rock music

REVIEW: Def Leppard – Rarities 2 (CD Collection Volume 2)

Part Twenty-Three of the Def Leppard Review Series

DEF LEPPARD – Rarities 2 (CD Collection Volume 2 Disc 5) (2019)

Quick explanations first:

“Hey, what’s with this Rarities 2?  You didn’t review Rarities 1!”  This is true!  Def Leppard Rarities 1 is in the first volume CD Collection box set.  For this review series, I opted to go with The Early Years box set to cover a lot of those albums and rarities.  Between that set and the Hysteria super deluxe box set that I reviewed in great detail back in 2017, I have written about all the rarities up to this point.  Though packaged together in one sleeve in this box set, we will tackle the Rarities series one disc at a time.

We open with the earliest tracks:  two demos with Steve Clark on guitar.  “Tonight” is brilliant, with the thick opening layered harmonies intact right from the demo stage (would not surprise me if they used the demo intro for the final track).  The quieter acoustic arrangement of the opening is very different from the more standard album cut.  It kicks in hard during the chorus, which is a cool aspect of this arrangement.  The chorus really slams on this version.

Steve’s final Def Leppard appearance was also the final guitar solo he ever recorded (and likely played).  It’s the demo for “When Love and Hate Collide”, the overly soft ballad from 1995’s Vault.  What a solo, too!  He was on to something, with its big Hysteria-esque hooks.  The demo overall is much rougher (programmed drums) but also harder edged.  Joe’s more screamy, the last vestiges of the old style still hanging on.

The Acoustic Hippies From Hell — yes, that is how Def Leppard & Hothouse Flowers billed themselves on the B-side of the “Have You Ever Needed Someone So Bad” single — are next with the original track “From the Inside”.  This is the original version from the single, slightly different from the one on Retro-Active.  Please welcome Vivian Campbell on the second guitar solo slot!  With tin whistle, mandolin and grand piano it’s a very different kind of song for the guys in Leppard.  Lyrically it’s even darker than their previous work like “White Lightning” or “When the Walls Came Tumbling Down”.  This time the subject matter is addition, but with a twist of the perspective.  The lyrics are the drug speaking to the user.

You may recall the Acoustic Hippies From Hell cut three songs together, including covers of “Little Wing” and “You Can’t Always Get What You Want”.  We used to wonder why they weren’t included here on this CD.  Those further two B-sides were held back for a covers disc in the next box set.  We’ll get to them when we get to that set!

Def Leppard’s first acoustic song was “Two Steps Behind” from the “Make Love Like A Man” single.  Here is the original track from that B-side, unadorned with strings or electric guitars like the ones on Retro-Active.  If you recall, Michael Kamen dubbed some strings over this one for the Last Action Hero soundtrack, and “Two Steps Behind” became an A-side hit in its own right.

Joe Elliot’s screamin’ hot 1987 demo of “She’s Too Tough” is up next.  Why a 1987 song?  Because its first release was on the B-side of “Heaven Is” in 1993.  (That single also had live versions of “Women” and “Let’s Get Rocked”.  “Elected” is on a live covers disc later on in this series, and “Let’s Get Rocked” will be discussed shortly.)  “She’s Too Tough” was covered by Helix on their Wild in the Streets album in 1987.  While Brian Vollmer does an admirable job of the lead vocal, Leppard’s recording is hands down the better of the two, even though it is just a demo.

Another demo:  Phil Collen’s impeccably arranged “Miss You in a Heartbeat” is all but complete except for the vocals.  Phil did the lead on his own demo versions, and not a bad job of it.  Paul Rodgers used “Miss You in a Heartbeat” for his 1991 album with Kenney Jones called The Law.  It’s cool hearing Phil do his own lesser-known version.  “Miss You in a Heartbeat”, once a B-side like “Two Steps Behind”, was eventually released as its own single too.  That’s where Phil’s demo was original taken from, though it is mislabelled as “Acoustic, Acoustic Version”.  Nope – just Phil’s demo, same as this one here.

Two awesome acoustic versions from the “Tonight” CD single are next in a row.  The acoustic version of “Tonight” itself could surpass the album version.  It just had vibe.  Loads of vibe.  Fabulous guitar solo.  Then Collen’s “S.M.C.” (named for Steven Maynard Clark) features just he and Vivian on acoustic guitar.  It’s a very brief, often forgotten instrumental in a neo-classical style.  This is its first re-issue since the original single.  Play it for your friends and ask them to guess who it is.  (They won’t be able to.)

