Corabi's Motley Crue 94 Experience...

Well the rumors of my disappearance are now put to rest. It's been quite a while since I have contributed anything to the Decibel Geek Army, today breaks the silence "Don't tell me to turn it down!".

When I first got wind that John Corabi was bringing his "Motley 94 Experience" Tour to Toronto's Rockpile, I vowed that NOTHING would keep me from seeing this show. As soon as they announced the date, I called my Hoser Heavy Metal brother Rich "The Meister" Dillon and told him I was in! I haven't been this excited to see a concert in ages.

Many of you know that Motley Crue was my first concert back in 1984. From that moment I became an unabashed Cruehead being sure to catch every tour that came my way. Over the years, every tour that touched Toronto, I even made pilgrimages to Hamilton and Buffalo when Toronto wasn't enough. The only tour missing from my list was Motley's 94 ill fated tour that never came close enough for me to see. Within months, Vince was back in the fold and the self titled 94 album would be virtually erased from the bands history book. Well NOT MY history book! This was and still is far and away the best album of Motley's career.

Now I am sure I just ruffled a few feathers with that last statement but I stand by it. Musically it was miles ahead of anything they have ever done and vocally? C'mon, Corabi's vocal delivery on this album was pure, raw power that gives me goosebumps 20 years later. I am not slagging on Vince, he's an amazing frontman but looking at pure vocal ability, Corabi is the MAN! He is the Ronnie James Dio to Motley Crue, and there isn't anybody ever going to convince me that Ozzy is a better singer than Dio. Unfortunately many of the Crueheads just weren't ready to let go of the "good time party rock" that Crue had built their career on and the grunge movement rolling in wasn't going to accept an 80's "dinosaur" band like Motley. It's a bloody shame as this album delivers more angst, snarl and attitude than anything Cobain and his ilk ever released.

It was always a thorn in my side that I would probably never get to hear the majority of these songs live but the infinite wisdom of Mr. Corabi was going to change all of that. The Corabi Motley 94 Experience Tour was going to celebrate this excellent album that the Crue refuse to acknowledge. "Who said the music's dead in the streets? Don't know what they talk about".

As I mentioned earlier there wasn't anything going to stop me from seeing this show and I meant it. Lovely negative double digit temperatures, boatloads of snow and a badly sprained right knee all tried to damper this glorious night of rock but to no avail. We got there early, set up shop with a great vantage point to take in all the action and enjoyed a frosty beverachie or twelve as the opening bands got under way.

First up a new band for my ears. "Hollywood Sins". Great name and a solid set of melodic hard rock. Songs like "Dirty Girl", "Snake Eyes" and "Sick and Twisted" got the evening off to a great start. Catchy hooks with great sing along chorus's, these guys have everything I like about hard rock music. Be sure to check them out, I am looking forward to seeing these guys rock again very soon.

On second was the aptly named "Second Pass", a band I had not yet seen before. Meister informed me "wait till you hear this girl sing". Halfway through the first song, vocalist "Vee" (Veronica McNamee) let loose and my jaw hit the floor. Musically this band is pure dark heavy rock with groove, a lot of Sabbath, a little Goth and Vee glues it all together with vocals of a true metal maiden. I would love to see her onstage trading licks with Doro Pesch.

Third on the bill was "Crisis Cntrl Club" a young band from Toronto some might think didn't belong on bill. I couldn't disagree more, these guys played a high energy set of original music that was hook filled and very catchy, reminding me very much of Fall Out Boy. Keep in mind that Pete Wentz (Fall Out Boy) is a huge fan of Nikki Sixx and Motley Crue. Solid musicianship and radio friendly rock/pop songs will serve this band very well and I will be sure to check them out again. Certainly not cut from the metal genre but great songs are great songs and "Next Time" and "Crime" are both great songs and now sit in my ipod.

