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Stephen H. Provost is an author of paranormal adventures and historical non-fiction. “Memortality” is his debut novel on Pace Press, set for release Feb. 1, 2017.
An editor and columnist with more than 30 years of experience as a journalist, he has written on subjects as diverse as history, religion, politics and language and has served as an editor for fiction and non-fiction projects. His book “Fresno Growing Up,” a history of Fresno, California, during the postwar years, is available on Craven Street Books. His next non-fiction work, “Highway 99: The History of California’s Main Street,” is scheduled for release in June.
For the past two years, the editor has served as managing editor for an award-winning weekly, The Cambrian, and is also a columnist for The Tribune in San Luis Obispo.
He lives on the California coast with his wife, stepson and cats Tyrion Fluffybutt and Allie Twinkletail.
Ruminations and provocations.
Filtering by Tag: Def Leppard
Tokyo Motor Fist’s sound is about as close to Hysteria-era DL as you can get. The vocal mix is uncannily similar. But TMF is not a ripoff. Anything but. The tunes are 100 percent original, and they’re better in their own right than almost anything from the heyday of melodic metal back in the ’80s.
Read MoreBored out of your skull because you’re stuck at home with nothing to do during the coronavirus pandemic? Yeah, me too. So, having nothing better to do, I decided to assemble a personal COVID-19 playlist to help fellow stuck-at-home virus-haters pass the time.
My music of choice tends to be rock, so this is a rock playlist. If you want to listen to Adele or Garth Brooks or Tupac or Kanye West or Taylor Swift, uh … sorry.
1983, Pyromania
Key lyric: “All I’ve got is a photograph. I want to touch you.” Great song if you’re separated from your significant other and lamenting how much social distancing sucks.
1974, Phenomenon
Key lyric: “She walked up to me and really stole my heart. And then she started to take my body apart.” This is why you don’t date during a pandemic. (Not to be confused with the Robert Palmer tune. This one rocks harder, which is why it made my list.
1992, Cereal Killer
Key lyric: “Little pig, little pig, let me in. Not by the hair of my chinny-chin-chin.” And that, my friend, is how you keep people from invading your space. (And if that doesn’t work, the lyrics suggest your next step: call Rambo).
1988, New Jersey
Key lyric: “There ain't no doctor that can cure my disease.” Yeah, I know, this is one of those songs comparing love/infatuation with an incurable sickness. But I had to include it because the title fit Donald Trump’s idiotic ideas about injecting bleach and prescribing untested medicine (hydroxychloroquine) all too well.
2015, Immortalized
Key lyric: “And in the naked light I saw, ten thousand people, maybe more: people talking without speaking, people hearing without listening…” Because everything’s virtual now. This is, of course, a cover of the classic Simon & Garfunkel track, but somehow, Disturbed did it better. The sound of silence can now be heard in arenas and stadiums all across the country.
1992, Poetic Justice
Key lyric: “No matter what you are, I will always be with you.” Another cover. This one was originally done (well) by Badfinger, but this more-metal version kicks Axe. How many of us don’t want to “knock down the old gray wall” and “be a part of it all” in the middle of this crisis?
1977, News of the World
Key lyric: “You gotta fight from the inside.” That’s what most of us are doing these days. “You think that out in the streets is all free.” But being out in the streets isn’t such a good idea with that virus floating around. This hard-rocking deep cut’s a hidden gem off one of Queen’s best releases.
1982, Blackout (title track)
Key lyric: “I got lost in a deep black hole. Don't want to find out. Just want to cut out.” Sound familiar?
1992, The Southern Harmony and Musical Companion
Key lyric: “All I want is a remedy.” A vaccine would be nice, too.
1990, The Real Thing
Key lyric: “You want it all, but you can’t have it. It’s in your face, but you can’t grab it.” No, you can’t. You’ve gotta stay inside. Sucks to be you.
1993, Get a Grip
Key lyric: “There's somethin' wrong with the world today, I don't know what it is… Tell me what you think about your situation: Complication, aggravation is getting to you.” Sounds about right. If a pandemic doesn’t put you on edge (and on THE edge) what will?
