Def Leppard had no intention of losing the momentum that they had gained, and felt a swift follow-up single was needed. The EP's second pressing was already selling relatively well. This was mainly due to its new lease of life through proper distribution, which now fed the ever growing number of HM Disco's around the country. Because of this,'Getcha Rocks Off' was to stay around the top of the request charts throughout 1979.
At the end of April Def Leppard went back to Fairview Studios to record a further set of songs. Initially these demos were used to grab the attention of any interested Record companies. Their first port of call was Arista, who had previous connections with MSB Management. Although very keen to sign them, Arista was not prepared to commit themselves just yet. This decision was to be echoed from a number of cautious companies. Disappointed with this response, Def Leppard decided to go ahead and release their second single on Bludgeon Riffola. While preparing a release strategy, they still maintained contact with several undecided companies.
For the sleeve, they had decided to use one of my recent group shots, which were the first prepared photographs to feature Rick. To design and illustrate the cover, Andy Royston (an art student) was brought in. He'd been impressed by them firstly with the EP and then their live performance at the recent Reform club date.
Both Andy and I met up with them in June to discuss the details. Joe and Steve were both very keen to have a variation of the first EP's cover, and by the end of the day the sleeve's design had been agreed upon. Two weeks later, the finished product was shown to the band for a final OK and then it was passed onto Pete Martin for the next stage. Even at this stage the track listing and credits were left blank, as they were still undecided about a release date. This was due to the band's preoccupation with their ongoing negotiations, which eventually came to fruition in August. Phonogram had beaten off its rivals to secure Def Leppard to their roster. This effectively squashed the need for a second Bludgeon Riffola single.
Nothing more was known until after their Sheffield Show gig a few weeks later. Sav explained that they now going to drop April's recordings in favour of a new recording for the follow-up single. However, they were still keen to use the artwork that had been provided, as they were quite proud of having the cover produced by a couple of fans.
But two weeks prior to the release of 'Wasted', Sav announced that the sleeve had been dropped at the company's request. As Phonogram preferred a more up-to-date sleeve, which would be more in keeping with their new-look. Hence the live photos that adorned the sleeve came from their recent Sammy Hager tour support slot. Although as for the relevance of the 'Dinky White Boot' on the back of the sleeve . . . This was probably the result of a company wit, who'd picked up on a small reference to it from their first interview with Sounds.
The climax of their first month of national exposure was a Radio One session. DJ Andy Peebles had been handed a cassette tape of Def Leppard during a recent Road show week he'd spent in Sheffield. He was very impressed with it and was surprised that a rock band could sound so fresh and immediately booked them for his evening show.
So with a quick trip to the BBC Paris studios in London, Def Leppard swiftly polished off four tracks for the programme: 'Glad I'm Alive', 'Wasted', 'Rock Brigade', and 'Answer to the Master'.
LIBERAL CLUB
Pete and Joe caught in the act
On the night that the radio session was being broadcast, Def Leppard were not huddled around the radio speakers but playing at High Green (seven miles north from the centre of Sheffield) to the central core of supporters.
Def Leppard's transit van pulled into the car park at about 6.30 pm. With the help of a couple of friends/roadies, the gear was quickly brought in and set up. This gig was to be a low key event for them, after their first high profile month. Some of the local headbangers were quick to recognise Rick, pounding his skins for the late running sound check. Rob was huddled over the mixing desk bellowing his instructions as Rick repetitively ran through his routine. Once the individual checks and tomfoolery had ran its course, they played one number ('Glad I'm Alive') for an overall balance, and then retired to the bar. Relaxation and not perfection would be their main drive tonight.
Once onstage, the hot summer's evening coupled with their recent success put Def Leppard into a frivolous mood. In-between the songs, they teased their fans by playing short intros of familiar rock standards. Later on Joe deserted the stage for one song to head bang and sing-along with the fans at the front.
For the encore the crowd was asked what they'd like to hear and the band duly played on.
Def Leppard made a welcome return to the Working Mens Club, by stepping in at short notice for another South Yorkshire band, The News, who had been held up in London discussing their own possible recording contract. Having enjoyed their previous gig here they agreed to play, in what was to be their last Working Mens Club venue.