Last up before the main event was one of the Rockpile favorites and rightfully so. Three Quarter Stone brought out the big guns with an absolutely outstanding set that got the place jumping. Meister and I have seen these guys probably a dozen or so times over the last couple years. First time we saw them I loved it but they are light years from that show. With three great Cd's of music out now these guys are so tight and so totally comfortable on that stage they could easily headline this venue and I will be up front rocking along with them. For those of you feeling adventurous, go check out some Three Quarter Stone music, you wont regret it and be sure to check out their reworking of the Judas Priest classic "You've Got Another Thing Coming".

Canadians are made of rugged stock so the inclement weather did little to deter the crowd. By the time Corabi and his band made their entrance the Rockpile was pretty full of familiar faces ready to witness a piece of history. A few important friends of the Decibel Geek Podcast were in attendance to take it all in. Red Dragon Cartel's Darren James Smith and Darrell and Johnny from the Killer Dwarfs were enjoying the festivities, horns up and rocking out. Proving once again the Rockpile is Toronto's destination for live rock and metal.

When the intro to "Power to the Music" was kicked in, it was on! Confined to my chair did nothing to slow down the head banging, fist pumping and air guitarring that would continue for the next 80 minutes of so. The setlist was as expected, Motley's 94 album, track by track in order and it was absolutely spot on 100% lethal.

Meister posted to Facebook that he thought he was listening to the CD but he wasn't. Corabi and his band completely reconstructed this album note for note. Guitarists Josh "the Meistro" Dutoit and Jeremy Asbrock, bassist Topher Nolen and John's son Ian Corabi certainly put in some long hours of rehearsal putting together that show. John's vocals are every bit as strong, rich and paint peeling powerful as they were when he recorded these tunes some twenty years previous.

Back in December of 2013 I had the pleasure and privilege of interviewing John here at the Rockpile before an acoustic performance. During that interview he told me of his upcoming plans to put this Motley 94 Experience Tour together and that his son was scheduled to fill the drum spot within his band. I remember him telling the story, that his son was going to be put through the test as Tommy Lee played some bad ass drums on that album and that Ian would have his work cut out for him. Boy did Ian step up, every hit was as fierce as the album and he totally nailed it out of the park.

SMOKE THE SKY!!!!!!

Every moment of this show was killer but I will point out three personal highlights that rocked my world. "Uncle Jack" my personal favorite from the album was almost more intense live. Such a dark and tragic song that just kicks total ass. "Poison Apples" was a surprise moment that totally blew the roof of but watching Topher (sporting a very nice Kiss Destroyer shirt btw) dig into the bassline and John's maniac vocal for "Smoke the Sky" took me to another dimension.

Covering all 12 songs from the album, they saved "Babykills" one of the albums bonus tracks for a very tasty encore capping off one of the best concert moments of my life. There is absolutely nothing in the world like the feeling live music gives you and to finally hear these songs that I have loved for years with such passion and precision was truly amazing. Thank you to John for putting this tour together and thanks to your band for absolutely delivering the goods. The goosebumps are still there three days later! "I want my music waking up the dead!"

Thanks to Decibel Geek Photographer extraordinaire Mr. Brian Ronald for capturing the live photos.

Be sure to check out the links and keep supporting live music...

Hollywood Sins
Second Pass
CrisisCtrlClub
Three Quarter Stone
and of course....
John Corabi

Demolicious - Ep175

Sometimes it's best to just start at the beginning; and this week we're doing just that.

Aaron and Chris return this week to present Demo-licious; an hour-plus of the original inspiration for tunes from some of your favorite bands. You'll hear unreleased songs from bands like KISS, Motley Crue, Cinderella, and Ace Frehley. You'll also get the original demos for tracks that would take shape later down the road from bands like Van Halen, Guns N' Roses, and some interesting situations involving demos from Black Sabbath and Metallica. Enjoy Demo-licious and SHARE it with a friend!

