DEF LEPPARD – Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD (1995 Mercury 2 CD edition)
Truth: Vault was a paint-by-numbers compilation that could have been assembled with an algorithm.
Leppard had been largely ignoring their first two albums live in concert. Predictably the only pre-Pyromania track on Vault, their first greatest hits, was “Bringin’ on the Heartbreak”. The disc contains all the key singles from, essentially, three studio albums and the Retro-Active B-sides compilation. According to the liner notes, it was released in order to “clear the decks” before their underrated re-invention to come on Slang.
As such, Vault debuted the last song written during the Steve Clark era that they still wanted to release: “When Love & Hate Collide”. Now including his replacement Vivian Campbell, it indicated Leppard were indeed going in a new direction. As opposed to the smokin’ power-ballady demo, this version is more modern with strings and an organic approach. Not one of Leppard’s most uniqiue ballads in the grand scheme of their discography, it was still a hit nonetheless. The strings were arranged by, of course, Michael Kamen, who previously did the same on “Two Steps Behind”. He has that saccharine touch that powered bands into the top 40, and that’s what you get with “When Love & Hate Collide”. Love it or hate it. It became a hit single in its own right.
The common two-track single was easy enough to find, but fans were best advised to locate the four track release. It contained the demo version of the ballad, featuring the last recorded Steve Clark guitar solo. (This version will be discussed in greater detail when we get to the appropriate disc in the CD Collection Vol 2 box set.)
Another cool inclusion on Vault was a CD release of the long-sought “Pour Some Sugar On Me” video mix. It is probably more well known than the album version due the massive exposure it got over the summer of ’88. A thoughtful inclusion. (This remix is also on the CD single for “When Love and Hate Collide”, which preceded Vault. Also included on “When Love and Hate Collide” is the “Nuclear Mix” of “Armageddon It”. You can find both of these remixes on the Hysteria deluxe and super deluxe editions.)
Otherwise, you get what you get. The biggest hits but not the best hits. Take out “Have You Ever Needed Someone So Bad” and replace it with “Stand Up (Kick Love Into Motion)”! Ditch “Two Steps Behind” and gimme “Too Late For Love”! (Incidentally, different countries got different tracklists so your experience may vary.)
Vault is still valuable for the cool liner notes by Peter Mensch, and comments on every track by the band members. The booklet revealed the title of the next album for the first time: Slang! An odd title that surprised fans by its left-field simplicity.
It’s also valuable if you can get your hands on the double disc Vault including the Limited Edition Live CD. Yep…that’s the title, and it’s from a hometown Sheffield gig recorded by the BBC in 1993. Leppard were running like a finely oiled machine in ’93 and the songs were performed with consistency. The nine tracks (of 22 total played that night) are all hits, which means they’re all also on disc one!
“Let’s Get Rocked” is a reliable opener, and “Armageddon It” follows it ably. It’s Leppard live doing what they do best, and the songs are performed as immaculately as you’d expect. “Armageddon It” has an extended intro so the audience can clap along. Later in the set, it’s the full nine minutes of “Rocket” with long instrumental break. It seems like a tough song to play live, and the vocals prove this is really live. No messin’ around. Good versions, one and all! At the time of release, there were no Def Leppard live albums, period. A handful of B-sides notwithstanding, this was the first. It has since been supplanted by superior live CDs like In The Round – In Your Face in the Hysteria box set.
Vault was a big deal in 1995, but Leppard have since released Best of Def Leppard (2 CD UK), Rock Of Ages (2 CD US) and the recent Story So Far. These double disc compilations have all the stuff on Vault‘s first disc and plenty more — but we’ll get there in due time. Only the Limited Edition Live CD is exclusive today but since you can buy so many Leppard live albums now, it’s only for collectors.
