The band took a break from the studio to play Monsters of Rock in Derbyshire, U.K. on Aug 16, 1986, an event Halfin captured for the photo in the Hysteria liner notes, and which commemorated Allen’s first big gig following his accident.
Halfin: It poured rain. They looked like a bunch of drowned rats. They did the show to establish the fact that they were still there as a band because they had been away for so long. It was freezing, it was cold, it was damp, it was the worst.
Allen: I remember Joe introducing me and I was just sitting back there in tears. I couldn’t really contain myself because it was confirmation in a sense that everybody had accepted me. I wasn’t this freak show going out on stage. It was me and I knew how to play and I knew how to do it well.
Elliott: In the studio, Mutt was the king of “Do It Again.” We used to say, “You sound like a chugging train— ‘Do it again, do it again, do it again’ (train whistle)’,” because he wanted the best out of us. Some songs were insanely difficult to nail down to the standard that he thought it should be. When you’re a fan of the New York Dolls, it’s really hard to explain “it sounds fine to me.” But he’s like, "You’re not David Johansen.” David Johansen singing “Love Bites” would have been a bit of a head fuck.
Collen: When you’re around Mutt, it’s not like, “Why does it take so long, he’s a slave driver.” He’s so inspiring, you’re like, “Oh my god, if we slack off here, we’re the lamest things in the world.”
Elliott: It got awkward for all of us. All of us would throw sticks, throw picks, throw guitars down, storm out of the room, all except for Phil who went through it all because he enjoyed the process more than the rest of us. But it wasn’t easy.
Savage: I found Pyromania really tedious because it was hard work, but it was a very basic album in comparison. The recording process of Hysteria, I found absolutely fascinating. I loved what we were achieving and I loved that we were doing something new and every time we captured something and knew that it was a keeper on tape, it was such a great feeling. I loved every minute of it.
Collen: Amsterdam was a half hour away from the studio. In the ‘80s, it was a crazy place to be. We kind of kept it under control. Mutt was like, “Look, you can’t be messing up here. It’s costing a fortune, you’ve got to have clear heads here because we’ve got a lot to do.” We weren’t in the studio at the same time, so [we’d] go to the pub or restaurants or movies, read, the stuff you do, write more songs. Mutt was in the studio, obviously, all of the time. It was a lot harder for him. Later on, we started taking weekends off so he could have a little bit of a break because it was crazy.