Def Leppard and the album ‘Hysteria’

The Def Leppard album Hysteria was released on Monday, August 3rd, 1987. My 12-year-old self was a big fan of this album, which featured musicians Joe Elliott of Sheffield, Yorkshire, England, Rick Savage of Sheffield, Yorkshire, England, Rick Allen of Sheffield, Yorkshire, England, Phil Collen of Hackney, London, Middlesex, England, and Steve Clark of Hillsborough, South Yorkshire, England.

(The cover art for the 1987 Def Leppard album Hysteria is shown here).

Women charted 80th in the United States. Per Songfacts as sourced here, the band knew that “women don’t like songs called “Women,” especially when they’re prurient tales of male desire set in biblical times. When they released this song, Def Leppard knew that it would gin up their core audience but would have little appeal to the female fans who had made them superstars.”

(Women was the second overall single but first released in the United States for Hysteria. The song was released as Hysteria‘s first single in Canada, Australia, and Japan).

Rocket charted 12th in the United States and 15th in the United Kingdom. Playing on the notion of rocking the song while using the title rocket, the band lyrically references music by The Rolling Stones, Elton John, The Beatles, David Bowie, Paul McCartney, Chuck Berry and Queen.

(Rocket was the last single from the Def Leppard album Hysteria, with a release in January 1989).

Animal charted sixth in the United States and 19th in the United Kingdom. The recording of the song “took three years to complete,” as referenced here. Besides the accident to drummer Rick Allen, the move to change producer from Jim Steinman to Robert John ‘Mutt’ Lange made a big difference with this song.

(Animal was the first single released internationally to support Hysteria, becoming Def Leppard‘s first Top 10 hit in the United Kingdom).

Love Bites introduces the notion that singer Joe Elliott wanted to emotionally invest in physical intimacy with a lady. That the song approaches this in a ballad format really helped the band resonate with ladies.

(Love Bites was a number-one single on the Billboard Hot 100 in the United States. It became a top-10 hit in Canada, Ireland, and New Zealand. The track peaked at number 11 on the UK Singles Chart for the United Kingdom).

Pour Some Sugar on Me charted second in the United States and 18th in the United Kingdom. The song became an anthem of sorts for the band, with influences as indicated here including The Archies and T. Rex. Illusions to physical intimacy from this song, metaphorically, are quite clear.

(Pour Some Sugar on Me reached number 2 on the Billboard Hot 100 in the United States on July 23rd, 1988. The song ranked number 2 on VH1‘s 100 Greatest Songs of the 80s in 2006).

Armageddon It charted third in the United States and 20th in the United Kingdom. The song plays with words similarly to the song Rocket from earlier in the album, with the lyrics “Are you getting it?” being answered with “Armageddon it”. As referenced here, the large influence of the change of producers was felt with this song. “Lange took over for Jim Steinman, whose sessions were scrapped in 1985. With Lange, they created songs with a rock bombast and commercial appeal, and this one also played great in stadiums.”

(Armageddon It was released in 1988, going to No. 3 in the United States. It also reached the top 10 in Canada and New Zealand and the top 2 in Ireland and the United Kingdom).

Gods of War “is as close to a protest song as you’re going to hear from Def Leppard,” as noted here. The song didn’t receive much critical or commercial love, though the ask to avoid getting into wars is noted.

Don’t Shoot Shotgun returns more strongly to the world of the platform of love, or at least intimacy, with a protest of sorts into jumping too quickly into a physical expression of love.

(From left, Joe Elliott, Rick Savage, Rick Allen, Phil Collen, and Steve Clark. This was Def Leppard‘s line-up for the 1987 album Hysteria).

Run Riot feels like an early in the setlist song intended for concerts in support of the Hysteria album. Lyrically, the song itself invites an investment in the glamorous perspective of rock-n-roll where hedonism has it costs but still feels worth it.

Hysteria returns to the ballad style with a song that charted tenth in the United States and 26th in the United Kingdom. As indicated here by guitarist Phil Collen, “The song really is about finding spiritual enlightenment[.] Not many people know that because it sounds like just getting hysterical, but it’s actually about that. It’s about finding this deeper thing, whether you believe it or not.”

