MOTLEY CRUE - Girls, girls, girls. Japan (32XD-678)

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Fecha: Domingo, 2015-02-01, 8:28 PM | Mensaje # 1

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MÖTLEY CRÜE - Girls, girls, girls

Japan Edition (32XD-678)

Edición japonesa del cuarto álbum de estudio de Mötley Crüe.

Tracklist:

1 Wild Side 4:40
2 Girls, Girls, Girls 4:30
3 Dancing on Glass 4:18
4 Bad Boy Boogie 3:27
5 Nona 1:27
6 Five Years Dead 3:50
7 All in the Name Of... 3:39
8 Sumthin' for Nuthin' 4:41
9 You're All I Need 4:33
10 Jailhouse Rock 4:39

Codec: EAC-FLAC
Tamaño archivo: 312.36 MB
Portadas: Todas a 400 dpi.

Disponible sólo a los usuarios

Japanese first edition of Mötley Crüe fourth studio album.

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When reading this review, most fellow members of MA will probably accuse me of blasphemy when I say this: Mötley Crüe was the Ulver of the 80s. How you ask? No two records sounded the same, Too Fast for Love was a sleazy punk record. Shout at the Devil was a full blown metal record. Theatre of Pain was a glam rock record. This was a sleazy hard rock record. Dr. Feelgood was the "sellout" record. OK, so maybe the boys in Crüe aren't nearly as creative as Ulver (remember, Ulver is Ulver), but they still kick ass.

On Girls, Girls, Girls, Mötley Crüe sings about the three things they love best: sex (“Girls, Girls, Girls”, “Bad Boy Boogie”), drugs (“Wild Side”, “Dancing on Glass”), and rock n' roll (“All In the Name Of...”, “Jailhouse Rock”). This formula would spawn a zillion and one clones in the late 80s (Pretty Boy Floyd anyone?), but it's no doubt that Mötley did it best. You know what they say, if it ain't broke, don't fix it.

With its anthemetic choruses, sleaze filled guitar riffs, and snarling vocals courtesy of Mr. Vincent Neil Wharton, this album is the soundtrack to your local white track greasy spoon, sports bar, or biker joint (or all 3). In comparison to their previous release Theatre of Pain, Girls, Girls, Girls is a step up in the sense that it packs a punch which in my opinion, Theatre of Pain lacks. Some of the highlights on this record include the hit singles “Wild Side” as well as the title track which turned me on to Mötley in 4th grade. I'll never forget being in technology class when the kid next to me showed me the music video, which appealed to a 9 year old boy for more than one reason if you know what I mean.

Nikki Sixx contributes his fair share of songs on this record with the heavy, yet soulful, “Dancing on Glass”, an ode to his cocaine addiction. We also hear a sweet tribute to Grandma Sixx at the end of side a, “Nona”. Sadly, “Nona” had just passed away and so would her grandson on the tour promoting this record...only to take a visit to Dr. Feelgood and get a kickstart to his heart which would revive him. The final track, a live rendition of Elvis Presley's “Jailhouse Rock”, does a great job capturing the sheer energy of Mötley as a live act in their prime: playing every football stadium and sports arena in the US of A to millions of fans over a single summer.

The best track on this album though, and possibly the greatest Mötley song of all time, would have to be the track before “Jailhouse Rock”, “You're All I Need”. For starters, what would an 80s metal record be without some sort of power ballad? Folks, this could be the mother of them all. We hear of the tragic romance of a young couple, the boyfriend eventually killing the girlfriend so they can "make the news", the story being told over Tommy Lee's Casio keyboard. Surprising as it may seem, this song was actually released as a single, but went much under the radar as it was banned from MTV, not for being controversial as you may think, but because the girl who starred in the video ended up leaving her boyfriend (an MTV exec), for Nikki Sixx! The exec got revenge by pulling the video out of rotation. It's a shame because it's such an amazing song.

In the end, while not measuring up to the first 2 Crüe releases, Girls, Girls, Girls, succeeded in surpassing Theatre of Pain in quality and went multi platinum. Despite reviews saying otherwise, I believe this is one of Mötley's best releases and one of the best records of the 80s as a whole. Take a ride on the wild side!.

NO A LA LEY LASSALLE