This CD closes on the four tracks from the rare EP In the Clubs…In Your Face, recording in Bonn Germany.  Four solid hits:  “Hysteria”, “Photograph”, “Sugar”, and the aforementioned live version of “Let’s Get Rocked”.  The club crowd is obviously pumped!  “Hysteria” sounds awesome; “Photograph” is as strong as ever.  “Pour Some Sugar On Me” and “Let’s Get Rocked” are sort of two of a kind live, a little clunkier but the crowd sure loves ’em.  The new song is a happily received as the old.

This disc makes for a solid listen.  Hits in alternate, lesser heard versions are sure to be pleasers.  The tunes that aren’t hits are all solid themselves.  Although it’s a little disappointing when you scan the track listing and realize such-and-such a B-side is missing, the folks in Leppard know what they are doing.  They’ve re-organized this material to sit next to like material later in the series, and it’ll all be coming up in due time…and perhaps in a more enjoyable track listing too.  We’ll just have to hear how it goes disc by disc!  Rarities 2 is a lot of fun and a great (almost) hour on its own.

5/5 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

Next:

24. Rarities 3

#983: Gimme Another R!

RECORD STORE TALES #983: Gimme Another R!

A sequel to Record Store Tales Part 2:  Gimme An R!

There’s a certain amount of pride that one takes in being a Helix fan.  Helix the band are almost as old as I am!  They formed in 1974 and put out their first independent album Breaking Loose in 1979.  And what a debut it was!  With a handful of road-tested songs, the band plied the waters of guitar rock, with a foot in sci-fi prog and another in boogie-woogie.  Just check out their first minor hit “Billy Oxygen” if you don’t believe me.  They’ve been releasing music steadily ever since, with Capitol Records and others, with only a minor five year gap between It’s a Business Doing Pleasure (1993) and half-ALIVE (1998).

In 2022, Helix are back with a new single called “Not My Circus, Not My Clowns”.  They’re getting ready to start gigging again after two years of Covid-induced hibernation.  The current lineup consists of founder Brian Vollmer, classic members Daryl Gray and Greg “Fritz” Hinz, and guitarists Chris Julke and Mark Chichkan.  Julke has already been in the band eight years, and Chichkan had countless gigs with Helix in the mid-90s.  These veterans absolutely know how to give ’em an R.  Then we have Sean Kelly helping out in the studio to boot, adding some nitro to the mix.  In other words:  Helix are still potent.

It’s fair to say we all miss Paul Hackman.  I never met Paul though I’ve met most of the others.  He sure was a talented writer, and many of his songs like “Heavy Metal Love” are beloved classics today.  Fritz Hinz has been through hell and back, making a stunning recovery after a coma-inducing fall from a roof.  In recent years we also lost original guitarist Ron Watson, keyboardist Don Simmons, and road warrior Brian Knight.  Brian Knight was a kid from our neighborhood, who went to do road work with Helix for many years.  We lost him in 2021.  Yet Helix keep on going, and going, and going.  Even former guitarist Brent “the Doctor” Doerner has a new album coming out called The Ashtray Sonatas.

Speaking of the good Doctor, I first befriended the guitarist in 2006 at a Helix gig.  I knew a guy named Shane Schedler, who was in his new solo band, and this led to an interview with Brent at his home.  It was the first of several visits.  A few months later, with a few gigs under his belt, Brent screened some live footage of the band and had some friends over to celebrate.  It was that night that I wrote up the official bios for his band.  I remember telling Brent I wanted to write the band member bios for his website and then running around the room getting quotes from all the members.  It was a lot of fun.  Definitely a personal highlight.

So for the first time since the first time, here are the Brent Doerner’s Decibel bios that I wrote.

Thanks to everyone who’s ever been in Helix for rocking us.

BRENT DOERNER’S DECIBEL

Band Bios and Fascinating Factoids

 

BRENT DOERNER (Lead Vocals, Lead & Rhythm Guitars)

“What’s right is what’s left after you’ve done everything else wrong.”

Not just every guitar slinger out there can claim to be a part of a Canadian rock institution.  Brent Doerner can:  He spent over 15 years in Helix playing guitar, writing, singing, blowing minds and winning fans the world over.  He has the battle scars and the gold records to prove it, but that’s not the end of the story.  A new chapter has just begun with Decibel, a new rock band of good-time tunes and unique lyrics that continues his legacy with pride and vision for the future.

CHICK (Rhythm Guitars)

“If you don’t have rhythm, stay at home.”

