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Post by on Nov 9, 2013 21:39:10 GMT -8
Phil: "What I’m really excited about is that we’ve just started to get some new ideas together. We haven’t had new Def Leppard music for a few years now and some of the ideas that are floating around are really, really special. Because we haven’t been over-harvesting that field."
"I think with the Def Leppard thing. because it takes us so long, we’re not going to get an EP finished even for next summer. So I actually think we may as well start even just recording an album. I think we probably can do that. As long as we keep the costs down, I think then it’s worthwhile."
Def Leppard's Phil Collen Interview
ultimateclassicrock.com
We spoke with Def Leppard's guitarist about 'Pyromania,' 'Hysteria' and the band's future..
OK, they wrote one song in Vegas & can't have 2 more for an EP by summer? Just strange!!! Sav says they write ALL the time. Where are these songs? I do prefer an entire album tho, but don't want to wait several years for it. Just hmmmm……
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Post by Shawn on Nov 9, 2013 22:03:55 GMT -8
Def Leppard’s Phil Collen On The Band’s Classic Albums ‘Pyromania’ And ‘Hysteria’ + New Music[/color] by Matt Wardlaw November 9, 2013 4:25 PM Source: ultimateclassicrock.com/phil-collen-def-leppard-interview-2013/"Earlier this year, Def Leppard took time to celebrate the legacy of their classic ‘Hysteria’ album by performing it in full during a special extended residency in Las Vegas. But 2013 also marks the 30th anniversary for their preceding album ‘Pyromania,’ a release that would take the forward momentum which the band had built with the ‘High ‘N’ Dry’ album and really blow things wide open for the group. They went into the sessions for ‘Hysteria’ poised to take over the world and although the construction of the album would take a few years, they did exactly that when ‘Hysteria’ was finally released. Guitarist Phil Collen recently spent some time looking back and was happy to discuss with Ultimate Classic Rock what was going on in the period that those two albums were being recorded. He also shared a few thoughts regarding the new music that the band is starting to work on. It’s been 30 years now since ‘Pyromania’ was released. What do you recall about that period? It seems like things really started to gel for the band with that album. And of course you came into the band during that album as well.[/color] I was in this band called Girl [prior to joining the group] and Def Leppard had been to the States and they were kind of getting a buzz going, but they were still an opening act. Actually, the first tour I did when we played England, it was half-empty theaters and clubs and it was on the way, but it just exploded [with the ‘Pyromania’ album]. So the whole thing, I don’t want to say it was like a blur, because I remember all of it, but it was probably the most exciting period of the whole career. I know that ‘Hysteria’ was a much bigger album that actually meant a lot more and the sound of it was more special — it was actually our own sound — but I think the first time you make it and the first time you go platinum, double platinum and quadruple platinum, it’s unbelievable just how everything changes around you, even though you’re exactly the same. As I mentioned, you came into the band during the making of that record. How long did it take before you were really integrated into the process to where you felt comfortably like you were part of things?[/color] That first day, actually, because I actually changed the dynamic of [the band] just even [with] the [guitar] solos. Steve [Clark] and Pete [Willis] played a certain way and I played a way more aggressive and flashy style and it seemed to work and to click straight away and I thought “whoa.” Everyone kind of reacted to it positively, so I actually felt really good straight off the bat, to be quite honest. That was a nice welcome. No one really knew what was going to happen, you know? They didn’t know what it was going to sound like when I started playing. I could sing and that was another element that wasn’t lacking — the guys could sing, but I had a different kind of voice, so you hear that on the records as well. It just changed it a little bit and I don’t even know how you’d describe it really, but it changed the whole thing. But none of us were aware any of this thing was going to happen or explode like it did, so we were kind of shocked, pleasantly. It was just an amazing, exciting period. All the stage time that you got touring with the band for ‘Pyromania’ obviously would further help to complete that transitional period for the group. When it came time to go in for the ‘Hysteria’ sessions, how did the ‘Pyromania’ album and all of that subsequent touring play into where you guys wanted to go with the next album?[/color] Well, we were really good as a band by the time we finished the ‘Pyromania’ tour. We were actually getting better the whole time and it really comes down to Mutt Lange. He said, “Look, everyone else has copied this last album, from the Scorpions to Bon Jovi.” Every rock band in the world was trying to get that snare drum sound. Even Stevie Wonder went, “Oh, I’ve got to have that snare” at some point — I think it was actually ‘Hysteria.’ But the fact that it influenced , everyone else’s records started sounding like that. So Mutt said, “Look, we can’t do a copy of ourselves — we have to do things radically different. Let’s make the definitive rock album. Let’s fuse pop with rock.” Which he’s so brilliant at doing — obviously, you know the Shania Twain thing — I honestly believe he brought country to the masses. I remember going into an elevator in Japan and hearing Shania Twain.
