The Rythmic Pitch: Def Leppard’s Hysteria

Face it: without Def Leppard the music world would not be the same. Think of what Def Lep has contributed. Without them, we’d have no basis for one-armed drummer jokes. Without them, we’d never have Hysteria.

In 1987, that record reigned supreme in every high school around the world.  All right, at least in the US.  All of us ripped up our good jeans (to the chagrin of our parents) and wore tank top shirts and wristbands.  The guys with long hair had to put extra work into their locks in the mornings.  We all wanted to be Def Lep.

Hysteria was the pinnacle of the hard rock/metal that is known in contemporary terms as “hair metal.”  I don’t think that’s the best description, but whatever.  It has adhered itself to the music of my youth, much like Aqua Net adhered to the hair.  There are many who will even debate as to whether or not “hair metal” is true metal; in their opinion these cheesy rockers are just supernumerary players on the stage of True Metal – the rejects of the Glam Academy and such.  Again:  whatever.  Some of those bands have endured and have a loyal following.  In the elite of this group is Def Leppard.

Hysteria stands as their masterwork (oh, sure, some of you will say, “No,  you idiot, that’s Pyromania.”  I disagree, as much as I like Pyromania – see here).  It is well known that the band spent years perfecting the sound of Hysteria, obsessing over every note.  As Joe Elliott once noted, ‘there are bits on Hysteria that only dogs can hear.’  They worked with a few different producers on the record.  Jim Steinman began the work on Hysteria.  He was replaced by Nigel Green and eventually “Mutt” Lange came back.  He recovered from his “exhaustion” from working with The Cars, apparently.  Lange forced them to re-record their work and the result was the outstanding classic record we 80s kids still listen to today. 

It didn’t catch on right away back in the day.  “Women” is a fun song but it just didn’t grab anybody.  “Animal” is actually one of the best songs in the entire library of Def Lep tunes and it finally got the album noticed.  But it was that one song that pushed the record to legendary heights.  You know the one I mean: “Pour Some Sugar On Me”.  Oh, yeah; “love is like a bomb … ” yeah, you know the rest.  Sugar me sweet but did that song rock or what??  There was just something about that song, something mystical and energetic.  It crawled into your brain and would never leave.  The one-armed drum beat of “Sugar” marched Def Lep into legend.

It wasn’t just that song that made the record great.  As a whole it was just fantastic.  It embodied the 80s; it was the 80s.  Loud, exciting, overdramatic, silly, pompous … yeah, all that and more.  Every song is memorable.  This record and this band defined what “hair metal” was and could be:  a mix of confection and craft.  

TRACKS:

1. Women – Biblical in scope, carnal in truth, the song has a serious groove if you give it a chance
2. Rocket – a long, fun tribute song; cool drums
3. Animal – an earthy, powerful song; the thick, warm guitar lead blends beautifully with the vocals
4. Love Bites – enigmatic and dreamy, this was a huge hit for the boys; love the harsh, sarcastic title yet slow tempo music
5. Pour Some Sugar On Me – the drums are loud, the guitars are loud, the chorus is shoutable; this song defined all that 80s metal was:  step inside, walk this way …
6. Armageddon It – more British sarcasm, if you ask me; nice play on words and a raucuous party song
7. Gods of War – nearly a sequel to “Die Hard the Hunter” this song has a message delivered with a brooding Gibson guitar
8. Don’t Shoot Shotgun – I don’t really understand this song, but I love the sound
9. Run Riot – very overlooked song; had some good drumming
10. Hysteria – “Sugar” may have been the pumping fist driving this record but “Hysteria” was it’s heart and soul; beautiful song
11. Excitable – fun and brainless
12. Love and Affection – Nearly a match for “Hysteria” this track was forgotten, too; it has some superbly arranged guitar

The first half of the 80s was just a trial run for this record.  Once it arrived and ruled for a time, there was nothing left for anyone to do and so the decade and the music faded away.  Music shalt never have a decade like the 80s again and never shall we see the like of Hysteria evermore.

The Rythmic Pitch: Def Leppard – Pyromania

I was first introduced to metal by an album and a song that was destined to become legend:  Def Leppard’s Pyromania.  The song was “Rock of Ages.”  I was twelve, I think.  I remember being at a friends house.  His name was Scott and he had a huge room in a basement.   This was a some years ago, so I may not be spot on with the details.  Anyway, there were three or four of us boys hanging out at his place and he said, “You gotta hear this.” 

