phil collen

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

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  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

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 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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  • Hysteria

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

REVIEW: Def Leppard – Historia (1988 VHS)

DEF LEPPARD – Historia (1988 Polygram VHS)

When I was a kid, I wanted to collect “all” the Def Leppard music videos.  Hysteria was pretty much my favourite album for two years.  Their videos were ubiquitous.  Any time MuchMusic had a new one to debut, you could count on it being a hit.  “Pour Some Sugar On Me” was the anthem of the summer of ’88 and the video was on all the time.  But some Def Leppard videos were played far less frequently.

The 1988 VHS Historia collected all Def Leppard’s music videos up to “Love Bites”, along with some rare television performances that never aired over here.  They were introduced by quaint title cards, and each video was presented in full — no edits.

“Hello America” with Pete Willis was the first one we’d never seen before.  Why was the drum kit out front?  Nobody knew, but this cool song sounded like a lost hit.  The “fake live” trio of “Let It Go”, “High ‘N’ Dry”, and “Bringing on the Heartbreak” ended the Willis era of music videos.  These three were seen on TV here, but only rarely.  “Heartbreak” was the original album mix.

The big three Pyromania videos by David Mallet were up next, “Photograph” in its uncensored version.  Then there’s a TV performance (lip syncing of course) of “Too Late For Love”.  This includes a neat set up with Steve Clark and Phil Collen coming down these hydraulic staircases. When spending the money to buy a VHS tape of music videos you can see on TV, it’s nice to get real rarities like this.

“Rock! Rock! (Till You Drop)” is another serious rarity from Japanese TV. With Union Jacks draped behind, Leppard rarely looked this cool. It’s no shirt required for Rick Allen, and a mop-topped Joe Elliot screams behind his hair into the microphone cupped in his hands. Unfortunately, during the guitar solo the director chose to focus everywhere but on Phil for most of it.

After Pyromania blew up all over the world, Leppard reissued Hign ‘N’ Dry with two bonus tracks.  Music videos were made for each:  The remixed versions of “Bringing on the Heartbreak” and “Me and My Wine”.  The DVD release is mucked up and includes the wrong audio instead of the remix of “Heartbreak” but the VHS has everything right.  These two videos are exact opposites.  “Heartbreak” is a high budget extravaganza with the two guitarists playing on massive silos, smoke all around.  Then there’s Joe crucified on a barge for some reason.  The performance stuff is pretty cool at least.  But “Me and My Wine” is a total contrast, just Leppard jamming it up in a cheap flat, wrecking stuff and playing in the showing.

And then finally it’s the Hysteria era, the big big hits with the million dollar videos.  “Women” was cool, with that Def Leppard comic book theme.  “Animal” and “Hysteria” had a lot of mainstream play.  There’s also the original UK version of “Pour Some Sugar On Me”, with Leppard playing in a house in the midst of demolition.  The “fake live” US version is also included, with the familiar extended remixed intro that was actually unreleased in audio form at that time.  It is paired with “Armageddon It”, made from the same batch of concert footage.

Finally, in the days before hidden CD tracks were all that common, Leppard hit you with an unlisted bonus video.  It’s “Love Bites”, the brand new video that shortly took over the world for them once more.

Videos weren’t cheap to buy — they were $25 to $30 for something like Historia.  What you wanted was value for your money (stuff you didn’t see on TV) and rewatchability.  Historia was constantly in our VCR, often for a full play-through.  It more than earned its share of my allowance.

5/5 stars

REVIEW: Def Leppard – Los Angeles 1992 (bootleg)

Gifted to me by the notorious Aaron of the KMA!

DEF LEPPARD – Los Angeles 1992 (Red Line bootleg CD)

It’s the Seven Day Weekend tour!  Def Leppard brought back the “in the round” stage concept from their previous tour and played a set of hits with a few deeper cuts.  This audience recorded bootleg captured the Los Angeles date permanently.

Wasting no time, it’s straight into the first single “Let’s Get Rocked”.  I have never particularly felt this song was as strong as past efforts, but Def Leppard had overcome such tragedy.  I was willing to forgive them for painting by numbers a bit with the new songs.  One thing apparent on a bootleg with no post-production sweetening:  Def Leppard’s vocals are 100% live.

Right into something better, it’s “Tear It Down”, better because it’s originally a B-side from the inspired Hysteria sessions.  Speaking of Hysteria, onto “Women”!  You can hear that new guitarist Vivian Campbell fit right in, seamlessly.  A couple seriously great tunes follow — “Too Late for Love” from Pyromania and Hysteria‘s title track.  Two of Leppard’s most accomplished singles.  Slower, ballady, and not at all weak.  “Hysteria” live begins just a little differently, but quickly becomes familiar and authentic.

I never cared for “Make Love Like a Man”, but it’s a temporary speedbump before a deeper track.  “White Lightning”, the tribute to the late Steve “Steamin'” Clark is very hard to find live.  This is the first version I’ve owned.  It’s every bit as epic as it deserves to be.  The stone cold classic “Foolin'” follows, and the Los Angeles crowd goes nuts when the track explodes.  They are just as excited for “Animal”, sounding brilliant in live form, although hampered on audio by a loud talker in the crowd.  New guy Vivian Campbell gets a big showcase solo next.  I’m sure this show is edited down to fit on CD, since Phil usually gets a big solo too.*  Viv’s is impressive and he gets to show off his shred a little bit, though his solo is more of an instrumental composition that sounds delightfully Vai-ish.

Another big epic, “Gods of War” from Hysteria is a serious thrill and chill.  Say what you will about Leppard’s more pedestrian material.  When they wanted to do something a little more challenging, they nailed it.  A big long version of “Rocket” including the “Whole Lotta Love” segue closes the CD prematurely, which is a shame, and one can hope that the second half of the set was issued elsewhere.

