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Not gonna lie, the very beginning of this that starts out with a hard guitar strumming that fades out, kinda sounds like it rips off of Van Halen's "Eruption". But oh, turns out to just be a cheesy intro to the album. But whatever, no big deal. Anyways, this album somewhat brings back the glam sound that was contained on "Theatre Of Pain", however there's a huge difference. This one is pretty great, where the other one was not very impressive. Basically, this one is executed a lot better as far as song structure goes, and the vocals are less nasally.
So first things first, this one was the album that had the most hits and radio airplay. I think about half of the songs on this were considered singles. At one point this was my favorite record of theirs. Now why was that? Because years ago, all I cared about was how catchy something was and how appealing to the average ear it was. I didn't care so much about substance and structure. Of course now you all must know that my favorite one is "Shout At The Devil". Anyways, let's get that part out on the table, the catchy aspect of this. The best examples are "Slice Of Your Pie", "Rattlesnake Shake", and "Same Ol' Situation" (probably my favorite from this album). They all have very pop based lyrics, ones that are repeated a lot, but not excessively. A lot of the riffs are very happy sounding, and less devious. They seem to have changed the image a little bit just for this album, but more on that later. Here's the other thing though, the guitar solos are actually pretty good! Usually when a band does something like that, they cut out any sign of complexity and it's all about sounding cool and catchy on the market. But on here, it is done very well. Sure, I wouldn't say they are as good, but they are certainly better than their third album. Of course, one of the weaker catchy songs is probably "Kickstart My Heart", but in all fairness, that is only because I feel as if it is rather overplayed. I guess it just gets too repetitive sometimes, and I just got tired of it over the years. After all, this is one of the first metal albums I purchased, if you go check out the info. on my profile.
Now, on the whole image change. The album cover actually sorta speaks for it. Notice how this one and "Theatre Of Pain" are very colorful and have that glam feel to them, where the first two and fourth all have darker album covers. That's because those were more along the metal/dark sound to their music. This one, however, is a little more upbeat and poppish, like I had mentioned earlier. Also, good job on not overusing a synthesizer like other bands did. This one is geared almost entirely towards sex like the last one, but it's done in a more colorful style, and a more major and positive tone. Where as on "Girls Girls Girls (album), like I said, they still seemed a little darker. I guess the other thing is that by 1989, Motley Crue were a pretty big band. They just wanted to get a bunch of radio airplay, and damn, they did a pretty good job at it. Think of it like Def Leppard's "Hysteria", however a lot less people hate this album over Def Leppard's change-up pop styled album. They also achieve this new sound by adding more gang vocal, which is also used in my favorite track "Same Ol' Situation". Also, let me point something out about that. Did you notice that part of that has the same tune as "Girls Girls Girls" (song)? That would be the second time they did that, but I like it. The last thing that helped with this big change was the style and usage of ballads. The main one on here to make it big was "Without You". Unlike their older ballads, this one was more pop toned, and I feel was more geared towards the attention of women. It's slightly whiny, and for that I prefer their other one, the closing track "Time For Change". It's a lot more relaxed, and musically intelligent, if that makes sense. It's also a nice mellow way to close the record, and I love it.
Overall, this is a pretty solid Motley Crue album, with more of a glam sound. There are parts that can get annoying, and it doesn't quite match up to some of their earlier ones. But I certainly think that everyone should give it a try at the most, whether you like this kind of music or not.
Yes, it's Motley Crue, the Bad Boys of L.A., and the epitome of all of the cliches associated with the '80s. Flashy hair put up 10 feet high, at least six layers of makeup on faces, and almost all of the songs revolving around sex, love, and the rock n' roll lifestyle. It's the sort of thing that dozens of bands followed in the mid to late '80s (most of which never made it into the spotlight), hoping that one day, they will play in front of millions of people in arenas. These bands consisting of White Lion (ugh) Winger (UGH) and Autograph (AAAARRGGGHHH!!!!), and they all followed Motley Crue aboard the '80s bandwagon of imagery that got really old, really fast. If all of these cliches could be piled up into one album, its name would be "Dr. Feelgood".
