Def Leppard's "Hysteria" (1987)

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<v Speaker 3>hear some great songs with deep interesting stories.
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<v Speaker 2>as to leave us a review and hopefully a five
<v Speaker 2>star rating on your podcast app. And then also, we've
<v Speaker 2>got a special episode. This is part two of our
<v Speaker 2>Pyromania Versus Hysteria episode from season one. We love these episodes.
<v Speaker 2>We've had a ton of people who've come in on
<v Speaker 2>these episodes and discovered us this way, So we really
<v Speaker 2>hope you enjoy this one. This drops us right into
<v Speaker 2>the middle of nineteen eighty seven, and it is a
<v Speaker 2>great beginning for our Summer of eighty seven series. That's right.
<v Speaker 3>This week we go track by track through def Leberts
<v Speaker 3>Hysterio album. Yeah, I've got one question for you. Are
<v Speaker 3>you getting it armor?
<v Speaker 2>Getting it all right?
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<v Speaker 3>You want it in the fair way and you want
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<v Speaker 2>Guys. Don't forget it's easier to see a giraffe on
<v Speaker 2>the plane than it is in the forest. Okay, that's good.
<v Speaker 2>Really do you want to get right.
<v Speaker 4>Now?
<v Speaker 5>Hello everybody, and welcome to the Surely You Can't Be
<v Speaker 5>Serious Podcast, discussing and debating the iconic and the forgotten
<v Speaker 5>of eighties and nineties pop culture with your co hosts,
<v Speaker 5>James D. Graves and Jason Colban.
<v Speaker 2>All right, Jason, step inside, walk this way, you and me, babe, Hey, Hey,
<v Speaker 2>welcome back everybody. We are so glad you're joining us again.
<v Speaker 2>This is part two of our def Leopard episodes. We
<v Speaker 2>are super excited to talk to you today about Hysteria.
<v Speaker 2>If you haven't heard our last episode, that was the
<v Speaker 2>one where recovered Pyromania. And then when we're done with
<v Speaker 2>those two albums, we'll give you our final judgment on
<v Speaker 2>which we think is the best of Deaf Leopard.
<v Speaker 3>I'm freaking stoked to talk about Hysteria.
<v Speaker 2>This album brings back far more memories for me than
<v Speaker 2>Pyromania did. Pyromania came out, I was still pretty young,
<v Speaker 2>really more listening to Michael Jackson when Hysteria came out.
<v Speaker 2>I was middle school moving into high school as those
<v Speaker 2>singles were being released, and yeah, I have lots of
<v Speaker 2>memories associated with It's.
<v Speaker 3>The really unique thing for me about this album is
<v Speaker 3>when you're fourteen years old and an album stays prominent
<v Speaker 3>for two whole years, Yeah, it covers a lot of
<v Speaker 3>your life.
<v Speaker 2>Yeah, I mean, yeah, it really does.
<v Speaker 3>Yeah, So we'll get more We'll get more into that
<v Speaker 3>as we go, but let's dive into the history of
<v Speaker 3>the making of Hysteria before we talk about the songs.
<v Speaker 2>Okay, sounds good. Okay.
<v Speaker 3>So after Pyromania, and after they had gone from eight
<v Speaker 3>hundred at the beginning to Jack Murphy Stadium and they're
<v Speaker 3>playing in front of gobs of people, Yeah, massive success.
<v Speaker 2>Opening for Billy Squire and people would leave after their
<v Speaker 2>opening set.
<v Speaker 3>Yeah, to becoming a headlining prominent eighties band with this
<v Speaker 3>hop metal masterpiece Pyromania. Yeah, So they are going back
<v Speaker 3>in the studio now to make a follow up to Pyramania,
<v Speaker 3>and they expect to make it really in a couple
<v Speaker 3>of years, maybe a year or two.
<v Speaker 2>Right, Well, it had taken them longer to record Pyromania
<v Speaker 2>than it had any other album that they had done
<v Speaker 2>up until that point. But you know, when they had
<v Speaker 2>so much success with Pyromania, they're thinking, Okay, we're willing
<v Speaker 2>to put in the time. We're willing to be abused
<v Speaker 2>by Mutt Lang, right because this, I mean, the success
<v Speaker 2>of this one has been incredible. And so they had
<v Speaker 2>one or two songs that they started off with that
<v Speaker 2>they put a few demo tapes together for and then
<v Speaker 2>things started to get bad.
<v Speaker 3>So they go back to the studio. On February of
<v Speaker 3>eighty four, they actually moved to Dublin. They're leaving England
<v Speaker 3>for tax reasons, right, And they go to Dublin in
<v Speaker 3>February of eighty four to start work on the follow
<v Speaker 3>up album. Yeah, but the big problem at this time
<v Speaker 3>is that Mutt Lang is unavailable. I mean, this guy
<v Speaker 3>is their mentor. He's the guy who we talked about
<v Speaker 3>built the album Brick by Brick, and he's out.
<v Speaker 2>Yeah. When you get an album that sold six million
<v Speaker 2>copies as much heck as you went through with the guy,
<v Speaker 2>you can go, well, he knows how to put together
<v Speaker 2>an album. We're going to have to do this again,
<v Speaker 2>all right.
<v Speaker 3>So with Mutt laying out, and they go to this
<v Speaker 3>list of possible producers. Yeah, and one of the guys
<v Speaker 3>they actually look at is Phil Collins of Genesis.
<v Speaker 2>The singer Phil Collins. Yeah, that's rights the studio. Does
<v Speaker 2>he produce album?
<v Speaker 3>I don't know that he's ever produced an album.
<v Speaker 2>Okay, all right, well that's an interesting choice. They didn't
<v Speaker 2>go with him.
<v Speaker 3>Though, they didn't, but yeah, his pop sensibilities I don't know.
<v Speaker 3>I mean, I can see that, but they settled on
<v Speaker 3>Jim Steinman. Okay, So Jim Steinmond was the songwriter for
<v Speaker 3>that out of.
<v Speaker 2>Hell right, so he's a songwriter but not a record producer.
<v Speaker 2>This seems kind of odd, you know, from what they
<v Speaker 2>went through before when we looked at the way that
<v Speaker 2>Mutlang puts the record together. He is the sixth member
<v Speaker 2>of the band, and to take somebody who basically doesn't
<v Speaker 2>know how to play the instrument that's in front of
<v Speaker 2>him seems a NodD choice.
<v Speaker 3>It does seem like an odd choice, and we should
<v Speaker 3>say before we leave out Lane, he actually did do
<v Speaker 3>some songwriting sessions with the guys, so he did start
<v Speaker 3>the process with them, but he bows out due to exhaustion.
<v Speaker 3>Jim Steamon steps in, Well, I've heard Joe Eliot talk
<v Speaker 3>about he was not a fan really from the get go,
<v Speaker 3>and during the recording sessions that they would work on.
<v Speaker 3>I remember talking about when they were recording Don't Shoot Shotgun,
<v Speaker 3>which is a song on the backside of Hysteria, that
<v Speaker 3>Jim Simon said, all right, guys, go for it. They
<v Speaker 3>played a little bit and Jim Steimon was like, yep,
<v Speaker 3>sounds great and Steve Clark was like, dude, we haven't
<v Speaker 3>even warmed up yet, which is the exact opposite of lane.
<v Speaker 2>Right, yeah, right, So.
<v Speaker 3>It just wasn't a really good fit, so they decided
<v Speaker 3>to let him go, kind of like Eric Stoltz really
<v Speaker 3>in Back in the Future. They were down the road
<v Speaker 3>and decided to make that hard choice of the same
<v Speaker 3>work and we gotta change, So.
<v Speaker 2>They cut him loose.
<v Speaker 3>And then on New Year's Eve of eighty four, Rick
<v Speaker 3>Allen is driving in his.
<v Speaker 2>Corvette right following behind an Alfa Romeo driving with his
<v Speaker 2>girlfriend at the time. The Alfa Romeo is going slowly, yes,
<v Speaker 2>and so he tries to pass. When he tries to pass,
<v Speaker 2>the Alpha Romeo speeds up, and so he has to
<v Speaker 2>back off because they're curves coming ahead, and it goes
<v Speaker 2>on like this. He gets behind the Alpha Romeo, it
<v Speaker 2>slows down, he tries to pass, it speeds.
<v Speaker 3>Up, and when he decides to finally hit the gas,
<v Speaker 3>that's it. I'm leaving this guy behind.
<v Speaker 2>Uh huh.
<v Speaker 3>There's a big swerve and before he can do anything,
<v Speaker 3>he crashes into a brick wall, flips his car upside down,
<v Speaker 3>and he tears his arm off.
<v Speaker 2>Right, yeah, the seatbelt is the thing that probably took
<v Speaker 2>his arm off because he was not wearing it properly.