4/5 stars

*Here is the full setlist that night according to setlist.fm:

  • Let’s Get Rocked
  • Tear It Down
  • Women
  • Too Late for Love
  • Hysteria
  • Make Love Like a Man
  • Guitar Solo (Phil Collen)
  • White Lightning
  • Foolin’
  • Animal
  • Guitar Solo (Vivian Campbell)
  • Gods of War
  • Rocket (
  • Acoustic Medley Section
    Enter Sandman (Metallica cover) (Vivian)
    Back in Black (AC/DC cover) (Phil)
    Tonight (acoustic)
    You Can’t Always Get What You Want (The Rolling Stones cover) (acoustic)
    Bringin’ on the Heartbreak (acoustic/electric)
  • Have You Ever Needed Someone So Bad
  • Armageddon It
  • Rock of Ages
  • Pour Some Sugar on Me
  • Encore:
    Love Bites
    Photograph

REVIEW: Def Leppard – The Lost Session (2018)

DEF LEPPARD – The Lost Session (2018 iTunes)

Cast your memories back to 2012.  Def Leppard re-recorded some very high quality “forgeries” of some of their classic hits for iTunes.  Three of these iTunes singles were released:

  1. “Pour Some Sugar On Me” / “Rock of Ages”
  2. “Acoustic Medley 2012”
  3. “Hysteria 2013”

The iTunes exclusive concept dried up for Def Leppard afterwards, but in 2018 we got six more tracks, from a 2006 “lost session”.  The rest of the songs don’t sound like “forgeries”, as the first ones did.  These are listed on iTunes as “live”.  They are not.  They are also not meticulously recorded recreations.  They lie somewhere between:  not fully live, but raw in a way that Leppard rarely are.

There are a number of surprises in the re-recordings.  First and foremost:  “Let It Go”!  Any Leppard fan will tell you that the 1981 High N’ Dry LP is Leppard at their early, heavy best.  While nothing can compete with the Mutt Lange produced original, the re-recording is still razor sharp.  It gives you a chance to hear Phil Collen and Vivian Campbell on lead guitar.  The pair do not attempt to imitate Pete Willis and Steve Clark, instead blazing their own trail.

You don’t have to wait for the second surprise, a baffling one indeed: a re-recording of “Rock On” from 2006’s covers album Yeah!  Why do Leppard keep playing this song?  (It was even on their recent Best Of.)  Considering how they’ve beaten this dead horse, it’s actually not much of a surprise after all.  It was a boring song to start with, and Leppard can’t save it just by throwing down more guitars.  “When Love and Hate Collide” is another surprising choice to re-record.  The guitars are pretty incredible, but it’s just a ballad from a 1995 greatest hits CD.

“Foolin'” from Pyromania is missing the atmosphere of the original, but otherwise hits all the notes.  Joe Elliott still has an enviable voice.  Then it’s “Promises” from Euphoria, their best song from a dreary era.  Sure it’s a formulaic rewrite of their best hits rolled into one, but it works.  This re-recording is closest in sound and spirit to the original (from 1999).  Finally “Bringing On the Heartbreak” is a smokeshow as the closer.  It’s hard to really call it a ballad; there is some heavy rocking here too.  The guitars sound fabulous.  Def Leppard may no longer be the band they were in the 80s, but Phil and Viv are two of the best players in the game.  They don’t show off, so people rarely think of them when listing great guitarists.  But they are.  The outro solo (sounds like Vivian) nails it!

Def Leppard’s Lost Session is perfect for the fans who have it all.  Re-recordings are almost always very dicey cash grabs.  Leppard’s are worth the purchase.  They’re not cheap knock-offs.  New slants are fused with the old classics, so take these songs out for a fresh spin.

3.5/5 stars

 

 

 

 

REVIEW: Def Leppard – Hysteria (2017 5 CD/2DVD 30th anniversary edition)

This is the ultimate review of Hysteria. Some material is recycled from:

This review covers everything you need to know about the ultimate version of Hysteria.

DEF LEPPARD – Hysteria (2017 Universal 5 CD/2DVD 30th anniversary edition)

25 million copies sold.  Seven hit singles.  A two year world tour.  All done under the most difficult circumstances.  Def Leppard’s Hysteria is one of rock’s greatest triumphs.

Although the album was released in 1987, the Hysteria story really begins on December 31, 1984.  Drummer Rick Allen lost control of his speeding Corvette, and was thrown from the vehicle due to improper use of seatbelts.  His left arm was severed.  Doctors attempted to re-attach the arm, but infection set in and it could not be saved.  It would be understandable if people thought Rick’s career in music was finished.  While many artists from Django Reinhardt to Tony Iommi had dealt with physical disabilities, nobody had ever seen a one-armed rock drummer before.

Undaunted, Allen began working on a way around his disability.  The band never considered a future without him, and were disappointed by “ambulance chasers” looking for a gig.  Rick Allen wasn’t about to allow himself to go down or dwell in his misery.  With an electronic kit triggered by his feet and right hand, Allen eventually regained his ability to not only play drums, but play live.  This resulted in an inevitable stylistic change.  Allen’s drumming style became more staggered, with emphasis on bigger, spaced out snare hits.  His electronic kit was no crutch:  singer Joe Elliott said he could play it “and make it really sound terrible”.

The next album was supposed to be a big deal.  It was Phil Collen’s first Def Leppard LP as a writer, and Rick’s chance to prove he wasn’t out.  Unfortunately, when the band started to record, producer Robert John “Mutt” Lange was not available.  Instead the band began to work with Jim Steinman (Meat Loaf), but were underwhelmed by the results they were getting.  Leppard’s ambition was not just to make another album, but to make something seriously good, memorable and special.  Something to surpass Pyromania.  Steinman was let go and the band started working with Nigel Green with no progress being made.