Back in the early ‘80s when I was in Girl, you would never hear a country singer. So he fused it and he had this great plan and that’s really what ‘Hysteria’ was. So we get off tour and that was Mutt’s briefing, basically and we were totally, totally into it, because we trusted everything that he said, because he was always on point. He’s just one of the coolest guys out there and just a genius. So that was a no-brainer for us.
The last time we spoke, you talked about how the band was trying to find their niche during the ‘Pyromania’ sessions and working to write songs that had commercial appeal. Based on the reaction and success to some of those songs, was there a conscious effort to focus on writing more commercial material with the ‘Hysteria’ album? It seems like sometimes bands have struggled with that a bit, going for that brass ring while still staying true to where they began as a group.[/color] It’s very hard. You know, people in general have a real struggle stepping outside of their comfort zone, even playing wise. I worked with Mutt just a couple of years ago and it really hit me, he had me doing stuff that really got me out of my comfort zone. We don’t do that. You know, we don’t sing if it’s too high — that’s why a lot of singers as they get older go, “Well, I can’t hit the notes anymore,” is because they stop trying. The reason the body atrophies is because we’re not active — so it’s all of these things. I think if you’re aware of that, that if you slow down, it will slow down. You’ve just got to try. I think the hardest thing to do is write a cool song that’s catchy that still has credibility. It’s actually really hard period, especially if you’ve had a few hits yourself. It gets more difficult because you paint yourself into a corner. You have a certain sound and you have fans that want a certain thing. So if you go off and do things [differently], like we did with the ‘Slang’ album — everyone hated it [and] we loved it! We were going, “Oh, this is great” and we were just expressing ourselves and experimenting and people just didn’t like it. They just wanted to hear ‘Pour Some Sugar On Me’ all over again or ‘Photograph’ and things like that. You can only write so many songs like that in a genre or a vein without it sounding crap and predictable. It’s a tough one — it’s a real tough one, especially when the credibility comes into it. You start a band and you have an idea for an album and you get all of these great ideas, it’s a hit and you go, “Oh s—, now what do we do for an encore?” I think that’s really the problem. What I’m really excited about is that we’ve just started to get some new ideas together. We haven’t had new Def Leppard music for a few years now and some of the ideas that are floating around are really, really special. Because we haven’t been over-harvesting that field. I’ve been doing Manraze stuff, which I love it, because I get to scratch that itch — I get to write and record anything I want. We can do dub-reggae one moment and kind of go jazzy funk the next or [do] full-on punk. I really get to exercise that demon and it’s wonderful. But with the Def Leppard thing, it’s exciting because we’ve had this big time period away from it and everyone’s coming in with these killer ideas, so I’m excited. That’s going to be next year, probably in January we’ll start that. I’ve got to heal from this hand operation, so I can’t play guitar until then. Def Leppard has released a handful of new songs over the past few years but it’s been a little while since the band has done a full album. It’s interesting that you’re eyeing an EP first and then an album. For so long, you guys were a band that thought in terms of albums when recording. Obviously, the industry is in a different place and there’s also the question of time for you guys as well. Is it hard to parcel songs outside of whatever vision you might have album-wise, to fit into the idea of doing an EP? It seems like it might feel incomplete.[/color] I think it’s way cool. It’s way easier working on a project by project basis. We do that in Manraze — obviously we’ve got the new EP coming out. It’s so much easier having a concept for one song as opposed to going in there and having a jigsaw puzzle of 10 to 12 songs. It’s a totally different dynamic. I think with the Def Leppard thing. because it takes us so long, we’re not going to get an EP finished even for next summer. So I actually think we may as well start even just recording an album. I think we probably can do that. As long as we keep the costs down, I think then it’s worthwhile. Going back to Manraze, we did an album in two weeks, so there’s a difference there with us doing albums like that. But you’ve really got to go, “Well, how much is this going to cost?” I mean, you’ve got to fly all of these people to one place and so that’s what we’re very conscious of this time around in Def Leppard. I think if you’ve got the songs and you’ve got the ideas, that’s great. I think our problem in the past has been that we turn up in the studio on day one and no one’s really got anything — we don’t have a concept and all of that stuff. So that’s [the important thing], I think [is] if you have a concept of what the album is going to sound like or even a collection of songs. Like [we’ve got] four or five songs and we want them to sound like this, which is the case with the Def Leppard thing and certainly with Manraze — we have so many ideas in Manraze that it’s actually hard to put the reins on it, to be quite honest. We had a dance track out last year, ‘Take On The World’ and it’s so much fun. I think if you keep that kind of spirit going, that’s what we’re kind of heading towards [with Def Leppard] — it’s the way to go. You know, you’re an artist first and everything else should fall into place. I like the idea of doing one or two songs at a time, not just sitting around doing an album if it waters the whole thing down. With the new ‘Viva Hysteria’ release, It’s cool that Steve Clark was part of the shows, via video at least, on the intro for Gods of War. He definitely brought a lot of personality to the group, both as a person and as a player.[/color] Absolutely, yeah. That’s why we wanted to include it. I actually really wanted to….we saw the hologram stuff, like [with] Tupac [Shakur] and obviously that’s really expensive, but we really wanted to include Steve. He was such an integral part of it, it would have been really crass if we would have left him of. So to me, it was absolutely essential that he be part of the show."
