'Lettin Loose' Re-released CD inner sleave notes
written by Dave Ling of Classic Rock magazine
The roots of
Heavy Pettin' lie in Weeper, a regrettably named Glasgow pub
metal band formed in 1975. Their ranks included guitarist Gordon Bonnar
bassist Brian Waugh and drummer Gary Moat. When this trio met singer
Stevie 'Hamie' Hayman and guitarist Punky Mendoza six years later, Heavy
Pettin' were born.
The quintet's timing was impeccable. The summer of 1981 was a
good time to be a hard rock heavy metal band, and Heavy Pettin' very
quickly found themselves caught up in the tail end of the New Wave Of
British Heavy Metal. That said, their American-orientated sound and
image
was a good deal more polished than that of Iron Maiden and their ilk.
"We listen to Saxon and Def Leppard rather than Black Sabbath
and Deep Purple." Bonnar later told Sounds magazine. "We've alway been
into heavy metal, starting off with Thin Lizzy."
Hamie was quick to own up to the band's US flavour in the same
interview acknowledging the influence of bands like Aerosmith. "They're
more melodic, and I like the way they look," he told later Dave Roberts,
while Brian Waugh cut to the chase by declaring: "We don't like the
blatant
and fast heavy metal that's coming out now."
Young (their average age was just 20), gifted, ambitious and not
exactly shy, Pettin' saw their opportunity and wasted little time
grasping it.
Within mere months of their formation, Kerrang!'s Geoff Barton was prais-
ing a demo consprising the tracks 'Love Xs Love', 'Speed Kills' and
'Hell is
Beautiful' that the band had recorded in just 18 hours. It secured them
a
single deal with independent label Neat Records, home of Venom, the
Tygers Of Pan Tang and Fist. 'Roll The Dice' b/w 'Love Xs Love' won them
acclaim from all over the world. However, with reams of positive press
cut-
tings in hand, the band were already thinking of bigger things, turning
down all offers from Neat to record a full-length album.
"We haven't any [sales] figures because Neat would never tell
us," commented Hamie shortly afterwards. "But the single must've done
well to get to Number Six in the Sounds Heavy Metal chart."
Turning their attention tworads the road, Ptttin' played their first
gig at Glasgow's Virgin Megastore. Things didn't go to plan, and
upon arrival they discovered they were actually supporting the Cuban
Heels. When informed they wouldn't be able to perform after all because
the headliners needed time for a soundcheck, the band responded with
typical Glasgwegian subtlely.
"It was either we played or the Cuban Heels couldn't," recalled
Moat later. "So no problem, we went on anyway. Then the Heels played
after all - or so we heard. Bunch of poofs!"
Times were hard at the start, and the band freely admit to being
forced to steal food to survive. Revealed Bonnar. "Me and Brian used to
work in a butcher's shop. We'd work for most of the week just to pay off
our debts."However they eventually scraped together some communal
dosh, invested in an old coach and set about gigging the length and
breadth of the land. And when Tony Wilson, then producer of Radio One's
Friday Rock Show (and head of Totalrock Radio), invited them to cut
a session, word began to spread like wildfire.
Heavy Pettin took to fame and its perks like schoolboys in the
poverbial sweetshop. "I've been a rock star since the day I was born,"
Hamie proudly told Mark Putterford during a Sounds piece in which it was
reported the group found themselves able to pull women at every
available
opportunity
Musically speaking, the self-belief of Heavy Pettin' was to be vin-
dicated, first in the shap of publishing deal with Warner Brothers, then
a contract with Polydor Records. Better still, none other than Brian May
and his co-producer Mack were being lined up to produce their debut
album. Significantly, it was the first time that Queen's legendary
guitarist
had stepped ouside of the band to produce another act.
"Warner Brothers had sent a tape to Brian in Los Angeles because
they thought he'd be the perfect producer", explained Punky, with Gordon
adding: "Brian's been wanting to produce somebody for a long time. He
told us he was just waiting for the right band."
Recorded at the Townhouse in London, with overdubs and mixing
taking place at Union Studios in Munich, 'Lettin' Loose' was released in
October 1983, three months after a prize spot on the Reading Festival
with
Black Sabbath (the Ian Gillan-fronted variety!), Marillion, Stevie Ray
Vaughan & Double Trouble, Suzi Quatro, Anvil, Magnum, Mama's Boys and
opening act Lee Aaron.
Preceded by a 12" single of 'In And Out Of Love' (b/w ' Love On The
Run' and a Friday Rock Show version of 'Roll The Dice'), it was warmly
recieved by Kerrang!, though Neil Jeffries did voice some mild
reservations.
He wrote: "There's a very big buzz about this band at the moment.
Polydor UK are convinced that the young Glaswegians are going to be
hugh. 'Lettin' Loose isn't a classic debut, but Heavy Pettin' have hit
upon
a formula that sounds really good. They can write songs! Electrifying
riffs,
super-crisp harmonies, lively solos and dynamic arrangements.. a change
of pace here, and acoustic guitar there. Nothing startlingly original
but it
works, Goddammit!"
On the downside - if you consider it as a negative -Jeffries sug-
gested that May and Mack had made the band sound a little too much like
Def Leppard, though he concluded that 'Lettin' Loose' was "a marvelous
mixture of power and melody, riot and restraint", and offered the bold
pre-
diction: "Heavy Pettin' could well become the new stars of the 1980s."
Mark Putterford of Sounds went a stage further still, proclaiming
I'd say that 'Lettin' Loose' is better than anything Def Leppard have
pro-
duced so far, and amid the critical acclaim for 'Pyromania', that's
quite a
compliment."
With supports slots on Kiss and Ozzy Osbourne's upcoming British
tours about to be confirmed, only a madman would've bet against Heavy
Pettin' taking over the world. Discover the tale's conclusion in the
notes to
this album's companion piece, 1985's defiantly titled 'Rock Ain't Dead'
album.
Dave Ling
Classic Rock magazine
London, 7th August 2003
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