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The Girls Are Back In Toooooown - 80%

SweetLeaf95, September 13th, 2018

Girls Girls Girls has almost no change in formula nor delivery than the album’s predecessor, other than the fact that it’s a little heavier, and is a little blunter. By this point, Motley Crue were rising to their peak success, and while they never matched the brilliance of the first two records, they came very close with the follow up of this. On the other hand, Girls Girls Girls runs into the problem of not being as self-aware as Dr. Feelgood, and there’re a couple tracks that are so obviously filler that I’m not sure how this one made it so big. I mean, come on. “Five Years Dead” has some of the lamest lyrics, almost the same exact chorus structure as the title track, and some of the laziest riffs ever written. Put this and a few others aside, though, you’ve got some fantastic stuff and an overall better output than Theatre Of Pain.

As usual, we’ll start by pointing out the record’s strongest flotation devices, that being the sex induced title track and “Wild Side”, the iconic show opener. Both songs are packed with party vibes, hit the scene huge, and are the biggest reason to this album’s success. Need any more really be said? On the other hand, there are a few select tracks that make this one stand slightly ahead of the previous effort. “Dancing On Glass” is one of the more important ones, as I think this is an extremely underrated track. It has such strong riff work and vocal technique and is quite possibly the heaviest song this disc contains. Following it is another one that has the same delivery methods but is admittedly cheesy as all fuck, that being “Bad Boy Boogie”. These bangers with the acoustic tribute to Sixx’s grandmother “Nona” make for an inconsistent but momentous side A.

Side B is where most of the issues and filler lie, but there is one standout that holds this up, and that is “You’re All I Need”. Considered a ballad by most standards, it’s still a heavy hitter and has some of the strongest emotion, depth, and musicianship the band has ever produced. The solo in this rocks, the combination of pianos and heavily distorted riffs are beautiful, and Vince’s singing is more on par than ever. It’s a shame that the rest of side B is just sub-par decent music with little memorability, but I guess the ending with a fun Elvis cover is noteworthy. If this album were more consistent, less forced sounding, and didn’t have as much filler music that seems just thrown together, it could have been legendary. Still carries a lot of weight. Oh, and it seems like every set of bonus tracks has one that really stands out. The unreleased number “Rodeo” is very much worth your time and has the same energy and vibe as “You’re All I Need”.