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

Weekend Hangover: The top 50 Hair-Metal albums of all time

Features, Music reviews, Uncategorized

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When men were men who wore big hair and makeup


It’s the genre that simply refuses to die. It always ends up peaking its teased-up hair, leather and spandex through the underground from which it came. While the eccentricities and the hair have been toned down ever so slightly over the years, the music went underground, but it never quite left us. Sometimes maligned in the Metal community, often prone to shaming. I’m talking of course about Hair-Metal. It’s been called Glam-Metal, Cock-Rock, Stripper-Metal and Butt-Rock among other names.

The songs had chunks of hooks, the choruses were simply too catchy to ignore, and no power-ballad was too big for MTV. The genre never fully went away thanks to camera ready stars like Bret Michaels, Dee Snider and Sebastian Bach who kept themselves in the public eye as they turned to outlets such television, radio and yes, even broadway. It was the golden age of something.

While a talented few within the genre some want to be seen as respected musician who care about more than image —with the implication being that Hair Metal is all about image— others could care less about the music’s label as long as they’re being talked about, just ask Vince Neil.

The musicians are as much fun to talk about as the music they play. Rumours, dirt about band members, lineups with one original member, whispers about hair pieces and who’s —wait for it— bald. I can’t think of too many other genres of music where rumours and speculations go hand in hand with the genre as much as Hair-Metal. Talking about the music as is as much part of the fun as listening to it.

While there likely isn’t a Hair-Metal revival happening anything soon, bands like Steel Panther, Crashdiet, Reckless Love and Crazy Lixx are keeping the genre alive and well. Besides everyone likes at least one Hair band, if you don’t admit to it, you’re lying plain and simple.

A few rules for this list: No one band can be featured twice. No Greatest Hits. No modern Glam bands. Van Halen and Guns N’Roses are not Hair-Metal. Finally, no originators (that means no New York Dolls, Sweet, Slade, Hanoi Rocks and no 70s-era Aerosmith and KISS albums).

Keep your death-metal, alternative and indie darlings to yourself, I’m off to spin Cinderella and Poison’s debuts.

 

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50. Triumph & Agony, Warlock (1987)

With songs like All We Are and Make Time For Love Warlock carved themselves a spot on the list. Doro Pesch’s unique voice is as powerful as the music. The album cover suggest a Dio-type Dungeons and Dragon type of metal but Warlock so  clearly belongs to Hair-Metal.

 

 

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49.  Enuff Z’Nuff, Enuff Z’Nuff (1989)

Enuff Z’Nuff proved to be a hippy-ish, weird form of Hair-Metal with their colourful imagery (mostly peace signs) over the years as they did their own thing but they do belong in the genre. The New Thing and the tender ballad Fly High Michelle from their debut are wonderful remnents of the era. Donnie Vie and Chip Z’Nuff should never be without one another.

 
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48.  Damn Yankees, Damn Yankees (1990)

Known as Glam-Metal’s very own supergroup the Damn Yankees featured an all-star lineup in Ted Nugent, Jack Blades (Night Ranger), Tommy Shaw (Styx) and that one guy who join Lynyrd Skynard on drums. It’s the ballad High Enough that put them on the map but songs like Coming of Age aren’t too shabby either.

 

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47.  In Rock We Trust, Y&T (1984)

Saxon had Denim & Leather, Y&T had Lipstick & Leather. One of the lesser known bands of their era they were certainly ahead of their time. Almost the Glam version of Anvil, people took influences from them and left them dead. In Rock We Trust is not their most Hair-Metal sounding-release but it is quite possibly their best.