The band were taking so long, and suffered so many setbacks and delays, that eventually Mutt Lange was available again, and together they finally began work on the new Def Leppard LP.  Co-writing every song with the band, Mutt provided the focus and intense discipline.  The stated goal, following the template of Michael Jackson’s Thriller, was to make an album with 12 potential singles.

The long story of this difficult album (false starts, illnesses, studio problems) is only overshadowed by its success.  But it took a while to get there.

Disc One:  The original album (Hysteria)

The first single “Women” did well enough, but failed to kickstart the mega album sales needed to recoup the losses.  “Women” was an odd choice for a first single: a slow robotic rock track, with a killer comic book-based music video.  It introduced the new Def Leppard groove:  A simple one or two note bass line, layers upon layers of vocals and chiming guitars, but none of the full-speed-ahead New Wave of British Heavy Metal that Leppard were founded on.  The year was 1987 and Def Leppard were on the cutting edge.

 

To get those chiming bell-like chords, Mutt had them recorded one note at a time!  This is very apparent on “Animal”, the second single.  It too was mildly successful, but not enough to push the album into orbit.  Listen to the guitar chords and you will hear something that sounds more like chimes than strings.  This is down to the incredibly detailed and overdubbed recordings.  “Animal” was a stellar pop rock track, and a fine example of what Hysteria sounds like.

Refusing to give up, a third single was dropped:  the ballad title track “Hysteria” and possibly the finest song on the album.  The fact that these singles were not the hits the band hoped for at the time has not diminished them.  Today they are all concert classics, radio staples, and beloved fan favourites.  Leppard even re-recorded the song in 2013 for release on iTunes.  (While the re-recorded version is impressive, it is impossible to exactly recreate the magic on this album.)

Finally, the success that the band and record label were waiting for happened.  The track was “Pour Some Sugar On Me” and the North American version of its music video showcased the band’s stunning live show.  Def Leppard were playing “in the round” to rave reviews.  “Pour Some Sugar”, a retro glam rock tune with a contemporary sound, was a summer smash hit.  It was cool, it was catchy, and Joe’s verses almost sounded like rap, although really they had more in common with Marc Bolan of T-Rex.

On a roll, nothing would stop Def Leppard now.  Though the goal was an album with 12 potential singles, Hysteria eventually yielded seven.  Most rock bands were lucky to squeeze three out of a hit album.  Though the album was now becoming a bonafide hit, some critics and fans lamented the death of the original Def Leppard.  Others embraced their pop success.  The raw edgy guitars were gone and replaced by bright, precise parts working as a whole, in a gigantic pop rock juggernaut.  Joe wasn’t screaming out every line, but actually singing now.  It hardly matters.  With the success of Hysteria, Def Leppard had embarked on a whole new journey and have rarely looked back to their origins.

The singles carried on, through the rest of 1988 and into 1989.  “Love Bites” was fifth up, which originated as a country ballad that Mutt wrote and the band Leppardized into something different.  It was a hit for the autumn of ’88, a slightly dark ballad for the fall.  The victorious glam rock of “Armageddon It” was next, simple and pleasant enough for radio and video, and another huge hit.  These were songs that had pep, but wouldn’t frighten mom and dad.

The seventh and final single was a surprise choice:  “Rocket”.  On album, “Rocket” was 6:37 long, and featured a long experimental middle section.  The ambitious mid-section featured loads of NASA samples and sound effects, all backed by the African inspired drum loops of Rick Allen.  The song was based a drum beat by Burundi Black, brought in by Joe Elliott, played by Rick Allen and looped.  Eventually lyrics were added, inspired by the glitter groups of the 70’s that Leppard grew up with.  Lange also used backwards vocals for some of the hooks.  The line that opens the track and repeats through the song is the chorus from “Gods of War”, backwards:  “Raw fo sdog eht rof gnithgif er’ew.”  It was a sharp track to be used as a single, but that unforgettable beat was beyond question.

Hysteria had two more tracks as good as the singles, although they were not.  “Gods of War” became a fan favourite, and easily could have been an eighth single.  Dark in tone but more epic in quality, it has since become heavily associated with late guitarist Steven Maynard Clark.  He was responsible for much of its guitar thunder.  The final track that could have worked as a single was the album closer, the ballady “Love and Affection”.  As good as any of the actual singles, “Love and Affection” had its own charm and hit potential.  It’s long been one of my album favourites, just under “Hysteria” and “Gods of War”.

Rounding out the LP are “Run Riot” and “Don’t Shoot Shotgun”, two rock tracks that would have been highlights on a lesser album.  Neither are clearly as brilliant as the hits, but both solidly get the job done with guitar thrills.  Finally there is “Excitable”, the only song I’ve never particularly dug.  It strikes me as gimmicky and very 80’s, much like “Social Disease” by Bon Jovi.  Too reliant on sound effects and gimmicks.  So out of 12 tracks, only one was really a dud.  That’s not bad by any measure.

Hysteria rode the charts, recouped its costs, and then some.  The tour in the round was legendary and resulted in a live video In the Round: In Your Face.  Def Leppard were, for a short while anyway, the biggest rock band in the world.

Disc Two & Three:  B-Sides and Remixes

As discussed in greater detail in Record Store Tales Part 4:  A Word About B-Sides, this album and its singles really clicked with the collector in me.  Def Leppard prepared a number of B-sides for Hysteria, and perhaps because these were not produced with Mutt, they all have a harder edge.  The four key must-have B-sides were all exclusive studio tracks, and the first four on the second CD of this set.

