Tag Archives: Back In Black

Rocks In The Attic #560: Guns N’ Roses – ‘Appetite For Destruction’ (1987)

RITA#560.jpgI saw something last night I thought I’d never see – Axl Rose, Slash and Duff McKagan on the same stage together. It’s been a long time coming, but for a large part of the twenty five years since I first heard Appetite For Destruction, it seemed unlikely that a reunion would ever happen. Slash kept himself busy, playing in Velvet Revolver (with Duff) before going on to record several decent solo albums. Axl retained the Guns N’ Roses name, touring the band in the 21st century with a host of stand-in musicians and finally releasing the long-threatened Chinese Democracy album in 2008. The new Axl was a portly fellow, rumoured to have an addiction to fried chicken and was described by one audience member in London as ‘a gold lamé blob up on stage.’ A reunion seemed as unlikely as all four Beatles playing together on stage.

Then the unthinkable happened. In 2016 Axl, Slash and Duff patched up their differences and announced a reunion tour. Who needs differences anyway when you’ve got millions of dollars to earn touring the world as a nostalgia act? Plus, that fried chicken won’t buy itself…

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The initial reaction was one of cynicism. Surely Axl would keep everybody waiting like he did in his prima donna days during the 1990s. Would it be worth buying a ticket if it meant waiting around for a few hours in the rain, waiting for Axl to finally take off his bathrobe and finish that last bucket of KFC? Of course it would!

Then the unthinkable part two happened. Axl landed the job as stand-in vocalist for AC/DC. It seems that Brian Johnson’s eardrums had enough of his own high-pitched screaming and put up a protest. He got a sick note from his doctor, ruling him out of that band due to the threat of permanent hearing loss. Step up, Mr. Rose.

It still hasn’t really sunk in that this actually happened – Axl Rose singing with AC/DC sounds like such an off-the-wall idea. Comparable to Soundgarden’s Chris Cornell singing in front of Rage Against The Machine. Oh wait, that actually happened too.

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What a great pairing – Axl DC – can it get any better? Brian Johnson’s vocals have never really fit the band if I have to be honest – there’s only so much shrieking I can handle, and after 1980’s Back In Black, there was a pretty consistent dip in quality. Other than Steven Tyler, Axl is the best choice to front Angus and company – he has the range to hit Brian Johnson’s high notes, and the ballsy tone to handle Bon Scott’s earlier material.

So the rock world waited with bated breath, and the unthinkable part three happened. Axl turned up on time and did his duty. No diva behaviour whatsoever – and best of all, his inclusion prompted the long-standing – and frankly, now quite boring – AC/DC set-list to change. They started playing songs they had rarely, if ever, played with Brian Johnson. Songs such as Riff Raff and Rock And Roll Damnation from 1978’s Powerage, If You Want Blood (You’ve Got It) from 1979’s Highway To Hell, and 1975’s Live Wire (from the Australian T.N.T. album, or the international version of High Voltage). It was so refreshing to see these songs performed once again.

Then, one show into the GNR reunion tour, the unthinkable part four happened. Axl broke his foot. It’s still unclear how he did this – so one can only speculate that a bottle of Hot Sauce fell on his foot as he opened the fridge for a midnight feast of fried chicken. He ended up fulfilling the rest of GNR’s U.S. tour, and the remaining AC/DC dates sat on a throne of guitars borrowed from Dave Grohl.

Last night my wife took a bullet and stayed home to put the kids to bed so that I could go down early to catch the support band, Wolfmother. When I got to the stadium I spoke to a lovely lady named Lucy, who had endured a 9-hour bus trip from Gisborne to see the show. Crikey! She sat next to me as she rolled a joint, out of sight of the security staff, and in minutes we had bonded over our mutual dislike of Michael McDonald-era Doobie Brothers.

I was really looking forward to seeing Wolfmother after I caught them supporting Aerosmith in Dunedin back in 2013. At that concert, the sight of the band bouncing on to the stage like exuberant puppies made me smile. Four years later and they’ve reduced their ranks significantly. What was once a boisterous four- or five-piece back in 2013 has now distilled into a tight trio. I’m not sure if this was intentional, but it meant one member was pulling more than his fair share of the weight – bassist Ian Peres also played keyboards, incredibly both at the same time during some songs.

