balls” by AC/DC, but now I own more Johnny Cash and Gordon Lightfoot than they do.

Now, I certainly can’t allow Kathryn to come off as the winner in this chapter.  So here’s a punch in the arm for you.  There, now we’re even.

REVIEW: Saigon Kick – The Lizard (1992)

The reviewer formerly known as LeBrain comes out of retirement for this one-time-only event in collaboration with 2loud2oldmusic.comFor John’s excellent review, click here.

SAIGON KICK – The Lizard (1992, Rock Candy Remaster)

Saigon Kick was ahead of the curve compared to most of the spread of 1992 competition.  They were heavy, diverse, unafraid, daring, and extremely skilled.  Boston’s Extreme had similar talents but were treading different waters to Miama’s Saigon Kick.  Going for broke on their second album The Lizard, produced by guitarist Jason Bieler, Saigon Kick really demonstrated they were not messing around.

An opening anthemic bit called “Cruelty” cannot be called an instrumental due to the psychedelic, otherworldly shouts and yelps by singer Matt Kramer.  (Similar to the later work of Canada’s Paul Jago from the Ganharvas.)  This leads into a pounder:  “Hostile Youth”.  Skid Row may have been about the youth who were going wild in 1989, but in 1992, Bieler and Kramer were appealing to the anger of the next generation, complete with lethal, deliberate groove topped by silky smooth Beatles-esque “ooh-oohs” and a buttery guitar solo.  “We don’t like our homes!  It’s nothing but a joke!”

From there into a bass groove.  “Feel the Same Way” mixes singalong hard rock with a slightly psychedelic edge.  Sing along, you might like it.  Upbeat and different from the mainstream.  The aforementioned Extreme do come to mind on “Freedom”, with its funky bass backing and groovy tempo.  The trademark Kramer/Bieler vocal mix sets it apart.  A semi-acoustic number “God of 42nd Street” recalls the Beatles plain and simple, but it also captures them in a way that most bands fail.

A bonkers bit called “My Dog” verges on Faith No More territory, which is not a bad thing, it just proves something about diversity.  It’s over quickly though and supplanted quickly by a stompingly heavy groove called “Peppermint Tribe”.  The lyrics and vocals seem right out of the Dee Snider playbook, but Dee never grooved like this.  There’s even a bit of Smashing Pumpkins in some of the guitars.

At this point, the world stops spinning, for it is the stunning ballad “Love Is On the Way”, and it just feels like 1992 all over in some inexplicable way.  Hard to explain, hard to pinpoint, but the heart knows.  It’s lonely yet triumphant.  Its power is in its restraint.  Where it could wail away like the Scorpions on maximum hairspray, it sticks to an acoustic bass.  The vocals are the power.  Bieler’s solo has a rare touch that only certain guitar players can claim to have mastered.

From there, to one of the heaviest grooves:  “The Lizard”!  Drummer Phil Varone goes for something more tribal while Bieler and Kramer harmonize over the grinding riff.  This is truly Saigon Kick doing their own thing.  This band defies expectation, especially when “The Lizard” goes into Neal Schon territory on the guitar solo.  Things get grimier on “All Alright” which has a biting menace of its own.  Lethal as it may sound, the chorus harmonies really defy it.  Speaking of lethal, the guitar solo might be one of Bieler’s best.

A beautiful guitar instrumental called “Sleep” recalls Joe Satriani’s tender moments.  This serves as an introduction to the fine “All I Want”, which burns bright with an acoustic guitar and loads of cloudy, floaty music.  Naturally this must be followed by something heavy, so it is the choppy blast “Body Bags”.  This one was co-written by Varone, which might explain the tempo.  It cools off a little bit on “Miss Jones”, an excellent deeper cut.

Track 15, second to last on the original running order, is a co-write by bassist Tom DeFile and has an exotic, Eastern flavour.  Plenty of stringed instruments layered differently on “World Goes Around”, a late album highlight.  It has the feeling of a perfect penultimate track.  It takes things down to a simmer.  The surprise is the closer “Chanel”, like something from a barbershop band in the 1930s!  Unexpected yet delightful.  What a strange twist.  Check out the jazzy guitar solo!

Rock Candy CD buyers get the Beatles cover “Dear Prudence” as the final closer.  Very few bands get away with covered the Beatles, but it’s little surprise that Saigon Kick do it so well.  It’s actually a perfect song for them to cover.  I have a feeling they all owned the White Album.