The members of Motley Crue lived excessive lifestyles in the '80s, so it's hardly a surprise that they liked to write songs about them. For instance, the theme of sex is prevalent on almost all of the songs on this album. I mean, what can you expect from songs entitled, "Slice of Your Pie" or "Sticky Sweet"? Not much, other than getting laid, I suppose. It gets to the point where it gets quite redundant, even annoying. Look, there could be other things that they could write songs about, and the Crue knew that. Their earlier albums at least had songs dealing with things other than sex (eg. "Stick to Your Guns" on their "Too Fast for Love" album is about standing up for what you believe in). Here, 90% of the songs on here are sex-related. It's a sign that Motley Crue got WAY too famous, and decided to use that lyrical theme as a sort of cash cow. The choruses to their songs are also dull and repetitive. They're just there so that it would be easy for the teenybopper audience to sing along. The worst example is the chorus of "She Goes Down", which consists of "She goes down, she goes down, she goes down, down, down, down". Yeah, they really didn't try to hammer the song's title into people's heads when they wrote that one. It's the reason why some songs get stuck in people's heads, and not in a good way, though to be fair, Motley Crue aren't known for writing choruses that are more poetic, but still, repetitive choruses are ANNOYING, and are a trademark of awful pop musicians, especially in the '80s.
And now, let's talk about the music itself. Their songs really aren't much to listen to, for they were pretty generic, even at that time. Songs like "Kickstart My Heart" and "Same Ol' Situation (S.O.S.) pretty much sound like every song from every glam band you've ever heard. They're unoriginal and lame and they really didn't require much to get popular, just some moronic high school jocks and cheerleaders to buy their stuff. And then there's "Rattlesnake Shake" which also sounds like a typical glam song, except it's got a saxophone mixed in. That totally reminds me of Raven's sellout album, "The Pack is Back" album, cos two of its songs had a horn section. I'm pretty sure Motley Crue stooped reeealy low to have a saxophone in there, cos I'm pretty sure that they thought they'd make a lot more money with a jazzy, sexy sound in that song. The only thing that really interests me about this album is the fact that Mick Mars uses a "talk box" in "Kickstart My Heart". But here's the thing, talk boxes are meant for hard blues rock, like the kind of music that Joe Walsh and Jeff Beck make, not metal bands.
Oh, and then there's the "power ballads". We can't really forget about those, can we? Cos "even the bad boys have their soft side, right?" Right. The only reason why they wrote "Without You" and "Don't Go Away Mad (Just Go Away)" is to specifically make the album sell, and sell it did. Like most power ballads at the time, these songs didn't have a lot of thought put into them, they just had to have some syrupy, sugary-sweet lyrics about love and affection and a sweet sounding piano riff thrown in, and the cheerleaders mascara would run with their tears. BLECH! These songs are just as heartwarming as an episode of "Glee". They're just as inspiring as anything Stephanie Meyer would have written. They're songs that really aren't worth listening to cos they're so pretentious, they'd make Tina Turner want to head straight to the bathroom to puke!
Now, don't get me wrong, not all "glam bands" are bad. I much enjoy Dokken, Lizzy Borden, and maybe a little Skid Row, but why couldn't we have more bands like them? Why couldn't glam bands be just as creative and original as Lizzy Borden? Why did "power ballads" have to exist? Why did Motley Crue create this stupid album, anyway? The answers to these questions can be answered with one word; MONEY. Motley Crue did it aaaaaaaall for the money, not even caring much for the structures of their songs, they just wanted to keep the money coming. The result is an invasion of cliches that can be easily stopped by just simply ignoring this album in favor of albums from bands that made music more for the love of music, than the dough.
So, here it is, the work of a clean and sober Mötley Crüe. Having realised that the previous album was an inconsistent mess, as well as Nikki’s overdose, the band clearly decided it was time to clean up, and put out the best album they could. While I’m not quite sure if they accomplished that last bit, Dr. Feelgood is clearly a huge improvement over Girls, Girls, Girls, which was awfully unfocused.
Producing duties are handed over to Bob Rock, and this is one of the things that makes this album stand out against previous records. While Tom Werman’s production on the previous three records was very glossy compared to the debut, this makes those albums sound gritty. Personally, I actually slightly prefer Werman’s work with the Crüe, it’s hard to sound tough , sleazy and streetwise (which is what the Crüe were all about) with crystal clear production. Indeed, the sound here is clearer than a glass of Finlandia.