1991, Use Your Illusion I
Key lyric: “There were always ample warnings. There were always subtle signs. And you would have seen it coming. But we gave you too much time.” (U.S. government response?) Also: “All I needed was clarity, and someone to tell me what the fuck is going on. Goddamn it.” My favorite cut from the Gn’R catalog, an epic 10-minute cut that describes a coma from the patient’s point of view.
2009, Metamorphosis
Key lyric: “Are you sick of just getting by? … Change or die!” Pretty much what we have to do. Ironically, it’s what the virus has to do, too. It’s got to mutate fast enough to stay ahead of any treatment we might develop. The album title, Metamorphosis, says it all.
2020, single
Key lyric: “We're afraid of everyone. Afraid of the sun. Isolation.” This collaboration from the guitar legend and Captain Jack Sparrow was actually released during the crisis, but it was written by John Lennon back in the 1970s. It may be hard to imagine, but (with apologies to the Beatle genius), the Beck-Depp version is better. Said Beck: “Given all the hard days and true ‘isolation’ that people are going through in these challenging times, we decided now might be the right time to let you all hear it.” Can’t argue with that.
1990, Heartbreak Station
Key lyric: “Sick for the cure on this roller coaster ride… I just wanna be free, free like the wind.” With all the projections, daily updates, encouragement tempered by words of warning, it sure has been a roller coaster ride. Wanna be free again? Don’t we all!
2017, Virus (title track)
Key lyric: “This poison fills my lungs, but I won't let it fill my soul… You’re just a virus, and I didn’t come here to die.” The kind of defiant anthem for those who have dealt with the virus on a personal level: “When I fight, I remember why I'm still alive. I'm holding onto what is left inside.”
1976, Rocks
Key lyric: “Sick as a dog. What’s your story? Sick as a dog. Cat got your tongue. Sick as a dog. You’ll be sorry. ’Cause you really ain’t that young.” Yeah, if you’re over 60, you’d better watch out. Steven Tyler and Tom Hamilton wrote this long before the pandemic, and it has nothing to do with the coronavirus, but it sure as hell seems to fit.
2000, The Sickness
Key lyric: “I can see inside you, the sickness is rising. Don't try to deny what you feel. (Will you give in to me?)… It seems you're having some trouble in dealing with these changes, living with these changes (oh no). The world is a scary place.” It sure is. “You feel that? Ah, shit.” Singer David Draiman even sounds like he’s going to cough up a lung. A little too close to home, but still a great cut.
1994, Pawn Shop Guitars
Key lyric: “Cure me. Or Kill me. But don't leave me here for dead. Again.” Feel like you’re stuck in limbo because of this damned virus? If so, this the perfect cut to rock out to. For the uninitiated, Gilby Clarke replaced Izzy Stradlin in Guns N’ Roses before the band imploded. Then he put out a solo album with this as the lead single. More than a quarter-century later, it’s note-perfect.
2014, Epidemic EP (title track)
Key lyric: “We are infected and no one is protected … There's no cure for what's in us … Now there's poison on our tongues. This epidemic's gonna kill us all.” The song’s really about cynicism and judgmentalism. It’s perfect in describing both the COVID-19 crisis and the political idiocy and finger-pointing that persists in spite of the fact we’re all fighting for our lives.
I’m sure I’ve missed some, but those are my favorites. Feel free to contact me with any you think should be on the list.
Rock on and stay safe.
Stephen H. Provost is the author of Pop Goes the Metal: Hard Rock, Hairspray, Hooks & Hits, chronicling the evolution of pop metal from its roots in the 1960s through its heyday as “hair metal” in the 1980s and beyond. It’s available on Amazon.
There aren’t many things more subjective than a “best of” music list. And, since I like music — and being subjective, I thought I’d put together my own. My first subject of choice? The rock anthem.
Even the definition of a rock anthem is subjective. A site called DigitalDreamDoor, which compiled its own list, described it as: “a powerful, celebratory rock song with arena-rock sound often with lyrics celebrating rock music itself and simple sing-a-long choruses, chants, or hooks.” I like that definition, so I figured I’d use it as a starting point here.