(The tenth track on Def Leppard‘s 1987 album Hysteria was the song Hysteria, the fourth single for the album. The single was released in November of 1987).

Excitable offers a clear invitation for returning energy to the band in a concert. The song itself can be interpreted when listening to the album itself in a more intimacy-based context, with the exploration of what you feel outpacing what you think.

The Hysteria album ends with a ballad adjacent song named Love and Affection. Lyrically, the album ends with the offer of a one-night stand of experiencing intimacy where the singer invites the company for the night to give in to the invitation. This song thematically fits with the album, though the offering of so many lyrics without a true bridge back to a chorus strikes me as a bit weak for the finish.

Matt – Wednesday, August 3, 2022

T. Rex and the album ‘Electric Warrior’

With the pending induction of the band T. Rex into the Rock & Roll Hall of Fame, let’s listen and look into the most relevant T. Rex album with the lineup that, in my opinion, should be the one recognized at induction into the Rock Hall. Take a listen with me to the musical styling of Marc Bolan, Mickey Finn, Steve Currie and Bill Legend on the album Electric Warrior.

(The album cover for Electric Warrior by T. Rex).

The 1971 album Electric Warrior, a fascinating example of glam rock with its highest degree of popularity coming in the United Kingdom, begins with Mambo Sun that plays with a bluesy riff and oddly fascinating and odd lyrics that owes something to the sound of Eddie Cochran, among others.

Cosmic Dancer thematically takes the listener from dancing the mambo to dancing right from birth through his pre-teens. Played with trippy chord progressions perfect for the title, the listening pleasure screams joy at the experience.

Opening the song Jeepster with the drum beat setting the timing was beautiful and so sweet. The lyrics suggest the young kid declaring his love in the most finding your way through love way possible.

(Left to right are T. Rex members Bill Legend, Marc Bolan, Mickey Finn and Steve Currie. This lineup made the album Electric Warrior).

Monolith declares itself royalty lyrically and almost religiously to my ear with a sound heavy with tambourines, drums, and backing vocals reminiscent of a choir. The almost squawky effect of the bass and guitar lines speaks to a very strong glam sensibility through the song.

Lean Woman Blues closes out what was the opening side of the Electric Warrior album, previewing a sensibility of lyrics echoed by Queen with the song Fat Bottom Girls from 1978, in that women of a certain body type holds an interest for the performers.

Bang a Gong (Get It On) opens the second side of Electric Warrior as perhaps the best known T. Rex song in the United States while also being a chart topper in the United Kingdom. The words bang a gong were added for the US audience to avoid confusion with the song Get It On by the band Chase.

(The single Get It On, alternatively called Bang A Gong (Get It On), as released in support of the album Electric Warrior by T. Rex).

Planet Queen builds lyrically from the dancing of Cosmic Dancer into an almost a fantastic image of love in outer space with dragons. The point of being out of site being all right in the pursuit of love is the exploration of growing up if I’ve ever heard it.

Girl takes a step beyond Planet Queen into a spiritual plane seeking to engage in the feeling, the mystery and the experience of love. Perhaps aiming for the most mature messaging on the album, the horns add something beyond the remainder of the songs on the album.

The sound of The Motivator is a mellow continuation of the song Girl on Electric Warrior. The gender ambiguity that is a part of glam rock shows itself clearly in here as it feels to me like a overarching question is for the listener to understand his/her motivation in love.

Life’s A Gas reintroduces the unusual and weird notion of loving a girl like a planet. Certainly a love of a large magnitude, the notion of a spiritual or physical love almost feels like it doesn’t matter to the song’s narrator because the whole notion of what love is or could be feels too mysterious to understand rationally.

The song Rip Off closes the album Electric Warrior with what feels like a statement declaring that love is one big insult that means nothing. The feelings of what love might add, as explored through much of the album before this song, seems like the train flies off the rails because we’ve been rejected, or fooled into an experience with a partner of an unanticipated gender. The experience then feels, well, like the song title.

Matt – Wednesday, March 4, 2020