Perhaps a tad prematurely, immediately after Adrenalize had given all it had in terms of singles, Def Leppard released the spiritual sequel to 1989’s home video Historia. That thorough collection of videos was composed of music from four albums, while Visualize only covered one (and a bit). As such, this time they added interviews and interesting TV clips to fill out the run time.
Since Historia closed on “Love Bites”, it’s only fitting that Visualize opens with the next video, “Rocket”. As far as cool 80s videos go, “Rocket” was a success. It was even an educational slideshow of all Def Leppard’s musical heroes! It’s also very very 80s, with lots of TV sets hanging about.
Then Visualize takes a different track. The next big event in the lives of Def Leppard was a sad one: the passing of Steve Clark. He is commemorated with TV clips, interviews and an excellent all-Steve video for “Switch 625”. Joe Elliott laments that all Steve had in his life was a guitar and a bottle, but at least he left something worthwhile behind — the music.
Interview tracks are interspersed between music videos. Rick Allen discusses his drum kit and how he uses his left leg to do what he used to with his arm. Then there’s a surprising video of a live Ben E. King TV performance, featuring his new backing band, Def Leppard. “Stand By Me” is not the complete clip but enough to show you that Leppard could do it! Rick Savage plays a strange 80s synth bass guitar, and Steve Clark was still with them. Another partial clip, “Jean Genie” with Joe, Ronnie Wood and the Hothouse Flowers, is cool but just a snippet. Same with an acoustic version of “Ziggy Stardust”. Shame they couldn’t use the full tracks. The origin of the track “From the Inside” is discussed with a short clip as well.
“Let’s Get Rocked” is opened by an amusing interview with Sav about filming in front of a blue screen. Indeed, “Let’s Get Rocked” was a pioneering video, if terribly dated. It’s also their only video as a four-piece band without Steve. The next interviews address this — the hiring of Vivian Campbell. His big debut was the Freddie Mercury Tribute Concert in early 1992. His music video debut with the band was on the mediocre “Make Love Like A Man”. Its gimmick was a big screen behind the band; pretty standard stuff. The rarely seen “I Wanna Touch U” follows, with Leppard once again live in the round! The fake crowd screams are distracting but the video is cool, if not triumphant.
The big ballad “Have You Ever Wanted Someone So Bad” has a gothic look, but oh so 90s in style. The picture-in-picture (some colour, some black and white) look was overdone. A small batch of interviews from the period are followed by “Tonight”, an excellent understated ballad. The conceptual side of these videos was getting progressively foggy, but when they’re on the screen in start black and white, the band look cool. “Heaven Is” was another rarely seen clip, and perhaps it’s better that way. As always, the band stuff looks great but the conceptual shots are just bizarre. Ditto “Stand Up (Kick Love Into Motion)”. Dunno what’s up with the naked people or Cliff Burnstein playing baseball with a window. A true shame, as this semi-ballad is a Def Leppard masterpiece of a song, simply top drawer. It deserved better. When the video came out, I was so disappointed. “What have they done?” We deserved better.
“Two Steps Behind”, “Love Bites” and “Photograph” are live, from a hometown gig in Sheffield. More of the show would be made available on a 1995 home video release called Video Archive.
Finally, the future: Joe says there’s a long long way to go, not realizing he just wrote a future Def Leppard hit song title! Collectively, they were excited to write together. Rick Savage says it’s “Phase 2”, and Joe Elliott employs another Star Trek analogy about exploring. There was plenty of creative energy in the band and it’s obvious. But don’t hit “eject”! Stay tuned for the post-credit scene! An important message from Joe.
Visualize was one of those sequels that just came too soon. Interview material is valuable and desirable, but Historia played more like a visual album. It was a better entertainment experience. Visualize is choppier. It wouldn’t matter so much if all the songs were complete, but the TV performances are just teases of complete tracks. Unfortunate.