But be warned: You won’t agree with everything on this list. You won’t find most of the obvious choices here, even if they’re among my favorites. (Examples: “Won’t Get Fooled Again,” “Born to Run” and “Rock and Roll All Nite.” And no, streetlight people, you won’t find “Don’t Stop Believin’” here, either.)
What you’ll find below are my selections of underappreciated anthems from the 1970s through the new millennium. They’re not necessarily the most popular or most played. In fact, I went out of my way to pick some surprising tracks that probably won’t appear on many lists.
So here goes:
Yeah, it’s a synth riff, but it’s still a killer riff. An almost one-hit-wonder (this Swedish band also charted with “Carrie” from the ’80s), this song was all over MTV in the hair-metal days. But it seldom appears on any list of anthems, so I wanted it on mine.
“The words of the prophets are written on the studio walls.” Indeed. The more obvious choice might be their biggest hit, “Tom Sawyer,” but this one came out a year earlier... and I like it better. I actually like “Freewill” off the same album (“Permanent Waves”) better, but this fit more the definition of an anthem better.
The Ramones came out with the original version of this tune in 1979, but I prefer KISS’ version on the 2003 tribute album, “We’re a Happy Family.” Sure, most KISS fans would choose “Rock and Roll All Nite,” but as iconic as that tune is, I’ve heard it so often I wanted something different, and this cover is surprisingly good, especially since it isn’t from their golden era.
Most people would probably choose “Livin’ on a Prayer,” right? Well, this later selection – from the 1999 release “Crush” is every bit as much of an in-your-face affirmation and just as catchy, in my book. It’s only disadvantage was the fact that it wasn’t included on the mammoth smash CD “Slippery When Wet.” Still, it was a No. 1 hit in Europe.
Confession: This one is a guilty pleasure of a karaoke track for me. I never owned a Loverboy album, and I doubt I ever would, but this track is easily the catchiest and most anthemic song they ever put out. The lead track from their smash sophomore release, “Get Lucky,” it got all the way to No. 2 on the Billboard Album Rock Tracks chart.
Foreigner’s fourth album, aptly titled “4” had two No. 1 Mainstream Rock hits and a No. 3 entry in the form the anthem “Juke Box Hero.” The band never released the album’s other anthem as a single, but it was just as good – better, I think. “I’m Gonna Win” is the perfect soundtrack for anyone determined to overcome an obstacle. That’s why I chose it.
The lead track off Benatar’s “Wide Awake in Dreamland” LP, “All Fired Up” just barely cracked the top 20, peaking at No. 19. It was actually Benatar’s last song to even chart on the Billboard Hot 100. She’s better known for “Love is a Battlefield” and the similarly anthemic “Invincible,” but you’d be hard-pressed to find a more empowering song than this one in her catalog. Or, for that matter, anywhere.
Every bit as catchy as her monster hit “I Love Rock and Roll,” which topped the charts seven years earlier, this tune came from the former Runaway’s sixth album, “Up Your Alley.” It got as high as No. 8, making it her third, and last top 10 hit. A virtuoso at cranking out cover songs that were harder-hitting than the originals, Jett actually co-wrote this one herself, with Desmond Child.
Not as well known as the David Bowie-penned “All the Young Dudes,” this was nonetheless a standout track from the British band, which took it to No. 16 on the UK singles chart. If I had my druthers, I’d go with Def Leppard’s 2006 cover version, but I promised to limit myself to one selection per artist. If I hadn’t, I’d have four or five Def Leppard songs on this list.
I had to include something by Green Day. The only question was whether it would be this one or “Basket Case.” I chose the title track to their 2004 chart-topping album of the same name mainly for the lyrics: “Don't wanna be an American idiot – One nation controlled by the media – Information Age of hysteria – It's calling out to idiot America.” They just didn’t know how bad it would get.