<v Speaker 2>This is a tragedy, but he is so blessed to
<v Speaker 2>have been where he was when the accident occurred, because,
<v Speaker 2>as it turned out, there's a nurse who lives right
<v Speaker 2>there next to where the accident occurs. She goes out
<v Speaker 2>to see what's wrong, and then a police officer who
<v Speaker 2>is her neighbor puts his head over the wall to
<v Speaker 2>see what's going on. And Rick Allen is standing up
<v Speaker 2>still conscious. Didn't even lose consciousness, which is probably a
<v Speaker 2>part of why he didn't bleed out because he was
<v Speaker 2>so tense. All he can say is I'm a famous
<v Speaker 2>drummer and I've lost my arm.
<v Speaker 3>What a crazy nightmare scenario.
<v Speaker 2>Yeah, the police officer ended up having to go find
<v Speaker 2>the arm up under the dash of the car, and
<v Speaker 2>so they pack it. They rush him and his girlfriend
<v Speaker 2>over to the hospital. But they make the decision to
<v Speaker 2>reattach the arm.
<v Speaker 5>It.
<v Speaker 3>Actually they think it went pretty well.
<v Speaker 2>The surgery went well, but it takes up. They thought
<v Speaker 2>it was going to revive.
<v Speaker 3>After like a week, it started to become infected, and
<v Speaker 3>that infection was actually going to threaten him.
<v Speaker 2>Can you can you imagine that heartbreak of number one,
<v Speaker 2>I have to have my arms for my career, that
<v Speaker 2>makes me millions of dollars, and I've just lost with them.
<v Speaker 2>And then number two, I get this momentary, I've reattached
<v Speaker 2>it and everything looks like it's going to be okay,
<v Speaker 2>and then you've taken it away from me again. It's
<v Speaker 2>utterly heartbreak.
<v Speaker 3>Every second of that week, you've got to be thinking, Okay,
<v Speaker 3>I think it's working.
<v Speaker 2>I'm on back arm. And then after that, after they
<v Speaker 2>had to take that arm off, they said, you know,
<v Speaker 2>the other thing is that there's an infection and if
<v Speaker 2>it spreads to your other arm, you're going to live
<v Speaker 2>that one too. I mean, it was serious. It's I
<v Speaker 2>just can't imagine.
<v Speaker 3>So the band is distraught for him. Initially they were
<v Speaker 3>worried that he might not even live, Yeah, his life, disinfection,
<v Speaker 3>losing the arm, and they had to worry about him living.
<v Speaker 2>Then they had to worry about what are we going
<v Speaker 2>to do? What are we going to do? I love
<v Speaker 2>to listen to these guys talk because it was never
<v Speaker 2>even a thought in their mind that they would say,
<v Speaker 2>you know, we got to find somebody else. It was Rick,
<v Speaker 2>what do you think? And Rick said, I'm gonna make
<v Speaker 2>this work.
<v Speaker 3>Yeah, that's awesome, and what a tribute to him. They
<v Speaker 3>went and visited him like three weeks after this, after
<v Speaker 3>they had taken his arm back off. Yeah, and he's
<v Speaker 3>sitting there playing with one arm and pillows. They walk
<v Speaker 3>in and he's like, guys, I think I can do this.
<v Speaker 3>I just need to play the other thing with my feet.
<v Speaker 2>I mean, this guy is a guy who had been
<v Speaker 2>playing drums since he was a little kid. And then,
<v Speaker 2>as we talked about in our last episode, he's the
<v Speaker 2>youngest member of the band, and he goes from hey,
<v Speaker 2>we're in this garage band to hey, we're doing world
<v Speaker 2>tours by the time he's seventeen or eighteen years old. Yeah,
<v Speaker 2>it's incredible drumming his whole life, he said. At this point,
<v Speaker 2>he's like, Okay, this is a wake up call. This
<v Speaker 2>is a new challenge for me. I'm going to take
<v Speaker 2>this and I'm going to use it as motivation to
<v Speaker 2>become an even better drummer than I was before.
<v Speaker 3>So the band leaves him to recover and they get
<v Speaker 3>back in the studio and we'll start writing. By this time,
<v Speaker 3>mut Lange had finished up with Heartbeat City.
<v Speaker 2>He had been involved as in a car accident as well,
<v Speaker 2>but ultimately he healed up.
<v Speaker 3>Mutt Laying decides, guess what, guys, I'm back.
<v Speaker 2>Back, and there was much rejoicing.
<v Speaker 3>That's right, I'm back and now I'm going to beat
<v Speaker 3>you guys to death to get an even better album
<v Speaker 3>out of you.
<v Speaker 2>Right, And it was that process, but they need what
<v Speaker 2>to expect at this point. That's right now.
<v Speaker 3>They literally worked from February of nineteen eighty four, I mean,
<v Speaker 3>if you want to be technical, through.
<v Speaker 2>Like February of eighty seven, three years.
<v Speaker 3>But during the process, during all this craziness, Rick Allen
<v Speaker 3>made the comment that between mutt Ling and the concerts
<v Speaker 3>and the music and the album and my crash and
<v Speaker 3>the all this, that we fired this guy.
<v Speaker 2>This is crazy.
<v Speaker 3>This is like Hysteria, and they thought that's it. That's
<v Speaker 3>the name of the album. So we can talk specifically
<v Speaker 3>as we go through the songs, but we've talked in
<v Speaker 3>the previous episode that this has built brick by brick.
<v Speaker 3>When they strum the guitars on the song Hysteria, yep,
<v Speaker 3>it's actually they recorded it no by no, no, by no.
<v Speaker 2>Yeah. So even if you don't play guitar, you can
<v Speaker 2>easily imagine the pick goes string by string. Even though
<v Speaker 2>it's going fast, it still has to just hit one
<v Speaker 2>string at a time, and so there's a sound of succession.
<v Speaker 2>What Mutt Lange did was to take out that sound
<v Speaker 2>of succession, and the guitar is all of the strings
<v Speaker 2>at the same time, almost as if you were you're
<v Speaker 2>beating them with a drumstick, except it's the sound of
<v Speaker 2>a plucked string, all of them plucked at the same time.
<v Speaker 3>That's why it gives it that unique sound.
<v Speaker 2>Yeah, a very unique sound.
<v Speaker 3>Okay, So when they were working on these songs, yeah,
<v Speaker 3>and Mutt Lang is beating them to death in the
<v Speaker 3>studio and they're talking about songs, they're writing songs. Yeah,
<v Speaker 3>and they sit down for a meeting, Mutlan.
<v Speaker 2>Says, all right, guys, here's our goal.
<v Speaker 3>Yeah, we want a pop metal album that is thriller.
<v Speaker 2>Which means what it means. Every song on this album
<v Speaker 2>could be a single. Do you think they accomplished it.
<v Speaker 2>I do think they accomplished it. They certainly accomplished it
<v Speaker 2>for the A side, There's no question about that. Because
<v Speaker 2>every single one of them was a successful son.
<v Speaker 3>I would say ten of twelve. Wow, I mean, what
<v Speaker 3>a lofty goal. We've talked to you and I have
<v Speaker 3>talked at length about Thriller and Bad.
<v Speaker 2>It has been really exciting to go through the albums
<v Speaker 2>that we're going through. I didn't appreciate as much. I
<v Speaker 2>did appreciate, but I did appreciate it as much. How
<v Speaker 2>much the producer is a part of the sound of
<v Speaker 2>the band. With Michael Jackson, obviously we had Quincy Jones
<v Speaker 2>is a huge part of the success of Thriller and
<v Speaker 2>Bad with Van Halen, Ted Templeman is a huge part
<v Speaker 2>of success with David Lee Roth and the Boys, and
<v Speaker 2>Don Landy is a huge part of the way they
<v Speaker 2>sound and sound differently with Sammy has Yeah. So with
<v Speaker 2>this we've got Mott Lang the producer and the production
<v Speaker 2>is a huge part of all popular music from as
<v Speaker 2>far back to the Beating s.
<v Speaker 3>All right, So their goal is thriller and they want
<v Speaker 3>to make every single a releasable song. Right, So let's
<v Speaker 3>go through the list and find out what we think
<v Speaker 3>about these songs.
<v Speaker 2>Okay, sounds good, all right?
<v Speaker 3>So the first song on the album and The first
<v Speaker 3>single that they actually released in the United States.
<v Speaker 2>And only in the United States, was a song called
<v Speaker 2>Women Love It. Women was released in July of eighty seven.
<v Speaker 3>They hoped that the hard rock sound would reconnect with
<v Speaker 3>their rock audience, particularly because they know that they had
<v Speaker 3>some softer songs to come, like hysterian love bites. So
<v Speaker 3>the Women single is released in July of eighty seven.
<v Speaker 3>I actually remember when the video came out. I was
<v Speaker 3>super excited because I had that history with Pyromania, right,
<v Speaker 3>but it kind of landed with a thud in the US.
