A 48-year-old Florida woman was just trying to have a good time, traveling across the beautiful Canadian landscape and smuggling enough guns to stave off a full-blown invasion in the trunk of her car. It was a pretty good scam, too, until she was flagged for secondary inspection at the border coming back into America. Investigators say the woman sent up some red flags during traditional questioning, which led the officer to ask for a more in-depth interview. Florida woman was directed to move her vehicle to the side of traffic for a secondary level invesitgation. Upon further questioning, officials decided to search the car. Florida woman was removed from the car as agents looked through the car. It didn’t take long for them to find what they suspected would be in the vehicle. Stacked in neat boxes in the trunk, investigators found a treasure trove of weaponry, such as 56 Glock pistols of various sizes and styles, over a dozen extra-capacity magazines and lots of ammunition. The pistols appeared to be new, still in their original boxes. Officers say some of the serial numbers had been altered or were missing altogether. Agents say that high-quality pistols like Glocks are very desriable on the street and they can sell for up to $4,000 a piece. Florida woman did not pass go or collect $200. she remains in jail, awaiting her trial on multiple charges. The Canada Border Services Agency says this is the biggest weapons seizure they’ve made in quite a while. Source: CP24.com
Robert Plant’s Solo Career Ranked Worst To First
Robert Plant: His 41 Best Post-Led Zeppelin Songs, Ranked
The song marked the beginning of a new era for Robert Plant; ‘Now And Zen’ saw him making peace with his history with Led Zeppelin in a way that he hadn’t previously. He uses his Led Zeppelin symbol (the circle around the feather) in the album’s artwork. More pointedly, Jimmy Page played guitar solos on two of the songs, including this one. It also marked the debut of Plant’s new band; he’d parted ways with his original backing musicians after three albums. “Heaven Knows” was written by his keyboardist Phil Johnstone and David Barratt, who did some of the keyboard programming on the album. Apparently, the pair had recorded the song for their former group who were called The Rest Is History. Someone sent Plant the song, and that led to him wanting to record it, and inviting Johnstone to join his band.
Pearl Jam, obviously, are big Led Zeppelin fans, you can hear that in almost all of their songs. Especially “Given To Fly,” their 1998 single which sounded a bit too much like “Going To California.” Jimmy Page and Robert Plant have both been a bit vocal about that. But Pearl Jam and Plant mended their fences in 2005 when the Seattle band invited Plant to open for them at a fundraiser for Hurricane Katrina relief. Plant joined Pearl Jam for a few songs, including this Elvis Presley cover, which Pearl Jam later released as part of their Christmas single series.
A classic song written by the late New Orleans legend Allen Toussaint (under his pseudonym Naomi Neville). It had been covered by the Rolling Stones, the Who and the Strawberry Alarm Clock, among others, before Robert and Alison got to it. It tells a funny tale of some dude who learns from a fortune teller that he will find love "when the next one arrives." When he comes back the next day, he realizes that he’s in love with the fortune teller. They get married and are as "happy as we could be" and -- bonus! -- and now he gets his "fortune told for free." Plant takes the lead vocals here, and sings it as convincingly as anyone could. You kind of believe that this actually happened to him!
In recent years, Plant has gotten more and more interested in electronic music, but his fascination with the blues is as strong as it was in his Zeppelin days. That clash of different musical cultures tends to make an awesome noise, as it does on this song.
Most of this album is original material co-written by Plant and his backing band, but “Little Maggie” is a “traditional” ballad, like “Gallows Pole.” Even in the 2010s, Plant was bringing classic -- but overlooked -- songs to a new audience.
Robert Plant’s first two solo albums were received warmly, but album #3 -- ‘Shaken ‘N’ Stirred’ -- alienated fans. Plant found something of a “reset” with the Honeydrippers EP. ‘Vol. 1,’ saw him teaming up with Jeff Beck, Nile Rodgers, Paul Shaffer and even Jimmy Page to tackle early rock and roll era songs. This Ben E. King cover wasn’t a hit for the Honeydrippers, but it should have been. And sadly, the Honeydrippers never recorded a ‘Vol. 2.’
After Page guested on two tracks on Plant’s ‘Now And Zen,’ the vocalist returned the favor, singing on the hard rock jam “The Only One” on Page’s solo album. We’re still waiting for the follow-up. Unfortunately, Page isn’t as prolific as Plant. He hasn’t released new music since the Page/Plant ‘Walking Into Clarksdale album in 1998.
Plant definitely tried to put some distance between him and Led Zeppelin on his first few solo albums, but here, about three minutes into the song it starts to sound a bit like a modern update to the jams Zep used to do during “Dazed and Confused.” Which is a compliment, obviously.