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Post by on Nov 9, 2013 22:30:20 GMT -8
re: But you’ve really got to go, “Well, how much is this going to cost?” I mean, you’ve got to fly all of these people to one place and so that’s what we’re very conscious of this time around in Def Leppard. I think if you’ve got the songs and you’ve got the ideas, that’s great. I think our problem in the past has been that we turn up in the studio on day one and no one’s really got anything Well, they wrote one in Vegas. THey have 5 guys & they can't come up with 2 more new songs by Jan? They will be in Dublin in Jan to record. So they need to hurry up. Sav is hosting a party at his new home in Jan with the band, so they better get with it.  |
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Post by Shawn on Nov 9, 2013 22:33:15 GMT -8
OK, they wrote one song in Vegas & can't have 2 more for an EP by summer? Just strange!!! Sav says they write ALL the time. Where are these songs? I do prefer an entire album tho, but don't want to wait several years for it. Just hmmmm…… i think they mean they write but not complete songs more like ideas and parts of songs. But obviously they have to be motivated and be goal oriented. Not losing money seems to be a big priority which is understandable. at this point i'll take what i can get as it happens. |
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Post by Deleted on Nov 10, 2013 5:45:37 GMT -8
Are you serious two songs by January? They'd be lucky to get one song done by Jan. Songwriting is a long process especially when you have a top notch producer and engineer. It actually takes a lot longer especially for the style that Lep writes in. They are not just going to throw anything out there. They are going to create something worthwhile. There is so much more than the base song. Tons of overdubs that have to be working and tons of tracks that will probably never be used. It's like putting a puzzle together to make sure it will all fit. The cost of travel doesn't begin to touch the surface of the costs. Even when in the studio and being prepared stuff comes alive in a different way producing ideas that weren't there before leading you down a new path which can often lead to a masterpiece. It's all part of the creative process. Sometimes a complete song is scrapped except for maybe a riff and a new song written around it. It's all about how it feels. 😊
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Post by DesertSun81 on Nov 10, 2013 8:06:49 GMT -8
Great article. Very encouraging to hear about the 'very special' and 'killer' ideas being floated around. Sincerely hoping we don't have to wait another 2-3 years to hear these awesome ideas though as he makes it sound like. If they buckle down and put some effort into it I don't see why they couldn't have an EP ready by summer, even with how long they so famously are known to take.
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Post by on Nov 10, 2013 16:24:22 GMT -8
Coolmusic, They've already written one song. Sav said they are spending time now writing. I can't see why they can't write 2 more by Jan. That's the reason they are coming to Dublin in Jan…to record supposedly. I wish I were invited to Sav's party in Jan! ;D |
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Post by on Nov 10, 2013 16:30:10 GMT -8
re: Looks like Recording is scheduled to start on February 1st, 2014
Source: Phil on LA Talk Radio today.
Well this gives them even more time!
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Post by Shawn on Nov 10, 2013 16:39:46 GMT -8
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Post by TurnToDust86 on Nov 11, 2013 16:17:41 GMT -8
And here we go again. How quickly things can turn. Right back to not knowing when we'll get new music. At least the studio time is still scheduled and he sounds more up for an album. "You know, we don’t sing if it’s too high — that’s why a lot of singers as they get older go, “Well, I can’t hit the notes anymore,” is because they stop trying." He ought to mention this to Joe when they hit the studio next year. Maybe play some Down N Outz for him as a reminder too. |
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Post by DesertSun81 on Nov 11, 2013 16:29:10 GMT -8
He ought to mention this to Joe when they hit the studio next year. Maybe play some Down N Outz for him as a reminder too. Down N Outz? How about Viva Hysteria? That was the best he's sounded in years. The only song I thought that went a little far for his vocal range is Run Riot, which is not surprising or unexpected, and I was actually surprised he could pull it off as well as he did honestly. I agree he can certainly punch it up a notch on new Leppard material, and it would be definitely welcomed! |
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Post by TurnToDust86 on Nov 11, 2013 16:37:41 GMT -8
Agreed, Joe is fantastic on VH. But he always gives it his all on stage.