<v Speaker 2>It didn't do as well, no, as awesome as a
<v Speaker 2>video is, it's still the news. Well, and let me
<v Speaker 2>just say, as far as the hysteria videos are concerned, well,
<v Speaker 2>they certainly made up. They got better. Oh my gosh,
<v Speaker 2>I videos were so bad and these not all these
<v Speaker 2>were great, but they were certainly a sight better than
<v Speaker 2>the other ones.
<v Speaker 3>So it goes to number eighty on the Hot one hundred. Yeah,
<v Speaker 3>doesn't even crack the top fifty on the Top Rock charts.
<v Speaker 3>It gets to number seven, but really it was kind
<v Speaker 3>of disappointment.
<v Speaker 2>Yeah. So interestingly, the B side of this one, which
<v Speaker 2>was a song that wasn't on Hysteria actually did really well.
<v Speaker 2>It's a song called tear It Down. So we'll take
<v Speaker 2>a listen to that report. That's a kick by song.
<v Speaker 2>That song is awesome. So they ended up it got
<v Speaker 2>radio play and they ended up performing that on the
<v Speaker 2>MTV Music Awards in eighty nine, and then later they
<v Speaker 2>re recorded it for Adrenalized.
<v Speaker 3>Yeah, so let me take you back to a time
<v Speaker 3>when we didn't have Spotify or the Internet. Okay, yeah,
<v Speaker 3>some people will not remember this time, but for me as.
<v Speaker 2>Our listeners, wimber time, Yeah, that's right, I help you
<v Speaker 2>will and if you are one of the select few
<v Speaker 2>of seventeen and undred guys who listen, this is historical.
<v Speaker 2>There was a time where music was much harder to
<v Speaker 2>come back. That's right, and we're glad to have you.
<v Speaker 3>Yeah, but during this time, So for me, I didn't
<v Speaker 3>buy I had the cassette tape for ast Area.
<v Speaker 2>Yeah right, but this is.
<v Speaker 3>A time early on in CDs, right, so they would
<v Speaker 3>release the CD with the B side of tear It Down.
<v Speaker 3>So women released the United States had the other track
<v Speaker 3>was tear it Down right Flash for to April of
<v Speaker 3>eighty nine.
<v Speaker 2>Yeah, it gets radio play. Tear It Down is like
<v Speaker 2>a hit. Yeah. I can't get my hands on it all.
<v Speaker 3>Right because two years prior, that CD single is long gone. Yeah,
<v Speaker 3>and I can't spotify it, I can't internet it. I
<v Speaker 3>got to wait for the radio to play it.
<v Speaker 2>Right, which I'm sure that most of our listeners have
<v Speaker 2>a memory pretty clearly of sitting by the radio with
<v Speaker 2>with a Maxell cassette tape plugged in, just hoping against
<v Speaker 2>hope that the DJ didn't talk over the introduction to
<v Speaker 2>the song you wanted to record. That's right, that's right.
<v Speaker 3>But yeah, Tear It Down kind of a timely thing
<v Speaker 3>about the Berlin Wall relatively. Yeah, I mean these songs
<v Speaker 3>are not real. No, they're not politically, they're not political,
<v Speaker 3>which I appreciate.
<v Speaker 2>Yeah. And then so on this video, the video, the
<v Speaker 2>boy is reading a comic book and it is def
<v Speaker 2>Leppard and the Women of Doom is the name of
<v Speaker 2>the comic book. And you have a superhero who rides
<v Speaker 2>around on a sort of space skateboard kind of thing
<v Speaker 2>that looks very much like Joe Elliott, and he ends
<v Speaker 2>up on the planet Doom where they're making robotic women.
<v Speaker 2>And this kid's reading this outside of the warehouse where
<v Speaker 2>the band is inside performing the song, and the robotic
<v Speaker 2>women when they're instructed, their instructions are worship our masters
<v Speaker 2>every need this anagram being women.
<v Speaker 3>I didn't even guess that there have our masters every need.
<v Speaker 3>It's kind of like step fod wise there in the
<v Speaker 3>video other than the drawn comics. Yeah, there's not a
<v Speaker 3>single woman in the video.
<v Speaker 5>Now.
<v Speaker 2>This is the first video that they did after Rick
<v Speaker 2>Allen had had his arm amputated.
<v Speaker 3>It's a great song. Oh yeah, it's a great song,
<v Speaker 3>and it's a staple of they're live. I mean, I've
<v Speaker 3>seen them live many times and they play this all
<v Speaker 3>the time.
<v Speaker 2>And just to touch on their live shows, you know,
<v Speaker 2>they did a in the round concert tour with this album.
<v Speaker 2>And there are a few things to keep in mind here. Well.
<v Speaker 2>The first one, what was going on underneath the stage
<v Speaker 2>was described by one photographer as sodom and gomorrah or
<v Speaker 2>there were sixty women with no clothes on whatsoever. And
<v Speaker 2>so as the band performed, they would need breaks, and
<v Speaker 2>so a couple of guys would stay on stage.
<v Speaker 3>And it was Joe Elliott and Rick Allen. So Rick
<v Speaker 3>Allen's playing the drums and Joe Elliott is kind of
<v Speaker 3>thunder god.
<v Speaker 2>You know, let's hear it for Rick Allen.
<v Speaker 3>Yeah, Phil and Steve and Saver under the stage.
<v Speaker 2>Yeah, good doing who knows what? And we won't go
<v Speaker 2>into the family show. I'm sure they were just having coffee.
<v Speaker 2>But you know, when they started that tour, Rick Allen
<v Speaker 2>wasn't as confident in his ability to play, and so
<v Speaker 2>they had a guy named Jeff Rich come in and
<v Speaker 2>be there, their drummer that was there to kind of
<v Speaker 2>fill in. And then a few shows in it was
<v Speaker 2>like pre shows to this tour that they're about to
<v Speaker 2>go in. Jeff Rich's plane ends up getting to he
<v Speaker 2>doesn't show up to the concert on time, and so
<v Speaker 2>Rick Allen's just got to do it. And Jeff Rich
<v Speaker 2>comes in kind of sheepishly toward the middle of the
<v Speaker 2>concert and kind of fades back into the back, and
<v Speaker 2>when the concert's done, he says, well, it was nice
<v Speaker 2>knowing you guys, but I think Rick, you don't need me.
<v Speaker 3>That's such a cool story.
<v Speaker 2>Yeah, when he came out. When Rick came out on
<v Speaker 2>stage that first time after the amputation, there were fifty
<v Speaker 2>thousand people chanting his name. That's so cool, it's beautiful.
<v Speaker 4>I owned a drawling No, I don't know, all right.
<v Speaker 3>So the second track of the album is Rocket. This
<v Speaker 3>was released in January of eighty nine. This was their
<v Speaker 3>last was the last video was Steve Clark. Yes, it's
<v Speaker 3>actually filmed in the same warehouse that Women was filmed in.
<v Speaker 2>Yeah, and it's to me it sounds a lot like Women.
<v Speaker 2>They have a very similar sound to him, these two songs.
<v Speaker 2>They did any thing on this called backmasking, where they
<v Speaker 2>would record things backwards. It wasn't the weird stuff that
<v Speaker 2>you heard about with Led Zeppelin decades before. It was
<v Speaker 2>just the killer yourself now stop it. They would record
<v Speaker 2>things like we're fighting with the Gods of War, which
<v Speaker 2>is one of the lines from Gods of War. Record
<v Speaker 2>that one backwards.
<v Speaker 3>Okay, wait, that is such a cool little nugget. We
<v Speaker 3>really had to play that because the beginning part of Rocket,
<v Speaker 3>I'm listening to it going it's weird. You can't verbalize it, ye,
<v Speaker 3>And then when I hear, oh my gosh, that's We're
<v Speaker 3>fighting for the Gods of War backwards. Yes, in the
<v Speaker 3>middle of it, they're making these songs, these sounds.
<v Speaker 2>This is a sampling of bites. Now, the coolest part
<v Speaker 2>of this thing is the drums. Listen to it right here,
<v Speaker 2>you get it. So this actually came from a song
<v Speaker 2>called Barundi Black, and we'll play a snippet of that
<v Speaker 2>for you right here. So the sound of those drums
<v Speaker 2>is unmistakable as the same drums that are in Rocket.
<v Speaker 2>So what happened was Joe Elliott heard that song, he
<v Speaker 2>heard the Barundi Black and he's like, Okay, I think
<v Speaker 2>I can do something with this, and they took that,
<v Speaker 2>just that drum piece and then built the song off
<v Speaker 2>of that. It's really cool. And then it was just
<v Speaker 2>supposed to be those drums and him singing Rocket over
<v Speaker 2>and over again. And then decided just at some point
<v Speaker 2>he threw in Satellite of Love. Well, Satellite of Love
<v Speaker 2>is an old Lou Reed song, and it was kind
<v Speaker 2>of on you know, Joe Ellie. It's list of awesome songs,
<v Speaker 2>and so they thought, why don't we do a whole
<v Speaker 2>song that are awesome influences that have influenced this musically
<v Speaker 2>over the years.
