Dr. Feelgood Part 6: Golden Days of 1989-1990



The Motleys were riding high in these boon years of 1989 to 1990. Here’s some Hard Rock artifacts from those halcyon days of yore!

[left click image to ENLARGE & READ]

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Metal Muscle magazine describes our boys as ‘The Most Notorious Act of the ‘80s’ & then goes on to sum up Motley operations to the late ‘89, early 1990 point.

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The above Metal Edge Magazine story gives us a time capsule of the band as they embarked on their most successful tour. Late 1989 concerts are mentioned, like the December 10th, 1989 encore at the Meadowlands Arena, East Rutherford, NJ, with Ace Frehley & Sebastien Bach helping the boys out with a version of ‘Jailhouse Rock.’ Here’s a short clip of the night’s events:

The article also mentions Vince’s turn as an actor portraying a murdered rock star in the Andrew Dice Clay vehicle, Ford Fairlane. Here be the trailer with our Vinnie shouting, ‘Hello L. A!’ before he falls to his death. So Motley.

Vince does a phone interview with Carol Anne Szel for the July, 1990 issue of Powerline Magazine & crows about the band’s success. The decadent Girls, Girls, Girls tour is touched on as is the band’s sobriety, seguing into a discussion of marriage & relationships in the Crue camp . . . a fairly generic interview hitting all the same points we see time & time again in these Dr. Feelgood-era interviews.




We’ll end this post with a couple of magazine articles from Metal Edge showing our Crue participating with MTV in the year 1990. Motley’s relationship with MTV grew better in 1989-1990 when the Crue offered up the more commercial music & videos of Dr. Feelgood. Two years earlier, Motley-MTV relations were mightily strained when the music video channel banned at least two of the three videos made for 1987’s Girls, Girls, Girls. The lyrics to the song ‘Wild Side’ got the band in hot water as well. But MTV put the Crue in high rotation in 1990 & helped propel the Crue to mega-success.

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Tommy & Vince come in first & second at the 1990 Denver Grand Prix Celebrity Race, continuing their general success in these years. Here’s the MTV ad for the event:

I remember watching the Crue at the Seventh Annual MTV Video Music Awards in September of 1990 & recording the guys performing ‘Don’t Go Away Mad (Just Go Away).’ It was an exciting & rare event to see them on TV in those years. Here’s the Metal Edge article with the Crue featured along with other Hard Rockers of the day & then video of the musical performance & award presentation:

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Even MORE Dr. Feelgood pics, posters & articles to come at The Sleaze Patrol Files. Until then, Happy Shout Anniversary!


Super Teen Special-Motley & Other Metal Masters (1985)- Part 1



The 30 year anniversary celebration of the release of Shout At The Devil here at the Sleaze Patrol Files continues  . . . .

Published before the Theatre Of Pain record was released at the end of June, 1985, this Teen Special tribute gives us a bounty of great Shout At the Devil era pin-ups & articles.














Shout At The Devil Reviews



It’s thirty years ago that Shout was released unto the world. Although Crue Heads regard this record as a masterpiece of Pop Metal it was given some brutally negative reviews from the more respectable music press of the day. The issue was not that the Crue were too offensive & controversial but rather that they were derivative & untalented. Robert Christgau of Village Voice Magazine gives Shout & the Crue an absolute dismissive review (D) & assigns the album a special categorization: MUST TO AVOID.

MOTLEY CRUE: Shout at the Devil (Elektra) It's hardly news that this platinum product is utter dogshit even by heavy metal standards; under direct orders from editors who don't know Iron Maiden from Wynton Marsalis, my beleaguered colleagues on the dailies have been saying so all year, and every insult goes into the press kit. Still, I must mention Mick Mars's dork-fingered guitar before getting to the only truly remarkable thing about this record: a track called "Ten Seconds To Love" in which Vince Neil actually seems to boast about how fast he can ejaculate (or as the lyric sheet puts it, "cum"). And therein, I believe, lies the secret of their commercial appeal--if you don't got it, flaunt it. Follow-up: "Pinkie Prick." D

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J. D. Considine reviewed Shout for Rolling Stone in February 1984. He wasn’t buying any notion that the Motley’s were the Bad Boys of Rock. To him, the songs on Shout At The Devil sounded like weaker versions of Kiss, Aerosmith & Judas Priest tunes.

Like most self-styled bad-boy bands, Motley Crue look meaner than they sound. With their layers of leather and carefully applied makeup, their look suggests all the implied violence required of teenybopper antiheroes. But the music the Crue use to back up that image is surprisingly mild-mannered. It's loud, sure, but that's about as close to dangerous as it gets; Motley Crue's version of rock & roll is such a careful distillation of Black Sabbath, Kiss and other arena giants that you'd almost think it was developed by MTV's marketing staff.

"In the Beginning," an eerie wheeze of electronics and studio gimmickry concocted by engineer Geoff Workman, gets the album off to a promising start, but after that, it's pretty much rock by rote. "Shout at the Devil" employs an Aerosmith-style boogie riff to animate its antisatanic lyric. "Bastard" is a fight song driven by a Judas Priest arrangement. "Too Young to Fall in Love" is built around the same beat Kiss turned to when they thought they might revive their flagging career through disco. And "God Bless the Children of the Beast" is a directionless instrumental extrapolated from the guitar break to "Hotel California."

In short, originality is not this group's long suit. But then, who expected it to be? The whole point of bands like Motley Crue is to provide cheap thrills to jaded teens, and that's where the album ultimately disappoints. Although "Ten Seconds to Love" boasts enough sexual innuendo to amuse the average thirteen-year-old boy until the next issue of Penthouse, Motley Crue's promise of sex, rowdiness and rock & roll falls short on at least two counts.


Below is a notice for the band that has the same dismissive tone as the Shout reviews above. One of the oft-repeated statements by the Motleys is that when they started out they were doing something that no one else even dared to do. But if you read reviews from the time, the Crue’s unoriginality is usually one of the main things brought up.


These reviews are almost a clue as to the real nature of our boys & their actual character in the post ‘70s, post-modern 1980s. I’ve come around more & more to see the Crue as almost an evil version of the Monkees! A post-modern Pop-Punk boy band. What makes Motley Crue so interesting is not necessarily that they are an authentic street band or Punk or Metal or Hair Band . . . they were a new thing altogether, a strange balance of the utmost of disposability & artifice on the one hand & sincerity & dogged half-talent on the other. The Crue were probably better than they were supposed to be.

The US Festival, May 29th, 1983



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The US Fest pics I saw in the ‘80s set a strange scene: the Crue doing their Shout At the Devil thing in broad daylight, on a sunny California afternoon. This show was four months before the record would be released in September of 1983. I read my Crue history as a kid & this concert was often cited as the scene of Motley’s breakthrough: it was certainly the biggest concert they had performed thus far in their career (I think their WHOLE career: approximately 670,000 people attended this fest with about 300,000 witnessing this ‘new’ band, Motley Crue). Crue performed during ‘Heavy Metal Day’ with other acts like Van Halen, Quiet Riot & Ozzy Osbourne.


These images were all I had ever seen of this monumental Motley moment & it wasn’t until the YouTube era that I got my first listen. To say I was underwhelmed would be an understatement. I think the size of the stage & the crowd intimidated the Crue & they were off their game that day. It didn’t help that Vince was having mic problems & Mick seems to be on a another planet at times.

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Here is the show in its entirety!

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