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It is time once again to revel in "Pour Some Sugar on Me," a stadium-rock anthem so immortal it existed before man invented stadiums, or God invented man. Its appeal is spiritual, elemental, feral, sensual. But numbers-be they sales figures, or chart positions, or list placements-can’t do Hysteria justice. Which is actually quite shrewd: There is no better rock song in history that immediately makes every dude in the room 30 percent dumber. Most importantly, if you stacked every stripper pole ever utilized during a routine set to "Pour Some Sugar on Me" end-to-end, that chain would reach the sun. As for critics, if you don’t believe my hyperbole, at least consider Rolling Stone’s: In 2015, Hysteria topped the publication’s 50 Greatest Hair-Metal Albums of All Time list. Supposedly, it had to sell as many as 5 million copies just to break even it sold 20 million. It took nearly four years to make and cost the band nearly $5 million. It sounds like Avatar, and every hypothetical Avatar sequel, screening simultaneously in the loudest theater man (or woman, or God himself) has ever devised. It still sounds monolithic, monumental, historic, prehistoric. Hysteria turns 30 years old today it was released on August 3, 1987.
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It ain’t Shakespeare- or is it? The video for "Women" features Def Leppard playing in a warehouse full of cardboard boxes marked HEART and LIPS and EARS and so forth. And finally, the chorus, in all its knuckleheaded glory:
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The pre-chorus consists of God’s exact recipe: The guitars are stacking up, the lust intensifying, the recording budget mounting. That’s not exactly how the Book of Genesis puts it, but OK. The production makes it sound like roughly 20,000 undead warriors grunt the word hate simultaneously. It’s like how Armageddon’s first scene is a prologue set 65 million years ago. Every rock ’n’ roll album should start like this. And then, frontman Joe Elliott, adopting an almost professorial air, gives us this:Īmazing. "Women" kicks off with the forlorn windblown howls of what might well be several hundred guitars, and the robo-mastodon plod of rock ‘n’ roll’s most famous one-armed drummer. On Saturday, as on his last visit in 2014, those Motor City chest were Marvin Gaye’s “I Heard it Through the Grapevine” and Martha & the Vandellas' “Dancing in the Street,” the latter dropped into Joel’s “River of Dreams” with backing singer Crystal Taliefero on vocals.Def Leppard’s Hysteria, the greatest hair-metal album ever made, begins by recounting the Book of Genesis, or at least the parts of the Book of Genesis that interest Def Leppard, which is to say the part where the ladies show up. It wouldn’t be a Billy Joel show in Detroit these days without some affectionate Motown covers. His excavation of lesser-played stuff also included the barrelhouse Beatlesque romp “A Room of Our Own,” a 1982 album cut he hardly performed live at the time. When he got to the chorus, he more or less did it, prompting cheers from the crowd - although because he has dropped the song’s key in concert, the low notes now presented their own challenges. That included several ‘80s hits that have received little stage time in recent years: a galloping “I Go to Extremes,” a chirpy “Keeping the Faith,” a tempestuous “An Innocent Man.” Ahead of that last 1983 hit, Joel warned the crowd it contained a high note that was harder than ever to hit. But he brought a familiar pleasing tone to Comerica Park, still reliably calling on his falsetto and the old Ray Charles vocalisms embedded in numbers such as “Just the Way You Are,” “Vienna” and “Scenes from an Italian Restaurant.”įor his first metro Detroit stop in eight years - and first stadium show here since the ‘90s - Joel served up enduring hits while digging a bit deeper into his catalog. He busted the chops of Tigers fans early in the night, saying the team with a 36-48 record is “doing pretty good” to groans and laughs from the crowd.Īnd he had a little deprecation for himself, lamenting it was “the first time I’m playing in Michigan while I’m in my ‘70s.” (Joel turned 73 in May.)Ī gravely edge has made its way into Joel’s singing in recent years, and he has lost control in spots (notably Saturday on the high notes of “She’s Always a Woman”). There’s plenty of banter and good-natured shtick - like the ubiquitous flyswatter he had close at hand, a routine at his outdoor dates. Joel has been fine-tuning his crowd work for half a century now, and there’s an easy, winking familiarity in his approach, a sense he’s engaging his audiences like old friends.