Steve Clark's personal fan-made "Pour Some Sugar on Me" t-shirt. Steve cut the sleeves off to keep cool whilst touring in the summer months. Clark would often wear this shirt backstage and at soundcheck before changing into his stage clothes. It touched him that a fan would take the time to make this so carefully for him. It has been stored in Steve's old suitcase where he left it around 1990. "Pour Some Sugar on Me" was a monster hit, and inspired a lot of fans. Joe Elliott speaks to the creation of this rock anthem. Joe: "So, I'd be stuck in the studio with just me and Mutt, because that's all we needed. And we were working on the 11th and last song of the album, which is a song called Armageddon, and we just took a tea break, coffee break, whatever. And as I'm want to do, I picked up the acoustic guitar in the corner of the control room while Mutt was off missing for 10 minutes, and just started playing these chords. And unbeknownst to me, he came in behind me and was listening to what I was doing. And I've often said I half expected him to be thinking that I was just goofing off some old 60's Stones track, or a Who or a Kinks song because it's just those three chords. And he just said, "What is that?" And I said, "It's just an idea I've had knocking around for a while". But I was never going to present it to the band because as far as we were concerned, we were so over this record by now, we wouldn't have entertained a new song at all. But he said, "Play it again." So I did. And he said, "Sing that thing you were singing." And I did. And he just looked at me. He said, "That's the best song I've heard for five years." And he literally said, "Right, we're going to do this." So he put a fresh reel of tape on the machine in the control room, asked me how it went again, started doing a real basic drum program, which was kind of like We Will Rock You, I suppose. And then we started hitting base things on a synthesizer keyboard and just building up a very basic track based around the tempo that this song was, which was slow We Will Rock You-ish type thing. And we banged the chorus down, which was a first for us too. We have since learned that if you've got the chorus first, the rest of the song flows pretty naturally. If you don't have a chorus, you'll be sapped twiddling your thumbs for quite a while because that's the big go-to moment in any song. As we used to say, "Don't bore us, take us to the chorus." And so we had the big hook and then we just had to work backwards from there. So myself and Mutt alone started working on this track. And the inevitable question was like, "Got any words, got any melodies?" And I said, "Well, no, because I never bothered to expand on what I had." So he started throwing a few ideas around and I started throwing a few ideas around and then we went, "Okay, that's kind of like a blueprint." And it was sounding at the time a little bit like Come Together by the Beatles. The melody, the meter rather, on the verse was a little bit that way in time. So we were just probably singing the lyrics of Come Together on the verses, "Here come old flat top" or whatever. And then as was the fashion in the day, little micro cassette recorders about the size of a pack of cigarettes, well, what everybody kept in their pocket, they just hum ideas or lyrics or play a guitar into it, so you wouldn't forget the riff. And me and Mutt had kind of a rough idea of what we wanted the song to be. So we both went to opposite ends of the control room in front of the big speakers, either side of the glass. And we scatted the way that Cab Calloway would scat into these little recorders. Just nonsense words, not even words, just noises. But we have the melody and the meter. And so we were just literally singing like a foreign language into these things, but very phonetically friendly phrases. And when we got it down, because you're laughing all the way through it, because it's just nonsense, we sat down, we swapped machines and tried to decipher what each other had sung. And I don't know whose it was and which one of us came up with the line at first, but one of the two of us had sung something that sounded something like, "Love is like a bomb baby, come and get it on." And we just looked at each other and went, "Whoa!" An aha moment. It's Marc Bolan, it's T. Rex, this is awesome. Just with that one line, we had this nonsensical great pop thing on the brew so we took it from there. And we didn't have the lyrics finished when everybody came back, but when they did all come back, I'm guessing it was a few days, maybe two or three days, we had this thing banged into somewhat of a shape. And the guys walked in and it was that classic, "Guys, we've got some good news and we've got some bad news". And I don't know what the good news was, but the bad news was we've got to fit 12th song in. I'll never forget Steve Clark, just rolling his eyes, "God, no, please, not another". But pragmatically Phil and probably Sav went, "Okay, well, let's hear it." And so Mutt hit the play button and everybody stood there and we're watching their faces watch our faces. And there's this meeting of joy somewhere in the middle of the 60 second period where people are looking at each other and going, "Oh yeah. Okay." And they were like, "We're in. This is awesome." So I mean imagine, this is Mutt and I we're talking about. We're sweating that they're going to go, "Nope, not interested." Everybody's on board, which was awesome, so it was full tilt ahead. And I know it sounds silly to most people, but this song took 10 days to record mostly." Courtesy of the Lorelei Shellist Private Collection.