Like Hysteria before it, Adrenalize produced a wealth of riches in B-sides. Between the two albums, they had enough B-side studio material to turn into an album compilation. Tellingly, the final album called Retro-Active featured very different cover art, and a toned-down logo. It was intended to be the ending of an era, and the start of a new one. Guitarist Steve Clark was gone, replaced by veteran Vivian Campbell. The grunge era was two years deep, and Leppard were about to change sonically. In their minds they needed to “clear the decks” of old material so they could focus on the new.
What’s interesting about Retro-Active is that it is not simply a compilation of rare material. Everything has been reworked to some degree — everything. There are even two “new” songs, unfinished tracks with Steve Clark that were finally completed for this album. We will take this album track by track and go over the changes made to the original B-sides. (The printing on this 2019 CD reissue is so small, I had to pull out my original 1993 CD to read the notes.)
1. “Desert Song”. A track begun during the Hysteria sessions but left unfinished without lyrics or vocals. Joe finished the words in 1993, while Phil laid down guitar overdubs and Rick Allen re-recorded the drums. Steve Clark is featured on the second guitar solo. What’s surprising about “Desert Song” is how modern it sounds even though it was originally written in 1987. A slow, heavy groove is melded with middle-eastern vibes for a dark winner.
2. “Fractured Love”. Another from the Hysteria sessions. You can tell the intro is of more recent vintage compared to the body of the song. Joe’s vocals suddenly revert to the old screamin’ Elliott and it’s absolutely brilliant. Drums were re-recorded in ’93, along with the new intro by Joe and Phil Collen. Both these songs sound ahead of their times and well suited to the darker moods prevalent in the early 90s. “Fractured” is choppy, intense and reminiscent of the old band while still sounding like a 90s song. Steve Clark on lead guitar!
3. “Action”. This Sweet cover originated on the 1992 “Make Love Like a Man” CD single. Vivian Campbell had joined the band by this time and the track features some of his guitar work. Like most of the tracks on Retro-Active, the drums were re-recorded by Rick Allen in 1993. “Action” became a Leppard staple over the years, and as a rare fast/heavy rock singalong, you can hear why. In fact, it was later released as a single, from this album!
4. “Two Steps Behind” (Acoustic Version). As we’ll see, “Two Steps Behind” exists in a number of different versions. The demo was electric. The first version released appeared on “Make Love Like a Man” as a purely acoustic song with no drums. The second release had strings added by Michael Kamen for the Last Action Hero soundtrack, and that version was released as its own single. The version on Retro-Active is the popular Kamen single mix. This was Leppard’s very first acoustic song and it opened new doors for the traditionally hard rocking band.
5. “She’s Too Tough”. Helix recorded this Leppard outtake themselves for 1987’s Wild in the Streets. From their version, you could hear the song deserved wider renown. Def Leppard released their finished version on the single for “Tonight” in 1993. The drums were re-recorded for Retro-Active but there were no other changes made. This blitz of a rocker features the screamin’ Joe voice and all the adrenaline you can handle (and was missing from Adrenalize).
6. “Miss You In a Heartbeat” (Acoustic Version). This is actually a piano version of a song that exists in many forms. It was first recorded by Paul Rodgers and Kenney Jones as The Law in 1991. For that band, it was a low-charting single. It faired better for Leppard themselves, who released it as a single A-side themselves in 1993. This quieter version features a stunning acoustic guitar solo by Phil Collen. There are many, many versions of this song, as you will see as we proceed through this series. (And this album!)
7. “Only After Dark”. The Mick Ronson cover was first released on the “Let’s Get Rocked” single. Both Vivian and Phil added guitar overdubs for the Retro-Active version. The additional guitar depth is noticeable. Leppard are so good as these kinds of glam rock songs.
8. “Ride Into the Sun”. From the very first EP, and then re-recorded on the “Hysteria” single. Could this be the fastest Def Leppard tune? It’s certainly among them. Also ranks highly among the heaviest, and best, of Def Leppard! Rick re-recorded the drums, and for some reason Ian Hunter from Mott the Hoople added a honky-tonk piano intro. The “studio talk” at the end of the song has also been trimmed off. Sonically, this could be the best sounding version of “Ride Into the Sun”, though the preferred will always be the “Hysteria” B-side.