Hear it I did.  A fan I’ve been ever since.  “Rock of Ages” is one of the ultimate metal anthems from the early 80s; an instantly identifiable classic.  I have no doubt that the song inspired later rebellious hits of the 80s, like “We’re Not Gonna Take It” and “Youth Gone Wild” and others.  ”Rock of Ages” is a fist pumping, head banging melody of defiance.  Yeah. 

Pyromania was released upon the world in 1983.  I was checking out the Metal Timeline  on About.com and remembering some of the great stuff of ‘83.  There were just some spectacular albums that year and  Pyromania is one of the best – a classic must-have in the history of metal.  Why?  Once you listen to it, you’ll understand.  The songs beg to be sung along with, shouted out, blared from whatever musical apparatus is handy.  The guitars are aggressive, the drums pound an unforgettable tempo. 

The music is gritty and tough yet the lyrics are written with brio.  The songs are alive, enthusiastic.  We can all connect to them.  They weave themselves into our consciousness.  I love the cadence of the words, the rythym of the spoken notes and not just the guitar notes.  Being a drummer, I really loved the booming power of Rick Allen’s kick drum.

Let’s take a stroll through Pyromania and recall its greatness.  It taught a generation of bands how to write and play raw music that appeals to a big audience.

1.  “Rock Rock Til You Drop” – I love the beginning of this song.  It sounds so … cool and then segues into a snappy rock groove.  Yeah, it rocks.

2.  “Photograph” – One of the most beloved Def Leppard songs.  Raucous and despondent all at once.  Perfectly written and played.

3.  “Stagefright” – One of the harder DL tracks; I really like the incisive rythym on this one.  It sounds menacing.

4.  “Too Late for Love” – The lyrics are very evocative on this track; I love the “play” metaphor employed.  It sounds rich and gorgeous, too.

5.  “Die Hard the Hunter” – Great storytelling on this song.  Sounds very First Blood-ish to me.  You can almost feel yourself being hunted when this song plays.

6.  “Foolin’” – One crazy video, but a pretty cool song.  A slower song, but powerful.

7.  “Comin’ Under Fire” – The chorus on this one is just sticky.  I hear it once and it just sticks around. 

8.  “Rock of Ages” – The ultimate, biggest metal anthem.  The father of all other defiant tunes.  The coolest lyrics, a fabulous lead guitar, and one outrageous video.  This song is 80’s metal.

9.  “Action Not Words” – Instead of using a play they went with movies as a metaphor here.  Fun song.

10.  “Billy’s Got A Gun” – Another outlaw track.  Excellent chorus, fabulous rythym.

Hey, I did all that from memory.  Rock on, eh?  Pyromania is an outstanding record.  Do not forget it or overlook it.  And, as Def Lep said, “Rise up, gather ’round … rock this place to the ground!”

Remember that one band … Tyketto

I remember Tyketto with great sentiment and fondness.  I bought it in the summer of ‘91 in Arizona.  I’d just graduated that year and came out to the desert to visit my friend.  I also met my future wife that summer.  So, it was a good year and Tyketto was an awesome soundtrack.

Of course, when talking about old school rock and metal of the late 80s, Tyketto may not readily come to mind.  But these guys had skills.  Unfortunately, their timing wasn’t the best.  They formed in ‘87 and released their first record, Don’t Come Easy, in 1991.  As good as they were, they could not compete with the icky, grungy, Nirvana-inspired sound that was all the rage – the sound that totally ruined music for an entire decade. 

Thus, Tyketto are only known to a few.  We are the Secret Society of Tyketto Fans.  We know that this band rocked.  ”Forever Young,” the first track on the first record, is a fabulous song; strong rythym, strong lyrics, good story.  In fact, here’s a bit of the lyrics:

She’s crying, two worlds collide
Can’t take anymore
He’s denying the kick inside
Died and slammed the door, (he says)
We made a deal, you and I
Cross our hearts and hope to die
No matter what may come
We’ll never say goodbye

Reminds you a lot of another classic 80s song, doesn’t it?  Yes, it’s very “Livin’ On A Prayer”-ish, that classic rocker by the American version of Def Leppard – a little band called Bon Jovi.

All right, on to the Tyketto discography.  They released five records: Don’t Come Easy, Strength In Numbers, Shine, Take Out & Served Up Live and The Last Sunset:  Farewell 2007.   That last record was a compilation of unreleased songs from the first few records and some demo’s.

The lineup:  Danny Vaughn for vocals; he’s got a huge, operatic voice, reminiscent of Zachary Stevens from Savatage or that guy from Survivor; Brooke St. James, guitar; Jimi Kennedy, bass; Michael Clayton, drums.  Jamie Scott replaced Jimi Kennedy on the second album and Steve Augeri replace Danny Vaughn for the third release.  (Yes, Augeri was the guy who succeeded Steve Perry as the singer for Journey after he left Tyketto).