Of course, Rock Candy aficionados know to expect excellent packaging, sound, and liner notes besides the bonus track.  It’s all there for you to dig in.

5/5 stars

You can also dig in to the interview that John T. Snow and I did with Jason Bieler in the summer of 2022!  We discuss The Lizard and much more.

Youtubin’: PS Audio – High end heavy metal

Here comes Paul McGowan with a question for you audiophile metalheads!

As a non-audiophile, this will never be my bag, but it’s interesting anyway. “Wall of sound” – that’s what I want. He’s right that most of those albums are loud and compressed. Here’s how to maximize the sound of your heavy metal.

REVIEW: Triumph – Just A Game (1979)

*New format – the three-sentence review.

TRIUMPH – Just A Game (1979 MCA/2003 Round Hill Records remaster)

Landmark album, solid front to back, and a sign of growth for the Canadian trio.  Arguably their greatest song, “Lay It On the Line” has the biggest presence here, from soft intro to bangin’ chorus.  Highlights include the rocking opener “Movin’ On”, the blues “Young Enough to Cry”, the boogieing “American Girls”, the folksy power ballad “Hold On” and the progressive title track.

4/5 stars

REVIEW: Extreme – “There Is No God” (1994 CD single)

EXTREME – “There Is No God” (1994 A&M CD single)

Extreme’s underrated (extremely underrated!) fourth album Waiting For the Punchline was released in January of 1995.  Yet it was preceded by the 1994 single “There Is No God”, a three track disc with two B-sides included.  Waiting For the Punchline was Extreme’s “back to basics” album.  After the sprawling three sided magnum opus, III Sides To Every Story, Nuno desired to strip things back and funk things up.  Waiting For the Punchline was more raw and groovy, but not as the expense of quality.  Criminally underrated!

The A-side is technically still a non-album track!  The album cut of “There Is No God” is over six minutes; this one is a 4:25 edit.  The opening stuttery guitar remains.  What an awesome drum sound!  Paul Geary played on most of the album (you can tell which ones) and he just had a full, impactful drum sound on this album.  Meanwhile Gary Cherone was singing and writing as strong as ever, turning up the anger dial.  Nuno utilises minimum guitar overdubs (if any) and sounds absolutely wicked here.  His solo is exotic, and there’s no rhythm guitar behind him.  Just Pat Badger laying down the bottom end.  What a killer 90s rock tune, and you don’t really notice the edits until the fade-out.

Second up is a tune called “Never Been Funked”.  Nuno’s using a treatment on his guitar here, giving it an electronic moog-like sound.  This is a basic groove, punchy and to the point.  Not a lot in the way of hooks, just that guitar of Nuno’s, zigging and zagging.  As expected, his soloing and fills are just as bonkers.

The third and final B-side, “Better Off Dead”, is a completely different direction.  Waiting For the Punchline wasn’t a ballad album.  “Better Off Dead” would not have fit, although it has the same ambience as the album.  With minimal accompaniment, Gary and Nuno sing together through the opening.  When the band kicks in, it sounds like Mike Mangini on drums rather than Paul Geary.  (There are no credits.)  It’s a lovely song if a bit meandering.  It’s the longest tune at 5:40.  The outro guitar sounds like Jimmy Page!

Great single to pick up if you’re a fan of Extreme.  Especially if you love Waiting For the Punchline.

4/5 stars

REVIEW: Vince Neil – “You’re Invited (But Your Friend Can’t Come)” (1992 single)

VINCE NEIL – “You’re Invited (But Your Friend Can’t Come)” (1992 Hollywood single)

“Woahow!”

In 1992, post-split, Vince Neil was out of the gates fast with a killer new single, while we had to wait two more years for Motley Crue to make their move.  It certainly seemed that Neil was winning the Crue vs. Vince competition, especially when his Exposed album with Steve Stevens was released in 1993.  We had no inkling that the Crue were brewing something equally strong with John Corabi, but for the time being at least, Vince Neil was the winner of the round.

Vince didn’t have his solo band yet, so the players you hear on “You’re Invited (But Your Friend Can’t Come)” might come as a surprise.  It’s 3/4 of Damn Yankees:  Tommy Shaw, Jack Blades, and Michael Cartellone.  The track was written by Neil, Shaw and Blades.  Automatically, we know to expect some quality.  This track was recorded for the movie Encino Man (or California Man) starring Paulie Shore and Brendan Fraser.  The soundtrack version (4:27) and a single edit (3:53) are both included here.

