Singles

Single Review : Def Leppard : Rejoice

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Posted on 4 days ago

5 min read

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Review by Phil Rozier for MPM

Sitting in my “studio”… which is basically a sofa in the lounge, I’m tinkering with my Jackson Soloist. Probably one of the best guitars known to man, when suddenly… ping. My phone beeps, I jump like a startled cat and immediately wonder who dares interrupt my sacred downtime away from the day job.

Turns out, it’s Metal Planet Music asking for a review of Def Leppard’s brand new single Rejoice. And honestly, the coincidence is uncanny. There I am, twanging away on a Soloist, and Phil Collen, a man who’s been welded to Jackson guitars for over 40 years, drops a new track with his veteran rock comrades. Probably written on a Soloist not too dissimilar to the one currently digging into my thigh.

Anyway, I digress, in a vague attempt to draw some cosmic connection to a band I’ve never actually spoken to.

But listened to? Oh yes. Thirty five years of Def Leppard ringing in my lug ‘oles, countless live shows, and a childhood memory of proudly taking a Def Leppard cassette into primary school for show and tell.

“Move over Michael Jackson,” I said. “Let’s rock out to Pour Some Sugar on Me.”
My classmates did not share my vision. Their loss.

And then it hits. That delay drenched, harmony stacked, unmistakably Leppard riff. I imagine it’s Viv Campbell striking the first power chord while Phil Collen rinses the high fret sparkle over the top.

With that classic Leppard production and those steady, confident drums, Rejoice has Sugar on Me written all over it. A touch heavier than their recent offerings, the riffage leans pure hard rock, and those trademark multi layered vocals burst into a chorus that practically demands a sing along.

Reassuringly familiar, Joe Elliott’s vocals are in top form. Raising the key of the pipes above the warm thump of the bass. It’s classic high voltage, high energy, happy vibe Leppard. Pre chorus and chorus alike, the band sings in unison, and you can already picture the crowd doing exactly the same.

Then comes the guitar solo. And while it’s unmistakably Collen in tone and clarity, there’s a surprising touch of Queen in there – a little Brian May sparkle woven into the phrasing. I like it.

And just as it all begins to fade, Elliott’s voice rings out one last time: “Let us all rejoice.”

Well… why the hell not.