Night Brigade - Recently Updated Pages

NIGHT BRIGADE

zoelovessax — Mon, 28 Dec 2009 14:00:57 CST

Hello, I am Elliot Love...aka Storm Savage
Night Brigade's Rockin Angel

To purchase any novel visit WingsEpress or Fictionwise at the links below:

WingsEpress ~ quality paperbacks and ebooks!

*

Fictionwise ~ quality ebooks from Barnes & Noble

My Novels
Scroll down to see them full size, read a blurb about each book ~
or make your purchase.

An October release from Crimson Moth
Erotic Romance

A December release from Crimson Moth

Erotic Romance

Click here to visit the new Erotic Romance site Crimson Moth
***

Elliot Love Novels

Savvy My Heart ...Love bites

A Vampire love story like no other !

Lock your doors, there’s a new breed of vampire in town. You won’t see them coming. Gorgeous, wealthy men swooping in to steal any woman they choose. There isn’t a thing you can do to stop them. They prowl around in broad daylight or by the dark of the moon…seeking to steal your heart…and your blood!
Never mind the garlic, Holy Water or wooden stakes. These men laugh in the face of death. Your only hope of escape is to stay out of their way and pray the blood-dragon doesn’t cast his eyes upon you!

***

Paranormal Romance ~ edgy, sensual, exciting ... where nobody is who they appear to be and once they get into your head...you will never be the same!

***
The Satellite
Book One

Zoe's sexy rock star fiance, Mott, persuades her to take a cross country motorcyle tour along with fellow bandmate, Sax. When Mott's best friend Ian discovers she belongs to a sisterhood of warrior women who fight with Sai daggers, he dupes her into hunting an evil incubus. Ian has a score to settle and is desperate for Zoe's help.
A sensual cat and mouse game ensues as Zoe and the Satellite merge into battle.
He wants her fire! She wants him dead!
While fighting off the Satellite's sneaky, dangerous creepers, Mott and Sax watch her back.
Can Zoe outwit the seductive Satellite and destroy him once and for all?
Or will he seduce her and steal her soul?

***

Twilight War

Book Two

Zoe returns from her honeymoon distraught after having nightmares and haunting visions. She doesn’t understand what’s happening when her fire begins to weaken. Mott is concerned about her reckless behavior. While she seeks comfort from a bottle and good friend Sax, help arrives from the most unexpected source. In a gutsy decision, she decides to singlehandedly take on The Twilight to spare her sisterhood from war.

But can Zoe overcome deep betrayal and trust her heart again?

Night Brigade once again has her back as she faces the most terrifying battle of her life.

***

Flamethrower
Book Three

Zoe faces another foe who has proven to be more cunning than she believed. The latest threat to Night Brigade has learned new ways to exert power and devised a plan to acquire the two things needed to achieve their goal. Zoe’s fire and Sax’s blood. When Sax is taken prisoner by an evil seductress, Zoe is forced to walk alone. In a quest to find her lover, Zoe stumbles upon a shocking discovery which takes her farther away from him. She must face a startling revelation and find her love before he runs out of time.
A wicked pace is set as a new biker gang challenges Night Brigade to the death.
Zoe unleashes hell on earth in a desperate attempt to foil Twilight’s latest ploy.

***

Fire and Dice
Book Four

After suffering another beating at the hands of her abusive husband, Storm is whisked away in the middle of the night to a haunted casino. Her escort, Stoke, is a gorgeous immortal man sent to find a woman who can break his curse. Little does she know that with her jackpot winnings comes a life changing choice.
Help arrives on the scene from Night Brigade, to aide Stoke in his fight to be free. Zoe and Sax are surprised to discover who this man really is.
Flaming dice transform the casino into a hellish place to be on Halloween night.
But can Night Brigade rescue Storm in time to free her new lover from an eternity in hell?

***

Virtual Darkness

Book Five

Zoe receives a new assignment through a dream. She and select members of Night Brigade must travel through virtual darkness...a freakish void where technology converges, to complete the dangerous mission set before them. The warriors land on Copenhagen, an island fortress guarded by blood pirates where laws don’t exist.
Together they must find a rare silver stallion, then conquer the flaming wall to receive Mirari’s secret before tyrant and drug lord, Ace Hunter can stop them. But Zoe and Sax struggle to survive when they become separated by a treacherous deception.
Can they overcome lethal odds and find each other before it’s too late?

*****
To email Elliot Love or visit my Facebook & Myspace...
use links below:

NightBrigade@aol.com

Facebook

MySpace

*****

Just a few great reviews ~ To read more reviews visit my author page at www.WingsePress.com

NIGHT BRIGADE VIRTUAL DARKNESS
ELLIOT LOVE
ISBN: 9781597054164-eBook/ 9781597059732-Print
September 2009
Wingsepress, Inc.
www.wingsepress.com
Paperback
$11.95
322 Pages
Paranormal Romance
Rating: 4 Cups
Zoe Bella is a flamethrower and the chosen one. Her destiny is to discover Mirari’s Secret and fight on the side of good. Her life-mate and husband Sax will walk beside her and pledge his undying love and life to her.
Sax is a direct descendent of the Supreme Lioness and he is fulfilling his destiny. Unable to resist Zoe and loving her forever he will fight any evil to ensure that she is safe.
Zoe and Sax have seen far too much death and they have fought to stay together. They are unaware that their relationship is about to undergo the biggest test of all and in the end they may be granted an eternity together.
Elliot Love has created a wonderful fantasy world full of blood pirates, ghosts, a hero with amazing strength and a heroine that more than measure up. The world of Night Brigade is fascinating and draws the reader in until they are wishing they can ride the wave. Once a reader steps in they are unable to leave until they discover how it all ends. If you like romance, hot sex, amazing characters and a fascinating plot then Night Brigade and Virtual Darkness is the story for you.
Delane
Reviewer for Coffee Time Romance & More

***

SAVVY MY HEART LOVE BITES
ELLIOT LOVE
ISBN#: 978-1-59705-456-0/978-1-59705-989-3
August 2009
Wings ePress
www.wingsepress.com
Paranormal Vampire Romance
Rating: 4 cups
Summer is a middle-aged woman living a lie. Forced to marry a much older man when she was eighteen, in order to keep him from revealing a secret that could put her in jail for murder, Summer detests her husband Eric. The only thing that keeps her going is her love for rock legend Savion.
Savion is a famous rock star, but he is more than that. He is a blood dragon, a very special type of vampire, chosen by the spirit of a woman once scorned to find perfect
This is a very creative but fantastic vampire love story! You will not find any of the normal vampire myths at play, this is pure creativity on the part of the author, and I have to say that I loved it. The love between Summer and Savion is deeply emotional, and the author does a great job in getting that point across. There is also plenty of tension because you have the jilted bad guy husband, the nosy older sister, and then there is the horny brother-in-law and his friends, the band’s women, and let us not forget Blaze! All of these different factors keep this story moving along at a nice pace. The added bonus of the spirit of Nahtosha, and the story surrounding the dragon’s tooth just make this book even more fun to read. If the idea of reading a vampire story with a whole new mythology appeals to you, then I highly recommend, Savvy My Heart Love Bites!
Regina
Reviewer for Coffee Time Romance & More

***
NIGHT BRIGADE: FIRE AND DICE
ELLIOT LOVE
ISBN#: Trade Paperback-978-1-59705-662-5/E-book-978-1-59705-337-8
February 2009
Wings e-Press
www.wingsepress.com
Trade Paperback/E-book
$11.95/$6.00
302 Pages
Paranormal Romance
Rating: 3 Cups

Storm has been married to a man who has abused her, and watched as her daughters lose respect for her as Storm’s in-laws become just as abusive. Storm dreamed of love so it was a dream she thought she was having when a handsome man, Stoke Savage appears and asks her to come with him. Storm leaves because she desires love as much as everyone else does and is hoping it is with this mysterious man.
Stoke Savage was betrayed over a hundred years ago when he first opened this casino. There was a set-up, he was killed and then a curse was put on all who were in the hotel at the time. The curse is that if a woman of pure of heart wins the load of money, and will turn it back over to the casino and go away with Stoke, the curse will be lifted. Stoke fears he will never find that woman, until Storm, and with Storm he lets his heart get involved. But he also needs Zoe and the Night Brigade to help with the enemies.
When Storm leaves and goes to the Casino with Stoke he explains about the curse and what is needed of her when she has won the money. Stoke pleads with Storm to give him one night and then she can make her decision. Storm has never felt this way about any man and she knows she has fallen for Stoke. But can Storm trust another man so soon after all she has been through? Neither Stoke nor Storm knows of another scheme being carried on behind their backs; a plan that destroys any chance for Storm or Stoke.
This story is a blast. Chock full of action and loads of adventures, the Night Brigade is totally intriguing. Right off the bat this is the fourth book in this series, and although it stands on its own easily, this reader recommends you start with the first, because there are some great characters that you will want to know more about and how they came to be. But believe me by the end of the book, you will want to read the others anyway. All in all this is sexy and entertaining read that will keep you on the edge of your seat.
Wateena
Reviewer for Coffee Time Romance & More
***

NIGHT BRIGADE: TWILIGHT WAR
ELLIOT LOVE
ISBN#978-1-59705-713-4
September 2008
WingsEpress
www.wingsepress.com
Trade Paperback
357 pages
Paranormal Romance
Rating: 4 Cups
Zoe Bella is coming back from her belated honeymoon with her husband, Mott Viper, to start the new tour with his band. But things are not at all going well for Zoe. She cannot shake the horrific nightmares she keeps having.
Sax was overjoyed when Zoe and Motts ended up at his house. But his joy soon diminished when he sees how bad off his dear friend Zoe is.
When the truth spills out about this latest threat against Zoe, her friends band together to try and help her out. But she is determined to go it alone, because she does not want to see any of them hurt. She is going to need all the help she can get if she is to fight the Twilight Master and win. He is after a lot more then Zoe first realizes.
With steamy titillating love scenes Night Brigade: Twilight War is sure to set your pulse to racing. With well crafted characters and a really amazing plot, this story has it all. There is no part of this book that will disappoint you. My only regret was not having the chance to read the first book before this one.
LeeAnn
Reviewer for Coffee Time Romance & More
***

NIGHT BRIGADE FLAMETHROWER
ELLIOT LOVE
ISBN # 978-1-59705-687-8
December 2008
Wings epress Inc
www.wingsepress.com
E-book /Trade Paperback
$6.00 /$ 11.95
320 Pages
Paranormal Romance
Rating: 4 Cups
Zoe is the Flamethrower and being with her soul mate, Sax, her power is greater than ever. She is a woman you would not want to have to cross. She could heal you or kill you. She is now up against a new enemy one that will push her to the limit.
Sax is still her true love and her soul mate. The power they release when together, no matter if it is in battle or in having sex, is truly magnificent. He travels with Zoe to battle the woman who has figured out a way to bring the dead back.
Together Zoe, Sax, and some loyal friends set out to stop the evil haunting them. Sax is a target and is taken hostage, leaving Zoe to act on instinct alone. Will this be the ultimate test for Zoe the Flamethrower?
I love the fact that the author gives you background on the past happenings and wraps it around the current story, although at times I felt it was not necessary to do so. This reviewer’s personal preference would be to read the books in their correct order, even though each title stands on its own. Other than that minor flaw, I felt myself able to clearly picture the scenes before my eyes. Loads of excitement, good, bad, dead, undead, fire, what more can you ask for in a great paranormal romance?
Matilda
Reviewer for Coffee Time Romance & More

***

VAMPIRE RIDE
STORM SAVAGE
ISBN# 978-1-59088-398-3
October 2009
Crimson Moth
http://www.crimsonmoth.com
#E-Books
$4.50
92 Pages
Paranormal Erotic Romance
Rating: 4 Cups
Chalina has decided to accept her own independence after getting over her divorce. She does not plan on hooking up with any man until she has car trouble and finds herself stranded on the highway.
Ryker is considered someone highly respected as a leader, fierce and intelligent. The moment he sees Chalina, he is smitten. She has a fine pair of sexy legs. He cannot wait to make a connection with her.
Chalina had no idea that by being stranded due to car trouble she would hook up with a sexy and handsome man. She never expected to get involved with anyone again after the divorce, but this man is like an addiction. Just a quick romp with him has her begging for more. There was no way she could keep a safe distance from a man like Ryker. Chalina finds Ryker captivating. Ryker likes Chalina’s free spirit and believes they will make a perfect match. After learning he is a vampire, she finds him even more charismatic. Ryker wants to prove to her he is there to protect her from the bad vampires who seek her. Will he be able to convince her to join the clan before the evil vampires grab her for their own uses?
I have to admit I enjoyed the premise of this story. I like the fact that Ryker is a motorcycle riding vampire. I also enjoyed the mature characters that were spaced out in the book. Chalina has some spark to her that made her a complete woman as she works to gain her independence. Vampire Ride is a hot, heart-pounding read that I found entertaining. Storm Savage incorporates sizzling characters, excellent secondary players and non-stop attraction between Chalina and Ryker that leaps from the first page to the last.
Cherokee
Reviewer for Coffee Time Romance & More

All novels/works by Elliot Love and Storm Savage are copyright protected and

Registered in the Library of Congress

Become an animal guardian...

Join the ASPCA! You can make a difference by supporting the prevention of cruelty to animals. Click on the link below to learn how!

http://www.aspca.org/site/PageServer

I believe ~

The Artistic Stylings of Samantha

RedBandannaBaby — Mon, 21 Dec 2009 05:57:52 CST

Paintings.






	This Space Reserved for a Painting in Progress






Sketches.












Sculptures.






The Littlest Clean Shop.



Miscellaneous.

Storm Savage ~ Erotic Novels

zoelovessax — Wed, 30 Sep 2009 15:42:12 CDT

To read novels by Storm Savage click here

Elliot Love ~ About the author

zoelovessax — Sat, 11 Oct 2008 20:27:43 CDT

Elliot Love is one name I write under. I've heard true authors have multiple personalities...what do you think?

Since I can remember, reading and writing have served as escapism for me. I grew up on a farm where life was hard, leaving very little time for dreaming. Somehow in between school and work I found time to create my own world with words. There is a hidden rainbow of dreams for those who can write their way into other worlds. That secret place carries me through the storm of life.

I was born with a deep love for animals which formed who I would be as an adult. I am an animal guardian with the ASPCA and have rescued several dogs and wildlife babies. After raising two daughters, I now stay at home and write full time while taking care of my four toy breed dogs. There had been a time when I had given up hope on my dreams. But someone I admire very much once said, “Living is the best revenge”. Not merely existing, but grabbing each moment and hanging on. So that is what I do.

Love and peace , Zoe AKA Storm Savage AKA Elliot Lovesaga.

Def Leppard ~ The Band

zoelovessax — Mon, 01 Sep 2008 15:20:32 CDT

DEF LEPPARD : BRINGING ON THE HEARTBREAK

ROLL CALL ....from the Def Leppard Official Fan Club

Every month we go to the band with a quick question, to be answered by each band member individually. The result: five different, short and off-beat answers. This month's question: What is your biggest guilty pleasure?
.

Joe: Oh, I hate that phrase! Don't have one, because I don't have any guilt! But if you're talking musically, "CRAZY HORSES" by the Osmonds -- and I will play at top volume!

Phil: (thinking....) Well, that must be something that's like not cool... something like listening to the Carpenters or something? Hmmmm.... Well, then, listening to the Carpenters then! With me slippers on!

Viv: Well I was born a catholic so I can't have a lot of guilt!

Sav: Winegums!

Rick: Ben & Jerry's Cherry Garcia.

I dont know who made this photo, but it ended up on my site so I posted it because it's awesome!

If you are the artist, please let me know!

INFO:

Content on this and linked pages is free to the public according to copyleft laws on Wikipedia.The license Wikipedia uses grants free access to our content in the same sense as free software is licensed freely. This principle is known as copyleft. That is to say, Wikipedia content can be copied, modified, and redistributed so long as the new version grants the same freedoms to others and acknowledges the authors of the Wikipedia article used (a direct link back to the article satisfies our author credit requirement). Wikipedia articles therefore will remain free forever and can be used by anybody subject to certain restrictions, most of which serve to ensure that freedom

Def Leppard are an English hard rock band from Sheffield who formed in 1977 as part of the New Wave of British Heavy Metal. On the strength of their albums, Pyromania and Hysteria, Def Leppard became one of the top selling rock bands of the 1980s.[citation needed]

Music

The music of Def Leppard is a mixture of hard rock, AOR, and heavy metal elements, and has been associated more with the glam metal movement of the 1980s than with the NWOBHM of the late 1970s, in large part due to their mainstream success and production. However, Def Leppard have expressed dislike of the "pop metal" label[4]
By the release of the Hysteria album, the band had developed a distinctive sound featuring heavily processed drums and effects-laden guitar sounds, overlaid with a multi-layered wall of husky, harmonised vocals. Def Leppard is one of only six rock bands with two original albums selling over 10 million copies each in the U.S. The others are The Beatles, Led Zeppelin, Pink Floyd, Eagles and Van Halen.

History

1977 - 1979

Rick Savage (bass), Pete Willis (guitars) and Tony Kenning (drums), formed the band "Atomic Mass" in 1977 as students at Tapton School in Sheffield. Joe Elliott auditioned for a spot as their guitarist following a chance meeting with Willis. However, during Elliott's audition, it was decided that he was better suited for the role of lead singer.
Soon afterwards, they adopted the name "Deaf Leopard" (which Elliott had thought of in his school days). At the suggestion of Tony Kenning, the name "Deaf Leopard" was slightly modified to Def Leppard in order to avoid comparison to punk bands, and perhaps also as an indirect homage to Led Zeppelin's similarly styled band name.
While perfecting their sound as a band in spoon factory, the band added another guitarist Steve Clark in January 1978. Tony Kenning suddenly left the band in November 1978 prior to recording sessions for a three-song EP in late 1978. He was replaced for those sessions by Frank Noon on what was known as the Def Leppard EP.
Sales for the EP soared soon after the track "Rocks Off" was given extensive airtime by renowned BBC Radio DJ John Peel, considered at the time to be a champion of punk rock and new wave music. 15-year-old Rick Allen joined the band as its full-time drummer towards the end of November 1978.
Throughout 1979, the band won a loyal following among British hard rock/heavy metal fans, and were even initially considered the leaders of the New Wave of British Heavy Metal (eventually losing that spot to Iron Maiden). This emerging popularity resulted in a major label record deal with Phonogram/Vertigo (Mercury Records in the US).

1980 – 1983

Their debut album, On Through The Night, was released on March 14, 1980. Although the album hit the Top 15 in the UK, many early fans were turned off by the perception that the band was trying too hard to appeal to American audiences,[citation needed] with songs like "Hello America" and touring more in the US (supporting Pat Travers, AC/DC and Ted Nugent). While performing at the Reading Festival in August (alongside fellow NWOBHM pioneers Iron Maiden), audience members showed this displeasure by pelting the band with garbage during their set.
The band then caught the attention of AC/DC producer Robert John "Mutt" Lange, who agreed to work on their second album, High 'n' Dry, released on July 11, 1981. Lange's painfully meticulous approach in the studio greatly improved on Def Leppard's potential from On Through The Night.
Despite mediocre album sales, the "Bringin' on the Heartbreak" promo clip became one of the first "metal" videos played on MTV in 1982, and this brought increasing visibility (and momentum) to the band in the States.
Phil Collen, former guitarist with the glam band Girl, replaced Pete Willis who was fired on July 11, 1982, due to excessive alcohol consumption on the job (Willis later resurfaced with the bands Gogmagog and Roadhouse). This personnel change took place during the recording of their third release, Pyromania, released on January 20, 1983, and also produced by Lange.
The lead single "Photograph" turned Def Leppard into a household name, supplanting Michael Jackson's Beat It as the most requested video clip on MTV, becoming a staple of rock radio (dominating the US Album Rock Charts for six weeks), and hitting #12 on the pop charts.
Fueled by "Photograph" and subsequent singles "Rock of Ages" and "Foolin'", Pyromania went on to sell six million copies in 1983, and was held off the top of the US album charts only by Michael Jackson's Thriller. The album has since been certified Diamond by the RIAA in the US, and is considered a classic in both the mainstream rock and heavy metal genres.
Def Leppard's US tour in support of Pyromania began by opening for Billy Squier in March, and ended with an audience of 55,000 at Jack Murphy Stadium in San Diego, CA in September.
As a testament of the band's popularity at the time, a US Gallup poll in 1984 saw Def Leppard voted in as favourite rock band over peers such as the Rolling Stones, AC/DC and Journey. However, this popularity was not matched in their native England, a fact that greatly bothered them.

1984 – 1989

Following their breakthrough, the band moved to Dublin in February 1984 to begin writing the follow-up to Pyromania. Mutt Lange initially joined in on the songwriting sessions, but then suddenly declined to return as producer due to exhaustion. Instead, Jim Steinman (of Meat Loaf's Bat out of Hell fame), was brought in.
On December 31, 1984, drummer Rick Allen lost his left arm in a car crash on the A57 in the hills outside Sheffield when his speeding Corvette left the road on a sharp bend and went through a drystone wall. Despite the severity of the accident, Rick was committed to continuing his role as Def Leppard's drummer. He practiced drumming with pillows, and realised that he could use his legs to do some of the drumming work previously done with his arms. He then worked with Simmons to design a custom electronic drum kit.
The other members of the band fully stood behind Rick's determination and never sought a replacement. During his recovery, Mutt Lange eventually returned to the fold as producer, and Rick's triumphant comeback was sealed at the 1986 Donington Monsters of Rock festival, with an emotionally charged ovation after his introduction by Joe Elliott.
Def Leppard's fourth album, Hysteria, was finally released on August 3, 1987. The second single from the album, "Animal", reached #6 in the UK and finally turned the band into stars in their home country. Hysteria immediately topped the charts in its first week of release.
US album sales were relatively slow (compared to Pyromania) until the fourth single, "Pour Some Sugar On Me". The song hit Number 2, and Hysteria finally reached the top of the US Album Charts in July 1988. In October, the power ballad "Love Bites" would become Def Leppard's first (and only) Number One single on the Billboard Hot 100, and in January 1989 the band scored another US Top 5 hit with "Armageddon It".
Hysteria is one of only a handful of albums (and the third in rock history) that has charted seven singles or more on the US Hot 100: "Women" (#80), "Animal" (#19), "Hysteria" (#10), "Pour Some Sugar On Me" (#2), "Love Bites" (#1), "Armageddon It" (#3) and "Rocket" (#12). It remained on the charts for three years and has sold 18 million copies worldwide.
Equally as successful was the accompanying Hysteria world tour which ran for 15 months and saw Def Leppard perform "In The Round". The concept proved wildly popular with fans, as evidenced in the videos for "Pour Some Sugar On Me" and "Armageddon It" (and was later used again for the Adrenalize tour).
In 1989 Def Leppard won Favourite Heavy Metal Artist as well as Favourite Heavy Metal Album (for "Hysteria") during the American Music Awards. It was the first time that a heavy metal category was added to the awards show. (The category has since been deleted in recent years)
By the end of the decade, although Guns N' Roses and Bon Jovi garnered more mainstream exposure, Def Leppard had sold more records than any other rock band in the US.

1990 – 1999

Following Hysteria's mammoth success, the band quickly set out to work on their fifth album, hoping to avoid another lengthy gap. However, Steve Clark's alcoholism issues worsened to the point where he was constantly in and out of rehab. Recording sessions suffered from this distraction, and in mid-1990 Steve was granted a six-month leave of absence from the band.
Clark never reached the end of his leave, dying from an accidental mix of prescription drugs and alcohol on January 8, 1991 in his London home. The remaining band members decided to carry on and recorded of the album as a four-piece, with Phil mimicking Steve's style on his intended guitar parts.
Def Leppard's fifth album Adrenalize was finally released on March 31 1992. The album simultaneously entered at Number One on both the UK and US album charts, staying there for 5 weeks on the latter. The first single, "Let's Get Rocked", was an instant smash hit and its video was later nominated for Best Video of the Year at the 1992 MTV Video Music Awards.
In April 1992, guitarist Vivian Campbell (formerly of Dio and Whitesnake) joined Def Leppard, making his official live debut with his band at the Freddie Mercury Tribute Concert. Adrenalize yielded six hit singles and sold 7 million copies worldwide. Another successful world tour followed, but the band's fortunes began to be affected by the rise of grunge and alternative rock.
A collection of b-sides and unreleased tracks recorded between 1984 and 1993, Retro Active, was released in October 1993, preceded by the success of "Two Steps Behind" (from the Arnold Schwarzenegger film Last Action Hero). Another single, "Miss You In A Heartbeat", hit the Top 5 in Canada, becoming one of their biggest hits there. Retro Active has sold 3 million copies worldwide to date.
Two years later, Def Leppard issued their first greatest hits collection, Vault: Def Leppard's Greatest Hits (1980-1995), which has sold 8 million copies worldwide. Alternate track listings of the album were issued for North America, the UK and Japan.
The compilation included a new track, the ballad "When Love & Hate Collide", which became their biggest ever hit in the UK, hitting #2. It peaked at #58 in the U.S. On October 23, 1995, the band entered the Guinness Book of World Records by performing three concerts in three continents in one day (Tangiers, Morocco, London, England, and Vancouver, Canada).
Slang, released in May 1996, marked a drastic musical departure for the band by featuring darker lyrics and a stripped-down alternative rock edge. The US audience reception for Slang and its subsequent tour was a major dropoff from a decade earlier, but Q Magazine would nonetheless list Slang as one of the Top Ten Albums of 1996.
VH1 revived the band's fortunes in the US in 1998 by featuring them on one of the first episodes of Behind The Music. Reruns of the episode yielded some of the series' highest ratings, and brought the band's music back into the public consciousness (following years of burial by the alternative rock climate). The episode was even parodied on Saturday Night Live.
In an effort to capitalize on this new momentum, Def Leppard returned to its classic sound with the 1999 album Euphoria. The first single, "Promises", reunited the band with Mutt Lange, and hit the US Mainstream Rock charts for 3 weeks. The album was certified for gold sales in the United States and Canada.

2000 – Present

On September 5, 2000, Def Leppard were inducted into the Rock Walk of Fame, on Hollywood's Sunset Boulevard by their friend Brian May of Queen.
In 2001 VH1 produced and aired Hysteria - The Def Leppard Story, a biopic that included Anthony Michael Hall as Mutt Lange and Amber Valletta as Lorelei Shellist (Steve Clark's girlfriend). The docudrama covered the band's history between 1977 through 1986, recounting the trials and triumphs of Rick Allen and Steve Clark. The July 18 broadcast still produced some of the channel's highest-ever ratings and is available on DVD.
A side project at the time consisted of Joe Elliott and Phil Collen teaming up with members of the Spiders From Mars (David Bowie's former band), minus the late Mick Ronson, naming themselves the Cybernauts. The group played several shows, covering Bowie's Ziggy Stardust-era songs.
Def Leppard's tenth album, simply titled "X", was released in July 2002. It saw the band's musical direction moving more towards pop and further away from the band's hard rock roots. In fact, some tracks were produced by the hit factory behind Britney Spears and the Backstreet Boys.
Although greeted with generally positive reviews, X quickly disappeared from the charts, ultimately becoming the band's least successful release. However, the accompanying tour played to the band's strongest audiences since Adrenalize.
An expanded and updated best-of collection, Best Of, was released in October 2004 internationally. The North America-only version, Rock Of Ages - The Definitive Collection, was released the following May. Def Leppard would participate at the Live 8 show in Philadelphia, and toured in the summer with Bryan Adams. 2005 also saw the band leave their longtime management team, Q-Prime and sign with HK Management.
On May 23 2006, Def Leppard released an all-covers album titled Yeah!. The disc pays homage to classic rock songs of their childhood, originally recorded by David Bowie, The Kinks, Blondie, and Badfinger among others. It debuted at #16 in the US, their tenth consecutive Top 20 album and has scanned more than 140,000 copies to date.
The band, along with Queen, Kiss, and Judas Priest, were the inaugural inductees of "VH1 Rock Honors" on May 31, 2006. During the show, The All-American Rejects paid homage to the band with a cover of "Photograph". Soon afterwards, they embarked on a successful US tour with Journey. That October, Hysteria was re-released in a two-disc deluxe edition format, which combined the original album, remastered for the first time, with b-sides, remixes and bonus tracks from single releases.
Def Leppard began their latest tour, the 52-date "Downstage Thrust Tour," on June 29, set to take them across the US and Canada. The openers are Foreigner and Styx (with the addition of REO Speedwagon or Kim Mitchell on some dates). The band's upcoming album is tentatively titled Songs From The Sparkle Lounge and is scheduled for release in 2008.

Current members

Joe Elliott - lead vocals, occasional guitar (1977-present)
Phil Collen - lead & rhythm guitars, backing vocals (1982-present)
Vivian Campbell - lead & rhythm guitars, backing vocals (1992-present)
Rick Savage - bass, keyboards, backing vocals (1977-present)
Rick Allen - drums, percussion, backing vocals (1978-present)

Former members

Steve Clark - lead & rhythm guitars, backing vocals (1978-1991)
Pete Willis - lead & rhythm guitars, backing vocals (1977-1982)
Tony Kenning - drums (1977-1978)
Frank Noon - drums (1978)

Side projects

Phil Collen played guitar, uncredited, on Sam Kinison's "Wild Thing" from 1988. The video featured members of Poison, Bon Jovi, Mötley Crüe, Guns N' Roses, Ratt, and Aerosmith.
Collen also produced and played on the 1991 album On The Edge from Australian band BB Steal.
Joe Elliott sang lead vocals on two tracks on Rolling Stones guitarist Ron Wood's 1992 solo album, Slide On This. His then-wife Karla appeared in the video for "Always Wanted More".
Various members of Def Leppard have played on tribute records for Jeff Beck, AC/DC and Alice Cooper.
Joe Elliott performed on two tracks to the soundtrack of the 1996 Sheffield-set motion picture, When Saturday Comes, the title track and an instrumental, "Jimmy's Theme".
Phil Collen has a side band called Man-Raze, which is set to release its debut album September 2007.
Vivian Campbell joined former Foreigner vocalist Lou Gramm and bassist Bruce Turgon on the one-album project Shadow King, in 1991.
Vivian Campbell has played with two side bands in recent years, Clock and the Riverdogs, and recorded a solo album, Two Sides of If, released in 2005.