Geeks of the Week:

Mike Blount, Warren Money, Marc Alden Taylor, Bakko, Todd Cunningham, Robert Foster, Trevor McDougall, Ian Wadley (Rock and Metal Combat podcast), Jeff Hogland, Wally Norton, Derik Novak, Andrew Jacobs, Joe Royland, Brent Walter, Matt Syverson (Paperback Rocker Podcast), Chad Pollock, Brian Knapp, Darren Parkin, West Side Dave, Sit and Spin with Joe, Enoch Tsarion, The Mooger Fooger, DC, Viking Girl, Billy Hardaway, hoops, Joe Royland

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Ugly Kid Joe

KISS

Cinderella

Motley Crue

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Ace Frehley

Def Leppard

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Sympathy For The Devil

O' Devil Where Art Thou?

Satan.  Lucifer.  Angel of Death.  Beelzebub.  No matter the name all religions have some sort of Devil tempting us.  And as long as there has been a Devil there has been zealots with skeleton filled closets, warning us of the devils influence through music.  And while it may have been this influence that kept Elvis' hips from being showed on national television, it certainly didn't start with Elvis.  Mephistopheles has a long connection to music.  From Pagannini being labled as Diabolus En Musica in the 19th century to tales of bluesman Robert Johnson selling his soul at the crossroads in Mississippi, the Prince of Darkness has been getting some level of blame/attachment to the music some pious asshole didn't want his teenage daughter listening to.  

But be wary of getting in bed with Diablo.  Sure he underestimated Johnny when he went down to Georgia thinking he found a soul to steal.  In the end he had to lay the golden fiddle on the ground at Johnny's feet.  But Johnny's the exception that proved the rule.  Few are successful when taking on Satan.  Or so legend would have us believe.  Hark the tale of Led Zeppelin.  Lore tells us John Paul Jones was the only member who refused to make pact with ole Lucy and hence was the only one spared of personal tragedy.  From John Bonham's untimely demise to Robert Plant tragically losing his 5 year old son to a stomach ailment to Jimmy Page who probably paid the highest price by having to do a record with David Coverdale.
 

Couldn't this argument be turned around though?  I mean is there anyone in Led Zep you'd rather not be more than John Paul Jones? (Assuming being John Bonham didn't also mean being dead.)  I mean, if the devil gets the blame for Coverdale/Page then why not give him credit for all the awesome shit?  Led Zeppelin created some incredible music.  So did the Beatles, Elvis, KISS and pretty much any band the Peter's brothers took time to protest in between Jerry Sandusky retreats. 

Full disclosure. I don't believe rock bands typically have the time to worship Satan with all the drugs and sex and all.  And I don't believe listening to a recording of any kind could result in demonic possession or somehow worshiping the Devil by accident like you tripped over a curb.  But I did. 

I was 13 when I first held the cover of Motley Crue's Shout At The Devil in my hands and I was quite convinced they were in-cahoots with the Devil they so boldly shouted at.  I was worried for my soul and final place in heaven... or hell.  And I still needed to have that record.  And here's the important part.

Music was better then.  

Now the only church that bothers picketing anything is the Westboro Baptist Church.  A tiny church of inbred hate mongers who so distort the teachings of the bible Pat Robertson finds them a bit weird.  When I was in Jr. High my wardrobe separated me from the the popular kids.  I liked music that would lead me to drugs and teenage sex and they listened to shitty music that would make them spend hours on the telephone talking about boys.  Now days pop stars like Taylor Swift are just as likely to share the stage with Motley Crue as Vince Neil.  Justin Bieber did a Best Buy commercial with Ozzy.  Justin Fucking Bieber.  In the 80's the kind of people who would give J-Biebs the thumbs up were suing Ozzy for secretly convincing the kid they'd been ignoring for a decade into killing himself.  He calls himself the Prince of Darkness for fucks sake! 

We don't care anymore.  And I contend music is worse because of it.  I grew up.  I developed an adult brain that realized the idea of accidentally worshiping the devil was stupid.  But how come your kids aren't worried about it?  Why aren't churches with legitimate reputations out protesting Breaking Benjamin when they come to town?  Because there hasn't been a band that a teenager actually gave a shit about in the last 15 years?  And parents are too busy fighting little league coaches and buying their little brats iPhones to worry about little their souls?