“Tear It Down” was a speedy but basic rock track considered good enough to include on the next album, and so it was.  The B-side version remains its superior, because it is tougher than the one on Adrenalize.  The most impressive B-side was probably “I Wanna Be Your Hero”.  This B-side from the “Animal” EP has the Hysteria vibe and sound.  It easily could have replaced “Excitable” as an LP track, but if it had perhaps Hysteria wouldn’t have sounded as diverse.  Dig that false ending!   Next, “Ride into the Sun” is a remake of a track from the original 1979 Def Leppard EP.  The 1987 update is heavier and far better, a truly impressive upgrade.  Finally “Ring of Fire” was even heavier than that, clearly too heavy for what Hysteria became.

The second disc features all the radio edits done for Hysteria‘s singles.  Even to collectors, this is padding.  Only one radio edit seems to hit the nostalgic notes, which is “Women” with a fade out ending.  Incidentally, the only single from Hysteria that didn’t get a single edit was “Animal”, already short at 4:04.

Most important is the cover version of  “Release Me”.  This track was initially released on the “Armageddon It” picture disc single, but not credited to Def Leppard.  Much like their later acoustic B-sides credited to the Acoustic Hippies from Hell, “Release Me” is credited to “Stumpus Maximus and the Good Ol’ Boys”.  Engelbert Humperdinck is responsible for the most famous version of “Release Me”, but Stumpus Maximus is definitely responsible for the most twisted.  Featuring Def Leppard’s roadie Malvin Mortimer on lead vocals and the rest of the band goofing around on each others’ instruments, “Release Me” is a hoot.  Mortimer breaks all known sound barriers with his screaming (and burping) of the lyrics.  I was absolutely confused beyond belief upon hearing this for the first time, since I didn’t catch on to this actually being Def Leppard in disguise.  They absolutely fooled me; I thought whoever they were, Stumpus Maximus and the Good Ol’ Boys sucked!  A hilarious novelty.

Disc two concludes with an 18 minute radio special from the BBC, going through Hysteria‘s songs with Joe Elliott.   The third disc consists of remixes and live B-sides from the period.  Extended versions of “Animal”, “Pour Some Sugar”, “Armageddon It”, “Rocket” and even “Excitable” all come from 12” singles.  A welcome inclusion is the single edit of “Rocket”, the short version of the “lunar mix” .  This was excluded from the previous 2 CD deluxe of Hysteria.  The video mix of “Pour Some Sugar” is still missing, but that track is on so many albums including the five-million-selling Vault, so we’re not going to worry about it.  These extended remixes are, not surprisingly, pretty much for the fans and collectors.

The live B-sides feature the fascinating “Rock of Ages” medley. It seamlessly captures key riffs of classic rock tunes:  “Not Fade Away” (Buddy Holly), “My Generation” (The Who), “Radar Love” (Golden Earring), “Come Together” (The Beatles) and “Whole Lotta Love” (Zeppelin).  This is all done to the tempo and style of “Rock of Ages”, and quite well, too.  Then it’s a lively cut of “Love and Affection”, which was also utilised as the album’s Japanese bonus track.  It’s very rare to hear this song done live, and definitely rare to hear a great vintage version done live.  Finally there’s a so-so “Billy’s Got a Gun” (same gig).  One live B-side is missing, though you can understand why, it is still annoying.  “Elected”, the live Alice Cooper cover (same gig again), was on the 2 CD deluxe edition.  It was recorded during this period but released in 1993 on the “Heaven Is” single.  Because it’s not from a Hysteria single, it was dropped from this box set.  Too bad.

Disc Four & Five:  In the Round In Your Face (Live)

When  I was a young fella, massively into Def Leppard, In the Round In Your Face (taped in Denver over two nights) was the very first live home video I ever bought.  To finally, finally have a proper audio edition…there are no words to express the happiness!  It always should have been a double live album release and not just a video, but hindsight is always 20/20.

The legendary set consists of hits from Hysteria, Pyromania, and “Bringin’ On the Heartbreak” from High N’ Dry.  From the unforgettable Clint Eastwood “Dirty Harry” intro, to the final song “Photograph”, it’s non-stop fun.  Though today there is plenty of live Leppard available, nothing tops vintage Joe Elliott screaming like a kid.  Aside from a flawless track selection, highlights of the concert include Phil Collen’s new acoustic intro to “Heartbreak”.  “Gods of War” is heavy and powerful.  “Too Late For Love” gives me chills.  Of the newer songs, “Women” is notable for being included as one of the B-sides for “Rocket”.  Instead of putting it on the previous disc, it was left intact here, with the concert it came from.  Of course, we mustn’t forget what really makes this concert special.  Steven Maynard Clark didn’t survive to do another tour with Def Leppard, and this would be the last live recording with him on it.

DVD Disc One:  Visual Hysteria

This disc is a new compilation of video clips, the first four of which are previously unreleased.  Leppard have three Hysteria-related appearances on Top of the Pops:  “Animal”, “Pour Some Sugar On Me”, “and “Rocket”.  These lip-synced television appearances are almost comical as people scream for a band miming a hit song.  The showmanship of Steve Clark, in his billowy white pants, is sorely missed.  What a rock star!  On “Animal”, frontman Joe Elliott appears to have pulled a Derek Smalls and stuffed his trousers.  Note Phil’s ahead-of-the-times Metallica shirt during “Sugar”.  Unfortunately “Rocket” fades out early.  Though these videos are old and washed-out, it’s a hoot to have them.  Leppard lip-sync again on a familiar video of “Sugar” from the Brit awards.