Ralph “Chick” Schumilas has been around the block once or thrice.  He has 40 years experience as a musician.   In the beginning, he was a drummer which gives him a rhythmic edge that’s tough to beat.  Formerly, he was the co-owner of  Buzz Marshall studios, and has played and written with such luminaries as Cheryl Lescom, Rob Juneau, and Keith Gallagher among others.  He brings his immense songwriting experience to Decibel’s solid live repertoire.

HILLS WALTER (Bass, Lead & Backing Vocals)

“I’m not working for road rash.”

Hilliard Walter’s résumé is impressive in its diversity and scope.  He’s been paying his dues in the clubs across Ontario for the better part of 30 years.  Rock, however, is only one part of Hills’ musical makeup:  He’s done punk, new wave, funk, soul, and every combination and isotope of those styles that is currently known to modern science.  He’s played with Soul Circus, Sthil, Dezmanhall, Ed Bertoli, and lots more.  He saw Helix make their big break and said, “I can do that too.”  Now, Decibel is the main focus of this talented bass player with the soulful voice.  When he sings, you listen.

SHANE SCHEDLER (Lead guitars, Lead & Backing Vocals)

“They tried to bury the double lead, but we’re going to rectify that.”

Shane’s history as a recording artist goes back to the mid-90’s when he was a member of the guitar-driven trio Martyrs of Melody.  With the Martyrs, he released two independent CDs and began honing his songwriting craft.  He’s been grinding his axe for “seven point something Olympic years” (you do the math).  He now writes, sings and plays for Decibel, a band that makes him beam with pride.  Shane is also proud that he hasn’t cut his hair since grade nine.

BRIAN DOERNER (Drums, Vocals)

“Some drummers think ‘time’ is a magazine, but they don’t have a subscription!”

Brent’s twin brother Brian Doerner is legend on the skins.  His discography reads like a “who’s-who” of rock:  Helix, Saga, Brian Vollmer, Ray Lyell, Refugee, Myles Hunter, and more.  He first picked up the sticks after seeing the Beatles on TV in ’65, and it’s been a love affair with music ever since.  A respected session man and teacher, Brian has inspired the others to new levels in their playing.  Now that the twins are back together, the chemistry onstage is infectious.

 

REVIEW: Def Leppard – Euphoria (1999)

Part Twenty-Two of the Def Leppard Review Series

DEF LEPPARD – Euphoria (CD Collection Volume 2 Disc 4) (Originally 1999, 2019 remaster)

This is where we deviate from the norm.  After perhaps oversteering into the 90s with Slang, Def Leppard made a harsh course correction with their next album Euphoria.  An early retail solicitation  emphasized that after the Pyromania and Hysteria, comes the Euphoria.  It was clear where they were going.  The modern organic touch of Slang was dropped like a hot hand grenade!  In its place was an attempt to retread the hits of the past.  Mutt Lange was brought back to help polish up some songs.

Perhaps worst of all, and like Scorpions, Motley Crue and Bon Jovi at the same time, Def Leppard’s image made a big change.  Hair was cut and styled.  Shiny suits and glammy modern clothes were purchased.  While the transition to Slang felt natural, the direction of Euphoria seemed terribly contrived.  It was no secret that Slang was not a hit, and Euphoria sounded like it was crafted to generate hits to multiple formats.

One of Euphoria‘s flaws is its length.  51 minutes isn’t a big deal, but 13 tracks was too many, as we’ll see.

Opener “Demolition Man” has cool stuttering guitars like bands of the 80s employed.  It’s fast, adrenalized, and stacked high with the patented layered backing vocals.  But it feels less like the triumphant return of Leppard and more…unnatural.  To go with the top speed pace of the song, F1 race car driver Damon Hill plays some outro lead guitar on the track.

“Promises” was undoubtedly the centerpierce of the album.  A pretty successful re-write of “Photograph”, it captures the classic Leppard sound and vibe without the contrived feel.  The rich vocals of the chorus are hard to beat, and that signature Leppard guitar lick is easy to love.  The liner notes also give you lead solo credits for you to follow along – Phil or Viv.  This one has both in that order.  It’s a way to learn their individual styles, if you haven’t already!

The first serious dud is “Back in Your Face”, a plastic “Pour Some Sugar” homage with purposefully thin drum samples.  The ballad “Goodbye” is also filler, even though it was selected as a single.  By this time Leppard had accumulated plenty of ballads, and this reeks of a rewrite of “Have You Ever Needed Someone So Bad”.

