Sound — 8
The opening track is Wild Side and from the opening intro, you will notice the band has moved away from the soft pop metal inspiring album, Theatre of Pain. During the song, the guitar riff is pretty rough and controlled as the drums slam and the bass keeps it's cool. The vocals are rough edge too and give off this bad**s feel. The title track then starts with a driving wild guitar lick that has a lot of pretty cool riffs. The drums, bass, and vocals add a lot of misadventure to the tune making it harder and closing the pop inspired album. From there, I wish I could have added more to this album as everything goes downhill, but not without the album and music being real catchy. The reason I say downhill is because a lot of the other tracks feel like the riffs were recycled. In rock and heavy metal music, the guitar is one of the most important sounds to be heard. The difference is Girls, Girls, Girls is gunning for a bluesy bad boy attitude than a melodic and mainstream pop style. The music is very different and stands on its own without ever being an exact replica of the previous albums.
Lyrics — 6
I thought the lyrics in Theatre of Pain were bad, but Girls, Girls, Girls is a lot worse. The lyrics are incredibly incomprehensible that you don't know how to feel. Other than Girls, Girls, Girls and Wild Side, a lot of the subjects don't have a proper meaning or metaphor without the slight of complex messaging. Instead, we are left with lyrics that not terribly written as they are rolling on floor laughable. For example, here are few of the lyrics from the album. Warning, some lyrics may have been altered We're the bad boy boogie The cat is back I got my hand on the cookie jar Am in Persia, or am I just insane? Clearly, it is understandable to be band, but the cat is back? ;) There are tracks that are a cry for help and drug related like Dancing on Glass: Need one more rush Then I know, I know I'll stop I would say Motley or Sixx lacked literati and cared about drugs, sex, and rock n roll in the lyrics, but Sixx manages to put an antique book known as Five Years Dead by Bernard Falk. Why not, thanks to him, I got to read the book Junky. I haven't read Five Years Dead, and wonder how close is the book to the song. Uptown, downtown, paper said you shot a man There also other tracks that are pay tribute to fallen ones (Nona) to the creepy and jailbait themes (All In the name of & Sumthin' for Nuthin'). The lyrics are bad in some of them while others to provide this wild charm. I may have criticized the lyrics, but good or bad, they helped me understand what Motley was gunning for as they are the bad boy boogie.
Overall Impression — 10
Motorcycle engine starts and a guitar lick hits as the Motley set the listeners with a tale to come with the usual of sex, drugs, and rock n roll as they play for Girls, Girls, Girls. As cheery and fun is the track, the making of the album and band was in turmoil. There are 9 tracks and live cut from the original album, but the re-mastered version has an extra track with 3 instrumentals, live track, and unreleased track. At the start, I knew I was in for the ride. Mick Mars opens up the album with an instantly memorable and recognizable guitar lick for Wild Side. Mars grinds the song afterwards with one riff at time and holding while Sixx's bass notes are all over the place as Lee's drumming. Neil opens up with kneel down ye sinners; to streetwise religion greed's been crowned the new king. These lyrics are well written, but you'll notice that the lyrics are based upon the Lord's Prayer. It's pretty clever how Sixx manage to grab a prayer and make it as his own prayer. Anyways, Wild Side is one of two astounding tracks from the album that will live on. The motorcycle is turned on and Mars hits and holds a note from his guitar while using a whammy bar. Afterwards, he begins hitting the song with cutting riffs one at a time while Lee & Sixx work together to put a little groove into this sleazy choppy bluesy track known as Girls, Girls, Girls. Neil opens his mouth to reveal that it's Friday and is need of excitement. He and the boys go on through the night with their motorcycle and switchblade knife looking for girls. The guys search for them through the strip clubs and describe them as long legs with burgundy lips, dancing down on the sunset strip, red lips, fingers. As you can tell, the guys are having a lot of fun and they capture it in the recording as things get out of control. While other bands write about politics, religion, current events and issues, Motley wrote about what they love fun and girls. This track can be used for taking a break, relaxing, or going out for the night. As the track takes you into the mind of Motley, the music video can be used for a helping tool to be taken into their world of girls, fun, and debauchery. I saw the edited version and found it pretty racy. Oh my goodness, you can only imagine what my face became when I saw the x-rated version, whole lot of fun, but shocking depending on how you were raised. As the song comes to a closing end, Mars goes crazy with a kick*** guitar solo as the music intensifies before ending with falling off his chair. As great as the first two tracks are, Girls, Girls, Girls goes into the slump with a moderately well played tune Dancing on Glass. However, I must take a note that I reviewed it as music critic and then reviewed it as a fan. Dancing on Glass is track reaching and screaming out for salvation as the lyrics pore out screaming one more push. Its content revolves around Sixx's addiction with heroin which the track makes no attempt to hide it. This is not the first time bands have done