Post by jptheprofessor on May 8, 2008 14:53:48 GMT -5
DEF LEPPARD – SONGS FROM THE SPARKLE LOUNGE (Bludgeon Riffola) Def Leppard’s two-decade span since their biggest success, 1987’s Hysteria, has been interesting. 1992’s Adrenalize tried to milk the Hysteria formula for all it was worth, before 1996’s Slang abandoned the shadow of Hysteria and its wall-of-guitar sounds altogether. The next two albums, 1999’s Euphoria and 2002’s X, found Def Leppard trying to blend their traditional guitar rock sound into the current age. Then an interesting thing happened two years ago; the group reconnected with their 70’s British rock inspirations on the cover album Yeah!. Perhaps reinvigorated by that nostalgic blast, Def Leppard delivers their catchiest and strongest set since Hysteria on their latest album, Songs from the Sparkle Lounge. Catchy song hooks and lethal guitar riffs make their full return in a way not heard since Hysteria, or even more so, 1983’s Pyromania. The album’s overall sound is lean and hungry, like a band happy to have rediscovered their early chemistry. Songs like the Tim McGraw-assisted first single “Nine Lives,” “Tomorrow,” “Hallucinate” and the fast-firing “Bad Actress” immediately recall Def Leppard’s peak 80’s period, while “Come Undone” launches with a monster riff that punches you squarely in the jaw. Def Leppard continues to celebrate their 70’s British roots on two tracks, the Gary Glitter-like romp “C’Mon C’Mon” and the Queen-like pseudo-operatic ballad, “Love.” Def Leppard doesn’t totally dwell in their past sound, though, as the political-geared numbers “Go” and “Cruise Control” and the album closer “Gotta Let It Go” lean towards more modern rock flavors. Def Leppard learned their production lessons from Mutt Lange well; and co-producing the album with Ronan McHugh, they give Sparkle Lounge enough sparkle without overdoing it, allowing their rock firepower and song hooks to carry the day. Songs from the Sparkle Lounge is a fun, good-feeling, hard-rocking album where Def Leppard finally and fully gets back to being Def Leppard. This is easily their best since Hysteria and Pyromania, and a welcome return to form.
ROSE TATTOO – BLOOD BROTHERS (Armageddon Music) Formed by guitarist Peter Wells in 1976, Rose Tattoo surfaced from the same Australian pub rock scene that gave us AC/DC, demonstrating a similar but nastier-tempered brand of blues-rooted raunch rock. After Wells gave his blessing for the band to continue prior to succumbing to prostate cancer in 2006, the ‘Tatts’ celebrated their camaraderie and survival as a band with their latest album, Blood Brothers. Dedicated in memory of Wells, as well as deceased founding bassist Ian Rilen and drummer Dallas “Digger” Royal, Blood Brothers features eleven pounding and swaggering tracks in the best Rose Tattoo tradition. The stomping album-opening remake of the Easybeats’ “Black Eyed Bruiser” (written by Harry Vanda and George Young, who produced Rose Tattoo’s and AC/DC’s early albums) throws down the gauntlet and challenges all comers in the tradition of past Tatts anthems like “Rock’n’Roll Outlaw” and “We Can’t Be Beaten;” “Man About Town” echoes a similar sentiment later in the album. The fast and raucous “Slipping Away” examines the point when lives plummet into the abyss; while the following number, “Once in a Lifetime,” conversely explores that defining moment of self-realization and enlightenment. The spirited “1854” is an anthem of solidarity that references Australia’s Eureka Stockade Miners Rebellion in 1854, a gold miners’ uprising that led to governmental reforms; who ever said Rose Tattoo couldn’t be educational? Singer Angry Anderson teaches a sex ed lesson on the slinky and sleazy “Sweet Meat,” while the whole band celebrates the discerning nymphomaniac on the album closing romp “Lubricated.” Rose Tattoo slows it down once on the album, describing broken lives and dreams on “City Blues.” Angry Anderson remains front and center; his howl has matured over the years from a feral 80’s scream to a bluesier Steve Marriott-styled wail. Just as prominent, though, is the expressive slide guitar work by Peter Wells' replacement, Dai Pritchard, coloring and emphasizing the moods of each song while working in tandem with the tough chords and slicing leads of Michael Cocks. Paul DeMarco’s booming beats and Stephen King’s bass rumble provide the thunder that powers these songs forward. Produced by Mark Opitz, Blood Brothers sounds full, loud, proud and thunderous, leaving Rose Tattoo’s signature sound sharp-edged and dangerous. Rose Tattoo doesn’t just celebrate their survival after three decades on Blood Brothers; they proudly stand their turf, ready to teach all young challengers a lesson. Long live the Tatts! (The album will be released in the U.S. in June.)
ROSE TATTOO – BLOOD BROTHERS (Armageddon Music) Formed by guitarist Peter Wells in 1976, Rose Tattoo surfaced from the same Australian pub rock scene that gave us AC/DC, demonstrating a similar but nastier-tempered brand of blues-rooted raunch rock. After Wells gave his blessing for the band to continue prior to succumbing to prostate cancer in 2006, the ‘Tatts’ celebrated their camaraderie and survival as a band with their latest album, Blood Brothers. Dedicated in memory of Wells, as well as deceased founding bassist Ian Rilen and drummer Dallas “Digger” Royal, Blood Brothers features eleven pounding and swaggering tracks in the best Rose Tattoo tradition. The stomping album-opening remake of the Easybeats’ “Black Eyed Bruiser” (written by Harry Vanda and George Young, who produced Rose Tattoo’s and AC/DC’s early albums) throws down the gauntlet and challenges all comers in the tradition of past Tatts anthems like “Rock’n’Roll Outlaw” and “We Can’t Be Beaten;” “Man About Town” echoes a similar sentiment later in the album. The fast and raucous “Slipping Away” examines the point when lives plummet into the abyss; while the following number, “Once in a Lifetime,” conversely explores that defining moment of self-realization and enlightenment. The spirited “1854” is an anthem of solidarity that references Australia’s Eureka Stockade Miners Rebellion in 1854, a gold miners’ uprising that led to governmental reforms; who ever said Rose Tattoo couldn’t be educational? Singer Angry Anderson teaches a sex ed lesson on the slinky and sleazy “Sweet Meat,” while the whole band celebrates the discerning nymphomaniac on the album closing romp “Lubricated.” Rose Tattoo slows it down once on the album, describing broken lives and dreams on “City Blues.” Angry Anderson remains front and center; his howl has matured over the years from a feral 80’s scream to a bluesier Steve Marriott-styled wail. Just as prominent, though, is the expressive slide guitar work by Peter Wells' replacement, Dai Pritchard, coloring and emphasizing the moods of each song while working in tandem with the tough chords and slicing leads of Michael Cocks. Paul DeMarco’s booming beats and Stephen King’s bass rumble provide the thunder that powers these songs forward. Produced by Mark Opitz, Blood Brothers sounds full, loud, proud and thunderous, leaving Rose Tattoo’s signature sound sharp-edged and dangerous. Rose Tattoo doesn’t just celebrate their survival after three decades on Blood Brothers; they proudly stand their turf, ready to teach all young challengers a lesson. Long live the Tatts! (The album will be released in the U.S. in June.)