“One, two, here we go!”  The tune is a smoker, sharp and with wicked production.  The cocky lyrics perfectly match the upbeat riff, certainly one of the best Shaw/Blades riffs yet composed.  The single/soundtrack version is in fact superior to the final album cut that came a year later, even though that one included Steve Stevens with a seriously cool solo.  This guitar solo ain’t half bad either, of course!  Tommy Shaw is no slouch and it sounds like he’s having fun just losing his mind on guitar.  There’s even more of that nutso finger tapping on the album version vs. the single edit, especially in the bananas intro.

If you like guitar, then you will definitely love one of the B-sides:  a commercial Steve Vai instrumental called “Get The Hell Out of Here”.  Opening with a flurry of notes, the song goes into a riff with some cool call-and-answer lead guitars.  Definitely one of Steve’s more song-like structures, something like Satch is wont to do.  Catchy, straight ahead, with plenty of thrills.  Incredible harmonics!  A great middle ground for those who love lead guitar but find Steve’s regular solo work a little too bookish.

The last song to go over is by a band called T-Ride, who put out one album in 1992.  Joe Satriani called them “the future of metal”, but we’re all allowed to be wrong from time to time.  Their tune here is called “Luxury Cruiser” which was also on their self-titled album.  It’s hard rock for the 90s, and the singer can really wail when he wants to.  It verges on progressive, due to its careening from one different part and tempo to another.  Very technical, but not an amazing song.

Great single to have for the Vai and Vince tracks.  Vai later released his on a compilation of soundtrack music, but otherwise this is a great purchase to fill some gaps in your collection.

4/5 stars

 

REVIEW: Deep Purple – “Woman From Tokyo” (Japanese CD single)

DEEP PURPLE – “Woman From Tokyo” (Originally 1973, 1998 Warner Japan CD reissue)

The 2:56 single edit of Deep Purple’s “Woman From Tokyo” is somewhat of a rarity on CD.  It’s not on the Singles A’s and B’s.  You could get it on a Japanese box set called Purple Chronicle.

The original song was almost six minutes, so half of the tune was chopped out for single release.  The intro is mangled.  The middle section is missing, and cut in such an amateurish way.  The guitar solo is missing.  Rule of thumb:  never cut the friggin’ guitar solo from a Deep Purple song, of all bands!  This is a butcher job of a single edit.  Probably why it never made the cut to Singles A’s and B’s.

The B-side “Super Trouper” is also 2:56, but unedited.  That’s just how the song goes, one of Purple’s shortest.  No, it’s not an Abba cover, but both songs were named after Super Trouper stage lights.  Some of Ian Gillan’s lyrics can be interpreted to be about his impending departure from Deep Purple. “I wanna be like I was before, but this time I’m gonna know the score.” A lot of looking in the rear view mirror in this song. A lot of past-tense.

Because of the butcher job on the “Woman From Tokyo” edit, the B-side here outshines the A-side.  The single at least has lyrics.  For collectors and analysts only!

1/5 stars

REVIEW: Def Leppard – Def Leppard (2015 Japanese + Classic Rock fan pack edition)

Part Forty-Seven of the Def Leppard Review Series

DEF LEPPARD – Def Leppard (2015 Sony Japan + Classic Rock fan pack edition)

As with anything these days, you often have to buy multiple copies to get “all the songs” (only for them to be reissued in a box set later on).  The Classic Rock “fan pack” edition of 2015’s Def Leppard has plenty of bonuses (which we’ll get into) including two exclusive versions of songs.  The Japanese CD has an exclusive demo.  Gotta catch ’em all.

Def Leppard are in a comfortable niche now and their self-titled 2015 album easily could have been another “ia” titled construction, next to Pyromania, Hysteria and Euphoria.  Hell even 1992’s Adrenalize was originally to be titled DementiaDef Leppard is another “ia” album, but it’s notably closer to matching the quality of Hysteria better than most of their records since.  Upon dropping the laser after a long period of neglected, the album comes to life.  The hooks are remembered, and stand the test of time.

“Let’s Go” pretends to be another re-write of “Sugar” before going into an unexpected lush pop chorus.  Not a “Sugar clone at all, but something new for Leppard combining their trademark sound with bubblegum.  The Classic Rock fan pack comes with a bonus single edit, shorter by a minute.  “Dangerous” is straight-up Leppard, like “Photograph” or “Promises” all over again.  This song smokes, just like the previous hits in the same mold.

