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Motley Crue’s “Generation Swine” saw John Corabi’s departure from the band and the return of their previous front man, Vince Neil. One may think that the reunion would be a success, but it proved that Motley Crue is indeed a motley crew after all, a group whose members are very different from each other and do not seem to belong together. That’s a fact.
After their self titled material, which proved to be a failure whatsoever, the band wanted to continue their career, meaning to redeem themselves. But it seems that their struggle didn’t pay off, as due to the inner pressure among the writing process of the album, vocalist John Corabi decided to leave the band. This fact opened the door for the return of Vince Neil.
When Vince Neil returned, almost everything had been written, so he had problems adjusting his voice to the sound, as it is known that his voice is higher than Corabi’s, so the outcome is mostly shit. The songs didn’t seem to have any relevance, as they are there for the sake of being there. One may find on this album a lot of modern influences (alternative rock and even industrial tinges, especially on “Let us pray”). What’s stupidly striking is the rapping which actually is present in the first song of the album. It is clear that Motley Crue tries to update themselves to the requirements of the 90’s, which is a total disgrace and dissolution of identity. Indeed is the album tougher than the previous one, but that doesn’t matter, as the brutality fades into nothingness.
In a nutshell, the songs are boring, repetitive and lack of the force that an apparently glam metal band must create. The songs that actually drew my attention are “Afraid” (which apparently became a single), “Shout at the devil ’97 (which is a disgraceful duplicate of the original, but as it is released in the 90’s, the song can be understood and tolerated) and the ballad “Brandon” (which actually has a very melodic line). The rest is 99% crap. Why do I say “99%? Because I spotted some decent riffs all throughout the album, riffs that are repressed and oppressed by the mediocrity of the production itself. I don’t know why JaniLeeSixx believes that this album deserves such a high rating, but I could answer her question. If I were to buy one of Motley Crue’s 1994 or 1997 albums, I would go to my computer instead and download the albums from the internet. After listening to both of them, I would store them on a CD, or DVD (just for the sake of storing, perhaps my children or grandchildren might want to listen to this crap in the far future) and then delete them from my hard drive. Exactly, delete them for good! (SHIFT +DELETE). In fact, I have already done that: D
To describe this album in one word: surprising.
I didn't expect at all what I heard...it was the Crue, yet for the first time (not counting the self-titled '94 release) they weren't writing songs about the more-than-well-endowed waitress down at their favorite bar, but rather of other matters (with the exception of 'Find Myself' and 'Let us Prey', to some extent)
Okay, maybe I was lying a bit.
It's merely a new sound, somewhat rap-rockish, but with touches a the classic Crue sound (and a remix of 'Shout at the Devil') so they could avoid alienating the old fans, but at the same time, hook new, younger fans as well. It sounds horrid the way I describe it, but its not...
And then, who could forget, the ballads. This time, instead of writing about just random girls, they wrote about things they actually held dear. Nikki wrote 'Rocketship' for his wife, Donna, and Tommy wrote 'Brandon' for his son, Brandon (obviously). Oh, and 'Glitter', about no one in particular (as far as I know), but still beautiful nonetheless.
Tommy also wrote 'Confession', which is apparently about him finding faith. Good for him...but why he found it important to spell 'for' as '4' escapes me.
'Let us Prey', 'A Rat like Me', and 'Afraid' were quite, ahem, 'hard-rocking', while still avoiding that very '10 seconds to love'-esque subject matter....but if you did like the '10 seconds to love'-esque subject matter, you'd probably like 'Beauty'.
In my opinion, this is the Crue's finest hour. But if you don't believe me, and refuse to buy the album, think of it this way: If you had to buy either 'Swine' or the self-titled album, which one would you get?