 

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46.  Metal Magic, Pantera (1983)

Bet you weren’t expecting to see Pantera on this list were you? I’m sure Pantera wasn’t either. It is sometime whispered on the internet that the mighty Pantera’s first three albums are straight up Hair-Metal. The allegations are true. Metal Magic is Pantera’s first album, and their best of the pre-Phil Anselmo era. Terry Glaze was their singer then and boasted much of the same vocal qualities as many frontmen did during those days. Quite a change from the Anselmo-fronted Pantera metal fans know. Songs like Ride My Rocker and Tell Me You Want It displays their KISS and Van Halen influences as well as a touch of NWOBHM, but make no mistake it is glam.

 

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45.  Trilogy, Ynwgie Malmsteen (1986)

Where else was Yngwie going to show off his musical dexterity but in a Hair-band? Say what you want about the music but the shredders of the era were technically proficient on their instrument. The man is better known as a guitar hero but when restrained Malmsteen is capable of producing some fine candy-coated songs. Case in point: You Don’t Remember, I’ll Never Forget, Queen In Love.

 

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44.  Two Steps from the Move, Hanoi Rocks (1984)

It’s true I said no originators. Hanoi Rocks aren’t just originators, they were doing the music as others were making their way up in Hair-Metal. The band’s drummer Razzle got in a car with a drunk Vince Neil and Hanoi Rocks was never the same. They never got due credit outside of their native Finland and were the country’s most famous rock export for years before bands like Children of Bodom, Nightwish and HIM made their mark on metal music. Boulevard of Broken Dreams and Up Around The Bend make for excellent blues-rock wrapped up in glam coating. Better known for being one of Guns N’Roses’biggest influences than their own music.

 

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43.  Black N’ Blue, Black N’Blue (1984)

Produced by none other than Gene Simmons, Black N’Blue never hit the big time but they did feature a future KISS collaborator and current-Spaceman in Tommy Thayer. Some of the songs have held up better than time would suggest. Tell me Hold On To 18 doesn’t flat-out rock. There’s plenty to like: Chains Around Heaven, Wicked Bitch, The Strong Will Rock.

 

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42.  Lita, Lita Ford (1988)

With Kiss Me Deadly we have one of Lita’s signature songs. Then there’s Close My Eyes Forever the duet with Ozzy Osbourne she later famously abandoned. Falling In and Out of Love was written by ex-beau Nikki Sixx. Best Lita Ford album? No. But it is her most recognizable work and fits every criteria on this list.

 

 

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41.  Trouble Walkin’, Ace Frehley (1989)

It took years for Ace Frehley to surface as a solo artist following his departure from KISS but “Ace is back when he told you so”. It was hard to choose between this and the debut Frehley’s Comet album but Trouble Walkin’ just edges it out. Frehley is known for covering other artists and so it should be no surprise that the best tunes of the album are covers. Ace covers The Move’s Do Ya brilliantly and put out an effective version of KISS’Hide Your Heart.

 

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40.  Midnight Madness, Night Ranger (1983)

Some would call Night Ranger rock but I disagree. The sleek and polished sounds of Don’t Tell Me You Love Me, Rumours in the Air and their band’s definitive song Sister Christian have more in common with Glam-Metal than rock. If you get one Night Ranger album, this is it.

 

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39.  Bulletboys, Bulletboys (1989)

Often described as Van Halen-esque, Bulletboys are more than carbon copy or one hit wonder. Marq Torien’s voice made the band unique. It’s a shame they’re only known for Smooth Up In Ya because they added different flavours to their brand of music; they swing with Shoot The Preacher Down and get a little funky with For The Love of Money.

 

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38. Metal Queen, Lee Aaron (1984)

She come like thunder risin’ from the gound. Lee Aaron was the Metal Queen (sorry Doro). Although she became more pop as the years went on —including a period where she became a Jazz musician— Lee Aaron’s 1984 opus remains her most memorable album to this day largely due to the title-track and Lady of the Darkest Night.

 

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37. Britny Fox, Britny Fox (1988)

The album jacket just screams Glam. Looking and sounding like Cinderella’s Gypsy cousins, Britny Fox were not one of the top-tier Hair-Metal outfits but they’re better than logic would dictate. Long Way To Love, Girlschool and Gudbuy T’Jane have held up better than you remember.

