Def leppard joe elliott4/19/2023 ![]() ![]() It’s a lot easier now, because we’re better at it and more confident. Speaking of technology, how hard was it to play these songs live with all the vocal layers? They are pushing the envelope so far past rock, yet it is still rock.” That was the band we wanted to be. They were a proggy rock band for the first two records then they did this insanely brilliant record called Sheer Heart Attack and went off on a tangent with Night at the Opera and the records that followed. I’d be like, why can’t you listen to Kate Bush, Peter Gabriel, Tom Waits, Tori Amos – as well as UFO, Thin Lizzy, Led Zeppelin, AC/DC and Queen and whatever else that rocks and has big guitars? Well, Queen aren’t standard by any means. The amount of times that we sat with the road crew for rock bands, and they’ve gone, “You’re listening to Lionel Richie?” If I admitted that I was listening to Lionel Richie, they’d fire me. It was a ball because the technology was there. We came up with all these new intros to things like “Shotgun,” which didn’t have the big a cappella thing at the front, and all these things like the middle part of “Rocket” that’s just completely insane technology-wise, messing around with Synclaviers and Fairlights and stuff. When he came in, we came up with “Excitable” and “Sugar” and changing “Armageddon It” from sounding like the Russian Army marching through Red Square to sounding like “Bang a Gong” by T. But once he came in, everybody’s focus went in and we started throwing new ideas in, and all the better songs came about. We were like this rudderless ship without Mutt producing it. And that’s exactly what we were doing until Mutt came along and kicked us off our ass, metaphorically speaking. With the greatest respect to Tom Scholz, we didn’t want to make Don’t Look Back, which to me is Side Three and Side Four of the first Boston album. It wasn’t a case of moving away it was a case of moving on. Why did you want to move away from hard rock and metal after Pyromania? Hysteria is more of a pop record overall. It’s like that Monty Python bit where the knight gets his arms cut off and then both legs, and he’s like, “I’ll bite you to death.” Nothing was going to stop him. ![]() Somewhere there’s a photograph of Mutt in the hospital with a keyboard across his lap. And then I got mumps for the second time in my life. Then we worked with Nigel Green, the engineer, which was going along well if you wanted Sides Three and Four to Pyromania. We started off with Mutt Lange saying he couldn’t do it and then going to Jim as a producer, and that didn’t work out. It was an uphill struggle, like roller-skating on Mount Everest. ![]() It’s the determination that shines through the most. What stands out to you when you think about Hysteria now? Pepper that came out and the many versions of Dark Side of the Moon, it just made sense,” he says. It’s a maximal reissue for a maximal album – and Elliott, who spoke with Rolling Stone about the album, contends that’s just the way the band perceives it. Lastly, they’ve included a book of photos, a replica tour program and a book detailing the ups and downs of the making of Hysteria. They’ve also included a DVD of their music videos and Top of the Pops performances and another with the Classic Albums documentary about the film. The band has remastered the original album, which is also available in less ostentatious configurations, and packaged it with two discs of B sides and radio edits and 12-inch versions of the songs, as well as a live album culled from their Live: In the Round, In Your Face concert film, which was only previously available on VHS. The album, which also topped out the chart, has since been certified 12-times platinum, and now it’s the subject of a deluxe box set to mark its 30th anniversary. ![]() The ballad “Love Bites” made it to Number One in the U.S., while the indelible and purposely sexual “Pour Some Sugar on Me” and beat-crashing “Armageddon It” made it to Numbers Two and Three, respectively. charts, and it fostered a series of an astounding seven mega singles that dominated radio and MTV for years. The sound they came up with – a vision of hard rock reflected off a pop mirror – earned them the top spot on both the U.S. We were listening to it all going, ‘If somebody put all this in a bucket and stirred it around, you’d get a hell of a sound.'” Then it was Frankie Goes to Hollywood and all these different forms of music coming out. In the Eighties, the Eurythmics came along two weeks after Dio. There was always new technology or a new way of doing things – new sounds replacing old sounds – so much quicker than how it happened in the Seventies. “As we were doing it, it was sounding out of date, because the Eighties were a weird time. “It took a long time to make, and it shows you how quickly music moved in the Eighties,” singer Joe Elliott tells Rolling Stone. ![]()
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