The worst track on the record could be the Collen/Lange atrocity called “All Night”.  Digital funk just isn’t becoming.  A band like Extreme might have been able to make something of “All Night” if they did it without all the tech-y sounds, but this is a horrible mis-step.

Fortunately, “Paper Sun” is a mid-album redeemer.  A Leppard epic in the tradition of “Gods of Wars” and “White Lightning”, this one is worthy.  Sure it’s nothing new, but it has the vibe of a third song in a trilogy.  Play all three of those tunes in a row for some back chills.

“It’s Only Love” is another unnecessary ballad, which combines an Adrenalize vibe with Slang, but not memorably.  Then we have the embarrassingly titled “21st Century Sha La La La Girl”, a title as bad at Bon Jovi’s “Captain Crash and the Beauty Queen From Mars”.  It’s not a terrible song, though suffers from a plastic production problem.  It’s punchy, and has a singalong quality, but we’re lowering the bar a bit here.  The third ballad “To Be Alive” is the best of the batch.  Quiet and unassuming, it crosses Slang with Adrenalize more successfully.  Viv’s solo is excellent.

Collen’s “Disintegrate” brings us right back to the glory days of High N’ Dry.  Perhaps as close as they could ever get.  The blazing instrumental has definitely “Switch/625” vibes.  It is followed by another above average track called “Guilty”.  It sounds like a cousin to “Stand Up (Kick Love Into Motion)” which isn’t a bad thing.  Mid-tempo Def Leppard, plinking guitars, all good.  Continuing with some decent quality tunes, “Day After Day” has a slower, dramatic Leppard vibe.  The riff sounds vintage.

Closing track “Kings of Oblivion” turns up the tempo one last time for a pretty killer outro.  There’s a hint of the old Joe Elliott scream.  Maybe a smidge of Van Halen.  Rick Allen uses a variety of drum sounds on this album, but he sounds best right here on “Kings of Oblivion”, with a nice loud traditional snare.

A final assessment for Euphoria is difficult to reach.  It’s clear they were out to please old fans that were alienated by Slang.  We’ve argued that the superior Slang was a more creative attempt to adapt to the 1990s.  Euphoria felt like an absolutely commercially motivated attempt to capture “that sound” from the –ia albums, but also with a nudge towards late 90s pop rock.  The modern production does no favours.  But Leppard were unafraid to push further in that direction next time; not folding but going all-in.

Euphoria failed to crack the top ten in America, but “Promises” did hit #1.  It enabled them to go out on a long supporting tour.  But like many bands, the next few years would be rocky in musical direction.

2.5/5 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
  18. Video Archive
  19. “Slang” (UK single)
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales

Next:  

23. Rarities – Volume Two

#981: I Got A Bad Feeling About This: Euphoria

Part Twenty-One of the Def Leppard Review Series

RECORD STORE TALES #981:  I Got A Bad Feeling About This: Euphoria

Without sounding like a broken record, the 90s were a rough time for rock and roll bands.  Those who suffered did what they had to do to survive.  When that didn’t work out, they’d revert to formula.  In the case of some high-profile groups, the moves were quite obvious attempts to recreate the past.  Take, for example, Bon Jovi.

1995’s These Days was a daring attempt to do something different, a little more laid back and organic.  The result was, with the benefit of hindsight, one of the band’s best records.  But it sold half as many copies as 1993’s Keep the Faith, which sold less than a third of what New Jersey sold, which sold just over half of what Slippery When Wet sold.  The law of diminishing returns.  So what did they do?  The wrote a song called “It’s My Life” which was just “Livin’ On A Prayer 2000” no matter what they admitted to.  Back was the talk box, Tommy, and Gina.  It was embarrassing.  The fans didn’t mind though, and they ate it up like crack-covered ice cream.

Hell, even Motley Crue got back with Bob Rock for a couple new throwback tunes.  They stepped back from the cliff of Generation Swine and scored some minor redemption before Tommy Lee fucked off.

In 1999, Def Leppard were faced with a similar situation.  Like Motley Crue, they leaned into the 1990s on Slang.  The difference was that Def Leppard made a coherent disc that felt natural, unlike the slop that Nikki Sixx fed us.  Instead of selling half of what the triple-platinum Adrenalize sold, Slang only mustered up gold in the US.  Alarm bells were ringing and something had to be done.  And like Bon Jovi at the same time, Leppard too attempted to recreate the past.

A certain Robert John “Mutt” Lange was summoned, and one of the resultant tracks called “Promises” sounds a dead ringer for “Photograph”.  And then, this artwork was released.

