Friday, August 12, 2016

Def Leppard

We saw them again in concert, on tour for their newest album, self-titled.  It sounds almost exactly like Songs From The Sparkle Lounge, the prior album.   I’ve addressed them in a paragraph in an earlier blog, New Wave of British Heavy Metal.  Here’s more than a paragraph, as the band deserves it.

The NWOBHM was a…new wave of heavy metal…from Britain.  The time period was the late 1970s and early 1980s.  I suppose the first wave was Black Sabbath, Led Zeppelin, Deep Purple, with Judas Priest, Thin Lizzy and UFO as mid-70s additions.  The late 70s saw punk and new wave take a major role in British music.  Deep Purple had split up in 1976, Led Zeppelin were touring less and strung out in the late 70s, and Black Sabbath ended in 1978 with Ozzy’s departure.  These new bands, who finally broke out by sheer force of numbers, gave us three major survivors:  Iron Maiden, Saxon, and Def Leppard.

Of the three, Def Leppard quickly switched to a more commercial style.  Unlike Diamond Head, who tried doing the same thing (only to crash and burn), DL pulled it off.  Good writing, catchy songs, excellent production, and photogenic band members could share the blame for this success.

Joe Elliott.   The singer.  He has a good voice and stage presence, enough wit and charm to impress the audience and possibly the ladies. 

Rick Savage.  The bassist.  Did he pull all the birds?  Well, given that the bassist is usually a band’s most homely and least charismatic memer – aside from exceptions like Paul McCartney and Gene Simmons – this guy made the band more attractive to females, a necessary ingredient if you’re going to go commercial.

Rick Allen.   The drummer.  After Pyromania went big, he bought a Corvette and flipped it over on the local roads near Sheffield, which cost him his arm.  Initially despondent – how can you drum with only one arm? – he found someone to rig a drumset which would allow him to hit drums with an extra foot pedal.  Voila, problem solved.  Good enough to get the job done, and an inspiration to the rest of us.

Phil Collen.   Guitarist #1.  Not to be confused with Phil Collins.  PC replaced prior guitarist Pete Willis, who apparently didn’t get along with the rest of the band.  He likes to play without a shirt, but hits the gym often enough to make it work for him.  He’s buffer than Vladimir Putin and well ahead of Randy from Trailer Park Boys (to my knowledge neither of them play guitar).  He prefers Strat-type guitars.  Flashy?  Sure.  But he’s good enough.

Vivian Campbell.  Guitarist #2.  From Northern Ireland.  He used to be in Sweet Savage, another NWOBHM band, and also played with Ronnie James Snake and WhiteDio.  He was already well known from those bands when he replaced Steve Clark, who drank himself to death.  VC has been fighting cancer recently but seems to be on top of it.  It looks like he’s taking 60% of the solos.

Honorable mention: Steve Clark.   Long blonde hair, low slung Les Paul or Firebird, almost like a guitar version of Duff McKagan.  He played well and was well-liked, but couldn’t avoid drinking himself to death (1991). 

Dishonorable mention:  Pete Willis.  Despite writing and playing on the first three albums, he pissed everyone off and got fired.  If it was just the band, he’d have resurfaced, but his musical career died when he was canned. 

Early material.   On Through The Night (1980) was the first album.  It’s not memorable enough to even merit a single tune in the set, and it’s hardly distinguishable from the other NWOBHM material out there dating from the same period.  The term “Rock Brigade” which appears on much of the band’s merchandise seems to be its only legacy.  It went platinum, but my guess is that most of those sales probably date from after Pyromania broke big and fans decided to buy the prior albums.

High’N’Dry (1981).   The second album.  Produced by John “Mutt” Lange, who gave us the killer trilogy of Highway to Hell, Back In Black, and For Those About To Rock (AC/DC).  Awesome from start to finish, including the duo of “Bringing On The Heartbreak” >> “Switch 625”.  Mandatory inclusion in every rock fan’s collection.  This went double platinum, possibly after Pyromania

Pyromania (1983).  The third album, which catapulted the band to stardom.  Phil Collen took over from Pete Willis.  Really this could be considered their finest moment, though I prefer the prior one.  Lange continued his work on this one, and the band really fine-tuned the sound.  10x platinum sales, or 5 times the sales of High’n’Dry.  While I consider it more commercial than High’N’Dry, it’s not nearly as commercial as Hysteria.

Hysteria (1987).  A big delay because of Rick Allen’s accident, but everyone was glad to see him back.  It’s also the last album with Steve Clark.  Lange produced this one too.  They made it a bit more commercial and slick, and got 12x platinum sales, the highest selling DL album.  This album essentially finalized the DL sound from here on out.

Subsequent albums:  Adrenalize (1992) (last album produced by Lange, also last album to sell at platinum level), Slang (1996), Euphoria (1999), X (2002), Songs From the Sparkle Lounge (2008), and Def Leppard (2015).   Of these, I only have the two most recent.  They both sound the same, and my impression is that they’re all somewhat substandard copies of Hysteria, a formula which they found works for them.  The more recent albums haven’t sold very well, probably because we already had Hysteria.

Retro-Active and Yeah!  The former is a collection of out-takes and b-sides, the latter is a covers album.  None of the covers are metal songs, or anything that Iron Maiden or Saxon would consider an influence.

Union Jack.  It’s funny that more British bands don’t use that, as the flag is distinctive.  For a while the band was waving it around and putting it on all the merchandise (they still do, but less prominently than before), and Joe Elliott was prancing around in Union Jack boxers.  They also make it a point to remind everyone they’re from Sheffield, basically the Pittsburgh of England.  And finally they are avid soccer fans, a trait shared with Iron Maiden.   I believe their team is Sheffield United, whereas the Irons (or at least, Steve Harris) are big West Ham fans. 

Notwithstanding the highly commercial sound, the band still has lots of energy and dynamism on stage, and Joe Elliott is an excellent frontman.   Like AC/DC, they’ve had a consistent run of mediocre albums long after their peak but still put on a good show live – plus they’re aware of what the fans want and give it to us: “Switch 625”.  

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