
Mötley Crüe is an American heavy metal band formed in Los Angeles in 1981.[1][2][3] The group was founded by bassist Nikki Sixx, drummer Tommy Lee, lead guitarist Mick Mars and lead singer Vince Neil. Mötley Crüe has sold over 100 million albums worldwide.[4][5][6] They have also achieved seven platinum or multi-platinum certifications, nine Top 10 albums on the Billboard 200 chart (including 1989’s Dr. Feelgood, which is Mötley Crüe’s only album to reach number one), twenty-two Top 40 mainstream rock hits, and six Top 20 pop singles.[7][8] The band experienced several short-term lineup changes in the 1990s and 2000s; these included the introduction of vocalist John Corabi (who was Neil’s replacement from 1992 to 1996) and drummers Randy Castillo and Samantha Maloney, both of whom filled in for Lee following his departure from Mötley Crüe in 1999; he returned to the band in 2004.

The members of Mötley Crüe have often been noted for their hedonistic lifestyles and the androgynous personae they maintained. Following the hard rock and heavy metal origins on the band’s first two albums, Too Fast for Love (1981) and Shout at the Devil (1983), the release of its third album Theatre of Pain (1985) saw Mötley Crüe joining the first wave of glam metal.[9][10] The band has also been known for their elaborate live performances, which feature flame thrower guitars, roller coaster drum kits, and heavy use of pyrotechnics (including lighting Nikki on fire[11]).[7] Mötley Crüe’s most recent studio album, Saints of Los Angeles, was released on June 24, 2008. What was planned to be the band’s final show took place on New Year’s Eve, December 31, 2015. The concert was filmed for a theatrical and Blu-ray release in 2016.[12][13]
After two-and-a-half years of inactivity, Neil announced in September 2018 that Mötley Crüe had reunited and was working on new material.[14][15] On March 22, 2019, the band released four new songs on the soundtrack for its Netflix biopic The Dirt, based on the band’s New York Times best-selling autobiography. The soundtrack went to number one on the iTunes All Genres Album Chart,[16] number 3 on the Billboard Top Album and Digital Album sales charts,[17] number 10 on the Billboard 200, and Top 10 worldwide.[18] The autobiography returned to New York Times Best Seller list at number 6 on Nonfiction Print and number 8 on Nonfiction Combined Print & E-Book.[19]

Discography:

Bass, Vocals (1981-present)
See also: L.A. Rats, Sixx A.M., ex-London, ex-Sister, ex-58, ex-Brides of Destruction, ex-Rex Blade
Tommy Lee
Drums, Vocals, Piano (1981-1998, 2004-2007, 2008-present)
See also: Methods of Mayhem, Tommy Lee, ex-Dealer, ex-Rock Star Supernova, ex-Sapphire, ex-Suite 19, ex-The Dudes of Wrath, ex-US 101
Mick Mars
Guitars (1981-present)
See also: ex-Hear ‘n Aid, ex-Garcia Brothers, ex-Spiders and Cowboys, ex-The Jades, ex-Vendetta, ex-White Horse (aka Mottley Croo)
Vince Neil
Vocals (1981-1992, 1996-present)
See also: ex-Hear ‘n Aid, Vince Neil, ex-Rockand