Discography

For more details on this topic, see Def Leppard discography.

External links

Def Leppard: Def LeppardCurrent membersFormer membersDiscographyVideographySinglesConcert tours

Joe Elliott | Phil Collen | Vivian Campbell | Rick Savage | Rick Allen

Steve Clark | Pete Willis | Tony Kenning | Frank Noon

Compilations: Vault: Def Leppard Greatest Hits (1980-1995) | Best of Def Leppard | Rock of Ages: The Definitive Collection

EPs: Warchild | Def Leppard EP (Getcha Rocks Off EP) | First Strike

def art by ronnie

ronnie.a,deffan — Tue, 26 Aug 2008 08:32:44 CDT

hello and welcome to def art by ronnie

Back Roads Detour

zoelovessax — Mon, 25 Aug 2008 19:13:04 CDT

Whitesnake ~ The Deeper the Love

British Invasion

ronnie.a,deffan — Mon, 25 Aug 2008 05:29:22 CDT

There is no abstract available for this page revision.

Phil Collen

zoelovessax — Sat, 12 Jul 2008 22:21:16 CDT

Philip Kenneth Collen (born December 8, 1957 in Hackney, East London, England) is one of the guitarists for British rock band Def Leppard. He joined the band in 1982 following the firing of Pete Willis.

Biography

Collen was born in Hackney, East London, England. Because of this region, he speaks with a Cockney accent. At the age of 16, Phil got his first guitar (a red Gibson SG), taught himself how to play, and left school to pursue a career in music. He then joined a line-up of early bands including Lucy, Tush, Dumb Blondes, and Girl.

Def Leppard

Phil Collen and Steve Clark, dubbed as "The Terror Twins".

Collen had already known Joe Elliott and Steve Clark since 1981 from the London music scene and had been asked to consider joining then. However, there was no need to replace Pete Willis at the time.
But when Willis was dismissed from Def Leppard, Collen wasn't formally asked to join the band. Elliott evaluated Collen's ability to play the guitar so well after he handed out a demo recording of "Stagefright," during the band's Pyromania sessions, in hopes of performing a solo that fits in with the bands' style of music. Soon after, Collen officially joined, and his ability on the guitar impressed producer Mutt Lange and the rest of the band. He quickly bonded with fellow guitarist Steve Clark, with whom he created Def Leppard's trademark dual guitar sound. He and Steve were even known as "The Terror Twins" due to their enthusiasm in hard rock music and because both musicians had a close bond in personality.
Over the years, Collen quit drinking, stopped eating meat, and adopted a healthy lifestyle (He became a vegetarian); Clark did no such thing and ended up losing his life to alcohol and prescription drugs in early 1991.
After Clark's death in 1991, Collen faced the challege of not only dealing with the loss of a friend he has bonded for so many years, but also with the burden and responsibility of reproducing Clark's style while creating and recording all the guitar parts for their next album, Adrenalize. At this time he considered quitting the band, but remained steadfast.
It was until April of 1992 that Phil Collen and the rest of the band got their break when Vivian Campbell joined the band as co-lead guitarist to help the rest of the band move forward into recording more albums together without having too much problem. Although Campbell joined, both guitarists have had gotten along well, but not so much as he did with Steve Clark.

Equipment

In 1989, Collen teamed up with Grover Jackson of Jackson Guitars to develop an ergonomically correct electric guitar called the PC Archtop. He has since designed three more Jackson electric guitar models (PC 1, 2 & 3). The PC1 is currently produced and sold through Jackson.
Phil uses steel guitar picks made by Dunlop. He plays GHS 12-52 strings tuned to E'flat.
In November 1992 he was quoted in Guitar School as using the following equipment.
Guitars: Jackson/Charvel custom Pickups: DiMarzio Super 3 (bridge), Fast Track ( neck ) Amplification: Randall RRM2-200 Cabinets: Randall custom 4 X 12s/Celestion Vintage 30s Effects: Digitech GSP 21s, Rockman XPR, TC Electronic 1128 EQ, Scholz stereo choruses, BBE 442 Sonic Maximizers, Rane MPE 28, Palmer Speaker Simulator

Side Projects

In 1990 Phil co-produced the "On the Edge" album of the Australian band "BB Steal"
Collen has worked in numerous side projects, some of them together with Joe Elliott. One of his recent side projects was a tribute to David Bowie and Mick Ronson. He and Elliott also got together with the Trevor Bolder and Mick "Woody" Woodmansey from Spiders from Mars and keyboardist Dick Decent to form Cybernauts. In 2001 they released a great live album of classic Bowie hits. In addition, Collen has also appeared on a number of other music projects.
Recently, Phil organized a band of his own called Man-Raze, comprised of former Girl bandmate, Simon Laffy, and the drummer from the Sex Pistols, Paul Cook. He also made a guest appearance with the band Sheer Greed on the song "Eveybody Wants" on their album Sublime To The Ridiculous.

Personal life

Collen currently resides in Southern California with his wife, Anita Thomas. Collen has a son, Rory James Collen, and a daughter, Samantha Collen.

Trivia

In October 1980, Adrain Smith joined Iron Maiden However, had Adrian refused, Phil would've been their next choice.
He practices kickboxing
He has been dubbed by some as "The Shirtless One", because he typically performs shirtless
He is know as one of the "Terror Twins"

Def Leppard DiscographyVideographySinglesConcert toursRelated articles

Joe Elliott | Phil Collen | Vivian Campbell | Rick Savage | Rick Allen

Steve Clark | Pete Willis | Tony Kenning | Frank Noon

Compilations: Vault: Def Leppard Greatest Hits (1980-1995) | Best of Def Leppard | Rock of Ages: The Definitive Collection

EPs: Warchild | Def Leppard EP (Getcha Rocks Off EP) | First Strike

Robert John "Mutt" Lange | Jeff Rich | Terror Twins | Def Leppard band members | Def Leppard discography

On "Yeah!" the 2006 covers album by Def Leppard, Phil performed the lead vocal on "Stay With Me" (originally recorded by Faces) and sang lead vocal on Search and Destroy originally done by The Stooges on the bonus tracks EP.

Liverpool Echo News - interview with Phill and Joe Liverpool EchoLeppards DO change spots Jul 11 2008 Jade Wright
JOE Elliot and Phil Collen saunter into a hotel room bigger than my entire house, looking every bit the conquering heroes.
The eternal rockers have just played the Islington Academy and their new album, Songs From The Sparkle Lounge, has gone into the charts at No. 5. They're clearly on top of the world.
"Looks like we've still got it," chuckles singer Joe. He's 48 this year, his hair still golden-blond, lush and long.
He is dressed immaculately in freshly pressed jeans and a tailored black shirt with a diamante skull and crossbones on the back, every inch the rock star.
"What a gig!" he bellows to the cavernous room. "We were so nervous before we went out but that was awesome. I could do it all over again."
I've taken up the challenge of a lifetime. I'm on tour with Def Leppard, Sheffield's finest heavy rockers.
Their success makes today's rock acts look like minnows in comparison. They've sold more than 65m albums in the course of their three-decade career. In sales alone, that puts them ahead of acts like Stevie Wonder, The Spice Girls, Oasis, Nirvana, Bob Dylan ...
And after a six-year break they're back. I caught up with them in London, playing their most intimate gig for 25 years in the 800-capacity north London club.
And what a show it was. In among the media throng were the uber-fans, the die-hards who were prepared to queue up and support their boys all the way.
Over the years the band rocked with the best of them and lived harder than most.
After the drinking years, and the drug-fuelled years, the death of guitarist Steve Clark and drummer Rick Allen's horrific car accident that cost him his arm, it's incredible they're still here, let alone preparing for another tour.
A tour that takes in the ECHO Arena next week.
"I'm excited about that," grins Joe. "I love Liverpool. I love The Beatles, and The Zutons. People think that because I write the sort of music I do that I can't appreciate other things. That's just rubbish. I listen to all sorts, and it's The Beatles I always come back to. Legends."
Joe currently lives in Dublin, with his wife Kristine, whom he met while she was working in wardrobe for Def Leppard.
Joe makes himself comfortable on an enormous white sofa while lead guitarist Phil makes a beeline for a large silver platter and lifts off the domed lid. I dread to think what can be inside. But I needn't have feared.
Underneath lies a feast of the poshest toast I've ever seen – there's four different types of butter.
"What did you expect?" laughs Phil, raising an eyebrow. "Steak? Drugs? A thousand brown M&Ms in a brandy glass?
"I hope you're not disappointed in me," he gives a cheeky grin. "But you can't beat a nice bit of toast.
"I shouldn't have it really – I try to keep off wheat – but this is my treat. Help yourself.
He offers the toast around and carefully butters and devours slice after slice. He's entitled to his one vice. The clean-living rocker has already eschewed alcohol, drugs and meat. He's a keen kick-boxer and works out every day – so much so that he's been dubbed "the shirtless one", so fond he is of showing off his toned torso.
"I'm the oldest in the band," he laughs. "I'm 50. But I look the youngest, because I look after myself. I'm a strict vegetarian, I try to eat as much raw food as I can. I look after myself. I live in California; it's nothing unusual there.
"But I come back to England and people expect the cliche," he says, with a world-weary sigh. "They think I'm going to be drinking, smoking, snorting coke out of some blonde's belly button.
"I've had people come up to me and ask why I'm with my partner. She's black, and people have asked why am I not with some blonde half my age. I try to explain that I don't live my life to be a cliche. That I'm an ordinary bloke who does an extraordinary job, and away from work I do my own thing."
He pauses for a second, and corrects himself.
"But then I realise how lucky I am to be able to do this, to be here," he waves his arm to indicate the hotel suite.
"I started out as a dispatch rider in London. I worked for a living, weaving in and out of the traffic every day, so I know how lucky I am now to be able to live like this. I'd never have set foot in a place like this if it hadn't been for this band."
Phil joined the band in 1982 following the departure of Pete Willis, making him a relative newcomer.
The doubly misspelt hard rock act ("Don't call us heavy metal, we're not heavy metal," insists Joe) were born in 1977. Originally called Atomic Mass, Joe thought up the new name while writing reviews for imaginary rock bands in his English class at school.
They went on to become one of the hardest living bands of the 80s, so I must admit I'd expected life on tour with them to be a bit rougher round the edges. A bit, well, less civilised.
Aside from the plush hotel suites, the band have three full-sized tour buses for the five of them. Somewhat excessive perhaps?
"No, we have to do it that way," explains Phil. "Viv (guitarist Vivian Campbell) and I have one. It's all vegetarian and we keep it nice and clean.
"Then Joe and Sav (bass player Rick 'Sav' Savage – so called to avoid confusion with drummer Rick Allen) have another – that's the dirty bus.
"And then Rick has his own bus which he fills with flowers and incense. He burns joss sticks on it and it gets in everyone else's throats, so he's on his own in there."
Rick Allen, the band's famous one-armed drummer, is a haven of peace and calm. As well as the incense on the tour bus, he attaches joss sticks and sunflowers to his drum-kit onstage to harness positive energy.
The story goes that he lost his arm after losing control of his car on his way to a New Year's eve party at his family's home in Sheffield. Aged just 21, he was thrown from the car resulting in the severing of his left arm due to the seatbelt not being properly fastened.
He's got a lovely, sunny disposition. He's a firm believer in karma, and says that, after plenty of tough times he's never been happier.
He and Phil meditate backstage before the shows, and they believe a lot of their success has come from their positive energy.
And it seems to be working.
"We're happier than we've been in years," explains Joe. "I get out of bed every day and I can't wait to see what it brings. Maybe that's the wisdom age brings. Or maybe you just realise that every day is precious."
"Either way, we certainly enjoy ourselves more than we used to. We love every day."
* Def Leppard play the ECHO arena alongside Whitesnake and Thunder as part of the Summer Pops on July 15. For tickets call the ECHO arena on 0844 800 0400 go online to www.accliverpool.com or call in at the 08 Place or arena. http://www.liverpoolecho.co.uk/liverpool-entertainment/echo-entertainment/2008/07/11/leppards-do-change-spots-100252-21327993/2/

Def Leppard Videos!

zoelovessax — Sun, 08 Jun 2008 21:25:51 CDT

Joe Elliott

zoelovessax — Mon, 02 Jun 2008 23:44:45 CDT

In his youth, Joe was caught by the music of the late 60s/early 70s 'glam' bands such as T.Rex, Mott The Hoople and (David Bowie's) Ziggy Stardust. Joe's dream to be a member of the imaginary band Deaf Leopard came true when he joined Atomic Mass, originally formed by Rick Savage and Pete Willis. Partly because of Joe's dream, the band was renamed to Def Leppard... The Atomic Mess.

Joseph Thomas Elliott

Date Of Birth: August 1, 1959

Birthplace: Sheffield, England

Residence: Dublin, Ireland

Personal File: Married to Kristine

Joe Elliott Also Appears On:

Ronnie Wood: Slide On This, Soundtrack: Last Action Hero, Soundtrack: When Saturday Comes, Alice Cooper Tribute: Humanary Stew, Mick Ronson: Heaven and Hull, Cybernauts: Live, Earl Slick: Zig Zag.

Did you know?

Joe's favorite soccer team is Sheffield United

Height: 6'1"
Weight: 180 lbs, last known
Family: Only child of Cindy and Joe Elliott Sr.
Favourite Colour: Red
Favourite Car: Lamborghini
Favourite Food: Japanese (especially with sake!)/Indian,Fish'n'chips
Favourite Drink: Sex on the Beach
Favourite Def Leppard Song: 'All the Young Dudes' by MTH and 'Tie Your Mother Down by Queen'
Favourite Bands/Influences: Mott the Hoople, David Bowie, Queen, Led Zeppelin
Hobbies : Golf, Soccer/Football
Eye color: Green
Nicknames: The Diplomat, The Voice/Throat, and Zeff.
Info: Joe has a scar over one of his eyes due to a fan throwing a coin from the crowd in Spain, 1983.
First Record: Joe ever bought was "Sugar, sugar" By The Archies
Favourite actor: Jack Nicholson.
Favourite actress: Meryl Streep
First GF: Shirley Vaughan, Joe was 8 at the time.
Equipment: Sony Ariel Microphone.

Joseph Thomas Elliott (born 1 August 1959, in Sheffield, South Yorkshire, and educated at King Edward VII School) is the lead vocalist of the English rock band Def Leppard.

Career with Def Leppard
Elliott first met Pete Willis in 1977 by chance when he missed a bus. After finding out that they were both musicians, he met the rest of the members of Atomic Mass and auditioned, first as a guitarist, and then as a singer. The rest of the band was impressed by him, and hired him. The band even took Elliott's suggestion to change their name to "Deaf Leopard," which was later changed to "Def Leppard" because at the time punk bands with animals in their name were very popular in Britain and Def Leppard did not want to be a punk band. Elliott soon became an integral part of the band contributing also with his songwriting skills.
As a songwriter, Elliott has drawn from his eclectic tastes in music (that range from pop-rock to folk and anything in between) as sources of inspiration. He also often comments that the lyrics to Leppard's music are not personal; they are meant to be easily accessible to the listener. He also plays guitar and drums, as well as piano and electronic keyboard.

Side Projects

Elliott has worked with several side projects through his career. Among them, he has worked in numerous tributes to other artists like Freddie Mercury, Alice Cooper, Mick Ronson, Ian Hunter,and David Bowie, among others. He had the honour of opening the Freddie Mercury Tribute Concert in 1992 by joining the remaining members of Queen and Slash to perform "Tie Your Mother Down."
He also has guested on several projects like Rolling Stones guitarist Ronnie Wood's solo album Slide On This;" Lori Spree's Those Faces;" Ricky Warwick, The Almighty, and others.
He and fellow Def Leppard member/guitarist Phil Collen once had a side project together called Cybernauts. The project was short-lived, and the internet album that was online has been deleted since its mid-1990s release.
Released in September of 2003 through Sanctuary Records, Ricky Warwick's Tattoos & Alibis was produced by Elliott.

Personal life

Elliott currently lives in Dublin, Ireland, with his wife Kristine.
Joe maintains a recording studio in his home called Joe's Garage in which he has recorded and produced many major artists. Artists have also recorded in Joe's Garage while Joe has been on the road with Def Leppard.

Trivia

Elliott auditioned for Def Leppard (then known as Atomic Mass) singing Led Zeppelin's "Stairway to Heaven." He missed the octave change in the song but the band was so impressed with his looks and enthusiasm that they took him anyway.
During Def Leppard's early days Elliott worked in a bread factory where while sweeping up he would pretend to be AC/DC frontman Bon Scott.
In addition to singing, Joe plays guitar, bass, piano and drums; and can be seen (with KISS style make-up) playing drums in the band's music video to the song Rocket (at about 1:48 into the video). The song was a tribute to the 1970s bands they grew up listening to. In that scene, actual drummer Rick Allen is seen along the other bandmates fronting the band, all donning makeup in a tribute to the glam bands of their youth.
Unlike bandmate Rick Savage who supports Sheffield Wednesday, Elliott is an avid Sheffield United fan.
Elliott has stated on many occasions that his favourite band is Mott the Hoople.
His other big influences are David Bowie,T.Rex, and Queen.
Has battled the mumps twice throughout his life, being stricken with them the 2nd time while recording the bands hit album, Hysteria.
Is good friends with Ricky Warwick, having produced, and performing back up vocals on Ricky Warwick's Love Many Trust Few album. Rick has also returned the favor performing backup vocals on several of Def Leppard's albums.

External links

Joe Elliott ~ Never at a loss for words:

"Even Crazy Horses is a good song, by the Osmonds. I've known many bands who have covered that. It's just a great song. I bought it in a brown, paper bag because I didn't want anyone to know I had it."
(Joe Elliott)

"It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create."
(Joe Elliott )

"Wasted was written in an evening."
(Joe Elliott)

"We are just fans of music, we are not fans of a specific kind of music. We just happen to be a rock band. Until we explain ourselves, sometimes people don't understand why we limit ourselves to just being a rock band. It's because that is what we like doing."
(Joe Elliott)

"We have never used tape. Never, ever. The only thing that we've ever used that you could deem not real are drum loops, because Rick basically, with one arm, I think more so than anybody else has got an excuse to use them. Any drummer you see who has headphones on is playing to drum loops."
(Joe Elliott )

"We've made one of the most over-produced records of all time, and also one of the most successful records of all time too."
(Joe Elliott)

"When we try to write a pop song, we go for standard pop arrangements, even to the point where we will go to the key change at the end, which is really cheesy."
(Joe Elliott )

"Why not? It's a song. If it takes four people to pretend to be eighty people, that's using studio technology to your advantage."
(Joe Elliott)

Interviewer: Who was responsible for the idea?(Meaning the 3 continents in one day promo for Vault) Joe: "I don't Know but when we find him we're going
to nail his head to a coffee table!"

Joe on the AIDS epidemic: "You'd better wake up and smell the roses before they're on your coffin lid."
Joe and Steve do a Promo for High'n'Dry: "And here's a little something to take you On Through The Night."
(A nod to album #1) (They promptly make sniffing sounds like they're doing
drugs on the air- Radio station yanks promo quickly)
Female Radio Call-In show Caller: "Joe what do you wear to bed at night?"
Joe: "Nothing. What do YOU wear to bed?"
Joe's Theory on Marriage and Divorce: "Find someone you Don't like and give them half of everything!"

Joe sees no reason to rest after 30 rocking years Fri August 31, 2007 Co-founder says band sees no reason to rest after 30 rocking years

By Brandy McDonnell
Entertainment Writer

After three decades of rock, Def Leppard singer Joe Elliott sees no reason to stop

"Why would you? ... We're musicians, and our job is to play for people. And the more we play and the more people we play in front of, the happier we feel," he said in a phone interview from his Dublin, Ireland, home. "We always wanted to be the biggest band in the world. For a little while, we were. Who's to say that we won't get it back? But even if we're not, you know, we're one of that elite few that can still play (for) 20,000 people."

On its latest U.S. tour, the British quintet, along with Styx, will play Wednesday night at the Zoo Amphitheatre, 2101 NE 50. Def Leppard hit the road in June, though the group had just finished in November touring with its 2006 album "Yeah!," a collection of covers. In between, members gathered at Elliott's home and studio to work on a new album, which the singer said is about 80 percent finished. "It's been like nonstop work. It's wild, you know. The older we get, the busier we get, which is weird," Elliott said with a laugh.

Thirty years ago this month, Elliott and bassist Rick "Sav" Savage (along with former guitarist Pete Willis and drummer Tony Kenning) formed Def Leppard. The group became the quintessential hard rock band of the '80s, notching hits with "Photograph," "Rock of Ages," "Hysteria," "Pour Some Sugar on Me" and "Rocket." Def Leppard's popularity waned in the '90s, but the band played on. They now are experiencing a revival.

"There's obviously a demand for what we're doing, because the ticket sales on the last tour alone were the best we've had since the 'Hysteria' tour (in 1987, the height of the band's heyday)," Elliott said. "It makes you feel wanted, and it makes you feel valid." He compared the band's resurgence to fellow musician Paul McCartney, the former Beatle whose solo career is on an upswing, and actor William Shatner, the 76-year-old "Star Trek" star winning awards for his role on "Boston Legal."

"I don't necessarily think we've even written our best song yet. ... If you think that you can never better 'Pour Some Sugar on Me,' we might as well just pack in right now. But the fact (is) that we believe that we can add to our legacy and put something out there that shocks people not necessarily in its content but in the fact that they go 'My God, they can still do it.' That's the kind of thing that you drive yourself on to do," he said.

The members still have their passion for music; otherwise, he said, they would stay home with their wives, children and possessions "and just live the life, 'cause they've got enough money to feed themselves if they live to be 300."

"It's all well and good to be able to pay your bills, but if you haven't got a drive in life or a passion, I don't see the point in getting out of bed in the morning," Elliott said.

"I believe we're a better band now than we've ever been. We seem to just get better every tour we do. We're more consistent; we play better. We last longer. We're like the Energizer Bunny. We just seem to have this boundless enthusiasm that gets bigger the older we get. Maybe because we feel that there is an end of the road at some stage, so you have to suck all the energy you can and put it back to your crowd. Because you just never know when it's going to end."

But Elliott, who turned 48 last month, sees no reason for the band to coast on previous successes. As they tour this summer, he and his mates are listening to the 12 songs they've recorded for the new album. They plan to return to the studio after the tour. "It's typical Def Leppard in the sense that, like, it's very melodic. It's obviously hard-hitting. But it's not bog-standard in the sense of it's not exactly what everybody's going to expect," he said.

"There's a lot of elements that people will embrace and be familiar with, but it's also got some stuff in it that's ... more adventurous than maybe what people think that we're capable of." Band members won't be playing the new songs Wednesday night, but they have changed up the show for the tour.

"We've come up with a whole new visual aspect to it, and we've totally revamped the set. We've dug real deep in the catalog, and we've pulled some nuggets that we've not played either ever or for a very, very long time," he said. "Obviously, there's certain songs that we have to play. Let's be honest, we actually want to play them. We like the reaction that we get when we play 'Sugar,' 'Photograph,' etc." Although they have discussed a 30th anniversary box set or live album, Elliott said the rockers prefer to look forward rather than back. Their goal has always been to entertain; the difference is, now they sometimes have two or even three generations of fans in the stands.

"We were very fortunate that we somehow gravitated toward each other, which you know, we had no control over that happening," he said. "It was fate. And God willing, it keeps going. ... We all realize how blessed we are to get the opportunity to do what we do."

XM Radio Interview discussed 2008 Tour Plans Speaking in a recent XM Radio interview Joe shared this when asked about 2008 tour plans. "We wanna do what we're doing now, next summer. The plan would be to try and do some of the European festivals in late spring - May or whatever and then go back and do some in September and in between do America.

Cos we've not really had the opportunity to do that before, because our albums have always come out at the wrong time, we've had to wait for winter to clear and then by the time it's cleared the album is already finished.

So if we can get the album out for spring we can do it but it's just a rough plan, we haven't really nailed anything down cos until we've finished the record we won't really know what to do but at least we've got it in the back of our minds that - don't book any holidays for next year cos you're gonna be busy."
Thanks to Darren, deflepparduk.com

EXCLUSIVE INTERVIEW WITH JOE ELLIOTT from the official Def Leppard Fan Club

JOE ELLIOTT - EXHAUSTIVE AND EXTENSIVE, PART 1
.

What's your general feeling when you look back at the 2007 tour?

It was spectacular! Styx and Foreigner were great, there is the same kind of vibe that we had with Journey last year. They're all easy to work with - no egos! Or at least, I haven't come across any at all. This whole tour seemed to do all three bands a world of good, and since we got great crowds without even promoting a record, I find that very encouraging - considering next year, when we WILL be touring on the back of a record. A tour like this gets us on various TV shows, which is a lot better than having a video on MTV nowadays.
.

Any high- or low points that come to mind?

One of the low points was the Raleigh gig, that had to be cancelled about 7 minutes before Foreigner were scheduled to take the stage. What happened was, this microburst came through and went literally underneath the stage....but over it at the same time! It kinda grabbed it all like a hand and tore the plastic off the top. Of course, it was raining, so in some areas behind the drums there were 3-4 inches deep puddles. With all the electronics and equipment, it was just too dangerous for the band, crew and audience - water and electricity just don't mix. Twelve people were injured by flying debris, so we couldn't risk any more and so there was absolutely no choice other than to cancel.
.

Not very common for Def Leppard!

We rarely had to cancel any gigs...in fact, in 2005 we cancelled the show in Camden due to bad weather and that was the first time we had to cancel a show in the first place. For this one, we were determined to reschedule. This was possible, but only if we would do four nights in a row, which we generally don't do. I don't see any benefit in that, except from a financial point of view maybe....but after all these years I don't do it for the money! I'd like to be at the best I can. Expecting us to play four nights in a row is like expecting a professional sportsman to play four games in a row - you need the recovery time. But in the end we did it -- doing that plus all the travelling, it was pretty hard.
.

How did your voice hold out during that very active period?

I was doing really well until the fourth one, but.... You have to compare it to any kind of muscle or something. It takes half a second to break a leg, and then 3-4 months to recover. You can pull a muscle and it will take 2 weeks to mend. Voice is no different! But my voice doesn't break after just one night, but when it does it's the result of three or four shows in a row. And then the interviews, the chit-chat, airconditioning.... It's not always good for the voice.
.

How did you pick the set list for this tour?

We tried to fit in some songs that we don't normally play, to give the audience something different. So, since we didn't want to play new songs on this tour, we brought out songs like "MIRROR MIRROR" and "EXCITABLE". Now, they might be a little obscure, but from my experience, there's still a good 25% of the audience singing along. And "EXCITABLE"....It comes off a 17 million-selling record, but there's still a lot of people who won't know the song.....because it wasn't a single!
We don't have 25 top 10 hits. We're lucky that we have about 10 of them that we can throw into a set. And I've said it often enough, we HAVE to. We're not like Elvis Costello or whoever, whose fans expect him to play obscure stuff almost exclusively. We've never been that kind of band, never wanted to be. We do a big bunch of hits because we're proud of 'em.
.

Doesn't the BAND get bored of playing all those same songs year after year?

Well we DO have a boredom threshold, so to play the same set tour after tour after tour, is hard. But there's a core collection of songs that we HAVE to play or else we'd be skinned alive! So we can make things more exciting by changing things around a bit. Two songs that we used to do in the last half hour of the set, we were now opening with ("ROCKET" and "ANIMAL"), that's one way of keeping things fresh. Another is "BRINGIN' ON THE HEARTBREAK", which we did in the same way as we did years ago, starting off acoustically. So that's how we can keep things from becoming boring.
.

To not play any new material, did that make things very different?

Well the big thing missing is indeed me saying "Here's a song off our new album," right. "ROCK ON" is the closest thing to being a new song, because it was a big hit last summer - same thing happened last year when we played "NO MATTER WHAT" , which was a hit the year before. But we've got our bases covered, all in all it sets things up nicely for the next album and tour.
.

Between shows, the set list did not change at all and you pretty much played the exact same set every night. Why was that?

We tried it once, by replacing "ANOTHER HIT AND RUN" with "LET IT GO", but in the end we went back to our original choice. It just didn't feel as good, really. See, I've seen situations where a band like U2 played nine songs off their new album at the start of the tour, and by the time the tour ended, only three new songs were left and all the hits were back in. Sometimes things just work, sometimes they don't. During our 2006 tour, we stopped switching songs around by the end of the run, because we found a perfectly balanced set that didn't need any more work. Most bands have a set list that's 85% determined, and 15% that's room switching things around. Apart from that, the main reason why it's so difficult to spontaneously throw in a song, is because of the digital sound desks and lighting systems. They're programmed in such a way, that if you want to change the order, the sound- and lighting guys have to know that hours beforehand. It's impossible to do that on the spot! A Def Leppard concert is like a Broadway play - it has to have a certain amount of lighting choreography and pre-determined organization. We simply can not throw in a new, unrehearsed song just like that, cause (our lighting engineer) Kenji wouldn't know what to do then! It's not just the band that rehearses a song, it's also the crew. They are so important, because they really help deliver what the five us do. The band is on stage, but there are another dozen or so people pushing buttons and move sliders up and down that will make us look and sound great. And that's not even that big, I mean, the Rolling Stones must have some 300 people on their crew...!
.

Have you ever considered putting a full album in your set, like Iron Maiden? They played their latest album ("A Matter Of Life And Death") in its entirety, in sequence, on tour last year.