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Twenty minutes later and Guns N’ Fucking Roses emerged. My wife had made it with just minutes to spare, and thankfully she was there to see opener It’s So Easy. They followed this with Mr. Brownstone, and Western Springs went off like a firework.

Axl did that jaunty side-to-side dance with his microphone stand, looking like a menopausal Nicole Kidman, Slash took all his solos with his guitar propped up on one elevated thigh, and Duff kept up on the bass, sticking his neck out to sing backing vocals.

The set-list was really strong with songs from Appetite For Destruction, and while I like most of the singles from the Use Your Illusion records, the songs from the debut record are just in a different class. They’re truly magical, and the whole of that first record is like lightning in a bottle.

I could never really work out why I liked Appetite so much more than the Use Your Illusion albums, and it wasn’t until I read Slash’s autobiography that I figured it out. Drummer Steven Adler – the one missing component that didn’t survive into that second line-up of the band – really provides the groove of ­Appetite. His replacement Matt Sorum is a powerhouse drummer himself, but Adler had something else – a swing that you don’t get with most 4/4 rock drummers. I’d have loved to have seen a full reunion with Adler on board, alongside original rhythm guitarist Izzy Stradlin, but I’m more than happy to have seen three out of the original five.

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Covers were well-represented, not surprisingly for a band with only four albums of original material to their name. As well as the likely contenders – Live And Let Die and Knockin’ On Heaven’s Door – they also played the Misfit’s Attitude, the Who’s The Seeker, and in one really touching moment, a cover of Pink Floyd’s Wish You Were Here afforded Slash and rhythm guitarist Richard Fortus the opportunity for a lovely bit of guitar work. November Rain was prefaced with Axl playing the piano outro from Derek & The Domino’s Layla, and Slash played snippets of the Godfather theme, Voodoo Chile (Slight Return) and Zeppelin’s Babe I’m Gonna Leave You before the night was through.

If I had one criticism, it was that the show could have easily been an hour shorter. After two hours when I told my wife that there was almost another hour left, she mimed shooting herself in the head (I noted that this was an odd thing to do in the presence of Duff McKagan, the last person to see Kurt Cobain alive; they found themselves sitting next to each other on a flight to Seattle where Cobain took his life a few days later).

At one point, the audience nearly chuckled themselves to death when Axl sang his big emotional number – This I Love, from the Chinese Democracy record. This was like bad wedding music; just awful and such a polar opposite to the youthful vibrance that is all over Appetite For Destruction.

Hit: Sweet Child O’Mine

Hidden Gem: Mr. Brownstone

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Rocks In The Attic #448: AC/DC – ‘Stiff Upper Lip’ (2000)

RITA#448.jpgI saw the mighty ‘DC the other night in Auckland, my third time seeing the band. As you would expect, it was exactly the same as every other time I’ve seen them – but to be fair there was enough different this time round for it still to be interesting.

The biggest difference was the line-up – due to ill health sadly forcing his retirement, rhythm guitarist Malcolm Young has now been replaced by his nephew Stevie Young; and original drummer Phil Rudd, arrested recently for hiring a hitman to take out two men, was also out of the picture, replaced by the man he replaced back in the ‘90s, Chris Slade. The best joke I heard about Rudd’s arrest was that he was mistakenly overheard just saying that the band needed a couple of hits.

That was the thing I was most looking forward to with this concert – the return of Chris Slade, the drummer who drove the band through the Live At Donington concert film. As New Zealand music journalist Simon Sweetman has correctly pointed out, Phil Rudd could never play Thunderstruck correctly, there was always something missing. Slade played on the studio version of the song from the Razors Edge album, and his approach to the song takes it to another level, not least for those great side-bass drums he has positioned on either side of him.

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Seeing the band on stage without founding member Malcolm Young was heartbreaking. Malcolm has always been a rock on stage, standing in the shadows but always there holding the rhythm. The only positive outcome was that his position went to a family member (who looks so alike Malcolm that the casual onlooker probably wouldn’t even notice), and to complete the illusion Stevie even used Malcolm’s guitar – a Gretsch G6131 Jet Firebird with the neck and middle pickups removed.