that with addiction. However, hearing this tune, it reminds me of a stronger and well performed tune known as Junkhead by Alice in Chains, but that's for another time. As soon as the song starts to end, the lyrics Sixx wrote goes on to tell about the misfortunes one has suffered and spirals downward with an incident that nearly left him for death. As the last minute goes in for the close, background signers open up adding a chilling feel. I really enjoyed this track a lot for a lot of reasons especially chaotic guitar licks and Neil's ability to put his vocals into the person's position. Drums, bass, and guitar go off on a wild note signaling sleazy and shoddiness with we're the bad boy boogie, the cat is back. Bad Boy Boogie is an awfully written and moronic song that becomes pretty silly, but becomes a guilty pleasure. You'll start off resisting the tune, but will begin to appreciate the track as it becomes corny with its guitar riffs, slamming drums, groovy bass, and bad boyish vocals from Neil. The theme here is centered around a mother on the verge of a heart attack, rebellious and possibly wearing school girl outfit girl, and the bad boy taking the girl for a wild ride. It's moronically simple, but yet it grinds very well. At first listening, I didn't know what to think about it until the second time I was hooked. Oh yes, the cheesy and corny track is badly written, but so good at the same time. It goes great with the track Ten Seconds to Love. In all seriousness, Motley takes their time to slow down to honor Sixx's grandmother in the compelling Nona. Strings are added to the music as it's soft and vibrantly soft as keyboards play and the band chants Nona in ghost style manner. However, it is Neil that shines on as he sings the only lyrics that Sixx wrote; I'm out of my head without you. Analyzing, the lyrics don't come off a person who is crying about their deceased relative, but as person who is nearly incapacitated or drugged out as they can't do anything to express their pain, but shout their status. I'm out of my head without you. Even though Sixx wrote it for his grandmother, Nona can be applied to anyone else by using the music and thinking of that person. I tried it on a girl that I will no name, ha-ha. She's alive and well, but I haven't seen her in a while and I'm out of my head. Anyways, Nona is a great short track. Five Years Dead opens up with a hard licking riff before the music goes off to suckle on title track's teat. The guitar riffs are very similar to the track as well as vocals and chorus with only a few slight changes. Motley or Sixx didn't regurgitate the title track's music in vain attempt to make suckers pour out their cash to buy the single or to create another hit like Quiet Riot's Condition Critical. Five Years Dead was made in a vain attempt to fulfill the band's obligatory album by containing 10 tracks. It's filler where the music was obviously recycled, but everyone was too messed up to change it or speak up especially the song's composer Sixx. As badly as it was contrived, the Five Years Dead is pretty enjoyable because it's pretty catchy as its own. The chorus is a sing-a long and reminded me of my four years dead in high school were nothing was really happened contrary to popular media's portrayal of high school life. Lee begins with a steady drum beat while Mars does a guitar lick before going off into holding the note and using the whammy bar like the intro to the title track. Sixx is meanwhile filling in the holes with the usual bass groove. It is then when Neil starts off with She's only fifteen She's the reason- the reason I can't sleep You say illegal I say legal's never been my scene As this happens, I too sing gleefully the song and wait! Oh my goodness, how creepy these lyrics are. Despite the criminality, this criminal behavior in the theme of the track is pretty catchy as the band does an amazing job performing it. Pretty, pretty so innocent sings Neil as the song centers around a teenage (possibly in school girl outfit) girl and an older man. It's sleazy and creepy, but the song is one heck of a song that will have you liking it in no-time. However, if you don't like this track, the music, lyrics, vocals, and performance will catch up to you as it will grow on you. I thought it was pretty good, but now I think it's great. I love it and have an undying love for this tune. As girl goes into a world of mischievous behavior, a boy has picked up where the girl left off and goes for older women at the start of the riff-oriented Sumthin for Nuthin. I love the opening riff to it as it has this Aerosmith feel to it. Foolish bride call me up, beg to scratch her itch. Yes, it's not terribly worded, but it's not greatly complex as we learn about the boy's, 16, love for older women and money. As the lyrics are sung wonderfully by Neil, Mars's riffs are really catchy and enjoyable as it spins around with the bass and drums. However, the money maker and honey of the track is the chorus and the last lyric delivered before the chorus. Something for nothing, well in and out, it's never free. Truly, this is one of my favorite tracks from the album due to the bluesy-pop-metal mix. Easy money for such a good dead, I object to that although I will concur to this rocking tune. The last proper track of the album is a sweet bloody romantic track about a blood stained valentine known as You're All I Need. Laid out cold, now we're both alone, but killing you helped me keep you home. Awe how sweet, Sixx's lyrics are obviously the scheme of a few things aiming for other than it's about killing your lover and the twisted joke. One, it has jealously imbedded in its context