Music videos were a huge part of the marketing for Hysteria, and a key component to its success.  Each one is here, including both the UK and US versions of “Sugar”.  These videos bring back such a nostalgic glow.  I remember seeing “Women” for the first time, thinking how amazing it was that Def Leppard were back.  I also thought about how brave Rick Allen was.  He didn’t try to hide his injury.  The slow-mo effect of “Hysteria” brings back a lot of memories, as does “Love Bites”.  It was a huge hit video in Canada, during a very cool autumn.

DVD Disc Two:  Classic Albums

Of all the Classic Albums series DVDs, this was one of my most frequently played.  It is now reissued as part of the 30th anniversary box set, a perfect place for it.  In case you didn’t know, Classic Albums is a fantastic series of documentaries that go back to the original master tapes.  Hysteria is one of many albums they have covered.

Hysteria is such a rich, textured, thick album with a long story so this DVD is an obvious slam dunk. The only thing it lacks is Mutt Lange’s knowledge (a notorious recluse). Otherwise, the band go back to the beginning with the early demos. “Animal” was sparse but remarkably recognizable while still in demo form, down to the false ending. “Rocket” is deconstructed so you can hear the drum orchestra that was laid down, while Joe Elliott talks about how it was inspired. The backing vocals of “Gods of War” are laid out bare, virtually every single word sung and recorded separately! That’s the kind of album this is.

Along with that, Joe, Phil and Sav also perform bits live in the studio. This helps to illustrate the individual parts further.  It is revealed to “Love Bites” was brought to the band by Lange as a country song; you can hear the roots on this DVD.  Rick Allen is there to discuss his accident, an obviously emotional moment. Steve Clark is discussed too, and current Leppard guitarist Vivian Campbell is on hand to talk about the numerous guitar parts that he inherited and has to play live.

JEFF RICHMy favourite feature of this DVD is actually in the bonus material.  It’s the chapter that covers the first shows that Leppard played after Rick Allen’s accident. Originally, Jeff Rich from Status Quo was tapped to play a second drum kit alongside Allen on stage, just in case Allen got tired, slipped out of time, or couldn’t finish the show. There were so many variables that nobody knew what would happen during what really amounted to Allen’s comeback shows. Well, for one show in the middle of nowhere, Jeff Rich was late.  If he had turned up on time, maybe Rick Allen would never have found out that he could play a full Def Leppard show on his own.  Allen did the show with no help on the drums, and he nailed it.  Rich told Allen that his work was done; Allen did not need any more help.  And that was it!

The books and packaging

This iteration of Hysteria comes with four individual books and a poster suitable for framing.  The Big Book of Hysteria is the main event.  Adorned with pictures and full credits, this tells the story of the album from the band’s point of view.  There were details in this book that even I wasn’t previously aware of.   Why did Rick Savage play guitar on “Hysteria”?  What was the original planned 10 track running order of the album?  You’ll find that in this book.  There is also a track by track rundown of the album by the band.

Next:   Ross Halfin’s Portraits of Hysteria.  This photo book has many of the classic pictures you will remember from this period.  I had several of these as posters on my wall.  Halfin was responsible for all of them!

A lovely miniature reproduction of the 1988 UK tour book is complete with cut-outs and even more Halfin photos.  Tour books are large affairs, and this being a small reproduction, the text is hard to read.  Especially for us old enough to have an original North American tour program in the house.

Lastly, and perhaps most lovely, is the Discography book.  Inside are photos and release details of every obscure version ever released of Hysteria, all its singles and more.  It’s exhaustive and assembled with consultation from a fan expert.

All seven discs, books and poster are packed in a nice looking, compact box.  Each disc has its own gatefold sleeve with yet more memorable pictures inside.  They nest inside a cardboard tray with the Union Jack printed on it.  Perfect!

Conclusion

I’ve had Hysteria five times now.  The first was a gift for Christmas of ’87.  I upgraded to CD when I was working at the Record Store.  I bought the 2006 2 CD deluxe edition, the DVD of Classic Albums, and Hysteria on 180 gram vinyl.  I hope this 30th anniversary box set is the last time I have to do so.  I can’t imagine what could entice me to buy it again.  A 5.1 surround sound mix?  Please, rock gods, don’t do that.

I love Hysteria.  But let’s hope this is the last of it.

5/5 stars

 

REVIEW: Rock the Cradle Lullabies volume 1 – Dreamin’ with Def Leppard (2011)

CD given to me a couple years ago by Mr. Books.

scan_20161106

ROCK THE CRADLE LULLABIES volume 1 – Dreamin’ with Def Leppard (2011 Happiness Records)

They call these lullabies, but I’m not so sure about that word.  Bon Jovi did an actual album like this, and titled it This Left Feels Right, I believe.

Slowed down, acoustic bluesy and laid back instrumental versions of Def Leppard songs will be found on this CD, easily digestible by anyone.  Their effectiveness as lullabies has not been tested under lab conditions but for casual listening in any age group, it should be well received.  As stated on a sticker on the front, Vivian Campbell and Phil Collen from Def Leppard make guest appearances (three songs each).

The liner notes state that the technique for “lullification” of these hits involved distilling them down to their core melodies.  That makes the songs both easily identifiable and readily enjoyable.  A mellow slide guitar often fills in for a lead singer.  Phil and Vivian’s work should be identifiable for fans to pick out.  Ballads tend to work better than rock songs like “Photograph” or “Pour Some Sugar”, and there are even a few surprising selections from outside the usual Pyromania and Hysteria suspects.  “Stand Up (Kick Love Into Motion)” is a particularly good mellow treat.

Buy it for your baby, or yourself.

