Def Leppard - Hysteria (LP, Album, 49) (Very Good Plus (VG+))

Def Leppard - Hysteria (LP, Album, 49) (Very Good Plus (VG+))

Mercury,Mercury,Mercury

Regular price $60.00 USD
Sale price $60.00 USD Regular price
Sale Sold out

Media Condition:  Very Good Plus (VG+)
Sleeve Condition: Near Mint (NM or M-)
Country:    US  
Released:  
1987
Genre:       Rock
Style:         Hard Rock, Pop Rock, Arena Rock, AOR
Location:   

Comments:
*** BUY ANY 4 RECORD for ONLY $5.00 Shipping & Handling fee *** Record appears heavily used w/ light scratches/scuffs on either side. Sleeve is NM w/original shrink wrap and hype sticker. Includes OG inner.
 

Notes:

Printed inner sleeve with informations, live photo, and liner notes.

Catalog# on labels: 422 830 675-1 Q-1
Catalog# on spine and one side of inner sleeve: 830 675-1 Q-1
Catalog# on other side of inner sleeve: 830 675-1

All songs published by Bludgeon Riffola Limited / Zomba Enterprises Inc. (ASCAP) (on labels)
All songs published by: In the U.K./Ireland: Why Bother Ltd./Warner Bros. Music/Zomba Music Publishers. In Australia/New Zealand: Bludgeon Riffola Ltd./Warner Bros. Music/Zomba Music Publishers. In the Rest of The Known Universe: Bludgeon Riffola Ltd./Zomba Music Publishers. Thanks to Jan Garner, Ralph Simon and Clive Calder at Zomba for their help and encouragement. (on inner sleeve)
℗ 1987 Phonogram Ltd. (London)
© 1987 Bludgeon Riffola Ltd.
A Bludgeon Riffola Recording
Hysteria was recorded at: Wisseloord Studios, Hilversum, Holland: Thanks to Bart, Bert, Inge, Joke, Ronald, Irwin, Jan Fred, Peter, Freek, Henk and Henk, Albert Boekholt, [a489011, Junior, Miriam, Petra, Ilse and Lex. Windmill Lane Studio 2, Dublin, Ireland: Thanks to Irene, Bronwen, Suzanne, Ann Fox and Mark Flannery. Studio Des Dames, Paris, France: Thanks to Marcel.
Hysteria was mixed at Battery Studios, London, England.
Direct Metal Mastering at Masterdisk.
Manufactured and marketed by PolyGram Records, Inc., 810 Seventh Avenue, New York, N.Y. 10019.
Printed in U.S.A.

Very Special Thanks: Cliff Burnstein, Mutt Lange, Peter "Motor" Mensch.

Special Thanks: Steve Cater, Jack Cummins, Marty Goldberg, James Harman, Malvin Mortimer, Jeff Rich, Mike Rogers, Andrew Snelling and Ann Waddingham.

Thanks: Fred Ball, Jim Barber, Ray Burmiston, Nick "Telegram" Cua, d drums, Neil "Nellie" Dorfsman, Paddy Freeny, Billy Gibbons, Danny Gottlieb, Ross Halfin, Ian Jeffery, Clive Jewett, Maurice Jones, Fritz and Chris from Kick Music, O.J. Kilkenny III, Phamous MacMahon, Moray McMillan, Brian May and Jobby, MCD Promotions, (MacCann and Desmond), Ben Meldon, Rocky Newton, Tim Parsons, Marion Smith, Roy Teysse, Dave Thoener, Joannie Turnbull, Charles Wilkins, Pete Wooliscroft, and Robbie Wooten.

Rick Allen and everybody involved with Def Leppard would like to especially thank Doreen Billington, Eileen Pearle, Dr. Page, Dr. Ewans, the staff at the Royal Hallamshire, and everybody who wrote, called and supported us after the accident. He's back, we're back and we'll see you on tour in 1987/8/9!

Thanks to everybody at Phonogram: In the UK: Gillian Gould, Francesca Sayers, John Watson, David Simone, Tony Powell, Bob Fisher, and "Bad" Bernadette Coyle. Internationally: Lisa Anderson, Sian Thomas, Lee Kavanagh, and all at Phonogram Netherlands, France and Ireland who helped us along during this recording. Oh yes, thanks to the 40 odd Polygram/Phonogram folks who endured with us all at Mannheim, West Germany, August, 1986. 

Def Leppard Salutes "Captain Love"  for his contributions to the creation of this record. If you delve into this list, you, too, will understand and appreciate this man's importance (not to mention, the entire history of the world since 1984!).