<v Speaker 3>Part of the songs mentioned so here, I'll just give
<v Speaker 3>you some of the lyrics. Right they say, Jack Flash,
<v Speaker 3>rocket Man, Sergeant Pepper and the Band, Ziggy, Bennie and
<v Speaker 3>the Jets. So Jumping Jack, Flash Rocketman by Elton John,
<v Speaker 3>Sergeant Pepper by.
<v Speaker 2>The Beatles, Benny and the Jets by Elton John, and
<v Speaker 2>Ziggy Started Us by David Bowie. Yeah, there would think
<v Speaker 2>three different David Bowie songs because they also said something
<v Speaker 2>about they say Major Tom Yep, they say Johnny b
<v Speaker 2>Geene Genie Killer Queen by Queen Major Tom.
<v Speaker 3>Johnny b is Johnny be Good flash back to Our
<v Speaker 3>Raiders Back to the Future episode. Okay, so this is
<v Speaker 3>early on in CD time, right. Like I mentioned, I
<v Speaker 3>had this on tape on cassette. It's one of the
<v Speaker 3>very one of the about five tapes that I played
<v Speaker 3>it so much it broke. But you could buy CD singles.
<v Speaker 3>But as you acquired the CD singles, it actually you
<v Speaker 3>laid it down on the floor and it made a.
<v Speaker 2>Huge picture of hysteria.
<v Speaker 3>Yeah, the album cover and for a kid like me
<v Speaker 3>at fourteen, it was like collecting baseball cards. Like I
<v Speaker 3>wanted to buy the CD singles, I'd have this thing
<v Speaker 3>lay down on my floor.
<v Speaker 2>Yeah that's awesome, all right.
<v Speaker 3>So this brings us to the third track on the album,
<v Speaker 3>which is Animal Right.
<v Speaker 2>The demo on this one was recorded before Rick Allen
<v Speaker 2>had his car accident.
<v Speaker 3>This is one of the oldest songs on Hysteria, so
<v Speaker 3>having a track where rig Allen plays with both arms
<v Speaker 3>is kind of a neat thing.
<v Speaker 2>Yeah, then they just never felt like it was right
<v Speaker 2>during the recording process.
<v Speaker 3>This is this took some three years to perfect this song.
<v Speaker 2>Yeah, they had recorded all of the instruments, the drums,
<v Speaker 2>the vocals, and as two and a half years down
<v Speaker 2>the line, they're like, you know what, this this is
<v Speaker 2>already kind of getting old to us, and they're thinking,
<v Speaker 2>we don't want something that we want something it's going
<v Speaker 2>to be timeless, not something that we're going to be
<v Speaker 2>tired of before it's even released, And so they stripped
<v Speaker 2>it of everything except for the vocals and Rick Allen Thompson.
<v Speaker 2>The video on this one, if you're trying to remember
<v Speaker 2>all of your Death Leopard videos, is the one where
<v Speaker 2>they're at the circus.
<v Speaker 3>Yeah, and the guy throws knives in Joe Elliott and Yes,
<v Speaker 3>it was.
<v Speaker 2>During this particular video that had suddenly occurred to me
<v Speaker 2>how often Steve Clark holds his guitar up in the
<v Speaker 2>air whenever the camera's I mean, God rest his soul.
<v Speaker 2>He I kind of look back at some of the
<v Speaker 2>other videos, like every time the camera goes on to
<v Speaker 2>Steve Clark, He's like, hey, look at my cane. Hey awesome,
<v Speaker 2>I am.
<v Speaker 3>I like, how to hold it really low or really high?
<v Speaker 3>This was their first hit in England. Yeah, it was
<v Speaker 3>the first time they cracked the top dan for anything
<v Speaker 3>in England. And just to mention, Jim's Diamond's version of
<v Speaker 3>this had a sweeping orchestra.
<v Speaker 2>Okay, i'd be interesting. I don't know what.
<v Speaker 3>Whatever the course it took to get the song to
<v Speaker 3>where it is today, I like it a lot to
<v Speaker 3>where it is today.
<v Speaker 2>So I'm not sure I want to hear the orchestra
<v Speaker 2>version of this song. I would, I'd listen to that.
<v Speaker 3>This is the song that caused me to buy the
<v Speaker 3>Day by the whole album. Yeah, okay, So when Women
<v Speaker 3>came out I saw the video, I'm like, all right,
<v Speaker 3>deth Leverer's back at it about time. Yeah you know,
<v Speaker 3>But when I heard Animal, I was like, take me
<v Speaker 3>to the record store right now.
<v Speaker 4>Right.
<v Speaker 2>So the next song that's on the album is Love Bites.
<v Speaker 2>This one is a definitive power about with that doubt
<v Speaker 2>when you make it.
<v Speaker 3>This is their first number one hit, by the way, Yeah,
<v Speaker 3>reached the number one spot on the top of.
<v Speaker 2>One hundred, right. So I can remember school dances, slow
<v Speaker 2>dance under this song, heart pounding, wondering what's gonna happen?
<v Speaker 2>Nothing ever, nothing ever happened this one. Interestingly, this is
<v Speaker 2>kind of crazy. This one was supposed to be like
<v Speaker 2>a country style song by Mount Lang. I mean, it
<v Speaker 2>was a I cannot imagine what that could have sounded like.
<v Speaker 2>I got to hear this as a country song sometimes. Well, okay,
<v Speaker 2>let's see, we'll see if I can find that for you.
<v Speaker 3>Okay, sounds good.
<v Speaker 2>This is the only track on Hysteria that has keyboards.
<v Speaker 2>According to this.
<v Speaker 3>Song love bites, Yeah, it bleeds, brings me to my knees.
<v Speaker 2>Yeah, lives, dies, eggs, bleats, It's a lot of stuff.
<v Speaker 2>Here's a quick story for love Bites.
<v Speaker 3>You're ready for this all right? So, like I said,
<v Speaker 3>I had this tape. I played it all the time,
<v Speaker 3>had it with me all the time. I bring it
<v Speaker 3>in the car. But can you play this one? That's no,
<v Speaker 3>you can't play it in the car. But at my house.
<v Speaker 3>My parents were very cognizant of what I was listening to. Okay,
<v Speaker 3>so Molly Crue not in this house, mister, do it
<v Speaker 3>not in the house? Oh yeah. But so I had
<v Speaker 3>this tape and my dad was like, all right, let
<v Speaker 3>me check this tape out right, and he looks at it,
<v Speaker 3>and he's looking at and he's reading through it. Okay, women,
<v Speaker 3>all right, rocket animall, okay.
<v Speaker 2>Whatever, Wait a minute, what exactly are love bites? Oh
<v Speaker 2>that's funny.
<v Speaker 3>Yeah, I love you dad, Thank you.
<v Speaker 2>They like bon buns. Would you like to try some
<v Speaker 2>of love bites?
<v Speaker 3>This song actually has a little bit of car traversit
<v Speaker 3>to it. I don't know if you're you remember this,
<v Speaker 3>but at the very very end of the song.
<v Speaker 2>You can hear just a little bit of nothing, just barely.
<v Speaker 3>Voices, right, yeah, right right, Okay, So people thought that
<v Speaker 3>it said Jesus of Nazareth go to hell.
<v Speaker 2>What Yeah, at the very end, Actually.
<v Speaker 3>That's Mutt Lang saying, yes it does bloody hell, but
<v Speaker 3>it's really quiet. Yes it does bloody hell. All right,
<v Speaker 3>that wraps love Bites.
<v Speaker 2>Right. This brings us to my gosh, yeah, you talk
<v Speaker 2>about flowing your frigging mind. So here's my story on
<v Speaker 2>this song. Come on. So I'm in as great and
<v Speaker 2>I'm the king of the middle school, right, Me and
<v Speaker 2>my buddies are the king of the mid middle school
<v Speaker 2>because we're in eighth grade and we're the oldest ones there,
<v Speaker 2>and we're like, you know what, we're gonna go to
<v Speaker 2>a high school dance, and so we decide we're gonna
<v Speaker 2>go high school dance, firs high school dance I've ever
<v Speaker 2>been to. And I go in. I'm like, oh my gosh,
<v Speaker 2>this is crazy awesome and I don't want to know,
<v Speaker 2>and I'm nervous and all of this. And if anybody
<v Speaker 2>remembers your first dance, especially if you're a guy, you're like,
<v Speaker 2>do a dance to a not dance to just sit
<v Speaker 2>here and act cool? What am I supposed to do?