 

zzz/5 stars

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This is a 200 word review in the tradition of the #200wordchallenge

REVIEW: Def Leppard – Hysteria (1987, 2006 deluxe edition)

EPIC REVIEW TIME.  Image heavy!  Step inside, walk this way.

DEF LEPPARD – Hysteria (1987, 2006 Mercury deluxe edition)

25 million copies sold.  Seven hit singles.  A two year world tour.  All done under the most difficult circumstances.  Def Leppard’s Hysteria is one of rock’s greatest triumphs.

Although the album was released in 1987, the Hysteria story really begins on December 31, 1984.  Drummer Rick Allen lost control of his speeding Corvette, and was thrown from the vehicle due to improper use of seatbelts.  His left arm was severed.  Doctors attempted to re-attach the arm, but infection set in and it could not be saved.  It would be understandable if people thought Rick’s career in music was finished.  While many artists from Django Reinhardt to Tony Iommi had dealt with physical disabilities, nobody had ever seen a one-armed rock drummer before.

Undaunted, Allen began working on a way around his disability.  The band never considered a future without him, and were disappointed by “ambulance chasers” looking for a gig.  Rick Allen wasn’t about to allow himself to go down or dwell in his misery.  With an electronic kit triggered by his feet and right hand, Allen eventually regained his ability to not only play drums, but play live.  This resulted in an inevitable stylistic change.  Allen’s drumming style became more staggered, with emphasis on bigger, spaced out snare hits.  His electronic kit was no crutch:  singer Joe Elliott said he could play it “and make it really sound terrible”.

The next album was supposed to be a big deal.  It was Phil Collen’s first Def Leppard LP as a writer, and Rick’s chance to prove he wasn’t out.  Unfortunately, when the band started to record, producer Robert John “Mutt” Lange was not available.  Instead the band began to work with Jim Steinman (Meat Loaf), but were underwhelmed by the results they were getting.  Leppard’s ambition was not just to make another album, but to make something seriously good, memorable and special.  Something with the potential to be as big as Pyromania was.  Steinman was let go and the band started working with Nigel Green with no progress being made.

The band were taking so long, and suffered so many setbacks and delays, that eventually Mutt Lange was available again, and together they finally began work on the new Def Leppard LP.  Co-writing every song with the band, Mutt provided the focus and intense discipline.  The stated goal, following the template of Michael Jackson’s Thriller, was to make an album with 12 potential singles.

The long story of this difficult album (false starts, illnesses, studio problems) is only overshadowed by its success.  But it took a while to get there.

The first single “Women” did well enough, but failed to kickstart the mega album sales needed to recoup the losses.  “Women” was an odd choice for a first single: a slow robotic rock track, with a killer comic book-based music video.  It was incredible just to see how Rick Allen played drums with his new setup.  Apparently, video directors asked how they should shoot Rick?  The band answered “Just the same as you would any other drummer.”  It was simple as that.

“Women” introduced the new Def Leppard groove.  A simple one or two note bass line, layers upon layers of vocals and chiming guitars, but none of the full-speed-ahead New Wave of British Heavy Metal that Leppard were founded on.  The year was 1987 and Def Leppard were on the cutting edge.  To get those chiming bell-like chords, Mutt had them recorded one note at a time!  This is very apparent on “Animal”, the second single.  It too was mildly successful, but not enough to push the album into orbit.  Listen to the guitar chords and you will hear something that sounds more like chimes than strings.  This is down to the incredibly detailed and overdubbed recordings.  “Animal” was a stellar pop rock track, and a fine example of what Hysteria sounds like.

Refusing to give up, a third single was dropped:  the ballad title track “Hysteria” and possibly the finest song on the album.  The fact that these singles were not the hits the band hoped for at the time has not diminished them.  Today they are all concert classics, radio staples, and beloved fan favourites.  Leppard even re-recorded the song in 2013 for release on iTunes.  (While the re-recorded version is impressive, it is impossible to exactly recreate the magic on this album.)

Finally, the success that the band and record label were waiting for happened.  The track was “Pour Some Sugar On Me” and the North American version of its music video showcased the band’s stunning live show.  Def Leppard were playing “in the round” to rave reviews.  “Pour Some Sugar”, a retro glam rock tune with a contemporary sound, was a summer smash hit.  It was cool, it was catchy, and Joe’s verses almost sounded like rap, although really they had more in common with Marc Bolan of T-Rex.

On a roll, nothing would stop Def Leppard now.  Though the goal was an album with 12 potential singles, Hysteria eventually yielded seven.  Most rock bands were lucky to squeeze three out of a hit album.  Though the album was now becoming a bonafide hit, some critics and fans lamented the death of the original Def Leppard.  Others embraced their pop success.  The raw edgy guitars were gone and replaced by bright, precise parts working as a whole, in a gigantic pop rock juggernaut.  Joe wasn’t screaming out every line, but actually singing now.  It hardly matters.  With the success of Hysteria, Def Leppard had embarked on a whole new journey and have rarely looked back to their origins.

The singles carried on, through the rest of 1988 and into 1989.  “Love Bites” was fifth up, which originated as a country ballad that Mutt wrote and the band Leppardized into something different.  It was a hit for the autumn of ’88, a slightly dark ballad for the fall.  The victorious glam rock of “Armageddon It” was next, simple and pleasant enough for radio and video, and another huge hit.  These were songs that had pep, but wouldn’t frighten mom and dad.

The seventh and final single was a surprise choice:  “Rocket”.  On album, “Rocket” was 6:37 long, and featured a long experimental middle section.  The ambitious mid-section featured loads of NASA samples and sound effects, all backed by the African inspired drum loops of Rick Allen.  The song was based a drum beat by Burundi Black, brought in by Joe Elliott, played by Rick Allen and looped.  Eventually lyrics were added, inspired by the glitter groups of the 70’s that Leppard grew up with.  Lange also used backwards vocals for some of the hooks.  The line that opens the track and repeats through the song is the chorus from “Gods of War”, backwards:  “Raw fo sdog eht rof gnithgif er’ew.”  It was a sharp track to be used as a single, but that unforgettable beat was beyond question.  It was remixed and brought down to 4:25 for the single release.