“After Pyromania and Hysteria comes…Euphoria.”

My buddy T-Rev was working at the Cambridge location of the Record Store.  He received the press release for Euphoria featuring that slogan in his morning shipment of CDs.  He laughed and gave me a ring to tell me.

Another “-ia” album.  For fucksakes…

I can’t recall my exact words, but I do remember my exact feeling:  “I got a bad feeling about this.”

It was as if the last decade didn’t happen.  Let’s forget the last couple records, no matter how good they may be.  And the cover art?  The dominant blue recalled the past hits, but the return of the classic logo was a clear message.  You’re going to get the Def Leppard you remember.  You’re going to get the Def Leppard album that should have followed Hysteria.  That’s the message here.

While the majority of fans were in love with the idea, I had reservations.  It seemed contrived.  Slang deserved better than to be buried like this.  In fact this move really does a disservice to the whole Slang era.  That album was a brave attempt to try some new hats on.  This looked like a timid step back into safe territory, afraid to do anything but.

Is that what happened?  Find out next time.

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
  18. Video Archive
  19. “Slang” (UK single)
  20. Slang

Next:  

22. Euphoria

 

 

RE-REVIEW: Def Leppard – Slang (1996)

Part Twenty of the Def Leppard Review Series

Original Review:  Slang 2 CD edition (1996)

DEF LEPPARD – Slang (CD Collection Volume 2 Disc 3) (Originally 1996, 2019 remaster)

“Too alternative!”, they moaned.  “Doesn’t sound like old Def Leppard!”, they whined.  But what choice did Def Leppard have?

The world of 1996 was not the same as 1992, when Def Leppard re-emerged after a long hiatus with Adrenalize.  Leppard experimented wildly with their music on 1987’s Hysteria, but tended to stick to formula on Adrenalize.  After the hardship of losing Steve Clark, we can forgive them for not trying to re-invent the wheel a second time.  But by 1996, grunge had passed and the decade continued to move further away from classic hard rock and heavy metal.  It was overdue for Leppard to re-invent themselves one more time.  They owed it to themselves.  But it was actually more natural that that.

Vivian Campbell was on board for his first real album with Def Leppard, only to find they were “moving the goalposts”!  After making two painstakingly produced albums, it was time for change.  The band desired a fresh start with Campbell, using no holdover music from the past.  They wanted a more organic album, and part of that was Rick Allen incorporating acoustic drums back into his setup.  They were going to try and express themselves a bit more, and take some serious chances.  To hell with the critics, expectations, and old ways of doing things.

Regardless of how it sold, the final album Slang became a cult favourite for good reason.

Opening on a fade, the new Leppard begins different from any in the past.  “Truth?” is a slow, exotic groove with background samples and loops.  Not a stretch from “Rocket” in a technical sense, but completely different results.  Deeply distorted chorus vocals are a striking shift from the past, but are just as fetching.  An middle-eastern sounding solo nails the vibe, and drum loops offer more modern twists.  The mix sounds just as dense as anything you hear on Hysteria, but with completely different elements.  And fortunately Leppard haven’t forgotten how to write hooks, even if in a darker tone.

“Turn to Dust” takes the scene to India, with sitar and tabla.  Tempos are still slow and deliberate.  “Turn to Dust” has a bit more of the Def Leppard sound on the chorus, with Phil Collen singing backup, but the lyrics sure are different:  “Sentence rape me, segregate me” is a stark turn from “Let’s Get Rocked”.  But everybody was pissed off in the 90s.  This one drones on with ample musical genius towards the end.  Lots of strings and exotic instrumentation, backed by the grind of electric guitars.

The title track “Slang” is an immediate and fun change of pace.  With a modern sound, it could have been a “Pour Some Sugar” for the 90s had it caught on.  Beats and samples mixed in with an irresistible chorus make for a catchy concoction.  It’s really the only upbeat song on the album, but a treat it is.

The ballad “All I Want Is Everything” was briefly previewed on the VHS release Video Archives, in an October 1995 acoustic performance at the Wapentake Club in Sheffield.  That acoustic rendition did not really hint at the dark ballad on Slang.  A simple but effective droning guitar part forms the backing, but the luscious Leppard melodies are delivered vocally and with guitar flourishes.  It’s a different kind of ballad for Def Leppard, but no less stirring.  It was a single, but underperformed compared to past Leppard hits.