 

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36.  Vixen, Vixen (1988)

Is it sexist if I call them the female equivalent of Poison? Too late, I just did. Yes, we all know they didn’t write Edge of a Broken Heart but that doesn’t detract from how catchy the song is. Besides, I always preferred Want You To Rock Me and songs like Cryin’ are worth their salt.

 

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35.  Cocked & Loaded, L.A. Guns (1989)

Any of L.A. Guns’ first two albums could be considered as their best but if pressed I’ll have to give the edge to Cocked & Loaded. Sleazy Come Sleazy Go and I’m Addicted just ooze junkie Hair-Metal. It also happens to features their signature song in the form of The Ballad of Jayne.

 

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34. Faster Pussycat, Faster Pussycat (1987)

Faster Pussycat was too sleazy for MTV— OK maybe except House of Pain—but in a post-GNR era they found a niche ready to pounce on their filthy Glam-Rock. Unlike their contemporaries, they sound like they listened to the New York Dolls instead of just stealing their look. With tunes like Bathroom Wall and Babylon Faster Pussycat is vulgar, sexist and occasionally disgusting —all by design, of course.

 

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33.  All Systems Go, Vinnie Vincent Invasion (1988)

KISS axeman Vinnie Vincent teamed up with future Slaughter members Dana Strum and Mark Slaughter on his second and best album. Vinnie Vincent lnvasion had commercial success with That Time of Year on MTV and Love Kills was on the soundtrack for Nightmare on Elm Street 4: The Dream Master. The only reason the band disbanded was sadly Vinnie Vincent himself. Mark and Dana went on to form Slaughter. Vinnie Vincent went on to co-write songs with KISS for their Revenge album, sued his former employers a gazillion times (never winning once) and became a recluse.

 

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32.  Leather Boys With Electric Toys, Pretty Boy Floyd (1989)

Pretty Boy Floyd made exactly one worthwhile album and that’s Leather Boyz With Electric Toyz. The melodic Wild Angels and I Wanna Be With You would’ve made be great songs on any Hair-Metal record. They also did a decent Poison-esque cover of Motley Crue’s Toast of the Town. This debut is often more remembered for its album cover than the music, but Pretty Boy Floyd delivers.

 

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31.  Firehouse, Firehouse (1992)

Its rock sprinkled with pop and its done oh so well. For my money Firehouse’s debut album is still the best thing they’ve ever made. Infectious songs like Don’t Treat Me Bad and Shake & Tumble scream good times while ballads like Love of a Lifetime are powerful and genuine.

 

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30.  Trash, Alice Cooper (1989)

By the end of the decade Hair-Metal was so big that even of the granfathers of rock, Alice Cooper himself, tried his hand at it. The result is an Alice tailor-made for 1989. It gave him a shot in the arm and his highest charting song in 12 years with Poison. Songs like House of Fire and Spark in the Dark are fun to this day. The guest list is impressive: Jon Bon Jovi, Richie Sambora, Steven Tyler, Joe Perry (and most of Aerosmith) and Kip Winger among others.

 

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29.  Winger, Winger (1988)

The band Beavis and Butt-Head made cool to hate. Metallica once threw darts at a picture of Kip Winger in the process of recording the black album. How could we possibly have an all-glam list without Winger? Sure it’s very pop and sometimes borders on the creepy —Seventeen may not see a release in this age— but Winger were undeniably some of the finest musicians in the genre.

 

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28.  Steelheart, Steelheart (1992)

Miljenko Matjevic’s voice. The man possessed an impressive instrument capable of vocal summersaults. Steelheart seemed poised for success before an onstage accident nearly killed their singer and put a halt to their career. The band’s debut remains one of the strongest album in the genre with essentials like She’s Gone and Everybody Loves Eileen.