Well it's a very brave move! David Bowie's done it too in 1974, and it's because they get real itchy about their new stuff. We do too, really, but the difference with us is that we realize fairly quickly, or maybe admit it, that it generally doesn't work. You might get a kick out of it for the first month or so, but normally the crowd won't do anything for the first hour, because they don't know it. Then, "NUMBER OF THE BEAST" comes in, or "REBEL REBEL" in Bowie's case, and the crowd goes nuts! The audience has had twenty years to get used to the old stuff, and new material just doesn't sink in that quick. Take "PROMISES".... Relatively new, and sometimes it's in our set. But it will never go down as well as "ROCK OF AGES". New songs catching up with the old is almost impossible. The only way we could play a full album live, would be to do it in a club, in front of a couple of hundred die-hard fans. If we were to advertise that we were going to play a whole new album on tour, I believe it would actually stop people from buying a ticket! Roger Waters can get away with playing "DARK SIDE OF THE MOON" in full, because it's from 1973, AND 37 million people own that album. For us to do it, it would take out the balance of a show. And personally, I believe that the majority of the audience will induldge an artist a new song about every 20-25 minutes.
.

Does that mean that you don't have the urge to actually play your new material then?

Not at all! See, the reason I am in a band, is because I want to play my own "WHOLE LOTTA LOVE", my own "MY GENERATION", my own "LUCY IN THE SKY WITH DIAMONDS", all in front of 12,000 people. Not the B-sides! I really want to play the greatest hits, because if you've GOT greatest hits, it means you're a success and there's absolutely nothing wrong with that. There's only a problem with that if it's the ONLY thing you ever do and you don't put out any new records. Some nostalgia bands do that of course, but for us, this tour is the closest we got to that - and even then it doesn't feel like that because we have that knowledge in the back of our heads that we have a new album coming out next year.

JOE ELLIOTT - EXHAUSTIVE AND EXTENSIVE, PART 2

.

How is the new album coming along?

Well, we're missing a few vocals, a number of overdubs and unless we're going to decide to do another new song, pretty much everything is done. We're still working on the artwork, which is in its very early stages. The artist who's working on it did the initial setup and concept for the "YEAH!"-album as well, but it end up being done by someone else, and this time we're giving him the opportunity to actually create the design as well.
.

How is it to work on new material when the general consensus is that "HYSTERIA" is still your masterpiece?

Well, there's plenty of things on "HYSTERIA" that I would totally redo. "DON'T SHOOT SHOTGUN" and "RUN RIOT" spring to mind. Those were supposed to be the two big rockers on that album, but in hindsight didn't really work. And I wouldn't have put "LOVE AND AFFECTION" on the album, I would have saved it for what became "ADRENALIZE". All in all, I think there's a couple of songs too many. Sure, in 1987 it was cute 'n cuddly and groundbreakingly new to do a 63-minute record and in fairness, it did give it a certain amount of publicity, but I think 45-50 minutes is long enough for anybody's attention span now. I don't think you have to do an hour just because a CD can take some 80 minutes. It might just be too much.
.

So why release more material than what you want to give?

The pressure that is being put on bands by the record companies is immense. It's the same when different territories around the world ask for bonus tracks, or even full bonus discs. So after spending a year of creating (what you think is) ten pieces of art, they want another eight pieces of fodder, just so they can say "not available anywhere else in the world" or "exclusive track for such-and-such a shop", whatever. It's like what we did with "YEAH!".... Fourteen songs on the regular album, and how many bonus tracks did we do to use as leverage for the various shops? Eight? It's a bit of a compromise, totally!
.

Hence the bonus tracks for "YEAH!" being solo efforts?

Yeah, those bonus tracks were literally solo efforts, and anybody that came up with something, just came up with it, and nobody really commented on the others' songs. For example, if someone didn't like my version of Jobriath's "HEARTBEAT" (included on the Wal-Mart release of "YEAH!"), they weren't gonna throw a wobbler - but if it was about a song on the regular album, someone might say that it wasn't right and we had to keep working on it. For those solo bonus tracks, it was just a bit of fun. But, as bonus tracks, they are worth having. For cover songs, that's fun to do, cause you just pick a song and you record it.
.

Does that mean you believe all bonus tracks or B-sides are secondary to tracks that appear on an album?

Not necessarily! The days of a great B-side.....(thinking)..... We used to go out and buy singles for the B-side, because it wasn't on the album. Sometimes, if an artist recorded 12 tracks and 11 ended up on the album, the 12th would end up as the B-side of the first single. Somebody designated that song off the record, but it didn't necessarily mean it was the right decision. I've heard some Bowie stuff where they absolutely put the wrong songs on the album and the right songs ended up as B-sides. "IT AIN'T EASY" off "ZIGGY STARDUST" was a leftover from his previous album "HUNKY DORY", but it would have fit so much better on that one. Or, he didn't put "VELVET GOLDMINE" on the Ziggy album, but releases it a few years later. Now Bowie might argue about the point naturally, but I think it's one of the best things he's ever done and it would have been unbelievably brilliant on "ZIGGY STARDUST". But it didn't happen, so I got a brilliant B-side instead!
.

But if the label demands a few bonus tracks, can't you just throw in some live tracks for example?

Well yeah, but be honest - whenever you buy an album and the bonus track is a live song, you don't feel slighly disappointed that it's not a brand new recording? I do! A live song as bonus track is even more filler than a new recording that's not as good as the regular tracks on the album. Though, when we released the live version of Queen's "NOW I'M HERE", that wasn't filler because it wasn't an old Leppard song, unavailable in any other format by this band. But even then, a demo or acoustic version of a known Leppard song is more interesting cause it sheds a new light on an old song more than a live version does. However, a new studio track seems to be the most interesting for the listener. And sometimes you can rush a new song and write it with the idea that it's going to be a bonus track, and it turns out to be brilliant. Just sometimes. But then you think it's so good that it should be on the album, so you're stuck! On the other hand, when you think it's not good enough for the album and you put it out as a B-side, you're putting out something that's not very good.... And you have to put your name on it! So the record labels' demands for bonus tracks are just not helping things, and it's a true artistic headache.
.

The B-sides released on the "HYSTERIA" singles seemed to work though. They were great songs, but the sound and production just didn't make them fit between the other songs on the album.

We were very lucky with those. We recorded them in one week, while Mutt was mixing the record. "RING OF FIRE" was actually written to be included on the album, "I WANNA BE YOUR HERO" was orignally called "LOVE BITES"..... In fact, that was the first line of the song. Once we'd taken that out and used it for the title of another song, I had to change that line to something that had the same phonetic sound and it became "hold tight". "RIDE INTO THE SUN" was recorded for a laugh because Phil and Rick never played on the original version (released on the band's first EP), and "TEAR IT DOWN" was also written during the time we were mixing the album already. I really tried to give it some Rolling Stones-kind lyrics, and we just went off on a tangent and banged it out. Very easy. And then, two years after it was released as the actual B-side to the "ANIMAL" single (UK/Europe) and "WOMEN" (US), rock radio DJs actually started playing it and it became so popular that we ended up having to play it at the 1989 MTV Awards. Go figure, it was most played Leppard song on American radio in that year! The album had gone away by then, but they wanted something to fill the void. That's why we recorded it again for "ADRENALIZE", hoping it would be out in 1990, it would have had the momentum to become maybe a bigger song than it has become. Obviously, circumstances led to a delay of the album and by the time 1992 came along, that momentum had gone. Whereas our career snowballed on, "TEAR IT DOWN" came to a halt.... But right, it could've been something really special. Then again, Vivian hates the song with a passion, haha! But that's probably because for a guitarist, it's just very boring to play, there's not much going on.
.

Perhaps the simplicity of "TEAR IT DOWN" was part of its success?

Some of the best songs are three chords. In fact, ALL the best songs are three chords. A fourth chord is a waste. We all know that.
.

So, back to "SPARKLE LOUNGE". Is it still scheduled for early 2008?

Well.... Again.... We all have plans, don't we? People plan to go on a holiday until Katrina comes through and blows their house away, so to speak. Unless something big unexpectedly happens, it should be out springtime next year. But really, with our history of planned album releases that didn't make the deadlines, I'm not even gonna remotely say anything definite! Still, the album is pretty much done, minus a few bits and bobs. So, it's not really a case of getting it finished, but more something of when we -being the band, management and record label- decide it's the best time to put it out. I can't think of an opportunity why they wouldn't want it out in the spring, because it gives us an opportunity to tour again in the summer.

JOE ELLIOTT - EXHAUSTIVE AND EXTENSIVE, PART 3

.

Are touring plans being laid out yet?

Just some ideas, no concrete plans apart from a few shows that have been announced. We wanted to do some European festivals for sure. The whole idea was to do an American tour in between two European tours - the May circuit and August/September circuit is what we would like to do. This may or may not happen. We may end up doing only one of them, who knows. Though now it does look like we're starting in America first! For Europe, I'm not saying we'll do Glastonbury or anything, but there are some festivals we fit in. We did the Euro festivals in 2006, and there's no reason why we can't do it in 2008. Then we can start looking at other markets such as Japan or Australia, visiting territories that we haven't done in many years like South America, or that we've never done at all. But as always, we need to go where we know the business is.
.

England....? Your home country, after all.

Yes, there are definitely plans for that. There might be a number of arena shows, with another as yet unnamed rather large act in tow, plus a third act. And now that our useless national football team aren't gonna be in the European Champions, there won't be any conflicting dates - so there's another clue. For 2008, we really want to do the same as we did in 2006 but expand it a little bit. We know there's a bunch of people in England that still want to see us, so if we can do six or seven dates in the UK, we can put on a big show. THAT'S what we want to do. Hey, Pink Floyd didn't play at the Marquee - they want to use the inflatable pig during a show!
.

But at festivals, you can't put up your own stage show.

Clearly it's somewhat different with festivals in Europe.... See, we could play the Melkweg in Holland, and 400 people show up. Or, we could play at a festival in front of 20,000 people. That way, we have a chance to convert people, or perhaps re-establish. That's much better for us now in Europe. We've never really been the biggest thing there. We had a very short period where we were kinda big, but America has always been the bigger market for us. Europe is just a harder nut to crack. We did it once, maybe twice, but after that.... We still put the records out, but radio just didn't play them. In America, they did. So consequently, we're still pretty big in America. It really is that simple: if European radio would still be playing Leppard records, we'd still be big there. Don't blame us! If radio doesn't play us, or we don't get the covers of the magazines, don't blame the band. We're still doing everything we can, but we can only do so much.
.

But if you can tour America with bands like Journey or Styx, shouldn't you be able to find a band to team up with for an interesting European double-bill tour? Aerosmith, Whitesnake, AC/DC, KISS, to name a few?

Could be, but availability is an issue. What if Coverdale is in the middle of making an album and doesn't want to tour? Also, keep in mind that most American bands can't afford to come over (and even though David Coverdale is British, all band members live in the States). You simply don't make much money touring Europe. Most American bands will go "So you want me to go to Europe for five weeks, travel through borders, deal with customs all the time, then come home having lost money.... Or tour America for 5 weeks, not deal with all that border problems and actually make a living?" That's really why the majority of most American artists don't bother coming over! And then I haven't even mentioned the problems with the equipment - shipping it from the States costs a lot of money, then because the voltage is different it changes the sound, all those other excuses like visas for everybody, hotels that are twice as expensive and half as good..... Like it or hate it, but the fact of the matter is that America is very easy to tour, and Europe is rather more difficult!
When you're touring England, either in the clubs or the theaters, you literally get a toilet as a dressing room and you have to deal with a club owner who wears you down. In America, they welcome you with open arms, give you dressing rooms that are decorated nicely and clean, and so on. They don't make the effort in Europe or England to welcome the artist in, unfortunately. And the better places, like Royal Albert Hall, they don't want riff-raff in anyway, they prefer Shirley Bassey and Cream over Slipknot or whoever! Really, we love England, we're from there, but I understand why American artists are sometimes disillllusioned when they visit Europe and I can see why they don't visit the UK as often as they should.
.

You mentioned how important it is to be played on the radio and what a difference it makes when you're not. What's the underlying reason for that?

Go to any place in America, and go through all the stations between 88 and 108. You will find at least two stations that play rock music, and ONLY rock music, all day long. You can't say that about any town in Europe - except maybe Paris. What we had as kids in England, was Alan Freeman two hours a week. And now? Radio 6 that has a limited listenership! Well, we have satellite radio, which is great and brilliant, but it's not widely available for free. In America, you don't have to actually search for it; you can listen to stations that play Lynyrd Skynyrd to Foo Fighters, 24 hours a day, 7 days a week. Hard to miss! So consequently, we were played more on the radio in the States than we were in Europe. And it's only become harder to get played in Europe. But that doesn't mean that we're not gonna try.
TV is not much different. There's no British show that will say "Def Leppard is back, here is their new single" - we don't even have Top Of The Pops anymore. So what can you do? Make a video that won't be shown on a programme that won't be around in six months time?
.

You sound very negative, talking about the state of these things. Has the media as a promotional tool changed that much from 20 years ago?

Hmmm..... It's the cynical me, telling things the way I see it. I would love to say all kinds of different things and sound very positive, but it's simply not like that. Regardless, Def Leppard ploughs on, obviously. We're gonna deliver a great record, it will have some interesting liner notes no doubt, it's gonna have some 10-12 songs that we feel comfortable enough with to put our name on.... But how we're actually gonna get that information to our audience, other than a page advert in Classic Rock Magazine - I have no idea! What works today, might not necessarily be as effective next year. Things go THAT fast. In the old days, you could go with things for at least 10 years before someone revamped something. Whether that's a good thing or bad thing, is arguable. But now, formats come and go. Again, look at satellite radio, XM and Sirius. They both launched some 2-3 years ago in America, and there's already a rumor of a merger, because they can't do it alone. The one thing that's extremely successful, is the iPod of course! The result is that people listen to the music they're familiar with and can't really be bothered to check out much new stuff. I'd say that about 90% of all music on iPods is "old" music, from people's collections. Back in the day when we only had radio pretty much, this was when we had no choice but to listen to music that was chosen by other people - and this is how we discovered music. Times have changed so much.... Downloads, Napster, iTunes, and so on.
.

Being able to purchase only a few songs digitally, as opposed to being forced to buy a full-length CD. Good or bad?

I have no problems with that! Being able to buy a single song goes back to the days of the 7 inch single, in a way. Some of my favorite bands, I've never even heard a full album. I don't think I've ever heard a Slade album in my life, or a Sweet album, I just bought their singles. When we put a new album out, and whatever our first single is, and someone just wants to spend 99 cents or 79 pence buying that song on iTunes without buying the rest of the record - GREAT! Naturally, I have a problem with people getting music without paying for it. I don't want to sound like Lars Ulrich, but what is 99 cents nowadays? If anything, it should give the buyer peace of mind that they didn't nick it. And I think it's really cheap to pay that price for someone's art, that you then own for the rest of your life. Lifelong value, 99 cents!
.

Honestly - have you ever downloaded any music for free?

Never, ever. I've been given CDs for free though, it's part of being in the music business of course! When you're in the business, you get the odd freebie. I've had my fair share of those. But generally speaking, I buy my music. When I was on tour, I bought three songs by Roy Wood, because I wanted to listen to them but I left them at home. I couldn't wait until October to listen to "FLOWERS IN THE RAIN" so I bought it again, even though I already bought the CD years ago. Paid for it twice, then!
.

The Eagles' new album "LONG ROAD OUT OF EDEN", was released independently, without the aid of a major record label. Is that the future too?

We'd like to do that too when we can. In fact, I think everybody will go in that direction. The fact that the Eagles are such a big band and doing it like this, may give the public the idea that the big labels don't want them anymore, however it needs to be turned around: the artists don't need the big labels anymore, cause they're not very good anyway. I bet you that within 10 years time, bands like U2, Bon Jovi and REM, they'll all be putting records out on U2 Records, Bon Jovi Records, REM Records, whatever. My ambition is that the Def Leppard album that comes after "SPARKLE LOUNGE", comes out on Bludgeon Riffola. Released on our label, and distributed by whoever we see fit at the time - Wal-Mart, K-Mart, Target, Woolworths, whoever, we'll see. Maybe even Universal, who knows. See, it only takes one guy at the top to like us and it's taken care of. Look at Santana, Rod Stewart. Their flagging careers were turned into million seller records - that's what a guy like Clive Davis can do if he likes you. Unfortunately, he doesn't work at our label! My point is, if someone like him believes in you, he can get the machine working again.
.

Business has changed for the artist, but how much for the customer?

Everybody needs to realize that the business has changed forever. People might find it a little weird having to buy their records at Wal-Mart, and not at Tower Records, because they are gone, and you also can't go down to Joe's Local Record Corner Shop anymore. Change is not easy to accept all the time, and Def Leppard records might not be available where you used to buy them, more likely nowadays, you'd go online to Amazon.com or something. It'll be out there, and it'll be a great record, I'm just not entirely sure how you're gonna buy it, cause the way you buy music in December 2007, might not necessarily be the same thing as they way you buy music in March, April 2008. I never thought I would see the day that Tower Records would be closing shop. And not only are they selling off their records, but they're actually also selling off the record shelves, the chairs, the tills, and the floors! Come on! An earthquake in San Francisco was more likely than that happening! Who's next, Virgin Megastores? I don't even know if they're still around, because I too buy most of my music off the Internet now anyway.
.

Recently, Def Leppard was prominently featured in the comedy movie "BALLS OF FURY". For a band that's almost notorious for not licensing their music for inclusion on compilations and all, it was a bit odd to see you lent your name to that.

Well let's start with the compilations thing..... You won't see Def Leppard on any compilation just like that. The reason is that back in 1980, they put us on some really bad compilations. "AXE ATTACK VOLUME 2" and such. Apart from us and Motorhead, it was all bands you'd never heard of. And we didn't want that, so when Q.Prime became our managers, we had them negotiate the contract with our label that we wouldn't do compilations. Then, as the "NOW THAT'S WHAT I CALL MUSIC"-series took off, we started to see the value of it..... A Def Leppard song in between Kylie Minogue and INXS wouldn't have been a bad thing, but ah, since we said we didn't want it, they never asked us. By the time that thing had kicked in, it was too late, so I admit that we missed the boat a little bit there. Over the years, we've only relented four times..... We were on the Brian May "AIR GUITAR" compilations, that was because he personally asked me, and after I saw the tracklisting and all the other bands, we happily agreed because it would have been stupid not to be on them! We also gave Q Magazine our version of "DON'T BELIEVE A WORD" for a free cover CD in 2006 and even then they took the piss out of us in the liner notes, so that won't happen again! A bunch of years ago, Lars Ulrich did a NWOBHM box set and begged us to give him permission to include us on it..... So we relented again and gave him "GETCHA ROCKS OFF". But when you listen to the CD, you can actually hear the song slowing down. How can that happen? He didn't even send us an approval copy, so that was yet another screwup! So because of those things: never again. Never. That's why I sit on all our tapes, and don't let anything go out until we've fully approved it. And so if anything's screwed up, it's our fault. Now for every time there's a screwup, there's 99 screwups that didn't happen because we didn't allow it.
.

Hence your inclusion in the movie, but again not on the soundtrack album.

So, with "BALLS OF FURY" it's kinda like the same thing. We got the offer months ago, production of the movie has barely even started. But hey, Christopher Walken's in it, so it must be something, right? He's brilliant! So, we're a major part of the storyline apparently - I don't know for sure though, as I haven't seen it yet. But I guess we're mentioned often, we're on T-shirts, they do a karaoke of "SUGAR", all that. But it's fun association, and it's dumb humor, but in a good way. Pretty harmless. Movies like that do help - remember when "SUGAR" was featured in "COYOTE UGLY"? Tyra Banks dancing to our music, it doesn't get much better than that! But, our policy was still that we didn't want to be featured on the soundtrack, so when I saw it go top 10, I called our management and said that we should've relented again and that the song should've been included on the movie soundtrack. Cliff, our manager, told me to look a little further down the chart and lo and behold, "VAULT" had sold 4,000 copies more than the week before. Of course, business-wise it's much better. So it's all about choices, and making the right ones. But you never really know, do you....
.

So apart from the next album and tour, what other special things can we expect from Def Leppard in the next twelve months?

Who knows what's around the corner!! See, anything special is a phone call away. If someone rings us and goes "there's an offer to do this or that" - which could be a performance as part of a Live Earth type festival, or contributing to a Beatles tribute record, anything can happen! For now, we're at home, finishing the record, then we're gonna have Christmas with our families, and then we're gonna start thinking about getting this thing ready to go out. It's a new Leppard record, that's special enough for us - they don't come out every week you know! The first new music written by Def Leppard since 2002, how's that? That's gonna be six years.... Not like there hasn't been any activity of course. Since our last proper studio album, there was a tour, then a compilation album, another tour, a covers album, yet another tour, and hey, another tour! We've concentrated on the part of the business for which we got phonecalls that said "oh please come and tour here".

Me, I'm just looking forward to see the next draft of the album cover design, and to finish my vocals for the album. And from there..... who knows!!

Joe Elliott talks about his favorite destinations

How to travel like a rock star

Def Leppard frontman Joe Elliott talks about his favorite destinations

By Doug Miller

Special to msnbc.com

updated 9:40 a.m. CT, Wed., Jan. 23, 2008 Joe Elliott is the charismatic frontman of the ubiquitous British radio rock band known as Def Leppard, who scored huge hits in the 1980s with mega-albums "Pyromania" and "Hysteria." The band will be back with their latest album, "Songs From the Sparkle Lounge", on March 18. They're scheduled begin a tour with Styx and REO Speedwagon starting March 27 in Greensboro, N.C., and their first single off the new album, "Nine Lives," features country star Tim McGraw. We caught up with Elliott by phone recently and talked about his favorite places to travel.

Q: Def Leppard is constantly touring. Have you managed to spend enough time in cities to actually figure out which ones you like the best?
A: Well, I don't think we ever actually played a gig in Rome, but the Vatican takes your breath away. We were there doing TV stuff for a couple of days and got a chance to wander around Vatican City. It really blew our minds. Manhattan's always fascinating, too, just a big, stinky, smelly conglomeration of numbered avenues and streets, but it's just got a vibe that's hard to beat. I shouldn't like it, but I do. I can't put my finger on it. Especially in T-shirt weather. We wander around thinking, "It's really scrubbed up well, this place." It wasn't the nicest place in the world 10 or 15 years ago, but I love hanging out there now. With Los Angeles, it's kind of a love-hate thing. Sometimes I think it's marvelous, and sometimes I think it's a dump. It's so fake and I can't deal with how fake it is.

Q: Any other hidden gems of cities that come to mind?
A: Honestly, with most cities, we're not there long enough to judge, so you can jump to conclusions about places that are unfair. You can be overly impressed with one place if your hotel happens to be in a great neighborhood or you can think another city is a complete dump just because you happen to be in the wrong part of town. It's tough to judge sometimes when all you're doing is walking around the block for three minutes looking for a Starbucks.

Q: Those aren't too hard to find these days.
A: No. That's a good thing. But you know what I mean. We're not really going to get the time to spend in Omaha, Neb., to really get to know the place. But there are other places we really like. Canada has three great cities in Montreal, Vancouver and Toronto. Spain is great with Madrid and Barcelona. I've always liked traveling around Europe and seeing the architecture. The buildings in capital cities have been there for hundreds and hundreds and hundreds of years. Some look better than the new ones. And we went to Russia for the first time in 2003. We did the whole museum trek and St. Petersburg and Moscow and it was absolutely phenomenal. If you're going to go to one of these places, you might as well check out what there is instead of sitting inside checking out room service. And if your wife happens to be along on tour and drags you by the hair and says, "We're going to check something out," it's a good idea to go along with it.

Q: When the band isn't touring, do you ever get away for vacation or do you just stay home and relax?
A: The thing we tend to do is hang in one spot. We live in Ireland in the mountains outside of Dublin. When we finish touring, I generally go lovingly to my house, because I might go seven months without seeing it more than like eight or nine times. Once I get home and we settle in, we might stay weekends somewhere. We tend to go stay in a castle for a weekend. They have these resort castles in Ireland. These things have been around since the 1400s. You go there and you wonder, "How did they build these things?" You know, "How did they get the top stone on?"

Q: Do you travel so much that you forget your hotel room number or wake up not remembering which city you're in?
A: Absolutely. That's a no-brainer. You develop a brilliant short-term memory for room numbers, depending on how much alcohol you have. Toward the end of the tour, your brain starts completely shutting down. The key is to keep your room key in your back pocket, and to go out in groups, because somebody always remembers what hotel you're in.

Q: Are you active on days off or do you keep typical rock-star hours?
A: Pretty active. I'll sometimes play golf on days off. And with the band, we're a collective, but we're individuals. We'll go to movies, we occasionally go bowling with the crew. We don't go mountaineering or nothing when we go on tour. I mean, if you can't give 100 percent then you're cheating people. And peoples' jobs are on the line when there's a touring situation.

Q: Do you seek out musical attractions in cities?
A: You tend to gravitate to the history of stuff. In Memphis in 1993, for example, we were invited to some studios by the owner to record a song. If you're in Nashville long enough, you should try to find something relative to country music or whatever you think is cool. In New Orleans, you have to do the whole Bourbon Street trip. Sometimes it's real awful and not even authentic music, but sometimes it is. Generally speaking, it's really hard for English chaps running around the States. When we were in Tupelo, Miss., we visited the house Elvis was born in. It's great to say you've seen it, but essentially it's just a (freaking) wooden hut and a tourist trap. We got more satisfaction at the Rock and Roll Hall of Fame (in Cleveland) because collectively it's more impressive. You see Jimi Hendrix's guitars, Elvis stuff, stuff from Eric Clapton, and you're like, "Wow," every three seconds, as opposed to, "Wow, he was born here. Big deal." We did do Graceland in 1983. As for the Leopard Room, well, let's just say that people make fun of 1980s hair metal bands, but that was tacky.

Q: You guys are from Sheffield, England. Do they have a Def Leppard museum there yet?
A: You know, it's funny. Those who are in the know, the complete crazy Lep fans, they all have brochures of where we were all born, the first gig we played, the regular haunts we played when we were getting established, etc. Some are still there and some are gone. The house I was born in, it's just a regular terraced house. Until you're dead 40 years, I don't think there's anything important. © 2008 MSNBC Interactive

URL: http://www.msnbc.msn.com/id/22762148/

Kevin Winter / Getty Images file

Def Leppard singer Joe Elliott performs during the VH1 Rock Honors at the Mandalay Bay Events Center on May 25, 2006 in Las Vegas.

Joe Elliott’s Travel Stories

http://www.guardian.co.uk/travel/2008/jun/01/9

Me and my travels

Interview by Jon Bennett
The Observer,
Sunday June 1 2008
Article history

The best holiday ...
I ever had was the first one I went on without my parents, when I was 17. Me and a bunch of lads went to stay in a B&B in Skegness. There were eight of us and, oh man, we had a laugh; it was completely mad - pogoing to the Stranglers in nightclubs, locking lads out of their room so that they would have to climb over the roof naked. I'd never drunk before and it was just girls, beer and vomiting and then more of the same. It probably prepared me for life on the road.
My first holiday ...
Was in a static caravan in Wales. We used to go to caravan parks around Anglesey and all you had was Radio Luxembourg, no TV, and if it rained the caravan would rock and sink into the mud. Entertainment was playing Scrabble, but it was great.
My favourite hotel ...
To be honest, I'm a bit of a snob now; give me a Four Seasons anywhere in the world and I'm happy. Also, they've just opened a Ritz-Carlton in County Wicklow, Ireland, which is stunning and has great views.
To get around on tour ...
We used to have our own plane with the band's name on the side. It was a dream come true. You drive to a local airport. There's none of this checking in stuff; you just get on the plane. It was only a little 12-seater - it wasn't like a Led Zeppelin Boeing 757 that we'd hollowed out and put condom machines and stripper poles in. It was Elvis's old plane, a G1, the only one that he physically flew. It was still in service so we rented it. You don't buy a plane if you're going to be on the road; you rent it. It was painted black and had purple trim with Def Leppard on the side, which is a bit cheesy but you've got to do it.
We gave up on the plane ...
After we went through a bit of turbulence and the plane shot 1,500 feet into the air in a second and a half and the propellers were about to freeze, so the pilots had to nose-dive the plane. That gave us zero gravity for about a second and a half so everything in the plane started to float, including us, and when we got gravity back we shot backwards at 220mph into a toilet door. Three of the band decided after that they didn't want to fly any more. I took it as a glitch and would still like the plane, but the majority vote wins. When we went back to buses we split into three different units. You've got a veggie bus, a family bus and the attack bus, which is the one with the drinking and the music that I'm on.
It took us 10 years ...
To do well in Britain. We started in 1977 and didn't have a hit here until 1987 but at the same time we were almost outselling Michael Jackson in the States. Touring over there was great, much easier than going round Europe because of the lack of borders. Here you would get to the German border and the Gestapo would have your hubcaps off looking for dope and keep you there for three hours just because you had long hair. Six weeks of that and you never want to go back.
The best audience in the world ...
Much as I'd rather say Sheffield, it is Montreal. Why, I do not know. I mean, they're half-French, for Christ's sake, but they get it. It's weird.
I'd love to never go back ...
To Belgium but, sadly, I'm going there this summer. When we played there last time I felt like we were a cinema screen; they were just sat there watching us with their arms folded.
This summer ...
We're off touring Europe, and then we head back to the UK with Whitesnake. I'm really looking forward to it. I love the fact we're still on the road. I was born to be a factory worker really, so for me the chance to get on stage at Wembley 30 years after we started is amazing.
· Def Leppard's album, Songs from the Sparkle Lounge, is out now. The band are touring in June and July. More info is available at defleppard.com

Cybernauts

zoelovessax — Mon, 31 Mar 2008 19:31:37 CDT

Cybernauts were a David Bowie cover band featuring Def Leppard members Joe Elliott and Phil Collen, former Spiders From Mars members Trevor Bolder and Mick "Woody" Woodmansey (the Spiders From Mars were once David Bowie's backing band), and a keyboardist, Dick Decent.
Cybernauts released a limited edition live album that is now officially out of print though available on some peer to peer networks.