The show wasn’t without its hitches – Brian Johnson missed his intro to Sin City (“Diamonds…”) and caught up with the second half of the line. The ego-ramp was really underused, with Angus and Brian only venturing out it in the final bunch of songs. There were a few sound issues early on, with Stevie’s guitar deadly quiet until they fixed it.  Angus’ guitar tone sounded a bit digitally enhanced – not something you want to hear from a guitarist so heavily associated with keeping it old-school. And the band didn’t play The Jack – the first song I learnt to play on the guitar – and as a result there was no slow blues played during the set.

But for all the cons, there was more than enough pros (a lot of the women in the audience looked like pros actually – lots of 40 year old faded blondes, with missing teeth, dressed as 20 year olds). They played two older songs, High Voltage and Hell Ain’t A Bad Place To Be (both from the Live At Donington set-list) which I was very happy to see. I’d never seen the band play Have A Drink On Me (from 1980’s Back In Black) lie before, and that was such a surprise and so unexpected, I initially thought Angus was playing the intro as some kind of blues throwaway snippet into another song. For the same reason, it was also great to see them play Shot Down In Flames – another deep cut off n album overshadowed by hit singles (in this case, 1979’s Highway To Hell).

Angus’ playing was still very fluid for a 60-year old, and there was no evidence of ‘locked-up fingers’ syndrome (that blighted Jimmy Page at Zeppelin’s O2 reunion show). And perhaps as a nod to his advancing age though, Angus didn’t do his momentum-stopping mid-set strip-tease, thankfully keeping his shirt on for the second half of the show. Rock N’ Roll Ain’t Eye Pollution and all that.

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The crowd was very interesting in fact. All ages were represented, the youngest child I saw couldn’t have been any older than six or seven, and while it wasn’t a completely 50/50 gender split, I’d estimate about 40% of the audience were chicks. There were some proper low-lifes there though. I expect if Auckland Police looked into it, there would have been a distinct drop in the number of burglaries reported on the night – all the no-mark bogans were wearing their best black t-shirts at the AC/DC show.

The set-list didn’t feature any songs from 1995’s Ballbreaker or 2000’s Stiff Upper Lip, the record I’m supposed to be talking about here. Both albums are solid efforts and I’m surprised they didn’t play just one track from each. I guess they have to be vigilant with this though. Not every studio album can be represented – there are seventeen of them!

While I enjoyed Ballbreaker, leading me to see the band for the first time on that tour (supported by the Wildhearts no less), I prefer Stiff Upper Lip of the two. It’s a bluesier, low-key affair – but it didn’t do very well in terms of sales, selling half what Ballbreaker and its follow-up Black Ice did. I even skipped that tour, busy playing with my own band at the time.

I’m sure there’ll be another album though, in four or five years. And another tour hopefully. Here’s to the 2020 world tour!

Hit: Stiff Upper Lip

Hidden Gem: Hold Me Back

Rocks In The Attic’s buyer’s guide to…AC/DC

  – 3 essential albums, an overlooked gem, a wildcard, one to avoid, and the best of the rest –

“I’m sick to death of people saying we’ve made eleven albums that sounds exactly the same. In fact, we’ve made twelve albums that sound exactly the same.” So says, AC/DC lead guitarist and fifty-nine year old Scottish Australian schoolboy, Angus Young. While other bands have been cursed by following the same formula over and over again (Francis Rossi, please stand up), AC/DC have turned it to their advantage.
ACDC0Over fourteen studio albums, the band have stuck to a blueprint of blues-based heavy rock. 99% of their songs follow the same format – counterpoint guitar riffs from brothers Angus and Malcolm, steady 4/4 drum beats, driving bass lines, soaring vocals and finally, a solo from Angus. There’s no room for piano, no room for strings and the only backing vocals you get are from the rest of the band, who are about as tuneful as an after-hours pub karaoke session.

Lead vocal duties divide the band into two eras – the band’s formative years were helmed by fellow Scottish Australian Bon Scott, but his untimely death in 1980 saw the band enter a more commercial phase under the screams of flat-cap loving Geordie Brian Johnson.

But regardless of what you may have heard, there are differences between their albums. Each of their 1970s albums follow a progressive arc, until they settled on their massive world conquering sound as they entered the 1980s. Albums since that point have struggled to find that same high level of quality, acting mainly as a springboard for the band to go out on the road for yet another world tour.

