Euphoria

Def Leppard is, in one sense, a band out of time. After the ill-conceived "alternative" experiment of their last studio album, 'Slang', the 20-year-old British quintet has bounced back with 'Euphoria', which goes a long way toward recapturing the feel and sound of classic Leppard albums like 'Hysteria' and 'Pyromania'.

But there's two problems the band faces: 1) can they reclaim the style that sold a gazillion albums in the '80s without sounded dated, and 2) does anyone care anymore? The jury is definitely out on the second issue. Sales of 'Euphoria' in its first few weeks of release are very respectable, but ask again in a year or so for the bottom line.

One thing's for sure, the boys aren't drinking their smart juice if they expect to shovel 10 million records out the door like they did 12 or 15 years ago (and I don't think they do, to be honest). No one stays that popular for that long. Hell, no one stays that popular for more than two years - just ask Alanis Morissette. As for the first question, the answer is also unclear.

'Euphoria' does bring back many elements that were Leppard trademarks, including a huge, slightly overdone production job, hooks so big you could hang an airplane off them, and layers of shimmering, bombastic vocals to drill those choruses into your brain. "Promises" and "Guilty" are two of the catchiest, most instantly "classic" songs Leppard has written in years - both sound like they were sent here via time machine direct from the 'Hysteria' recording sessions. Elsewhere, the band veers way over into slippery and/or sappy pop territory on songs like "Goodbye," the dance-oriented "All Night," and "It's Only Love."

While they pay homage to their early British heavy metal roots on "Demolition Man" and "Kings Of Oblivion," the band makes no bones about being a full-fledged pop act now. And if their attempts at modern-day teen idol status sound a bit creaky (these guys are all well into their thirties at this point), they can still be commended for writing solid pop tunes. A big, glossy album, Euphoria benefits from the darting guitarwork of Phil Collen and Vivian Campbell, who add texture and bite, and Joe Elliot's effortlessly melodic lead vocals. And while some of its overly gooey songs are hard to take, the album pulses with flashes of the same exuberance and slick energy that Def Leppard radiated during their heyday.

'Euphoria' is the product of a band who sound perfectly happy to pretend it's 1987 again, even if it never really can be again.