No, not “Get it On (Bang a Gong).” Unlike that one, this far more anthemic selection never was a hit in the states. There’s no accounting for taste. One of the heaviest tunes Marc Bolan and company ever put out, it’s another one that was covered admirably by Def Leppard in 2006. Despite Bolan’s lack of hits in the U.S., T. Rex made it into the Rock and Roll Hall Fame this year – and deservedly so.
Jimmy Eat World was one of my favorite alternative rock bands around the turn of the 21st century, and this was by far their biggest hit, a serenade for anyone who feels like they’ve taken a gut punch from life. “Hey, don’t write yourself off yet. It’s only in your head you feel left out and looked down on.” It hit No. 1 on the Billboard Alternative Songs chart.
I never got into My Chemical Romance, but somehow this song and its follow up, “Desolation Row,” both stuck with me. “Teenagers” only hit No. 67 on the Billboard chart (“Desolation Row” didn’t even make the Hot 100), a far cry from their biggest release, the previous years’ “Welcome to the Black Parade,” which got to No. 9. But a catchier tune is hard to find.
For my money, “Highway to Hell” and “Back in Black” can’t hold a candle to this revved-up rocker off “Powerage,” which didn’t even chart in the U.S. Not that AC/DC ever was a singles band, anyway. Despite that, at my high school, the local album rock station was already playing AC/DC in such heavy rotation I got sick of them. I never got sick of this one, though.
Donnie Iris never looked much like a rocker, even after he stopped going by Dominic Ierace. The guy always seemed like someone had kidnapped Buddy Holly, given him a New Wave makeover, and transplanted him in the 1980s. But looks can be deceiving. This is an amazingly simple but absolutely killer track that was his only Mainstream Rock top 10 entry, at No. 9.
I swear, when this single off the Beastie Boys’ debut album exploded onto the radio in’86, I had no idea they were a hip-hop band. I didn’t even know what hip hop was. This sounded like the epitome of hard rock rebellion, the kind of hook-laden powerhouse that made “We’re Not Gonna Take It” sound like a lullaby. Still, in my opinion, the best thing they ever released.
I confess, I’m a Van Hagar guy. David Lee Roth’s whooping and posing never did it for me. The Red Rocker was a meat-and-potatoes good-time partier who could actually play guitar. And this, just his second top 40 hit on the rock chart, is more of an anthem (closest competition: “Right Now”) than anything he or DLR ever put out with Eddie and Alex.
The album of the same name was, in many ways, a disappointing follow-up to the one-two punch of “Toys in the Attic” and “Rocks.” But the title track was killer. Everyone remembers “Walk This Way,” and rightfully so, but Joe Perry’s guitar riff on this was big enough to carry the whole album. The band was in the twilight of its golden era and had to hit rock bottom before resurrecting itself a decade later.
Def Leppard’s second single off their second album didn’t chart, but I heard it on the radio, and I was sold. It was a close call between this one, “Let’s Get Rocked” and “Rock of Ages” on which would make the list. But this was my first impression of the band, and it definitely stayed with me. Oddly, I never bought this album (“On Through the Night”), but I’ve picked up every one since.
This may be the only “obvious” choice on the list, and it tops many others’ anthem rundowns. But there’s a twist: This is not the album version, it’s a revved-up, double-speed racer from Queen’s double-live “Killers” album, recorded in Montreal four years after the studio version came out. It’s even more of a balls-out rocker than the original. That’s why it’s on the list.
Yes, this is obscure. This New Orleans-based band never placed even one single on the charts, but they did put out a handful of sophisticated yet hard and heavy albums in over the years. This particular tune got into rotation on MTV. It was a cover of the old Badfinger hit, and – as much as I love Badfinger – it just blows the original away. It’s even better than Def Leppard’s cover, which is saying something.
It’s odd, in a way, that Zep didn’t put out any anthems. Some folks might cite “Rock and Roll” as their definitive contribution to the style. But I’d put this one ahead of it. Robert Plant’s opening wail is rivaled only by Paul Stanley’s for Kiss’ “Heaven’s On Fire,” and the rest of “Immigrant Song” doesn’t let up a bit. It sounds just like a Viking invasion, and the line “hammer of the gods” became a signature for the band.