9. “From the Inside”. Originally released as part of a three-song session with Hothouse Flowers on “Have You Ever Needed Someone So Bad“. Billing themselves as “Acoustic Hippies from Hell”, Leppard were really leaning into their acoustic side! The song originated as a TV broadcast on a program called Friday at the Dome with Joe Elliott and Liam Ó Maonlaí. The only modification made to this version is that the count-in at the start has been deleted. Leppard fans may be surprised by the tin whistle but it’s not too much of a stretch. The bleak song is about the dark side of addiction.
10. “Ring of Fire”. Dipping back into the Hysteria B-side collection, “Ring of Fire” has a new intro. The drums were re-cut and backing vocals thickened up. It’s one of two Mutt Lange co-writes on the album and stands as one of Leppard’s harder rockers from the era. An excellent track, “so stick around and settle down, enjoy the mystery.”
11. “I Wanna Be Your Hero”. From the “Animal” EP, this is the second Lange co-write on Retro-Active. With new drums added, here it stands as one of the highlights among many highlights. The track should always have been on Hysteria. Combining ballad and rocker into one meaty package, “I Wanna Be Your Hero” is a stone cold Leppard classic.
12. “Miss You In a Heartbeat” (Electric Version). Nothing was overdubbed or re-recorded for this track, but the opening fades out of “I Wanna Be Your Hero”, meaning it is still different from its original B-side release on “Make Love Like a Man”. Another stone cold Leppard classic. A majestic electric ballad with layers of Phil’s sweetest guitars and backing vocals. A masterpiece.
13. “Two Steps Behind” (Electric Version). Previously unreleased. Joe’s original backing track was fully Leppardized with all the band members including Vivian. This gives you an idea of how the song was originally envisioned before it took its better known acoustic guise. The acoustic version is more original, but this one does boast a big huge Leppard chorus.
14. Unlisted bonus track! “Miss You In a Heartbeat” (Acoustic, Acoustic Version). This third version of the ballad is the softest. It is the piano-based version, but without the backing band. Just Joe, the piano, and Phil on an acoustic guitar solo. A nice surprise.
There are more demo versions of these songs on the B-sides of singles, that we will get to when we arrive at the appropriate disc in the CD Collection Volume 2.
As it turns out, Retro-Active was not entirely the clearing of the vaults we thought it was. There was still one more song with Steve Clark unfinished. One more compilation to release. The future was on the horizon, but the past had to be dealt with first. Which doesn’t diminish Retro-Active in any way. Where there is repeat of tracks, it is justified by the versions being completely different in tone and direction. It plays like a “new Def Leppard studio album” to the layman, but a compilation of the deepest cuts to the faithful. Cuts that have been freshened up and don’t repeat the exact B-sides in their collections. A win/win.
DEF LEPPARD – A Concert For Life – Tribute to Freddie Mercury (Wembley Stadium, 20 April 1992)
Metallica had come and blown the crowd of 72,000 away. Extreme impressed the skeptics with a Queen medley. Live broadcast to 50 countries, there was no pressure at all on Def Leppard! The Freddie Mercury Tribute Concert was only the biggest show of 1992. And they had a new member to show off.
The band had given their new guitarist an easy warm up at a club gig at home in Ireland. But his first high profile show would be the biggest imaginable. Without an introduction, out walked former Sweet Savage / Dio / Whitesnake / Riverdogs / Shadow King guitarist Vivian Campbell!
What a choice! There he was with his new band, completely confident and nailing “Animal”. In his Union Jack jeans, Joe Elliott bounced on the massive stage, working the crowd without missing a note. After a brief pause, he then asked the throbbing mass of people, “Do you wanna get rocked?”
