Motley Crue's 'Shout at the Devil' found the band a crossroad between the earlier glam-LA 'Too Fast for Love' and the collosal 'we've arrived' Theatre of Pain. However, the effort is by no means pained or overly refined, and constitutes MCs best work, Vince Neil's piercing vocals barely holding together the hard-charging Mick Mars guitars that pervade the majority of the songs, as a lap-bar holds a roller-coaster rider in their seat, while simultaneously providing a great jostle.
'Shout at the Devil' and 'Looks that Kill' are MC standards that press forward sparing no expense to catchy riffs or hooks that deserve repetition. I cannot imagine two songs that more perfectly match the time and environment than which they were written (LA mid-1980s). The banal undercurrent of Mars sets a challenge to the percussion of Tommy Lee, that leaves VN and the lyrics in their wake, struggling to keep pace. Any MC song that survives on VNs lyrical ability is in serious trouble, and the band sacrifices any effort at harmonization in favor of instrumental chaos.
While skipping over the only anomaly (cover) on the album, the 2nd side produces music more dark and sinister than SATD and LTC. The album could have been a complete flop, as its distincitve style had little comparison when the album was released. By taking a chance and staying true to their strengths, MC gained a following parallel to their lifestyle, depicted in their music.
Two back half songs most worth mentioning are 'Too Young to Fall In Love' and 'Knock 'Em Dead Kid'. TYTFIL, held together by the repeated chorus, excels by pitting the chorus versus VNs semi-incoherent, yet extremely wistful ramblings. KEDK is a testament to the scare-the-hell out of the world Mick Mars attack on his guitar. All other song elements are subordinate, and rise from the rubble of his destruction.
SATD captures the full MC essence of in-your-face and reckless/careless music and results in one hell of an album.
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