DEF LEPPARD – “Helen Wheels” and JOE ELLIOTT – “Hi Hi Hi” from The Art of McCartney (2014 Arctic Poppy)
The Art of McCartney has to be one of the most anticipated yes lesser known tribute albums of the last two decades. Anticipated because it promised new cover tunes by Kiss, Rick and Robin from Cheap Trick, Alice Cooper, Sammy Hagar, Bob Dylan, Billy Joel, Heart, Willie Nelson Paul Rodgers, and so many more. For this review series we’ll be looking at two tracks: one by Def Leppard, and one by Joe Elliott.
Paul McCartney needs no introduction. If he does, then I ask you to read about a band called “The Beatles” before you read anything else here!
Produced by Ronan McHugh and Def Leppard, “Helen Wheels” is unmistakable Def Leppard. The opening drum pattern certainly recalls Rick Allen’s work on “Rocket”. Then it careens into pure pop rock delight! This Wings single was released in 1974 and later included on some versions of Band on the Run. Driving, fun, and while different from Def Leppard’s core sound, it’s ideal for them to cover. The boys in the band aren’t bad singers y’know.
Joe’s solo cover is “Hi Hi Hi”, a standalone Wings single from 1972. This is far more raw than the Leppard track. Abe Laboriel Jr. on drums! Joe’s vocals were recorded at his home studio while the backing tracks were recorded in Los Angeles and London. Quite a production, but that’s the modern way of doing things. One thing about Joe’s vocal: he absolutely goes for it! It’s like rough and ready Joe from 1980 has returned, but with the skill and experience of an older singer. This is just a piano-boppin’ rock and roller.
Bravo to Joe and Def Leppard for coming up with some inspired covers. Certainly more inspired than most of the Yeah! covers album.
– “Venus and Mars / Rock Show” (2014 Sony, from The Art of McCartney)
Kiss rarities can be so crushingly disappointing. Some, like the Ramones cover “Rock and Roll Radio” are catalogue highlights. Others, like “Don’t Touch My Ascot” are just curiosities. Unfortunately the Paul McCartney medley of “Rock Show” and “Venus and Mars” fall into the latter category. But why?
These tracks come from a Paul McCartney tribute album called The Art of McCartney. On the back cover, the track is clearly listed as Kiss. But Kiss must have had some lineup changes if that’s the case. Doug Petty on bass! Dan Petty on guitar! Jason Paige on drums! You’ll be forgiven if you don’t recognize those names as Kiss members last time you checked. Only Paul Stanley and Gene Simmons from the real Kiss appear, and only in a vocal capacity. Why the false advertising? On the same album, Robin Zander and Rick Nielson “of Cheap Trick” are listed, but not Cheap Trick themselves. Yet Paul and Gene are credited as Kiss, tricking the fans into thinking they were hearing the band, not just two of the singers.
How is it?
Well, it doesn’t sound like Kiss, that’s for sure! Gene sings the “Venus and Mars” section, in his natural voice. Then a raspy Paul comes in, bringing a Kiss-like vibe with him. He gets to sing one of Paul McCartney’s coolest lyrics of all time:
What’s that man movin’ ‘cross the stage? It looks a lot like the one used by Jimmy Page.
Or Ace Frehley!
At no point do Paul and Gene sing together or harmonize like they used to when covering the Beatles on the streets of New York City. Doesn’t it seem like a colossal waste, having the two Kiss founding members appearing essentially separately? Would have been even better with Tommy Thayer and Eric Singer playing, but…hey, nobody asks me ahead of time!
And here is another reason why physical media is important. If you had just downloaded this from iTunes, you might never know that what you bought wasn’t really Kiss. Then again, the front cover does say “The songs of Paul McCartney sung by the world’s greatest artists.” Nothing in there about the playing part.
Buying this CD (to be reviewed separately at a later time) would still not be a bad idea. You’ll get exclusives by Alice Cooper (double shot), Sammy Hagar, Joe Elliott of Def Leppard, actual Def Leppard, Jeff Lynne, Billy Joel, Willie Nelson, The Cure, B.B. King, Dylan, Heart, Dion and tons more. Cooper’s “Eleanor Rigby” is worth the purchase alone. This helps negate the soul-squashing disappointing of buying a “Kiss” song that isn’t.