Another early song where Plant seems pulled back into Zeppelin’s gravity. Most of his debut album featured Phil Collins of Genesis on drums. But here, he uses Cozy Powell, formerly of the Jeff Beck Group and Ritchie Blackmore’s Rainbow, and he brings a bit of heavy metal (or hard rock) thunder to the song.
Robert Plant was the lead singer of one of the biggest bands of all time, but to his credit, he’s always quick to pay tribute to the much lesser-known artists who inspired him as a kid (and surely, still inspires him as an adult). Plant recorded two songs for this Fats Domino tribute (with two separate bands, no less!). ‘Goin’ Home’ also featured contributions from Tom Petty, Norah Jones and Elton John, among others. Lil’ Band of Gold is a zydeco group, and they really give Plant a New Orleans sound here.
Who is Arthur Alexander, you might ask? Well, he’s the only songwriter to have been covered by the Beatles (“Soldier of Love”), the Rolling Stones (“You Better Move On”) *and* Bob Dylan (“Sally Sue Brown”). Sadly, by the ‘90s he was mostly forgotten and driving a bus for a living. Plant did this song justice, and (as he often does) brought a lesser-known song to a much bigger audience.
A jump-blues song dating back to 1947, Robert Plant (featuring Jeff Beck on lead guitar) took this jam to the top 40; it was a #25 hit. Ironic that while Plant was terrifying the ‘50s generation with Zeppelin, he actually shared a lot of their musical tastes.
After Robert Plant and Alison Krauss’s ‘Raising Sand,’ which won six Grammys, fans (and the record label) surely expected a follow-up. Of course, Plant has become somewhat well-known for not making his artistic choices based on money. Instead, his next project saw him working with a new group of collaborators, including Americana singer/songwriters Patty Griffin and Buddy Miller. ‘Band of Joy’ was an album of unexpected covers, including this one by Richard Thompson. Thompson was no stranger to Plant though - he’d played guitar on the ‘Fate Of Nations’ album over a decade earlier.
A folk-rocky jam that should have been a bigger hit. It’s laid back, but shows that Plant was still good at writing about… similar subject matter that he’d covered in his previous band. Here’s a sample lyric: “Her kiss of fire/A loaded invitation/Inside her smile/She takes me down and down and down and down.”
A lot of ‘Raising Sand’ feels kind of dark, but this Everly Brothers cover sees Plant and Krauss having a blast.
You’d almost think that this one was from Led Zeppelin ‘III.’ There was a lot of production on much of the ‘Manic Nirvana’ album, but this was just Robert and guitarist Doug Boyle (the two co-wrote the song as well).
Plant has always been an excellent song interpreter but only did it sparingly (until the 2000s). This Tim Hardin cover is one of the highlights of the underrated ‘Fate Of Nations’ album.
Americana singer/songwriter Patti Griffin gets a lot of respect, and rightfully so: her songs have been covered by Emmylou Harris, the (Dixie) Chicks and Kelly Clarkson. And in 2010, she joined Robert Plant’s backing group, the Band Of Joy, as a backing singer and acoustic guitarist. He would later sing with her on this song, which she wrote. One of the interesting things about the last few years of Plant’s career is hearing him share the mic, something he rarely did in the ‘60s, ‘70s, ‘80s and ‘90s.
The second of two songs that Plant did for the Fats Domino tribute album. Here, Plant is accompanied by the Soweto Gospel Choir and a percussionist… and that’s it. Plant’s voice and that of the South African vocalists on this song complement each other perfectly. Songs on tribute albums sometimes get lost, and that’s a shame. You can find this on YouTube, and you should look for it.
Jimmy Page and Robert Plant reunited for 1994’s ‘No Quarter,’ which saw the ex-bandmates revisiting their Led Zeppelin classics in different settings and arrangements. They also wrote a few new songs. The follow up was all new music, and they kept it simple, stripping down to a small band - accompanying themselves with just a bass player (Charlie Jones) and drummer (Michael Lee), Led Zep-style, and using no-nonsense producer Steve Albini. “Shining In The Light,” the album’s opening track, showed that they still had some solid Zep-esque jams in the tank.
‘The Last Temptation of Elvis’ was an Elvis Presley tribute album put together by British music magazine NME and which featured only songs from Elvis’s movies. It was a challenge that a lot of famous Elvis fans were up for: Paul McCartney and Bruce Springsteen also contributed. “Let’s Have A Party” was written for Elvis to record for the 1957 movie, ‘Loving You.” (What, you don’t remember that one?) Wanda Jackson -- the Queen of Rockabilly -- recorded a cooler version a year later. And Led Zeppelin would quote this song during their extended “Whole Lotta Love” jams. Plant is clearly having a blast revisiting it here.
