MOTLEY CRUE LAY 34-YEAR CAREER TO REST WITH “THE END’,

Concerts, Music reviews

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Farewell tours are tricky affairs. Bands come and go—and come back—members leave and return in revolving door fashion and some bands have only one original member left. In short, its not always pretty. In the process certain artists hurt their legacy by staying in the game too long. Mötley Crüe wanted a different kind of farewell.

Mötley Crüe shocked the world in January of 2014 when they announced to decision to call it quits. The Saints of Los Angeles had chosen to end the party sooner rather than later. The band signed a cessation of touring contract, a first in rock history, prior to embarking on a two-year long farewell. In true Crüe fashion, the event served as a tremendous publicity stunt. With displays of “RIP Mötley Crue”, complete with tombstones that read each band member’s name, it would prove to be one can’t miss funeral.

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The End press conference, London, England, 2014. Photo credit: Rolling Stone

If The End has taught us anything, it’s that Mötley Crüe was a wild, untamed beast for more than 34 years. A Mötley Crüe show remained a spectacular, reckless and even chaotic event right up to The End.

Complete with big choruses, pyrotechnics, stage production values, female backup singers and dancers in scantily clad outfits, tears and displays of emotions from the band and fans alike, The End is an exciting visual memento and the end of an era. From the bombast and fire that begins with “Girls, Girls, Girls” to Nikki Sixx adressing the audience, Tommy’s roller coaster drum solo, the flamethrower bass and Vince Neil in tears during the last song of the set “Home Sweet Home”, it’s a relentless, unforgettable journey. It’s one last big, epic, blow-out to top off a truly memorable career.

Let’s get one thing out-of-the-way. Anyone who’s been to a Crüe concert in the last decade can attest that frontman Vince Neil’s voice is not what it once was—by a long shot, some would say—and its true [It becomes especially evident on the live CD of the concert]. In the dysfunctional environment that is Mötley Crüe, however, it works.

Vince Neil’s voice and charisma is part of what made the band so successful. Neil remains one of rock’s ultimate frontmen. Even if his voice isn’t quite up to par at times, the energy and excitement level is there.

Nikki Sixx does a commendable job of looking like one of the coolest human beings on the planet. These are his songs and this is his band. The flamethrower bass bit would make Gene Simmons blush.

Tommy Lee lays down a beat like only he can, providing a solid groove and backbone for the band. While performing a drum solo on his roller coaster contraption, the whole stops unexpectedly in mid-air, Lee’s reaction is nothing short of exceptional.

Perhaps most impressive of all is Mick Mars, Crüe’s sole guitarist. Mars often falls under the radar whenever the band is mentioned, but his playing never ceases to impress even after all these years.

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An emotional Vince Neil in tears during “Home Sweet Home”.

Mötley Crüe’s imperfections are exactly what made them a perfect rock band. Rock was never about perfection. Somehow, when these four beings come together magic happens. New year’s eve 2015 would be the last time this magic would be displayed. Thankfully, the Crüe’s send-off was captured in high-definition for the whole world to relive over and over.

The End comes in standalone DVD or Blu-Ray edition and in DVD/CD, Blu-Ray/CD packaging.

Objectively, the live CD is not incredible—most of the blame can be attributed to Neil’s singing— but the excitement of Mötley Crüe’s last concert was captured and that’s enough. The heart wrenching version of “Home Sweet Home” is almost worth the price of admission alone.

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Nikki Sixx, litterally in the heat of the moment. Photo: Motley.com

The cinematography however, is among the best I’ve seen in a concert film. The cameras capture every bit: the action, emotions and pyrotechnics with beautiful wide angles, just enough slow motion bits, subtle close-ups and depth-of-field shots that would make any rock band envious. Concert cinematography has always been about the emotion and feel, less so about the visuals. The End stands in a category of its own. It sets a template for the next generation of live rock documentation.

There’s a documentary portion just before the concert that serves as a reminder of the dedication fans have for this band. It also legitimizes how big of a draw and band Mötley Crüe really was. The End comes with a few extras. Nikki Sixx talks about his flamethrower bass and Tommy Lee details the history behind his roller coaster drum set.