Start off with: Highway To Hell (1979, Atlantic Records)

ACDC1The album that saw the AC/DC break America was also their swansong with Bon Scott, who would die just months later. Up to this point all the studio albums were produced by former ‘60s Australian beat group stars Harry Vanda and George (older brother of Angus and Malcolm) Young.  For Highway To Hell, the band would enlist the production duties of Robert John “Mutt” Lange – notable amongst other things for producing Def Leppard’s Hysteria, and marrying Shania Twain.

Lange’s production revitalised the band. Overnight they changed from a noisy rock band from the backwaters of Australia into a household-name stadium rock band. Aside from the title track – typically played by the band in their live shows to open their encore – not much else from the album has survived into the band’s live set to this day; but this is probably the most consistent of all their albums.

Follow that with: Back In Black (1980, Atlantic Records)

ACDC2After Bon Scott’s death, the band could have called it a day. Most bands would have, if they’d lost their lead singer. But AC/DC were always more about guitars than vocals. After auditioning half of London for the job (including Gary Holton who would go on to play Wayne in TV’s Auf Wiedersehen, Pet), the band settled on Brian Johnson. The resulting album is a tribute – a relatively sincere one, considering the medium – to their fallen bandmate. Opener Hells Bells sets the scene with a tolling bell, before the band slowly introduce their new banshee vocalist.

Back In Black, also produced by Robert John “Mutt” Lange, is probably AC/DC’s most commercial-sounding record. Singles such as the title track and You Shook Me All Night Long saw the album become the best-selling rock album of the 1980s. It’s currently tied with Pink Floyd’s Dark Side Of The Moon as the second best-selling album of all time (after Michael Jackson’s Thriller).

Just like VHS beat Betamax as the consumer’s choice of video in the 1980s (a fact commonly attributed to the pornography industry selecting the fledgling VHS technology as the way forward), Back In Black outstripped all other contenders in record sales by being purchased by every strip club in America. You Shook Me All Night Long has soundtracked a lot of lapdances – it’s not heavy rock, it’s stripper rock! Def Leppard would achieve the same feat later in the decade with Pour Some Sugar On Me, from their best-selling Hysteria album – a song that sounds like it’s describing a sexual act, but was probably written about their one-armed drummer Rick Allen making a cup of tea.

Oh, and Shoot To Thrill? The best middle-eight instrumental section in rock music, hands down.

Then get: Powerage (1978, Atlantic Records)

ACDC3Powerage is AC/DC’s greatest achievement – the last thing they did before they crossed over into the mainstream. At this point, it’s all still them; there’s no ‘hit-making’ hot-shot producer in the background to claim any credit. The album is no-frills rock ‘n roll from start to finish, although it does come with a celebrity endorsement – Rolling Stone Keith Richards earmarked it as his favourite AC/DC record.

Aside from Sin City, not much else from the record has survived into the band’s live set to this day. Still, opener Rock ‘N Roll Damnation is almost the quintessential AC/DC song, and Riff Raff has one of the band’s longest intros, building up for over a minute and finally released when Angus Young bends an open D-chord that sounds as sick as anything.

But it’s the slow-burn of songs like Down Payment Blues that really wins people over, on Powerage, the most introspective of their records.

Criminally overlooked: The Razor’s Edge (1990, Atco Records)

ACDC4In March 1990, Aerosmith’s Joe Perry mentioned to Guitar World magazine that ‘people put us down for [using outside songwriters], but I wonder how an AC/DC record would sound if they’d pull somebody like Jim Vallance into the songwriting process. Would they get another one-song record with Heatseeker, or would you get a whole album that was that cool?”

At the time, AC/DC were actually in the process of doing something along these lines. While that September’s The Razor’s Edge was written in its entirety by Angus and Malcolm Young, it was produced by Bruce Fairbairn – the man who had produced Aerosmith’s successful comeback albums, Permanent Vacation (1987) and Pump (1989).

It’s almost a cliché to disregard any of the post-Back In Black albums as cannon-fodder (pun very much intended); but The Razor’s Edge saw the end of a run of ‘80s albums where the band had very much lost their way. From this point on, with albums produced by the likes of Rick Rubin and Brendan O’Brien, they spent a bit more time and effort on their studio output.

The album’s opener, Thunderstruck, is another contender for the quintessential AC/DC song and concrete proof that they were still as relevant to ‘90s rock music as they were in the ‘70s and ‘80s.