Robert’s band Strange Sensation was taking him farther and farther from mainstream rock music, but that’s always been his path. Led Zeppelin didn’t cater to the mainstream: the mainstream came to Zeppelin. But in the wake of the dissolution of the Page/Plant project, this song seemed to serve as an answer to, “Will you and Jimmy ever work together again?” Robert sings, “These are the times of my life/Bright, strong and golden/This is the way that I choose/When the deal goes down.”
By 1988, Phil Collins had been gone from Robert Plant’s band for five years. But the drum machine in this ballad totally sounded like something the Genesis-drummer would have programmed. As does the entrance of “live” drums 1:50 into the song. In any case, “Ship Of Fools” is one of Plant’s loveliest ballads.
A descendant of Led Zeppelin’s “Kashmir,” “Calling To You” was interpreted by many fans as a message to Jimmy Page… Plant practically name drops his ex-bandmate at the end of the song when he sings, “Just fadin’ away! Oh Jimmmmmmy!” Page had recently recorded a duo album with Whitesnake’s David Coverdale, a guy who had been accused of ripping off Zep more than once. And Plant wasn’t shy about mocking the guy, either, dubbing him “David Cover-version.” Alas, Plant and Page’s next project was their collaboration, ‘No Quarter.’
“Dreamland” was Plant’s first project after splitting with Jimmy Page. The album was mostly ‘60s covers and the highlight was this Bonnie Dobson classic (first made famous by folk singer Tim Rose). If “Morning Dew” sounds familiar to you, it’s probably because you’ve heard the Grateful Dead’s version. Or maybe you’ve heard the definitive version by the Jeff Beck Group; their lead singer was an up-and-coming guy named Rod Stewart. Plant’s version is almost as good as that one. And fun fact: British pop singer Lulu covered this song as well, in 1967… and it was produced by Plant’s future bandmate John Paul Jones.
A lot of artists cover songs to do a new spin on a beloved classic. Give Robert Plant and Alison Krauss credit for digging deep and looking in dusty corners for material for their first album together. “Rich Woman” is a cover of a 1957 song by Li'l Millet and his Creoles. It’s fair to guess that most fans hadn’t heard the original, but the song was the perfect choice to kick off ‘Raising Sand.’
A cover of a lesser-known song by legendary L.A. band, Los Lobos. Released in 1990, Los Lobos’ original is rock meets mariachi. But Plant’s Band Of Joy takes the song from the west coast to the mountains via their use of a mandolin.
A cover of legendary Americana singer/songwriter Lucinda Williams. One of the first releases from Plant and Krauss’s long-awaited second album shows that the duo has lost none of their chemistry.
The opening track from Plant’s second album was the label’s first choice for a single. Plant rejected that plan: he didn’t want to be labeled a “hard rock” singer, so they went with “Big Log” and “In The Mood” as singles instead, which worked out pretty well.
Afro-Celt Sound System combines electronic music with traditional Gaelic and West African sounds. They recorded for Peter Gabriel’s RealWorld record label. That combination seemed to appeal to Plant - much of his recent music seems to combine similar influences. He certainly gave the group a great vocal performance here, and again, exposed them to his much bigger audience.
‘Shaken ‘N’ Stirred’ wasn’t well-received by most of Plant’s fans - it was very synthy, and seemed influenced by the Eurythmics and Talking Heads. “Little By Little” though, was one song that broke, topping the Mainstream Rock chart, thanks to a good amount of MTV play.
This cover of a 1959 song by Phil Phillips (it was his only hit) became Robert Plant’s highest-charting song ever, hitting #3 on the pop charts. Yes, *ever*. Led Zeppelin's biggest hit single only reached #4 (“Whole Lotta Love”).
Co-written by Plant with the members of his backing band the Sensational Space Shifters -- guitarist Justin Adams, guitarist Liam "Skin" Tyson, keyboardist John Baggott and bassist Billy Fuller, “The May Queen” sort of felt like a trip-hop song played on acoustic instruments.
Robert really got the Led out here, so to speak. Not only did he use Jimmy Page on the track, he also sampled a bunch of Zeppelin songs, including "Black Dog,” "Dazed and Confused,” "Whole Lotta Love,” "The Ocean" and "Custard Pie,” and also borrowed from "When the Levee Breaks.” The song, somewhat surprisingly, hit #25 on the pop charts, higher than most Zeppelin singles except for “Whole Lotta Love” (#4), “Immigrant Song” (#16), “Black Dog” (#15) and “Fool In The Rain” (#21).