I suppose it's partially my generations fault.  If I came to realize it was silly to think music could steal your soul then most of my generation must have as well.  Our lack of superstition and unwillingness to ritualize ruined it for future generations. And while digital technology has made it easier to hear those secret backwards messages its a lot less fun as well.  Remember how evil just spinning a vinyl album in the opposite direction once seemed?  Depending on your age probably not.  But trust me it was pretty fucking scary.  

Is there a direct correlation to the quality of music and how satanic we thought it was?  How scary it was?  Of course there is.  From what I can tell Marilyn Manson was the last artist who actually scared parents.   Prior to that you had a change in rock music at least every 7 years.  From Elvis to the Beatles to the Rolling Stones to Pink Floyd to Sabbath to KISS to Motley to Metallica to Guns N Roses to Nirvana to... Limp Bizkit?  Godsmack?  Nickelback?  Now?  Hard Rock has been churning out the same Nickelback/Disturbed influenced vomit for 15 years.  And artists crossing over doesn't make it better.  It's makes it boring.  Pharrel may be happy but he has no frame of reference.  He's a dick.  I don't want to see KISS on American Idol anymore than I want to buy an AC/DC shirt at Wal Mart.

No matter what the cause.  The internet.  File sharing.  Illegal downloading.  iPod's.  American Idol.  Video games.  Parent/Church apathy I DON'T CARE.  It was better then than it is now.  It's harder to find even a cover band in your local area than it has ever been.  The future of music is being left in the hands of people who answer to Nielsen ratings and if I have to explain why that's bad then there truly is no hope.


HATE MAIL



 

Motley Crue's Fifth Member (Or A Fifth Of Motley Crue)

 

 

 

Grunge has often been credited with killing much of the music of the 80’s metal scene.  But as we now have the ability to look back it sure seems to have taken a bigger toll on bands like Ratt and LA Guns than it has for Motley Crue.  Vince Neil  recently acknowledged as much between Big Mac's and lipo treatment when he told Q magazine "I don't know why people say grunge killed rock. Only people whose careers were on the way out said that. It didn't seem to kill us.”  Hmmm.  Is that really true?  How is it that Ratt’s career was over in 1991 but not Motley’s?  And while Vince can say that now I doubt he felt that way when he released his second solo album, Carved In Stone, in 1995.  Not even I bought that.  And I buy everything.  In retrospect the downfall of the Sunset Strip scene was predictable.  Bloated bands offering nothing real or fresh.  The first single off every album was an upbeat rocker followed by a generic power ballad.  The same pattern.  Same video.  And when Guns N’ Roses broke it was clear there was a void that needed to be filled with angry music and we weren’t gonna get that from Slaughter.  Or 1989 Motley Crue for that matter.  But why is it that in 2014 bands like Ratt, Cinderella or even Judas Priest are viewed as less than Motley Crue?   

 

Let’s be honest.  Motley didn’t release a great album after Shout at the Devil.  Even if you disagree with that you must acknowledge the general population doesn’t care much for anything they released after Dr. Feelgood.  Don’t get me wrong.  I suppose all bands from this era are nostalgia acts at this point, but Motley seems to generate more current buzz.  Yet most of the people going to Motley’s farewell tour right now have no idea who John Corabi is or that they once had a female drummer.  I’m not talking about guys like me.  Guys like me know every detail.  Guys like me would rather hear City Boy Blues than Kickstart My Heart.  Guys like me will buy every Motley Crue record as it comes out.  With the full faith and credit that it will suck.  Guys like me look at going to shows and buying the records as an obligation.  But guys like me don’t fill arenas.  Depending on your city we might fill a club.  So why Motley and not LA Guns?  Tracii Guns had a theory.  He once said LA Guns would’ve been bigger if they'd had a blonde singer.  I don’t know about that but I do have my own theory on why Motley is revered more than any of their contemporaries. 

 

Tommy Lee’s penis. 