Danny Vaughn pursued a solo career for a while.  He is currently in a band called Danny Vaughn.  Here’s his website.  Now, the site gives some news about Tyketto.  They will be playing in Brazil on April 26th.  Also on the site, an announcement about the band possibly playing Rocklahoma this year.  Fans need to speak up to get them in, apparently.  And it will be the original lineup.  Anyway, go here to read more.  An announcement about the Rocklahoma concert lineup will be made on March 4th.

They never had the great success they should have.  Their first CD is hard to find and is fairly expensive when you do find it.  I have to admit that I haven’t heard anything from their later releases.  Guess I’ll be checking e-Bay for some good metal.

The Rythmic Pitch: Def Leppard – High N Dry

As mentioned in my previous post, I consider Def Leppard one of the finest pop metal acts of the 80s.  Their debut album, On Through the Night, was a decent effort but the second record from Def Lep was light years beyond it.  High N’ Dry featured Joe Elliot, Steve Clark, Rick Savage, Rick Allen and Pete Willis and was produced by Mutt Lange.

They sound young and raw on High N’ Dry – mostly because that’s what they were.  This record is terribly addicting.  From the rowdy opener “Let It Go” to the comedic closer “Me and My Wine” (depending on what version you have), High N’ Dry is a gritty and exciting metal milestone.

It was released in 1981 along with some other memorable records, such as Iron Maiden’s Killers, Ozzy Osbourne’s Diary of a Madman and Motley Crue’s Too Fast For Love.  I know others will likely disagree, but I think Def Lep’s contribution in 1981 was the beginning of what 80s metal would become.  You can hear the rest of the decade in the chords and lyrics of all the songs on High N’ Dry.

Let’s talk favorites:  Like many, I think “Let It Go” is a superb track.  Clark and Willis are tight, the tempo is fast.  Just thinking about the sound starts my head banging.  “Another Hit and Run” is a seemingly quiet but potent track, ending harder than it begins.  “Mirror Mirror” I love because it just sounds so menacing.  “Switch 625″ was the first metal instrumental I’d heard and it’s just cool, really showing off Steve Clark’s outstanding talent.

And, of course, no discussion of High N’ Dry would be complete without mentioning its greatest track, “Bringin’ On the Heartbreak.”  It is the quintessential 80’s track.  Even now, twenty-six years later all anybody needs to hear is the first couple of notes and it’s instantly identifiable. 

“Bringin’ On the Heartbreak” was another showcase for Steve Clark.  It’s also the best written song, lyrically and musically, on High N’ Dry.  Let’s face it, “Bringin’ On the Heartbreak” rocked and everybody knows it and we all still love to listen to it!

High N’ Dry is a metal classic; it was an extreme improvement over Def Lep’s debut album and it alluded to the musical professionalism that Def Leppard would show off on their third album.  Plus, it showed that these boys can rock.

The Rythmic Pitch: Def Leppard – On Through the Night

I have already stated that I am a proud member of the so-called Hair Nation.  The hard rock and metal of the 1980s is still my favorite music.  I appreciate new bands, too, but always veer towards the music of my youth.

So, let’s talk about one of the greatest 80s bands ever:  Def Leppard.  Between ‘83 and ‘88, these guys absolutely ruled the hard rock scene.  With the respective records Pyromania and Hysteria the band assured themselves a place in the pantheon of pop metal gods.  Not only a place among these gods but, dare I say it, the throne itself. 

But, before those glory days of “Rock of Ages” and “Pour Some Sugar on Me” there were the Early Years, the Shaping of the Legend.  Let us begin at nearly the beginning, 1978.  In that year, Steve Clark joined the band and motivated the group to ‘get out and play.’  They do and end up recording The Def Leppard EP.  This led to their first album, On Through the Night.

It was released in 1980 and had eleven tracks.  It opens with “Rock Brigade.”  It’s a cool rocker, played well.  Some other of my favorite tracks are:  “It Don’t Matter,”  “Answer to the Master,” and “Wasted.”  I guess what I liked about On Through the Night was the memorable nature of the songs.

I haven’t listened to it in years, probably fifteen or more.  Yet I can still remember the tunes, the choruses to most of the songs.  That’s due to Steve Clark’s masterful guitar work.  The lyrics aren’t necessarily that outstanding; they seem a bit banal, in fact.  But, it’s that singing Gibson of Clark that sells the record.  It hints at the sound to come.

The record features vocalist Joe Elliot, bass player Rick Savage, a two-armed Rick Allen, and two guitar players:  Pete Willis and Steve Clark.