ALICE COOPER / HOLLYWOOD VAMPIRES – Hollywood Vampires(2015 Universal Japan)
Ignore the hype. The press has been going ga-ga over this new supergroup featuring movie star Johnny Depp (rhythm guitar), Joe Perry (lead guitar), and Alice Cooper (lead vocals). Just ignore the hype completely. Cooper fans know what this is. This is the covers album that Alice has been talking about doing ever since Welcome 2 My Nightmare in 2011. Alice has even been playing a number of these tunes, in these arrangements, live. Check out his Raise the Dead double live album/video for a few.
According to an interview with Ultimate Classic Rock earlier this year, “I can’t tell you who’s on what right now, ’cause it’s not gonna be released yet, but it’s the ‘who’s who’ of everything. It was one of those things where, at one point, I’m looking around in the studio and I’m going, ‘Holy crap! Look who’s in the studio.” Bob Ezrin, Alice’s long-time producer and musical collaborator came up with the concept. Alice continues: “Bob came up with the idea, ‘Let’s concentrate it on all the guys that you drank with in L.A., the Hollywood Vampires, the ones that are all dead.’ I like the title All My Dead Drunk Friends. It’s just offensive enough to work, but all those guys would have totally got it. They had the same sense of humor. If you told them you were going to do an album after they were gone called All My Dead Drunk Friends, they would have died laughing.” Ultimately the album was simply called Hollywood Vampires. That’s also the name of this “supergroup” which is essentially just Alice with Depp and guests.
I have this album filed in my Alice Cooper section, and that’s how I’m treating this review.
Hollywood Vampires consists of 14 tracks, except in Japan who have 15. Two of these are brand-new songs, and one is an intro called “The Last Vampire”. Fittingly, this features the narration of Sir Christopher Lee, who passed away earlier this year. Lee’s old friend from the Hammer horror days, Vincent Price, appeared on Cooper’s original Welcome to my Nightmare in 1975. Today, Alice Cooper truly is the last vampire left from those old days. Lee’s rich voice is backed by spooky keys and theremin by Ezrin, Depp and engineer Justin Cortelyou. “Listen to them, children of the night…what music they make.”
Alice then kicks it with “Raise the Dead”. Depp appears on every track, and Alice’s drummer Glen Sobol plays on this one and several others. It’s an upbeat stomper of a track, and a perfect introduction to this covers album that is also a concept album. The first of Alice’s dead drunk friends to be covered is Keith Moon on “My Generation”, an authentic and pounding version. Alice Cooper is one of the few that does justice to it. Bassist Bruce Witkin perfectly tackles John Entwistle’s signature bass solo. One thing that is immediately obvious is how massive this album sounds. Ezrin wrought a monster-sounding disc, so full and heavy, but textured when required.
John Bonham is up next. “Whole Lotta Love” was handled in a completely different way than you’d expect. Starting as a low, prowling Cooper blues it soon blasts into gear. Alice isn’t known for hitting those high Plant notes, so who joins him? None other than Brian Johnson of AC/DC, who kicks my ass completely. Joe Walsh and Cooper’s former lead guitarist Orianthi play some jaw droppingly greasy guitars, but Alice’s harmonica work is also worthy of praise! Even though very few can cover Led Zeppelin, “Whole Lotta Love” turned out to be my favourite track. It’s also the heaviest sounding, like a skid of concrete blocks assaulting your face! That’s Zak Starkey (son of Ringo) on drums.
Cooper has covered “I Got a Line on You” (Spirit) before, on the soundtrack to Iron Eagle 3, of all things. That 1988 take is my preferred version, but Alice remade it on Hollywood Vampires. Abe Laboriel Jr., Joe Walsh, and Alice’s old bassist Kip Winger join as guests. Perry Farrell of Jane’s Addiction helps Alice out on the lead vocals, but his part isn’t prominent. Then it’s time for the Doors, and a medley of “Five to One” and “Break on Through”. Alice had been playing “Break on Through” live, but this version has Robby Krieger! Alice heavies both of them up, but he is also one of the few singers who can do Morrison.
Farrell and Krieger return for a Harry Nilsson medley, joined by David E. Grohl on drums. “One” is rendered as a haunting, creepy piece as if Alice himself wrote it. This merges into “Jump Into the Fire”, a strangely upbeat companion which rocks in a vintage 70’s fashion. It’s like guitar nirvana. There’s also a cute outro of “Coconut”, also by Nilsson.