<v Speaker 2>And then yeah, girls are begging you to dance, and
<v Speaker 2>you're just like, oh, okay, finally you go out there
<v Speaker 2>and dance and you look like a white kid dancing,
<v Speaker 2>puberty ridden white kid dancing, but hey, it's okay. You're
<v Speaker 2>having fun and I can remember it the first dance
<v Speaker 2>into the dance and the DJ says, all right, everybody,
<v Speaker 2>here is the song you've all been waiting all night
<v Speaker 2>for and they start cranking Pour Some Sugar on me,
<v Speaker 2>and the room erupts. I was like, this is amazing.
<v Speaker 2>I've never heard this song before, but I'm going to
<v Speaker 2>go find it right after this is done. I've got
<v Speaker 2>to go find this because this song is incredible. It
<v Speaker 2>was incredible.
<v Speaker 3>So let's let's dive into it because before we talk
<v Speaker 3>about the videos. Yeah, not the video, the videos, yeah plural, Yeah,
<v Speaker 3>let's talk about the song. This song is when the
<v Speaker 3>album actually took off, right.
<v Speaker 2>So they had you know, they had a good had
<v Speaker 2>good sales with Pyromania. They spent five million dollars recording
<v Speaker 2>this album.
<v Speaker 3>They sold three million copies with Hysteria, which was pretty good.
<v Speaker 2>I mean, hey, we just sold three million albums. Yeah yeah,
<v Speaker 2>that's awesome success. Except we haven't made back the money
<v Speaker 2>that we spent make my album, which is kind of
<v Speaker 2>a big deal for the rec companies until Poor Some
<v Speaker 2>Sugar comes out and everyone goes crazy.
<v Speaker 3>I heard a record executive say that they moved four
<v Speaker 3>hundred and fifty thousand units on one day because of
<v Speaker 3>the success and Poorts Some Sugarummy, Yeah, that's almost going
<v Speaker 3>gold in one.
<v Speaker 2>Day, that's amazing.
<v Speaker 3>So he said he had never seen a song be
<v Speaker 3>that powerful. If you listen to it, it's it's kind
<v Speaker 3>of like.
<v Speaker 2>A rap yeah, I mean.
<v Speaker 3>Joylie talks about how this is modeled after Walk This Way.
<v Speaker 2>They were not really sure how rap and rock and
<v Speaker 2>roll would go together, and then Run DMC and Aerosmith
<v Speaker 2>came out with a rendition of Aerosmith's old seventies song
<v Speaker 2>Walk This Way, and they go, well, I guess it
<v Speaker 2>can be done. Let's do it.
<v Speaker 3>But this is really interesting. First of all, before we
<v Speaker 3>even get into that, there is a song I believe.
<v Speaker 2>From the sixties.
<v Speaker 3>Yeah, called Sugar Sugar by the Archies. Yeah, okay, I'm
<v Speaker 3>gonna blow your mind on this here ready for this.
<v Speaker 2>Everybody will recognize the injury to this song, but what
<v Speaker 2>you may not remember is the end of this song.
<v Speaker 2>It is freaking unbelievable.
<v Speaker 3>I just found this out this week after living with
<v Speaker 3>this album for thirty years. So Joe Elliott, this is
<v Speaker 3>his first record that he actually bought.
<v Speaker 2>Sugar Sugar by the Archies, So this song they actually
<v Speaker 2>they didn't have this song for most of the recording process.
<v Speaker 2>They were toward the end of the album and Mutt
<v Speaker 2>Lang is walking by and he hears Joe Elliott playing
<v Speaker 2>a riff on the guitar and he says, that's good.
<v Speaker 2>What is that? And so they take it and they
<v Speaker 2>play with it.
<v Speaker 3>It's incredible, it's incredible. They were on a coffee break
<v Speaker 3>when he was fiddling around with this. This is in
<v Speaker 3>January of eighty seven. Okay, they are wrapping up Armageddnett,
<v Speaker 3>which was the last song on the album. Yeah, Mutt
<v Speaker 3>Lange felt like the album is great, Yeah, but we're
<v Speaker 3>really we really need that signature song that we don't
<v Speaker 3>have yet, right, and they the record company is impatient.
<v Speaker 2>This is taken three years.
<v Speaker 3>What the heck get this album out right?
<v Speaker 2>And so he hears Joe Elliott playing this and he's like,
<v Speaker 2>who this could be it, this could be the one.
<v Speaker 2>And so the way that they get the lyrics to
<v Speaker 2>this is this is funny as can be. You've got
<v Speaker 2>the sound, and so how do we get the lyrics. Well,
<v Speaker 2>Mutt Lang and Joe Elliott go to opposite sides of
<v Speaker 2>the room and they have a little dictaphone and they
<v Speaker 2>listen to their recording of the riff and they just
<v Speaker 2>do this kind of stream of Consciousness. Here are the
<v Speaker 2>lyrics that just pour out as I'm thinking of them.
<v Speaker 2>And then they trade dictaphones and they listen in and
<v Speaker 2>they try to figure out what the other guy was saying,
<v Speaker 2>and at some point, Joe Elliott hears the words love
<v Speaker 2>is like a bomb. Whether that's what Mutt Lang said
<v Speaker 2>or not, that's what Joe Elliott heard, and that was.
<v Speaker 3>What they built the entire so a freaking incredible story.
<v Speaker 2>This was ranked number one on MTV Top three hundred
<v Speaker 2>Videos of All Time in May of ninety one. In
<v Speaker 2>two thousand and six, it ranked number two on VH
<v Speaker 2>one's Greatest Song from the Eighties. Number one was Living
<v Speaker 2>on a Prayer.
<v Speaker 3>Before Do you move on to that?
<v Speaker 2>Yeah?
<v Speaker 1>No.
<v Speaker 2>VH one ranked this as the number two song from
<v Speaker 2>the eighties.
<v Speaker 3>Yes, it only reached number two on the Hot one
<v Speaker 3>hundred charted. The number one song that week, Hold On
<v Speaker 3>to the Nights by Richard.
<v Speaker 1>Marks, just went up.
<v Speaker 2>There's no way that song is better than fortun Trigger.
<v Speaker 2>I mean, right when they do the video for the song,
<v Speaker 2>there's two versions. There's two versions.
<v Speaker 3>One is spectacular and one is terrible.
<v Speaker 2>One is off. Oh my gosh, it's not as bad
<v Speaker 2>as the Pyromanium videos. It's worse. It's way worse because
<v Speaker 2>at least the Pyromania videos were weird and interesting. This
<v Speaker 2>is just bad.
<v Speaker 3>We got to post this video on our Facebook page.
<v Speaker 2>Yeah, we'll do that.
<v Speaker 3>If this video is the v hippo for this song,
<v Speaker 3>this song does not do as well.
<v Speaker 2>No, it may still do great, but nothing compared to
<v Speaker 2>what it did do.
<v Speaker 3>It took a great song, made a looking dorky.
<v Speaker 2>Yeah, and if you don't know the original video to
<v Speaker 2>this song, the guys are singing in this kind of
<v Speaker 2>old lady looking house apartment in this building that is
<v Speaker 2>being torn down by these very manly looking women, and
<v Speaker 2>sporadic shots of a crowd of nerdy looking people shouting
<v Speaker 2>poor some sugar on me. It's whoa, what happened? This
<v Speaker 2>is terrible. Fortunately they are wise enough to look at
<v Speaker 2>it and go, this is terrible. What else can we do?
<v Speaker 2>And live and around in your face. They took footage
<v Speaker 2>from that tour, specifically their performance in dim and they
<v Speaker 2>made the video that everybody knows and loves. In the video,
<v Speaker 2>he's wearing the T shirt, the women T shirt. Yes,
<v Speaker 2>he's got the comic book that the kid was reading
<v Speaker 2>from the women video. It's got he's got his own picture,
<v Speaker 2>he's got his own superhero. I want to have that. Okay,
<v Speaker 2>I want to have a T shirt that's me as
<v Speaker 2>a superhero in a comic book on the T shirt.
<v Speaker 2>Can we get one of those? Here's a funny story
<v Speaker 2>for you.
<v Speaker 3>Okay, Okay, I'm gonna I'm gonna wrap myself out. But
<v Speaker 3>in that video, he's got the women's shirt cut down, sleeveless, right,
<v Speaker 3>that's really cool.
<v Speaker 2>The mullet is in full glory.
<v Speaker 3>But he has a pair of jeans that have like
<v Speaker 3>the horizontal ribs on them all the way through.
<v Speaker 2>I took a pair of jeans, yeah.
<v Speaker 3>Cut them up, washed them, didn't wear them in public,
<v Speaker 3>just wore them in my room when I listened to
<v Speaker 3>songs play the air drums.
<v Speaker 2>True story, that's true story. This song has an entirely
<v Speaker 2>to me an entirely different field than all of the
<v Speaker 2>rest of the songs on the album. It is stripped down.