In addition, the swiftness of this date had 'out manouver'd' the company scouts, which had been increasing in number each time the band played. However tonight, their numbers were only noticed by their absence
Tonight the crowd sensed greatness in the making, and the atmosphere was full of stories for future sons. Def Leppard for their part were not going to disappoint them. They came onstage and began at full throttle sending the audience into overdrive. The Set had been stripped of its cover versions. The confidence they had their own material was now more evident, and the welcoming 'Getcha Rocks Off' was always guaranteed to send the fans frantic.
The now familiar onstage posturing, and in unison to the power chord-thrashing rhythms was in full flow. The solid aural wall that Joe's voice bounced off had everyone headbanging in unison. While Steve and Pete's guitars were left to chatter away alternatively in anger, and in joy.
Def Leppard were not only set apart from their predecessors by age but their enthusiasm knew no bounds. They were able to tap into the audience's energy, sucking out the very air to leave everyone exhausted, in a blissful state.
The encore was completed with a medley of Thin Lizzy and UFO songs.
"TIME IS ON OUR SIDE"
A few days later at work, Sav was completely bemused by the previous night's events at Retford. The sold out show at the Retford Porterhouse had contained numerous record company executives and scouts, all eager for a piece of Def Leppard. Not long into the Set, the venue became a hot sweaty sauna as the audience heaved and sighed, and the executives loosened their wallets.
Def Leppard were able to ignore the obvious pressure that the presence of these judges produced, to deliver a storming gig that would inevitably set the cash tills rattling for them. With their talents so much in demand, they were determined to settle only for a genuine kind of interest (and not to become someone's short term burners).
Def Leppard had also succeeded in avoiding the natural route of progression by not playing London (which was by design). They had generally felt that a band shouldn't have to pander to the London-based Record Companies. These had become set in their ways and relied upon tip-toeing scouts in and around the capital. Punk had already exposed this complacency, but the companies' reply had been swift. They signed up everything in an effort to regain their hold that was rapidly shifting towards the up and coming Independent labels. With the status quo re-established all eyes were now back on London, and many a reluctant band moved southwards to join the sea of talent.
Every so often there appears a band who can dictate its own terms, and Def Leppard had the confidence and the arrogance to make this possible. Having stood their ground in the face of the pressure to play London. They could now take pride in themselves for dragging the music business northwards. Retford was the gig that had finally brought all the main companies out of their natural habitat, to deliver the icing for their cake.
In the last week leading up to their inevitable signing, the band had refused to talk about it to avoid any embarrassing setbacks should the meeting go astray. Already there had received several ridiculous contract offers, which they'd declined. Their fears though were quelled in early August when Def Leppard signed to Phonogram for an undisclosed six figure sum. The amount received was quite phenomenal for a fresh new band. What the press report had left out, was the fact that the fee was for several years. They had signed for enough money to work with (to re-equip themselves and their immediate future plans) but certainly not enough to sit back on their laurels.
Phonogram's first act was to immediately release a third pressing of the EP to keep up Def Leppard's momentum, as it had already breached the Top 100 Singles Chart. In addition, they began work on a follow-up.
Also, Def Leppard were being handled by ITB Agency, who were busy putting them forward for a major support slot. At one stage it seemed likely that they might be supporting Boston on their forthcoming UK tour, but this fell though. Then the Sammy Hagar tour became open to offers.
It was a slightly mixed day for me when Sav resigned form BR, having spent almost two years there. Now they were all free to unleash their ambitions on the world at large.
Now crowned as the kings of NWBHM, Def Leppard appeared at the 29th Sheffield Show, as the guests of Radio Hallam (The Sheffield Show is an annual event consisting of a week of festivities organised by the City Council). Def Leppard were to play in the all-day event at Hillsborough Park, which was to be the climax of the Show. The day itself was a 'fun for all the family' event, complete with competing sound stages from both Radio Hallam and BBC Radio Sheffield.
Def Leppard were billed in-between two chart topping acts: Dollar,a pop duo with a current No. 4 hit with 'Love's Gotta hold on me', and the headline act - the Dooleys (who'd recently had a No.3 hit with 'Wanted'.