As I said before, the music is much better than the previous album. The album remains consistent (for the most part) and the songs remain fun. Gone is the bluesy riffing from the previous album, in it’s place is a style more like the glam bands of the time, occasionally straying into Poison territory; it really isn’t hard to imagine Bret Michaels’ voice instead of Vince’s on songs such as the awesomely fun and catchy (and also much better than Skid Row‘s song of the same name and year, for the record…) “Rattlesnake Shake”. While it’s still easy to tell that it’s the same band that put out Shout at the Devil, in the years between that album and this the Crüe have managed to change their sound several times, yet still managed to sound 100% Mötley. The riffs on songs like that hard hitting title track still make the album more metallic than the likes of Poison and Warrant, while the other big single “Kickstart My Heart” is loaded with massive hooks and a cool main riff, but lacks much else. For a fun, fast adrenalin pumped listen though, the song is perfect.
Ballads? Of course, it is glam after all. Dr. Feelgood has two, the first of which is “Without You”, and if I’m honest, compared to previous ballads this one comes off a bit weak. Songs like “Home Sweet Home” and “You’re All I Need”, as well as the 1987 bonus track “Rodeo” all had a huge grand sound to them that’s lacking in this song. It’s not a bad song, but the choruses aren’t as memorable and the hooks aren’t as strong. Happily, the second balled “Time For Change” is more up to scratch with earlier ballads, and is a proper Hold Up Your Lighter kind of song.
I’d also like to give a special mention to the song “Don’t Go Away Mad (Just Go Away)” as well, a song that isn’t quite a ballad, but is very emotional but also has a healthy dosage of humour to it as well that tells the story of some ill-fated young love.
The is a bit of filler on the album though, particularly the song “Slice of your Pie”. This sits on the track listing in the same way that “Ten Seconds to Love” did on the bands second album; not completely bad, but you can happily skip it. Songs like “She Goes Down” and “Sticky Sweet” are better, but still not up to scratch with the stronger songs.
So, overall then, is it the band’s greatest? No, afraid not, but it’s still a very good listen, and it’s definitely better than Girls, Girls, Girls. Bit of filler, but mostly good, fun and catchy songs. Recommended for all glam fans and Crüe fans
The glam metal movement of the 80’s yielded many things, such as a rise in excessive synthesizer use and STD‘s, but a shitload of good albums wasn’t one of them. And yet just as the decade was coming to a close, sleaze metal stalwarts Motley Crue would put out one more classic album of hair metal anthems. If only every glam release was like this, the genre would probably be a little less despised, though only a little.
The songwriting presented here is a little more focused than on their earlier releases, far more comparable to an album by Extreme than the Crue’s own albums. Sure, this is still party metal, but the songs here are well-executed compositionally. Take this album’s hits for example. “Dr. Feelgood” is a powerhouse, driven by killer, memorable guitar work and the best singing from Vince Neil to date and “Kickstart My Heart” is a high-energy anthem quite worthy of continued radio airplay. The whole album is pretty much consistent to this. Above-average performance with much-less-than-average 80’s cheese (except lyrically of course, “Sticky Sweet” and “She Goes Down” for example) combined with that classic Motley Crue catchiness equals a sure-fire winner. No, this isn’t breaking any new ground, but that’s not a requirement for writing a solid album.
When I say the band’s performance is above-average, I’m not exaggerating. Mick Mars riff work is fantastic, comparable to Nuno Bettencourt’s work in Extreme, and his guitar solos have gotten more technical while continuing to flow perfectly with the songs. Vince Neil sounds better and manages to be less irritating than usual during the ballads (despite somewhat repetitive lyrics). Nikki Sixx and Tommy Lee even sound better, providing a solid rhythm section. In summation: better playing, better singing, better songwriting = better album.
Though I’m not familiar with all of the band’s older material, I think I could say that this is one of their better albums. It still has a lot of the flaws associated with glam metal, but in far less numbers than even the genre’s best acts.
All clean and sober (allegedly) the Crue returned to the studio along with infamous producer Bob Rock and came out with this. It’s still a mass of overproduced fluff but a bit more aggressive this time and is still plain “glam” rockin’ fun. Bob gave them a big sound alright, but his production helped mask the more hard-arsed direction some songs took that could have been allowed to breathe more. When Mick Mars rips out one of his no-nonsense, straight for the throat solos it kind of gets itself buried more than it should, and nowhere is this more evident than the title track.
