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Def leppard pyromania songs1/27/2024 But he warned: “If we go for it, we’re gonna go down a lot of dead ends and come back frustrated. He told the band: “We can make a record that nobody’s ever made before.” Mutt listed the cutting-edge studio technology at their disposal – digital recording, new drum machines and synthesisers – and explained how these could be applied to the recording of hard rock. We’d gone from one to three, so we had to go from three to five, not three to four.” We didn’t want to be making High ‘N’ Dry II. And with the third album, we wanted to make the same kind of leap. “Songwriting, performance, sound, production, everything. “ High ‘N’ Dry was a big improvement on the first album,” Elliott says. Leppard spent just three months in the studio with Mutt making High ‘N’ Dry, but even in a relatively short period they made significant progress. Combining the two had always been Def Leppard’s aim. With AC/DC’s Back In Black, Mutt proved that he was the best hard rock producer in the business, yet he was equally adept at the art of the pop single. They loved the late-70s new wave-era pop hits Mutt had produced: The Motors’ Dancing The Night Away, City Boy’s 5.7.0.5., the Boomtown Rats’ chart-topping post-punk anthem Rat Trap. The band had thought so even before they’d heard Highway To Hell and Back In Black. “There’s no such thing as a lack of confidence when you’re 21 years old,” Elliott says.ĭef Leppard and Mutt Lange were a perfect fit. Def Leppard returned to Britain exhausted and frustrated, bloodied but unbowed. And Pete Willis, their diminutive, heavy-drinking guitarist, pulled a particularly stupid stunt – and not for the first time – by letting off a fire extinguisher in a hotel. The band’s passports were stolen from their tour bus, forcing Leppard to miss the last two shows in Germany. On December 12, in Amsterdam, the tour ended on a miserable note. Sandwiched between Priest and Teutonic headbangers Accept, Leppard made little impact on the massed ranks of denim-and-leather-clad metalheads. Leppard finished touring High ‘N’ Dry by supporting Judas Priest on the European leg of the latter’s Point Of Entry tour. We were pulling in 400-500 people in 2000-seat theatres.” And touring the UK was a complete waste of time. But as Joe Elliott admits: “That album didn’t do what we all hoped it would. Produced by Robert John ‘Mutt’ Lange, the man who had worked on AC/DC’s Highway To Hell and Back In Black and Foreigner’s 4, High ‘N’ Dry was a blistering hard rock record with the punch of AC/DC and the twin-guitar cut-and-thrust of classic Thin Lizzy. As Barton proclaimed, High ‘N’ Dry was a huge leap forward for Def Leppard.
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