Mötley Crüe – Theatre of Pain (Album Review)

Released in 1985, Theatre of Pain, Mötley Crüe’s third album, is arguably marred by Vince Neil’s preceding arrest for drunk driving and the manslaughter of Hanoi Rocks’ drummer, Nicholas "Razzle" Dingley. While this tragic event almost saw Mötley Crüe come to an abrupt end, Theatre Of Pain was, ultimately, dedicated to Razzle’s memory and is a fitting tribute.

While the reception to Theatre of Pain has been primarily mixed amongst critics and fans, despite achieving higher sales than Mötley Crüe’s previous albums, time has been kind to Theatre of Pain. With a pop meets rock style and a healthy dose of glam influence, the album remains fresh and isn’t dated to the era; despite being representative of the time. Additionally, when you add the raw energy, polished production, and radio-friendly sound throughout, what you’re left with is a pop metal release that’s an essential listen for fans and newcomers alike.

Speaking of the overall sonic quality, while I’ve not been fortunate to hear a physical edition of this classic release, the lossless Apple Music stream is surprisingly well-mastered; particularly considering it’s not an Apple Digital Master. There’s no listening fatigue to be experienced and no standout issues that would limit one’s enjoyment of the record. The soundstage is clearly defined and envelops you in sound; regardless of how loud you’re listening to the record. The result of this well-balanced presentation is that it’s truly indicative of a Mötley Crüe performance and is thoroughly enjoyable from start to finish.   

City Boy Blues opens the album with a hard rock blues number. Mick Mars provides a masterful gritty guitar riff while Vince Neil’s raspy vocal is laid perfectly alongside the solid percussive backing. The result is that City Boy Blues is a solid opener and serves as a fitting introduction to the album.

Smokin’ In The Boys Room is a solid interpretation of Brownsville Station's original song. Depending on your perspective, you may prefer the original to this interpretation, or vice versa. What is certain, however, is that Mötley Crue injected their trademark swagger and glam-metal styling into the song and made it their own.

Louder Than Hell is one of the heaviest songs on Theatre Of Pain and its driving riff, anthemic chorus, and overall style harks back to the band’s earlier sound. The high production quality certainly ensures the song is a standout, but when you consider the intensity of Mars’ searing guitar performance and Tommy Lee’s thunderous drumming, there’s little doubt as to why this is one of the greatest songs Mötley Crüe ever recorded.

Keep Your Eye On The Money flows seamlessly from Louder Than Hell, and while it’s a catchy number it’s lyrically campy. Yes, Mars’ guitar licks, once again, steal the show, as does Lee’s pounding drumming and Nikki Sixx’s rhythmically charged bass notes, but it isn’t a standout.

Home Sweet Home is amongst the greatest power ballads ever recorded and is quintessentially Mötley Crüe. While some may lament their beloved hard rockers showing their softer side, Home Sweet Home would, ultimately, break new ground and further influence other glam-metal acts to also record a power ballad. As a power ballad fan, all I can say is thank you Mötley Crüe.

Tonight (We Need A Lover) is a high-energy rocker with infectious hooks. Capturing the raw, and unapologetic attitude that defines Mötley Crüe, Tonight (We Need A Lover) is not only a great rock and roll tune, but it’s a pure glam-rock masterpiece.

Use It Or Lose It is a fast-paced and aggressive number with a touch of punk. It sees Lee’s relentless drumming and Mars’ incredible guitar licks take centre stage for what can only be considered a killer tune. While Mötley Crüe should always be listened to at ear-bleeding volumes, this is one song where it hits harder the louder you listen to it.

Save Our Souls is a dark and brooding number that’s perfectly suited to Mötley Crüe, but it’s the blues-based rock tuning that makes it truly exceptional and one of the most atmospheric recordings on the album.

Raise Your Hands To Rock is a fun anthem-infused rocker. While the lyrics are a little mundane, the track’s energy and sing-along chorus make it a fantastic addition to the album and is one of those songs that would be ideal in a live setting.

Fight For Your Rights closes the album on a defiant note. The gritty riffs and pounding rhythm create a sense of urgency, while Neil’s impassioned vocals deliver the message with conviction. It is, once again, Mars’ guitar solo that ensures this is a memorable number; one that will keep you coming back to the album time and time again.

Overall, Theatre of Pain is an incredible release in the storied career of Mötley Crüe and deserves a place in everyone’s music library. While it lacks the aggression of Shout At The Devil and the cohesion of what would come with Dr. Feelgood, to ignore this release would be shortsighted for the numerous highs far outweigh any lows.

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Mötley Crüe – Dr. Feelgood (Album Review)

Mötley Crüe's Dr. Feelgood, released in 1989, stands as one of the band's most iconic albums, and is, without a doubt, one of the greatest hard rock albums of the 80s. Produced by the legendary Bob Rock, this album showcases a polished and powerful sound that blends the band's raw energy with a refined production style. Dr. Feelgood not only achieved commercial success, reaching No. 1 on the Billboard 200 with sales exceeding 6 million units, but also cemented their status as rock and roll legends.