In the studio, however... Not so much. And I think Phil's right, he doesn't want to go out of his comfort zone on new Leppard material. He does it on DNO, perhaps because it's a passion project and it's what the song requires since it's a cover, but still. If Joe would push himself a bit, it would automatically give new Lep songs some much needed energy. No excuses about being too hard to sing live because it's not like the songs are going to be in the setlist for an extended period of time or be more difficult to sing than stuff like "Photograph" that'll never get dropped. The studio recordings will live on after the band has called it a day so they might as well make them as best as they can.
I've been reading through a discussion about Aerosmith's most recent album "Music From Another Dimension" on FB, spawning from an interview with Brad Whitford. Basically he says there are issues with the album, but he isn't sure what the issues are. Which makes sense, because it's like they had no firm direction in the first place. The discussion about the album itself is pretty one note... A solid producer is needed. The majority of that album was produced by Jack Douglas and he's essentially another yes man.. Just lets Aerosmith do what they want. Which IMO makes the band lazy. There are solid tunes on MFAD, but a lot of middle of the road filler too. The band had no one to push them, and it shows. Which I think has been the case with Leppard as well.
Mutt pushed them from their comfort zone and we all know what happened from there. Of course today they won't see the same success, but that doesn't mean they can't put out a high quality album if they have an objective outsider steering the ship.
Phil's certainly enthusastic about the ideas they have though, and I like that. Just hope they actually come to fruition.
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Post by DesertSun81 on Nov 11, 2013 17:43:31 GMT -8
Agreed, Joe is fantastic on VH. But he always gives it his all on stage. In the studio, however... Not so much. And I think Phil's right, he doesn't want to go out of his comfort zone on new Leppard material. He does it on DNO, perhaps because it's a passion project and it's what the song requires since it's a cover, but still. If Joe would push himself a bit, it would automatically give new Lep songs some much needed energy. No excuses about being too hard to sing live because it's not like the songs are going to be in the setlist for an extended period of time or be more difficult to sing than stuff like "Photograph" that'll never get dropped. The studio recordings will live on after the band has called it a day so they might as well make them as best as they can. I've been reading through a discussion about Aerosmith's most recent album "Music From Another Dimension" on FB, spawning from an interview with Brad Whitford. Basically he says there are issues with the album, but he isn't sure what the issues are. Which makes sense, because it's like they had no firm direction in the first place. The discussion about the album itself is pretty one note... A solid producer is needed. The majority of that album was produced by Jack Douglas and he's essentially another yes man.. Just lets Aerosmith do what they want. Which IMO makes the band lazy. There are solid tunes on MFAD, but a lot of middle of the road filler too. The band had no one to push them, and it shows. Which I think has been the case with Leppard as well. Mutt pushed them from their comfort zone and we all know what happened from there. Of course today they won't see the same success, but that doesn't mean they can't put out a high quality album if they have an objective outsider steering the ship. Phil's certainly enthusastic about the ideas they have though, and I like that. Just hope they actually come to fruition. Couldn't agree more - I can think of various songs on X and Sparkle Lounge that could've benefited from being punched up a notch musically and vocally. I think part of the problem with Leppard, Aerosmith and any other proven classic act you can think of is the time for selling albums has come and gone for them and while they will still make albums and new music, they won't be made with the same fire and desire (or unfortunately frequency) as they were 20 years ago. That's not to say that they won't put a lot into these albums and there won't be great songs, but the youth and hunger that was there during their prime has past, as well as the potential for them to be huge hit/unit shifting albums. You mention Aerosmith and I agree that MFAD could've been so much better, and I also would classify Pearl Jam's new one in the same context. The first half of the album is great and lives up to the rest of their classic material, but it drops off considerably in the second half just like MFAD. Unforunately that's where we're at in the state of music and also you throw into the mix that there is very little in terms of newer bands to carry the torch which magnifies the issue. Honestly at this point I think my standards have dropped a bit and also at the same time I'm just happy these bands that I/we have grown up with are still making music at all. Don't know whether that's good or not, but at least we're getting new material and some of it is great! Now my attention turns to Lep and hoping the same thing. Maybe the EP approach isn't such a bad thing considering full albums from comparable bands are leaving something to be desired...? |
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Post by TurnToDust86 on Nov 11, 2013 22:41:47 GMT -8
Maybe the EP approach isn't such a bad thing considering full albums from comparable bands are leaving something to be desired...? It all depends on the songs. IMO there's a lot more pressure on an EP to deliver. Looking back at the three new songs on MB, one of them was a turd, so I got two songs I really like and one I really don't. Spread that ratio over an album and you've at least got the potential for five to seven solid tracks and possibly some filler (as we saw with Euphoria, X, and to a lesser extent, SFTSL [IMO]). Unless the band sets out to make another Hysteria, it's not practical to expect another full album with no 'filler' tracks. I firmly believe the band is capable of producing 10 solid tracks though. Plus it'll hopefully provide some diversity between the types of songs. Just, please, someone co-write with Sav. PLEASE!  |
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