It is  unfortunate that Mercury stopped at seven singles, because they could have released at least nine.  Many fans had counted on a “Gods of War” release, certainly before “Rocket”.  “Gods of War” had become a fan favourite for those who bought the album, and it could have been used as a “serious” themed single towards the end of the album’s life.  Dark in tone but more epic in quality, it really could have been a valiant single.  It has since become heavily associated with late guitarist Steven Maynard Clark, who was responsible for much of its guitar thunder.

The final track that shoulda woulda coulda been released as a single was the album closer, “Love and Affection”.  As good as any of the actual singles, “Love and Affection” had its own charm and hit potential.  It’s long been one of my album favourites, just under “Hysteria” and “Gods of War”.

Rounding out the LP are “Run Riot” and “Don’t Shoot Shotgun”, two rock tracks that help keep the album afloat.  Neither are clearly as brilliant as the hits, but both solidly get the job done with guitar thrills.  Finally there is “Excitable”, the only song I’ve never particularly dug.  It strikes me as gimmicky and very 80’s, much like “Social Disease” by Bon Jovi.  Too reliant on sound effects and gimmicks.  So out of 12 tracks, only one was really a dud.  That’s not bad by any measure.

So Hysteria rode the charts, recouped its costs, and then some.  The tour in the round was legendary and resulted in a live video In the Round: In Your Face.  Def Leppard were, for a short while anyway, the biggest rock band in the world.

Obviously, Def Leppard have continued to suffer ups and downs since Hysteria.  Steve Clark died.  Rick Savage has Bell’s Palsy.  Vivian Campbell fought cancer.  Yet they have continued to soldier on, never topping Hysteria of course, leaving it as the magnum opus that it is.

HYSTERIA

The album inspired a book and a movie.  An album of Hysteria’s stature deserves a killer deluxe edition too.  This one is nearly perfect.

As discussed in greater detail in Record Store Tales Part 4:  A Word About B-Sides, this album and its singles really clicked with the collector in me.  Def Leppard prepared a number of B-sides for Hysteria, and perhaps because these were not produced with Mutt, they all have a harder edge.  “Tear It Down” was a speedy but basic rock track considered good enough to include on the next album, and so it was.  The B-side version remains its superior, because it is tougher than the one on Adrenalize.  “Ring of Fire” was even heavier, clearly too heavy for what Hysteria became.  Along the same lines is “Ride into the Sun”, an old track from Leppard’s first EP, re-recorded here and in fine form.  “Ride into the Sun” is a stellar track and perhaps should have received some acclaim.  Even though the song has been remixed and reissued on other things, it remains a rarely heard gem.  Yet the most impressive B-side was probably “I Wanna Be Your Hero”.  This B-side from the “Animal” EP has the Hysteria vibe and sound.  It easily could have replaced “Excitable” as an LP track, but if it had perhaps Hysteria wouldn’t have sounded as diverse.  Dig that false ending!

This deluxe edition includes all the live B-sides and almost all the bonus tracks associated with singles for the album, and then some.  “Women” is a live classic from the home video.  Anyone who has seen it will remember this version and Joe’s intro.  “We got everything we need!  We got the band, the crowd, the lights, the cameras, the action!  There’s only one thing that we ain’t got…”  Women!  (I doubt that, Joe!)  “Elected”, the live Alice Cooper cover,  was recorded during this period but released in 1993 on the “Heaven Is” single.

From the same gig as “Elected” came a lively cut of “Love and Affection”, which was also utilised as the album’s Japanese bonus track.  It’s very rare to hear this song done live, and definitely rare to hear a great vintage version done live.  Then there’s a so-so “Billy’s Got a Gun” (same gig again), and a fascinating “Rock of Ages” medley.   This medley seamlessly captures some bits of classic rock tunes within itself:  “Not Fade Away” (Buddy Holly), “My Generation” (The Who), “Radar Love” (Golden Earring), “Come Together” (The Beatles) and “Whole Lotta Love” (Zeppelin).  This is all done to the tempo and style of “Rock of Ages”, and quite well, too.  When this was originally released on the “Rocket” single, there was no mention of the medley part.  It was a total surprise when Leppard broke into these other songs, some of which I’d never heard before.

Leppard released a few remixes during this period too.  Extended versions of “Animal”, “Pour Some Sugar”, “Armageddon It”, “Rocket” and even “Excitable” all come from 12” singles.  What’s missing is the single edit of the “Rocket”, the short version of the “lunar mix” .  The single mix of “Pour Some Sugar” is also missing, but that track is on so many albums including the five-million-selling Vault, so we’re not going to worry about it.  These extended remixes are, not surprisingly, pretty much for the fans and collectors.

Finally, and most importantly, is the last B-side “Release Me”.  This track was initially released on the “Armageddon It” picture disc single, but not credited to Def Leppard.  Much like their later acoustic B-sides credited to the Acoustic Hippies from Hell, “Release Me” is credited to Stumpus Maximus and the Good Ol’ Boys.  Engelbert Humperdinck is responsible for the most famous version of “Release Me”, but Stumpus Maximus is definitely responsible for the most twisted.  Featuring Def Leppard’s roadie Malvin Mortimer on lead vocals and the rest of the band goofing around, “Release Me” is a hoot.  Mortimer breaks all known sound barriers with his screaming (and burping) of the lyrics.  I was absolutely confused beyond belief upon hearing this for the first time, since I didn’t catch on to this actually being Def Leppard in disguise.  They absolutely fooled me; I thought whoever they were, Stumpus Maximus and the Good Ol’ Boys absolutely sucked!  For the time it was a novelty release, but it’s now a wonderful tongue in cheek finale to this great deluxe edition.

