Def Leppard finds freedom to get riffing

Time-tested rockers to debut diverse set when tour kicks off Thursday.

The pandemic might have pressed an existential pause button on normal life, but for Def Leppard, it helped spark a creative rejuvenation that yielded “Diamond Star Halos,” the band’s 12th studio album and first since 2015’s self-titled predecessor.

“For me and (singer) Joe (Elliott), selfishly, we had the best time ever,” Phil Collen shared in early June. “We had no kids at home and actually experienced the most creative period artistically that we’ve ever had. Because of the pandemic and because we weren’t really (intentionally) making an album, there was no business agenda. We didn’t even have a label when we started. We were writing for the pure love of writing songs. Me and Joe started getting giddy (because) we were on a roll. We had to stop writing because we had to release this album. We had a few more in the can as well, so that was great.”

The result was 15 songs that dip into the 1971-74 sweet spot of music history Def Leppard has unabashedly tapped into since the band was founded in 1977 in Sheffield, England. And while Collen came aboard only after being asked to replace founding member Pete Willis in 1982, he shared the love of glam rock that continues to this day and can be experienced on this latest outing, which borrows its title from the 1971 T. Rex hit, “Bang a Gong (Get It On).”

Powerful guitar-driven harmonies dripping with hooks erupt on the anthemic opener “Take What You Want,” which is quickly followed by “Kick,” an earworm adorned with hand claps and an infectious chorus that reverberates with the kind of hooky pop nuances of vintage Sweet. The glitter connection is further enhanced by the contributions from pianist Mike Garson, who cut his teeth working with David Bowie and plays on the string-kissed ballad “Goodbye For Good This Time” and the soaring “Angels (Can’t Help You Now).” Garson’s involvement came after Elliott brought the pair of songs to the band, knowing piano-based songs had never been Def Leppard’s stock and trade.

“Joe had written these t wo wonderful songs on piano and he played them for me a while ago,” Collen said. “I said they were great and I asked why we couldn’t do them. He said they were piano songs and I said ‘Angel’ sounds like an Elton John (tune)

that turns into Pink Floyd in the end. He said what if he asked Garson, because he was speaking with him all the time. Mike was straight away in for it. He’s my favorite piano player, so that was an obvious thing. He really added a dimension that we wouldn’t have had.”

While the Leps’ self-described “Queen meets AC/ DC” sound can be heard on other notable tracks, such as the arena rocker “Fire It Up,” and the driving riff machine that is “SOS Emergency,” the band took the opportunity of not having label oversight to take radical chances, like tapping Alison Krauss to contribute to two cuts: “Lifeless” and “This Guitar,” the latter a gem Collen had been sitting on for 17 years. The Krauss connection, the guitarist said, came out of a soccer rivalry Elliott shared with Robert Plant, who has recorded a pair of albums with the bluegrass superstar.

“Joe was talking to Robert Plant about whose soccer team sucked the most,” Collen explained. “Robert asked Joe what he was doing and he said we were doing an album. Robert had worked with Alison Krauss and said she’d love to do [something with us] because Def Leppard is her favorite band. We thought she’d perhaps like to sing a line or two. We sent two songs that we thought would be suitable and she loved them both. She had done all of these vocals — lead and backing vocals on the whole — it was like a Queen version of Alison Krauss with counter melodies and a beautiful duet with Joe. We kept it all on there. It was another dimension that we loved.”

And now Def Leppard (which includes drummer Rick Allen, guitarist Vivian Campbell and bassist Rick Savage) is gearing up to embark on a twice-canceled stadium tour with Mötley Crüe, Poison and Joan Jett and planning to play a hit-filled set.

“We were actually in Pennsylvania for production rehearsals and I realized this was the best live band I’ve ever heard in my life,” he said. “This is us. We recorded it and played with the lights, lasers and God knows what other production stuff. We’ve never sounded this good. Joe has never sung this good. Rick Allen has never played the drums as well, and we’ve never played this well as a band. It’s easier to play guitar. The singing part is always hard — you have to do warmups and it’s such an important thing. The band — everything about it — we’ve just raised the bar. That’s really exciting more than anything else. And these new songs just blend straight in.”