as person that kills someone in order for them not to break their heart or go with someone else. Two, the style of the lyrics written and music video has a Taxi Driver influence thus waning to be based on a true story. Third, reading the lyrics, you get sad by the somber mood and melancholic music as Neil speaks the truth with I guess it was bad, true love can be sad. Fourth, the balladry is a form to mix cynicism and contempt over the status quo of 80s hair metal bands where one ballad popped out MTV. Fifth, I believe there are number of people who can relate to this song in one way or another and use it as sort a meditation to bring humor back into the damage life of victims of domestic abuse. As for the performance, it's beautiful and lovely as it catches you with the soft beautiful piano from Lee and Mars guitar wailing. You got Sixx playing thumps here and there while Neil delivers an amazing performance of a deranged and yet saddened guy. It's one of the biggest stands out ballads that didn't fall into the cheesy balladry like When the Children Cry by White Lion or the painfully cheesy More Than Words by Extreme! Anyways, for the subject and theme, depending your personality, it's either twisted funny, misogynistic, or a tragic metaphor. Jailhouse Rock (live) is the last track for the album and was added by producer Tom Werman in attempt to fulfill a complete album. The reason for this live track is very simple as Sixx was too inebriated to come up a song and falling short, Werman added it. The performance is pretty alright as the performance jives and jumps. Neil's vocals may not be Elvis, but he does an impressive job making it as his own. Bonus Tracks: The album I have is kind of messed up because the track listings of the bonus tracks are arranged differently, so I'll just give you how it's arranged at the bottom of the track list. I was first puzzled when I heard the way the tracks were done, but got over that quick and pushed play. Unlike Theatre of Pain, the bonus tracks are a lot better because we get three instrumentals with one being having different arrangements, live track, and an unreleased song. You start hearing the guys talking and saying is this thing on? It's Motley Crue and producer Tom Werman doing an introduction about the new album and tour. As soon as that is over, the instrumental for Girls, Girls, Girls, starts. Hearing the track without vocals, you start to sing it or make up the lyrics if you remember them. I really like the performance given here. The same goes for Wild Side. It's an amazing instrumental as you hear Mars, Sixx, and Lee play without Neil singing. Yet, you can still feel the vocals. The music is live in the studio and you can feel the roughness to it. After the two instrumental that are rough mixed end, Rodeo begins with a homesick tone. Keyboards are being played as the band slows down with the theme similar to Home Sweet Home. Music is great and lyrics are well written as Motley lets you into their life. Can't find love so I sleep alone, that's my motto. I was enchanted as this sweet tune is a somberly serenading. It's epic and really good, but why was this tune left out from the album. The next track is another instrumental except there are experimental arrangements made in Nona. The music starts with strings and keyboards crying out Nona in the performance. You can feel the music reach you as the ghostly whispers begin even though there are no vocals. A minute later, the track goes into an epic proportion where bass, drum, and guitar go off adding somberness and darkness. Listening to this, it reminded me of the masterpiece Rainbow in the Dark by Dio. This arrangement and experiment is well perform and outdoes the original. I wish this and the vocal laced version was mixed into one, for it would have been amazing. All in the Name of is the last of the bonus tracks that's pretty much the same as the studio version. However, there is a vibrant shine that comes out as you hear the band live as well Neil's vocals. According to the booklet, this track was the first track performed sober. The lyrics are intact and the performance is freaking great. The reason for this live track is very simple as Sixx was too inebriated to come up a song and falling short, Werman added it. Sixx has often criticize Werman for not helping out the band in the studio and having to do all the work for production from tweaking Mars's guitar amp and sound to trying to organize Neil's singing. However, testimony and accounts from others have stated that Sixx was a control freak and there was a lot of conflict when he was sober, but was rather nodding and saying uh-huh whenever he shot up heroin during recording. Thus, reading that and knowing that, you can tell how it affected Girls, Girls, Girls. A lot of the songs have recycled riffs and I guess Sixx blurred perception prevented him from coming up with creative songs. As that happened, Werman came in and did what could to fix it and got a live track when it wasn't enough. The band members possibly spoke out, but didn't go anywhere until they gave up with the music and composition for the album. However, back by Werman's production and the performance of the band, Girls, Girls, Girls is a catchy and one heck of an album with classics in it. I enjoyed it a lot even though it could have been better. As for the album, it's pretty fun to listen to and maybe sing along some of the lyrics including the incriminating and creepy All in the Name of. As for me, I'm signing off and going to crank up the stereo and raise the noise. Okay, this is obviously not the most intellectual thing the world, but it's still fun to listen to.