Track listing:

All The Young Dudes 3:57 Rock 'N' Roll Suicide 3:06
Suffragette City 3:19
White Light White Heat 5:24
The Width Of A Circle 9:50
Ziggy Stardust 3:29
Life On Mars 4:14
The Man Who Sold The World 3:45
Starman 3:58
Angel No.9 5:34
The Jean Genie 4:26
Changes 3:32
Cracked Actor 3:08
Five Years 3:54
Moonage Daydream 5:57
The Supermen 3:13
Hang On To Yourself 3:01
Watch That Man 4:15
Lady Grinning Soul 19:13
Panic In Detroit 4:24
Man Who Sold The World 4:18
Manic Depression 2:36
Moonage Daydream 6:02
Time 5:14

External links

Band website

Def Leppards Fazz

zoelovessax — Mon, 31 Mar 2008 19:30:56 CDT

Def Leppards Fazz

Man Raze

zoelovessax — Mon, 31 Mar 2008 19:30:10 CDT

Man Raze are a 3-piece alternative rock band comprising Phil Collen, Simon Laffy and Paul Cook

History

Before joining Def Leppard, London born Phil Collen played in Girl, who were one of the great unsung UK rock acts of the early 80’s (singer Phil Lewis would later front LA Guns – who were at the vanguard of the LA sleaze rock scene that eventually produced Guns N' Roses). Whilst Phil went on to join Def Leppard he maintained a strong friendship with Simon Laffy, Girl’s bassist.
Phil returned to London in mid-2004 to care for his dying father. While there, he approached Simon with some songs he had been writing in addition to Def Leppard. The music was very different from Leppard – rawer, simpler and more direct. Simon agreed to collaborate on the material and the basis of the band was formed.
It was then by chance Phil bumped into Sex Pistols drummer Paul Cook. Phil and Def Leppard had always been fans of the Pistols and particularly Paul Cook’s drumming – even requested that Def Leppard’s producers try and get them that “Pistols drum sound”. Man Raze was born…
Man Raze played a sold out show at London’s Spitz club and released a limited edition EP “Skin Crawl” in October 2005 on their own label, Surrealist Records. Work is now completed on their debut album, titled “Surreal”, which was due for release September 2007. This has now been delayed to January 2008, due to external commitments of band members.

To celebrate the launch of their new website www.manraze.com in June 2007, Man Raze made a free download of the song 'Turn It Up' available here. The song Turn It Up is also featured on ESPN (American Sports Channel) College Football coverage.

Band members

Phil Collen (vocals/guitar) – Phil joined Def Leppard in 1982, and with band mate and best friend Steve Clark was able to create the bands highly influential and incredibly successful trademark dual guitar sound. Def Leppard have sold over 65 million albums world-wide to date. The band are currently on a headline arena tour in the US. A deluxe edition of their landmark album “Hysteria” (the biggest selling rock album of all time) was released in late 2006.
Paul Cook (drums) – Founder member and mainstay with one of the most influential bands of all time – the Sex Pistols. The bands 1977 album “Never Mind The Bollocks…” has launched a thousand imitators and is constantly name checked by generation after generation of musicians. Paul Cook has also played with the likes of Johnny Thunders, Edwyn Collins and Greedy Bastards (alongside Phil Lynott and Scott Gorham).
Simon Laffy (bass) – Long time friend of Phil Collen and member of Collen’s pre Def Leppard outfit Girl. Simon has developed a broad range of musical expertise over the years, embracing technological advances in programming and sampling, as well as exploring diverse musical genres. He brings this know-how back into Man Raze through his song writing and production abilities.

External links

Band website
MySpace.com Official Man Raze Page
Man-Raze UK Unofficial Fansite

Retrieved from "http://en.wikipedia.org/wiki/Man-Raze"

Steve Clark

zoelovessax — Mon, 31 Mar 2008 18:44:27 CDT

Steve joined Def Leppard after being introduced to the band by Pete Willis. One of Steve's nicknames was "The Riffmaster", which he earned after coming up with the most original guitar riffs in Def Leppard's history (and the music history in general), over and over again. During the "ADRENALIZE" sessions, Steve died on January 8, 1991, after a long period of battling alcoholism

Stephen Maynard Clark (April 23, 1960 – January 8, 1991) was the co-lead guitarist for British rock band Def Leppard until his death in 1991.

1 Biography
- 1.1 Childhood and adolescence
- 1.2 Career and technique
2 Death
3 Gear
See Also

Biography

Childhood and adolescence

Clark was born and raised in Hillsborough, the north-western suburb of Sheffield, England. From an early age he showed interest in music -- his mother even took him to a concert by The Shadows when he was six. At eleven he asked his father for a guitar, his father agreed on the condition Steve learned to play.
His favorite guitarist was Led Zeppelin's Jimmy Page; after hearing "How Many More Times," he fell in love with the sound and knew he wanted to continue with a musical career. He soon replaced his classical guitar with an electric. After that, Steve started learning some Led Zeppelin songs note by note, improving his technique.

Career and technique
Before joining Def Leppard in 1978, he played cover songs with his small band, Electric Chicken, in Sheffield. Around that time, he met Pete Willis (Def Leppard's original guitarist/founder). Steve asked for a spot in the band and joined Def Leppard in January 1978. According to Joe Elliott in Behind the Music, Clark auditioned for Def Leppard by playing all of Lynyrd Skynyrd's "Freebird".
While a guitarist for Def Leppard, he was one of the main contributors to the band's music and lyrics. More importantly, Clark threatened to leave the band if they didn't stop rehearsing and actually play somewhere. Considering the impact he had on the band's skill level and songwriting, lead singer Joe Elliott scrambled to find a suitable gig. The rest, as they say, is history.
He and Pete Willis shared lead guitar duties, but many of the band's gems could be attributed to Clark's virtuosity. One track of note was the instrumental Switch 625 off of High 'n' Dry.
When Willis was asked to leave due to his drinking problem, former Girl guitarist Phil Collen auditioned for the band. Elliott gave Collen a copy of Stagefright, a track off the band's Pyromania album, asking Collen to come up with a solo for the song. The next day Collen played the solo for the band and he was in. Clark and Collen were dubbed the Terror Twins in homage to Aerosmith's Toxic Twins (Steven Tyler and Joe Perry). Over the years, Collen quit drinking, stopped eating meat, and adopted a healthy lifestyle; Clark did no such thing.
The other members of Def Leppard looked upon Steve as a great entertainer and he always surprised them. His musical work was only interrupted by an alcohol bottle. Band member Joe Elliott said while other band members were out playing soccer, visiting family, or watching a movie, the only thing on Steve's mind was a bottle or a guitar. In fact, one night in Minneapolis, Steve was found unconscious with a blood/alcohol level of .59, almost double that of John Bonham at his death.
Since the late 1980's, Clark's addiction to alcohol was damaging the guitarist's musical career. He often showed up intoxicated, causing problems in the recording sessions for Hysteria and that is why Phil Collen played most guitar solos on the record and Steve Clark's role was limited. The lyrics to the song White Lightning on the album Adrenalize hint at Steve Clark's addictive lifestyle.
During the Hysteria 1988 World Tour, Steve alternated the intro riffs for two Def Leppard songs "Gods of War" and "Bringin' on the Heartbreak" (with Phil Collen on acoustic) -- the band members have stated that while he was a corrupted alcoholic, he was always ready, and sober, for a concert.
He is best remembered for the powerful riffs that drove Def Leppard's first four albums in the 1980s, for which he was also nicknamed as "The Riffmaster". His distinctive style can be heard in particular on "Wasted" (from On Through the Night), "Bringin' on the Heartbreak" (from High 'N' Dry), "Die Hard the Hunter" (from Pyromania) and "Gods of War" (from Hysteria).
During Steve's time with the band, Joe Elliott nicknamed him "White Lightning", because he was usually dressed in white clothes on-stage and his live performances were very enrgetic. His other aliases were "Riffmaster" and "Steamin".
He contributed to half of the songs on the band's 1992 album "Adrenalize" before his death.

Death

In 1991, Clark was found dead on his couch by Janie Dean -- his girlfriend at the time. The autopsy revealed he died from a mixture of anti-depressants, painkillers (used for a rib injury), and alcohol. There was no evidence of suicidal intent.
At the time of his death, he was on a six-month leave of absence from Def Leppard. The band had allegedly grown despondent over their repeated, failed efforts to help Clark and decided time off was the only solution. Shortly after Clark's death rumours began circulating that he had in fact been permanently fired from the band giving rise to theories that this may have been the cause of his potential suicide. These rumours still persist partly aided by the bands subsequent ambiguous comments on the subject.
Steve's remains are buried at Wisewood Cemetery in Hillsbrough, Sheffield, near his family's house.

photo Added to FindAGrave.com by: Tim Cruz
3/31/2003

Clark's struggles were well documented in the VH1 biopic Hysteria - The Def Leppard Story. Tesla, who opened for Leppard on the Hysteria tour, recorded a tribute to Steve Clark on their Psychotic Supper album, called "Song & Emotion (To Our Friend, Steve 'Steamin' Clark)".

Gear
Clark used Gibson Les Paul and Gibson Firebird guitars. He also occasionally used Gibson EDS-1275 guitars in concert. During Clark's career, he used four different customized signature guitar picks (Yellow, Purple, and stainless steel types). They are extemely hard to find nowadays.

Rick Allen

zoelovessax — Mon, 31 Mar 2008 18:43:15 CDT

Richard John Cyril Allen

Birthday Day: November 1, 1963
Birthplace: Derbyshire. UK
Parents: Geoff and Kate
Residence: Los Angeles, California
Personal Info: Married to Lauren
Children: Lauren Shane by ex-wife Stacy
Influences: Aerosmith, Queen, Led
Zeppelin
SIBLINGS: One older brother, Robert. Robert was the band's tour manager in the early days, and is currently Tim McGraw's tour manager.
EDUCATION: Left school at the age of 15 to become a full-time member of Def Leppard.
DRUMMER INFLUENCES: Ian Paice, Stuart Copeland, Keith Moon, John Bonham, Simon Kirk, Gene Krupa
HOBBIES: Swimming, photography, spiritual books, meditation, participating in drum circles, and using music and the arts as a form of healing.
PERSONALITY TRAITS: Incredible sense of humor, posesses a positive outlook, determination and courage. Rick describes himself as "a kid, giving, fun."
EQUIPMENT: Zildjian cymbals & Ahead sticks, Drum Workshop drums (DW), Acupad drum pads, Marshall Amps. His kit is a combination of foot pedals, Acupad drum pads, and the natural snare, high hats and bass drum.

Rick joined Def Leppard at the age of 15, right before the band signed their record contract. He lost his left arm in a car accident in 1984, but this didn't stop him from being a drummer; with the help from a (semi-)electronic drum kit, Rick became "a better drummer than he was when he had two arms" (as said by Joe Elliott). In 1986, the drumkit was completely electronic, but since 1995, some parts are acoustic again, depending on his studio- or live setting.

Childhood and early career
Rick Allen started out drumming with his mother's kitchen utensils when he was five, using a tambourine as additional percussion. At about the age of ten he successfully persuaded his parents to get him a drumkit, by agreeing to take lessons, and pay half the cost of the kit. He got a blue sparkle Del-Ray drum kit and after six months of lessons, he began playing with his first band, Smokey Blue. Later on he played with bands called Rampant and the Johnny Kalendar Band.

Accident and recovery
On December 31, 1984, while driving under the influence near Sheffield, UK, he endured an off-road accident. He was thrown from a Corvette, which had flown off the road and over a dry stone wall into a field. His left arm was severed due to his seatbelt not being completely engaged. Despite attempts by doctors to reattach it, infection set in, and the arm had to be reamputated. Through perseverance, the support of his band mates, and a custom drum kit, he remained with the band to enjoy continued success. Much to the dismay of Rick, the Ludwig drumkit he used on High & Dry and Pyromania has since been given away by Def Leppard's former management.
Former Status Quo drummer Jeff Rich was an invaluable source of help and encouragement during Rick's convalescence, and after many hours of discussion they decided to try and develop Rick's famous multi-pad electronic kit. After many attempts and with much determination they came up with what was to become a revolution in drum technology. A unique pedal trigger system was successfully utilised and Rick was now able to play more or less as he could before, even delivering a successful and well received set at the "Monsters of Rock" festival at Castle Donington in 1986. In August 1987, the band released their fourth album, Hysteria, which was highly successful, selling over 15,000,000 copies. He has released so far six more albums with the band, the latest being Yeah!, a 2006 collection of covers reinterpreted by the band.

Side projects

Even though he was not credited, Allen co-wrote the soundtrack to a 1998 Disney TV-movie called "Brink!"
In May and June of 2000 he played two shows with the Mark Mason Project, featuring guitarist Mark Englert previously of Dramarama.
Allen has also written some music with his wife Lauren.
In November of 2004, Allen collaborated with Krishna Das in the recording of a CD entitled All One.

Personal life
Rick was married on October 11, 2003, to Lauren Monroe, co-founder of Raven Drum Foundation a charity set up by Rick located in Malibu, California, to encourage disabled children to overcome their challenges. Rick has a daughter, Lauren Shane Allen (born May 20, 1997), by a previous marriage.

Info
Rick Allen Endorses: DW Drums, Zildjian, and Acupad.

Rick Allen Also Appears On:

Soundtrack: Last Action Hero

Did you know?

Rick formed The Raven Drum Foundation an organization that promotes spiritual healing through the power of music.

Rick Allen uses:

- Whirlwind
- Clavia
- Axis

QUOTES

America feels like home as much as it does here. Although it's a strange situation as I feel almost like I'm in no-man's land some of the time, because although I'm a resident, I still can't vote so I don't really have a say in what goes on where I live.
Rick Allen

And more importantly, I wouldn't be the person I am today, I wouldn't be where I am now and I may not even have been here if it wasn't for the accident.
Rick Allen

And really, it's my home life that my own personal foundation is based on and not necessarily the life within the band.
Rick Allen

At the end of the day, they're happy if you do the obvious songs towards the end of the set and you've got to try and make yourself happy by doing certain songs at the front end of the set.
Rick Allen

Before my accident I was a little too... selfish and self-absorbed and for me, to now be at the place where I can kinda give back and inspire people. I'm blessed. I'm really blessed.
Rick Allen

But I think that the most important thing was to really stop drinking.
Rick Allen

But it just so happens that when you're in the public eye, everything gets reported.
Rick Allen

But it's funny that now I'm in such a happy situation, I look more objectively at my own past and see what others have seen for a long time and I'm just so glad I've been able to get to this point.
Rick Allen

But the irony is that because the band isn't the focus any more, it allows me the chance to enjoy being a member of Def Leppard much more.
Rick Allen

But unfortunately, in my unrelenting drive to get back on that drum stool, the major casualty in all of it was that I really forgot about me.
Rick Allen

'Cause I felt I didn't have anything else to prove as a musician... and boy was I wrong about that one.
Rick Allen

Chasing the sensation. Whether it was drugs or sex or whatever. Those things had become my main focus in life.
Rick Allen

I feel so incredibly vulnerable and exposed when I have to talk into a microphone and bare my soul so to speak.
Rick Allen

I have never been one for the over-the-top.
Rick Allen

I prefer the rather old and battered, things with character, to the brand new.
Rick Allen

I really don't feel any strong allegiance to any country.
Rick Allen

I think all of those things, but certainly the booze really brought out the really unreasonable side of me, and I just didn't want to revisit that place again.
Rick Allen

I think at that time I obviously wasn't aware of what I really needed. But conversely, my wanting to prove something to everyone was beneficial 'cause if I hadn't done it then, maybe I'd never have done it.
Rick Allen

I think it was a wake up call for everybody. Yeah, they could see that I had a weakness and a tendency to overindulge.
Rick Allen

I think my perception of my own life is different and the fact that Lauren and myself are together. I've never felt this free or happy and so that permeates onto my onstage persona and to my working environment.
Rick Allen

I wanted to be as far away from everybody as I could be. I found it difficult to be close to anybody, not just the guys in the band.
Rick Allen

I was happy in Dublin because it is very cosmopolitan.
Rick Allen

I'm sure it's the same with yourself that when your relationship is good, it changes the way you view the rest of the world.
Rick Allen

If we had loads of money as a family, things would be different and they'd come to visit more and I'd get to spend more time here. But I'm laying down roots in America so when I'm there, just being at home, it's harder to break away from that.
Rick Allen

It was great to do something different, so mixing it all about keeps things fresh.
Rick Allen

Just the same way I'd say a prayer before going onstage, taking that even further and using the drum to inspire people. And using that as a vehicle for the intention.
Rick Allen

My situation should have been a lot worse. By rights I shouldn't have survived the crash.
Rick Allen

Some people say that practice makes perfect but I just feel that the repetition works against me and I start thinking too far ahead during a show.
Rick Allen

Sometimes it's a negative because I still have a memory of some of the things I could do... when I still had two arms.
Rick Allen

They're just coming because it's Def Leppard, not because it's Def Leppard and they've got a new album to promote or whatever.
Rick Allen

Thinking about what songs are coming next instead of just relaxing, breathing and playing from my heart. Sometimes it can get to be almost like the enemy.
Rick Allen

We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.
Rick Allen

With some of my previous relationships, they never really felt right even from the beginning but I persevered with them.
Rick Allen

Yes, of course that's true but you know, the irony of all that is that before the accident, I'd pretty much lost interest in playing drums.
Rick Allen

You know, even though you have a limb severed, the signals keep running down the nerves so I still get an itch on my elbow or whatever.
Rick Allen

Rick speaking about his audition for the band: "I could see the other lads were getting into it. Russell Major (Rick's soon-to-be drum roadie) was on the other side of the room with a big beaming grin on his face that looked like he had a coathanger stuck in his mouth. Nobody officially said `You're in,' but I knew it right away. It sounded so right. All they needed was someone to give that little bit extra, that fifth member who would pull the same weight they were." On the decision to leave school to tour with Def Leppard: "My mom and dad told me to leave school because I was never going to get another opportunity like this. So I did. I didn't care if I could count!" "My mother took me seriously. She actually went to the school and said, 'Well, you know he's got a job to go to and I think we should get him out of school.' I promptly went to see a private tutor. In fact, the first record contract I had to get my father to sign it with me because I was still considered a minor." -

2005 Rick speaking on his "bad" behavior during the 1980 tour: "They (band/management) started getting on me because I was smoking grass too much with the crew. I used to get a dressing-down every month. I think sometimes they were really just taking out their frustrations on me. But I did have an attitude problem. Big mouth, speaking out of turn all the time. To me, the rest of the world was out of line and I was always right...but nobody had much control over me." On the female fans of that tour: "Blimey, I went mad! I went nuts over there, women left, right and center. I ended up getting a few undesirable diseases, but I had a good laugh over it." On how he would obtain alcohol while under age: "There's a number on English driver's licenses, your birthday in code, and I'd tell these guys that the number would mean one thing or another, and a lot of 'em used to buy it. Also, English licenses don't have photos on them, so that made it easier."

Rick speaking on recording Pyromania with Mutt Lange: "I had done this one particular take and Mutt just sat in the control room listening to the tape, analyzing it for what seemed like ten minutes. I sat there in the studio, wondering what I was supposed to do. So I decided to try and attract his attention. I said 'Mutt? Why don't you play it to me and I'll have a listen, see what I think about it? He turned around to me and said 'When I want your opinion, I'll ask for it.' Well, I had this handful of drumsticks and they went flying towards the control room window. He did apologize to me after that, though. He knew he was out of line for saying that." "He (Mutt) would say `Just listening Rick,' and I'd be waiting there...(Rick whistles)...`Just listening. Listening again. We'll be right with you in a little while. Just listening Rick.' I started launching drumsticks at the control room. I just think he knew what he wanted and really he knew how to get it. And the fact that I was having a breakdown was really my problem." -

2002 Rick speaking about his coming-to in the hospital after the accident: "The biggest shock was when I actually came around and realized what had happened. Sitting there, looking out the bloody window, looking at myself, listening to my music. That's the thing that upset me the most at first, listening to music. I had my ususal supply of tapes in the hospital. But I'd hear the drums and couldn't help but think, `Yeah, I used to be able to do that'." -

1985 "I was never aware that they tried to put the arm back on. They kept me under anesthetic the whole time. I'm glad I didn't find out about it until later, though. That would have started me thinking - about drumming again, about being normal."

1985 Rick on how the idea for his custom built drum kit developed (Kerrang Magazine): "What happened was, I'd lost my left arm, and I'd busted up my right pretty badly as well. So to begin with my right arm was more or less strapped to my side. To help me sit up straight in bed and move around a bit and make myself comfortable, the nurses placed a block of foam in the bottom of the bed so that I could push against it with my feet. Well, it was just in the perfect position for me to tap away on it with my feet. So out of sheer boredom I used to lie there tapping my feet against this thing, and I started thinking, hand on a minute, I can use this this has possibilities...So I got this friend of mine down and he looked at what I was doing and he agreed that the idea of some kind of foot pedal that would at least enable me to get a snare sound with my left foot could probably be worked out and designed. Within a matter of days this guy returned to the hospital with what turned out to be the prototype for the pedals I'm using onstage now." The other thing I got into doing, don't laugh, was sitting in my wheelchair and banging on the foot plates, getting a rhythm going. And to be honest, what I'm doing now onstage isn't much different."

1987 On reconvening with the band in Holland two months after his accident: "I don't think any of us quite knew what to say. It was strange for all of us, to begin with. I think the rest of the band were waiting to see if I was going to crack up or something. Nobody was sure yet how I was going to handle it. But they gave me their support, totally, from the word go. I mean, if they'd have said, `Sorry Rick, we can't really carry on this way', I'd have stepped down gracefully, you know, fine, no problem...But that was never the case at all, they all left it up to me to decide. And that was all the spur I needed, I think, to try and work things out as a drummer again..."

1987 "I felt more at home being with the boys than I would have been sitting around on my ass, doing nothing. I just felt, `This is where I belong.' Obviously, there were moments when people got really emotional about things. It wasn't all smooth sailing, and sometimes it got quite difficult." -

1988 "After what happened to me, I think the band actually got closer...When I finally came around after my accident, everyone was saying to me `It's okay,' you know? `Things will be fine, don't worry about it.' And my parents, I mean, they took it worse than anybody. And obviously, you know, the band, they were, I mean, they didn't know what they were going to do. They didn't know whether I would be able to play again." "That I could still play was my high point. My low point was discovering I couldn't wear a watch anymore." "Since the accident, I pick my nose with my toes." "There was a time when there was some doubt about my ability to use my right arm. The doctor said, `You're not going to be able to wave again, Rick.' So when I came back to the hospital one day, I went, `How ya doing, Doc?'" (waving wildly) -

1988 Rick's philosophy: "Losing an arm might have been the worst thing that could ever happened to me. But it happened, and that's that. In the meantime, I feel like the rest of me has grown much, much stronger as a result. Maybe it's just nature's way of compensating for the loss of one part of me, I don't know." -

1987 "If I couldn't play drums it would have destroyed me. If you're thrown in the deep end you swim, and that's basically what I did. I had to do it and with the rest of the band behind me and the encouragement I got from people from all over the world, I knew that I was going to play." -

1988 "Hitting plastic things with little pieces of wood is a good release. I suppose it's great exercise as well." - 1988 "I started drumming when I was 10. I destroyed the house. There were little hit marks all over my mother's wood tops." -

1988 "I became a vegetarian on the Pyromania tour, when we were driving along in France and saw these really cute, fuzzy-eared cows in a field. Phil said, `How the f-ck can anybody eat one of those?' The two of us egged each other on, it's no problem - there are a lot more health food shops now." -

1988 "I deal with any kind of trauma a lot better and have the ability to relax more now. I used to be full of nervous energy all the time. I've just kind of settled down." -

1988 "Perseverance...I guess that would be the biggest thing I learned about myself. But I suppose that had a lot to do with the strength of those around me. They really didn't give me a choice; I had to stick around and deal with it." "I need people to give me constructive advice about my playing. I don't need sympathy." "Going through what I did made me a stronger person. But if you knew the rest of the guys, you would understand why. Def Leppard is a very close-knit unit. Everybody was just saying `Come on now, Rick. You can do it'." -

1988 On the physical presense of his arm: "Shortly after I came around — probably a week after my accident — I began to sense a different body. I experienced my missing arm in a non-physical form as energy. I remember asking my father to reach out and touch me where my left arm was. At first, he reeled back in astonishment, fear, surprise, but then, he seemed to recognize what I was feeling and reached out and touched where I’d prompted him to. He was truly amazed and exclaimed: `Your arm is still there'!" -

2002 "The lads have begun to make fun of me a lot more now, which I don't mind. Like I'll be wearing my hat on stage, which I do occasionally, and one of the guys will steal it right off my head, and then he'll put it back on me in some stupid position so I'll look totally ridiculous. They do silly things like that for a laugh, which is nice because I like to make people laugh." "If I can make someone happy with what I do, or if I can inspire people who have a problem in some aspect of their life, then I feel good." -

1988 On his recovery: "I never went through any kind of rehabilitation. I automatically assumed that I could do everything on my own. A few years down the line, I realized that I could have done with more help than I gave myself. I never gave myself any downtime. I was constantly busy with the idea of the band. I never really gave the real me the time to get to know myself again. I spent the downtime during the making of this record (Adrenalize) to fix that. And that was important." -

1992 "When we finally got a break in 1989, I spent some time trying to put all that right which was really important for me. I broke up with Miriam, my girlfriend of seven years, met up with an old girlfriend from 1980 and got married. I realized that the last thing I wanted to do was what Steve had done. I realized that everything in my life doesn't revolve around Def Leppard! I don't have anything to prove." -

1992 On Steve Clark: "I was involved with my own problems, with drugs and alcohol. Whenever I tried to talk to Steve about his situation, he'd come back at me with `What about you?' I found it difficult to get through that barrier. And the last thing I wanted to say to him was `I lost my arm. I got through all that. I conquered it.' Because it wouldn't have been honest. At that time I don't think I really had conquered it. I almost felt like I found out about Steve a bit too late to help him in the way he deserved." -
"I always thought, though, that he would pull through. I must say, however, I didn't spend much time with Steve the last couple of years. I don't think it would have been beneficial if I had, because I was dabbling in substances as it were and I think my presence intimidated him. There was a time when I'd just give up and go drink with him which wasn't helping anybody. I guess Steve's death gave me a jolt and made me realize that there are a lot of better things to do than wind up at the bar every night. It was hard because the record was taking so long, and there was all this down time. But there's always other stuff to get into. I guess it was kind of a cop-out for me. I'm glad I pulled myself out of it. Looking back, I think maybe I should have said something to Steve, but the reality of the situation was Steve's problem was there way before he joined the band." On his re-recording drum tracks for Hysteria after losing his arm: "After we did the Sheffield show, there was about a week where we didn't necessarily have anything to do, so we went in and did the day shift, patching up the drums I'd done from the mid-'80s. Fortunately I had enough time to do what I had to do. I suppose, in a way, I paid myself a really big compliment. We thought we could just go into the studio and salvage whatever I'd played back then. Some of the songs were done very basically when I had two arms, and then I redid them when I first went in to record Hysteria, went over the top with the Mach 1 one-armed drum kit. Listening to tracks again now, I realized how much I'd improved since I first lost my arm, so instead of trying to salvage stuff, what we ended up doing was just doing all the drums over from start to finish." From Visualize (1993): "I think the most important thing is that we enjoy the music and we enjoy singing the way that we do. A melodic type of rock, something that we can all be proud of and enjoy." "I always have fond memories of Steve. Steve was always...he was always somebody I always sort of looked up to. He always came up with things that were really unusual. Definately something out of the norm. Always looking for ways of entertaining people, you know, making the rest of us laugh or whatever."

"The rest of the guys in the band started visiting me and giving me the kind of encouragement that I really needed at that time. I realized there was a way that I could play again." "It's a series of foot pedals that I use with my left leg and I'm really trying to play everything that I used to play with my left arm with my left leg...sometimes not quite as successfully as I would like, but it's a constant sort of learning curve, you know. You're always trying to pick up new things. Well, you can't really consult The Book of One Armed Drummers, you know (laughs). It's like the old saying, it's like riding a bike. It all comes back to you very quickly." "That Vivian is a great guitar play and a great singer is secondary to the fact that his personality fits with Def Leppard. It was actually a lot of fun just to be on the stage together." "There's always room for that sponteneity and that's the one thing I like about playing live over being in the studio."

On their 1993 Sheffield performance: "I just got an overwhelming feeling of, you know, we've finaly sort of made it. We're home, you know?" "Over time we'll probably see Def Leppard going in a slightly different direction, maybe because of Vivian's influence, and I think that would be a really good thing to see."

From Video Archive, 1995: On the Don Valley performance: "I was pretty overwhelmed by it all...the fact that there were so many people that I knew in the audience or backstage or whatever and they were all really rooting for us, uh, really gave me a sense that we'd really sort of made it. I mean it was probably one of the most memorable occasiois I can remember to date." On their early pub performances: "I wasn't even old enough to come in the place (laughs). I'd try and sneak in at any opportunity I could and get somebody to buy me a beer, you know...stand on my tip-toes at the bar." Regarding his return to an accoustic drum kit: I'd always had an accoustic set-up at home for a long time, but I'd never really used it on any of Def Leppard music for a long time, actually since I lost my arm, so it gives me the opportunity to re-think the way that I play an accoustic set-up." From VH1: "I was back in the studio within about five or six weeks after my accident, which was crazy! I don't know what the hell I was thinking about. I was definately running on different fuel, you know? Up until a couple of years ago I was still pulling pieces of car out of my chest. I guess the force of all those pieces of fiber glass flying around, some of them got embedded in my chest." "I wrote the entire Slang album, but the band will never admit to that! I don't mind carrying those deadweights - at least they're decent company."

Rick speaking about being a new father and touring in a 7/7/99 Rockline episode: Rick: "I love it. I was doubting, you know, whether I was gonna actually get out on tour or not because it's getting very, very comfortable at home but, you know, duty calls. I have to go with the guys!"

Phil: "We pulled the couch from under him!"

Host: How has it changed you emotionally, psychologically?

Rick: "It's like meeting a best friend for the first time, that's the only way I could describe, you know, the whole sort of birth and what have you."

Joe: "That's pretty deep Rick!" (laughs)

Rick: "It was incredible and now it just gets better."

Rick answering the question of electronic versus acoustic drums in the same Rockline episode: Rick: "I think the knowledge I had from making, you know, past albums like Pyromania, you know, Hysteria, whatever, Adrenalize, I really got into the electronics, and um, Slang was just a great opportunity to get back to basics again and now, like you say, I use both which is even better..."

Host: "Do you prefer one or the other now?"

