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Flashback Album Review: Mötley Crüe - Girls, Girls, Girls
Mötley Crüe's fourth album is a manual on how to understand glam metal, read our review here.
On May 15, 1987 Mötley Crüe's fourth album, Girls, Girls, Girls, hit record stores. An album that is an ode to the rock party of the eighties and with a much better production than in their previous work, the bittersweet Theater Of Pain.
Girls, Girls, Girls arrived to definitively establish the subgenre of glam metal, of which Nikki Sixx's band is the main precursor and the most important of the movement.
Opening wildly with 'Wild Side,' a track that still seeks to retain their metal roots from their first two albums, but undoubtedly with the glam brand established from start to finish. Continuing with 'Girls, Girls, Girls!' whose description goes without saying, we know the importance that this song has in the heavy metal scene and the eighties in general; a piece that although the years continue to pass will encourage us to enjoy a good time in the company of one or more girls, and of course a classic of the table dances.
'Dancing On Glass' seems to want to slow down the pace a little but looking to keep the rhythm of the two previous tracks. 'Bad Boy Boogie' is a piece with rock and roll roots but metal airs and graces of the mid-eighties which are mixed to perfection.
'Nona' is obviously a filler track, perhaps an attempt at a ballad that undoubtedly goes completely unnoticed on the album. 'Five Years Dead' could equally be taken as a filler track, which at least to me seems square and completely predictable, with a chorus that sounds completely the same as the title track; a completely hollow guitar solo.
'All In The Name Of...' composed by Nikki Sixx and Vince Neil (like most of the songs on the album) is a song that pretends to follow the same rock and roll line of 'Bad Boy Boogie,' and with a riff very much in the style of AC/DC. Sumthin' For Nuthin' shows the mastery of Mick Mars to create simple but very catchy riffs that stay in your mind for days; obviously proving that Mick Mars was always the most virtuous musician of the band. We arrive almost at the end of the album with the ballad 'You're All I Need,' composed by Sixx and Tommy Lee, a very fresh ballad with a sound that has all the mark of the eighties, the feeling of Vince Neil from the first verses of the song is sublime. Influences of seventies rock are present in this ballad, being able to cite perhaps to REO Speedwagon or STYX; a highly emotive theme that narrates the experience of living in a destructive relationship.
And closing the album we find a live version of 'Jailhouse Rock,' the Elvis Presley classic, where Mötley Crüe prints all its mark.
Girls, Girls, Girls came at the peak of the band's addictions, since as we will remember it was on the promotional tour that Nikki Sixx had the heroin overdose that led him to be clinically dead for a few minutes, the best vocal moments from Vince Neil who had just been in prison and a creative freedom for Tommy Lee in the compositions. An album that serves to know and understand glam metal completely.