 

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27.   …Twice Shy, Great White (1988)

Its difficult choosing between this or Once Bitten but …Twice Shy sounds more glam to my ears. Great White were more a blues-based band than anything until they were locked in the studio to produce catchy, radio-friendly rock and they did exactly that. Once Bitten, Twice Shy, House of Broken love and The Angel Song are bonafide Hair classics.

 

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26.  Aerosmith, Permanent Vacation (1987)

Once originators now less um, original, this is the one that brought Aerosmith back to the big time. More of a Hair record than Pump and sleazier than anything they’ve done in ten years. This began a new era for the band, one featuring outside writers like Jim Vallance and Desmond Child. Cock-rock opener Heart’s Done Time, the poppy Magic Touch and the groovy Rag Doll are Aerosmith’s best shots at Glam-Metal. Angel is one of their all-time great ballads and who could forget Dude (Looks Like A Lady)?

 

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25.  Exposed, Vince Neil (1993)

Speaking of Dude (Looks Like A Lady), Vince Neil was the inspiration behind the song. Released after the Grunge explosion was already in full swing, Exposed lived in a vacuum that ignored everything surrounding itself. You’re Invited but Your Friend Can’t Come was the hit from the album, but thankfully its not the only good song as its accompanied by the likes of the heavy Sister of Pain and the cruelly underrated Living Is A Luxury. Steve Stevens of Billy Idol does once again an admirable job on guitar.

 

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24.  After the Rain, Nelson (1990)

The Nelson twins. Boy can they ever craft a well-written song that will stay in your head for days. Say what you will about these songs being quote-on-quote soft, Nelson had better musicianship than many of the peers. It never got better than the debut as far as Nelson is concerned but this collection of song is fantastic. Oh and it did sell 10 million copies.

 

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23. Pride, White Lion (1987)

A thinking man’s Hair band? Cries for the environment and the children’s future? White Lion was something of an oddity in the Glam cannon even then, now they stand out even more. Tunes like Wait and Hungry were all good-natured fun but there’s a definitely a somber side to songs like Lonely Nights and When The Children Cry. Oh yeah, before I forget, Bratta shreds.

 

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22.  To Hell With The Devil, Stryper (1986)

Good Christian boys can’t rock, can they? It turns out they can and they still deliver great albums even today. Besides, a little research will show you that Michael Sweet and the band weren’t always walking along the righteous and holy path (check out Against the Law). The band’s ’80s output is great Pop-Metal but To Hell With the Devil was their breakthrough album with the title track, Free, and the tender god-loving ballad Honestly.

 

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21.  Turbo, Judas Priest (1986)

In 1986 Judas Priest wasn’t a Heavy-Metal band dabbling with Glam, they were drenched in it. Listen to songs like Locked In, Parental Guidance and the somber ballad Out In The Cold and tell me I’m wrong. Or the title-track. It’s a more accessible Priest, one that crafted very good pop songs at that.

 

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20.  Lick It Up, KISS (1983)

It’s no wonder KISS chose to take the makeup off with Lick It Up. The band’s new pop-metal direction and look was in style and this remains their strongest Hair Metal release. KISS emphasized visuals as did MTV who showcased the band’s exclusive unmasking live. The only album to officially credit the lost Egyptian Ankh warrior Vinnie Vincent. A Million To One is of the best things ’80s KISS ever did.

 

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19.  The Ultimate Sin, Ozzy (1986)

It’s better than the jacket sleeve, I swear. Ozzy with bouffant hair and ridiculous costumes is a sight to see. The music made during this time period is largely ignored by the Ozzy camp but there’s some gems on The Ultimate Sin. Shot ln the Dark is one of Ozzy’s catchiest song and one of his biggest hits. Hair gems such as Secret Loser and Lightning Strikes have a respectable place among Hair-Metal classics as do melancholic tunes such as Killer of Giants. Jake E. Lee,man.

