As we delve into Def Leppard’s tenth studio album, one might think that naming it ‘X’ would have been fitting, considering their history. However, they’ve already adopted that title for a previous compilation. Instead, this album is titled ‘Songs From the Sparkle Lounge,’ a nod to a dedicated space at their live performances where creativity flowed during tune-ups and songwriting sessions. Adorned with Christmas lights, a drum kit, and various amps, this room embodies the band’s commitment to fostering musical inspiration while on tour, particularly during the ‘Yeah!’ album cycle.
This project marks a significant shift for the band, introducing a collaboration with an external artist—country superstar Tim McGraw—on the track “Nine Lives.” This blending of genres brings a country vibe that may spark heated debates, and spoiler alert: we’ll dissect it further down. Released on April 25, 2008, the album debuted at number five on the Billboard 200, moving approximately 55,000 copies during its first week. It also claimed the number one spot on both the Hard Rock and Rock Album charts, proving that Def Leppard still has a vibrant pulse even after decades in the industry. The five core members—Joe Elliott, Rick Savage, Rick Allen, Phil Collen, and Vivian Campbell—continue to thrive, but the pivotal question remains: does the album deliver in quality?
The album kicks off with “Go,” featuring an intense and powerful guitar riff. The track bursts forth with the unmistakable energy of heavy metal, possibly ranking among the finest opening songs in their catalogue. The sound is reminiscent of the High ‘N’ Dry era, where guitar prowess reigned supreme. Joe’s vocals shine, but the guitar work steals the spotlight, leaving listeners eager for what follows.
Then comes “Nine Lives,” featuring Mr. McGraw himself alongside Joe. While it’s not an outright failure, the radio-friendly nature of the track echoes a sense of cheesiness that draws comparisons to their earlier work on ‘Adrenalize,’ which isn’t particularly praiseworthy in my book. It’s not hate; rather, a lukewarm reception for this featured collaboration.
Following that, Rick Savage contributes two songs, starting with “C’mon C’mon,” which captures the essence of 70’s glam rock. This upbeat anthem is infectious, guaranteed to lift spirits with its catchy chorus and abundance of hooks. I’m even inventing words to describe how groovetastic it is.
Next up is the ballad “Love,” a track unlike anything the band has produced before. Beginning with an explosive intro, it quickly transitions to an acoustic arrangement that showcases Joe’s vocal range. There are clear influences from Queen woven throughout, lending the piece a dramatic flair similar to their style, complemented by harmonies and a show-stopping guitar solo reminiscent of Brian May. Kudos to Savage for this outstanding entry.
“Tomorrow” is penned by Phil Collen, evoking the sound of the ‘X’ album, to which it would have fit seamlessly. As a fan of that album, I welcome this energetic and catchy tune, delivering exactly what I seek in a good song.
Next, we have Vivian’s “Cruise Control,” a darker offering teetering off the ‘Slang’ album. With its heavy bass groove, this track is distinct from the rest. As a fan of darker themes, this one resonates with me and earns its place among my favorites. The solo is impressive, but Sav’s bass steals the show.
“Hallucinate,” another contribution from Phil, feels like a typical glam rock song and doesn’t break new ground. While catchy and featuring some decent guitar work, it unfortunately lacks freshness and veers into boredom.
“Only the Good Die Young,” authored by Vivian, is noteworthy with its Beatles-inspired keyboards and a chorus that grabs attention with its size and catchy hooks. It’s safe to say that Vivian’s tracks stand out so far.
Then we arrive at “Bad Actress,” written by Joe. Despite its rocking energy, cheesy lyrics leave something to be desired, echoing the spirit of ‘Adrenalize’ with similarities to “Make Love Like A Man.” Usually, I enjoy this type of energy, but this time it doesn’t quite resonate with me.
“Come Undone,” another of Joe’s creations, offers engaging riffs and vocals yet ultimately feels uninspired—another generic experience that offers little new to listeners.
The album closes with “Gotta Let it Go,” credited to Vivian, and it’s another strong piece. It opens and closes with the word “Go.” Although it starts off slow, it definitely builds momentum! The bridge is remarkable, featuring impressive harmonies that lead into a massive, anthemic chorus, backed by driving drums and guitars galore. A fitting finale for an album that has grown on me over time.
In summary, the track list includes:
Go – Keeper
Nine Lives (Feat. Tim McGraw) – Keeper (½ Point)
C’Mon C’mon – Keeper
Love – Keeper
Tomorrow – Keeper
Cruise Control – Keeper
Hallucinate – Delete
Only The Good Die Young – Keeper
Bad Actress – Delete
Come Undone – Delete
Gotta Let It Go – Keeper
With a track score of 7.5 out of 11, reflecting a 68% rating, this album stands as the shortest in the band’s discography, clocking in at just under 40 minutes. In this case, less doesn’t equate to more. Although many tracks impress, the album feels somewhat uneven. A notable observation is the predominance of individually written songs rather than a collaborative effort from the entire band, contributing to a sense of disjointedness. While I appreciate Vivian’s burgeoning influence, a more collaborative approach might have yielded a more cohesive album. Overall, my appreciation for this record has evolved. It previously held a place as one of my least favorite releases, but now, I’m not so certain. My final assessment lands at a solid 3.5 out of 5 stars. It’s definitely an album that improves with time.
NEXT UP: MAN RAZE – ‘SURREAL’ (2008)
