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Mötley Crue ‎–Five Years Dead dcd


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Pro-printed cdR discs in jewelcase. Snort edition comes with a dollar and a white powder bag, Both fake props. Limited 30 copies

For the Girls Girls Girls tour the band have brought in a customized Lear jet to help them travel between shows and the reason for this according to Micke Mars is that, flying is less painful than driving when hung over, a state that most of the Crue are proudly familiar. The band are unstoppable. The four highschool dropouts have continued to indulge in every conceivable rock n roll vice. Despite Sixx’s addiction to heroin, Lee’s marriage to Dynasty star Heather Locklear, various sexual round robins and altercations with the law, including Neil’s felony conviction for killing someone while driving drunk, their career has never seemed healthier. Girls, Girls, Girls will sell millions just like the bands first three albums did; (1982’s Too Fast for Love, 1983’s Shout at the Devil and 1985’s Theatre of Pain) simply because of the sheer force of the band’s barnstorming, Vegas-like live extravaganzas. These days the Crue and many of its rude and loud heavy-metal colleagues have fully invaded MTV, radio and the Billboard charts. Even new bands like Poison and Cinderella can slap on some makeup, squeeze into some studded leather, spritz their hair, bang out some fistpumping choruses and go platinum. So a previously established, well-marketed band like the Crüe, with a radio-friendly album, can easily rise to the top of the sleazy heap. When heavy metal’s practitioners discuss the appeal of their music, the phrase the kids is invoked almost constantly. We play and write for the kids, Sixx says. We’ve never had peer acceptance. They couldn’t see past the costumes. . . . Kids don’t buy Whitney Houston. People that buy one record a year buy that. In the golden age of rock it was all kids playing for kids. Now it’s that again. To fully appreciate what goes into that cathartic ninety minutes, just stand next to Paul Dexter at the back of the floor during a Motley show. His leg thumping with the beat, the blond, bleary-eyed Dexter calls cues through a headset while he and two assistants finger computerized controls for 1600 lights, which are mounted on mobile grids, and smoke, fire and sparklers during the sixteensong set. The playlist never varies – the $1.5 million production is too technically complex to allow for improvisation. Everything is planned, right down to Neil’s introductory raps, which Sixx has written in Magic Marker on sheets of legal paper taped to the stage. (For the song Red Hot, the rap goes like this: You know, there’s nothing like a nice, cold . . . blonde! Or brunette! But what I really like are redheads). The Girls show kicks off with old stripper music. Ceiling-high red curtains drop to the floor like garments, revealing a bare, smoky red stage. Pneumatic lifts raise first one, then two, then three levels of amps. Lee begins his stick-shattering pounding as his drum set emerges out of the ground in a forklifted cage. Originally, the rest of the band had planned to emerge from between a giant woman’s legs. Instead, they hit the stage running. Neil grabs his cordless mike, mike stand and all, and tears around screeching All in the Name of . . ., which, like most Crüe tunes, has a catchy riff and a much-repeated refrain: All in the name of rock’n’ roll – for sex and sex I’d sell my soul. Most of Mötley Crüe’s lyrics deal with the band, its milieu, desires and exploits. For Neil, the Girls album; is all based on going out with your buddies and having a good time, going to strip clubs and stuff. During each song in the concert, the dazzling light array swivels and shifts like Spielberg’s grandest special effects; flash pots explode in sync with the music, and lithe, blond Emi Canyn and Donna McDaniel (the Nasty Habits) rise out of the ground to shimmy and sing backup. But the set’s truly awe-inspiring peak comes when Lee’s drum-set cage rises high above the stage. In the midst of a solo he stops and announces, I had a fucking dream. I wanted to play the fucking drums upside down. Then, while he plays, the cage tilts forty-five degrees to the left, then to the right, then face down ninety degrees, and finally it flips him head over heels in two complete circles. See?” the barechested, strapped-in Lee cries when it finally rights itself. Dreams do come true. This album was recorded at the. It was during this night that the band shot the video for its Wild Side single. To get the appropriate footage, the band played Wild Side twice during the concert. Wayne Isham (whose credits include Motley Crue’s Home Sweet Home and Metallica’s Enter Sandman) directed the video. Fred Saunders, who began working tour security for Motley Crue in the 1980s, said: When (band manager) Doc McGhee first hired me, he said the band was so wild I should do whatever it took to keep them in line. In fact, he said he’d give me a bonus every time I hit them. I told him he’d got himself a deal. I hit Motley a lot. I once broke Tommy’s nose in Indiana.

Track list:
1. Intro
2. All In The Name Of
3. Live Wire
4. Dancing On Glass
5. Looks That Kill
6. Ten Seconds To Love
7. Red Hot
8. Home Sweet Home
9. Wild Side
10. Guitar Solo -Mick Mars
11. Drum Solo -Tommy Lee
12. Shout At The Devil
13. Bad Boy Boogie
14. Too Young Too Fall In Love
15. Smokin In The Boys Room
16. Jailhouse Rock
17. Wild Side
18. Medley
19. Girls, Girls, Girls

Additional information


WC Records

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