 

Far too many of us have seen Tommy and Pam’s “leaked” *cough* sex tape.  And once Tommy honked a boat horn with his dick the course was set and the ship had sailed.  At the time the video was unleashed upon an unsuspecting world, Pamela Anderson was internationally famous for bouncing along a beach in slow motion and showing her enhanced goodies in Playboy every other month.  Tommy Lee, and Motley Crue for that matter, were names that guys like me knew and the general world stopped caring about years earlier.   Then came the most famous sex tape ever (Sorry Kim Kardashian.)  And not long after Tommy and his crank were almost as famous as the tits in that video. 

 

We all know what happened next.  Motley were reuniting with original singer Vince Neil (Who had his own sex tape but with just an average size penis) to record an awful record and tour the world.  They released a book called the Dirt.  And while the road since that point had its ups and downs for Motley, Tommy and his dick parlayed their fame into a handful of really bad solo records.  A really bad reality TV show.  And a  couple of stint’s in jail.  The unintended beneficiary to all of this was Motley.  They became iconic.  Infamous.  And now as they promise to leave us forever as a touring entity, I find it hard to believe that the general public would care as much as they seemingly do were it not for Tommy’s special purpose.   (What do you think he is?  Some kind of jerk?) They had fewer hits than Ratt but would Alice Cooper open for Ratt today?  As the bank accounts of all four members grow, it’s the growth of an uncredited member that should take a bow.  Well, maybe in few minutes.  Not right now. 

  

Does anyone have some hand sanitizer?

Meister Attends Motley Crue's Funeral in Grand Rapids

Photo Gallery by QuickGallery.com

By now I'm sure that many of you have seen or heard the reports and the lambasting of the debut or initial performance of Motley Crue's All Bad Things Must Come To An End tour.  I'm not gonna say that they're overly harsh or incorrect for the most part.  I was there, I know.  Here's my story of Wednesday July 2nd, 2014.

A friend and I set out on an approximately six hour road trip, very reminiscent of high school road trips in a beat up old car with tunes cranked and snacks in hand, from Toronto Canada to Grand Rapids Michigan. Upon arrival and check in at our hotel we met some other Crue fans from Ontario for a couple of drinks before the short walk over to Van Andel Arena.  In a parking lot across the road there was a cordoned off area set up with a bar, tables and a stage with presumably a local band belting out some tunes.  I got the feeling it was similar to the tailgate party before an NFL game, but in any case the excitement was high and it's certainly something you wouldn't see in Toronto.  The time on the tickets indicated 7pm, yet the entrance line was already
 around the building at 6pm as we weaved around the protestors toting signs, also something that you wouldn't see in Toronto.  After wandering around a little we discovered another, smaller entrance with a very short line and wasted no time in getting into the arena.  The merchandise booth was terribly over crowded as I strained to see what was available.  Giving up, with a plan to return later, we hurried into the actual auditorium as the opening band took the stage.  In a growing trend of concerts of late that I've noticed on several occasions, the opening band begins substantially before the time printed on the tickets!  This is ridiculous!  In the old days it would be printed Doors: 7pm on the ticket and the show would start at 7:30 or 8pm or Show: 7pm to indicate the starting time.  Having the opening band take stage at 6:40pm (20 mins before the time printed on the ticket) is extremely annoying.  In any case The Raskins played a half hour opening set and they were not overly impressive in my mind.  Our seats, however, were awesome, 24 rows back from the stage on the floor!  The tickets, that surely would have cost well over $600 if you can get past all the pre-sales to get them in Toronto, we got for only $125 three weeks before the event!