The long-shot: For Those About to Rock (We Salute You) (1981, Atlantic Records)

ACDC5The third and final album produced by Robert John “Mutt” Lange fails to match the quality of its two predecessors, but it does have its moments. It’s so close to Back In Black and Highway To Hell in its chronology that you can almost hear some of the magic of those records in its grooves. Of course, on the other side of the coin, the album’s other next-door neighbour is 1983’s Flick Of The Switch, where their mid-‘80s rot really set in.

The album-opening title trackremains a firm live fixture – they’ve closed their sets with the track for the last thirty three years – and the track serves as the true peak of their creative accomplishments. It was all steadily downhill from this point on.

Avoid like the plague: ’74 Jailbreak (1984, Atlantic Records)

ACDC6An EP – usually priced as a full-length album – containing just twenty four minutes of material, ’74 Jailbreak is a cynical cash-in release on the behalf of Atlantic Records. It’s essentially a small collection of leftover songs that didn’t make the international releases at the start of the band’s career (several of these early albums were combinations of songs from more than one Australian release, with some omissions made in the interests of running time).

This really is what you buy only when you have all of the other AC/DC albums, even the questionable mid-‘80s ones.

Best compilation: Iron Man 2 (O.S.T.) (2010)

ACDC7AC/DC must be one of the only major bands in the world without an official ‘greatest hits’ compilation. Sure, there are box-sets – Bonfire (1997) and BackTracks (2009) – but these aren’t compilations in the true sense of the word. The band has avoided issuing a simple collection of their singles – something I really respect them for.

Of the two soundtracks they have released – 1986’s Who Made Who (the soundtrack to Stephen King’s Maximum Overdrive) and 2010’s Iron Man 2 – it is the later release that stands as the nearest thing to a ‘greatest hits’ release, split roughly 50/50 between the Bon Scott and Brian Johnson eras.

It’s just a shame the film is so boring!

Best live album: AC/DC Live (1992, Atco Records)

ACDC81978’s If You Want Blood You’ve Got It captured the live sound of the Bon Scott era, but its raw energy was plagued by a muddy Vanda / Young production. 1992’s AC/DC Live doesn’t suffer from that problem. Taken from 1991’s The Razor’s Edge tour, the album offered an authentic live recording of the band. Bruce Fairbairn had got close to capturing that sound on record (on The Razor’s Edge) and was invited back to produce the live record.

Live At Donington, the album’s companion piece video, is also worth checking out. Recording during their third headlining appearance at the British rock festival, it’s essentially the same set as can be found on the AC/DC Live record (and on every subsequent tour for that matter). One nice little bonus extra on the DVD / Blu Ray version is a commentary track comprised of an interview with the Young brothers as they talk though the concepts and directions behind each of their albums. You know, those albums that are supposedly all the same…
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Rocks In The Attic #297: The Doobie Brothers – ‘What Were Once Vices Are Now Habits’ (1974)

RITA#297I can remember a moment from when I was 10 or 11, and was spending a Saturday watching my Dad play cricket. I don’t like sport now and I didn’t like sport then, so getting dragged along to see my Dad play cricket in the middle of nowhere was always a chore.

I used to pass the time by reading comics until the boredom ended and we could catch the bus home. This time though, I was listening to music on my Walkman. We’d just been to America (recounted here) and so I was listening to my new favourite band, the Doobie Brothers.

I remember being sat outside the clubhouse, half-watching the game, and two guys sat near me asked who I was listening to. I told them it was the Doobie Brothers, and they cracked a joke. They said – and I can’t remember the names they used – something along the lines of “The Doobie Brothers? Who’s that? <Insert name> and <insert name>?”

I didn’t know either of the names they said, and so I can’t remember them now; but in hindsight, and to speculate on the joke a couple of decades later, they probably said the name of two high-profile sportsmen who were in trouble over drugs in some way or another.

Other than my Dad (who bought the tape of the Doobie Brothers that became the soundtrack to our American holiday), that was the first time I ever heard anybody else mention the band. Because I didn’t understand the joke, I simply thought they were taking the piss out of the band, and so one of my first memories of rock music will be forever linked with somebody making fun of what I was listening to.

Maybe that’s why I never felt the need to listen to the same bands as everybody else. I really didn’t care if people liked the bands I was listening to – I was listening, not them! – and so that left me open to listen to a lot of bands that other people often saw – sometimes with good reason – as a joke.

