Episode 4: All I Want Is Everything

This week, your Regarding…Slang hosts Wolfie, Scotzo, podcasting overlord Corey, and Chaz are joined by Michael Pastore as they tackle one of Def Leppard’s saddest turns into balladry: “All I Want Is Everything.”

Before the song even spins, the guys detour through RushFest Toronto stories, bot-spam in the DMs, and a full-on Chazgasm about why Joe Elliott should get more credit as a lyricist. From there, things go off the rails: Corey calls the track “U2-like” and “Tom Petty-esque,” which is basically the podcasting equivalent of pushing Kevin Brown off a cliff in a straight-jacket. Somewhere out there, Kevin’s ears are bleeding while Chaz argues this is a dirge, Wolfie swears it’s hopeful, and Michael Pastore just wants to call it a breakup song.

The song itself? A stripped-back, unusually sad moment in the Slang experiment, or even the entire Def Leppard catalog, with Joe saying it’s about “birth, death, and divorce” while Rick Savage once claimed it was about a man dying of AIDS. Whatever the truth, there’s no sugar or sparkle—just regret, grief, and one of Leppard’s rawest ever recordings.

This episode features:

🎸 A fight over whether Joe Elliott’s lyrics are Dylan-esque genius or just “serviceable”, and why Paul Simon is a "punk"

🥁 Why the stripped-down recording makes it sound almost live in the studio

🤔 Debating why Peter Gabriel gets praised for world music experiments while Def Leppard gets their nuts roasted

📻 A completely unnecessary but inevitable and enjoyable digression into Traveling Wilburys fan casting

🗳️ No clear verdict—just confusion, conflict, and the creeping suspicion Kevin Brown may never speak to Corey again

Hidden gem? Funeral dirge? Def Leppard’s most un-Leppard moment? Whatever it is, the Tom Petty-esque comparisons will send Kevin Brown screaming off a cliff — and we’ll be listening for every second of the fall...

The Show

In this season of Regarding…, the panel tackles KISS’s Music From The Elder one song at a time—testing whether its epic ambition holds up under scrutiny. Alongside the analysis, Scott D. Monroe’s original screenplay tries to turn the album’s abstract mythology into an actual story.

Ambition meets accountability.

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