It was the first major live outing of a brand new Def Leppard hit. Hamming for the camera, Vivian ably handles the backing vocals, adding more depth to the live Leppard sound. The late Steve Clark didn’t sing as many backing vocals, and Viv was a natural. The crowd ate it up, fists in the air and digging the new tune. One of the coolest moments is the solo, in which Phil Collen’s picking hand turns into a blur.
One more tune. And then an even bigger moment: Brian May himself joined Def Leppard for a cover of Queen’s “Now I’m Here”! (This track was later included on the 2 CD Adrenalize deluxe edition.) Of course we all awaited the guitar solo. Viv went first (introduced by Joe for the first time), and Phil took the second solo. They really made ’em wait for Brian May! It was, of course, not May’s first time with Def Leppard.
Even bigger things were in store for the Wembley Crowd as day turned to night. Queen emerged, playing a long set of classics with a series of incredible guest singers. And Joe got to open their set, with Slash on guest guitar. With one of his very favourite bands, Joe got to sing “Tie Your Mother Down”. And nailed it.
The big question for Leppard fans was “who could possibly replace Steve Clark?” In Vivian Campbell, they selected a guy who could play with both feel and shred, as well as write songs and sing. The personalities worked. The ironic thing is, post-Dio, Vivian had been seen as something of a “hired gun” guitar player. Would he last in Def Leppard? In his early interviews, he insisted that he was always looking for a band situation that he could stay in for life. It turns out that Def Leppard was that band.
Club gig aside, the Freddie Mercury tribute concert was Vivian’s real trial by fire. It was obvious the band had made the right choice. Nobody could truly “replace” Steve Clark as the band’s in-house riffmaster. Vivian helped Leppard evolve into the 1990s. On with the tour! Leppard might not have been the biggest rock band in the world anymore, but they rocked 72,000 people, plus millions more at home worldwide. Not too shabby.
5/5 stars
MuchMusic broadcast the whole show, and then did a repeat performance of the entire thing at night. It was then that I set my VCR and taped the entire broadcast, with Erica Ehm’s interviews with various bands, including Def Leppard. Wembley were treated to Queen videos on massive screens in between bands, and those videos are also part of the broadcast. MuchMusic’s feed was superior to MTV. I was in Frankenmuth, Michigan mere days later at the end of final exams, watching MTV. Our coverage was better. The complete show has never been officially released in any format.
Here they were again! A #1 album. Adrenalize eventually sold three million, no small feat during the peak of the grunge era. A step down from Hysteria, but a success. And after yet another devastating loss. Choosing to record without replacing the fallen Steven Maynard Clark, it was up to Phil Collen to handle all the guitar work. He rose to the occasion and the quartet emerged from their years of toil with an album they were satisfied with. And they figured out how to do it on their own, without Mutt Lange tending to every detail.
It all begins with Joe asking the musical question: “Do you wanna get rocked?”
“Let’s Get Rocked” didn’t break any new ground nor did it need to. It served it purpose of putting Leppard back on the charts. But it also highlighted something missing. Where were the riffs? “Let’s Get Rocked” is decidedly unriffy. It relies on a bass groove and guitar pyrotechnics, but the razor sharp riffs of the past are seemingly missing. That didn’t stop it from hitting #1 in the US during a year when bands like Def Leppard were getting dumped by their labels.
One of the most poppy of the new tunes, “Heaven Is”, hits the second slot running. A little of that Steve Clark is present, but this one’s main feature is the melodically constructed vocal melodies. The thick chorus harmony proved that Leppard had learned Mutt’s tricks. Lange did help co-write most of the tracks, but his meticulous studio touch was no longer needed in a producer’s capacity. This time, Leppard produced with Mike Shipley. Mutt was “executive producer”, which pretty much means “quality control”.
The first stumble of album the was second single “Make Love Like a Man”. This cowbell-inflected mid-tempo rocker would have been B-side material five years earlier. Listen carefully for Phil Collen’s “Cockney rhyming rap”.