Booked in North America at I.C.M., New York and in the rest of the world at I.T.B., London. 

Additional Advice given by: Martin Goldberg and Ann Waddingham, Prager and Fenton, London, England. Bruce Slayton and Victor Wlodinguer, Robbins, Spielman, Slayton and Halfon, New York, N.Y. James H.K. Harman, Theodore Goddard, London, England. Andrew Snelling and the staff at Barclays Bank, Earls Court Road, London, England.

The Members of Def Leppard Play and Recommend the Following Equipment:
Rick plays Simmons Drum Pads and various Simmons Drum Machines, Shark Foot Pedals and Zildjian Cymbals. Rick and all of us would like to thank Bas, Lloyd and Andy at Simmons Electronics, Arndt Anderson of Shark and the legendary Ian Croft at Zildjian for putting Richard back behind the drums.

Sav plays Hamer Basses exclusively. Thanks to Paul Hamer and Joel Danzig at Hamer Guitars.

Phil plays Jackson Guitars equipped with Kahler tremolo arms exclusively. Thanks to Grover Jackson and Joanne and all at Jackson/Charvel Guitars and to Dave Storey, Gary Kahler, Roger Garvin and Sue Ellwanger at Kahler.

Steve will only ever play Gibson Guitars. Thanks to all the staff at Gibson Guitars.

Messers Clark and Collen use Randall Amplification (to get that "rad" Def Leppard guitar sound...). They would like to thank Bill Acton and Chuck Widner at Randall for help above and beyond the call of duty.

Joe plays golf with Spalding "Executive" Irons and Woods, "Dunlop 65", Golf Balls (courtesy of Shell Garages, Ireland); and Soccer with anyone who'll get out of bed.

Finally, we would like to thank everybody at Hoshino Industries (Tama Drums and Ibanez Guitars) for their help and support over the past couple of years.
Who knows, Joe, maybe that Bass Drum will make it on stage, yet!!

Also released with same catalog number and different labels.
Also available on Chrome Cassette (830 675-4 Q-1) and Compact Disc (830 675-2 Q-1).

49 on labels indicates the pressing was made at Specialty Records Corporation.

 

A1. Women 5:41
A2. Rocket 6:34
A3. Animal 4:02
A4. Love Bites 5:46
A5. Pour Some Sugar On Me 4:25
A6. Armageddon It 5:21
B1. Gods Of War 6:32
B2. Don't Shoot Shotgun 4:10
B3. Run Riot 4:38
B4. Hysteria 5:49
B5. Excitable 4:19
B6. Love And Affection 4:35

 

Barcode and Other Identifiers:

Barcode 0 422-830675-1 6
Barcode 042283067516
Matrix / Runout 422-830-675-1-AS-SP-DMM 3-10 MASTERDISK
Matrix / Runout 422-830-675-1-BS SP-DMM 2-11 MASTERDISK
Matrix / Runout 422-830-675-1-AS-SP-DMM SP1-1 MASTERDISK
Matrix / Runout 422-830-675-1-BS-DMM SP1-2 MASTERDISK
Matrix / Runout 422-830-675-1-AS-SP-DMM 4-2 MASTERDISK
Matrix / Runout 422-830-675-1-BS-DMM SP1-1 MASTERDISK
Matrix / Runout 422-830-675-1-AS-SP-DMM 3-10 MASTERDISK
Matrix / Runout 422-830-675-1-BS-DMM SP1-1 MASTERDISK
Matrix / Runout 422-830-675-1-AS-SP-DMM SP1-2 MASTERDISK
Matrix / Runout 422-830-675-1-BS-DMM SP1-1 MASTERDISK
Rights Society ASCAP
Other 0501
Other 49
Other HYSLP I

 

Published By Bludgeon Riffola Ltd.
Published By Zomba Enterprises, Inc.
Published By Why Bother Ltd.
Published By Warner Bros. Music
Published By Zomba Music Publishers
Phonographic Copyright (p) Phonogram Ltd. (London)
Copyright (c) Bludgeon Riffola Ltd.
Manufactured By PolyGram Records, Inc.
Manufactured By PolyGram Records
Marketed By PolyGram Records, Inc.
Marketed By PolyGram Records
Mastered At Masterdisk
Mixed At Battery Studios, London
Recorded At Wisseloord Studios
Recorded At Windmill Lane Studios
Recorded At Studio Des Dames
Pressed By Specialty Records Corporation

Data provided by Discogs

In stock

There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.

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All items are meticulously serviced and restored to meet factory specifications

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