Sir Paul himself, rock royalty if there ever was one, shows up for Badfinger’s “Come and Get It”, which Paul wrote. Joe Perry has spoken about how incredible it was when McCartney showed up in the studio with his Hofner bass, and actually allowed them to hold it! “Come and Get It” is simple rock/pop, not the kind of timeless thing that happened when Paul wrote with John, but certainly a notch above what mere mortals can write. I love hearing Paul’s “screaming” voice, and I’m sure everybody in the studio had a great time. Sure sounds that way.
Marc Bolan’s “Jeepster” is one I could pass on. Alice makes it sound like an original from 1972’s School’s Out, but if you’re only going to skip one song, it’s probably going to be “Jeepster”. Lennon’s “Cold Turkey” featuring Joe Perry has more kick and grind to it, and it’s always a pleasure to hear Joe Perry do some Aero-jammin’ on lead guitar. (I think it would have been amazing to get McCartney to play bass on this Lennon classic — shame nobody thought of it. That could have been history made.)
The Japanese bonus track is “I’m A Boy”, the second Who cover. Once again, Alice nails it. This is such a difficult song to attempt. Alice makes it work, and if anybody can do it, it’s Alice. “My name is Alice I’m a head-case…” Just that one change makes the song work. “I’m a boy, I’m a boy, but my mom won’t admit it…I’m a boy, but if I say I am, I get it.” And he’s got the girl’s name. It’s perfect! This bonus track is worth tracking down if you’re a Cooper fan. You’ll definitely need it in your collection.
Jimi Hendrix was a Hollywood Vampire, and “Manic Depression” is the song Alice chose to cover. (He’d already done “Fire” back in the Hey Stoopid days.) Like “Jeepster”, this is one that could be skipped. Joe Walsh fans will enjoy his lead guitar work, but otherwise, it’s a stock cover. Way, way better is “Itchycoo Park”. Alice’s treatment of the Small Faces is far more entertaining, and its melodic base continue to deliver the hooks.
Brian Johnson returns to belt it out on the “School’s Out”/”Another Brick in the Wall Part 2” medley. This arrangement is similar to the way Alice did it live, and it’s cool how the two songs work together perfectly. It’s a genius mashup. Guests include Slash, and original Cooper band members Dennis Dunaway and Neal Smith. “School’s Out”, of course, is here for Glen Buxton, of the original Alice Cooper band. Buxton had suffered the consequences of alcohol abuse, and dropped out of music completely when the original band split in ’74. Buxton died in 1997.
The final song is an original, “My Dead Drunk Friends,” the song that Alice wanted to use as a title track. If you don’t mind some black comedy, you will love this tribute to all the lost Hollywood Vampires. It’s irresistible, and also sounds vintage Alice. So chants the crowd: “We drink and we fight and we fight and we puke and we puke and we fight and we drink!” Doesn’t sound particularly glamorous, but Alice isn’t about to have a mournful wake. Alice is about entertainment, and even though a brilliant artist who drinks themselves to death is sad, Alice has thrown a party for them instead. “My Dead Drunk Friends” ends the party on a darkly celebrating note, as only he can. Job well done.
Hollywood Vampires is pleasantly surprising. 9/10 covers albums are not worth the money you paid for them. Alice’s is. They call it a supergroup for marketing purposes but it only takes one listen to know what this is. This is a project that Alice, Bob Ezrin and friends have been passionate about for years, and has finally been finished. It is an apt follow-up to Welcome 2 My Nightmare, and another killer concept album from the kings of concept albums.
“The internet’s cool for some stuff, but like many things, there’s no book store, there’s no music store, and there’s no Sound City.” — Josh Homme
SOUND CITY (2013 Roswell Films)
Directed by Dave Grohl
Uncle Meat persuaded me to see this movie, and I’m glad that he did. He said it wasn’t optional; that it was a must and that I would love it. So I bought it on Blu-ray, invited him over to co-review it with me, and we viewed it one afternoon after work in 5.1 surround. Needless to say, Sound City was good. So good that we never felt we could do it justice in a review, so I sat on my notes for over a year! Having recently re-watched Sound City (directed by Dave Grohl) with Mrs. LeBrain, now I can finally finish what Meat and I started last year.
