It may not enjoy the same commercial success as Animal or Pour Some Sugar On Me but for this is a album for the fans. Whilst most bands in their age bracket are throwing in the towel, DEF LEPPARD roar on with a very strong new addition to their discography. It’s a shame as up to that point, DEF LEPPARD have taken you on a real journey of self-discovery through classic rock and roll.įor a band that is approaching 40 years, it is quite remarkable just how good Def Leppard is. The last three tracks of the record, ( Last Dance, Wings of an Angel, Blind Faith) are easily the weakest songs on the record and it ultimately gives the final moments of Def Leppard ending rather lacklustre. Not that this is a bad thing at all, as the massive chorus really immerses the listener into the emotion-driven vocal performance.įor all of its quality, unfortunately there are moments where the impact of the record slacks off. Man Enough‘s groovy bass tones allow the track to really stand on it’s own two feet that show the band’s varying approach to the rock genre, Invincible oozes in the feel of 80s feel good rock whilst We Belong presents itself as a typical DEF LEPPARD ballad. The band have gone above and beyond to make an album of true quality and containing enough diversity to really let the record flow. Whilst it may be easy for bands of DEF LEPPARD‘s calibre to slack off with new records, you certainly get the feeling that this record is jam-packed full of quality. Joe Elliot‘s vocals resemble that of a phoenix, rising above the fire of the music with his signature tone hitting the right vibe with the slick backing vocals. Dangerous is one of the catchiest songs on the record, with intoxicating opening riffwork from Phil Collen and Vivian Campbell all whilst keeping to a steady hard rock rhythm. Opening track Let’s Go slowly unfolds before pummelling into the classic style of the band powerful hitting guitar work and roaring vocals from Joe Elliot.įrom the offset, Def Leppard mark their musical intent, to continue the formula that has made them so successful. If you are familiar with DEF LEPPARD, and you should be if you have the remotest of interests in rock music, then this record will sit comfortably indeed. But does this new offering by one of the old guard of rock still uphold the band in the highest calibre of musicians? Their self titled eleventh record, Def Leppard, is finally here after a seven year wait. It’s been a long time since they burst onto the scene in 1977 and nearly four decades later, and a million records sold worldwide, the band are one of the biggest rock bands on the planet. Its blockbuster success helped pave the way for a whole new second wave of hair metal bands, while proving that the late-'80s musical climate could also be very friendly to veteran hard rock acts, a lead many would follow in the next few years.To say that DEF LEPPARD are a household name in rock music is quite an understatement. The strong pop hooks and "perfect"-sounding production of Hysteria may not appeal to die-hard heavy metal fans, but it isn't heavy metal - it's pop-metal, and arguably the best pop-metal ever recorded. Rex, particularly on the playfully silly anthem "Pour Some Sugar on Me," and the British glam rock tribute "Rocket," while power ballads like "Love Bites" and the title track lack the histrionics or gooey sentimentality of many similar offerings. Joe Elliott's lyrics owe an obvious debt to his obsession with T. But Def Leppard's music had always employed big, anthemic hooks, and few of the pop-metal bands who had hit the charts in the wake of Pyromania could compete with Leppard's sense of craft certainly none had the pop songwriting savvy to produce seven chart singles from the same album, as the stunningly consistent Hysteria did. Pyromania's slick, layered Mutt Lange production turned into a painstaking obsession with dense sonic detail on Hysteria, with the result that some critics dismissed the record as a stiff, mechanized pop sellout (perhaps due in part to Rick Allen's new, partially electronic drum kit). Where Pyromania had set the standard for polished, catchy pop-metal, Hysteria only upped the ante.
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