There are a few more interview that will no doubt be interesting and give insight to fans. Take this particularly one with Nikki Sixx for instance:

“The fact that we’ve lasted is a miracle. Maybe that’s why we’re putting a bullet in its head…We know it’s inevitable that we’re going to break up or blow up or something. Maybe we’re just doing it before it happens anyway. We shouldn’t have lasted this long,” says Sixx in the interview portion of The End.

If anything, The End is a proper send off for Mötley Crüe and one heck of a burial. One final motorcycle ride under the sunset for one of the all time great rock bands. It’s reassuring to see a farewell done right in the world of rock, a landscape where the word “retirement” isn’t always taken seriously. I’ve never been this happy and sad watching a concert on home video.

RIP Mötley Crüe, 1981-2015, you will be missed.

mcrue2.jpg                                                                           Photo cred: Ultimateclassicrock.com

LIVE DVD TRACK LISTING:

1.) Intro
2.) Girls, Girls, Girls
3.) Wild Side
4.) Primal Scream
5.) Same Ol’ Situation (S.O.S)
6.) Don’t Go Away Mad (Just Go Away)
7.) Rock N Roll Part II / Smokin’ In The Boys’ Room
8.) Looks That Kill
9.) Motherf***** Of The Year
10.) In The Beginning / Shout At The Devil
11.) Louder Than Hell
12.) Drum Solo
13.) Guitar Solo
14.) Saints Of Los Angeles
15.) Live Wire
16.) T.N.T (Terror ‘N Tinseltown) / Dr. Feelgood
17.) Kickstart My Heart
18.) Home Sweet Home
19.) My Way (Credits)

LIVE CD TRACK LISTING:
1.) Intro
2.) Girls, Girls, Girls
3.) Wild Side
4.) Primal Scream
5.) Same Ol’ Situation (S.O.S.)
6.) Don’t Go Away Mad (Just Go Away)
7.) Smokin’ In The Boys’ Room
8.) Looks That Kill
9.) Mutherf***** Of The Year
10.) Shout At The Devil
11.) Louder Than Hell
12.) Saints Of Los Angeles
13.) Live Wire
14.) Dr. Feelgood
15.) Kickstart My Heart
16.) Home Sweet Home

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Guns N’Roses’ triumphant return to Toronto

Concerts, Features, Live/Concerts, Uncategorized

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The calm before the storm. Guns N’Roses July 16 at Rogers Centre, Toronto by: Morais, Tommy.

     Freshly reunited (sorta) rockers Guns N’Roses made the only Canadian stop of their ongoing North-American tour at the Rogers Centre on Saturday night.

The tour —dubbed the Not In This Lifetime tour— offered young generations of concert-goers the chance to catch the band they thought they’d never see while granting another opportunity for longtime fans to witness the gunners in a live setting once more.

The unpredictability of the band kept the packed Rogers Centre on it’s feet. Would the band breakup on this momentous occasion? Would Axl lose it? That uncertainty is part of the ritual that comes with attending a GNR concert. On this night there were no hints of tension or drama as Axl Rose, Slash and Duff McKagan shared the same stage.

It was a far cry from the Guns N’Roses that played Toronto just two short years ago when they hit the Sound Academy stage with Axl the sole remainder of the band’s glory days. The lineup then consisted of Rose with several musicians who would be unknown to anyone who hasn’t kept up with the band in 25 years. Flash forward two years to a sold-out crowd of 50,000 as the current version of the band appears on the top of the world bringing rock to Toronto— and the masses.

Although members of GNR’s original lineup have kept busy with various projects over time —including notable absentees Izzy Stradlin (who isn’t a part of the tour) and Steven Adler (who briefly performed guest spots on the tour in Cincinnati and Nashville) — Axl, Slash and Duff looked to be right at home onstage at the Roger Centre with the band that made them household names and members of the Rock N’Roll Hall of Fame. It may not be the full-fledged original lineup, but that didn’t stop fans from buying tickets in ’92-93 during the Use Your Illusion/Spaghetti Incident-era when neither Izzy or Steven where around. Why should it now?