Rick "Not necesarily. I mean, there are times, we did some percussion down at Phil's house and that was all real stuff, all, you know, acoustic instruments."

Host: "And what about on tour?"

Rick: "You know...it really depends on the song. Some songs really cry out for electronic drums, really, you know, presice sounds, and then other times it's better to go with the real thing."

Rick speaking on the difficulties of touring in a 2/00 article: "I can't sleep unless the thing (bus) is moving. I asked my wife to buy a set of wheels and tires for the bed at home. Then, before I go to sleep, I'll get her to make generator sounds." On daughter Lauren: "I've taken her out on stage a couple of times, and whispered in her ear that all these people are here to see daddy and the band, and they're all happy to be here. When I tell her I'm going away on tour, she says, `Are you going to play drums, Daddy?' So she knows I do something kind of alternative for a job."

Rick's answer on a 7/00 AOL chat on how he prepares himself before going out on the road to tour: "At the moment, just watching what I'm eating. Trying to swim as much as I can. I've been to the gym a few times, but I spend a lot of time outdoors anyway so I'm pretty healthy in that department. I've been a vegetarian for many, many years so I think diet and the combination of a few things really helps me prepare. And...lots and lots of sex (grins)."

Rick speaking about his side project band, The Mark Mason Project, and the possibility of fans hearing them in the future: "You know...I don't really know. I helped him out because he was having trouble with drummers. I think a lot of people have trouble with drummers. It was great though...it got me off the street corners, got me into it physically, but it's entirely up to Mark. It was good just to be the drummer as I wasn't involved in any other part."

Rick in a 1/00 interview speaking on how he's changed some negative things in his life: "...Anger Counseling has really taught me the true meaning of time-out...(it) helps me take the time out and the meditation is for me. It's kind of a selfish thing in a way, just kind of sitting there on your own, you know. I think the idea of realizing that you're not going to miss anything is important, and I always thought I was gonna miss something if I wasn't there, or in that room or whatever...but now I have a little girl, Lauren, who's three years old and it's like having a mirror wandering around all over the place. You kind of look at yourself and you're thinking, `Is that how I was?,' and it kind of diffuses any bad situation."

Vivian Campbell

zoelovessax — Mon, 31 Mar 2008 18:42:17 CDT

Vivian Patrick Campbell (born in August 25, 1962 in Belfast, County Antrim, Northern Ireland) is an Irish rock guitarist and a member of Def Leppard. Prior to joining the band in 1992 he had been a member of the Irish rock band Sweet Savage, Dio, Trinity, Whitesnake, Riverdogs, and Shadow King.

Biography

Youth and Early Career

Campbell began playing guitar at the age of 12 and It was rumored that he lasted in school until the age of 16 when he was expelled from Rathmore Grammar School. However the records show that he left of his own accord and was never expelled. He then went on to dedicate to his musical career joining several bands during the time. He has played for Sweet Savage, Dio, Trinity, Whitesnake, Riverdogs, and Shadow King. He also played on Lou Gramm's (from Foreigner) second solo album Long Hard Look.

Sweet Savage

Sweet Savage was a NWOBHM band that Campbell joined when he was 15. The band members in Sweet Savage included Campbell on guitar, Trev Fleming on guitar, David Bates on drums and Ray Haller on bass and vocals. The band influenced Metallica, who covered the song Killing Time on their Garage Inc. covers album. In 1980 when Campbell was 18, Sweet Savage released their first single "Lady Marion". In 1981 they released 4 singles: "Eye Of The Storm", "Ground Zero", "The Raid" and "Take No Prisoners". "Take No Prisoners" included the song "Killing Time". Much later in the late 90's after Metallica covered "Killing Time", there was interest in Sweet Savage and they released an album without him. Campbell left Sweet Savage in early 1983 to join Dio, after the band's original guitarist Jake E. Lee left.

Dio

When Campbell joined Dio, Ronnie had 3 songs that he had written while Jake was in the band-Stand Up And Shout, Don't Talk To Strangers and Holy Diver. All of these songs appeared on the album and became radio hits. Former Rainbow bassist Jimmy Bain joined, completing the first line up. The band completed the album, which was a success and included Ronnie's biggest hit to date Rainbow In The Dark. The tour was a success. Ronnie and Jimmy Bain played the keyboards on the Holy Diver album and they hired Claude Schnell to play keyboards during their concerts. A concert video, called In Concert, from this tour was released. The band also played at The Monsters Of Rock festival in 1984.
The band returned to the studio to write and record the follow up to Holy Diver. This album was called The Last In Line and was as successful as Holy Diver and charted at #23. The Last In Line, We Rock and Mystery all became radio hits. Ronnie James Dio and Claude Schnell played the keyboards on the album and Claude once again played the keyboards at the concerts. The band continued to sell out arenas and play festivals. A concert video from this tour called A Special From The Spectrum was released.
After the tour the band started to work on the follow up to The Last In Line. Tensions grew between Dio and Campbell. Sacred Heart was still a success, and still managed to peak at #29 in the U.S. the album had 2 hits in Rock N Roll Children and Hungry For Heaven. The tour was very successful too and had an over the top stage show featuring a huge Dragon. Also around this time the band recorded the song Hide In The Rainbow for the Iron Eagle soundtrack, which was the last song Campbell would record with Dio. A Live E.P., called Intermission, was also released. Campbell left after the tour and was replaced with guitarist Craig Goldy.

Whitesnake

In 1987, Campbell joined the British heavy metal band Whitesnake. Ex-Thin Lizzy and Tygers of Pan Tang (Spellbound album only) axe-slinger John Sykes played the lead parts on the multi-platinum selling album simply titled Whitesnake, but he was fired by lead singer David Coverdale after the recording of the album, and Campbell replaced him for the subsequent world tour. Campbell was part of the new, glammed-up Whitesnake Coverdale had put together to conquer MTV and American audiences, also including Adrian Vandenberg, formerly of Teaser and Vandenberg, Tommy Aldridge of Ozzy Osbourne and Black Oak Arkansas fame, and Rudy Sarzo, having already become hugely successful playing with Ozzy Osbourne and Quiet Riot. Campbell was fired after the 1987-1988 World Tour, because of "negative attitude'. Whitesnake's success would not outlast Campbell's tenure in the band by much.

Def Leppard

In 1992, Campbell joined rock band Def Leppard, after the release of their Adrenalize album. He replaced Steve Clark, who died on January 8, 1991. According to fellow guitarist Phil Collen, Campbell was able to lock right into the position very naturally by simply being himself. Campbell made his debut with the band by playing a show in a Dublin club to approximately 600 people. A week later, April 20, 1992, the band took the stage at the Freddie Mercury Concert for Life, with their new guitarist. They performed, "Animal," "Let's Get Rocked," and the Queen classic, "Now I'm Here", with Brian May.
He has spent the last 15 years with the band.

Side Projects

Aside from his work with Def Leppard, Campbell has played on the side with Clock and Riverdogs. In 2005 he also released a solo album called Two Sides Of If, which features cover versions of his favorite blues tunes and one original blues song. It features Z.Z. Top's Billy Gibbons guest appearing on the songs "Like It This Way" and "Willin' For Satisfaction", and Joan Osborne guest appearing on the song "Spoonful". The album also features drummer Terry Bozzio.

Equipment

Campbell plays Gibson guitars exclusively and was instrumental in designing the Kramer (now owned by Gibson) Nightswan electric guitar in the 80's.

Personal life

Campbell currently resides in Southern California where, as of April 24, 2007, he is a neighbor of Danny Bonaduce [1] with his wife Julie and their two daughters, Lily Rose and Una Marigold.

Discography

With Dio

Holy Diver (1983)
The Last in Line (1984)
Sacred Heart (1985)
The Dio E.P. (1986)
Intermission (1986)

With Riverdogs

Riverdogs (1990)

With Shadow King

Shadow King (1991)

With Def Leppard

Retro Active (1993)
Vault: Def Leppard's Greatest Hits (1980-1995) (1995)
Slang (1996)
Euphoria (1999)
X (2002)
Best of Def Leppard (2004)
Rock of Ages: The Definitive Collection (2005)
Yeah! (2006)
Songs from the Sparkle Lounge (not yet released)

Solo

Two Sides Of If (2005)

DL album info page

forbidden69 — Sun, 23 Sep 2007 21:42:12 CDT

Dl Lyrics

zoelovessax — Mon, 17 Sep 2007 16:13:49 CDT

First Strike

Heat Street

What can I hear?

Who can I see?
What's this I fear that's followin' me?
It's getting louder.
It's coming near.
I can not stand it.
I'm getting outta here.

You'd better beware now.
You'd better take care now.
The street of the Sinner.
So you'll never be a winner.

The rain is falling
Around my feet
The night is calling on this well-lit street.
People in doorways
Just stand and stare.
Cast away shadows that really aren't there.

Repeat Chorus

Guitar Solo

What can I hear?
Who can I see?
What's this I fear that's followin' me?
It's getting louder.
It's coming near.
I can not stand it.
I'm getting outta here.

Repeat Chorus

You'll never be a winner
On Heat Street

Answer to the Master

(Willis, Clark, Savage, Elliott)

When the night time unfolds

And the memories that you hold
Bring a light to your eyes
Though you know it's disguise
When the night turns to day
You turn around and say
Magic mirror please tell
Is this heaven or hell?

Answer to the master
Can you look to the sky?
Can you live through your lie?
Of the thoughts you can't trace
Which time can't erase

To a face on the wall
Do you often recall
What you said on the night
When the new full moon was rising?
Answer to the master
Oh yeah

When the night time unfolds
And the memories that you hold
Bring a light to your eyes
Though you know it's disguise
When the night turns to day
And you turn around and say
Magic mirror please tell
Is this heaven or hell?

Answer to the master
Answer to the master

See the Lights

Well I came down here from Manhattan
To see the lights on the mall
But when I got here early this morning
Well I couldn't see any at all
So I walked a little further
And much to my surprise
There was a hot cool woman in a Chevy
Staring into my eyes

I've just got to see the lights
I've just got to see the lights
I've just got to see the lights

alright

She said now don't walk any further
Just jump into my car
And we can head on down the highway
But you'd better not go to far
'Cause my daddy he's big business
So we've gotta be back by tonight
But we can still have some fun now
If we head on downtown to see the lights

Repeat Chorus

[guitar solo]

Repeat Chorus

Well we ended up in this cafe
'Bout twenty-five minutes to one
See, she took me to this nightclub
And the music went on and on
Well we were set down to get coffee
When in walked her old man
No matter how we tried to explain it
Well we couldn't make him understand

Repeat Chorus

Alright

When the Walls Came TumblingDown

(Clark, Elliott, Smith)On the first day of the first month In some distant year
The whole sky froze golden
Some said it was the aftermath
Of the radium bomb
While others told of a final retribution
A terrible revenge of the gods

But we understood the grand finale
Fulfillment of a prophecy told many years before
So all that was left was:
All the women were captured and chained
And national suicide was proclaimed
And New America fell to the ground
And all the children lay crippled and lame
But all the nations came together
In fear of the thought of the end
No more would we fight in the streets
No courage had we to defend

When the walls came tumbling down
When the walls came tumbling down
Everybody ran as they screamed at the sound
When the walls came tumbling down
When the walls came tumbling down
When the walls came tumbling down
Everybody ran as they screamed at the sound

A blinding light the sun had died
A new moon took its place
Tidal waves, and open graves the fate of the unhuman race
The city's heart no longer beats no pity have I left to lend
A sinner sits reciting Dylan its now that I welcome the end

Repeat Chorus

Repeat Chorus

Nobody made a sound
(Down down down)
Down!

Wasted

(Clark, Elliott) Well I've been lying awake all night
Just thinking of you
But a bottle of whiskey lies heavy obstructing my view
I've got a bottle of pills to give me my thrills
And I know that I'm leading a life that kills

Wasted - I've wasted my time
Wasted - I'm shooting a line
Wasted - I'm stuck in a hole
Wasted - I'm losing control

And I've been meaning to call, I've been wanting to phone
You see I don't like the thought of leaving you here alone
Well I've seen things down here that are fit for a queen
I've seen things down here that should never be seen

Wasted - I've wasted my money
Wasted - I've wasted you honey
Wasted - I'm out of my brain
Wasted - I'm going insane

I'm running in thin air
There's nothingness everywhere

I've gotta get out - Won't you help me?
I've gotta get out - Won't you help me?
I've gotta get out, oh won't you help me get out?

I thought I saw you just the other day
But it couldn't be you 'cos you had nothing to say
'He's going away', they told all my friends
Well now I'll be stuck in here til the misery ends

Wasted - I've wasted my time
Wasted - I'm shooting a line
Wasted - I'm out of my head
Wasted - I wish I was dead

Sorrow is a Woman

(Savage, Clark, Willis, Elliott) Your always pretending to be
Someone who prefers to be free
You think you can fool me with your lying eyes
But what is this game that you play
When all that your trying to say
Is that your lonely, in need of a friend

Oh yeah, sorrow woman
I just can't seem to get to you
Oh yeah sorrow woman
If only you could see you as I do

And can't you see that it's true
There's someone as lonely as you
Trying so hard, so hard to get through
And why can't everyone see
The way that it really should be
Why hide your feelings and suffer the pain

Repeat Chorus

You know that sorrow is a woman
You know that she'll make you feel sad
You know that sorrow is a woman

Repeat Chorus

Glad I'm Alive

(Clark, Elliott, Savage) Hello and welcome my friend
It's good to see you again
Do you know anything new
Tell me, is this really you

Hey, what's the story in LA
I haven't been there today
It's time we went for a ride
Come on and step right inside

Too many people have waited
Too many problems created
Too many jitterbugs not enough jive
I'm tired of sitting here waiting
We should be out there creating
It's times like this that I'm glad I'm alive

Darkness our sole destination
Daylight our only intention
White lightning brightens the sky
Can't tell we're flying so high

Rest now and don't be afraid
Can't you see we've got it made
Just cause I'm not going far
That doesn't mean that we can't reach the star

Too many people have waited
Too many problems created
Too many jitterbugs not enough jive
I'm tired of sitting here waiting
We should be out there creating
It's times like this that I'm glad I'm alive

[guitar solo]

Too many people have waited
Too many problems created
Too many jitterbugs not enough jive
I'm tired of sitting here waiting
We should be out there creating
It's times like this that I'm glad I'm alive

Sad story that look in your eyes
Break out before it's too late
Now come and lay down by my side
Let all the thoughts slip away

Too many people have waited
Too many problems created
Too many jitterbugs not enough jive
I'm tired of sitting here waiting
We should be out there creating
It's times like this that I'm glad I'm alive
I'm alive
I'm alive

Rock Brigade

(Savage, Clark, Elliott) Well, in the middle of the night
And the early morning light
You can hear them a million miles away
They'll be bangin' on their drums
Bangin' on your door
Waving their flags telling you to score
Watch out for the rock brigade - rock brigade
Oh, no it's the rock brigade - rock brigade
Look out for the rock brigade
Leading you away, away

So when they hit your town
You'd better get down
I'm telling no lies to you mister
'Cos they live for rock'n'roll
They'll try to steal your soul
Might even try to steal your sister
Oh

Repeat Chorus

So in the middle of the night
Or the early morning light
If you hear them comin' your way
Well you'd better watch your step
Don't step out of line
'Cos here they come one more time

Watch out for the rock brigade - rock brigade
Oh no it's the rock brigade - rock brigade
Look out for the rock brigade - rock brigade
You better watch out for the rock brigade - rock brigade

I say watch out for the rock brigade - rock brigade
Keep your eyes on the rock brigade - rock brigade
Don't let your eyes off the rock brigade - rock brigade
They'll be leading you away, away, away

Hello America

(Savage, Clark, Elliott) Hello America, hello America
Hello America, Hello America
Well I'm takin' me a trip I'm going down to California
Yeah, I'm gonna try Hollywood and San Pedro Bay, yeah, yeah
I'll tell ya what I'm gonna do
I'm gonna give my love to you
I'm gonna take you where the lights are bright
I'm gonna give you my love tonight

Hello America, hello America
Hello America, hello America

I'm gonna get me a greyhound bus down the motorway
I'm gonna spend a little time in 'Frisco and L.A., yeah yeah
But when it gets to twelve o'clock
And you feel that you gotta rock
You'd better let your hair hang down
So we can boogie all over town

Hello America, hello America
Hello America, hello America

Takin' me a trip I'm going down to California
Yeah, I'm gonna try Hollywood and San Pedro Bay, yeah yeah
I'll tell ya what I'm gonna do
I'm gonna give my love to you
So won't ya take me where the lights are bright
Won't you give me your love tonight

Hello America, hello America
Hello America, hello America
Hello America, hello America
Hello America, hello America

Sorrow is a Woman

It Could Be You

(Willis, Elliott) Who's the one to knock me over
Who's the one to take me by surprise
Who's the one who's out to get me
Who will share my fantasy tonight

It could be you
It could be me
It could be anyone
It could be you
It could be me
It could be you
It could be anyone

Do you really know the story?
Have you really come to see the band?
Can you reach out for the glory?
Can you feel the nearness of my hand?

It could be you
It could be me
It could be anyone

If you look a little harder
You can see we're really all the same
And if you look a little deeper
Can't you see it's really all a game?

It could be you
It could be me
It could be anyone
It could be you
It could be me
It could be you
It could be anyone

Satellite

(Savage, Clark, Willis, Elliott) Midnight, bright light, shining from the sky
Circulating round the earth, trying to catch your eye
Lowdown, showdown, trying to break away
Stay on course, feel the force, careful what you say

Whoah
Ooh yeah, ooh yeah can't you feel that it's real?
Ooh yeah, ooh yeah set your sights on the satellite

Me and you, rendezvous, we've got to take the chance
I'm paralyzed, I'm hypnotized, I'm in some kinda trance
Hazy, crazy, this things lost control
It's got the power, it's got the strength to steal away your soul

Whoah
Ooh yeah, ooh yeah can't you feel that it's real?
Ooh yeah, ooh yeah set your sights on the satellite

It's burning up the sky
It's burning up the sky
Yes it's burning, yes it's burning
Can't you see that it's burning?
Can't you see that it's burning?
It's burning up the sky
Can't you see that it's burning?

Midnight, bright light, shining from the sky
Circulating round the earth, trying to catch your eye
Lowdown, showdown, trying to break away
Stay on course feel the force, careful what you say

Whoah
Ooh yeah, ooh yeah can't you feel that it's real?
Ooh yeah, ooh yeah set your sights on the satellite

When the Walls Came Tumbling Down

(Clark, Elliott, Smith) On the first day of the first month
In some distant year
The whole sky froze golden
Some said it was the aftermath
Of the radium bomb
While others told of a final retribution
A terrible revenge of the gods

But we understood the grand finale
Fulfillment of a prophecy told many years before
So all that was left was:
All the women were captured and chained
And national suicide was proclaimed
And New America fell to the ground
And all the children lay crippled and lame
But all the nations came together
In fear of the thought of the end
No more would we fight in the streets
No courage had we to defend

When the walls came tumbling down
When the walls came tumbling down
Everybody ran as they screamed at the sound
When the walls came tumbling down
When the walls came tumbling down
When the walls came tumbling down
Everybody ran as they screamed at the sound

A blinding light the sun had died
A new moon took its place
Tidal waves, and open graves the fate of the unhuman race
The city's heart no longer beats no pity have I left to lend
A sinner sits reciting Dylan its now that I welcome the end

Repeat Chorus

Repeat Chorus

Nobody made a sound
(Down down down)
Down!

Wasted

Rocks Off

(Willis, Savage, Clark, Elliott) Well we were gettin' ready just the other night
When a knock on the dressing room door
Gave way to a leather jacket little girl
Who we'd never ever seen before

In her red satin dress
And her high heeled shoes
She took us all by surprise
And when she asked us what we wanted to do
She said it with her eyes
Just getcha rocks off
Whoah

Well when we finally took the stage
There she was but she wasn't on her own
'Cos she'd brought some friends maybe 5 or 6
Yeah, she must have been on the phone

And when they started dancing and jumping around
Well we couldn't believe our eyes
'Cos they'd got the whole damn audience rockin'
And they'd got us paralyzed

Just getcha rocks off

Thank you
Goodnight
Whoah

It Don't Matter

(Willis, Clark, Elliott) Now in your big flash motor and your wild reputation
You're ready to hit the streets
Winking at the boys, yeah heading for the noise
Got the world at your feet
If leaving me for dead with a pistol at my head
Is your idea of how I'd feel
Well let me tell you honey 'fore you spend all of your money
I got my hands firmly on the wheel

It don't matter
It don't matter
It don't matter to me
It don't matter
It don't matter
It don't matter to me

Back street lover in the cold of the evening
Takes you to a place he knows
Says, it will be fine better make up your mind
You've cut it deep and now it shows
It's way past midnight and your traveling through the city
You're wondering what you should do
Well baby can't you see that you've had enough of me
And I've certainly had enough of you

Repeat Chorus

Repeat Chorus

Repeat Chorus

It doesn't matter
It doesn't matter
It doesn't matter

Answer to the Master

(Willis, Clark, Savage, Elliott)
And the memories that you hold
Bring a light to your eyes
Though you know it's disguise
When the night turns to day
You turn around and say
Magic mirror please tell
Is this heaven or hell?

Answer to the master
Can you look to the sky?
Can you live through your lie?
Of the thoughts you can't trace
Which time can't erase

To a face on the wall
Do you often recall
What you said on the night
When the new full moon was rising?
Answer to the master
Oh yeah

When the night time unfolds
And the memories that you hold
Bring a light to your eyes
Though you know it's disguise
When the night turns to day
And you turn around and say
Magic mirror please tell
Is this heaven or hell?

Answer to the master
Answer to the master

Overture

(Savage, Clark, Willis, Elliott) And with this message
That I bring to you
A beacon of light
To see you through
For time is on our side
And a holy man
Does say to me
To always to be blind
And never to see
It's not the way he planned it

Oh no
The time has come to gather up your thoughts
For you have said your piece
The lords of light will change this land
From famine into feast
The buildings that once stood tall
Have crumbled to the ground
The silver warriors who came in force
Are nowhere to be found

Time is the essence the priests do say
To restore your faith in man
For the job you do and the role you play
Will help rebuild this land
Through empty streets and dusty fields
We'll fight for what we need
Protected by our swords and shields
We can replant the seed

The roads ahead are long and winding
On which the bandits thrive
But we have the power of finding
Illusion to keep us alive
So through the valleys and over the hills
We'll march and sing in rhyme
We'll fight until we lose our will
For essence is our time

The sun the moon
The darkened sky
The morning dew
Reflecting in my eye
The rising mist
The dampened earth
Are just reminders of what life's worth

Whoah yeah
Whoah yeah
Whoah yeah

And with this message
That I bring to you
A beacon of light
To see you through
For time is on our side
For time is the essence

Let It Go

(Willis, Clark, Elliott) Yeah
Cool woman, cool eyes,
Got me hypnotized
So head down, get a rhythm
Stop your stalling and your bitching

Rock steady, we're still shaking
I'm ready for the taking
So make your move, you might be
Get ready for the big scene

Let it rock, yeah, let it roll
Let it, let it go
You gotta, let it rock, let it roll
Yeah just let it go

Slow down, hold on
You're too fast, you're too strong
Take it easy, take it slow
Make it last, don't let go

A warm body is one way
You're not leaving, c'mon stay
So get down on your knees
And let me know you're here to please

Let it rock, yeah, let it roll
Let it, let it go
You gotta, let it rock, let it roll
Yeah just let it go

Let it go, let it go
Whoah
Cool woman, cool eyes, got me hypnotized
Slow down, hold on
You're too fast, you're too strong
I need a woman, I want her to love
A wound up woman
And you do what I want, what I want

Oh yeah
Slow down, hold on
You're too fast, you're too strong
Take it slow, make it last
Take it easy, not too fast
And don't let go

No! Rock steady, we're still shaking
I'm ready for the taking
So make your move, you might be
And get a-ready for the big scene

Yeah
Let it rock, yeah, let it roll
Let it, let it go
You gotta, let it rock, let it roll
Yeah just let it go

Let it rock, yeah, let it roll
Let it, let it go
You gotta, let it rock, let it roll
Yeah just let it go

C'mon - let it roll, let it go
Oh yeah Oh!

Another Hit and Run

(Savage, Elliott) Union Jack is back with a hole in his head
He's gettin' badly burned every time
He's laughin' at me and dancin' on my sneakers
And his sixties songs are blowin' up my speakers

I say you got no respect
Respect for authority
You're just playing your dirty tricks
And then come cryin' to me

Hit and run, hit and run
It's just a hit and run
Another hit and run

The bulldog lost his bite and his breath has gone bad
And the whole damn world is really laughin' mad

Repeat Bridge

Repeat Chorus

Hit it!!
Oh bring it down
Oh you bring it down

I say you ain't got no respect
I say you ain't got no respect
No you ain't got no respect
And you hit me when I'm down

Hit and run, hit and run
It's just another hit and run
I said it's just another hit and run

Oh yeah, hit and run
Oh yeah, hit and run
Oh yeah, hit and run
Oh yeah, hit and run
Oh yeah, hit and run
It's just another hit and run
Hit and run

High 'n' Dry (Saturday Night)

(Clark, Savage, Elliott) Saturday, I feel right
I been drinking all day
Yes I got a date, a midnight ride
I had to get it away
Yeah, I'm not a loner, I'm not a fool
Don't need a reason, reason to be cool
I got my whiskey, I got my wine
I got my woman, and this time the lights are going out

Saturday night - High
Saturday night - High 'n' dry
Saturday night - I'm high
Saturday night - High 'n' dry

Ow, I feel bad, I feel mean
I'm up and down and in between
On the bottle, I'm on the line
I'm up and feeling fine

Oh I'm not a loner, I'm not a fool
Don't need a reason, reason to be cool
I got my whiskey, I got my wine
I got my woman, and this time the lights are going out

Repeat Chorus

Oh take me high
Saturday, kickin' out, her train was comin' to me
I gotta move, number one
Saturday night on the run

Saturday night - High
Saturday night - High 'n' dry
Saturday night - Got my whiskey
Saturday night - Got my wine
Saturday night - Got my woman
Saturday night - High 'n' dry
You gotta try me tonight

Bringin' on the Heartbreak

(Clark, Willis, Elliott) Gypsy, sittin' lookin' pretty
The broken rose with laughin' eyes
You're a mystery, always runnin' wild
Like a child without a home
You're always searching, searching for a feeling
That it's easy come and easy go

Oh I'm sorry but it's true
You're bringin' on the heartbreak
Takin' all the best of me
Oh can't you see?
You got the best of me
Whoah can't you see?

You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache
Can't you see?

Oh whoah
You're such a secret, misty eyed and shady
Lady how you hold the key
Oh you're like a candle, your flame slowly fadin'
Burnin' out and burnin' me

Can't you see?
Just try and say to you

You're bringin' on the heartache
Takin' all the best of me
Oh can't you see?
You got the best of me
Whoah can't you see?

You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache

Can't you see?
Can't you see?
No no no
You got the best of me
Oh can't you see?
You got the best of me
Whoah can't you see?

You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak

Switch 625

(Clark) Oh oh oh whoah
Oh oh oh whoah
Oh oh oh whoah

You Got Me Runnin'

(Willis/Clark/Elliott) Hang on
Yeah
Ha ha ha ha ha
I don't care too much
For your backstabbin' and side steppin'
You're all sweet talk, you're all lust
You're the kind, yeah, I don't trust
I gotta get out, step aside
Before you damage my pride

Let me through don't spoil my view
I gotta get away, away from you
Oh no no never thought I'd feel so low

You got me runnin'
You got me runnin'
I ain't gonna hide

And yesterday everything seemed okay
Yeah you better run and hide away
Oh you better hide

You're out, out on the street
But I'm back on my feet
I might lose it, so get wise
Stop your usin' and your lies
Oh my friend don't stick around
Your time is up, the chips are down

Repeat Bridge

Repeat Chorus

And yesterday everything seemed okay
Yeah you better run and hide away
Oh you better hide
You got me runnin' - You got me runnin'
You got me runnin' - You got me runnin'
You got me runnin' - You got me runnin'
You got me runnin', runnin', runnin'

C'mon
Whoah
Oh oh oh
Oh yeah
Runnin' and runnin'
Runnin'
Oh
Watch me run
Runnin', runnin', runnin'

Oh no no never thought I'd feel so low
You got me runnin'
You got me runnin'
I ain't gonna hide

And yesterday everything seemed okay
Yeah you better run and hide away
Oh you better hide

You got me runnin' - You got me runnin'
You got me runnin' - You got me runnin'
You got me runnin' - You got me runnin'

You got me runnin' - You got me runnin'
You got me runnin' - You got me runnin'
You can't say no no more
You got me runnin' - You got me runnin'
You got me runnin' - You got me runnin'

Lady Strange

(Willis, Clark, Allen, Elliott) Ow
Ooh yeah
Oh
I never needed love before
Till I met you girl
A girl like you I have never seen
You came into my life like a whirlwind girl
You let me know what lovin' really means

Lady strange, oh lady strange I want you
Lady strange, oh lady strange I need you

You got me where you want me girl
So no messin' around
You know I never played that hard to please
I've been here many times before
And walked this sacred ground
But this time you got me on my knees
You got me

Lady strange, oh lady strange I want you
Lady strange, oh lady strange I need you
Lady strange, oh lady strange I want you
Lady strange, oh lady strange I want you
I need you

Oh you're so strange
Oh oh oh
Taking love from you's like taking candy from a baby
But lady strange there is no stranger lady
No
Just you and me we make love, good love
So let me know what lovin' really means
Woman please

Repeat Chorus

I need you
I want you
Yeah

On Through the Night

(Clark, Savage, Elliott) The wait is done, the battle's won
So count the cost before you run
'Cos on and on your time was power
The clock on the wall ticks away the hours
Come on down, you're flyin' high
You'll never win if you never try
Stop the hate and carry the load
Come on, get this show on the road

On through the night
You can't stop me now
On through the night
You won't stop me anyhow

The stakes are high and gettin' higher
I'm flat on my face and you call me liar
I'm watching you, you're watching me
You're watching every move that I can see
My reputation's still at stake
I play it safe for safety's sake
Your ego and your promises
Are gonna fade again and again

Repeat Chorus

Not anyhow
All you want to hear
Is the audience applause
You can't get on stage
For a country clause
And the road ahead seems a little rough
If you want to know my feelings
I say that's tough, that's tough
Your wheels ain't turnin', you're out of gas
You pay by check but they take cash
Two roads ahead but which to take
And you can't see it's your mistake

They're waitin' for you
They're waitin' for me
And what seems like eternity
It's all tradition, it'll get you yet
In rock'n'roll there's no safety net

Repeat Chorus

On through the night
Goin' on and on, on and on
On through the night
You can't stop me anyhow
Oh no no anyhow

Mirror, Mirror (Look Into My Eyes)

(Clark, Elliott) Mirror mirror
Just watchin' with your eye of glass
You're just a fortune wheel
With something that I wanna ask

Mirror mirror
Got my fate lyin' in your hands
You're the fool, you're the juggler
Hangman and lover, you're not like no other

Take a look into my eyes
Tell me what you see
Take a look into my eyes
Tell me is it true?
Take a look into my eyes
Oh when I look at you
Take a look into my eyes
Tell me is it me?
Is it really me?

