My favorite thing about this story,
besides it being a story of ultimate triumph for one of my favorite bands, which boomeranged them into a whole new wave of #80s success while also being genuine elder statesmen thanks to their superstar imitators in Motley Crue and (especially) Quiet Riot,
is that Def Leppard brought this entirely onto themselves. They were going to be playing before Slade, and arguably they might well have drawn off enough energy with their guitar attack and youthful energy to make the crowd weary and deepen their unreceptiveness to the old hats.
But they demanded to follow it. And just like The Jesus, it didn't matter to Slade.
I kinda doubt it of course, because there is absolutely no substitute for a band that has put in time playing together in working class venues. It is hard work, whatever you might think, and it makes you musically both strong and sharp.
It was an age of studio trickery, where Thomas Dolby secretly contributed to Pyromania to make sure it played well on my grandma's AM radio that I first heard Too Late For Love on.
Slade were the real thing, even as they embraced a certain kind of absurdity. It goes to what Tyler Mahan Coe said about Country Music, because I believe it's equally applicable to Rock'n'Roll: you can make your persona up from whole cloth, it can be entirely 100% an invention,
but you have to mean it.
You have to, as Van Morrison put it on CBC a while back, be able to do it for real.
Slade did it for real.
https://www.youtube.com/watch?v=2xEA8P0KE3Q