The lineup was rounded out with longtime members Dizzy Reeds on keyboards, Richard Fortus (who could very well pass for the son of longtime Rolling Stones guitarist Ronnie Wood) on guitar, Frank Ferrer on drums and fresh face Melissa Reese on keys and vocals. With a few shows under their collective belt, this lineup of the sunset-strip rockers brought a well-oiled production to Toronto.

The Gunners took the stage around 9:45 PM, almost on time —and practically spot-on by it’s previously established standards—and surprisingly early for a band notorious for being especially late. The machine that is Guns N’Roses had the audience in the palm of its hand with opener It’s So Easy. Welcome To The Jungle received the biggest pop of the night. “You Know where you are Toronto?”, announces Axl to roars from the sold-out crowd.  The song’s reception was rivalled perhaps only by that of Sweet Child O’Mine‘s and Paradise City‘s. Songs from Appetite for Destruction were played side by side with material from the Axl-lead Chinese Democracy —including Better and the new added, Sorry—along with classic Use Your Illusion I & II era favourites like Civil War and the long epic November Rain (complete with Axl on piano).

The band played a massive minute set clocking in at just under 3 hours, comprising 27 songs including a guitar duel between Slash and Fortus and a 4 song encore. The last time I saw Guns N’Roses live circa 2010 they played a set that was just as long at 2 hours and 45 minutes.

Unlike the notorious frontman’s wardrobe changes (Roses loves his hats; cowboy, Crocodile Dundee-inspired, sombrero-style, it’s all good in his book), interactions with the crowd were kept to a minimum except for some Canada-related banter. Until Axl shared the woes experienced by the band at the Canadian border, that is. According to the frontman, someone from the organization brought a gun with them delaying their entrance in the country.

“They were very nice, they were very understanding. You know, it happens: You can forget you have a fucking gun,” said Rose just before a rendition of the bad-boy anthem Out To Get Me“It wasn’t my gun”.

The matter wasn’t made public before the show, as such, fans in the audience got the “scoop” firsthand.

Was it worth the hype?

While it wasn’t the full-on Appetite for Destruction-era reunion many had hoped for, the 3/5 classic Guns members experience definitely brings a bang for the buck with their lengthy performance and expert musicianship.

Axl’s voice was in excellent shape throughout the concert as he displayed the wide vocal range he is known for. The only signs of wear in his voice happened during the closing encore Paradise City at the end of a complete near 30 song set. Judging by visible panting and the expressions on his face after hitting the high notes, Rose truly gives his all for the fans.

The enthusiastic crowd was also delighted to see Slash, the ever cool top-hat, leather clad guitar slinger. SkyDome was buzzing when the fuzzy-haired, Les Paul-clad guitarist played the blistering solos to songs like Sweet Child O’Mine, but admittedly it looked slightly out of place when Richard Fortus played the solos created by Slash.

Bassist Duff McKagan even got his share of the spotlight as he sang lead on Attitude as the gunners covered punk outfit The Misfits.

I will gladly tell anyone who will listen that I was at Guns N’Roses 2016 . I’ll proudly add, “I survived Guns N’Roses 2016, including scorching heat and a tight, rough crowd”.

****/*****

Setlist:

It’s So Easy
Mr. Brownstone
Chinese Democracy
Welcome to the Jungle
Double Talkin’ Jive
(with Slash intro solo)
Estranged
Live and Let Die
(Wings cover)
Rocket Queen
You Could Be Mine
Attitude
(Misfits cover) (with “You Can’t Put Your Arms… more )
This I Love
Civil War
(with Voodoo Child Outro)
Coma
(with band introductions)
Speak Softly Love (Love Theme From The Godfather)
(Andy Williams cover) (instrumental, Slash guitar solo)
Sweet Child O’ Mine
Sorry
Better
Out Ta Get Me
Slash & Richard Fortus Guitar Duet
(“Wish You Were Here” with “Layla” outro)
November Rain
Knockin’ on Heaven’s Door
(Bob Dylan cover)
Nightrain

Encore:

Jam
(“Angie” by the Rolling Stones)
Patience
The Seeker
(The Who cover)
Paradise City

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