Mirror mirror
Gotta know just what you see
My crystal ball
You're lookin' so sly and so sleazy

Mirror mirror
Hangin' there with that crack in your eye
You make me stumble, make me blind
Time after time and line by line

Repeat Chorus

Mirror mirror
Oh tell me
You're the fool, you're the juggler
I ain't met a lover, you're like no other

Take a look into my eyes
Tell me what you see
Take a look into my eyes
Tell me is it true?
Take a look into my eyes
Oh it just can't last
Take a look into my eyes
Gonna have to smash the glass

Take a look into my eyes
Take a look into my eyes
Take a look
Take a look into my eyes
Oh yeah
Take a look into my eyes
Take a look into my eyes
Take a look into my eyes
Take a look into my eyes
Take a look
Take a look into my eyes
Look into my eyes
Take a look into my eyes
Tell me if it's me
Baby, baby, baby, baby
Baby, baby, baby, baby

No No No

(Savage, Willis, Elliott) Oh yeah
She was a foxy rocker, a roxy roller
An unchained sex machine
Yeah
Slippin' slidin', electric glidin'
And boy she was mean, I said mean
High class dealer, sippin' her tequila
Comin' on pretty strong
Real love stealer, rebel rousin' squealer
She said go but I said no

I kept saying no, no no no no no
I kept saying no, no no no no no

Waiting at the back door
Couldn't take it anymore
Didn't know where she'd been
She looked pretty neat, turnin' on the heat
And only seventeen, seventeen
Windin' her up, bringin' her down
She wanted it just the same
Said stick around, that's when I found
I only had myself to blame

I kept saying no, no no no no no
I kept saying no, no no no no no

High class dealer, sippin' on tequila
Comin' on really strong
Rhythm stealer, rattle off squealer
She said go but I said no

Well I kept saying no, no no no no no
Well I kept saying no, no no no no no
Well I kept saying no, no no no no no

I say no no no
I say no no no
I say no no
No no no no no no no
No no no no no no no

Bringin' on the Heartbreak (Remix)

(Clark, Willis, Elliott) Gypsy, sittin' lookin' pretty
A broken rose with laughin' eyes
You're a mystery, always runnin' wild
Like a child without a home
You're always searching, searching for a feeling
But it's easy come and easy go

Oh I'm sorry but it's true
You're bringin' on the heartache
Takin' all the best of me
Oh can't you see?
You got the best of me
Whoah can't you see?

You're bringin' on the heartbreaks
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartaches
Can't you see?

Oh whoah
You're such a secret, misty eyed and shady
Lady how you hold the key
Oh you're like a candle, your flame slowly fadin'
Burnin' out and burnin' me

Can't you see?
Just trying to say to you

You're bringin' on the heartache
Takin' all the best of me
Oh can't you see?
You got the best of me
Whoah can't you see?

You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache

Can't you see?
Can't you see?
No no no
You got the best of me
Oh can't you see?
You got the best of me
Whoah can't you see?

You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak
Bringin' on the heartache
You're bringin' on the heartbreak

Me & My Wine (Remix)

(Savage, Clark, Elliott) Oh yeah
C'mon
Oh yeah
Oh
Well I'm down in the alley of sally
And I'm feeling my way
And it's four in the morning
I don't have a lot I can say

I know I'm looking for some satisfaction
But there ain't much news
Got some walking from a back reaction
I'm hanging down and loose

Oh me and the boys have been drinking
Feeling like this is the wrong time for thinking
All I can say is
I'm doing fine with just me and my wine

Now my brain and my body are runnin' on different rails
And the guy that just said hi was as hard as nails
Oh I woke up in a subway station
Lying half dead on the floor
I don't remember anything that happened the night before

Repeat Chorus

Now listen
My hair's a real mess
I feel and look like a joke
And there's a hole in my jeans
I just went right of smokes
You know I'd like to get to know you
But I ain't got the time
I'm tryin' harder and harder
To make this damn thing right
Just me and my wine

Well just me and my wine
You know that I'm doing fine
Well just me and my wine
Ow
Thank you

Rock! Rock! Till You Drop

(Clark, Savage, Lange, Elliott) Hold onto your hat, hold onto your heart
Ready, get set to tear this place apart
Don't need a ticket, only place in town
That'll take you up to heaven and never bring you down
Anything goes! Anything goes!

Women to the left, Women to the right
There to entertain and take you thru the night
So grab a little heat and come along with me
'Cause your mama don't mind what your mama don't see
Anything goes! Anything goes!

Rock! Rock! till you drop
Rock! Rock! never stop
Rock! Rock! till you drop
I say Rock! Rock! to the top

Ridin' into danger, laughin' all the way
Fast, free and easy, livin' for today
Gotta lip service, get it while you can
Hot, sweat 'n' nervous love on demand
Anything goes! Anything goes!

Rock! Rock! Give it to me
It's what I got goin' thru' me
Don't ever stop do it to me
Yeah, Rock! Rock! You really move me

Hold on, hold on, hold tight
We're gonna rock tonight
Too loud man, too loud

Photograph

(Clark, Willis, Savage, Elliott, Lange) Huh!
I'm outa luck, outa love
Gotta photograph, picture of
Passion killer, you're too much
You're the only one I wanna touch
I see your face every time I dream
On every page, every magazine
So wild so free so far from me
You're all I want, my fantasy

Oh, look what you've done to this rock 'n' roll clown
Oh Oh, look what you've done

Photograph - I don't want your
Photograph - I don't need your
Photograph - All I've got is a photograph
But it's not enough

I'd be your lover, if you were there
Put your hurt on me, if you dare
Such a woman, you got style
You make every man feel like a child
You got some kinda hold on me
You're all wrapped up in mystery
So wild so free so far from me
You're all I want, my fantasy

Oh, Look what you've done to this rock'n'roll clown
Oh Oh, Look what you've done

Repeat chorus

You've gone straight to my head

Stage Fright

(Savage, Elliott, Lange) I said Welcome to my show
It's just a-you and me baby
We got the whole damn night to go

You're holding out on me, while I'm on fire
If you can't stand the heat, then you should try
Victim of my vices, you know you are
You skate on ice to paradise, stairway to the stars

Stagefright all night, won't you let go
All night Stagefright, on with the show

You come on like a lady dressed to kill
Never thought you could be caught, but you will
A Little understanding, a little love
A headline act around the back, is what I'm thinkin' of

Stagefright All night, Won't you let go
All night Stagefright, On with the show
Stagefright All night, You're dream starts today
All night Stagefright, is only a heartbeat away

You're going for my head, you're going down
Gettin' good at being bad, you're hangin' round
A fun inspired asylum, toys for the boys
Love on the rocks, forget-me-nots, you got no change

Too Late For Love

(Clark, Lange, Willis, Savage, Elliott) Somewhere in the distance I hear the bells ring
Darkness settles on the town as the children start to sing
The lady 'cross the street she shuts out the night
There's a cast of thousands waiting as she turns out the light

But it's too late, too late, too late
Too late for love
Yes it's too late too late, too late
Too late for love

London boys are staring as the girls go hand in hand
With a pocket full of innocence, their entrance is grand
And the Queen of the dream stands before them all
She stretches out her hand as the curtains start to fall

Standing by the trapdoor aware of me and you
Are the actor and the clown their waiting for their cue
And there's a lady over there she's acting pretty cool
But when it comes to playing life she's always playin' the fool

Die Hard the Hunter

(Lange, Clark, Savage, Elliott) Shotgun
Let's welcome home the soldier boy from (Far away, far away)
No angel of mercy just a need to destroy (Fire away, fire away)
Let's toast the hero with blood in his eyes
The scars on his mind took so many lives
Die Hard the Hunter

Welcome home soldier boy
Put down your pistol, yeah, put down your toy
Yeah, they can take your gun away from you
But never take away your attitude
They can't do that, no, they can't do that

You got no enemy, no front line
The only battles in the back of your mind
You don't know how to change from bad to good
You brought the war to your neighbourhood

Back in the city, he's a man on the loose
He is the shadow that's following you
He takes no prisoners when he's hunting for game
He's got a bullet and it carries your name

(Die hard) Caught in a trap
(Hunter) There's no lookin' back
(Die hard) He hides in the crowd
(Hunter) Die Hard and Proud

Foolin'

(Clark, Lange, Elliott) Lady luck never smiles
So lend your love to me, awhile
Do with me what you will
Break the spell take your fill

On and on we rode the storm
The flame has died, the fire has gone
Oh, this empty bed is a night alone
I realized that long ago

Is anybody out there? Anybody there?
Does anybody wonder? Anybody care?

Oh, I just gotta know
If you're really there and you really care
'Cause baby I'm not

F-F-F-Foolin', Ah F-F-Foolin'
Not F-F-F-Foolin', Ah F-F-Foolin'

Won't you stay with me awhile

close your eyes don't run and hide
Easy love is no easy ride
Just wakin' up from what we had
Could stop good love from going bad

Rock of Ages

(Clark, Lange, Elliott) Gunter glieben glauchen globen
All right
I got something to say
Yeah, it's better to burn out
Yeah, than fade away
All right
Ow Gonna start a fire
C'mon!
Rise up! gather round
Rock this place to the ground
Burn it up let's go for broke
Watch the night go up in smoke

Rock on! Rock on!

Drive me crazier, no serenade
No fire brigade, just Pyromania

What do you want? What do you want?
I want rock'n'roll, yes I do
Long live rock'n'roll

Oh let's go, let's strike a light
We're gonna blow like dynamite
I don't care if it takes all night
Gonna set this town alight

What do you want? What do you want?
I want rock'n'roll, Allright!
Long live rock'n'roll

Rock of ages, rock of ages
Still rollin', keep a-rollin'
Rock of ages, rock of ages
Still rollin', rock'n'rollin'

We got the power, got the glory
Just say you need it and if you need it
Say yeah!

Heh heh heh heh
Now listen to me
I'm Burnin', Burnin', I got the fever
I know for sure, there ain't no cure
So feel it, don't fight it, go with the flow
Gimme, gimme, gimme, gimme one more for the road

What do you want? What do you want?
I want rock'n'roll, You betcha
Long live rock'n'roll

Repeat Chorus

We're gonna burn this damn place down
Down to the ground

Heh heh heh heh heh heh heh heh heh heh heh heh

Comin' Under Fire

(Lange, Clark, Willis, Elliott) Your kind of woman gotta heart of stone
But watch it break when I get you alone
Take a chance, come lay down with me
Oh, I wanna make it

Slow and steady never lost the race
Don't stop runnin', I'm a fool for the chase
Play the game, surrender to me
Baby, I don't wanna fake it

Is it any wonder, you got me comin' under fire?
Comin' like thunder, you know you make me walk the wire

It's so easy to put on a show
Your body says yes but you won't let it go
But my passion it won't slip away

You got me, I'm cornered, my back to the wall
No bed of roses, ain't no bed at all
I'm walkin' the wire, I stumble and fall
I got the message but I ain't gonna crawl

Action! Not Words

(Lange, Clark, Elliott) I'm sick and tired of the damn TV
I'm gonna make my own movie
I wanna star in a late night show
And all I need is my video

Shock me! Make it electric!
Shock me! Make it last

Curtain up let the camera roll
It's automatic it's in control
Got no script baby, ain't no lines
Just me and you and a real good time

Oh Shock me! Make it electric
Shock me! Make it last
Shock me! Gimme thunder'n'lightning
Shock me! Ooh babe I need it fast

Cause All I want is some
Action, Action, Action, not words
Gimme Action, Action, Action not words

C'mon and shock me, Let the cameras roll!

Oh! I'll be the hero, you be the star
With your wine and your caviar
No audition, a starring roll
I'll be your Bogart 'n' you be Monroe yeah

Shock me! Make it electric
Shock me! Oh bump and grind
Shock me! Make a night to remember
Shock me! Do it one more time

So cut me in on the action

Lights, camera, sound, I need action!

Repeat Chorus

Billy's Got a Gun

(Clark, Savage, Willis, Elliott, Lange) Billy's got a gun, he's on the run
Confusion in his mind, the blind leads the blind
Oh, Billy's got a gun, he's gonna shoot ya down
He's got evil in his eyes, got a reason to despise
There's danger in the air

Can you feel it in the air?
Danger (Such a strange emotion)
Can you feel it in the air?

Oh he was locked inside a room without a door
His innocence he suffered for
In a world of black and white, they were wrong and he was right
Just looking for a clue, it's a nightmare come true
He's going underground to track that danger down
Oh Billy, why you got that gun?

Never give him an even break
Gettin' caught is the chance you take
It could be your last mistake
(You could be so helpless)
As a bird with a broken wing
Like a sheep in a lion's den
Gonna fall but you won't know when

You hear footsteps in the night, see shadows on the wall
And the ghastly sound of silence, as the mist begins to fall
Then a scream rang out like thunder, but the lightning was too late

As the rain came down on the crimson ground
It was the hand of fate
And a crowd of people gathered round, but Billy couldn't wait

Women

(Clark, Collen, Elliott, Lange, Savage) Ooh we ooh
Ooh wee ooh
In the beginning
God made the land
Then He made the water and creatures, then He made man

He was born with a passion, love and hate
A restless spirit with a need for a mate
But there was somethin' that was missin', somethin' lost
So he came with the answer, here's what it cost

One part love, one part wild
One part lady, one part child
I give you

Women! women! - Lots of pretty women
Men! men! - They can't live without them
Women! women! - Lots of pretty women
Men! men! - They can't live without them

And in the garden, lust began
The animal instinct, the wanton man
She fed him with a hunger, an appetite
And fillin' with emotion he took a bite

It was one part love, one part child
One part lover, one part wild
I give you

Repeat Chorus

Skin on skin
Let the love begin
Women!

[guitar solo]

It was one part love, one part wild
One part lover, one part child
A whole lotta fire, a little bit of ice
A whole lotta somethin' you can't sacrifice
I give you

Hair, eyes, skin on skin
Legs - Legs
Thighs - Thighs

What's that spell?
(Spell? what's that spell?)
((What's that spell?))
What's that spell?
((What's that spell?))
(Women, women)
Oh! oh! oh!
Oh! oh! oh!

Women - Women
Women
Callin' every girl
Women women
All around the world
Women - Women!
Women
Oh, we can't live without them
Women women

[guitar solo]

Rocket

(Clark, Collen, Elliott, Lange, Savage) Ah ah
Ooh ooh
Ah ah
Ooh ooh
White lights, strange city, mad music all around
Midnight street magic (ah) crazy people crazy sound

Ah ah
Ooh ooh

Jack Flash, rocket man, Sergeant Pepper and the band
Ziggy, Benny and the Jets, take a rocket
We just gotta fly

I can take you thru the center of the dark
We're gonna fly
On a collision course to crash into my heart
I will be your, I will be your, I'll be your

Rocket yeah satellite of love
Rocket yeah satellite of love
Rocket yeah satellite of love
Rocket baby! C'mon, I'll be your satellite of love

Ooh ooh
Ah ah
Ooh ooh
Ah ah

Spotlight magnetic razor rhythm laser love
Guitar, drums, load up, stun!

Ah ah
Ooh ooh

Jet Black, Johnny B ,Gene Jeanie, Killer Queen
Dizzy Lizzy Major Tom so c'mon
We just gotta fly

Repeat Bridge

Repeat Chorus

Rocket baby! C'mon, we're gonna fly

(interlude)
Oooh
Countdown commencing...fire one
Five, four, three, two, one, zero...we have liftoff

We just gotta fly

Repeat Bridge

Repeat Chorus

Rocket, baby, guitar, drums, light up
We're gonna fly, rocket yeah
Satellite of love, we're gonna fly
Rocket yeah, satellite of love
Rocket yeah!

Animal

(Clark, Collen, Elliott, Lange, Savage) A wild ride, over stony ground
Such a lust for life, the circus comes to town
We are the hungry ones, on a lightning raid
Just like a river runs, like a fire needs flame
I burn for you

I gotta feel it in my blood whoa oh
I need your touch don't need your love whoa oh

And I want and I need
And I lust animal
And I want and I need
And I lust animal

Cry wolf, given mouth to mouth
Like a movin' heartbeat in the witching hour
I'm runnin' with the wind, a shadow in the dust
And like the drivin' rain, yeah, like the restless rust
I never sleep

Repeat Bridge

Repeat Chorus

Huh!
Ah!
Cry wolf, baby cry tough
Gonna hunt you like an, an, an, an, an, animal
Gonna take your love 'n' run

[guitar solo]

Repeat Bridge

Repeat Chorus

And I want and I need
And I lust animal
Take me, ame me
Make me your animal
Show me stroke me
Let me be your animal
I want, ooh yeah, animal

Love Bites

(Clark, Collen, Elliott, Lange, Savage) If you've got love in your sights
Watch out, love bites

When you make love, do you look in the mirror?
Who do you think of, does he look like me?
Do you tell lies and say that it's forever?
Do you think twice, or just touch 'n' see?
Ooh babe ooh yeah

When you're alone, do you let go?
Are you wild 'n' willin' or is it just for show?
Ooh c'mon

I don't wanna touch you too much baby
'Cos making love to you might drive me crazy
I know you think that love is the way you make it
So I don't wanna be there when you decide to break it
No!

Love bites, love bleeds
It's bringin' me to my knees
Love lives, love dies
It's no surprise
Love begs, love pleads
It's what I need

When I'm with you are you somewhere else?
Am I gettin' thru or do you please yourself?
When you wake up will you walk out?
It can't be love if you throw it about
Ooh babe

I don't wanna touch you too much baby
'Cos making love to you might drive me crazy

Repeat Chorus

[guitar solo]

Ooh yeah

Repeat Bridge

Love bites, love bleeds
It's bringin' me to my knees
Love lives, love dies

Repeat Chorus

If you've got love in your sights
Watch out, love bites
Yes it does
It will be hell

Pour Some Sugar on me

(Clark, Collen, Elliott, Lange, Savage) Step inside, walk this way)
You and me babe, Hey, hey!

Love is like a bomb, baby, c'mon get it on
Livin' like a lover with a radar phone
Lookin' like a tramp, like a video vamp
Demolition woman, can I be your man?

Razzle 'n' a dazzle 'n' a flash a little light
Television lover, baby, go all night
Sometime, anytime, sugar me sweet
Little miss ah innocent sugar me, yeah

Hey!
C'mon, take a bottle, shake it up
Break the bubble, break it up

Pour some sugar on me
Ooh, in the name of love
Pour some sugar on me
C'mon fire me up
Pour your sugar on me
Oh, I can't get enough

I'm hot, sticky sweet
From my head to my feet yeah

Listen! red light, yellow light, green-a-light go!
Crazy little woman in a one man show
Mirror queen, mannequin, rhythm of love
Sweet dream, saccharine, loosen up

You gotta squeeze a little, squeeze a little
Tease a little more
Easy operator come a knockin' on my door
Sometime, anytime, sugar me sweet
Little miss innocent sugar me, yeah

Take a bottle, shake it up
Break the bubble, break it up

Pour some sugar on me
Ooh, in the name of love
Pour some sugar on me
C'mon fire me up
Pour your sugar on me
Oh, I can't get enough

I'm hot, sticky sweet
From my head to my feet yeah

[guitar solo]

You got the peaches, I got the cream
Sweet to taste, saccharine
'Cos I'm hot, say what, sticky sweet
From my head, my head, to my feet

Do you take sugar? one lump or two?

Take a bottle, shake it up
Break the bubble, break it up

Pour some sugar on me
Ooh, in the name of love
Pour some sugar on me
C'mon fire me up
Pour your sugar on me
Oh, I can't get enough
Pour some sugar on me
Oh, in the name of love
Pour some sugar on me
Get it, come get it
Pour your sugar on me
Ooh
Pour some sugar on me
Yeah! Sugar me!

Armageddon It

(Clark, Collen, Elliott, Lange, Savage) Ya better come inside when you're ready to
But no chance if ya don't wanna dance
You like four letter words when you're ready to
But then you won't 'cos you know that you can

You got it, but are you gettin' it?

You say that love is won when you get some
But then your finger won't trigger the gun

You know you (ya) can't stop it
so don't rock it
You know you got it

Hey, but are you gettin' it?
really gettin' it?
Come get it from me

Gimme all of you lovin' - ev'ry little bit
Gimme all that you got - ev'ry bit of it
Ev'ry bit of your lovin - oh, c'mon live a bit
Never want it to stop

Yeah, but are you gettin' it? - Armageddon it!
Ooh, really gettin' it? - Yes, Armaggedon it!

You try comin' on when you need some...
But then you don't 'cos you already did
Yeah, you jangle your jewels while your shakin' ya...
And drive the pretty boys outta their heads

You got it, but are you gettin' it?

You flash your bedroom eyes like a jumpin' jack...
Then play it pretty with a pat on the back

You know you (ya) can't stop it
So don't rock it
You know you got it
Hey, but are you gettin' it?
Ooh, really gettin' it?
Come get it from me

Repeat Bridge

Repeat Chorus

C'mon, Steve, get it

[guitar solo]
Take it, take it, take it from me
I got an itchy finger following me
Pull it, pull it, c'mon trigger the gun
'Cos the best is (a) yet to come, I say
'Cos the best is yet to come

Are you gettin' it? Really gettin' it?
Yes, are you gettin' it, really gettin' it?
Oh, come get it from me

Gimme all of you lovin' - ev'ry little bit
Gimme all that you got - ev'ry bit of it
Ev'ry bit of your lovin' - Oh come on live a bit
Never want it to stop - Oh, are you getting it?
Gimme all of your lovin' - Ooh really gettin' it?
Gimme all that you got - Oh are you getting it?
Gimme all of your lovin' - Oh live a bit
Gimme all that you got - Whoa, live a bit

You've got to live it - gimme all of your lovin'
Ooh baby live it - gimme all that you got
C'mon and give it - ev'ry bit of your lovin'
Oh come on and give it - Never want it to stop
Oh are you gettin' it? - Gimme all of your lovin'
Ooh really gettin' it? - Gimme all that you got
Oh are you gettin' it? - Ev'ry bit of your lovin'
Oh live a bit - Never want it to stop

Gods of War

(Clark, Collen, Elliott, Lange, Savage) Feelin' like it's all over, feelin' like there's no love
Feelin' like it's not easy, breathin' life in the dust
On a countdown to zero take a ride on the nightmare machine

There ain't gonna be heroes
There ain't gonna be anything
Oh
Here it comes, here comes the night
Here it comes, hell in the night
Here it comes, here comes the night

When we all fall down
When we walk into silence
When we shadow the sun
When we surrender to violence
Oh
Then the damage is done
Put away that gun!

I don't wanna be there
I don't wanna be anywhere
Oh!

Repeat Bridge

That's right!
We're fightin' for the gods of war but what the hell we fightin' for?
We're fightin' with the gods of war but I'm a rebel

[guitar solo]

And I ain't gonna fight no more no way!
On a countdown to zero
Take a ride on the nightmare machine
There ain't gonna be heroes
(Whoa)
There ain't gonna be anything
No!

Repeat Bridge

Don't ya know that's right!

Repeat Chorus

And (a) I ain't gonna fight no more

(Stop)
Stop fightin' for the gods of war
(Stop fightin' for the gods of war)
Yeah what the hell we fightin' for?
(What in the hell we fightin' for?)
We're fightin' with the gods of war
Heavy!

Don't Shoot Shotgun

(Clark, Collen, Elliott, Lange, Savage) Run for cover
(Run for cover)
Don't shoot! - Shoot!
She's so dangerous
(Shotgun!)
(Gun!)
(Don't shoot shotgun!)

Maybe I'm wrong, maybe I'm right
Fallin' head over heals at the speed of light
Hey little miss heaven on earth
Whoa, won't you walk this way but I see a red alert
Oh, my senses say keep away
So don't shoot!

Don't shoot shotgun
Dream on nightmare
Touch 'n' go
Dove turned destroyer, she cut you up, she's a slave of love

Run for cover, she's so dangerous
Undercover, she's so shameless

Don't shoot shotgun
You got me bitin' my lip
Don't shoot shotgun!
Ya shootin' straight from the hip

So don't shoot shotgun
Shoot me, baby!
Ow!

Hit 'n' miss, flesh and blood
She's sweet and indiscreet, she can't get enough
A little midnight madness
Oh baby, you can't hide
So wild 'n' unpredictable
Step aside
'Cos you're, you're shooting wide

Run for cover, she's so dangerous
Undercover, she's so shameless

Repeat Chorus

Oh
Shake it, shake it!
Ah, take this, little hit 'n' miss

[guitar solo]

Repeat Chorus

Don't shoot it!
Don't shoot shotgun!
Shake it, shake it!
Aw, take this little hit 'n' miss
Ow!
(Don't shoot shotgun!)
Oh shoot it!
Don't shoot it!
Uh, Oh shotgun!
Shoot me, baby!
Ow!
Let it blow!

Run Riot

(Clark, Collen, Elliott, Lange, Savage) Ah
Living by the law is a bloody necessary bore
Everybody are you gettin' what you're lookin' for?
Livin' by the rule is somethin' that you gotta do!
But does it matter if we
(Break a rule or two?)

Get up, break out, don't be the odd one out
Livin' on the edge, I'm a tryin' to keep a level head

Ev'ry morning it's a bummer gettin' out of bed
Same old story does a nothin' ever ever change?
Yeah, they lock me up and then they let me out again

Get up! - Break out!
Don't be the odd one out
C'mon, it's alright we're hot tonight

You better run - Run riot
You gotta run - Run riot
You know the time has come
Run - Run riot
I mean ev'ryone
Run - Yeah, run riot

Oh, gotta riot babe

Goin' thru the motions desperation guaranteed
Whoa, get f-f-frustrated easily
Pedal to the metal senses working overtime
Hey, gonna fight to the finish baby
Draw the line!

Repeat Chorus

(Night night night)
Run - Run riot
You gotta run - Run riot
You know the time has come
Run - Run riot
I mean ev'ryone
Run - Yeah, run riot
Speak to me!

[guitar solo]

They lock me up, they let me out but I'm up and runnin'
I scream and shout

Repeat Chorus

You better run - Run riot
You gotta run - Run riot
You know the time has come
Run - Run riot
C'mon, run with me
Run - Run riot
Run - Run riot

Hey!
I'll take you from your misery
C'mon! Stick with me!

Hysteria

(Clark, Collen, Elliott, Lange, Savage) Out of touch, out of reach yeah
You could try to get closer to me
I'm in luck, I'm in deep, yeah
Hypnotized, I'm shakin' to my knees

I gotta know tonight
If you're alone tonight
Can't stop this feeling
Can't stop this fire

Oh, I get hysterical, hysteria
Oh can you feel it, do you believe it?
It's such a magical mysteria
When you get that feelin', better start believin'
'Cos it's a miracle, oh say you will, ooh babe
Hysteria when you're near

Out of me, into you yeah
You could hide it's just a one way street
Oh, I believe I'm in you, yeah
Open wide, that's right, dream me off my feet
Oh, believe in me

I gotta know tonight
If you're alone tonight
Can't stop this feeling
Can't stop this fire

Repeat Bridge

Repeat Chorus

Oh, I get hysterical, hysteria
Oh can you feel it, do you believe it?
It's such a magical mysteria
When you get that feelin', better start believin'
'Cos it's a miracle, oh say you will

Ooh babe
Hysteria when you're near
Come on

[guitar solo]

Repeat Bridge

Repeat Chorus

Excitable

(Clark, Collen, Elliott, Lange, Savage) "Are you excitable?"
(Stand up, say yeah, stand up)
(Stand up, say yeah, stand up, never go down)
Hey! Hey!
Check it out!

Ah, this o-o-obsession
It's gettin' a-invitin'
A little (a) X-rated
A little bit excitin'

Stand up - stand up
Say yeah
Stand up - stand up
Stand up - stand up
Say yeah
Say yeah

Stand up - C'mon get in the groove
Ya know I get so - Excitable
I really get so - Excitable
I wanna get you - Excitable

So c'mon, let's go!
Ah, baby, don't say no

(Oooh)
Ah, this te-temptation
It gets-a a-outrageous
Ha! It's such (a) a sensation
A little bit co-contagious

Repeat Bridge

Repeat Chorus

So baby, let's go!

[interlude]

"Are you excitable?" - "Are you excitable?"
This o-o-obsession
Check it out
Hey!

Inch by inch, mile by mile, what I do I do in style
You got your leather, la-lace, long and lean
Ballistic (a) lipstick dream machine

You got to do it!
Ah, do it, do it!
Hey, c'mon and do it!

Repeat Chorus

So, c'mon, let's go!

Repeat Chorus

Ya got me shiverin' - Excitable
Shakin' and shiverin'

Love and Affection

(Clark, Collen, Elliott, Lange, Savage) You got the fire, baby, I got the heat, can you handle it?
I got the time, baby, you got the need, oh surrender it
Oh, it's a passion crime with a danger sign, oh, can you handle it?

