80's Metal: It's the genre of music that everyone loves in secret, but refuses to acknowledge to the outside world. The cheesy over-the-top theatrics, lyrics and music all lend a certain quality that cannot be defended in the pretentious terms that much better music can be defended in. However, there really isn't a category of music that's as much fun either.
Without a doubt the most gloriously decadent band of that gloriously decadent era is Motley Crüe. This year marks yet another return from the Crüe. The original line up of the now-bloated Vince Neil, the bouffant-haired Nikki Sixx, the undead Mick Mars and the just plain huge Tommy Lee has come out guns a-blazin' with a new greatest hits compilation and a good old fashioned arena rock tour.
The two-disc Red, White and Crüe may be the best-assembled work from the band for the casual 80's fan. It's more palatable and affordable than the group's two massive box sets, yet it features a majority of songs that people know from the Crüe, a few hidden gems and three new songs.
Out of the new songs on Crüe, "Sick Love Song" is without a doubt the best. It recaptures the band's snotty, hairy glory days without being a copy of its past. Perhaps it works so well because it covers well-known territory for the band — disastrous relationships. Yes, it's flippant, but that's when the Crüe is at its best — just look at "Don't Go Away Mad (Just Go Away)."
The new single "If I Die Tommorrow" is a mediocre attempt at making the band seem wizened and mature in its advancing years. The music is somewhat like a mid-90's dirge. Motley Crüe has already tried this with its self-titled release in the mid-90's, which was as unremarkable then as "If I Die Tommorrow" is now.
The final new song "Street Fighting Man" is, of course, a Rolling Stones cover. The Crüe continues the tradition of blasphemous covers — a shockingly good take of "Helter Skelter" and an equally awful cover of "Anarchy in the U.K." — but this one doesn't really work. The song is more about social change than actual street fighting, and the Crüe just doesn't have the credibility to sing about social change.
The other 34 songs recount most of the band's singles, as well as a few rarities, such as "Black Widow" and Mick Mars' surprising "Bittersuite." However, the above-mentioned "Anarchy" and awful ballads like "You're All I Need," "Without You" and "New Tattoo" were never really popular and should have been left off the compilation.
All in all, the album is a success. The overwhelming bulk of the album is composed of the party anthems, gritty fight songs and tributes to strippers that make Motley Crüe who they are. This may not be the album that you'll mention to your friends, but it may be perfect for the jukebox when you're at the bar.
Grade: AB
This article appeared in The Marquette Tribune on Feb. 10 2005.