Fortunately side one is redeemed by one of Def Leppard’s greatest ballads. Demoed during the Hysteria sessions, “Tonight” was the darkest Leppard ballad to date. The standout Rick “Sav” Savage guitar structure is the foundation for a damn special song. There’s Joe utilising his screaming voice a little bit on the chorus. It used to be his trademark, but here reserved only for moments of great expression.
The first side concludes on the Steve Clark tribute “White Lightning”. The brilliant Collen intro is designed to emulate Clark’s trademark guitar drones on “Gods of War”. Tesla tried a similar trick on their own tribute called “Song and Emotion”. In this track, Elliott warns of the dangers of addiction. “You wanna dance with the devil, you gotta play his game.” Clark’s demons are starkly laid out in the words, and the seven dramatic minutes of music are as epic as any of Leppard’s most ambitious moments.
Remarkably, side two opened on another top tier Leppard track. “Stand Up (Kick Love Into Motion)” boasted an odd title, and some of Leppard’s catchiest music. Call it a ballad? Sure, why not. It’s somewhere in between ballad and rock tune, but every minute that it’s playing is a minute of the best of Def Leppard. Something about its pulse; its uplifting chime. The undeniable chorus is the icing.
Next is the ode to monogamy called “Personal Property”, not essential Leppard. We do love the part when Joe threatens/screams, “You wanna stay healthy man? Take my advice! You better hit the road Jack, and don’t come back.”
A decent, but syrupy throwaway ballad with the overlong title “Have You Ever Needed Someone So Bad” is the weakest of the three here, but that didn’t stop it from being chosen as a single and going top 10 in Canada and the US. It’s just nothing special given the quantity of superior ballads in the past (and future). Following that is the most pop track of the batch, “I Wanna Touch U”, a bouncy good song if vastly removed from “Wasted” and “Ride in the Sun”.
The 10th and final track is the new version of the familiar “Tear It Down”. This born rocker has been polished up and produced just right for album release. Which do you prefer? The final Adrenalize rendition, or the raw B-side from ’87?
Like Hysteria before, Adrenalize came complete with a number of important B-sides. Perhaps the most crucial of these was a track that could have been a throwaway, but “Two Steps Behind” turned into Leppard’s first acoustic song. This opened doors to entirely new worlds for the band. We will take a closer look at these B-sides when we arrive at the appropriate discs in the CD Collection Volume 2 box set.
With an album completed, released, and on the charts, there was another challenge ahead. Def Leppard were a two guitar band. Phil Collen did admirably well, playing all the guitars on the album. Live, they’d need someone both capable and dedicated. What are the odds of finding the exact right match?
Adrenalize did what it had to do. It kept the band alive and viable. Hysteria was a period of exponential musical growth for Def Leppard. If they couldn’t repeat that kind of experimental innovation this time out, they’d have to give it a shot next time. And they would.
RECORD STORE TALES #973: “Let’s Get Rocked” – The Wait for Adrenalize
Before the internet, the best way to access your rock news in Canada was to buy magazines and watch the Pepsi Power Hour. We had all the US magazines plus M.E.A.T and some of the best rock coverage with MuchMusic. You’d be negligent in your rock and roll duties if you didn’t buy some magazines.
I remember buying one at the end of the 80s, the turn of the decade. It might have been Metal Edge or something of a lower tier. (You bought what was on the shelf when pickings were slim.) But they had a column by a psychic who was making rock and roll predictions for the coming decade. Stuff like “Will Jon and Richie break up?” What interested me the most was what she predicted for Joe Elliott of Def Leppard. The biggest rock band in the world, she claimed, would get only get bigger. Joe’s next album would outsell Hysteria, and he would get involved with some important causes.
Was she confusing Joe for Bono? Cool if true, but outselling Hysteria? Hard to imagine.