Funky Queen-like bass isn’t far out of Def Leppard’s range.  “Man Enough” is kind of goofy and might have worked better with just about any other lyrics.  When the song gets going, it starts to bang.  This is the kind of song that will divide people:  some will think it’s a highlight, others will say it stinks.

An album highlight is the first ballad “We Belong”.  It’s a gentle song recalling the softer moments on Slang, but what makes it unique is that all five Def Leppard guys sing lead vocals for the first time.  Truly an outstanding track, made more special by the vocals.  Even a non-fan can appreciate the different textures the voices add.  Phil is gritty, Sav is smooth, and they all bring extra dimensions.  Classic rock’s bonus tracks include an alternate version with just Joe Elliot singing.  It’s interesting because his solo take is different from the other singers.

“Invincible” is a rare Rick Allen co-write, a blazer like Pyromania-era Leppard, without the screaming.  That’s the only difference.  “Invincible” is otherwise vintage-style, including a quintessential Phil Collen guitar solo.  Moving on to “Sea of Love”, this one stretches out melodically.  The guitar riff keeps it rooted in Def Leppard, but the intro and chorus are something else.

The first mis-step is the ballad “Energize” which sounds like a Euphoria reject, something that came out of a computer.  Thankfully “All Time High” does the real energizing.  Back to a Pyromania style of rock, and the solos is right out of the 80s.

“Battle of My Own” is more like acoustic Led Zeppelin.  Quite unlike Leppard’s early acoustic experiments in 1992.  The psychedelic vocals and Zeppish riffs really set it apart.  This is definitely something that could have followed Hysteria, and probably right up the charts.

A fun rocker steals the “Don’t Shoot Shotgun” riff and turns it into “Broke ‘N’ Brokenhearted”.  There might be a touch of Leppard’s recent country influence coming through on the chorus.  This seamlessly goes into “Forever Young” which, in the past, might have been left as a single B-side.  A good B-side admittedly.  “Last Dance” goes back to acoustic, this time for a ballad like “Two Steps Behind”.  Don’t forget “Two Steps Behind” was a B-side as well, and “Last Dance” would probably work well in that format.  Interesting, the Japanese CD’s bonus track is a demo version of “Last Dance” with Rick Savage, its writer, singing lead.  This is probably the best of the two versions because on a long album like this, additional lead singers help keep things interesting.

Two songs remain, both unusual.  “Wings of an Angel” uses the penultimate slot to deliver a dark, understated rock song.  Then “Blind Faith” goes Beatles, with strings, bluesy guitars, and the kitchen sink.  Totally a “Walrus” kind of song.  A good closer, albeit very different for this band.

Sometimes I like to think of Def Leppard albums in terms of pre and post-Hysteria.  To me, Adrenalize was not the followup that Hysteria deserved and I think Def Leppard knew that.  Adrenalize was more like a bonus disc, or a Reload to the original Load.  Because of the sad passing of Steve Clark, the band had to deliver and so they kept things safe.  But Leppard are an experimental band, and if they weren’t dealing with another series of hardships, I think they would have progressed beyond Hysteria.  They did on Slang, but by that time grunge had washed the slate clean and Def Leppard made their sound more alternative and more organic to adapt.  Slang was not the sequel that Hysteria would have got either.  Maybe Def Leppard is the closest we have to a proper followup.

4/5 stars

 

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
  18. Video Archive
  19. “Slang” CD single
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
  22. Euphoria
  23. Rarities 2
  24. Rarities 3
  25. Rarities 4
  26. Cybernauts – Live
  27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
  28. X
  29. Best Of (UK)
  30. Rock Of Ages: The Definitive Collection
  31. Yeah!
  32. Yeah! Bonus CD With Backstage Interviews
  33. Yeah…Nah!  (Record Store Tales)
  34. Songs From the Sparkle Lounge
  35. “C’Mon C’Mon” (picture disc)
  36. Taylor Swift & Def Leppard – CMT Crossroads (DVD)
  37. B.Sides
  38. Yeah! II
  39. Yeah! Live
  40. Mirror Ball: Live & More (Japan bonus track)
  41. iTunes Re-recordings
  42. Viva! Hysteria (DVD and CD 1)
  43. Viva! Hysteria (CD 2 and Bonus features)
  44. Viva! Hysteria (Japanese import)
  45. Slang (2014 Deluxe bonus tracks)
  46. “Helen Wheels” (from The Art of McCartney)

Next:  Thanks for reading!