<v Speaker 2>It is not the mut lang, We're gonna, We're gonna
<v Speaker 2>put all these things together. It is very very basic,
<v Speaker 2>very much drums and singing and just music and sporadic
<v Speaker 2>bursts that gives it that kind of black dog from
<v Speaker 2>led Zeppelin feel where You're just This song kicks more
<v Speaker 2>butt than any other song on the album.
<v Speaker 3>Ye, and it's vaguely sexual too. Pour Some Sugar.
<v Speaker 2>I don't know what the bubble is that they're breaking it.
<v Speaker 2>I don't, but for some reason it makes me feel
<v Speaker 2>a little dirty. You've got the peaches, I've got the cream.
<v Speaker 3>I we're having an ice cream party.
<v Speaker 2>Yes, that's what it is. Yeah, all right, it's a cobbler. Okay.
<v Speaker 3>Are we done with Poor Some Sugar on Me? A
<v Speaker 3>whole song on the album?
<v Speaker 2>All right?
<v Speaker 3>So the sixth track on the album is Armageddon It yep,
<v Speaker 3>this is the most fun the nuclear war has ever been.
<v Speaker 2>I mean, Armageddon has nothing to do with it, nothing
<v Speaker 2>at all.
<v Speaker 3>This is This was released in January of eighty nine.
<v Speaker 3>This is This is almost a year and a half
<v Speaker 3>after the album came out, right, and they're still they're
<v Speaker 3>wiring it up.
<v Speaker 2>Well, they're riding that poor Some Sugar on Me way. Yes,
<v Speaker 2>I mean it's and love bites, love bites, Poor some
<v Speaker 2>Sugar on Me armor gedding it they are. They're cruising
<v Speaker 2>that thing first while they are surfing that wave yep.
<v Speaker 3>This song reached number three in January of eighty nine
<v Speaker 3>on the Hot one hundred, only beat out by Two
<v Speaker 3>Hearts by Phil Cohens Oh, former possible producer for Hysteria Ironic,
<v Speaker 3>and Don't Rush Me by Taylor Dang mentioned. So but
<v Speaker 3>it's a play on words, right, Are you getting it?
<v Speaker 2>Now? You getting it?
<v Speaker 4>Yes?
<v Speaker 2>I'm getting it right. I love this song.
<v Speaker 3>The hook of the guitar is so catchy. It is
<v Speaker 3>a pop metal, awesome five star song.
<v Speaker 2>Yeah. I like the play on words. It's got some novelty.
<v Speaker 4>I was.
<v Speaker 2>I liked it when I was a kid. They do
<v Speaker 2>their video in the exact same way as they did
<v Speaker 2>with Pour Some Sugar on Me and why not? It
<v Speaker 2>works so well? They do it again, Yes, and once again.
<v Speaker 2>This was the last.
<v Speaker 3>This was supposed to be the last song completed for
<v Speaker 3>the album. Huh but thankfully what Lange said, you know what, Joe,
<v Speaker 3>We're going to go explore that poor some Sugar on
<v Speaker 3>Me video that you got there, Yeah, and keep building.
<v Speaker 2>Yeah. So but the poor you know, we talked about
<v Speaker 2>them not making their money back. It was Pour Some
<v Speaker 2>Sugar on Me. They caused the album sales to skyrocket
<v Speaker 2>beating Pyromania and making them the money back, and then
<v Speaker 2>multiple folds over. That's right, that's right.
<v Speaker 3>Hit stop on your tape, deck, kick ast your cassette,
<v Speaker 3>flip it over. Now we're going to side to okay,
<v Speaker 3>but before we do, Side one of Hysteria maybe the
<v Speaker 3>best one side of any album in the eighties. Wow, Women, Rocket,
<v Speaker 3>Animal Love Bites, pour some sugar on me, arm again it. Yeah.
<v Speaker 2>I might have agreed with you back in nineteen eighty nine.
<v Speaker 2>I don't know that I'm gonna agree with you right now.
<v Speaker 3>Okay, Well, hey, we're gonna dive into a whole bunch
<v Speaker 3>of albums, so sure, yeah, let's go for it.
<v Speaker 2>Okay.
<v Speaker 3>So the first track on side two a song called
<v Speaker 3>Gods of the World. This song has Ronald Reagan sounding like.
<v Speaker 2>Dirty Harry huh. This is kind of a.
<v Speaker 3>Diehard the Hunter. Yeah, Pyromania, Yeah, jacked up on steroids.
<v Speaker 4>Yeah.
<v Speaker 2>So it's a little tougher. I felt like a little
<v Speaker 2>they're trying to kind of get into that metallic a
<v Speaker 2>side of things a little bit, but it's still very
<v Speaker 2>mud laying, very highly produced.
<v Speaker 3>I think this is a song that if it had
<v Speaker 3>a killer video behind it, it could have been a successful single.
<v Speaker 2>The chorus in this song is awesome and they only
<v Speaker 2>play it twice.
<v Speaker 3>And then you close out with Margaret Thatcher and Ronald
<v Speaker 3>Reagan saying you thought America is going to be passive,
<v Speaker 3>you gutted wrong. And then all these you know, war
<v Speaker 3>stuff and hey, let's go okay. Song after that is
<v Speaker 3>a song called Don't Shoot shotgun, catchy song.
<v Speaker 2>I know all the words. It's a little goofy, more sex,
<v Speaker 2>more guns. There you go.
<v Speaker 3>This is one of the oldest songs on the album.
<v Speaker 3>Jim Steinmon actually worked on this with the band. Good song.
<v Speaker 3>Not a great song, but a good song. Moving on
<v Speaker 3>to a song called run Riot for me, this is the.
<v Speaker 2>Weakest track on the album. Okay, I mean.
<v Speaker 3>It's it's a good song. I still love it, but
<v Speaker 3>it's not a not a high recommend for me.
<v Speaker 2>Yeah, I just I mean to shoot you straight on
<v Speaker 2>the B side I had to push through. I had
<v Speaker 2>to push to get through these hysterias obviously on the
<v Speaker 2>B side, and it's a decent song, but the rest
<v Speaker 2>of the songs I had to just kind of force
<v Speaker 2>myself to listen through.
<v Speaker 3>All Okay, well, run Right is not the best track
<v Speaker 3>on the album, number.
<v Speaker 2>Ten track Hysterio Hysterio which I'll do something for you.
<v Speaker 2>Now you know you gave us that little Archies gold nugget.
<v Speaker 2>I'll do something for you. Okay. So this song is
<v Speaker 2>Goodbye Blue Sky by Pink Floyd. Wow Wow Wow. Yeah.
<v Speaker 2>Goodbye Blue Sky by Pink Floyd off the Wall album.
<v Speaker 2>It's one of my favorite songs off the album, and
<v Speaker 2>it's unmistakable. You know when you when you when you
<v Speaker 2>hear hysteria. If you're a semi Pink Floyd fan, you're
<v Speaker 2>gonna go. This sounds familiar. If you're a big Pink
<v Speaker 2>Floyd fan, you're gonna go. Are they playing Goodbye Blues guy?
<v Speaker 3>Huh?
<v Speaker 2>Because it's bottom Wow. I've never heard that before. I'm
<v Speaker 2>not a Pink Floyd guy. So wow. So you blew
<v Speaker 2>my mind with the Archiees. Thank you. I'll blow your
<v Speaker 2>mind to Pink Floyd and we can keep on rolling. Well,
<v Speaker 2>that's cool for me.
<v Speaker 3>Goodbye Blue Skuy. Aside, this song is gorgeous. It's layer
<v Speaker 3>upon layer upon layer of guitars and just it just
<v Speaker 3>seings to my soul. I love this song.
<v Speaker 2>Yeah, I think the reason one of the reasons that
<v Speaker 2>I like this song so much is that it reminds
<v Speaker 2>me so much of the Pink Floyd style. And I
<v Speaker 2>said that about I said that about some of the
<v Speaker 2>songs from Pyromania as well. They're definitely taking some ideas
<v Speaker 2>from the Pink Floyd library and running with them and
<v Speaker 2>make them there out.
<v Speaker 3>I did hear Phil Colin talk about how he and
<v Speaker 3>Rick Savage had come together with some different ideas, and
<v Speaker 3>Rick Savage had played this guitar part and Phil Collen
<v Speaker 3>would play the air that little strum that we talked
<v Speaker 3>about yep. And it was very similar to when we
<v Speaker 3>talked about right Now from Van Halen. Two guys different
<v Speaker 3>rooms working on the same song.
<v Speaker 2>They just didn't know it.
<v Speaker 3>When they came together. They say, well, i'm working on this.
<v Speaker 3>Oh that sounds good. Hey, I've been working on this. Hey,
<v Speaker 3>that sounds good. And they put it together and that
<v Speaker 3>became this song.
<v Speaker 2>Yep.
<v Speaker 3>So this song did very well. I think it reached
<v Speaker 3>number ten, not one. This was definitely a put it
<v Speaker 3>on the Girlfriend Makeout Mix of eighty eight.
