Post by dangerzone on Jun 21, 2006 17:14:50 GMT -5
Motley Crue 'Motley Crue'
1994, Elektra
John Corabi- vocals
Mick Mars- guitar
Nikki Sixx- bass
Tommy Lee- drums
One of the greatest travesties of the 90's was the total dismissal of this album, which to my mind is the best hard rock album of the decade. On the face of it how could Motley Crue win? Metal and hard rock were on the skids and the popularity the band had amassed in the past deacde slipped away the moment Vince Neil was fired and grunge took it's stranglehold on the rock scene. It shouldn't have been that way. John Corabi was an inspired replacement for fat old Vince, as good as Neil could be, Corabi's deeper voice gave the band an even tougher edge and also rid them of the lightweight direction that 'Girls, Girls, Girls' and 'Dr Feelgood' had pursued. Compare them to 'Shout At The Devil' and you'll get my drift. With Corabi the band clearly were given a jolt of creativity and energy, culminating in a hard rock showcase that easily kicked the shit out of Pearl Jam, Soundgarden and Alice In Chains.
I recall reading an issue of Kerrang! in 1995 where they featured popular hard rock bands of the 80's and where they were now. Warrant, Poison and the Crue came in for the expected bashing, with the meaningless rag bashing Motley for selling out and making a grunge album in the shape of this very album to try and stay hip. A typically misdirected observation. Listening closely to this eleven years later the albums roots are still 80's based, but with an updated and heavier guitar sound. Corabi's rasp is in the style of Coverdale, always a treat. The songs are without fault, so precise in their execution that this hould be used as a hard rock textbook. The bands penchant for anthems shines through on instant classics such as 'Power To The Music' and 'Hooligan's Holiday', while a more serious lyrical direction is explored on 'Uncle Jack' and 'Misunderstood', . Apparently the band wasn't allowed to be serious, but if they had made another 'Girls, Girls, Girls' they would have been pilloried anyway.
'Loveshine's Zeppelin like acoustic work is genius in my opinion, upbeat and melodic, as is the party rock of 'Poison Apples', with a chorus once heard is never forgotten. 'Hammered' reminds me of the late 80's with certain shades of its sound as does 'Till Death Do Us Part', with a 1988 vibe. Kurt Cobain likely blew his head off after realising he couldn't compete with true authentic rock like 'Welcome To The Numb' and if it gets heavier than 'Smoke The Sky' then its news to me. Megadeth compared to this in 1994 is the punchline to a joke. If Motley Crue were a grunge act then quality like 'Droppin' Like Flies' is the best the genre ever produced given its more Skid Row of the time, see 1995's great 'Subhuman Race', another overlooked album. 'Driftaway' is a suitably titled ballad and excellent at that, proof of how talented these guys once were.
An excessive review perhaps, but overdue in regards to how underrated this is. The more years that pass and the more I listen, I think this belongs next to anything recorded by The Who. Studio wise anyway. And in a different time naturally. As a one off with a new member it rates with Tommy Bolin's lone appearance on a Deep Purple album, 1975' Come Taste The Band' as one of the greats, except that Corabi is still alive. Motley bought Neil back of course and recorded a pair of dud albums which betrayed the direction they were heading in. 'Motley Crue' may have been a chart failure and the tour may have bombed but bad timing was all it was. Along with 'Divine Intervention', 'Motley Crue' ensured the 90's weren't a total loss.
Rating: A
1994, Elektra
John Corabi- vocals
Mick Mars- guitar
Nikki Sixx- bass
Tommy Lee- drums
One of the greatest travesties of the 90's was the total dismissal of this album, which to my mind is the best hard rock album of the decade. On the face of it how could Motley Crue win? Metal and hard rock were on the skids and the popularity the band had amassed in the past deacde slipped away the moment Vince Neil was fired and grunge took it's stranglehold on the rock scene. It shouldn't have been that way. John Corabi was an inspired replacement for fat old Vince, as good as Neil could be, Corabi's deeper voice gave the band an even tougher edge and also rid them of the lightweight direction that 'Girls, Girls, Girls' and 'Dr Feelgood' had pursued. Compare them to 'Shout At The Devil' and you'll get my drift. With Corabi the band clearly were given a jolt of creativity and energy, culminating in a hard rock showcase that easily kicked the shit out of Pearl Jam, Soundgarden and Alice In Chains.
I recall reading an issue of Kerrang! in 1995 where they featured popular hard rock bands of the 80's and where they were now. Warrant, Poison and the Crue came in for the expected bashing, with the meaningless rag bashing Motley for selling out and making a grunge album in the shape of this very album to try and stay hip. A typically misdirected observation. Listening closely to this eleven years later the albums roots are still 80's based, but with an updated and heavier guitar sound. Corabi's rasp is in the style of Coverdale, always a treat. The songs are without fault, so precise in their execution that this hould be used as a hard rock textbook. The bands penchant for anthems shines through on instant classics such as 'Power To The Music' and 'Hooligan's Holiday', while a more serious lyrical direction is explored on 'Uncle Jack' and 'Misunderstood', . Apparently the band wasn't allowed to be serious, but if they had made another 'Girls, Girls, Girls' they would have been pilloried anyway.
'Loveshine's Zeppelin like acoustic work is genius in my opinion, upbeat and melodic, as is the party rock of 'Poison Apples', with a chorus once heard is never forgotten. 'Hammered' reminds me of the late 80's with certain shades of its sound as does 'Till Death Do Us Part', with a 1988 vibe. Kurt Cobain likely blew his head off after realising he couldn't compete with true authentic rock like 'Welcome To The Numb' and if it gets heavier than 'Smoke The Sky' then its news to me. Megadeth compared to this in 1994 is the punchline to a joke. If Motley Crue were a grunge act then quality like 'Droppin' Like Flies' is the best the genre ever produced given its more Skid Row of the time, see 1995's great 'Subhuman Race', another overlooked album. 'Driftaway' is a suitably titled ballad and excellent at that, proof of how talented these guys once were.
An excessive review perhaps, but overdue in regards to how underrated this is. The more years that pass and the more I listen, I think this belongs next to anything recorded by The Who. Studio wise anyway. And in a different time naturally. As a one off with a new member it rates with Tommy Bolin's lone appearance on a Deep Purple album, 1975' Come Taste The Band' as one of the greats, except that Corabi is still alive. Motley bought Neil back of course and recorded a pair of dud albums which betrayed the direction they were heading in. 'Motley Crue' may have been a chart failure and the tour may have bombed but bad timing was all it was. Along with 'Divine Intervention', 'Motley Crue' ensured the 90's weren't a total loss.
Rating: A