The Final Countdown

REVIEW: Europe – “The Final Countdown 2000” (Single)

“Oh God!  What did I just listen to?” – J from Resurrection Songs

EUROPE – “The Final Countdown 2000” (1999 Sony single)

As we edge closer to the start of a new decade, it’s the perfect time to look back at the turn of the millennium, 20 whole years ago.   Sony decided that Europe’s “The Final Countdown” would make the ideal anthem for the millennium, and so had it remixed by the guy (Brian Rawling) who did Cher’s “Believe” a year earlier.  Joey Tempest was not amused, and tried to find another mixer without success.  Drummer Ian Haughland called the finished remix a “disaster”.

The full 5:45 remix was released as a single, while a 3:47 edit version was issued on a new version of Europe’s “greatest hits”, with title updated from 1982-1992 to 1982-2000.  At least the millennium led to a performance by a reunited Europe on New Year’s Eve featuring both guitarists John Norum and Kee Marcello.

The full length remix is the antithesis to rock music.  Sped up, with bouncy synth bass and drums, it was obviously calculated for dancing.  There are keyboards, weird sounds, and samples that have nothing to do with the song.  Of the original recording, Joey’s vocals remain, but the rest sounds completely digital.  It goes on, and on.  The edit is tolerably shorter, but barely.  “The Final Countdown 2000” is an affront to rock music and everything its fans enjoy.  It is pure pandering to people who would never have bought a Europe album in the first place.  Is that what Sony felt they had to do in order to make it a hit a second time?  Imagine if Europe recorded a new version with both guitarists instead.  The song was already pop enough to be a hit again on the wave of 80s nostalgia.  It didn’t need to be mutilated to fit into a dance remix.  It surely would have done better than this (#6 in Sweden, #36 in the UK).

As a consolation prize, this CD single includes a single edit of the original song.  All it’s missing is the countdown opening.  After hearing the dance version twice, it sounds strangely sluggish (even though it’s not).  It’s like taking an offramp from the highway into normal traffic.

Possibly the worst single I’ve ever bought.  And I’ve bought Puff Daddy.

0.5/5 stars

REVIEW: Europe – Almost Unplugged (2009)

scan_20161012EUROPE – Almost Unplugged (2009 MVD Audio)

Almost Unplugged“?  The devil is this?

This was a special show in Sweden, with Europe playing some of their best material (with a few covers) in a largely acoustic setting.  There are strings, but there are also keyboards and electric guitar.  The best of both worlds!

The band were riding a high wave then, which has really not dissipated since.  They had done a couple well received reunion albums (Start From the Dark and Secret Society) and were working on music that many fans consider a peak (Last Look at Eden).  Europe have long been an under appreciated band, but Almost Unplugged should win over even the staunchest critic.

“Got to Have Faith” opened Europe’s reunion album Start From the Dark, so it works triumphantly as a concert opener.  Here, it is laid back, bluesy with slippery guitars.  “Forever Travelling” from Secret Society follows hot on its heels.  The string quartet adds drama to this song, which works naturally in the acoustic setting.  From the same album is the killer track “Devil Sings the Blues”, highlighted by some splendid John Norum electric guitar noodling.

Every time Europe does a cover, it becomes an album highlight.  The acoustic “Wish You Were Here” is beautiful and not at all overdone.  Thin Lizzy’s “Suicide” is full on electric, and pretty spot-on, especially considering that Lizzy were a two-guitar band while Europe has a guitar and a keyboard.  Covering Led Zeppelin is always risky but “Since I’ve Been Loving You” is surprisingly great.  Joey doesn’t try to copy Robert Plant, but he certainly can sing the blues just fine.  (Hey!  Maybe the devil really does sing the blues!  Oh, you devil you!)  Just as importantly, Norum plays some electrifying guitar blues over this monster of a cover.  The most brilliant cover however is a UFO song:  “Love to Love”.  More than any other, this one sounds like Europe owned it.  It’s very well suited to their dramatic rock stylings, and they absolutely kill it.  If there was one track worth buying the CD for, you just found it.