<v Speaker 2>Right yeah, okay, yeah? Are you excitable? Are you excitable? Okay?
<v Speaker 3>Are you excitable? This was mut Lange's attempt at making
<v Speaker 3>some sort.
<v Speaker 2>Of rock dance song.
<v Speaker 3>Okay, it's kind of vaguely naughty at the beginning, right, No,
<v Speaker 3>are you excitable?
<v Speaker 2>Right?
<v Speaker 3>I like it.
<v Speaker 2>It's good, It's it's kind of got. It's got that
<v Speaker 2>same thing going the action what's the action song from
<v Speaker 2>Action not Words, Action not Words from Pyromania. It's got
<v Speaker 2>that same kind of subtlety going. Yeah. Yeah.
<v Speaker 3>I have the Hysteria Super Deluxe Edition and it has
<v Speaker 3>a excitable the orgasmic mix.
<v Speaker 2>Oh my goodness.
<v Speaker 3>And then finally we top it all off with Love
<v Speaker 3>and Affection, which for me, this is another song that
<v Speaker 3>could have been released as a single. If you could
<v Speaker 3>put a put a cool video with this, it could
<v Speaker 3>have been a huge hit. I love Love and Affection.
<v Speaker 3>I am standing on this hill and dying. Love and
<v Speaker 3>Affection is in the top percent of the songs on
<v Speaker 3>this album.
<v Speaker 2>You have to say, I'm ranking it up for sure
<v Speaker 2>on the top percentage. I rank it above Love Bites.
<v Speaker 2>I like it better than the Wow. Yeah. Okay, so
<v Speaker 2>it's it's just a it's a really cool song, all right.
<v Speaker 2>So you know the band sadly Highs and Lows, Highs
<v Speaker 2>and Lows tragically, after they finished their tour, Steve Clark
<v Speaker 2>lost his battle with alcoholism. It had been a constant
<v Speaker 2>issue that he had to deal with. His fiance came
<v Speaker 2>to the band a couple of different times to go, hey,
<v Speaker 2>you guys, I mean, and they were all heavy drinkers,
<v Speaker 2>and Phil Collen, his guitar partner the Terror Twins, was
<v Speaker 2>his drinking buddy, and at some point Phil Colin said
<v Speaker 2>I've got to quit. And so Steve, who had dealt
<v Speaker 2>with depression and used alcohol as a way to deal
<v Speaker 2>with that, suddenly has lost his drinking buddy and his
<v Speaker 2>downward spiral could not be stopped despite multiple attempts. They
<v Speaker 2>sent him to rehab for a significant portion of time,
<v Speaker 2>and he was just biting his time until he could
<v Speaker 2>start drinking again.
<v Speaker 3>He was in the looney bin where yeah, Joeli, he
<v Speaker 3>talks about that with the people that talked to Trees.
<v Speaker 2>Yeah.
<v Speaker 3>He had some significant personal problems, yeah, and they were
<v Speaker 3>one of these deals were like, look, dude, if you
<v Speaker 3>don't straighten up, you're on the band.
<v Speaker 2>Right And it's such a hard thing. You don't you know,
<v Speaker 2>until you walk a mile in somebody else's shoes, you
<v Speaker 2>cannot judge their actions. I had I actually had a
<v Speaker 2>friend from high school. I'm forty four years old. I
<v Speaker 2>had a friend from high school die three weeks ago
<v Speaker 2>from his paddle with alcoholism. If you've if you've got
<v Speaker 2>that problem, and you've got that depression that you're dealing with,
<v Speaker 2>you get to ask yourself, would you rather not be alive?
<v Speaker 2>Or would you rather just not be sad? And if
<v Speaker 2>the answers you'd just rather not be sad? Please seek
<v Speaker 2>professional help. There are people out there who love you,
<v Speaker 2>who want you to stay around.
<v Speaker 5>Right.
<v Speaker 2>I thought it was interesting.
<v Speaker 3>On the inside cover of Hysteria, the band said, sorry,
<v Speaker 3>we were gone so long from Paramania. It took us
<v Speaker 3>a long time to get here. We won't be gone
<v Speaker 3>this long ever again. Right. Well, with the problems that
<v Speaker 3>they had and the death of Steve Clark, they were
<v Speaker 3>gone even longer. So I remember where I was sitting
<v Speaker 3>when I heard the news of Steve Clark had died.
<v Speaker 3>I was such a big deaf Leopard fan and I'm
<v Speaker 3>sitting around. Of course, this is before the Internet, this
<v Speaker 3>is in nineteen ninety, like, when in the crap are
<v Speaker 3>they going to get a new album out? And I'm
<v Speaker 3>sitting on my now wife's bed as we're cleaning upper room.
<v Speaker 3>We're working on something, and the radio says sad announcement,
<v Speaker 3>Steve Clark died, and I'm like, what, Yeah, it blew
<v Speaker 3>me away, you.
<v Speaker 2>Know, all right, So were ready.
<v Speaker 3>To dive in a we're ready to talk final judgment.
<v Speaker 3>Let's talk final judgment.
<v Speaker 2>Okay. So I got to say I said this in
<v Speaker 2>the first episode when we started talking about Pyromania. When
<v Speaker 2>I listened to Pyramania for the first time, it really
<v Speaker 2>was like I was listening to it for the first
<v Speaker 2>time because I didn't listen to it when I was
<v Speaker 2>a kid. I would see the videos that came on,
<v Speaker 2>but I never owned the album. I was never a
<v Speaker 2>big Deaf Leopard fan, and so I when I listened
<v Speaker 2>to the album for the first time, it was like, hey,
<v Speaker 2>I'm back in the early eighties and I'm just imagining
<v Speaker 2>myself with my headphones in my room, you know. And
<v Speaker 2>I put that on and I was like, Wow, this
<v Speaker 2>is really good. I was blown away. And I mean,
<v Speaker 2>I knew def Leopard from a hysteria. I like, I said,
<v Speaker 2>I remember dances with for some Sugar on me blowing
<v Speaker 2>it up and love Bites and Dancing with the Girl,
<v Speaker 2>and there's a lot of emotion there, so I knew
<v Speaker 2>them from that. But to go back and listen to Pyromania,
<v Speaker 2>I thought when we started this conversation, I thought, Okay, well,
<v Speaker 2>I'm gonna be making that the argument for Hysteria because
<v Speaker 2>those are the songs that I know. But going back,
<v Speaker 2>Pyromania is my album. Wow, I will listen to that.
<v Speaker 2>I will listen to that one over and over again.
<v Speaker 2>When I got you know, when I got to Too
<v Speaker 2>Late for Love and you've got the swirling wind going on,
<v Speaker 2>and you've got that guitar that comes in and Joe
<v Speaker 2>Elliott singing on top of that, just the wind, the
<v Speaker 2>guitar and Joe Elliott's voice and then bam you get
<v Speaker 2>hit with that the chorus and the harmony of the
<v Speaker 2>rest of the band. I was like, holy crap, this
<v Speaker 2>is freaking awesome. I was telling people. I was like,
<v Speaker 2>we're doing this right now. I was like, have you
<v Speaker 2>listened to this album lately? I became an avenge list
<v Speaker 2>that is so cool man for Pyromania, and I was
<v Speaker 2>just like, this is really really good. And then we
<v Speaker 2>we're doing Hysterios, So I started listening to Hysteria, and
<v Speaker 2>like we talked about Side A Solid right, and I'm listening,
<v Speaker 2>I'm like, yeah, I'm remembering all these songs, but as
<v Speaker 2>I'm listening to it, I'm like, these don't appeal to
<v Speaker 2>me the same way that they did before. They're good.
<v Speaker 2>I still have an emotional connection. It's that nostalgia that
<v Speaker 2>you've talked about before. But as I'm driving in my car,
<v Speaker 2>if from here on out, I can say, if I'm
<v Speaker 2>driving in my car and you can present me with
<v Speaker 2>only two options, I'm picking Pyromania over Hysteria.
<v Speaker 3>Hey, that is really cool. First of all, the fact
<v Speaker 3>that you have discovered one of the eighties great rock
<v Speaker 3>albums is super cool.
<v Speaker 2>Yeah.
<v Speaker 3>And I have had people who have commented on the
<v Speaker 3>podcast it.
<v Speaker 2>Only took me forty years.
<v Speaker 3>Well, that's so cool, and I'm glad to be sort
<v Speaker 3>of a part of that deal for you.
<v Speaker 2>Yeah.
<v Speaker 3>I have had people comment on the podcast to me
<v Speaker 3>that they had forgotten how much they enjoyed Space Moll's
<v Speaker 3>or Airplane or Bad. I've had a lot of people
<v Speaker 3>tell me that they now appreciate Bad better.