This gig was the band's 'thank you' to their Sheffield fans for all their support and they in turn responded with wild exuberance, as the crash barriers were constantly on the verge of collapse. This gig was also broadcasted live by Radio Hallam.
Afterwards, I saw Reuben wandering around the Park. He'd seen Def Leppard play and thought they were brilliant. As regards to his missed opportunity, he couldn't hide the disappointment. No one likes to be the nearly man.
HEAT STREET
Def Leppard were aware of the whims of the music press. If you were courted by one, then it's only natural that its opposite number will drag you down. Unfortunately the band didn't have the skills to tackle this problem head on.
Sav on Bass
Their first interview with the NME in September '79 was a complete disaster. They'd suffered from their `foot-in mouth' honesty and were unable to counteract the journalist's assaults. Def Leppard were labelled as having a "narrow-minded regressive HM attitude." At a time when bands had to be seen as politically correct and concerned honestly with Feminist issues.
This assault was completed with the recent promo photos that the company had supplied to the NME. Which showed the band posing with a real Leopard (Full marks for the naff idea, fortunately the newly invented Walkman hadn't reached Europe yet!).
Their damnation though fell mostly on deaf ears, as the NME and the majority of its readers weren't particularly interested with the NWOBHM. As they saw the movement as a figment of Sounds' imagination.
Def Leppard's annoyance at the published article was largely due to their own inept handling. However, they could only overcome this with experience and time.
GROUND BREAKING
September also saw Def Leppard play their London debut, supporting Sammy Hagar. Having avoided being caught up in the web of pub and club venues, they were now proudly strutting the boards of the Hammersmith Odeon, and it was in just a few months from the Working Men's Clubs to here. Although somewhat dwarfed by the enormous stage, they rose to the occasion to deliver an encouraging performance. With only Joe showing any signs of awkwardness, as he attempted to master the large stage hen had to cover.
A few headlining club dates were swiftly followed by a support slot on an upcoming AC/DC tour. Which was to bring them bonds of long lasting friendship as AC/DC gave them tremendous amounts of encouragement. This tour was also the turning point with MSB Management, as the band realised that they had now quickly outgrown them. The following legal dispute was to take until the following March to be resolved. Def Leppard would then sign to Leber and Krebs Contemporary Communications under the guidance of Peter Mensch, who had high hopes for them in America.
WASTED
'Wasted' b/w 'Hello America' was released in November to reap the rewards of their recent Sammy Hagar support slot. Although the single briefly charted (reaching as high as No 61) the band were not impressed with its raw production. The reviews that they received were also quite indifferent to the single.
This was not to be the major hit that they had hoped for, but they were still marching forward.
Leppard line up
STARTLING STUDIOS
During the winter Def Leppard recorded their first LP at Startling Studios, a converted mansion within 84 acres of land at Ascot. The mansion became a cocoon for them to relax in while they recorded, (there was even a large dinosaur in its grounds that had been given to its owner Ringo Star by John Lennon).
Most of the songs that they were now recording were approximately 18 months old, tried and tested. This knowledge would help them to ride out any stress that their on-going management dispute was causing. Although this in fact led to another problem. All the backing tracks were recorded very quickly, resulting in the band having too much time on their hands during the month long occupation.
Even before the LP was finished, their initial enthusiasm had become dampened as they saw their onstage primal power become more and more diluted within the production. Once more Def Leppard's creativity was being thwarted and out of their control.
A consolation for them during this period was the Poll Results for 1979 by the national music papers. All the hard work that Def Leppard had put in, now reaped its rewards from their public.
Def Leppard became the Champions of Sounds, by being voted the Top New Band, along with winning the Single of the Year for 'Getcha Rocks Off'. While in the Melody Maker and the NME, Def Leppard were placed fourth and sixth Brightest Hope respectively.
Joe was very level headed about this crowning glory. He believed that you could only judge the competition once all the NWOBHM acts had an LP out. Only by comparing the sales of each of them, would Joe then take any real notice of the praise that was heaped upon them.