 

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18.  Eat ‘Em & Smile, David Lee Roth (1986)

I’m talking about a Yankee Rose! I know, I said no Van Halen but surely David Lee Roth solo has to count? DLR replaced Eddie Van Halen with Steve Vai and the party continued as if nothing happened. Eat ‘Em and Smile sounded more like Van Halen than Van Halen did at this point. Many of the songs on here are up to par with Van Halen classics. Shy Boy, Going Crazy and Yankee Rose make for good argument.

 

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16. The Great Radio Controversy, Tesla (1989)

It was a tough decision between this and Mechanical Resonance but I’ll give a slight edge to The Great Radio Controversy. Tesla were more of a ’70s Arena-Rock band than anything else but their songs fit right in the ’80s landscape. Love Song was the hit here but hard rockers like Hang Tough remind us of why Tesla was more than your average Hair band.

 

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17.  Blow My Fuse, Kix (1988)

Kix unleashed many great songs in the ’80s and Blow My Fuse has a good chunk of them. Never has a more beautiful anti-suicide ballad been written than Don’t Close Your Eyes. One of the guitar players in a band l was once in sang this song just about every time he opened his mouth. Cold Blood is one of the anthems of the era and songs like Gets It While Its Hot and She Dropped the Bomb are well-worth a listen.

 

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16.  Metal Health, Quiet Riot (1983)

Hold the distinction of the first #1 Metal album on the Billboard charts. Of course by reaching the top so early it was all downhill from there. Maybe there was too much tension within the band, perhaps they ran out of Slade songs to cover, but if you put on Metal Health and close your eyes, it’s 1983 and you feel the “noize” again. Surprised to see it a little low on the list? The singles were the best songs and the rest paled Thunderbird and Slick Black Cadillac never did much for me. That or Kevin DuBrow’s attitude.

 

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15.  Danger Danger, Danger Danger (1989)

Lexxi Foxx’s favourite band. I swear they’re not on the list just because I like to repeat the words Danger Danger. Drummer-turned-singer Ted Poley has one of the best voices in Glam and the band’s debut is full of upbeat pop-metal anthems. Songs like Naughty Naughty, Bang Bang, Don’t Walk Away and Feels Like Love are no good for anyone’s IQ but we’ll forgive them because they’re so damn catchy.

 

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14.  The Final Countdown, Europe (1986)

Yes it’s the one with that song, but there’s more to this band than a hit single. The Final Countdown is filled with chunks of hook-laden songs like Rock the Night, Cherokee, and tender ballad Carrie. Although Europe tries very hard to distance themselves from the genre these days, this is the version of the band —and Joey Tempest’s hair— we liked most.

 

 

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13.   Love At First Sting, Scorpions (1984)

Scorpions made their teeth long before the Glam explosion, but it doesn’t change the fact that for a period time in the 80’s and ’90s they were for all intends and purpose a Hair band. They also had massive hits but never more so than on Love At First Sting. Mid-paced rocker Big City Night aged like fine wine. Still Loving You is one of the most poignant power-ballads. Do I even need to bring up Rock You Like a Hurricane? 

 

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12.  Slaughter, Slaughter (1990)

If you ask me some of the best Hair-Metal came out in the early ’90s. Slaughter is a prime example of that. The band’s eponymous release features many glamtastic songs: Eye to Eye, Burning Bridges (about none other than Vinnie Vincent), Spend My Life and that’s not including the hits Up All Night and Fly to the Angels. Like many bands on this list, Slaughter’s debut album marked their commercial and career peak.

 

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11. Under Lock And Key, Dokken (1985)

Sure, Tooth & Nail was heavier and Back for the Attack has Dream Warriors and Mr. scary but Under Lock And Key has the hits and some of Dokken’s most melodic, memorable work and if there’s one thing the band was about it was melody. Songs like Unchain the Night, The Hunter, It’s Not Love and In My Dreams are enough to make any album great. Oh and they had a certain George Lynch on guitar, you may have heard of him.