<v Speaker 2>Yeah. And when we did the Van Halen episode and
<v Speaker 2>I started listening to all the Sammy songs again, I
<v Speaker 2>was like, man, these these are pretty darn good. I
<v Speaker 2>mean I was kind of like, eh, I still like
<v Speaker 2>Dave better, but I was really impressed that, you know, hey,
<v Speaker 2>I should have given these more of a chance than
<v Speaker 2>I did. And this one was just I mean, it
<v Speaker 2>was brand new, it was brand new for me, and
<v Speaker 2>I love it.
<v Speaker 3>Well, that's really cool. I'm so glad to be a
<v Speaker 3>part of that. Now I got to tell you why
<v Speaker 3>you're off face? All right, yeah, okay, So, first of all,
<v Speaker 3>I absolutely love Pyramedia. Okay, so I am the world's
<v Speaker 3>biggest def Leppard fan. I think I probably have said
<v Speaker 3>it many times. I'm not really good at masking my feelings.
<v Speaker 3>But for me, Hysteria is the soundtrack for my high
<v Speaker 3>school years. I'm ultra nostalgic, but I think these songs
<v Speaker 3>are just great. I mean, they're all great, But Pyramania
<v Speaker 3>is great too. So what's the divide? What's the breaking
<v Speaker 3>point for me?
<v Speaker 2>Yeah?
<v Speaker 3>So for me, Pyromania is the Mona Lisa of pop
<v Speaker 3>metal albums. Okay, it's perfection, Okay, Okay, Now, then Hysteria
<v Speaker 3>is the Mona Lisa except for the girl looks like
<v Speaker 3>Jennifer Lopez. All right, they took they took something perfect
<v Speaker 3>and made it perfect or okay, they made it better.
<v Speaker 2>You know. And we didn't talk about that. But Mutt Lang,
<v Speaker 2>he came to the guys after coming back into the album.
<v Speaker 2>It's like, do you guys really want to make pyromania too?
<v Speaker 2>And the answers no, that we want to do something
<v Speaker 2>different and we want to do something better. We want
<v Speaker 2>to take it up a notch. But the question is
<v Speaker 2>did they take it up a notch in your opinion? Yes?
<v Speaker 3>Okay, did they did? And I'll tell you kind of
<v Speaker 3>where I am. Yeah, when Mutt Lang goes and gets
<v Speaker 3>coffee in nineteen eighty seven January and comes back and
<v Speaker 3>walks by and Joy is playing on the guitar and.
<v Speaker 2>He's Love's not a bomb man to come and get it.
<v Speaker 6>On living a weather what on the phone looking like
<v Speaker 6>a tram Lager videoon ma'am damn on some woman canna
<v Speaker 6>be yon man man, and he.
<v Speaker 3>Says, stop the presses, we need to add that songless.
<v Speaker 2>Baby good sometimes right, okay, actually do that right. The
<v Speaker 2>accidental drip.
<v Speaker 3>The difference between pyrameding and hysteria is that song. Okay,
<v Speaker 3>you take you remove pors Some Sugar on Me, and
<v Speaker 3>those albums are deadweight on the scale. They're even and
<v Speaker 3>for me, the absolute mind blowing power of that song
<v Speaker 3>Poor Some Sugar on Me tips the scales first.
<v Speaker 2>Okay, So you and I are on the same page
<v Speaker 2>on pour Some Sugar on Me and this you know,
<v Speaker 2>in this experience that we have of making this podcast
<v Speaker 2>and listening to albums and learning about the albums, I've
<v Speaker 2>told you that listen listening to the producers and what
<v Speaker 2>their impact is. I had no idea, right, Mutt Lang
<v Speaker 2>has a huge effect on Pyromania, and I think an
<v Speaker 2>even bigger effect. And here's I'm gonna put it as
<v Speaker 2>simply as I can. The more produced an album is
<v Speaker 2>the more to me, it sounds kind of canned. And
<v Speaker 2>so you know, you talk about whether nostalgia is really
<v Speaker 2>the thing that influences or not. I can say when
<v Speaker 2>I hear love Bites, I can remember slow dancing with
<v Speaker 2>a girl. I can remember when I hear Pour Some
<v Speaker 2>Sugar on Me, the crowd going crazy and everybody dancing
<v Speaker 2>like Lord of the Flies, and it was awesome. But
<v Speaker 2>if you take that part out, if you take that
<v Speaker 2>experience out. If I'm just listening to Hysteria in the car,
<v Speaker 2>it's not got the same connection. It doesn't have that
<v Speaker 2>emotion because it's so produced. Mut Lang wanted perfection and
<v Speaker 2>he achieved it. It's just that perfection kind of leaves
<v Speaker 2>me a little bit cold. I like, and obviously Pyromania
<v Speaker 2>is really really produced, right, I mean, they spent so
<v Speaker 2>much time on it. It's a heavily produced animal, but
<v Speaker 2>it's not as much And it's those little moments like
<v Speaker 2>in Too Late for Love where you're breaking it down,
<v Speaker 2>where it's a guitar and a singer and then a
<v Speaker 2>chorus and a harmony, that's the best part. And in
<v Speaker 2>Pour Some Sugar on Me, it's not hyper produced. It's
<v Speaker 2>drums and a singer and a simple, simple blues lick
<v Speaker 2>that makes this song so good. It's that they've taken
<v Speaker 2>out the overproduction that makes poor Some Sugar on Me
<v Speaker 2>so good. And I agree with you. If you take
<v Speaker 2>Pour Some Sugar out of that album, it's not a
<v Speaker 2>spectacular album. I'm telling you. Pyromania is better overall because
<v Speaker 2>the songs are good from beginning to end. It doesn't
<v Speaker 2>have the sparkling, big hitter the Pour Some Sugar on
<v Speaker 2>Me is, but if you lose pour Some Sugar on
<v Speaker 2>Me from Hysteria, Pyromania is obviously a better album. I
<v Speaker 2>don't know, man, I don't know.
<v Speaker 3>Here's what I'll be interested to see once we put
<v Speaker 3>this out on social media.
<v Speaker 2>This is gonna be very similar to.
<v Speaker 3>Michael Jackson, So thriller bad, thriller bad, thriller bad, thriller bad.
<v Speaker 2>And then we get the occasional off the wall person.
<v Speaker 2>So we're gonna hear somebody's gonna sayhy and drive of this.
<v Speaker 2>I'm gonna we're gonna hear it. Yeah, trust me, we're
<v Speaker 2>gonna hear it. Now, if somebody says Adrenalize is the
<v Speaker 2>best album they're out, we're gonna have to see your
<v Speaker 2>ide Did you show me your idea?
<v Speaker 3>Adrenalize is kind of the third in the trilogy, you know,
<v Speaker 3>they kind of see it as the trilogy, but it
<v Speaker 3>is a step down.
<v Speaker 2>Well, but it's it is. It was good candy rock.
<v Speaker 2>They took it that. They just kept getting more and
<v Speaker 2>more pop and pop and poppy pop, and then.
<v Speaker 3>It's like eating Jocot Jim cookies for dinner.
<v Speaker 2>It's too much yeah. But for me it's hysteria.
<v Speaker 3>For you it's paramania. Yeah, I love them both.
<v Speaker 2>Yeah.
<v Speaker 3>What do you think we want to hear from you guys?
<v Speaker 2>Yeah? Let me just say I walked in today so
<v Speaker 2>excited because I love doing this with Jason. He's my
<v Speaker 2>best friend and knuckles there. Yeah, we're good falls. I
<v Speaker 2>love geeking out with him, but I love listening to
<v Speaker 2>you guys. We are getting so much feedback on Facebook
<v Speaker 2>and it is fantastic. People telling us what you're crazy,
<v Speaker 2>you know, why would you think this? This is ridiculous
<v Speaker 2>and we love it. I mean it's we want you
<v Speaker 2>guys to dive in with us, and again we're blown away.
<v Speaker 2>We thought we'd have a handful of listeners that we
<v Speaker 2>all knew their first name. There are lots of you
<v Speaker 2>out there who are telling your friends about us. Thank you.
<v Speaker 2>It means so much to us. We love you. Please
<v Speaker 2>keep sharing the good news, and please keep talking with
<v Speaker 2>us on Facebook. That's right, Thank you so much for listening.
<v Speaker 3>Give us a five star honest review if you can
<v Speaker 3>and share with your friends, or.
<v Speaker 2>If it's a dishonest five star review, that would be
<v Speaker 2>well they does as well, that'd be fine too.
<v Speaker 3>It's been fun and we will see you next week.
<v Speaker 2>Yeah, we're going to talk about Braveheart and Gladiator. Yes,
<v Speaker 2>and on this one we can say with some strength
<v Speaker 2>we do not love both of these movies.
<v Speaker 3>That one still kills me.
<v Speaker 2>Come back. Yeah, after this one, you want to hear
<v Speaker 2>a real argument that those will be the episodes to
<v Speaker 2>listen to. All right, sign it off, oh Music image