Some, including renowned rock journalist Martin Popoff, have dismissed Hysteria as lifeless and dismally underwhelming sell-out pop.  Keeping in mind where they came from (High ‘n’ Dry, Pyromania) there is no question that Hysteria was a clear and intentional turn towards the mainstream.  Where Def Leppard rose above a simple pop foray is in the detail and care given to the recordings.  With Mutt Lange keeping his eye on the goalposts, he drove Leppard not to make an album without a soul, but one that offered flawlessly assembled guitar based songs.  The passion and heart can still be heard; they are not buried.  It’s a unique combination of studio sterility with Leppard’s brand of glam rock, and nobody (not even Leppard) have been able to duplicate the magic of Hysteria.

You might not “need” the full-on deluxe edition, but considering the quality of the B-sides and live material, you’d be positively missing out.

5/5 stars

Gallery of single covers

 

 

 

REVIEW: Def Leppard – Mirrorball: Live & More (2011 Japanese with bonus track)
The Best Fucking Collaboration Week Ever, Pt. 2
 Down to the nitty gritty!  This is the second last review in this series.  Mike and Aaron have been doing simultaneous daily reviews of albums that they have sent to each other. This one was gifted to Aaron when Mike upgraded to the Japanese edition.  Enjoy!

DEF LEPPARD – Mirrorball: Live & More (2011 Marquee Japan)

Def Leppard hyped this baby as their “first official live album”.  First official live album? Maybe, but the astute collector had already been aware of a 1984 live album included with the deluxe 2 CD edition of Pyromania.   For vintage 80’s Leppard thrills featuring Steve Clark, that’s the ultimate go-to live CD.  More obscurely, after the Euphoria album, Def Leppard issued an entire live album’s worth (11 songs) of MP3 files for free, which are no longer around. You can read our review of that untitled release right here.

Scan_20160302 (5)Regardless, this is the first stand-alone Leppard live album (double live, in fact) that you can walk into a store and buy.   The domestic version comes with a bonus DVD, with behind-the-scenes stuff and music videos (“Nine Lives” and “C’mon C’mon” from the Sparkle Lounge album).

Upon inserting Mirrorball into the car drive and hitting “play”, the first thing I was impressed with was Joe Elliot’s voice. The singer is often the member who suffers most from the ageing process.  Singers like Joe who basically screamed for the first few albums don’t always have the ability to do it convincingly anymore.  The “old voice” is usually gone.  However here it is, right in the opening of “Rock! Rock! (‘Til You Drop)”. It recurs many times over the course of the album.

All the hits are here, even the ones you’d rather forget like “Let’s Get Rocked” and “Make Love Like a Man”. The set leans heavily of course on Pyromania and Hysteria, with most of the singles being rolled out: “Rock Of Ages”, “Foolin'”, “Photograph”, “Animal”, “Hysteria”, “Love Bites”, “Sugar”, and “Armageddon”. Album classic “Too Late For Love” is also present, as is the perennial medley of “Bringing On The Heartbreak/Switch 625”. “Heartbreak” has a nice acoustic intro, different from the one that Leppard used to do back in the 80’s (see: Live in the Round in Your Face).

Then, you get a few boring tracks.  Some of these, such as cover tunes, I have no idea why they still play them live.  Do they not have enough old originals that fans are clamouring for?  Did we really need covers on Leppard’s first official live album? No. But there’s “Rock On” anyway.  I hate that song.  And The Sweet’s “Action” is here, again, which I guess has almost become a Def Leppard song itself.  For other dull content, the B-side-later-A-side “Two Steps Behind” also appears, a song which was never more than a throw-away to me.

As far as more recent material goes: Two songs from Adrenalize, none from Slang, none from Euphoria, none from X.

At least they included three songs from the latest album, Songs From the Sparkle Lounge: The awful, derivative  heard-it-all-before “C’mon C’mon”, as well as a smokin’ version of “Bad Actress” and the single “Nine Lives” (without Tim McGraw!).  Regardless of what’s included and what’s not (you can make your own wishlist of tunes!), Mirrorball does represent the Def Leppard live experience well.  They are bang-on, every track.  These five guys have really grown together as a band.  It doesn’t sound like much fixing was done; indeed it doesn’t sound like much needed to be done.  Four of them can sing well enough, so the trademark Leppard layers are well represented live.

Onto the new studio songs: None are very special, but at least two rock: “Undefeated” is the catchiest, even though it has derivative “Sugar”-like moments that don’t help.  It has a thick Zepp-y chorus riff though, and that gives it some heft.  “It’s All About Believin'” also rocks, but Sav’s “Kings Of The World” is too soft. Leppard need to stay away from the ballady-stuff.  They’ve got more than enough now.

As is the norm, those lucky Japanese fans got a bonus track.  It is the descriptively titled “different version” of “Kings of the World”.  What’s different?  It doesn’t appear to be a demo, but it is a shorter version, piano-based with most of the instrumentation stripped off and an acoustic guitar solo.  My preference is to the more bombastic and Queen-like album mix.

For a first official one, Mirrorball is a pretty good live album. It could have been a lot better. It should have been better, considering.  However they did do better, when they released the next live package, Viva Hysteria!   That one scratches virtually every musical itch you have.  And don’t forget, you can pick up that aforementioned deluxe edition of Pyromania for a youthful, smokin’ set.

3/5 stars