For many U.S. fans, the Sweet-est anthem might be “Ballroom Blitz.” U.K. fans would probably prefer “Block Buster.” Either would be a worthy choice. But this track off “Give Us a Wink” really cemented Sweet’s status as more than bubblegum rockers. Unfortunately, the band went downhill shortly thereafter, hindered by the (now late) lead vocalist Brian Connelly’s substance abuse.
Weezer isn’t the kind of band you’d expect to put out an anthem, but when they decided to do so, they hit it out of the park. You won’t find this song on any of their albums. They dropped it free on iTunes in 2010 to mark the U.S. soccer team’s first meeting with England in 60 years. The song is dripping with fist-pumping swagger. Oh, the game? It ended in a 1-1 draw.
I’m from the Classic Rock era, but like my No. 2 choice, this isn’t a Classic Rock arena anthem. I couldn’t name another Muse song if you asked me, but this is darn near the perfect anthem. “Uprising” hit No. 1 on the Alternative Songs chart, fueled by some of the most defiant lyrics: “They will not force us. They will stop degrading us. They will not control us. We will be victorious. (So come on!)”
Top photo: KISS in 2013, Wikimedia Commons
Stephen H. Provost is the author of Pop Goes the Metal: Hard Rock, Hairspray, Hooks & Hits, chronicling the evolution of pop metal from its roots in the 1960s through its heyday as “hair metal” in the 1980s and beyond. It’s available on Amazon.
"Do you really, really wanna do this now?" Joe Elliott asks at the outset of Def Leppard's self-titled 2015 release.
My answer? Hell yeah. I've been waiting nearly 30 years for a worthy follow-up to Hysteria, and it sounds to all intents and purposes like this is it. That's not to say that The Leps' other releases between then and now didn't have their share of highlights, but - with the exception of the fantastic cover album Yeah! (2006) - they haven't put all the parts together in a single release since then.
That changed with this fall's eponymous outing, which guitarist Phil Collen has called "probably the most diverse thing we've ever done." Full disclosure Part 1: I don't write many music reviews (this is the first one on this blog). Full disclosure Part 2: I've been a Def Leppard fan since I first heard Rock Brigade on the radio in 1980, and the only published music review I have written was of a DL concert earlier this year.
The Leps didn't play any songs from the new CD at that show, and it had been so long (seven years) since they'd put out an album of all-new material, they caught me napping and sneaked this one by me, releasing it in October when I wasn't paying attention.
This album accomplishes something unique: It manages to be derivative and entirely original at the same time. That might seem like a cut, but it's not. Only a band with this level of expertise and breadth of influences could manage to acknowledge so many of them and still sound fresh 35 years into their recording career. No, this won't rocket to the top of the charts the way Hysteria did back in '86 (pun intended) - musical tastes have changed too much. And I'm not going to go as far as to say it's a match for that classic CD, but it comes a lot closer than anyone had a right to expect.
Bands often go through a three-album "peak" during their careers. The Beatles had an arc of Rubber Soul, Revolver and Sgt. Pepper. Queen had A Night at the Opera, A Day at the Races and News of the World. (I mention those particular bands in part because their influence is apparent on this album.) For Def Leppard, it was High 'N' Dry, Pyromania and Hysteria - three releases produced by Mutt Lange.
(Fun exercise: Take a listen to Honey I'm Home by Lange's then-wife, Shania Twain, and tell me it doesn't sound like countrified Def Leppard.)
To climb back close to that level at this stage in their career is quite an accomplishment, and they've done it by paying tribute to both their influences and their own history. The album opener, Let's Go, was obviously written to be a concert opener, as well. With lyrics like "welcome to the carnival, welcome to the party, welcome to the edge of your seat," it of reintroduces the band to its audience in much the same way KISS reintroduced itself with the tune Psycho Circus 17 years ago (has it really been that long?).