Part of the appeal is due to the incredible album artwork that looks magnificent on the larger vinyl canvas. Of course, in 1989, CDs and the Compact Cassette had overtaken the vinyl record in album sales, but the striking nature of the album’s cover would have most certainly stood out in record stores worldwide. While I’m fortunate to own the 2008 Eleven Seven/Mötley Records reissue (cat: ESM/MR 342), a sonic marvel of a reissue, the artwork reproduction is sadly lacklustre.

Unfortunately, there’s a mottling effect that appears throughout; likely a by-product of the original album artwork being scanned incorrectly. The inner-sleeve liner notes and lyrics are reproduced clearly but the inner-sleeve artwork also exhibits this mottling effect. While it isn’t a major issue, and one should be more concerned with the sonic reproduction of their records, it’s an element that collectors may wish to look out for, should they consider picking up this particular reissue.

Of course, regardless of cover art, an album is only as strong as its songs and in this regard, there isn’t a bad tune to be heard for Dr. Feelgood is all killer, no filler; one that plays like a greatest hits release rather than a studio album. As it pertains to the 2008 vinyl reissue, the record is flat with a relatively low noise floor that is only audible between tracks. The mastering of the record, however, is spectacular. While the original album was mastered by George Marino at Sterling Sound, this particular reissue was re-mastered by Kevin Gray at Acoustech.

While the average music lover may be unaware, these two mastering engineers are revered and are known for pumping out some of the very best-sounding records. As to why Dr. Feelgood was remastered in the first place, I’ve no idea, as I would assume the original mastering would have been superb. Nevertheless, if you’re after a warm, rich, analogue sound with an enveloping and rocking soundstage that offers clear separation between all musical elements, and bass that will penetrate your soul, you can’t go wrong with this particular release.

While the vinyl reissue is sonically impressive, the same cannot be said for the lossless Apple Music stream. By comparison, it sounds flat and lifeless with a shallower soundstage. Of course, you can’t easily take vinyl with you; unless you’re into creating needle drops, that is. As a result, I seldom listen to the stream for it simply doesn’t compare, but if you enjoy the Apple Music stream, may I suggest that you don’t compare editions for doing so will only bring about frustration and it really isn’t as bad as my comparison above makes it sound.   

T.n T. (Terror ‘n Tinseltown) is a great, to-the-point, starter track that is an ideal non-musical introduction for Dr. Feelgood.

Dr. Feelgood is a hard-hitting funk metal anthem, for the riff and rhythmic introduction is legendary; even if you’re new to the album and Mötley Crüe. Mick Mars’ sensational guitar riff, and performance throughout, is a highlight, but that could be said for the entire band as Dr. Feelgood is a textbook example of how to write, produce, record, and mix a killer rock and roll tune.

Slice Of Your Pie oozes with a bluesy groove and slows down the tempo of the album a little. It’s also great to hear a little Steven Tyler (of Aerosmith) in the song’s introduction, as well as on backing vocals, for his unmistakable vocal cues add to the overall appeal of the song. If nothing else, Slice Of Your Pie showcases the band's ability to blend different musical styles, combining their signature hard rock sound with a touch of blues-rock.

Additionally, if you’re a Beatles fan you may appreciate the closing elements that pay homage to I Want You (She’s So Heavy); one of their best songs from their legendary 1969 release, Abbey Road.

Rattlesnake Shake, with its swaggering rhythm and catchy chorus, delivers a high-energy rock and roll vibe that will see you toe-tapping and head-bopping from the very first note.

Kickstart My Heart is one of Mötley Crüe’s most well-known songs. The adrenaline-fuelled anthem, complete with rapid-fire guitar riffs and pulsating drums, creates a sense of urgency and excitement that will appeal to just about any music lover for it reaches into your soul and doesn’t let go.

Without You is a beautiful power ballad that showcases the band’s softer side without losing their edginess. The overall arrangement and layered production add a grandiose feel, but when you combine the emotional vocal delivery, and melodic nature of the song, particularly with regard to the guitar solo, it’s difficult to find fault in this classic tune.

Same Ol’ Situation (S.O.S) is an upbeat rocker featuring catchy hooks and a sing-along chorus. It successfully captures Mötley Crüe’s signature blend of glam metal and hard rock and quickly becomes one of the most enjoyable songs from the album.

Sticky Sweet brings back the bluesy rock vibe and Steven Tyler’s unique vocal backing. Interestingly, Bryan Adams is also credited for backing vocals, but his contribution gets lost in the mix. Nevertheless, between the playful lyrics and catchy rhythm, you really won’t have time to consider the individual guest vocalists on this infectious and memorable tune.

She Goes Down, with its raunchy lyrics and sleazy guitar riffs and overall rhythm, embodies the band's notorious wild side. It is, quintessentially, Mötley Crüe!