The Europe originals that make up the bulk of the album span the entire history of the band.  From the first LP is “Memories”, which in its original version was a brutally heavy stampede.  Here, it is an acoustic gallop, just as aggressive, but with subtlety.  The piano ballad “Dreamer” comes from the second album, an unsung classic that was a few years shy of fame.  The fame and fortune finally came on 1986’s The Final Countdown, and of course the title track is played.  In its acoustic version there is no synth hook; it instead played by the string quartet.  It’s trippy to hear it done like this; a little strangeness for fun.  “Superstitious” (from 1988’s Out of This World) sounds more natural in this format.  It’s also refreshing to hear Joey’s voice crack in a couple places.  That means this is really truly live.

One should always familiarize with the originals first, but even if you don’t have them, Almost Unplugged should be well enjoyed by any discerning rock fan who doesn’t mind when the acoustics come out.

4.5/5 stars

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REVIEW: Europe – Rock the Night: The Very Best of Europe

EUROPE – Rock the Night: The Very Best of Europe (2004)

Europe’s successful reunion was one of the most unexpected of the last decade, but thus far four awesome studio albums have been the result. A tougher more rock-oriented Europe emerged with Start From The Dark, but not before this appropriate retrospective was released. Containing music from the first era of Europe, from their debut album to their fifth, Prisoners In Paradise, this compilation is the ideal summary of the 80’s and 90’s era of the band.

All the casual fans need to know is that all the hits are here, in their original studio versions: “The Final Countdown”, “Cherokee”, “Superstitious”, “Carrie”, and the title track. That’s enough to make this worth buying for many. But also included are great lesser known tracks, many of which were also singles: “Open Your Heart” (the original version from Wings of Tomorrow), “Dreamer”, “Sign Of The Times”, “Heart of Stone”, “The King Will Return”, and many more. Two of my personal favourites are included: The rhythmically powerful “Girl From Lebanon” and the pop yet inspiring “Prisoners In Paradise”.

The diehards are also baited with B-sides and rare tracks. Many of these such as “On Broken Wings” and “Mr. Government Man” have since been issued on Europe remasters and other compilations, but there were a couple I never had before: live takes of “Time Has Come” and “Let The Good Times Rock” from the 1980’s. There’s also a studio track that I’m unfamiliar with called “Here Comes the Night”. This appears to be from the Prisoners In Paradise sessions, previously unreleased, and it’s a decent track. Best for me was a later B-side version of “Seven Doors Hotel”, with Joey Tempest enunciating a lot more clearly.

For my personal tastes, I didn’t like Prisoners In Paradise much. I found it overproduced and way too commercial and American-sounding. Europe were always much more European sounding, like a more radio-friendly Deep Purple or UFO. So there are too many tracks here from Prisoners for me, including a few that I just hate: “Got Your Mind In The Gutter” (dull blooze-rock) and “Seventh Sign” are not that great. But, it is what it is. I preferred a lot of the songs from Out Of This World and previous albums. I would have preferred to hear “Tomorrow”, “Ninja”, or “Paradize Bay”.

But hey, it’s two CDs of Europe, right?  And Europe were and are a good band.  In North America, I don’t think they ever got any respect.  They are remembered here for the big hair, and the big anthem.  That’s too bad.  As this collection demonstrates, Europe had a lot more to offer then.  There are ballads indeed, but there is also mighty heavy metal, many grand melodies, and hard rock performed with precision.

Good liner notes, decent photos.  Good comp.

 

4/5 stars

 

WTF Search Terms: Rock and Roll edition

ELVIS UH

WTF Search Terms VI:  Rock and Roll edition

Welcome back to WTF!  Click here if you missed the last one.  This edition collects some musical Google searches that somehow led people here to this blog.  Enjoy these head-scratchers and WTFs!

This first guy’s obviously an idiot.

10.  steve morse sucks

9. is paul stanley loosoing his voice?