Van Nuys, California. Sound City Studios, the legendary place where everybody who is anybody recorded. Nirvana? Check. Fleetwood Mac? Rick Springfield? Tom Petty? Check. Slipknot? Also check. Neil Young recorded much of After the Gold Rush there, after being enamored of the vocal sound that he got on “Birds”. Keith Olsen learned his craft there. It’s not much to look at on the outside: according to producer Butch Vig, it’s “kinda dumpy”. On the inside, there’s booze and cigarettes everywhere. Big room, huge floor. Lots of black magnetic tape.
Grohl narrates, personal anecdotes flow, then he steps out of the movie’s way. Grohl has a nice visual style, a combination of close ups and wide shots with plenty of details to look at. He infuses the movie with plenty of humour, sometimes at his own expense. The film has two phases: the first is a history lesson regarding the studio and the artists who created the hits there. The second consists of Dave purchasing the studio’s Neve board, moving it north to his own studio, and recording a brand new album with the same legendary artists. Pretty cool concept.
The huge Neve console was built like a “brick shithouse” (Keith Olsen), or a “tank” (Neil Young). Its original purchase price: bought for $75,175 in 1969 dollars. A nice house at the time cost around $30,000! The Neve was one of only four. Combined with the room itself at Sound City, the drum sound you can capture is incredible. The studio’s acoustics were not designed; it was a complete fluke. It was originally a box factory that happens to sound magical.
As for that Neve console, it is of course entirely analog. The one at Sound City was unique, considered the best sounding one. Rupert Neve tried to explain the electronics of it to Grohl in one of the movie’s more humourous scenes. The very first song recorded on that board was “Crying in the Night”, by Buckingham Nicks. This led directly to Mick Fleetwood hearing them while at the studio, and hiring not only the studio, but also Buckingham and Nicks! Essentially, the modern Fleetwood Mac formed right there at Sound City. The studio’s success really began with Rumours. Then, everyone wanted to record there. As for Tom Petty? It appears that Tom Petty pretty much spent his entire career at Sound City. In fact one of the coolest scenes was an old behind the scenes video from the 1990’s. Seeing Rick Rubin produce Tom Petty and being brutally honest was very interesting.
Rick Rubin to Tom Petty: “Sounds like you’re aiming a little lower today than you should be.”
Along came the compact disc, and the infancy of digital recording. Digital was the latest trend, and you could do new things with a computer that were harder to do on tape. Sound City suffered during this time, as newer rival studios were on trend. Sound City was dead…but one album helped resuscitate it: Nevermind. Then came Rage Against the Machine, Tool, Slayer, Kyuss. Analog tape and vintage equipment became popular again. Rick Rubin and Johnny Cash recorded Unchained there with Tom Petty and the Heartbreakers. Nine Inch Nails combined the old with the new, by bring in their own computers to record on ProTools along with the Neve.
Unfortunately ProTools was heavy competition, and working with tape was so difficult by comparison, that Sound City finally shut its doors. They just couldn’t pay the bills anymore, even after selling off their excess equipment. Then Dave bought the board. It is amazing to watch it taken apart, boxed up, reassembled and functioning in Seattle. Regarding the sale of the board, Grohl says, “I think they knew that I wasn’t just going to bubble wrap it, and stick it in a warehouse. I was gonna fuckin’ use it. A lot.”
On November 2, 2011, reassembly of the board began at Dave’s Studio 606. Then he invited all the original artists back to record a new album on it, produced by Butch Vig. Regarding Stevie Nicks, in a memorable moment Vig says, “Fuckin’ A, that girl can sing!” More artists arrive. The Foo Fighters plus Rick Springfield create a monstrous sound together, a neat amalgam of their respective genres. Lee Ving (Fear) is hilarious, and performs the fastest count-in of all time. I discovered a new respect for Trent Reznor, a guy who uses the technology to create original sounds, but desires the warmth of tape. It’s incredible to see him collaborate with Homme and Grohl. It’s the sound of humans communicating with instruments. And they wrote a pretty frickin’ cool song together. Then, watching Paul McCartney writing “Cut Me Some Slack” with the surviving members of Nirvana is a moment that I’m glad was frozen in time.
Grohl: “What can’t it always be this easy?”
McCartney: “It is.”
The blu-ray bonus features include three additional performances: “From Can to Can’t”, “Your Wife is Calling”, “The Slowing Down”. It was these bonus features that inspired Meat and I to add “Your Wife is Calling” (with Lee Ving) to our 2014 Sausagefest lists. Our votes allowed the song to clock in at #64. (The track was my #1.)