The intro (Terror N’ Tinseltown), is a menagerie of dark runs on the guitar and sound effect that flows seamlessly into the megaton of rock n’ metal that follows through. The dynamic lead work gets lost underneath the foolproof riff the production so tries to keep on top, though.
Then there are the wholesome 80s bluesy hard rockers, “Slice of your Pie” and “Rattlesnake Shake” which are the fruit of Crue’s ripened songwriting skills. There’s hardly a trace of metal to be found, but they still know how to pump out these memorable songs that don’t bow to predictability. They’re those that feel like they’re in the right place and doing the right job to push the album forward. Paired with the title track, “Kickstart my Heart” (or the “big hit”) is also tougher than most of the rest, but just hasn’t got strong enough foundations to make it really worthwhile. The chorus also tries a little too strenuously to provide bait for the listener. File this under filler with the hackneyed swagger of “She Goes Down”.
Power ballad enthusiasts rejoice! You get a double serving from this album. Both “Without You” and “Time for Change” are typical sounding 80s MTV wet dreams but still have that effect as only the crown princes of the power ballad can provide. Each is drawn along by their heartfelt acoustics and clean guitars with their slow beat and melodic solos, and each is built up adhering straight to a textbook method they themselves set down. Anytime past 1989 and these might have sounded like a last gasp for fame, but for the there and then you have some vital songs. Also notable is “Don’t Go Away Mad (Just Go Away)” which marries vibrant hard rocking fun to the intense power balladry coming out with a classy emotional song.
“Same Ol’ Situation (S.O.S.)” and “Sticky Sweet” aren’t either the best or the worst, they just sit there, wholly inoffensive rockers that sound fine but don’t really add much to the album. They still don’t quite merit the filler tag. The lyrics for the most part trump their overt sexuality around but end up really quite cliché and sugary as opposed to shocking. Fortunately they don’t really interfere with the kick ass-ness of a lot of the music. The 2003 remastered version comes with buckets of bonus tracks, highlighted by the demo version of “Dr. Feelgood” which rocks out in a way the album version was restricted from doing. Also included are demo versions of “Kickstart my Heart”, “Without You” and “Time for Change”, which are opposites to their studio counterparts as they stand here bereft of intense studio touching up. There’s also an unreleased track “I Get It For Free” and the video for “Kickstart my Heart”.
At its roots, this is typically standard 80s fare, but the boys knew what they had to do with it, and paced it well but dashing in the odd sections of obligatory filler. I don’t have a total hard on for this album, but it’s got some gorgeous moments.
This album is among the most overrated pieces of crap in the world. Seriously, the overproduced pop-metal fest is just a joke. The Crue' managed to put out a perfect record with the earlier "Shout at the Devil" which features enough dirty words and enough big hooks to catch and sell any fan on earth. Unfortunately for Motley Crue...this album does little to capture that timeless vibe.
This record has one standout track (the double-thumping title track) and a bunch of decent "metal" filler. "Kickstart my Heart" and "Don't Go Awa Mad (Just Go Away)" rock a bit as well. These though, are the only notable tracks on the record. Standing next to tripe about blowjobs, partying and whatever Nikki Sixx was interested in bragging about at the time. Bob Rock does his usual job with the band, and of course, it sold many copies.
The artwork is interesting but the medical symbol on the front did say something about the state of Motley Crue. Despite being clean and sober and "healthy"...the band was on a downward spiral. One killer album later and a somewhat ill-fated reunion the band was already on a dramatic downward spiral once again.
This album actually is just a little better than Girl, Girls, Girls, but not by much. The glam feeling invaded this album, almost to the point where they started sounding like Poison. But there are some heavy songs, which I will explain later. The majority of these songs are fillers and hits. Usually I try to avoid the word fillers, but the songs that aren't hits just aren't that good (save for a few).
Let's talk about the hits for a moment. The album starts off in an emotional state, with a 911 call saying that a 17 year old boy overdosed. Then it busts into one of the Crue's most famous songs. Dr. Feelgood. This song is very cheesy (lyrical wise) but it has one of the heaviest riffs on this album. The next hits (three in a row actually) are Kickstart My Heart, Without You (one of the three ballads on this album), and S.O.S. which is another popular Crue song. Same Old Situation was always one of my favorites because it is very catchy and easy to sing to.