Don’t Go Away Mad (Just Go Away) features a mix of acoustic and electric guitars, creating a dynamic and engaging blues-based sound. While not a ballad, per se, the song’s catchy melody ensures that Don’t Go Away Mad (Just Go Away) is one of the album’s most memorable tracks.

Time For Change is not only epic, but it’s one of the greatest closers in all of recorded music history. Not only will it leave you in a reflective mood, but it will compel you to listen to the album again for Dr. Feelgood can seldom be listened to only once.

Dr. Feelgood is a testament to Mötley Crüe's ability to evolve while staying true to their roots. The album's diverse range of songs, from hard-hitting rock anthems to heartfelt ballads, showcases the band's versatility and enduring appeal. Add to that its polished production and memorable tunes and Dr. Feelgood becomes a defining album in Mötley Crüe's discography and a must own/listen for any hard rock fan.

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Mötley Crüe – Too Fast For Love (Album Review)

Released in 1981, Mötley Crüe's debut album, Too Fast For Love is a seminal piece of rock music that defined the glam metal genre via ten tracks of hard-hitting, high-energy rock that captured the Crüe's raw and rebellious sound.

With cover art reminiscent of The Rolling Stones’ Sticky Fingers, Mötley Crüe were demanding the world sit up and take notice and notice they did for the RIAA (Record Industry Association Of America) has certified Too Fast For Love as Platinum; selling over 1,000,000 units. Not bad for a debut!

While most fans lean towards their second album Shout At The Devil, along with Dr. Feelgood, fans should avoid Too Fast For Love at their peril for it is an astonishingly good album that is not only addictively compelling but gets better each time you listen to it.

Sonically, however, the lossless stream, via Apple Music, fails to truly impress. It’s your classic case of a memorable recording being remastered to meet modern loudness standards. It’s been mastered so hot that even tone controls have little to no beneficial effect concerning dialling the album to your personal preferences for the soundstage is unnecessarily muddy from the get-go. Look, it’s adequate, but it could have been so much more dynamic.

The Dolby Atmos stream also on Apple Music, disappointingly, does little to improve things. Other than being a little fuller, there really is no difference between this edition and the stereo mix. That’s not uncommon, especially considering the album was originally intended to be delivered in stereo, but it also feels as if it was a missed opportunity and only done to say that it was done rather than being undertaken because it offered music lovers another way to experience this classic album.

Despite the lacklustre remastering and reissue attempts, Too Fast For Love is really all about the music, so join me as we take a look at the songs, some of them classics, that make up this 1981 debut.

Live Wire is a killer opener. From the thunderous drum beat that sets the tone for the rest of the album, to Vince Neil's gritty and powerful vocals, and guitar riffs that are simply electrifying, Live Wire is nothing short of a classic hard rock anthem that has stood the test of time.

Come On And Dance has an incredible rhythm and a strong blues-inspired sound that works incredibly well with just enough distortion to amplify the song rather than detract from it. It is, without a doubt, one of my favourite Mötley Crüe songs.

Public Enemy #1 flows beautifully from Come On And Dance and Mick Mars’ licks are off-the-charts good. I don’t know about you, dear reader, but my air guitar is worn out from playing along to this high-energy punk-influenced track.

Merry–Go–Round slows the album down a little, but this ballad-styled song shouldn’t be overlooked for it is thoroughly enjoyable; even if it isn’t a standout. Although, Mars’ solo certainly amplifies the song and showcases the direction that he would take on future Mötley Crüe recordings.

Take Me To The Top is a fast-paced rocker with a killer guitar riff and a catchy chorus. The duelling guitar and bass rhythm is pure gold and while the shifting elements change the tempo throughout, it is these aspects that make Take Me To The Top one of the best songs off Too Fast For Love.

Piece Of Your Action has a killer riff and chorus that will get stuck in your head for days. It’s 80s rock and roll at its best. Magnificent!

Starry Eyes is a slower, more melodic, tune with a great hook, addictive rhythm, and some stunning guitar work.

Too Fast For Love is a high-energy rocker but it’s also a mixed bag. It isn’t fundamentally bad, but Neil’s vocal, in particular, is lacklustre and diminishes the impact that the song could have had. Also, the shifting direction of the song throughout drives me nuts. It’s Crue 101 but I simply don’t feel it’s a great title track.

On With The Show slows things down again, with a more ballad-like sound, that features some beautiful guitar work and some of Neil's best vocals on the album. Yes, it’s a little dated to the era and has a campy sound, but it’s solid nonetheless. As the album’s closer, however, it’s underwhelming and doesn’t always encourage me to spin the record again or stay within Mötley Crüe’s back catalogue; a shame considering a shift in sequencing may have had a vastly different impact.

Packed with high-energy rockers, melodic ballads, and killer guitar work, Too Fast For Love is a must-listen debut album that has not only stood the test of time but it showcases the drive and musical talent of this motley crew. While it isn’t their best creative output, it offers an insight into the monster of a band that they would ultimately become and is therefore essential for any fan of Mötley Crüe or the 80s hard rock music scene.

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