Sound City is a complete triumph of a music documentary. It is the kind of music documentary designed for serious fans, not just passers-by. I would welcome another movie directed by Dave Grohl with open arms.
I’m a sucker for a good boxed-set. I own several. A couple from The Beach Boys, and The Who, one from David Bowie, The Rolling Stones, heck, even The Monkees. When we’re talking The Beatles though, I have a number of them. The original bread box set of CDs, the Singles Collection, the E.P. Collection, the Anthologies, The Capitol sets, the Mono box and the Stereo box. Then of course the individual solo sets. The Lennon box, Onceuponatime, the Darkhorse Years, the list goes on. I have the special editions from each member’s solo catalogue. All Things Must Pass, Band On The Run, etcetera. So when I saw the giant LP collection sitting there staring at me in the record store, it was no surprise when I found myself lugging it, double bagged out to the trunk of my car.
I must say it is an impressive set. All original UK releases plus Past Masters, all stereo versions, and all on 180 gram vinyl. These sets of vinyl are on the retail shelves for close to $350. I bought mine from a local establishment that was running a sale that weekend. I walked out having parted with 276 of my dollars. That’s tax included too. Not a bad deal considering there are 14 records (two of which are doubles.) That is less than $20 per record if you’re keeping track.
One small added bonus is, there is a foam cushion in the box that when removed makes room for the Yellow Submarine Songtrack and the #1s double record released years ago. Now I’m sure you could put other releases in there like, I don’t know, Love, or Yesterday and Today but I put in #1s and Yellow Sub. You put in whatever you like, it’s a free country… Anyway…
I figured the thing to do was to start at the beginning. So after unsheathing the box from its’ cellophane wrapping, (one of the best parts of buying a record and sadly something a generation will miss out on entirely) out came the beefy 180 gram stereo version of Please Please Me. I placed it on my Rega turntable and dropped the needle. In an instant it was the 11th of February 1963 and I was standing in EMI Studios on Abbey Road in London. Listening to what for all intents and purposes is a recording of The Beatles live set at the time. George Martin’s stereo mix of “I Saw Her Standing There” which was released a month after the original Mono mix, was filling my living room. The second release With The Beatles followed and then of course, A Hard Day’s Night. Stellar the lot.
5/5 stars
Contents:
Please Please Me (1963) With The Beatles (1963) A Hard Day’s Night (1964) Beatles for Sale (1964) Help! (1965) Rubber Soul (1965) Revolver (1966) Sgt. Pepper’s Lonely Hearts Club Band (1967) Magical Mystery Tour (1967) The Beatles (1968) Yellow Submarine (1969) Abbey Road (1969) Let It Be (1970) Past Masters (1962–1970)
My thoughts are with those in Boston tonight. Yesterday, T-Rev, Wes and I attended the The Toronto Musical Collectibles Record & CD Sale. T-Rev went specifically hoping to find Ogden’s Nut Gone Flake by the Small Faces, on vinyl, with the original round cover in displayable condition. He came home with that record for the price of $30.
I hit paydirt. I came with $200 and I left with $0 (there was a $5 entrance fee). I also left with seven (7!!!) Japanese import rock albums all with bonus tracks, five 12″ records, a 7″ single, and a rare book. Today I’ll show you the CDs, which I am most excited about! You can see the rest another day.
You can’t find Japanese imports anymore around here. And many of these are long out of print. I’ve been looking for the Pistols’ Filthy Lucre Live since 1996. Blackmore’s Rainbow is one that I’d seen before. The HMV store at Fairview Mall in Kitchener had one…in 1995. Rob Vuckovich used to try to goad me into buying it, but I couldn’t pay the $50 price tag for just one bonus track. $15 though? With obi strip intact? Hell yeah!
So here’s the list of Japanese imports and what I paid. I believe most of these have to be half of retail.
HAREM SCAREM – Live at the Gods. This is a Japanese exclusive live album. I paid $20, sealed.
SEX PISTOLS – Filthy Lucre Live. I’ve been waiting a long time. I love this album. Two bonus tracks: “Buddies” (“Bodies”) and “No Fun”.
SCORPIONS – Face the Heat. I paid $15, for 2 wimpy bonus tracks called “Kami O Shin Jiru” and “Daddy’s Girl”. Both are ballads, but for $15, no bother!