You're just another girl, I'm just another man, it's just another night
Whoa yeah
Don't gimme love and affection or what you think it should be
Don't gimme love, the wrong reason, yeah, it don't matter to me

I got the heart, baby, you got the beat, take a chance on me
We got the night baby, we got the dream, oh imagine it
Oh, it's a passion crime with a danger sign, oh, can you handle it?

You're just another girl, I'm just another man, it's just another night
Whoa yeah
Don't gimme love and affection or what you think it should be
Don't gimme love, the wrong reason, yeah, it don't matter to me

I don't need your understandin'
Oh babe can't you understand me
C'mon try it and see

[guitar solo]

Oh
It's a passion play in a diff'rent way, oh can you handle it, yeah

You're just another girl, I'm just another man, it's just another night
Whoa yeah
Don't gimme love and affection or what you think it should be
Don't gimme love, the wrong reason, yeah, it don't matter to me

I don't need your understandin'
Oh babe can't you understand me?
I don't need it
Don't need your heart
I don't need no understandin'
No affection

Don't give me love - and affection
Don't gimme love, gimme what you got
I don't need the wrong reason
I don't need your understandin'

Give me all you got
Give it all, give it all
Give it all
Don't give me love
I don't need the wrong reason

Dl Lyrics page three

forbidden69 — Sun, 26 Aug 2007 16:09:03 CDT

Now

(Frederiksen, Collen, Elliott, Campbell, Savage, Allen)
I wanna know you better
Let's spend some time together
I wanna be what's on your mind
Look in my eyes they're callin'
I need your love to fall in
If you could just give me a sign

I can't get over baby
I can't get over now
I can't get over this feelin' I feel

Now, right now
If the fire inside you
Feels like I feel
Now, right now
Deep inside of me
Deep inside of me

I'm tired of make believin'
I'm lost and barely breathin'
I'm on the ceiling help me down
So stop my heart from achin'
I'll be the risk you're takin'
And I won't rest until you're mine

I wanna show you baby
I wanna show you now
I wanna tell you this feelin' I feel

Now, right now
If the fire inside you
Feels like I feel
Now, right now
If it's love you're cravin'
It's a love worth savin'

I can't get over this feelin' I feel now, yeah
Now, right now
Let the fire inside you
Burn like I do
Now, right now
If it's love you're cravin'
It's a love worth savin'
Deep inside of me
Deep inside
Deep inside of me
Deep inside of me
Deep inside

Unbelieveable

(Aldeheim, Carlsson, Martin) Hey
Yeah

Had your name all tattooed on my heart
'Cos God, how could this be wrong
It's unbelievable, unbelievable
Just the picture of me left out
In this Hollywood babylon
Was unbelievable, unbelievable
So let my greatest fear walk out the door
This ain't what we're fightin' for

You don't say that it's over
Never thought this could die
But you speak without words
Makin' me feel so damn good
Bye
It's unbelievable

Girl, I picture how the ghost of you
Would follow me everywhere
It's undeniable, unbelievable
If I couldn't feel your velvet lips
Y' fingers run through my hair
It's inconceivable, unbelievable
So let my greatest fear walk out the door
This ain't what we're fightin' for

You don't say that it's over
Never thought this could die
But you speak without words
(Speak without words)
Makin' me feel so damn good

Did you really think about it
What we could be missing
I find it so hard to believe
Yeah

Unbelievable
It's unbelievable, yeah

You don't say that it's over
Never thought this could die
But you speak without words
(Speak without words)
Makin' me feel so damn good
You don't say that it's over
Never thought this could die
Oh, but you speak without words
(Speak without words)
Makin' me feel so damn good, bye
Makin' me feel so damn good
Bye
Unbelievable
Yeah
Unbelievable

You're So Beautiful

(Frederiksen, Collen, Elliott, Campbell, Savage, Allen) You say all I do is think about you
That's right, you're the only thing that's on my mind
Your light, won't you let it shine on me, yeah
All night, hold me tight and don't let go
'Cos I can't help myself, y'know

(It's OK) I know what I got
(Alright) I know that it's hot
(All good) And you're what I want
(Alright) 'Cos you're so beautiful
(It's OK) One thing on my mind
(Alright) I'm so in love
(All good) And so alive
(Alright) 'Cos you're so beautiful

Yeah, an angel from the sky
The sparkle in my eye
I can't believe you're mine
Na na na na na

Sometimes you slip 'n' slide through my emotions
So high, take me up and spin me 'round
'Cos I don't wanna come back down

(It's OK) I know what I got
(Alright) I know that it's hot
(All good) And you're what I want
(Alright) 'Cos you're so beautiful
(It's OK) One thing on my mind
(Alright) I'm so in love
(All good) And so alive
(Alright) 'Cos you're so beautiful

Yeah, an angel from the sky
The sparkle in my eye
I can't believe you're mine
Na na na na na

(It's OK) You're so beautiful
(It's alright)

I can't believe you're mine
An angel from the sky
The sparkle in my eye
Gets better every time
Na na na na na

(It's OK) I know what I got
(Alright) I know that it's hot
(All good) And you're what I want
(Alright) 'Cos you're so beautiful
(It's OK) One thing on my mind
(Alright) I'm so in love
(All good) And so alive
(Alright) 'Cos you're so beautiful

(It's OK) You're under my skin
(Alright) My head's in a spin
(All good) Again and again
(Alright) 'Cos you're so beautiful
(It's OK) I look in your eyes
(Alright) I'm so in love
(All good) And so alive
(Alright) 'Cos you're so beautiful

(It's OK)
(It's alright)
(It's all good)
(It's alright)
'Cos you're so beautiful
(It's OK)
(It's alright)
(It's all good)
(It's alright)
'Cos you're so beautiful

Everyday

(Frederiksen, Collen, Elliott, Campbell, Savage, Allen) I gave in when you gave out
You showed me the way to love
There ain't no doubt
Always together and never apart

Disappeared, didn't say a word
Slept right through, guess I never heard
Now I'm awake but I wish I was dreamin'

Everyday without you in my heart
Everyday I'm fallin' apart
And I know you know I think about you
Everyday

I woke up and you were gone
Just one night without you
Is too long

Sleeping with the ghost of you
Dying with or without you
Don't wanna feel this way tomorrow

Everyday without you in my heart
Everyday I'm fallin' apart
And I know you know I think about you
Everyday

Don't know what you got until it's gone

Everyday without you in my heart
Everyday I'm fallin' apart
And I know you know I think about you
Everyday 'til I see you again
Everyday I'll try to pretend
That I know you know I think about you

Everyday
Outta my head all the days are confused
Everyday
I'm lost but it's you that I don't wanna lose
Everyday
We're torn 'til we're givin' ourselves to each other

Long, Long Way To Go

(W. Hector, S. Robson) You held my hand and then you slipped away
And I may never see your face again
So tell me how to fill the emptiness inside
Without love, what is life?
And anyone who knew us both can see

We always were the better part of me
I never wanted to be this free
And all this pain, when does it go away?

Then everytime I turn around

And you're nowhere to be found
I know

I gotta long long way to go
Before I can say goodbye to you
Oh, I gotta long long way I know
Before I can say goodbye
To all I ever knew, to you
To you

From memory there is no hiding place
Turn on the TV and I see you there
In every crowd there's always someone with your face
Everywhere, trying not to care

Then everytime I turn around
And you're nowhere to be found
I know

I gotta long long way to go
Before I can say goodbye to you
I gotta long long way I know
Before I can say goodbye
To all I ever knew

To you I wish you everything
And all the best that life can bring
I only hope you think of me sometimes
Oh, and even though I feel the pain
I know that I will love again
The time will come
Oh, and I'll move on

I gotta long long way to go
Before I can say goodbye to you
Oh, I gotta long long way I know
Gotta long way to go
Before I can say goodbye
Before I say goodbye
To all I ever knew
To all I ever knew
I gotta long way to go
Before I say
Say goodbye, say goodbye
But I wish you the best girl
Oh and all of the rest to you

Four Letter Word

(Collen, Elliott, Campbell, Savage, Allen) Ain't just your kiss, K-I-S-S, that I miss
Ain't just the way that you squeeze me tight
If there's a wish at the top of my list
Is that you be there everyday and every night

I found a new four letter word
The sweetest sound that I ever heard
I found a new four letter word
Lust can kinda be nice
But it ain't L-O-V-E

Indeedy
Alright

And when the rush that I'm dreamin' of's not enough
You touch and I can't control myself
You put the glide back into my stride, oh yeah
You move me like nobody else

I found a new four letter word
The sweetest sound that I ever heard
I found a new four letter word
Lust can kinda be nice
But it ain't L-O-V-E

Oh yeah
Let me spell it out
C'mon

You're all I'm lookin' for
You ain't the girl next door
You're real and so much more
You put me to shame
And then you walk right in
You know I can't explain
Here come that lovin' thing
All over again

Live life just like a wild ride
More like a landslide
Take me away

New four letter word
The sweetest sound that I ever heard
I found a new four letter word
The sweetest sound that I ever heard
New four letter word
And baby, the sweetest sound that I ever heard
New four letter word

Hey
Lust can kinda be nice
But it ain't L-O-V-E

Torn To Shreds

(Collen, Elliott, Campbell, Savage, Allen) I don't wanna fall in love
But it's been taken out of my hands
And right now I realize
I don't wanna say goodbye

I miss you more than words can say
They never turn out right
But here goes anyway

Everyday I miss your touch
Never thought it would mean so much
All the words I could have said
Got me reelin' torn to shreds
Every road I go is nowhere
But I know you're out there somewhere
These voices in my head
Got me feelin' torn to shreds

I can't help the way I feel
But somethin's got a hold of my heart
It hurts that I can't let go
Now I just wanna let you know

I need you more than words can say
They never turn out right
But here goes anyway

Everyday I miss your touch
Never thought it would mean so much
All the words I could have said
Got me reelin' torn to shreds
Every road I go is nowhere
But I know you're out there somewhere
These voices in my head
Got me feelin' torn to shreds

If I ever get myself together
And it takes whatever it takes
To get myself back to you

Everyday I miss your touch
Never thought it would mean so much
All the words I could have said
Got me reelin' torn to shreds
Every road I go is nowhere
But I know you're out there somewhere
These voices in my head
Got me feelin' torn to shreds

Love Don't Lie

(Collen, Elliott, Campbell, Savage, Allen) Time
Just watching the time slippin' away
Gimme a sign
Where do you go when you can't find the way

So we watch and we wait
And we crawl and we kneel
If you know who you are
Then you know how to feel
In time
Maybe temptation is all that you need

Love don't lie
It lifts you up
Takes you higher when high ain't enough
Love don't lie
It's stronger than steel
It's got the heart and emotion to heal
It's not as easy as it seems
When you can't even sleep in your dreams
Love don't lie
And that's the truth
Look me straight in the eye for the proof
That love don't lie
Yeah, love don't lie

Out in the cold
With a love that burns like the sun
You've stolen my soul
So justice would seem to be done

So we hope and we pray
And we live and we learn
If we know where we are
Then we know where to turn
In time
Maybe persuasion is all that you need

Love don't lie
It lifts you up
Takes you higher when high ain't enough
Love don't lie
It's stronger than steel
It's got the heart and emotion to heal
It's not as easy as it seems
When you can't even sleep in your dreams
Love don't lie
And that's the truth
Look me straight in the eye for the proof
That love don't lie

Love don't lie
It lifts you up
Takes you higher when high ain't enough
Love don't lie
It's stronger than steel
It's got the heart and emotion to heal
Love don't lie
It lifts you up
Takes you higher when high ain't enough
Love don't lie
And that's the truth
Look me straight in the eye
Straight in the eye for the proof
Love don't lie
Yeah love don't lie
Oh, oh
Love don't lie
Yeah love don't lie

Gravity

(Collen, Elliott, Woodroffe, Campbell, Savage, Allen) Can't sleep at night
The darkness enslaves me
I turn out the light
And no one can save me

So try not to stare 'cos I'm stripped to the bone
It's a trick of the light and I'm lost

Feel like I'm fallin'
Gravity is draggin' me
My head's about to break
(Can't break my fall)
Insanity inside of me
It's like I'm wide awake
Feel like I'm fallin'
Can't recognize, I'm hypnotized
These feelings can't be fake
(Can't take it all)
This gravity is killin' me
I can't stand up for fallin' down

I lie to myself
It don't make it easy
If somebody else
Would only believe me

My sweat soaks the sheets and I'm hung out to dry
It's a trick of the light and I'm lost

Feel like I'm fallin'
Gravity is draggin' me
My head's about to break
(Can't break my fall)
This gravity is killin' me
I can't stand up for fallin' down
Feel like I'm fallin'

Wake up
Don't try to catch me
Just let me fall
Eyes wide shut
Don't make a sound
Keep fallin' till I hit the ground

Feel like I'm fallin'
Gravity is draggin' me
My head's about to break
(Can't break my fall)
Insanity inside of me
It's like I'm wide awake
Feel like I'm fallin'
Can't recognize, I'm hypnotized
These feelings can't be fake
(Can't take it all)
This gravity is killin' me
I can't stand up for fallin' down
Feel like I'm fallin'
Gravity is draggin' me
My head's about to break
(Can't break my fall)
Insanity inside of me
It's like I'm wide awake
Feel like I'm fallin'
Can't recognize, I'm hypnotized
These feelings can't be fake
(Can't take it all)
This gravity is killin' me
I can't stand up for fallin' down

Cry

(Collen, Elliott, Savage, Campbell, Allen) Here comes the flood
Can you feel the love
Washin' over you
Like a tidal wave inside of you
Here comes the night
Can you see the light
Shinin' like the sun
You wanna hide
But it's got you on the run

Every word you say
Is takin' your breath away

Cry, the demons that you hide
Screamin' through the night
They won't forget you
Comin' down, comin' down
Comin' down, comin' down
Need, the circus you gotta feed
The wound that never heals
It don't let go
Comin' down, comin' down
Comin' down, comin' down

She's here again
Your only friend
Watchin' over you
She never takes her eyes away from you
She's wide awake
And she lies in wait
Your chosen bride
A mother, a lover
The kick inside

Every single day
It's takin' your breath away

Cry, the demons that you hide
Screamin' through the night
They won't forget you
Comin' down, comin' down
Comin' down, comin' down
Need, the circus you gotta feed
The wound that never heals
It don't let go
Comin' down, comin' down
Comin' down, comin' down

It's been so long since I come undone
I'm slippin' in to my second skin

Cry, the demons that you hide
Screamin' through the night
They won't forget you
Comin' down, comin' down
Comin' down, comin' down
Need, the circus you gotta feed
The wound that never heals
It don't let go
Comin' down, comin' down
Comin' down, comin' down

Girl Like You

(Campbell, Collen, Elliott, Savage, Allen) Boy meets girl in prime of life
Blinded by big city lights
I'm on fire and you're the flame
You inspire the road I take
You take me to a better place
You're the sun and I'm the rain

You're all that I need to make me believe
I'm over the edge but I'm not afraid
'Cos I know it's true

With a girl like you (like you) to be by my side
With a girl like you, love me for the inside
With a girl like you I set the scene to follow
With a girl like you, love for all tomorrow
With a girl like
You

You were raised to be so good
I grew up misunderstood
We were distant worlds apart
Feels so right it's meant to be
Shootin' stars and chemistry
They unite a beating heart

You're pullin' me up, I can't get enough
Comin' on strong but I'm not that tough
But I know it's true

With a girl like you (like you) to be by my side
With a girl like you, love me for the inside
With a girl like you I set the scene to follow
With a girl like you, love for all tomorrow
With a girl like...

You
You

With a girl like you (like you) to be by my side
With a girl like you, love me for the inside
With a girl like you I set the scene to follow
With a girl like you, love for all tomorrow
With a girl like
You

Let Me Be The One

(Elliott, Campbell, Collen, Savage, Allen) Something in the way you move
Let's me get too close to you
I tremble when I look at your face
And I want all the world to see
Tonight the world belongs to me
Touch me with your animal grace

Put your hand on my heart
And feel the need in me

Let me be the one
Lead me into temptation
And show me the right side of wrong
Let me be the one
Take me in from the cold
Gimme something to hold
Let me be the one
Let me be the one

Burnin' in the afterglow
We catch the wind and let it go
Washed away like words in the sand
A passion that's so physical
Electric and untouchable
Don't want to let it slip through my hands

Put your hand on my heart
And feel the need in me

Let me be the one
Lead me into temptation
And show me the right side of wrong
Let me be the one
Take me in from the cold
Gimme something to hold

Don't let this dream pass by
Just spread your wings and fly
Reach out and touch
Let your heart just breathe me in
I'll be your oxygen

Put your hand on my heart
Feel the need in me

Let me be the one
Lead me into temptation
And show me the right side of wrong
Let me be the one
Take me in from the cold
Gimme something to hold
Let me be the one
Let me be the one
Oh, oh
Let me be the one
Let me be the one

Scar

(Collen, Elliott, Campbell, Savage, Woodroffe, Allen) How can I know
How can I see it through your eyes
Now you know
All those promises were lies

You close your eyes
You close your mind
To all you lost
I count the days
I count the ways
I count the cost

All that you are - no conscience
All you believe - no crime
All that you take - no reason
All that you leave - no rhyme
All that you lose - no sorrow
All that you find - no shame
Can't take away the scar you left behind
How do you cry
When you've run right out of tears
You justify
But the pain won't disappear

I count the days
I count the ways
I count the cost

All that you are - no conscience
All you believe - no crime
All that you take - no reason
All that you leave - no rhyme
All that you lose - no sorrow
All that you find - no shame
Can't take away the scar you left

Wake up

You close your eyes
You close your mind
To all you lost
I count the days
I count the ways
I count the cost

All that you are - no conscience
All you believe - no crime
All that you take - no reason
All that you leave - no rhyme
All that you lose - no sorrow
All that you find - no shame
Can't take away the scar you left behind

Kiss The Day

(Savage, Collen, Elliott, Campbell, Allen) These are the days we throw away
The words we never say
A time so fragile and so wrong
And we're still knocking on the door
Of a world that's gone before
Until the real thing comes along

Kiss the day on its way
And the sun will never shine
In your eyes, like the skies
And the darkness will arise
Kiss the day in a way
It holds you in its arms
And the light will never fade
Kiss the day

And now I've seen enough to know
Though the truth can leave you cold
It can always lead you home
Back to the place where we belong
To the time when we were strong
When we could roll away the stone

Kiss the day on its way
And the sun will never shine
In your eyes, like the skies
And the darkness will arise
Kiss the day in a way
It holds you in its arms
And the light will never fade
Kiss the day
Kiss the day

These are the days we throw away
The words we never say
Until the real thing comes along

Kiss the day on its way
And the sun will never shine
In your eyes, like the skies
And the darkness will arise
Kiss the day in a way
It holds you in its arms
And the light will never fade
Kiss the day

Long, Long Way To Go (acoustic)

Rebel Rebel

(David Bowie) Got your mother in a whirl
She's not sure if you're a boy or a girl
Hey, babe, your hairs alright
Hey, babe, lets go out tonight
You like me, and I like it all
We like dancing, and we look divine
You love bands when they play it hard
You want more, and you want it first
Put you down, say I'm wrong
You tacky thing, you put them on

Rebel Rebel, you've torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

Doo doo doo-doo doo doo doo doo

Got your mother in a whirl 'cause
She's not sure if you're a boy or a girl
Hey, babe, your hairs alright
Hey, babe, lets go out tonight
You like me, and I like it all
We like dancing, and we look divine
You love bands when they play it hard
You want more, and you want it first
Put you down, say I'm wrong
You tacky thing, you put them on

Rebel Rebel, you've torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

Rebel Rebel, you've torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so much!

You've torn your dress, your face is a mess
You can't get enough, but enough ain't the test
You've got transmission and a live wire
Got your cue lines and a handful of ludes
You wanna be there when they count up the dues
And I love your dress
You're a juvenile success
Because your face is a mess
So how could they know?
I said, how could they know?
To what you wanna know
Calamity's child, chi-chile, chi-chile
Where'd you wanna go? (rebel rebel)
Can I do for you? Looks like you've been there too
'Cause you've torn your dress (rebel rebel)
And your face is a mess
Ooo, ooo, your face is a mess (rebel rebel)
Ooo, ooo, so how could they know? (rebel rebel)
How could they know? Hah
Hah-hah

Stay With Me

(Ron Wood, Rod Stewart) In the morning
Don't say you love me
Cause I'll only kick you out of the door

I know your name is Rita
Cause your perfume smelling sweeter
Since when I saw you down on the floor

guitar

Won't need to much pursuading
I don't mean to sound degrading
But with a face like that
You got nothing to laugh about

Red lips hair and fingernails
I hear your a mean old jezabel
Let's go up stairs and read my tarot cards

Come on yeah

Stay with me
Stay with me
For tonight you gonna stay with me

Stay with me
Stay with me
For tonight you better stay with me

Come on

So in the morning
Please don't say you love me
Cause you know I'll only kick you out the door

Yea I'll pay your cab fare home
You can even use my best cologne
Just don't be here in the morning when I wake up

Come on yeah

Stay with me
Stay with me
Cause tonight you better stay with me
Sit down, get up, get down

Stay with me
Stay with me
Cause tonight you're going stay with me
Hey, whats your name again
oh no, get down, wooo

10X Bigger Than Love

(Elliott, Collen, Campbell, Savage, Allen) I lost my heart to infatuation
You can't cure that with a vaccination
A bad blood is pumping through my veins
I can't slow down, livin' life in the fast lane

Your body language, it's telepathic
I'm caught up in the middle of a two-way traffic
Wondering if this is the impossible dream
Or whether we could make such a beautiful team

I don't know what to do when I get this feeling
I don't know what it is but it stops me breathin'
A little white lie that you got to believe in
Don't know what it is but it's ten times bigger than love

Intoxicated 'till I can't feel a thing
I feed my thirst on your unchained adrenaline
My body's shakin' like a man on the run
You blow my mind like sex and machine guns

I got scars and bloody knuckles
Diggin' for a diamond in a whole lotta trouble
You detonate me like a nuclear bomb
Wiped out and sleepin' with the TV on

I don't know what to do when I get this feeling
I don't know what it is but it stops me breathin'
A little white lie that you got to believe in
Don't know what it is but it's ten times bigger than

Love is love, it ain't always right
Make you sweat, keep you up all night
Walkin' in with your eyes wide open
You're looking out on a lost horizon
Always something to knock you over
And make you feel like you're getting nowhere
If you can't stand up when you're on your knees
Then close your eyes and float up to the breeze

I've lost my heart but, hey, you can keep it
'Cause it ain't no good at keeping a secret
It's got me doing things that I'd never do
Another fine mess that it's gotten me into

I don't know what to do when I get this feeling
I don't know what it is but it stops me breathin'
A little white lie that you got to believe in
Don't know what it is, I don't know what it is

I don't know what to do when I get this feeling
I don't know what it is but it stops me breathin'
A little white lie that you got to believe in
Don't know what it is but it's ten times bigger than love

Gimme A Job

(Elliott, Collen, Campbell, Savage, Allen) I need a job
I need it right now
Not just any old job
But I need it right now

It's gotta be a good one
It's gotta last
Longer than the other ones
In the past

I can work hard
And do my thing
Twenty-four seven
Anything

Yeah

Gimme a job
My love is unemployed
Gimme a job
And my heart ain't overjoyed
Gimme a job
I don't mean to be paranoid
So come on over baby
And gimme a job

Oh yeah

I don't care
If the pay's no good
Just gimme some shelter
And throw me some food

I can do the overtime
And I won't strike
Sign on the dotted line
Anything you like

Yeah

Gimme a job
My love is unemployed
Gimme a job
And my heart ain't overjoyed
Gimme a job
I don't mean to sound paranoid
So come on over baby
And gimme a job

[guitar solo]

I don't need no money
To make my dream come true
I don't need anything
All I want is you

Ain't that the truth!

Uh!

Gimme a job
My love is unemployed
Gimme a job
And my heart ain't overjoyed
Gimme a job
I don't mean to be paranoid
So come on over baby

Gimme a job
My love is on it's knees
Gimme a job
If you want it, then baby please
Gimme a job
Get me out of this deep, deep freeze
So come on over baby
And gimme a job

20th Century Boy

T. Rex Oow
Friends say it's fine, friends say it's good
Ev'rybody says it's just like rock'n'roll
I move like a cat, charge like a ram
Sting like a bee, babe I wanna be your man
Well it's plain to see you were meant for me, yeah
I'm your boy, your 20th century toy

Friends say it's fine, my friends say it's good
Ev'rybody says it's just like rock'n'roll
Fly like a plane, drive like a car
Ball like a hen, babe I wanna be your man - oh
Well it's plain to see you were meant for me, yeah
I'm your toy, your 20th century boy

20th century toy, I wanna be your boy
20th century toy, I wanna be your boy
20th century toy, I wanna be your boy
20th century toy, I wanna be your boy

Friends say it's fine, friends say it's good
Ev'rybody says it's just like rock'n'roll
Move like a cat, charge like a ram
Sting like I feel, babe I wanna be your man
Well it's plain to see you were meant for me, yeah
I'm your toy, your 20th century boy

20th century toy, I wanna be your boy
20th century toy, I wanna be your boy
20th century toy, I wanna be your toy
20th century boy, I wanna be your toy

Rock On

David Essex Hey kid, rock and roll
Rock on, ooh, my soul
Hey kid, boogey too, did ya

Hey shout, summertime blues
Jump up and down in my blue suede shoes
Hey kid, rock and roll, rock on

And where do we go from here
Which is the way that's clear

Still looking for that blue jean, baby queen
Prettiest girl I ever seen
See her shake on the movie screen, Jimmy Dean
(James Dean)

[Instrumental Interlude]

And where do we go from here
Which is the way that's clear

Still looking for that blue jean, baby queen
Prettiest girl I ever seen
See her shake on the movie screen, Jimmy Dean
Jimmy Dean
Rock on
Rock on
Rock on

Hey, hey
Rock and roll
Rock on

Rock on
Hey, hey
Rock and roll
Rock on

Rock on
Hey, hey
Rock and roll
Rock on

Rock on
Hey, hey
Rock and roll
Rock on........

Hanging On The Telephone

Blondie I'm in the phone booth, it's the one across the hall
If you don't answer, I'll just ring it off the wall
I know he's there, but I just had to call
Don't leave me hanging on the telephone
Don't leave me hanging on the telephone
I heard your mother now she's going out the door
Did she go to work or just go to the store
All those things she said, I told you to ignore
Oh why can't we talk again
Oh why can't we talk again
Oh why can't we talk again
Don't leave me hanging on the telephone
Don't leave me hanging on the telephone

It's good to hear your voice, you know it's been so long
If I don't get your call then everything goes wrong
I want to tell you something you've known all along
Don't leave me hanging on the telephone

I had to interrupt and stop this conversation
Your voice across the line gives me a strange sensation
I'd like to talk when I can show you my affection
Oh I can't control myself
Oh I can't control myself
Oh I can't control myself
Don't leave me hanging on the telephone

Hang up and run to me
Whoah, hang up and run to me
Whoah, hang up and run to me
Whoah, hang up and run to me
Whoah oh oh oh run to me

Waterloo Sunset

The Kinks Dirty old river, must you keep rolling
Flowing into the night
People so busy, makes me feel dizzy
Taxi light shines so bright
But I dont need no friends
As long as I gaze on waterloo sunset
I am in paradise

Every day I look at the world from my window
But chilly, chilly is the evening time
Waterloo sunsets fine

Terry meets julie, waterloo station
Every friday night
But I am so lazy, dont want to wander
I stay at home at night
But I dont feel afraid
As long as I gaze on waterloo sunset
I am in paradise

Every day I look at the world from my window
But chilly, chilly is the evening time
Waterloo sunsets fine

Millions of people swarming like flies round waterloo underground
But terry and julie cross over the river
Where they feel safe and sound
And the dont need no friends
As long as they gaze on waterloo sunset
They are in paradise

Waterloo sunsets fine

Hell Raiser

Sweet Look out!
Mama let me out on a saturday night, she said now
Go out and get her go and hold her tight
I said now Mama, you don't understand
Ev'ry time I touch her hand
It's like I'm burning in the fires of hell
And if I hold her too long
You never can tell what'll happen to me
I wouldn't want you to see

Look out
She's a hell raiser, star chaser, trail blazer
Natural born raver, yeah, yeah, yeah, yeah, yeah
She's a hell raiser, star chaser, trail blazer
Natural born raver, yeah, yeah, yeah
Look out!

She's like a live bomb shell
Like a flash out of hell
And when she's shaking her ooh
Everyone fell at her feet
And that's neat and she took me completely
By surprise with her ultra sonic eyes
That were flashing like hysterical danger signs
That said beware where you tread
Or you'll go out of your head

Look out
She's a hell raiser, star chaser, trail blazer
Natural born raver, yeah, yeah, yeah, yeah, yeah
She's a hell raiser, star chaser, trail blazer
Natural born raver, yeah, yeah, yeah
Look out!

Hell raiser, hell raiser, hell raiser
Hell raiser, hell raiser, ooh
Now Mama, you don't understand
Ev'ry time I touch her hand
It's like I'm burning in the fires of hell
And if I hold her too long
You never can tell what'll happen to me
I wouldn't want you to see...

10538 Overture

Electric Light Opera Did you see your friend crying from his eyes today
Did you see him run through the streets and far away
Aah
Did you see him run, did you see him fall
Did his life flash by at the bedroom door

Did you hear the news it came across the air today
Someone has been found on the rocks down in the bay
Ahhh
Did you see him hide, did you see him crawl
Does his life mean more than it did before

Did you see that man running through the streets today
Did you catch his face, was it 10538
Ahhhh

Street Life

Roxy Music Wish everybody would leave me alone -yeah
They're always calling on my telephone
When I pick it up there's no one there
So I walk outside just to take the air
Come on with me cruising down the street
Who knows what you'll see, who you might meet
This brave new world's not like yesterday -
It can take you higher than the milky way
Now I'm blinded I can't really see - yeah
No more bright lights confusing me - no
Don't ask me why I'm feeling blue
'Cause loving you is all I can do
Hey good-looking boys - gather around
The sidewalk papers gutter-press you down
All those lies can be so unkind,
They can make you feel like you're losing your mind
Street Life
Street Life
Street Life
What a Life
Back to nature boys - Vasser girls too
Watch what you say, or think, or do
Continental-style strasse girls might
But you know exactly if it´s wrong or right
Education is an important key - yes
But the good life's never won by degrees - no
Pointless passing through Harvard or Yale
Only window shopping - it's strictly no sale
Week end starts Friday soon after eight
Your jet black magic helps you celebrate
You may be stranded if you stick around
- And that's really something...