 

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10.  Dirty Rotten Filthy Stinking Rich, Warrant (1989)

Where’d the down boys go? Say what you want, this one is still miles ahead of Cherry Pie althought Bobbie Brown was nowhere in sight. Jani Lane could write, RIP. Down Boys, Sometimes She Cries and what is the band’s ultimate song, Heaven. Dirty Rotten Filthy Stinking Rich is one of the must-have Hair-Metal albums.

 

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9.  Detonator, Ratt (1990)

Shocker! I’m sure many would’ve expected Out of the Cellar to make it on the list, but I feel Detonator is a little stronger overall. Ratt’s 80s output is well-known but this early ’90s effort contains gem after gem. Shame, Shame, Shame is pure Ratt. Lovin’ You’s a Dirty Job is sleazy, let’s do it in the back of the car-rock. Then there are songs like the mature Givin’ Yourself Away, the flashback-inducing One Step Away, the speedy Can’t Wait On Love. Stephen Pearcy never sounded better than he did on Detonator and Hard Time is still my favourite vocal performance of his.

 

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8.  Whitesnake, Whitesnake (1987)

Has such a simple keyboard pattern ever been used more efficiently than the one in Is This Love? This album is home to the one video every car-humping scene in cinematic history has attempted to reproduce. There’s more than the display of affection for cars that is Here I Go Again or the masturbatory Led Zeppelin-esque Still of the Night. Gimme All Your Love and Cryin’ in the Rain for instance. The album sometimes known as 1987 was a monster Hair-Metal album. It repackaged David Coverdale for a new generation and made a video vixen out of Tawny Kitaen, thank god.

 

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8.  Slippery When Wet, Bon Jovi (1986)

Although he probably would never admit any correlation to the genre, Bon Jovi was glam. The early incarnation of the band was, at the very least. Slippery When Wet is as big as it gets for Bon Jovi or Hair-Metal for that matter. Livin’ On A Prayer, You Give Love A Bad Name, Let It Rock, that’s quite the list. Wanted Dead or Alive was so good it transcended the notion of musical genres. Without Love is a sleeper hit. Not my favourite Bon Jovi (that would be the debut), but how can you go wrong with this one?

 

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7.  Stay Hungry, Twisted Sister (1984)

There’s more to Twisted Sister than two big singles. I’ll even go on record and say We’re Not Gonna Take It and I Wanna Rock are not, I repeat not the best songs on the album. Burn In Hell and Horror-teria are both infinitely better. A mighty fine Hair album and one that could swing with some of the heavier bands out there too. Metallica once opened for them.

 

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6.  W.A.S.P, W.A.S.P. (1984)

A little heavier, rougher around the edges and definitely more metallic than their peers, W.A.S.P irked Senator Al Gore’s wife and is the main reason parental advisory stickers even exist.Blackie Lawless’voice is so good because it sounds like he’s broken. He literally sounds like a soul-sucking demon from hell who just experienced a painful breakup and learned to play melodic Heavy-Metal. There’s so much to like about W.A.S.P.’s debut. The explicit Animal (F*** Like A Beast). The catchiness of I Wanna Be Somebody. The pop qualities of L.O.V.E. Machine. The irresistible, occultism of Sleeping (In The Fire). The jury is still out on what the name W.A.S.P. means. Lawless once said, “We ain’t sure pal”.

 

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5.  Skid Row, Skid Row, (1989)

While 1992 Skid Row could swing with Pantera, 1989 Skid Row were playing pretty-boy rock and earning a living doing it. It’s also the Sebastian Bach-fronted incarnation of Skid Row that most of us remember. It’s the ballads 18 and life and I Remember You that stole the show but let’s not forget Youth Gone Wild.