8.  i wouldl like to hear mob rules (why, how polite!)

7. life+it+up+kiss

6.   black sabbath paranoid deluxe edition where is the 3 disc (right there.)

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5.  phrase from what tv show – it’s the final countdown!! (Arrested Development.)

4. puff daddy’s embarring habit

3. new kids on the block poster greatest hits

2. real elvis videos tumblr hornny holes

And this week’s winner:

1. marilyn manson with butt plug

Like the WTF’s?  Then come back soon, or better yet, subscribe!

REVIEW: Europe – The Final Countdown (1986)

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TFC FRONT

EUROPE – The Final Countdown (1986, 2001 Epic remaster)

I remember back in 1986/1987, all the rock magazines were playing on the same angle: Who’s better, Europe or Bon Jovi? Hard to believe that the two bands were once considered on the same playing field, now that Bon Jovi are permanent megastars. Not to mention their music sounds nothing alike!

Everybody knows “The Final Countdown” which received a new life thanks to TV shows shows like Arrested Development. (Gob Bluth uses it as his theme song during his ill-fated magic acts.)  What you may not know is that this album had three other classic singles (“Rock the Night”, “Carrie”, “Cherokee”) and 6 great album tracks with no duds. As an added bonus, this remaster also includes three live tracks from 1987’s Final Countdown World Tour.  These may in fact be the same tracks as the Extended Versions release, but I don’t have that one to verify.

The synth-y title track kicks off the proceedings, its regal anthemic melody setting the mood. A science fiction themed song, the people of Earth have departed for Venus (let’s ignore that Venus is 460 °C). The lyrics…not super great on this album, but let’s not forget that English was their second language and they were still kids at the time. Regardless, “The Final Countdown” is a complete success as a song, from insanely catchy verses to chorus to intricate guitar solo courtesy of John Norum.

“Rock The Night” follows, another catchy song, this time with the guitar handling the meat of the tune. Then, the hit ballad “Carrie”. It’s a bit soft by today’s standards but is still a well written keyboard ballad with a great melody. This is followed by another great rock song, “Danger on the Track”. Vocalist Joey Tempest tells us of a journey followed by “strangers on my back”.  (See, because “back” rhymes with “track”.)  Again, not a great lyric, but it is a great song. Side One of the original LP was finished with the fantastic “Ninja”, which in my own personal world was a single in its own right. The lyrics: “If I were a noble ancient knight, I’d stand by your side to rule and fight.” OK then.

PHANTOM ZONE

Apparently the phantom zone wasn’t just for General Zod.

Side Two kicked off with a riff and a smile, and probably the best tune: “Cherokee”.  The lyrics here are not bad, a tale of the demise of the American Indian. However it is the riff that holds the song down, a typical Norum burner of great integrity. Still can’t tell what that voice says at the beginning of the song, though! The next track is “Time Has Come”, a mid-tempo soft one that I considered filler back then but like quite a lot now. “Heart Of Stone” has a bit more meat to it. This is followed by the fastest and heaviest song on the album, “On The Loose”, which has some of Norum’s best playing. In fact it was this song that brought Norum to my attention as a monster shredder in the first place. After hearing this song, I continued to watch his career with great interest, from solo albums to Don Dokken back to Europe. The album closed with another mid-tempo soft song, “Love Chaser”, which has a keyboard melody reminiscent of “The Final Countdown” itself, bringing us full circle. It is another great tune with killer melody and vocals from Joey Tempest.

The three bonus tracks are live takes of “The Final Countdown,” “Danger on the Track” and “Carrie”. Clearly, Europe could always cut it live.  These are from the Hammersmith Odeon in 1987, and feature Norum’s replacement Kee Marcello on guitar.  Marcello is no slouch, and had a different style to Norum’s, therefore adding another element to the songs.

The Final Countdown is the kind of album that I think should be owned, rather than just pick up a hits disc. You won’t go wrong with any of these ten tracks. The live stuff is just an added bonus.

5/5 stars