When all my peers were listening to Oasis in 1994 and 1995, I proudly held my head high and carried on listening to Aerosmith and the like. In the sixth form common room, I’d listen to everybody argue over what album was better – Definitely Maybe or (What’s The Story) Morning Glory?  I’d put my headphones back on and carry on thinking about a far more important question – which album was better – Highway To Hell or Back In Black?

What Were Once Vices Are Now Habits has to be my favourite album title by the Doobs. I really can’t work out why this particular incarnation of the band was playing with two drummers – as shown on the album cover – but the album is as solid as The Captain And Me and Stampede on either side of it; and it’s always good to hear the Memphis Horns outside of a Stax album.

The Doobie Brothers’ first #1 hit single Black Water appears on this album, and while the rest of the album doesn’t match the strength of that song, it’s not a weak album by any respect. The one thing that really annoys me is the fact that some idiot at Warner Bros. Records decided to list the songs on the back cover in alphabetical order – not their running order. Maybe they were smoking something in the office that day…

Hit: Black Water

Hidden Gem: Flying Cloud

Rocks In The Attic #198: AC/DC – ‘Let There Be Rock’ (1977)

RITA#198This album is such a quantum leap from Dirty Deeds Done Dirt Cheap, but it still doesn’t sound like the AC/DC of today. The production is more confident than the band’s previous two albums, but the overall sound comes across as noisy rather than channelled, as though the engineer and the producers made a few bad choices on the day of the recording, in terms of setting up the mics in the studio for the amps.

When I started listening to AC/DC in the early ‘90s they were terribly unfashionable. Just like Iron Maiden and Def Leppard, they were seen as relics of the ‘70s and ‘80s – something that just wasn’t relevant any more, to anybody. I couldn’t believe when I found a friend at college who liked the band too. I truly thought I was alone in liking them.

Then slowly, they started to become less of a laughing stock, and more of a valid influence on people. When I started DJing in the late ‘90s, I would slip the odd ‘DC track into my set, mainly to blank stares. Then something happened in popular culture – I’m not exactly sure what – but they suddenly became a very cool band to listen to. Each week, I started getting requests to play some of their stuff – and not specific songs either, just a “’Ere mate, you got any ‘DC?”, as though anything I could have played by the band would have sufficed.

Now, thanks to films like Iron Man featuring Back In Black (and its sequel featuring an entire set of ‘DC songs), the band seems to be everywhere. Now I just need to wait for that Aerosmith revival to happen…

Hit: Whole Lotta Rosie

Hidden Gem: Hell Ain’t A Bad Place To Be

Rocks In The Attic #175: Def Leppard – ‘Hysteria’ (1987)

The band put a lot into this album, especially the drummer. I’ve driven on the country road, Snake Pass between Sheffield and Manchester, where Rick Allen lost his arm – what a horrible thing to happen to a band. I guess anybody in a band losing an arm would be a horrible thing – it just seems that little bit more horrible that it was the drummer.

Growing up as a rock fan, you tend to see the same facts repeated over and over in magazines. One fact always associated with this album is that is the joint best-selling rock album, alongside AC/DC’s Back In Black. Looking at the R.I.A.A.’s list of best-selling albums, that seems to be a load of bollocks. Back In Black is in there, second only to Michael Jackson’s Thriller, but Def Leppard are nowhere to be seen in the top 30. Perhaps sales to strip clubs don’t count?

It wouldn’t surprise me if that claim was something started by Joe Elliot – Leppard’s lead singer, and chief ambassador for the band. In interviews, he has bragged about the level of alcohol found in former guitarist Steve Clark’s body when he died, being higher than the level of alcohol found in John Bonham’s body when he snuffed it – as though that makes Def Leppard the better band or something. What an odd thing to talk about. Anyway, with this level of misguided self-promotion, I wouldn’t be surprised if Elliot regularly told the press that his band’s 1987 offering was on a par with Back In Black in terms of sales. The big difference though is that Back In Black has aged well.

Hysteria isn’t a bad album, per se. It has a lot of hit singles – seven in total were taken from the album – but it just reeks of 1987. Their albums prior to this are far more interesting, but from this point onwards, all of their songs are mid-tempo to cater for their drummer’s new set-up.

Hit: Pour Some Sugar On Me

Hidden Gem: Women