 

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4.  Long Cold Winter, Cinderella (1988)

Night Songs may be more glam but it’s Cinderella’s sophomore album that takes the cake. It’s a blusier, better-written and more mature effort.  With melodic tunes like Gypsy Road and Last Mile, the dirty blues of Bad Seamstress and the honesty of Don’t Know What You Got (Till Its Gone) it’s no wonder Cinderella and Long Cold Winter is so high on the list.

 

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3.  Pyromania, Def Leppard (1983)

I like Hysteria, but I love Pyromania. It just rocks harder. With Pyromania Def Leppard were able to crossover to mainstream commercial success while keeping the rock crowd happy, no easy feat. This was when Def Leppard was still cool to like. If you ask me the sound of Def Leppard is perfectly encapsulated in Photograph. Its got some serious companionship with the anxious Rock! Rock! (Till You Drop), the memorable intro to Rock of Ages, the desperation of Too Late for Love and the beauty of Stagefright.

 

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2.  Look What The Cat Dragged In, Poison (1986)

An argument could be made for any of Poison’s first three albums but the debut edges everything out by a single Aqua-Net sprayed hair. It was the first time the world heard of and saw them. MTV, the album cover, from the moment they first showed up on TV screens across America the very image of Poison had been etched into popular-culture. As such Poison is perhaps the utmost definition of glam and Hair-Metal. Between Talk Dirty to Me, I Want Action, Cry Tough, I Won’t Forget You and the title track there’s enough bubblegum-rock to chew on for days. A favourite now as it was then.

 

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1.  Dr. Feelgood, Motley Crue (1989)

Best Crüe album? Arguably. Glammiest? That would be Theatre of Pain. Biggest album with the most hit singles? It has to be Feelgood hands-down. Dr. Feelgood blends together everything that was fun about the ’80s —and the genre for that matter— in a decadent, unapologetic cocktail. The title track, Kickstart My Heart, Same Ol’ Situation, Don’t Go Away Mad (Just Got Away), Without You, Slice of Your Pie, Time For Change are all reasons why Dr. Feelgood is numero uno.

 

 

Not my cup of Crue

Music reviews

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Generation Swine, Motley Crue, Elektra, 1997.

Generation Swine is an interesting album to look back on. It was the Crue’s reunion album with singer Vince Neil -thus reforming the original lineup- and it was released in 1997 when being an artist from the 1980’s meant death in most cases and Alternative music was all the rage.

Younger bands at the time were rapping and experimenting with electronic sounds that were so popular in alternative and industrial music. Obviously the finished product is not your average Motley album. Vince Neil is back but clearly the songs were written for his departed replacement John Corabi. Neil tried to squeeze and fit in as best as he could but the mold was already cast and Swine is not a triumphant return by any stretch of the imagination.

It’s hard to imagine a fan of the band’s 1980’s heyday rocking out to this or enjoying it that much at all really. It’s a very different Crue album, perhaps more so than any other in the Crue catalog.

The self titled album with John Corabi on vocals was still a heavy album all throughout, but Swine is radical in that it introduces electronic elements, Nikki Sixx and Tommy Lee both sing songs on this one and the even re-record one of their classic songs with “Shout At The Devil ’97” (neither the electronic or Nikki and Tommy’s singingwould be brought back on the band’s next albums, or re-recording a previous song again or that matter) all of which make for a pretty unusual and interesting Crue record

“Find Myself” right from the get-go lets you know that this is very different Crue. It has that alternative sound mixed some NIN-like Industrial sound which is more or less a preview of the rest of the album. It’s not a terrible song but when you’re main lyrics are stuff like “I gotta find myself some drugs, I’m a bad mother******…”, well yeah. I’m not a fan of that voice that sings with Vince either.

I’ll give credit where credit is due. “Afraid” has grown to be one of my favorite Crue songs, it’s alternative alright and it reflects the scene of when it was recorded, but it’s honest, heavy and it rocks. Nikki’s lyrics are just great and out of all the songs this is one that feels the most like Motley.

“Generation Swine” the title-track is not a bad song, a good attempt. It doesn’t compare to anything on say, Shout at the Devil, but on its own it’s a good song and it’s fast paced and brutal.