Past Members:
Greg Leon | Guitars (1981) |
See also: The Greg Leon Invasion, ex-Dokken, ex-Quiet Riot, ex-Suite 19 | |
Robin | Guitars (1981) |
O’Dean | Vocals (1981) |
Jeff Jacobi | Vocals (lead) (1981) |
(R.I.P. 2005) See also: ex-20Grit | |
John Corabi | Vocals (lead), Guitars (rhythm) (1992-1996) |
See also: John Corabi, ex-Angel City Outlaws, ex-Angora, ex-Brides of Destruction, ex-E.S.P., ex-Ratt, ex-The Dead Daisies, ex-The Scream, ex-Tuff, ex-Twenty 4 Seven, ex-Union, ex-Zen Lunatic | |
Randy Castillo | Drums (1999-2000) |
(R.I.P. 2002) See also: ex-Ozzy Osbourne, ex-Black Sheep, ex-Le Mans, ex-Bone Angel, ex-Dutch Courage, ex-Juice 13, ex-Lita Ford, ex-Red Square Black, ex-The Gremlins, ex-The Offenders, ex-The Purple Blues, ex-The Tabbs, ex-The Wumblies, ex-U.S.S.A., ex-Stone Fury (live), ex-The Motels (live), ex-Vince Neil Band (live) |
Side A | |||
1. | In the Beginning | 01:14 | Show lyrics |
2. | Shout at the Devil | 03:14 | Show lyrics |
3. | Looks That Kill | 04:07 | Show lyrics |
4. | Bastard | 02:53 | Show lyrics |
5. | God Bless the Children of the Beast | 01:30 | instrumental |
6. | Helter Skelter (The Beatles cover) | 03:12 | Show lyrics |
Side B | |||
7. | Red Hot | 03:21 | Show lyrics |
8. | Too Young to Fall in Love | 03:35 | Show lyrics |
9. | Knock ‘Em Dead, Kid | 03:43 | Show lyrics |
10. | Ten Seconds to Love | 04:18 | Show lyrics |
11. | Danger | 03:51 | Show lyrics |
34:58 |
Sweetie, September 3rd, 2018.
Consider that bastard dead!
Forget the hits, forget the iconic beauty of the title track, and forget the fact that there’s a Beatles cover that’s absolutely banger! Well, no, don’t forget all of that stuff, because it’s all essential to the equation that proves Shout At The Devil to be one of the greatest heavy metal records ever, and certainly Motley Crue’s best one. Let alone the fact that Nikki and co. are far more consistent here than they were on the almost perfect predecessor. Let alone the black imagery that sifts through my brain every time I listen to it. It’s probably a bit redundant to touch on how dark all of the tracks are, but the fact that they took an already dingy song like The Beatle’s “Helter Skelter” and added a whole new level of sleaze and filth is just phenomenal. The ability to make the classic ballad “Too Young To Fall In Love” fit this kind of piece without sounding out of place is also amazing, in my humble opinion.
But as I said, the “Looks That Kill”s are just what make this album pretty damn good, and by now just about everyone knows the ins and outs of these red hot beaters (pun intended). What sends Shout At The Devil over the top is the durability of everything that didn’t smack the radio waves back in the days of ’83. The heavier, more abrasive tracks are more to blame than anything. “Bastard”, “Red Hot”, “Knock ‘Em Dead, Kid”, and “Ten Seconds To Love” are the songs responsible for the hard strength of material. “Bastard” and “Red Hot” are borderline speed metal, drum pummeling, strum chugging, riff maniacs that are vigorous enough to pull the weight of a freight train. The dirty nature and mean energy combined with completely clean singing is the pinnacle of stellar construction. On the other hand, “Knock ‘Em Dead, Kid” and “Red Hot” transfer their energy into a steadier, and friendlier heaviness with the same sexual appeal that was all over the debut record. These four tracks, combined with the iconic radio hits (that are still great, just not quite as) are the reason Shout is held in such high regards. But that’s just before the icing is added.
“In The Beginning” and “God Bless The Children Of The Beast” are necessary additives that weave the flow together, and introduce the level of evil imagery that should come to mind while spinning this disc. Honestly, this helps back up that whole consistency thing that I mentioned earlier. But the last bit of magic is album closer “Danger”. It’s somewhat a second ballad, but the acoustic intro building up to heavy chord progression makes it a bit of a thriller. Touching on the evils of Hollywood was incorporated into this so neatly, and again, despite being a ballad, it fits the puzzle perfectly. Couldn’t have asked for a better way to close the album.
One final note, the bonus tracks with this specific version are great. A few of them are demos with slight alterations, which is always fun, and the unreleased “I Will Survive” is good enough as well. The real essential listen, though, is “Hotter Than Hell”. This song would appear on the next album Theatre Of Pain re-titled as “Louder Than Hell”. The difference is, that one is guzzied up to fit a glammier approach, where this one is slowed down, heavier, and meant for the darker approach of Shout. They’re both great in their own respects, and I highly recommend listening to this track, if no other bonus songs. At the end of the day, though, the original full length is what I call an essential listening for all heavy metal goers. The old vinyl gate-fold with the pentagram cover is something that hits my turntable a lot. Beyond that, nothing more needs to be said.
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