Vivian’s “Work It Out” sounded more like a Crowded House song in demo form, poppy and quirky.  Once Leppard wrestled with it, a different kind of track emerged.  Duskier, heavier, with really dominating drums and surprisingly slinky bass from Rick “Sav” Savage.  The final Leppard version is certainly superior to Viv’s demo in the long run though both have merit.  “Work It Out” was another Slang single that should have done better.

One of the biggest album surprises (and perhaps most divisive) is the supple ballad “Breathe A Sigh”.  Gentle tic-tic-tic R&B drum samples back a song that is mostly vocal with minimal instrumentation.  Drums, piano, and understated guitar melodies should have guided this to a hit spot on the charts.

Flip the record for a darker turn of events.  “Deliver Me” is more straight-ahead rock, but certainly not upbeat.  This is heavy, foreboding and dangerous Def Leppard.  Again, not without their knack for a melody.  The quiet/loud dynamic is very 90s, but that doesn’t make it bad.  The fact that Leppard always strove for a melodic foundation keeps it from falling into the morass of soundalike 90s rock.

“Gift Of Flesh” is another surprising twist.  Blasting fast and loud, this track is the most old-school, but still dark like a cloudy sky.  With lyrics like “scorch the Earth and torch the sky,” this is a more apocalyptic kind of rocker for the Leppard we were used to.  But it does rock, and hard!  You could bang your head to it even if you can’t rock rock ’til you drop.

Was Slang too ballady?  “Blood Runs Cold” is the third such song, followed by a fourth called “Where Does Love Go When It Dies”.  Joe Elliott really nails a killer vocal on “Blood Runs Cold”, which is very light and airey.  “Where Does Love Go When It Dies” lightens the skies further.  Acoustic strumming is a more traditional sound for Leppard.  It’s a little more like the acoustic Adrenalize B-sides, with a minimal arrangement.

The last few Leppard studio albums had “album epics”:  “Gods of War” on Hysteria and “White Lightning” on Adrenalize.  Slang ends on an epic called “Pearl of Euphoria”.  There’s a lot going on in this track, with guitar overdubs and drones.  It’s a very Zeppelin-y song, but done in a modern way.  It draws from the same worldly wells that Zeppelin often explored.  Its fade-out alone is a minute long!

Unfortunately one of Slang‘s strengths, its adherence to the darker side of pop rock and hard rock, is also the factor that keeps it from hitting 5/5 stars like Hysteria.  It doesn’t necessarily make you feel as great after hearing it.  It does feel like you’ve heard something deeper and more profound, but not something that brightens your soul.

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
  18. Video Archive
  19. “Slang” (UK single)

Next:

21.  I Got a Bad Feeling About This:  Euphoria – Record Store Tales

DVD REVIEW: Def Leppard – In the Round In Your Face (1989)

Part Eleven of the Def Leppard Review Series

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.

5/5 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)

 

Next:

12. The Wait for Adrenalize (Record Store Tales)

THREE-VIEW: Def Leppard – Hysteria (1987)

Part Nine of the Def Leppard Review Series

Deluxe edition review:  Hysteria deluxe (2006)
30th Anniversary edition review:  Hysteria 5 CD 30th (2017)
Classic Albums DVD review:  Hysteria (2002)
Historia VHS review (1988)

Note:  This being the third Hysteria 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.”

Take my rating with a grain of salt.

5/5 stars

 

Gallery of single covers

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

Next:  

 10. Soundtrack From the Video Historia (Record Store Tales)

RE-REVIEW: Def Leppard – Pyromania Live – L.A. Forum, 11 September 1983

Part Eight of the Def Leppard Review Series

Original review:  Pyromania deluxe (2009)

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.

Widely bootlegged, the second night in Los Angeles must have felt like a victory lap, even though there were still months left on the tour.  They hit the stage psyched to perform.  Earlier, Frank Zappa phoned up to ask if he could score some tickets for his kids, Moon Unit and Dweezil.  Members of Van Halen and Heart were in attendance.  Best of all, Queen legend Brian May was in town, and he surprised  Leppard by playing them the twin guitar part of their hit “Photohraph” all by himself!

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!

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Next:  

  • Hysteria

REVIEW: Aerosmith – The Road Starts Hear (2021)

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.

4/5 stars

AERO-REVIEWS:

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RE-REVIEW: Def Leppard – Pyromania (1983)

Part Seven of the Def Leppard Review Series

Original review:  Pyromania deluxe (1983)

DEF LEPPARD – Pyromania (1983 Polygram)

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.

5/5 stars

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  • Pyromania bonus disc Live – L.A. Forum, 11 September 1983