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This is a fairly sizable drop in quality compared to the previous albums. Some of the songs here are the typical Mötley Crüe awesomeness, but there’s a large amount of filler in here as well that gives the album a lot of difficulty. As always, the album is full of great riffs, even on the weaker tracks. But a good riff isn’t enough to keep the song enjoyable if the rest of it is really weak. Of course, this is the time when the band were totally overboard with addiction, so you can imagine where their priorities were set at the time.
The problem with the poorer songs on this album is that they’re so damn repetitive and sound largely the same. But before we dwell on that, lets look at the good stuff.
The opening song is “Wild Side”, and wow! This totally rules! Killer speed metal riffing going on here, with cool breaks and awesome hard lyrics. Following this is the instantly memorable title track, and this one sort of sets the tone for the style of the rest of the album, but it does it right. Sleazy, bluesy riff work, jam-packed full of hooks and a fun, simple chorus that sticks like glue. This is what they seemed to be aiming for with the entire album, and it’s a great idea. If they’d done it properly, the album would have totally ruled. The other song that follows this formula with success is “All in the Name of…”, which has one of the coolest riffs Mick has ever put out. The song is memorable and stands out amongst the crap, aside from the really silly lyrics which appear to be about Vince having sex with a fifteen year old. “You’re All I Need” is this albums power ballad, and is the 3rd single from the album. It never made it as big as “Home Sweet Home” - namely due to it’s nasty video and brutal lyrics - but I actually prefer it. The lyrics tell a dark tale that flows beautifully with the equally beautiful music. My favourite Mötley ballad, and easily one of the greatest ballads ever written.
The last standout track is the live cover of “Jailhouse Rock”, which is a great metallization of the classic rock n’ roll song.
The rest of the album though, hmmm…As I stated before, these songs are immensely repetitive and samey. “Dancing on Glass”, “Five Years Dead” and the rest all have a cool riff each and a catchy chorus, but that’s it, they’re just repeated throughout the whole song. Mick Mars will put out a nice solo every now and then, but really, the songs simply don’t go anywhere and sound very unfocussed. Even the band themselves say that this was potentially the end of their career, had they failed to put out the singles.
The production is great though, once again at the hands of Tom Werman. This would be the last Crüe album he’d produce, before the band hired Bob Rock instead, and Werman would then go on to produce Poison’s second album (a great album by the way, at least Poison never allowed drugs to come before the quality of their music).
So overall, if you’re a Crüe fan then you must own this anyway. To the more casual listener, try and pick it up cheap. Some great songs to be found, but plenty of filler as well. The remastered version has the awesome ballad “Rodeo” as a bonus track as well, so go for that one. Apparently Mick Mars can barely remember recording this album…Good stuff.