REVIEW: HEAVY PETTIN – Lettin’ Loose

 

HEAVY PETTIN – Lettin’ Loose (1983)

Polydor

Heavy Pettin emerged from Glasgow in 1981, formed by three former members of the local band Weeper — guitarist Gordon Bonnar, bassist Brian Waugh, and drummer Gary Moat. Soon joined by vocalist Steve “Hamie” Hayman and lead guitarist Punky Mendoza, the band quickly developed a distinctive identity within the NWOBHM movement. Their name, borrowed from UFO’s “No Heavy Petting”, hinted at their blend of hard rock swagger and melodic ambition. Early demos and their debut single “Roll the Dice” attracted attention from BBC Radio 1 and led to a major‑label deal with Polydor, setting the stage for their first full‑length album, “Lettin’ Loose”, recorded at Musicland Studios in Munich.

The lineup during the sessions — Hamie, Bonnar, Mendoza, Waugh, and Moat — represented the band at their most cohesive. The production was handled primarily by Reinhold Mack, known for his work with Queen and ELO, with Brian May contributing in a supportive, advisory role. While May’s involvement has often been overstated, his presence added prestige and subtle guidance, while Mack’s polished, international sound shaped the album’s identity. The result was a debut that stood apart from the rawer edges of NWOBHM, leaning instead toward a melodic, radio‑ready approach that echoed the rising American hard rock wave.

Upon release in 1983, “Lettin’ Loose” received positive critical attention. Though it did not achieve major commercial success, it was widely regarded as a strong debut with memorable songwriting and a glossy production uncommon for first‑time NWOBHM acts. Many listeners immediately noticed the resemblance to early Def Leppard — particularly the “High ’n’ Dry” and “Pyromania” eras — a comparison reinforced by the album’s layered choruses, melodic guitar lines, and tight arrangements. At the same time, reviewers pointed out clear Saxon influences, especially in the heavier, more driving tracks, as well as hints of Thin Lizzy, UFO, AC/DC, and even American glam metal. Heavy Pettin occupied a unique space: a British metal band with an unmistakably international sound.

The album flows with surprising ease, especially for a debut. Its sequencing is deliberate, moving from accessible melodic rockers to heavier, darker material and back to energetic NWOBHM roots. The production is polished but not sterile, allowing the band’s youthful energy to shine through. The songs are consistently memorable, built around strong choruses, melodic guitar interplay, and Hamie’s distinctive vocal delivery. It is an album that feels cohesive, confident, and crafted with a clear sense of direction.

“In and Out of Love” opens the album with a perfect blend of melodic hooks and NWOBHM energy. The tight mid‑tempo riff, rising pre‑chorus, and explosive layered chorus immediately establish the band’s Def Leppard‑like sensibility. Mendoza’s solo is fluid and tasteful, setting the tone for the album’s guitar work.

“Love Times Love” follows with a brighter, upbeat feel. Its bouncy rhythm and youthful vocal delivery make it one of the album’s most accessible tracks. The chorus is pure pop‑metal craftsmanship, simple and instantly memorable.

“Rock Me” shifts toward a heavier, more aggressive sound. The chugging riff and darker bridge introduce a tension between NWOBHM grit and melodic hard rock polish. The song acts as a bridge between the album’s lighter opening and its heavier core.

“Victims of the Night” is one of the album’s purest NWOBHM moments. Fast, urgent, and driven by Moat’s propulsive drumming, it showcases the band’s roots. The dramatic chorus adds a sense of danger and nocturnal atmosphere.

“Love on the Run” blends melodic rock with a distinctly Saxon‑like feel. The rolling rhythm and soaring chorus create a sense of motion, while the dual‑guitar harmonies reveal the band’s Thin Lizzy influence.

“Hell Is Beautiful” stands as the album’s dramatic centerpiece. Darker and moodier, it features one of Hamie’s most expressive performances and a powerful, emotionally charged chorus. The solo is among the album’s finest, balancing melody and intensity.

“Shout It Out” returns to upbeat, high‑energy rock. With its bright guitars and crowd‑ready chorus, it leans toward the American glam/hard rock sound that would soon dominate MTV. It’s not the deepest track, but it’s undeniably effective.

“Devil in Her Eyes” introduces a heavier, more sensual groove. The menacing riff and dramatic vocal delivery give the song a mature tone, while the guitar solo adds emotional depth.

“Roll the Dice”, originally released as their debut single, closes the album with raw NWOBHM energy. Despite the polished production, it retains the grit and urgency of the band’s early days, making it a fitting conclusion.

“Lettin’ Loos” remains a well‑crafted, memorable debut that flows effortlessly from start to finish. Its blend of NWOBHM roots, melodic hard rock ambition, and polished production gives it a unique place in early‑80s metal history. Heavy Pettin may not have achieved the commercial breakthrough their label envisioned, but this album stands as a testament to their potential — a cohesive, hook‑filled release that still resonates with listeners who appreciate the intersection of British metal and melodic rock. It is, in every sense, a debut that deserved more recognition than it received.

Nick Parastatidis