A few things were known about the next album at the start of the new decade. They’d be trying to produce it without “Mutt” Lange for one. “Mutt will be involved,” said Joe, but in a different capacity. The goal was to make a “quick” album — one year instead of several. They had one song earmarked from a B-side called “Tear It Down”. They also had some unfinished ideas left over from Hysteria such as the ballad “Tonight”. As kids, we imagined an album less produced than Hysteria, but hopefully just as good. I had actual dreams of anticipation at night, imagining the new album cover sitting there on the shelves. Continuing with the “-ia” naming convention, the next album was said to be titled Dementia. A title they dropped in favour of something less negative, when once again things went down the toilet.
Rick Allen’s car accident was extremely unfortunate, but what happened this time was tragic. Steve Clark, always the band’s riff-master and shape-throwing classic rocker, was gone.
The guitarist had been suffering from his addictions, and this time a deadly mixture of prescription pills and alcohol was enough to end his life. January 8 1991, “Steamin'” Steve Clark was no more.
The band didn’t know what to do but carry on. Record the the album as a four-piece. Dedicate it to Steve. Don’t even think about replacements until it’s necessary.
And so the fans mourned, and waited. As the band toiled away, now producing with Mike Shipley, we anxiously awaited news. Any news. A few song titled leaked out: “Have You Ever Needed Someone So Bad”, “Stand Up”, “Tonight”, “Tear It Down”.
And then, over a year after Clark’s death, listening to the radio one snowy afternoon: Q107 out of Toronto, announced: new Def Leppard. Coming right up.
My sister and I huddled around the radio. We may have popped in a tape to record it; I can’t remember. We didn’t need to since it was about to carpet-bomb the nation with radio and video play. “Let’s Get Rocked” was here!
And it was…
OK.
It was OK. It sounded like Def Leppard. It didn’t push the boundaries in any fashion. It was safe, straightforward, and simple.
“Well, that classical section with the violins was different,” I said trying to see the bright side.
“Yeah, but that was just one short part,” answered my more realistic sister.
Through the years of anticipating a new Def Leppard album, we imagined some growth. Maybe not as drastic a transition as they made from Pyromania to Hysteria, but something at least. The one-time biggest band in the world shouldn’t just spin their tires musically.
“You know what, I’m gonna let it go,” I said. “They’ve had to deal with so much, and when Steve died, they just needed to get an album out. They can grow on the next album.” (And boy did they!)
With that attitude, I counted the days until I would trek to the mall and finally get the new Def Leppard in my hands. Now with the title Adrenalize, and with “Let’s Get Rocked” climbing up the charts, it was time for Leppard’s return. A long time coming, if not the way it was planned!
DEF LEPPARD – In the Round In Your Face (1989 VHS, 2001 Universal DVD)
When I was a kid, in love with music and watching every video on television, there was only one concert I wanted to see. Grade 10, going on grade 11, the only show I craved was Def Leppard. Their innovative stage in the round, in the center of the arena, seemed like the ultimate package. But I was just too young and had no one to go with, so I never made it. Fortunately, Def Leppard released a home video to satisfy those of us who could not be there. I rented the tape from Steve’s TV and made a copy. It was the best I could do on my allowance. To make up for it, I bought it three times since on different formats (VHS, DVD, CD).
I popped the tape into the VCR with anticipation. A sped-up collage of the stage assembly flashed before my eyes, to the sound of “Rocket”. A massive undertaking, but this was just pre-amble. The show was about to begin!
It was just as I had heard about in the highschool halls. The stage was draped on all four sides by massive Hysteria curtains.
“I know what you’re thinking,” says Clint Eastwood over the sound system. “‘Did he fire six shots, or only five?’ Well to tell you the truth you know in all is excitement, I’ve kinda lost track myself.” A laser show begins dancing on the curtains. “You’ve got to ask yourself one question. ‘Do I feel lucky?’ Well do ya, punk (punk punk punk)?”