Alice Cooper-photo by The Meister

I was looking forward to Alice Cooper, having just seen him perform a two and a half hour show at Sweden Rock Festival.  Unfortunately tonight he was only scheduled for 50 minutes of stage time, but it turns out that he would be a show stealer.  The approaching 70 year old was a consummate professional and ripped through the condensed setlist with almost no dead air between songs and all the stage tricks that you would expect from The Alice Cooper show.  Behind a backdrop sheet of Alice Cooper's eyes "The Underture" emanated as the curtain gave way to "Hello Hooray".  From there it was into "No More Mr. Nice Guy" and Alice Cooper's newest member, guitarist Nita Strauss seemed ecstatic to be there and the most active at this early stage in the game.  Replacing the departed Orianthi, Strauss (Femme Fatale/Iron Maidens/L.A. Kiss) joins drummer Glen Sobel (Sixx A.M.), bassist Chuck Garic (Beasto Blanco) and other guitarists Ryan Roxie (Slash's Snakepit) and Tommy Henriksen (Warlock) to make up Alice Cooper's backing band.  "Under My Wheels" led us through to "I'm Eighteen" which saw Cooper holding court around the stage wielding a crutch high above his head.  This was followed by "Billion Dollar Babies" for which, as he did in Sweden, Alice appeared toting a sword filled with bills.  A quick flick of the rapier sent bills, no doubt featuring Alice Cooper's face, into the first few rows of the crowd.  The late 80's smash hit "Poison" was next up bringing us to

Alice Cooper-photo by The Meister

"Dirty Diamonds" which saw The Coop tossing necklaces into the crowd.  The King of Shock Rock next treated us to "Welcome to My Nightmare" before appearing in a bloodied white lab coat for "Feed My Frankenstein" during which Cooper was strapped down and transformed into a large Frankenstein monster.  "The Ballad of Dwight Fry" saw him in a straight jacket, bursting out and stabbing his nurse for which his head was severed in a huge guillotine.  Alice Cooper's head was then paraded around the stage as an intro to the song "I Love the Dead", a stunt that never gets old!  The closer of "School's Out" featured some huge balloons, the introductions of the band and even a little of Pink Floyd's "Another Brick In the Wall" before wrapping up.  An incredible show as I had expected and I think, even better than his show in Sweden.

Motley Crue's All Bad Things Must Come To An End Tour-photo by The Meister

The house lights darkened and a recorded intro began to emanate through the PA system.  Motley Crue blasted into "Motherfucker of the Year" as their first song, one that's less than a favorite of mine and I think a poor choice for an opener.  Things picked up steam with "Wild Side" and the stage was graced by two scantily clad ladies helping out with the background vocals.  In general the

Vince Neil-photo by The Meister

Crue seemed to be sloppier in comparison to Cooper and Vince's vocals were not the best by any means, but what do you expect?  Vince Neil's vocals have been talked about for a long time now and let's face it, with the history of the band members, they're playing is not the tightest, but that's not why you go to see Motley Crue!  If you want that style of performance go and see Rush, if you want a good time and a great party and a spectacle of a show to blow your mind, you go see Motley Crue!  It was by the end of the third song, "Primal Scream" that things would begin to go really awry for the boys.  The song featured lots and lots of super high flame pyro and smoke bombs/machines timed to the music of the chorus and they were actually sounding pretty good until we approached the end of the song.  Drummer Tommy Lee had an issue, apparently a broken kick drum, but hey, these things happen.  Vince Neil even exclaimed "Tommy broke it!" and commented on the issues of the first night of a tour.  Neil then asked the crowd for 3 or 4 minutes to fix the issue and to fill the dead air while they scrambled to repair the drum Mick Mars took center stage to perform one of the most uninspiring guitar solos I've ever seen.  By the end of the solo, which did not completely fill the repair time leaving some dead air and the house lights a notch higher, he was simply playing riffs and chords.  The guitar solo silenced at 9:33pm and it wasn't until the lights dimmed at 9:42pm as Vince returned to the stage toting a guitar were we underway once again.  Technical issues can strike at any time and are completely understandable, but as a professional act I think they could have done a