Drive-In Saturday

David Bowie Let me put my arms
around your head
Gee, it's hot, let's go to bed
Don't forget to turn on the light
Don't laugh babe, it'll be alright
Pour me out another phone
I'll ring and see
if your friends are home
Perhaps the strange ones in the dome
Can lend us a book we can read up alone

And try to get it on like once before
When people stared in Jagger's eyes
and scored
Like the video films we saw

His name was always Buddy
And he'd shrug and ask to stay
She'd sigh like Twig the Wonder Kid
And turn her face away
She's uncertain if she likes him
But she knows she really loves him
It's a crash course for the ravers
It's a Drive-in Saturday

Jung the foreman prayed at work
That neither hands nor limbs would burst
It's hard enough to keep formation
amid this fall out saturation

Cursing at the Astronette 8
Who stands in steel
by his cabinet
He's crashing out with Sylvian
The Bureau Supply
for ageing men

With snorting head he gazes to the shore
Which once had raised a sea
that raged no more

Like the video films we saw

His name was always Buddy
And he'd shrug and ask to stay
She'd sigh like Twig the Wonder Kid
And turn her face away
She's uncertain if she likes him
But she knows she really loves him
It's a crash course for the ravers
It's a Drive-in Saturday

It's a Drive-in Saturday
It's a Drive-in Saturday
It's a Drive-in Saturday
It's a Drive-in Saturday

Little Bit Of Love

Free I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh oh oh
Has gotta come your way.

Well in my mind
It's easy
To lose sight of the truth
But in my heart
I can't deny
My feeling inside

'Cos I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh oh oh
Has gotta come your way.

Man in the sky
You say you are flying
To lose sight of the world
You wanna stay high
Then don't deny
Your feeling inside

'Cos I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh oh oh
Has gotta come your way.

Yeahh!
Whooo!

I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh!
Has gotta come your way.

I believe
If you give
A little bit of love
To those you live with
A little bit of love
Whooooo
Has gotta come your way

The Golden Age Of Rock 'n' Roll

Mott The Hoople Ladies and Gentlemen,
The golden age of rock and roll....

Everybody hazy, shell-shocked and crazy.
Screaming for the face at the window.
Jeans for the genies, dresses for the dreamies,
Fighting for a place in the front row.

Ohhh, Ohhh, Ohhh
It's good for your body, it's good for your soul
Ohhh, Ohhh, let's go!
It's the golden age of rock and roll.

Well you getta little buzz, send for the fuzz,
Guitars getting higher and higher.
The dude in the paint thinks he's gonna faint,
Stoke more coke on the fire.

Ohhh, Ohhh, Ohhh
You gotta stay young, you can never grow old
Ohhh, Ohhh, Whoooa
It's the golden age of rock and roll.

The golden age of rock and roll will never die,
As long as children feel the need to laugh and cry.
Don't wanna smash - want a smash sensation,
Don't wanna wreck; just recreation,
Don't wanna fight - but if you turn us down
We're gonna turn you around gonna mess with the sound.

The show's gotta move, everybody groove
There ain't no trouble on the streets now.
So if the going gets rough,
Don't you blame us
You ninety-six decible freaks

Ohhh, Ohhh, Ohhh
Its good for body, its good for your soul
Ohhh, Ohhh, Whoooa
It's the golden age of rock and roll.

Ohhh, Ohhh, Ohhh
(You gotta stay young, you can never grow old)
Ohhh, Ohhh, Whoooa
(Its good for body, its good for your soul)
Ohhh, Ohhh, Whoooa
(It's the golden age of rock and roll)

Ohhh, Ohhh, Ohhh
(You gotta stay young, you can never grow old)
Ohhh, Ohhh, Whoooa
(Its good for body, its good for your soul)
Ohhh, Ohhh, Whoooa
(It's the golden age of rock and roll)

That's all

No Matter What

Badfinger No matter what you are
I will always be with you
Doesn't matter what you do girl
oh girl with you

No matter what you do
I will always be around
Won't you tell me what you found girl
oh girl won't you

Knock down the old brick wall
and be a part of it all
Nothing to say
nothing to see
nothing to do

If you would give me all
as I would give it to you
Nothing would be
nothing would be
nothing would be

No matter where you go
There will always be a place
Can't you see in my face girl
oh girl won't you

Knock down the old brick wall
and be a part of it all
Nothing to say
nothing to see
nothing to do

If you would give me all
as I would give it to you
Nothing would be
nothing would be
nothing would be

No matter what you are
I will always be with you
Doesn't matter what you do girl
oh girl want you

Oh girl, you girl, want you
Oh girl, you girl, want you

He's Gonna Step On You Again

John Kongos (He's gonna step on you again)
(He's gonna step on you again)
Hey, rainmaker, come away from that man
You know he's gonna take away your promised land
Hey, good lady, he just want what you got
You know he'll never stop until he's taken the lot

Gonna stamp out your fire, he can change your desire
Don't you know that he can make you forget you're a man?
Gonna stamp out your fire, he can change your desire
Don't you know that he can make you forget you're a man?

You're a man, he's a man!

Hey, rainmaker, he got golden plans, I tell you
He make you a stranger in your land
Hey, good lady, he got God on his side
He got a double tongue, you never think that he'd lie

Gonna stamp out your fire, he can change your desire
Don't you know that he can make you forget you're a man?
Gonna stamp out your fire, he can change your desire
Don't you know that he can make you forget you're a man?

You're a man, he's a man!

He's gonna step on you again
He's gonna step on you again
He's gonna step on you again
He's gonna step on you again

He's gonna step on you again
He's gonna step on you again
He's gonna step on you again
He's gonna step on you again

Hey, rainmaker, come away from that man
You know he's gonna take away your promised land
Hey, good lady, he got God on his side
He got a double tongue, you never think that he'd lie

Gonna stamp out your fire, he can change your desire
Don't you know that he can make you forget you're a man?
Gonna stamp out your fire, he can change your desire
Don't you know that he can make you forget you're a man?

You're a man, he's a man!

He's gonna step on you again
He's gonna step on you again
He's gonna step on you again
He's gonna step on you again

He's gonna step on you again
He's gonna step on you again
He's gonna step on you again
He's gonna step on you again

Don't Believe A Word

Thin Lizzy Don't believe me if I tell you
Not a word of this is true
Don't believe me if I tell you
Especially if I tell you that I'm in love with you

Don't believe me if I tell you
That I wrote this song for you
There might be some other silly pretty girl
I'm singing it to

Don't believe a word
For words are only spoken
Your heart is like a promise
Made to be broken

Don't believe a word
Words can tell lies
And lies are no comfort
When there's tear in your eyes

Don't believe me if I tell you
Not a word of this is true
Don't believe me if I tell you
Especially if I tell you that I'm in love with you

Don't believe a word
No don't believe a word
Don't believe me, don't believe me
Not a single word
Hey dontcha

Stay With Me

Ron Wood, Rod Stewart In the morning
Don't say you love me
Cause I'll only kick you out of the door

I know your name is Rita
Cause your perfume smelling sweeter
Since when I saw you down on the floor

guitar

Won't need to much pursuading
I don't mean to sound degrading
But with a face like that
You got nothing to laugh about

Red lips hair and fingernails
I hear your a mean old jezabel
Let's go up stairs and read my tarot cards

Come on yeah

Stay with me
Stay with me
For tonight you gonna stay with me

Stay with me
Stay with me
For tonight you better stay with me

Come on

So in the morning
Please don't say you love me
Cause you know I'll only kick you out the door

Yea I'll pay your cab fare home
You can even use my best cologne
Just don't be here in the morning when I wake up

Come on yeah

Stay with me
Stay with me
Cause tonight you better stay with me
Sit down, get up, get down

Stay with me
Stay with me
Cause tonight you're going stay with me
Hey, whats your name again
oh no, get down, wooo

American Girl

Tom Petty Well she was an American girl
Raised on promises
She couldn't help thinkin that there
Was a little more to life
Somewhere else
After all it was a great big world
With lots of places to run to
Yeah, an d if she had to die
Tryin' she had one little promise
She was gonna keep

Oh yeah, all right
Take it easy baby
Make it last all night
She was an American girl

It was kind of cold that night
She stood alone on her balcony
She could the cars roll by
Out on 441
Like waves crashin' in the beach
And for one desperate moment there
He crept back in her memory
God it's so painful
Something that's so close
And still so far out of reach

Oh yeah, all right
Take it easy baby
Make it last all night
She was an American girl

Search & Destroy

Iggy Pop I'm a street walking cheetah with a heart full of napalm
I'm a runaway son of the nuclear a-bomb
I am a world's forgotten boy
The one who searches and destroys

Honey gotta help me please
Somebody gotta save my soul
Baby detonate for me

Look out honey, 'cause i'm using technology
Ain't got time to make no apology
Soul radiation in the dead of night
Love in the middle of a fire fight

Honey gotta strike me blind
Somebody gotta save my soul
Baby penerate my mind

And i'm the world's forgotten boy
The one who's searchin', searchin' to destroy
And honey i'm the world's forgotten boyt
The one who's searchin', searchin' to destroy

Forgotten boy, forgotten boy
Forgotten boy said hey forgotten boy

Space Oddity

David Bowie Ground Control to Major Tom
Ground Control to Major Tom
Take your protein pills and put your helmet on

Ground Control to Major Tom
Commencing countdown, engines on
Check ignition and may God's love be with you

Ten, Nine, Eight, Seven, Six, Five,
Four, Three, Two, One, Liftoff

This is Ground Control to Major Tom
You've really made the grade
And the papers want to know whose shirts you wear
Now it's time to leave the capsule if you dare

This is Major Tom to Ground Control
I'm stepping through the door
And I'm floating in a most peculiar way
And the stars look very different today

For here
Am I sitting in a tin can
Far above the world
Planet Earth is blue
And there's nothing I can do

Though I'm past one hundred thousand miles
I'm feeling very still
And I think my spaceship knows which way to go
Tell my wife I love her very much... she knows

Ground Control to Major Tom
Your circuit's dead, there's something wrong
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you....

Here am I floating round my tin can
Far above the Moon
Planet Earth is blue
And there's nothing I can do.

Heartbeat

Jobriath You're a voice
on the street
You're the faces
that I meet
All day my life
is keeping time
time with your heartbeat
time with your heartbeat
every day.

It's no use
to run and hide
You'll be running running running
By my side
All day my life
Is keeping time
Time with your heartbeat
Time with your heartbeat every day.

Like children we have laughed
and played the game you and me
But have you seen me cry?
Once I believe I saw you dying yet you still remain
To me the same mystery
Only closer
Much closer
To my heart
And so you see
I couldn't let you
Leave me be
All day my life
is keeping time
Time with your heartbeat
Time with your heartbeat every day

All day my life...ahhh...
is keeping time
time with your heartbeat
time with your heartbeat every day.

When I'm Dead And Gone

McGuinness Flint Ohhh I love you baby
Love you night and day
When I leave you baby don't you cry the night away
When I die don't you write no words upon my tomb
I don't believe I wanna leave no emptied if I do

Ohhh when I'm dead and gone
I want to leave some happy woman livin on
Ohhhh when I'm dead and gone
I don't want nobody to mourn beside my grave

Ohhh Momma Linda she's out to get my hide
She's got a shotgun and a daughter by her side
Hey there ladies Johnson free
Whose got the love whose got enough to keep a man like me

Ohhh when I'm dead and gone
I want to leave some happy woman livin on
Ohhhh when I'm dead and gone
I don't want nobody to mourn beside my grave

Music...

Ohhh I love you baby
Love you night and day
When I leave you baby don't you cry the night away
When I die don't you write no words upon my tomb
I don't believe I wanna leave no emptied if I do
Ohhh when I'm dead and gone
I want to leave some happy woman livin on
Ohhhh when I'm dead and gone
I don't want nobody to mourn beside my grave

Ohhh when I'm dead and gone
I want to leave some happy woman livin on
Ohhhh when I'm dead and gone

Winter Song

Lindisfarne When Winter's shadowy fingers first pursue you down the street
And your boots no longer lie about the cold around your feet
Do you spare a thought for Summer whose passage is complete
Whose memories lie in ruins and whose ruins lie in heat
When Winter.... comes howling in

When the wind is singing strangely, blowing music through your head
And your rain-splattered windows make you decide to stay in bed
Do you spare a thought for the homeless tramp who wishes he was dead
Or do you pull your bed-clothes higher, dream of Summertime instead
When Winter.... comes howling in

The creeping cold has fingers that caress without permission
And mystic crystal snowdrops only aggravate the condition
Do you spare a thought for the gypsy with no secure position
Who's turned and spurned by village and town and the Magistrate's decision
When Winter.... comes howling in

When the turkey's in the oven and the Christmas presents are bought
And Santa's in his module - he's an American astronaut
Do you spare a thought for Jesus, who had nothing but his thoughts
Who got busted - just for talking, and befriending the wrong sorts
When Winter.... comes howling in
When Winter.... comes howling in

unreleased and rare songs

Beyond the Temple

(unknown) Beyond the temple there lies a tomb with a king from long ago
A traveler from a distant planet
Ten thousand years or so
The legend tells of an agin' man
Whose city he built alone
Till the pirates of our western world tore it down stone by stone

The clouds are gettin' heavy
As he points unto the sky
But with the guidence of his finger
He let the lighting fly

So don't turn around (don't turn around)
Lightin' don't strike twice
Don't turn around (don't turn around)
Death is a very high price

He gathered up his people
And he took them underground
To the caves of silvery water
Where they never could be found

The king came to the surface
Could not believe what he had found
The temple left in ruins
His city knocked to the ground

He went back to his people
Sad news he had to tell
The only justice for the king
Was to put these men in hell

So don't turn around (don't turn around)
Lightnin' don't strike twice
Don't turn around (don't turn around)
Cause death is a very high price

His face showing sorrow
His heart full of grief
His life's work in ruins
Destroyed by a thief

His people just sit around
His children just cry
The king's mind is all confused
Just wonderin' why

The temple split in half
And scattered through the desert
The dust had risen in the air
The race of people had to live in devastation
Why wasn't he even there

Message from the gods to gather up his people
The kingdom couldn't lose them there
That's when all the gods and all are livin' peaceful
Just a galaxy away

The king rose up from underground
To light the darkened sky
Red lights, green lights, blue lights flashing
It seemed a mile high

As it lifted from the ground
And soared into the air
The king looked at what might have been
A world that needed care

A storm had risen quickly
Across the take of hope
Now there's no trace of the king
Just a memory carved in stone

So don't turn around (don't turn around)
Lightnin' don't strike twice
Don't turn around (don't turn around)
Death is a very high price

Don't turn around (don't turn around)
Lightin' don't strike twice
Don't turn around (don't turn around)
Cause death is a very high price

Misty Dreamer (Tomorrow Seems Like Yesterday)

(unknown) The sun that is rising is glistening down on the hill
The pool of confusion is silently still
The thoughts of another keep runnin' through my mind
As i search for the answer, it's never easy to find

The prophet stood on the hill and firmly he gripped his sword
As the angels of wisdom were singing a heavenly chord
So i look back and wonder if i should be asking for more
As a traveller in limbo who's washed up onto the wrong shore

In the morning when i wake up
And the story starts to break up
Then it's plain to see
What's wrong with me
So the curtains they are drawn back
And my mind is simply torn back
To reality, you see, to me, i'm just a misty dreamer

I slipped by the waterslide and i thought i heard my true love screamin'
So i opened my eyes and shook my head and i realized i was only dreamin'

So close your eyes and drift away
Tomorrow seems like yesterday for you

You conscience guided by a light
Your memory won't be here tonight
The sorrow that eyes are showing
Doesn't hide your spirit flowing

So close your eyes and drift away
Tomorrow seems like yesterday for you

Drift away
Tomorrow seems like yesterday for you

Warchild

(unknown) Warchild, your heart is broken
Your mind is breakin', it's such a shame
Warchild, your body's broken
Your woman's taken, it's not a game

People once shared your wisdom
Shared your memory, shared your dreams
Now your thoughts have all been shattered
What once was rhythm are now just screams

Warchild, i used to love you
The whole world loved you, we used to care
Warchild, your mind has been emptied
So all you do now is just sit n' stare

People once shared your wisdom
Shared your memory, shared your dreams
Now your thoughts have all been shattered
What once was rhythm are now just screams

Your lady's waiting, she's hesitating
Not knowing why
Warchild, the pain you're showing
The pain is knowing that you're gonna die

People once shared your wisdom
Shared your memory, shared your dreams
Now your thoughts have all been shattered
What once was rhythm are now just screams

Good Morning Freedom

(Unknown) Well good morning freedom
I've been woken to a brand new day
Good morning freedom
Now it seems that you have a different way
Starts today

So now I'm free
And now you're ready to take my chance again
So come with me
And I'll take you to the rainbow's end

Oh good morning freedom
I'd like to take you by the hand
And if you doubt me
Just listen to the fan
And you'll understand

So now I'm free
And now you're ready to take my chance again
So come with me
And I'll take you to the rainbow's end

[guitar solo]

So now I'm free
And now you're ready to take my chance again
So come with me
And I'll take you to the rainbow's end

Medicine Man

(unknown) I'm the doctor
I can mend your broken heart
I'm the healer
I could take you right back to the start

So if you wanna take the chance
Well you better be sure
Baby, I'm the medicine man
I've got the cure

I'm the medicine man

I will make you the kinda girl that feels no pain
I can take you and put you back together again
So if you wanna jump on board
Well you better be sure
Baby, I'm the medicine man
I've got the cure

I'm the medicine man
That's what I am
Doing what I can
'Cos I'm the medicine man
Whoo

Listen, lady, don't make me drive you outta your mind
'Cos together this remedy's not hard to find
So if you wanna take the chance
And I'm damn sure that you do
Baby, I'm the medicine man
Now the rest's up to you

I'm the medicine man
That's what I am
Doing what I can
'Cos I'm the medicine man
Whoo

Medicine man
Medicine man

Song & Emotion

(J.K., Michael Barbiero, Frank Hannon, Tommy Skeoch) I see him there most ev'ry day,
A lonely man and his guitar.
In his eyes, I see the pain,
All the faces and the places,
All the trouble that he'd seen.

There was a time,
There was a day,
They'd come from miles around.
They all knew his name.
But day's gone by are gone,
Now only memories remain.

Then he starts to play.
Suddenly the pain slowly fades away.
Tattered, torn and frayed,
There's a place within his heart
He'll always save for the song and emotion.
Know he's got to his dyin' day.
Song and emotion.
You can hear him play.
You can still hear him say,
Better run for cover 'cause it looks like rain again!

And now his life is but a shadow of his dreams.
The calm is over, been stormin' for years.
He turns and leans his shoulder to the wind.
Lost again!

All along, on his way to the top,
Somehow, somewhere, something was lost.
Through it all he knew his only friend was
Song and emotion.
Know he's got to his dyin' day.
Song and emotion.

Where are they now, where are those people who promised him his dreams?
Where are they now for this lonely creature on the streets?
Broken, humbled by the cold reality.
Life at the top ain't always what it seems.
Oh, better run for cover, 'cause it looks like rain again.
You best be careful of what you dream,
Of what you dream!

Song and emotion.
Song and emotion.
Song and emotion.
Song and emotion.

Truth? (original demo)

(unknown) Why don't you tell me what's behind the green door
Why don't you tell me, 'cause I heard it all before
You know the answers, got 'em under lock and key
So why don't you tell me, end this misery

You're a dagger in my side, stripped of all my pride
I listen at you lie
Gonna raise my hand, it's time to make a stand
A voice across the land
Demands

Why don't you tell me the truth
Why don't you tell me the truth

Why don't you tell me, you got things to say
Why don't you do it, gonna throw it all away
Why don't you hear me, when I shout it out so loud
How do you sleep at night with your head up in the clouds

You're the devil in disguise, I'm sick of all your lies
Your hints and alibi's
Gonna raise my hand, it's time to take a stand
A voice across the land
Demands

Why don't you tell me the truth
So I can say I've got a question
Now listen

Can you tell me what the hell is happening
Why the sky is falling
And the heart is calling
And the youth is stalling
And it's over and over again

Come on, come on, come on
You gotta tell me the truth
You don't listen, do ya
The left hand gives
And the right hand takes away
That's the law of the jungle
But you have to learn to play

Why don't you tell me the truth
You better tell me the truth
Come on, why don't you tell me the truth
You gotta tell me the truth

You try with all your might
You never get it right
Can't see the morning light
Was never in your sight

Just like the truth

Wasted - Original

(Clark, Elliott) Well I've been lying awake all night
Just thinking of you
But a bottle of whiskey lies heavy obstructing my view
You see a bottle of pills to give me my thrills
And I know that I'm leading a life that kills

I've wasted my time
I'm shooting a line
I'm stuck in a hole
I'm losing control

And I've been meaning to call, I've been wanting to phone ya
???You see I don't like the thought of leaving you here alone
???Well I've seen things down here that are fit for a queen
???I've seen things down here that should never be seen

I've wasted my money
I've wasted you honey
I'm out of my brain
I'm going insane

I'm running in thin air
There's nothingness everywhere

I've gotta get out
I've gotta get out
I've gotta get out

I thought I saw you just the other day
But it couldn't be you 'cos you had nothing to say
'He's going away', they told all my friends
Well now I'll be locked in here til' the misery ends

I've commited no crime
But it just ain't my time
I'm out of my head
I wish I was dead

cover songs the band has done

Elected

(Alice Cooper) I'm your top prime cut of meat, I'm your choice,
I wanna be elected,
I'm your yankee doodle dandy in a gold Rolls Royce,
I wanna be elected,
Kids want a savior, don't need a fake,
I wanna be elected,
We're all gonna rock to the rules that I make,
I wanna be elected, elected, elected.

Good evening Mr & Mrs America and all ships at sea,
The candidate is taking the country by storm.

I never lied to you, I've always been cool,
I wanna be elected,
I gotta get the vote, and I told you 'bout school,
I wanna be elected, elected, elected,
Hallelujah, I wanna be selected,
Everyone in the United States of America.

We're gonna win this one, take the country by storm,
We're gonna be elected,
You and me together, young and strong,
We're gonna be elected, elected, elected,
Respected, selected, call collected,
I wanna be elected, elected.

"And if I am elected
I promise the formation of a new party
A third party, the Wild Party!
I know we have problems,
We got problems right here in Central City,
We have problems on the North, South, East and West,
New York City, Saint Louis, Philadelphia, Los Angeles, Detroit,
Chicago,
Everybody has problems,
And personally, I don't care."

Little Wing

(Jimi Hendrix) Well she's walking through the clouds
with a circus mind
that's running wild
Butterflies and zebras and moonbeams
and fairly tales,

That's all she ever thinks about...

Riding the wind

When I'm sad she comes to me
with a thousand smiles
she gives to me free

It's alright, she says,
it's alright,
Take anything you want from me,
anything.

Fly on, little wing.

Now I'm Here

(Brian May) Here I stand
Look around around around
But you won't see me

Now I'm here, Now I'm there, I'm just a...

Just a new man
Yes you made me live again

A baby I was when you took my hand
And the light of the night burned bright
And the people all stared didn't understand
But you knew my name on sight

Whatever came of you and me
America's new bride to be - don't worry baby I'm safe and sound

Down in the dungeon just Peaches 'n' me
Don't I love her so

A thin moon me in a smoke-screen sky
Where the beams of your lovelight chase
Don't move, don't speak, don't feel no pain
With a rain running down my face

Your matches still light up the sky
And many a tear lives on in my eye

Down in the city just Hoople 'n' me
Don't I love him so

Whatever comes of you and me
I love to leave my memory with you

Now I'm here
Think I'll stay around around around
We'll be down in the city justa you 'n' me
Don't I love you so

Release Me

(E. Miller, D. Williams, R. Yount) Hey please release me let me go
And for I don't love you anymore
To waste our lives would be insane
And release me and let me love again
Oh I have found a new love dear
And I will always want her near
Her lips are warm while yours are cold
And release me my darling let me go
Please release me let me go
And for I don't love you anymore
To waste our lives would be insane
And so release me and let me love again
Ah
(Ooh)
So please release me let me go
And for I don't love you anymore
And to waste our lives would be insane
And so release me and let me love again
Hey please release me
And for I don't love you anymore
To waste (Excuse me) would be insane
And so release me and let me love again
So release me and let me love again
(Let me go)
(Let me go)

Travelling Band

(Creedence Clearwater Revival) 737 coming out of the sky
Oh won't you take me down to Memphis on a midnight ride
I want to move

Playing in a travelling band, ee-ya!
Well I'm flying across land
Trying to get a hand
Playing in a travelling band

Take me to the hotel baggage car no where
Come on come on won't you get me to my room
I want to move

Playing in a travelling band, ee-ya!
Well I'm flying across the land
Trying to get a hand
Playing in a travelling band

Listen to the radio talking about the last show
Someone got excited, had to call the state militia
I want to move

Playing in a travelling band, ee-ya!
Well I'm flying across the land
Trying to get a hand
Playing in a travelling band, Oh-wow!

(solo)

(use walking bass)

Hell will come again on a Saturday night
Oh with your fussing and your fighting
Won't you get me to the right
I want to move

Playing in a travelling band, ee-ya!
Well I'm flying across the land
Trying to get a hand
Playing in a travelling band, oh-wow!

(guitar solo)

Oh I'm playing in a travelling band
Playing in a travelling band
Won't you get me, take me hand
Well I'm playing in a travelling band
Well I'm flying across the land
Trying to get a hand
Playing in a travelling band, oh-wow!

Hey!

Under My Wheels

(Alice Cooper) The telephone is ringing
You got me on the run
I'm driving in my car now
Anticipating fun
I'm driving right up to you, babe
I guess that you couldn't see, yeah yeah
But you under my wheels
Why don't you let me be

'Cause when you call me on the telephone
Saying take me to the show
And then I say, honey, I just can't go
Old lady's sick and I can't leave her home

The telephone is ringing
You got me on the run
I'm driving in my car now
I got you under my wheels
I got you under my wheels
I got you under my wheels
Yeah yeah
I got you under my wheels
Yeah yeah
I got you under my wheels

The telephone is ringing
You got me on the run
I'm driving in my car now
Anticipating fun
I'm driving right up to you, babe
I guess that you couldn't see, yeah yeah
But you was under my wheels, honey
Why don't you let me be, yeah yeah
I got you under my wheels
I got you under my wheels
I got you under my wheels
Yeah yeah

You Can't Always Get What You Want

(Rolling Stones) I saw her today at the reception,
A glass of wine in her hand.
I knew she would meet her connection,
At her feet was a footloose man.
Now you can't always get what you want,
You can't always get what you want,
You can't always get what you want,
But if you try sometimes you'll find
You'll get what you need.

I saw her today at the reception,
A glass of wine in her hand.
I knew she was gonna meet her connection,
At her feet was a footloose man.

You can't always get what you want,
You can't always get what you want,
You can't always get what you want,
But if you try sometimes you might find
You'll get what you need.

I went down to the demonstration,
To get my fair share of abuse.
Singing "we're gonna vent our frustrations,
And if we don't we're gonna blow a 50-amp fuse."

Repeat Chorus

I went down to the Chelsea drugs
To get your prescription filled.
I was standing in line with Mr. Jimmy,
And man, did he look pretty ill.
We decided that we would have a soda,
My favorite flavor, cherry red.
I sung my song to Mr. Jimmy,
And he said one word to me, and that was "dead,"
I said to him,

Repeat Chorus

You'll get what you need--yeah, oh baby.
I saw her today at the reception,
In her glass was a bleeding man.
She was practiced at the art of deception,
Well I could tell by her bloodstained hands.

Repeat Chorus

Ziggy Stardust

(David Bowie) Ziggy played guitar, jamming good with Weird and Gilly
The spiders from Mars. He played it left hand
But made it too far
Became the special man, then we were Ziggy's band

Ziggy really sang, screwed up eyes and screwed down hairdo
Like some cat from Japan, he could lick 'em by smiling
He could leave 'em to hang
Came on so loaded man, well hung and snow white tan.

So where were the spiders while the fly tried to break our balls
Just the beer light to guide us,
So we bitched about his fans and should we crush his sweet hands?

Ziggy played for time, jiving us that we were voodoo
The kids were just crass, he was the nazz
With God given ass
He took it all too far but boy could he play guitar

Making love with his ego Ziggy sucked up into his mind
Like a leper messiah
When the kids had killed the man I had to break up the band.
Oh yeah
Ooooooo
Ziggy played guitaarrrrrr

Night Brigade - Recently Updated Pages

NIGHT BRIGADE

The Artistic Stylings of Samantha

Storm Savage ~ Erotic Novels

Elliot Love ~ About the author

Def Leppard ~ The Band

Contents

Music

History

1977 - 1979

1980 – 1983

1984 – 1989

1990 – 1999

2000 – Present

Current members

Side projects

Discography

See also

External links

def art by ronnie

Back Roads Detour

British Invasion

Phil Collen

Contents

Biography

Def Leppard

Equipment

Side Projects

Personal life

Trivia

Def Leppard Videos!

Joe Elliott

Side Projects

Personal life

Trivia

See also

External links

Cybernauts

External links

Def Leppards Fazz

Man Raze

History

Band members

External links

Steve Clark

Contents

Biography

Childhood and adolescence

Death

See also

Rick Allen

QUOTES

Vivian Campbell

Contents

Biography

Youth and Early Career

Sweet Savage

Dio

Whitesnake

Def Leppard

Side Projects

Equipment

Personal life

Discography

With Dio

With Riverdogs

With Shadow King

With Def Leppard

Solo

See also

DL album info page

Dl Lyrics

First Strike

Heat Street

Answer to the Master

See the Lights

When the Walls Came TumblingDown

Wasted

Sorrow is a Woman

Glad I'm Alive