Basically the rest of the songs on this album are fillers. Some of the fillers are cool and some are not. Slice of Your Pie and Rattlesnake Shake explore the sexual side of Motley Crue. Neither songs have any kind of interesting riff or memorable moment. Hey wait...didn't Skid Row have a song called Rattlesnake Shake? Well they came out the same years, so go figure. Sticky Sweet and She Goes Down have some catchy riffs, but damnit why the hell do you need to write so many songs about sex!!! Sing about death and Satan like in the past guys! The last two songs are basically ballad like. Don't Go Away Mad kind of sounds like John Mellencamp wrote it. Time For A Change isn't bad, in fact I think it is a better ballad then Without You, it just doesn't have the recognition that it should.
Overall this album has hits, songs about sex, and ballads. Motley Crue fans probably appreciate this album more than regular metal heads. I think it would be safe to say this album is to glam for metal heads. Only if you like glam metal or Crue, then this album is okay for your collection. Just an interesting note to end the review; Dr. Feelgood could have landed a huge controversy. Take the chorus of that song and replace "He's" with "I am." Saying "I" made the band look like they were Dr. Feelgood, and that they were drug dealers. Obviously the band changed it to avoid a contorversy.
Okay, so they detracted somewhat from the sheer suckage of the previous album. But this still ain't great, by any means. Dr. Feelgood features most everything that was wrong on Girls, but with a few slight improvement.
What's instantly recognizable is that the bass-heavy (and heavy in general) production provides an extra punch for the song that hasn't been evident since Shout At The Devil (with the exception of the song Wild Side...), which shows right away with the chugging riff-rhythms of the title track, which is a really fucking great song.
But, like on the previous album, the great start was misleading, and the majority of the songs on here is filler. But let's start with the good stuff... Dr. Feelgood is catchy as hell vintage Crüe material, only heavier than usual, and is really fun to sing along to.
Then we have Kickstart My Heart, the fucking best Mötley Crüe song ever. Packed with intensity, energy, power and sheer rocking awesomeness comparable to the likes of Breaking The Law and Princess of the Night, this song shows what this band is all about.
"And to think, we did all of this to rooooooock!" Yes, guys, you sure know how to rock. But why, god damn it, why didn't you continue to do so?
No, instead of continuing to rock with songs about fast cars and rocking hard, they keep writing the most pathetic and horrendous sex songs in history.
Slice of Your Pie... "School girl, studied up so well on hoochie coochie"? Listen to Fuck Like A Beast and Burnin' Up, that's how to write songs that will make you wanna fuck. This is just laughable.
And about half of the album consists of these cheesy, pathetic and supposedly sexy pieces of garbage. Rattlesnake Shake, Same Ol' Situation, She Goes Down and the worst of them all.. Sticky Sweet! Argh, I can't listen to these lyrics without laughing out loud.
The awful lyrics aside though, the music ain't that horrible. Songs like Slice of Your Pie and She Goes Down has a nice groove to them. While not being anywhere near the bands better material, there's some fun music to be found here, but it's buried in layers of cheese and ridiculousness.
If you have a high tolerance for the most hideously laughable sexual references you've heard, and you like a good dose of hard rock with heavy metal touches (yeah, aside from Kickstart My Heart and the title track, this is more hard rock than metal...), then you should be able to enjoy this.
And if you rock, you'll fucking go nuts when Vince sings "Always got the cops comin' after me, custom built bike doin' 103" in Kickstart My Heart. Man, if they wrote more songs like this...
Oh, and I almost forgot to mention, there's also one more really good song. Don't Go Away Mad (Just Go Away) is pretty nicely done and very emotional, but keeps a strangely upbeat mood despite being a breakup ballad. Very nice.
But then there are two other ballads on here that are nowhere near that one. Closing track Time For Change ain't horrible, just very mediocre. Then we have Without You, which plods along without getting anywhere, and is the most boring song here.
All in all, this is only essential for fanatical Crüe fans who can find some enjoyment in lyrics such as "She's so sticky, sticky sweet/Now when I've done good, she slaps me on the ass/It takes more than ten seconds to satisfy that lass". Though it's really worth getting just for the title track and Kickstart My Heart, that's how much they fucking rock.
Over and out, or some other catchy closing phrase, shall be inserted here.