Motley Crue-photo by The Meister

 better job of covering the issue and keeping the momentum going with having Vince or Tommy addressing the crowd perhaps.  "Same Ol' Situation (S.O.S.)" went through without a hitch and then into "Looks That Kill" featuring the lady dancers in light boxes behind the drum kit.  They successfully pulled off a deeper cut from the Too Fast For Love album, "On With The Show", but the follow up however was a different story.  Guitarist Mick Mars blew the beginning of "Too Fast For Love" prompting a jibe from Tommy Lee to the effect of "It's pretty fuckin' cool when a band forgets it's own song!  It's "Too Fast For Love" and it's only 35 years old!"  On the second attempt "Too Fast For Love" was delivered and a new composition, "All Bad Things Must End", followed, but it didn't last long.  No further than 30 seconds into the song and the guitars went out.  I don't know if Mars forgot the notes again or if it was a technical issue, but the house lights came on again to full brightness this time.  I vacated my seat during this stoppage to use the washroom and before long they were back up and running once again but talk about a momentum killer!  That would seem to be the worst of the issues and the latter half of the show went much better as they ripped into "Smokin' In the Boys Room", "Without You" close on it's heels.  Vince Neil looked confused and maybe annoyed during "Without You" as confetti fluttered from the rafters, but that didn't stop him from serenading a lady from the audience as she was pulled on stage to sit on a lone chair.  The boys exploded into "Saints Of Los Angeles" next featuring lots of flame pyro once again that you could feel the heat from where I was seated 24 rows back!  Nikki Sixx took the mic for what I'm sure was intended to be a touching

Tommy Lee's Drum Coaster-photo by Meister

moment that just came off awkward and annoying.  He called for everyone to sit as we were attending a funeral for Motley Crue, but we hardly parked our butts in the seats before he instructed: "On four scream and we'll break into a Sex Pistols song 'cause that's how the Crue does it!".....uuuhhh Nikki, that doesn't even make sense!  Never-the-less we were served "Anarchy in the U.K." followed by "Too Young to Fall in Love" before the stage went dark again and a recorded intro played.  The recording seemed to go on forever and with all the earlier issues I wondered what was next, but eventually it was apparent that the stalling was designed to get Tommy Lee strapped into his newest drum gimmick.  This time he rode a roller coaster that stretched along the ceiling of the venue out over the crowd to a small satellite stage at the rear of the floor seating area.  No doubt about it this was a cool trick as the kit spun 360 degrees as it slowly traveled over the audience.  What I didn't enjoy however was the mash up mix of recorded music that he played to during this journey, including songs from artists like Bob Marley, Jay Z and Rage Against the Machine.  I understand how it must be difficult to play spinning in the air, but if you're going to use a recording to play to why not perform this solo during a Crue song even if much of it is recorded?  It would certainly be better than what we heard Tommy play along to

"Home Sweet Home"-photo by Meister

 and maybe the whole thing wouldn't have seemed like the colossal waste of time that it really was.  Nikki Sixx was the highlight of "Shout at the Devil" with his flame throwing bass guitar preceding "Don't Go Away Mad (Just Go Away)".  Throughout the whole show the two dancing girls were present for just about every song in a different costume and I had the thought that they were the most organized thing about the whole affair!  "Live Wire", "Dr. Feelgood" and "Girls, Girls, Girls" were all a hit with the crowd and the booing from earlier seemed long forgotten as they ate up every minute.  "Kickstart My Heart" closed things down under the huge lighted pentagram suspended above the stage with tons of flame pyro and smoke bombs.  In fact the smoke was so thick by the end of the song and the final bow that it was difficult to see the stage at all!  Motley Crue returned for a one song encore of the ballad "Home Sweet Home" which they performed on the small satellite stage near the rear of the floor area.

One thing cannot be denied and that's the totally over-the-top stage show at a Motley Crue concert and even with all of tonight's issues there's a kind of magic with these four guys on stage.  Bottom line is this: you shouldn't be going to a Crue concert to see the most technical and perfect performance, if you want that go and see a band like Rush!  You go to a Crue show for the spectacle, to have a good time and let loose with some of the music that helped shape your life.  And that's just what I did, it may have been messy at times but over all I had fun and that's what Crue is all about to me!  It will be interesting to see what the show is like in August as they roll into Toronto!

Cheers,
The Meister

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