Let's Go sounds familiar right out of the blocks. It starts off like the intro to Let's Get Rocked (Adrenalize, 1992), morphs into a riff reminiscent of Pour Some Sugar On Me (Hysteria, 1987) then takes off in a different and thoroughly satisfying vein altogether. The band's fondness for Queen, which has surfaced at various points throughout their career, appears for the first time in this track, the album's first single: I could almost swear that's Brian May on parts of that guitar solo.
The album's second track, Dangerous, is reminiscent of Promises, one of the two best tracks (with Paper Sun) off 1999's Euphoria, spiced with a dose of Hysteria-era styling. It doesn't quite live up to Promises, but it's not a pale imitation, either.
It's the third track, though, that seems the most familiar of any on the album. Try singing the lyrics to Queen's 1980 megahit Another One Bites the Dust along with the music to DL's Man Enough. It doesn't quite work, but it's close, and the fact that both tunes are built around pounding bass lines makes them seem even more similar. In all, Queen's heavy bass-funk era is my least favorite, but even with that said, I found myself enjoying this tune. It works the same way DL's take on Rock On worked on Yeah!
We Belong, the fourth track, is a lighter-raising ballad along the lines of Hysteria that, again, doesn't quite live up to that tune - but not much does. It's also fun to hear different members of the band take turn on vocals, giving Elliott a break. As Phil Collen proved on a dynamite cover of Rod Stewart's Stay With Me (Yeah!), he has the chops to carry off lead vocals.
The next three cuts - Invincible, Sea of Love and Energized - all hold their own. I liked the first of the three out of the gate, and the other two grew on me with repeated listening (this is the first album in years that I've enjoyed enough to keep on continuous iPod repeat for more than a day). Sea of Love particularly has quite a kick, but it offers an inverted song structure: The verses rock hard, while the chorus chills out a bit. This put me off initially, but I got to like it as time went on.
The second half of the album is, if anything, stronger than the first. At 14 tunes, it's actually two songs longer than Hysteria, although its running time is about 8 minutes shorter because the cuts are more compact.
All Time High features a rousing chorus that sounds like something out of the Pyromania/Hysteria era. It's followed by Battle of My Own, which slithers along through the sonic Bayou like a gator on the prowl. One of the album's best cuts, it's also one of six that founding member and bassist Rick Savage had a hand in writing. (Interestingly, that collection doesn't include the bass-heavy Man Enough.) Each of the six is among the album's standouts.
If you can get past the opening lyrics ("I'm not well, I'm mad as hell. Come over here, I'll ring your bell"), Broke and Brokenhearted really rocks, with a mid-section jam that keeps it humming along through a charged-up, fast-paced 3-plus minutes.
Forever Young is probably the only song on the album that I tend to skip past. I can't tell you exactly why; it just didn't quite work for me.
The last three songs, however, more than make up for any deficiency there. The acoustic strummer Last Dance (a tune Savage wrote solo) sounds like something the Eagles might have left of The Long Run and reminds me a bit of Orleans' Dance With Me.
Wings of An Angel sounds the closer to High 'N' Dry-era DL than anything else here, and stacks up well against cuts from that classic release.
But it might be argued (and I will contend) that the band saved the best for last with Blind Faith, which veers from intense acoustics to Beatlesque bridge to bombastic rock near the end. In that sense, purely on structure, it's built like a condensed Bohemian Rhapsody. The Beatlesque interlude sounds like something straight out of Strawberry Fields Forever and is, fittingly, introduced by the phrase "follow you down" - a takeoff on "let me take you down?" Perhaps.
If you think I'm overreaching with the Queen comparisons simply because I count both bands among my all-time top 5, I'll defer to Elliott, who made the comparison himself in an interview: "Every single aspect of anything we've ever wanted to put out - acoustic, heavy, soft, slow, fast - it's there. That's why we call it 'Def Leppard,' because, just like Queen were, we're capable of coming up with vastly different kinds of songs."
Bands routinely talk up their latest releases as the best thing they've ever done, and they're almost always full of hot air. But while Def Leppard-the album may not be Hysteria or Queen's A Day at the Races, it's as close as anyone's come in a long time.