Guitars replace the echo of Eastwood’s voice.
“I said welcome to my show!” screams Joe Elliot, teasing us before the curtains finally crash down and “Stagefright” kicks off the proceedings! Even in my armchair, there’s still goosebumps.
Def Leppard rip through “Stagefright”, completely in control, on fire as hot as their early days. Each member throws shapes on stage while Rick Allen keeps the whole thing moving, on drums in the middle. Leppard’s stage is not flat, with catwalks and staircases for the band to run and jump all over, which they do. Overhead cameras capture everything, from every angle. Nobody but Allen is confined to one space, as the band leap from place to place in the name of entertainment.
Continuing with the Pyromania, “Rock! Rock!” keeps the pace going at full speed. It brings a tear to the eye, seeing Steve Clark do his trademark whirlwind moves on stage, accented by his red scarf and made only more perfect in the round setting. A reminder that this was it — the last high point of the Clark era. Fortunately captured on camera and tape.
The first new song, and break in tempo, is “Women”. This is the famous version released as a single B-side with the “We got everything we need!” intro. You know it, you love it, it’s legendary: the live version of “Women”. Rick Savage mans the keyboard station for the time being while the lights get dimmer. Lots of echo on this one to duplicate the album ambience. “Too Late For Love” — a damn fine version — brings a ballady vibe, which they then lean into fully on an early appearance of “Hysteria”. The live version of “Hysteria” is lengthier with an extended bass intro. It feels like Def Leppard are a band with four frontmen, with the amount of shape-throwing going on here! And, for a moment, Joe Elliott on rhythm guitar! A funny little 80s axe with no headstock it is, locking down the riff while Steve and Phil embark on a glorious dual-guitar harmony solo.
Steve Clark gets a mini-solo to open “Gods Of War”, a Leppard epic that really shines in the live setting. We always thought it should have been the 8th Hysteria single. Rick Savage on acoustic guitar during the outro. The lights blast at the end, simulation “the bomb” and the band exist the stage as the lights go black. It’s a perfect transition to the gunshot sound effects that open “Die Hard the Hunter”. Lighters up! Off goes Phil’s shirt. This track is a return to the tempo of the opening duo, all three being from Pyromania.
Indeed, it is time to address the setlist. You may have noticed all the tracks are from Pyromania and Hysteria thus far. There is nothing from On Through the Night, and only one from High N’ Dry: “Bringing On the Heartbreak”. “This is one of our earlier songs, that we’re going to play a brand new way for ya,” says Joe. It seems they were trying to focus on the big albums that people had heard on MTV rather than their heavier metallic roots on this tour. Phil Collen gets a nice acoustic intro to show off his skills, along with Steve on doubleneck. This new semi-acoustic version of “Heartbreak” was so the band wouldn’t get sick of the song; it’s interesting anyway.
“Foolin'” ushers in a long stream of big, big hits. Steve’s still rockin’ the doubleneck. Then “Armageddon It” is nice and fresh. Much of this footage will be familiar to fans of the music video. “Animal” is tight, and received with a rapturous applause. Lots of girls in the front row dancing to this one.
There’s a touching moment in the “Pour Some Sugar On Me” intro when Joe says that the return of Rick Allen “the Thundergod” on drums was the biggest “up” that the band ever had. They then make easy work of the hit single. Phil takes a solo rip on the fretboard before “Rock of Ages”, and then of course the obligatory long audience singalong section. (“You can do better than that!”) The encore “Photograph” closes the show, and a great song to do it with. Shirts are no longer required where Joe and Steve are concerned.
This video was expertly directed by Wayne Isham. It is simply one of the best shot and edited live concerts available on DVD. It’s also – sadly – a document of the last stand for this lineup of the band. They had hit the top. Unfortunately you can never stay.
Note: This being the thirdHysteria 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.”
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.
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!
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.
DEF LEPPARD – Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD (1995 Mercury 2 CD edition)
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