“Glitter” is the obligatory ballad and I’m on the fence about this one. It seems like too obvious an attempt to write another “Home Sweet Home” or “You’re All I Need”. Some of the lyrics lack imagination and the pop noises are erringly reminiscent of the Backstreet Boys. It comes off as a sappy, yet honest attempt, Vince puts a lot of emotion into his singing.

“Beauty” actually makes good use of the electronic sounds and it’s not a bad song, its probably one of the better tracks here in fact.

“Shout At The Devil `97” is an interesting take but wasn’t necessary and it doesn’t improve on or surpass the original, but it’s there and for what it is it’s not bad it’s actually faster and good but at the core it’s just unnecessary reworking of an old song.

“Brandon” is received negatively by a lot of fans. It’s Tommy Lee’s piece for his son Brandon and although some of it is cliché and lame (I love you/ I love her/ she is your mother/ Brandon my son). It’s still very honest and even heartwarming in some way. I can’t say that it fits on a Motley Crue record however, it just seems out of place.

Then there are songs like “Anybody Out There” and “Rocketship” that are under or barely two minutes and are not long enough to either go someplace or let the listener get lost in the music or make up his mind about the song.

Then there is bonus material on the remasters. The remix of “Afraid” is for all purposes worthless, it doesn’t do much except add a part of industrial sounds here and there and it seems to bring down the volume of the guitars a bit but the original is far better.

“Wrecked” is a little too overtly sexual even for Motley (the chorus goes “Sex me, wreck me, give me your head, sex me, wreck me, give me your bed”), but it’s actually the song that sounds the most like Motley Crue which is ironic, but garage band version.

“Kiss the Sky” was also one of the better songs that I felt could and probably should have been on the record and replace something that wasn’t as good.

I can’t say that I care much about the demo of “Rocketship” however.

The times had changed in music and the brand of music Motley was known for was un-cool to like in 1990’s and it would be a few more years before it became “acceptable” to have anything to do with the ’80s again.

Away from the band Vince Neil released two solo albums but was reduced to being an opening act for other artists and had personal turmoil with the death of his daughter Skylar.

Although Motley’s self-titled album was a great, solid album that sounded unlike anything they had done before, it wasn’t accepted in the mainstream because it was attached to the name Motley Crue (even though the music reflected the change of music scenery rather well while still being their own thing). On the flip-side lot of Crue fans couldn’t accept it because it was too big a change in sound and of Neil’s departure.

Even though both parties had gone separate ways it was clear that it wasn’t working out so well for either. During the recording process for Generation Swine they reunited although no one was really happy. Neil replaced Corabi’s vocals on the album and it’s clear that those songs were fitted for him and that he helped shape them which makes a unique scenario as the material didn’t fit Neil.

I think this was clearly more of a John Corabi Motley Crue album. It obviously would have been better with him handling vocal duties, this songs were suited to his voice, not Vince Neil’s. I think it’s safe to say this one is only owned by hardcore and die-hard Crue fans and I don’t think even they play it much. Honestly it’s not an album that I’m too fond of and it’s certainly not an album that stood the test of time; it wasn’t great in 1997 and time hasn’t been kind to it.

This one is in the competition with New Tattoo (2000) for the title of worst Motley Crue album. New Tattoo comes out as a somewhat honest attempt at going back to their roots for just like Generation Swine was an attempt to keep up with the times and move forward. The problem is this is a true mish-mash and mess of an album with no clear direction. Even the band would agree agree I’m sure. It doesn’t sound much like Motley which wasn’t such a problem on the excellent 1994 self-titled album but it is here.

Generation Swine does very little for me and besides “Afraid” I can’t find a lot to onlike unfortunately it seems this one is largely forgettable and mainly serves for hardcore fans who must own everything Motley Crue. Even the cover’s bad. 1/5 star. I tried.