Def Leppard – Pyromania

Details :

• Year of release : 1983
• Label : Vertigo 6359 119
• Review format : vinyl

Time I thought to visit the album that broke Def Leppard big in the USA, saw them just about disowned in their own country and provided the name of this site in one of its tracks. The follow up to the highly promising High ‘n’ Dry this release was the one that effectively meant that Leppard would still be talked about today some 24 years later. Finally losing patience with guitarist Pete Willis part way through the recording (he’s still credited as providing guitar backing tracks on all songs) and replacing him with ex-Girl guitarist Phil Collen proved the final piece in the jigsaw and stardom beckoned.

Rock Rock (Til You Drop) is a good opener with Joe Elliott’s throaty vocals to the fore and I would have thought at the time a track that would appeal to old nwobhm fans and to the new MTV generation alike. It still sound as good today and is still placed in the live set to audience approval but of course as far as the album goes it was the next track Photograph that blew things apart. The video promo for this track took Leppard into America in a huge way and is about one of the countries favourite actresses Marilyn Monroe. Possibly suffering a little nowadays from over-exposure it’s a different take on the ‘Norma Jean’ story of course with a much harder edge than old Elton’s effort and to date never re-recorded with different lyrics to mark the passing of a Princess… as far as I know, but its a fine rock track that maintains that mix of metallic guitar and vocal harmonies without over-polishing it. The crowd noise heralds what I reckon should still be their live opener Stagefright. A real stormer especially turned up loud its not their best known rocker even at this point of their career but it is a good un’ , however it just doesn’t sit right part way through a side – should have either opened the album or side two I reckon. The wind blowing and the computer bleeps… then that guitar intro to the magnificent Too Late For Love and it still sends tingles down my spine. A mid tempo number which captures Elliott’s voice at it’s raw, but not shot, best this song just hits the spot for me with its simple but effective solo, thudding beat courtesy of pre-accident Rick Allen and great lyric – if Leppard were still able to knock out stuff as good as this we’d all be happy. More effects as the swirling helicopter and distant gunfire drift around the speakers until the distorted shout marks the beginning of another immense build up into Die Hard The Hunter. The song quickly turns into a riffing romp that reminds the listener again of Leppard’s ability to craft a cracking hard rock tune whilst the superb guitar solo just nails that thought down, and it closes the first side of an album I’d not heard in a long while and one I’m enjoying re-hearing much more than I thought I would.

Surprisingly its an acoustic guitar that starts side two and the power ballad Foolin’. Building toward a huge chorus complete with the borrowed from Roger Daltry stutter of F-f-f-foolin’ it’s memorable even if it’s not the best ballad they would ever write or had ever written (Bringin’ On The Heartbreak from the previous album does top it). Aah… Rock Of Ages – a good title if ever I heard one! In reality a real thumping number really belying the bands love of 70s glam rock giants like Sweet, Mott The Hoople and T. Rex as the bass guitar and drums just give it away. Live it was often extended to include other tracks but here in its studio form its just a cracking short, sharp stomper that’s leaves you wondering just how good this album can get.

I still can’t make my mind up about Comin’ Under Fire though. The start and the early verses sound so good, that crash of guitar pre-chorus gets me as well but the chorus itself, the latter half of the track and the solo don’t deliver as they should and the jury’s still out. Likewise the next track Action! Not Words. Not a million miles away from Tear It Down in feel and that was a track deemed not good enough for follow up album Hysteria being deemed only b-side standard; mind you it was conversely good enough for inclusion on Adrenalize but maybe that proves my point? Billy’s Got A Gun though is another strong hard rock track that ends the album well rather than with a song I’m not sure about however the final drum loop (apparently unofficially titled “The March of the Dreaded Zultrons”) I can do without, just a waste of precious stylus time but then maybe that’s my own fault for not embracing Compact Disc?

Summary : A really solid album that broke through despite not having the flashy guitar found on many early/mid 80s rock albums. Clark and Collen were capable I’m sure but that nwobhm background ensure the album remained grounded and better for it. Still a really enjoyable listen some 24 years since release there are a couple of tracks I’m not sure about and the order could perhaps be changed for the better but 10 million plus sales worldwide can’t be down to luck can it? It’s become quite easy for critics to target Def Leppard, especially with some questionable choices of direction post Adrenalize but this album, whilst not perfect, remains a shining example of what they were capable of.

If You Listen To One Track Listen To : Too Late For Love

Score : 4.5/5

—–

“Too Late For Love” on UK TV show ‘Supersonic’….