IAN GILLAN – Gillan’s Inn. This one was a bit more expensive: $30, because it had the DVD (that won’t play in this region). But it also has the bonus track “Eternity” that isn’t even on the Tour Edition.
CORROSION OF CONFORMITY – Wiseblood. I paid $20, has the bonus track “The Land of Free Disease”.
RAINBOW – Stranger In Us All. Bonus track: “Emotional Crime”. Paid $15.
WHITESNAKE – Good To Be Bad. Paid $20, sealed. Two bonus tracks: “All For Love (Alt mix/Doug solo)” and “Summer Rain (Unzipped)”.
THE ROLLING STONES – Their Satanic Majesties Request (1967 London/Decca)
It would be lazy for me to compare this album to contemporaries of the band. It would also be lazy to use the old outdated “psychedelic” adjective to describe this music. I can think of numerous other adjectives: challenging, rewarding, inventive, chaotic, grimy, majestic.
Andrew Loog Oldham had quit his post as the band’s producer and manager, leaving the Stones to their own devices. It sounds as if they explored every possible indulgence (musically and otherwise).
Their Satanic Majesties Request takes some of the musical expeditions that The Rolling Stones had completed on Between The Buttons (think “Ruby Tuesday”), and turns that on its head. Mix in ample supplies of chemicals and a total fearlessness, and a belief that what they were doing was total brilliance, and what you get is Their Satanic Majesties Request. This album surely must have convinced parents that Satan himself was possessing the hi-fi.
Light on guitar, rhythm and blues, Their Satanic Majesties Request is still among the best Stones albums if you can penetrate its purple smokey haze. Doing so will reveal an album constructed in layers, and peeling back these layers will release melodies and instrumentation that will keep you enthralled for years, as you keep coming back to this album. Is that Mick asking, “Where’s that joint?”
I’m fond of the opening track, “Sing This All Together”, which sounds (at times) like a cross between the Beatles and a James Bond theme. I’m sure some fans were wondering, “Where’s the guitars?” They’re on there, used sparingly but effectively. “Citadel” has guitars; grimy, dirty guitars, chugging out distorted chords under Mick’s dreamy melodies. This one reminds me of early Alice Cooper, who I am sure was influenced by this album.
Bill Wyman sings lead on “In Another Land”, the watery vocal track sounding like it was recorded in another land. “2000 Man” is as catchy as anything else the Stones produced, with neat lyrics that must have seemed so forward-thinking in 1967. I love the guitar melody, and how it sounds like a completely different song on the choruses. “She’s A Rainbow” is a perfect pop song, as brilliant as “Ruby Tuesday” if not moreso due to Charlie Watts’ relentlessness. Meanwhile, “The Lantern” happily meanders along, amidst what sounds like out-of-tune guitars and horns. Likewise “Gomper” wanders about, loads of sitar invading the eardrums, and lots of other stuff I can barely identify.
“2000 Light Years From Home” is a good one, loaded with Brian’s mellotron, again sounding perpetually out of tune. Fortunately Charlie keeps the song moving forward, his timing always perfect. Then, “On With the Show” brings us back in time to a simpler age, Mick affecting an accent for this fun retro piece.
While every song has melodies and instrumentation coming out the wazoo, it surely is “Sing This All Together (See What Happens)” (not to be confused with “Sing This All Together”) that is the centrepiece of this bizarre journey into the unknown. 8 1/2 minutes long, and never really going anywhere, some might consider this a waste of vinyl. On the other hand, those that have studied free improvisation will get inspiration out of this bizarre arrangement.
Brian Jones continued to experiment with multiple instruments including sitar (hey, it was the 60’s). Guests include Lennon and McCartney, Steve Marriot and Ronnie Lane, Nicky Hopkins, and future Led Zeppelin bassist / keyboardist / string arranger John Paul Jones.
The original LP featured a lenticular cover gimmick, as well as a maze inside that can never be solved. How quaint!
Next time somebody comes up to you and says, “Yeah, this new band that I like, they sound really Stones-y,” then respond by playing “Sing This All Together (See What Happens)” and ask if this is what they meant. Watch the looks on their faces.
In the end, the Stones decided to return to their blues rock sound on Beggars Banquet, which was probably the best way to continue to have a viable career.
DEF LEPPARD – “Helen Wheels” and
– “Venus and Mars / Rock Show” (2014 Sony, from The Art of McCartney)
mikeladano.com 