Robert Plant’s original solo band gets short shrift: that crew, which included guitarist Robbie Blunt, Paul Martinez on bass, Jezz Woodroffe on keyboards and -- making time between Genesis and his budding solo career -- Phil Collins on drums. Of course, at the time, they were being compared to Led Zeppelin, which was just unfair. They had their own sound and put out a lot of great music, including this jam.
An incredible song that, for some reason, was left off of ‘Pictures at Eleven.’ For years, it was available only as a B-side, until it was released on the soundtrack of the 1985 film ‘White Nights.’ This song seems to imagine what Dire Straits would sound like with a more exciting singer and a more exciting drummer (Phil Collins plays drums here, and he makes his presence known).
The first single from ‘Walking Into Clarksdale,’ this jam saw the quartet of Page, Plant, bassist Charlie Jones and drummer Michael Lee accompanied by some keyboards (programmed to sound like a hurdy gurdy) and electronic beats, in hopes to give the ‘70s legends a ‘90s sound. It worked: it topped the Billboard Mainstream Rock chart, and got them airplay alongside Garbage, the Verve, Smashing Pumpkins, U2 and Foo Fighters.
Coming off of the reissues of the Led Zeppelin catalog, there might have been a temptation to take the tens of millions that surely would have been offered to go on a Zep tour. But instead, Plant showed that he not only aged gracefully, but that he also aged interestingly. Not every solo song of his will hold up to the Zeppelin catalog, but you can never accuse Plant of cruising on fumes. He’s always trying new sounds and he always has something to say. “Rainbow” is nearly as lovely as “Thank You,” and holds up to -- and is better than -- some of the songs on the last two Zep LPs.
Whoever had the idea to re-record an album track from Jimmy Page and Robert Plant’s ‘Walking Into Clarksdale’ for ‘Raising Sand’ deserves a lot of credit. Of all the songs in Plant’s back catalog to revisit, this wasn’t an obvious one. And yet, it worked so well, easily topping the original. This won Record Of The Year at the Grammys in 2009, and propelled ‘Raising Sand’ to win Album of the Year. It was a good Page/Plant song, but it’s the definitive Plant/Krauss song.
This was a crucial song for Plant in the early days of his solo career. He wanted to be seen outside of the shadow of Led Zeppelin, and songs like this, which sounded nothing like his former band, helped him to get there. This song was his first solo top 40 hit, reaching #20. In 2004, bass player Viktor Krauss covered the song for his ‘Far From Enough’ album. You may not have heard of him… but the guest vocalist on the song was his sister, Alison, who would go on to record with Plant three years later. Weirdly, Plant and Krauss didn’t perform this song on their tour, but they did play “In The Mood.”
The first song and lead single from Plant’s solo debut. It did really well at radio, hitting #3 on the rock radio charts… and it gave the format new music from a former Zep member for the first time since the band broke up. Like most of the first two albums, the song featured Phil Collins on drums, but that wasn’t Phil’s most important role in the song (although his drumming is excellent). Without him, the song, and the album, may not have seen the light of day. According to the book ‘Robert Plant: A Life,’ Plant’s record label didn't want ‘Pictures at Eleven’ released, nor did Plant's manager, Peter Grant, who had also managed Zeppelin. As powerful as the new music was, everyone who made money off of Plant clearly wanted something that sounded more like his former band. Plant felt that Grant was trying to damage his solo career so that he’d get back with Jimmy Page. Collins, already in the midst of splitting his time between Genesis and his solo projects, helped convince the singer to stick to his guns and release the album. And *that* might be why Jimmy Page seemed so eager to blame the awful Zeppelin reunion set at Live Aid on Collins’ drumming. He may have just had an ax to grind (no pun intended).
Motley Crue’s Greatest Songs Ranked
Motley Crue: Their 40 Best Songs, Ranked
A new track featured on the Crue’s first greatest hits compilation, “Angela” has a unique place in pop culture as Dwight and Angela danced to the song at their wedding in the series finale of ‘The Office,’ which was a clever use of a Crue tune since the band was Dwight’s go-to for when he needed to get pumped for a sales call or performance review.
Motley Crue is far from being a “political” band, but with “Fight For Your Rights,” we find the band taking on issues around race and invoking Martin Luther King Jr. The track closes out ‘Theatre of Pain,’ and while it only scratches the surface of race relations, it’s one of those tracks that’s always a surprise when revisiting the Crue catalog.
One of the rare Crue songs credited to all four members of the band, “Bitter Pill” was a new track that was included on 1998’s ‘Greatest Hits’ album. Oddly enough, when this compilation was reissued in 2009, “Bitter Pill” was omitted along with “Enslaved” (another new track released on the LP) and the remix of “Glitter” from ‘Generation Swine.’ In fact, “Bitter Pill” isn’t even available on streaming platforms right now, which is a shame because it’s a beyond catchy pop-rock tune.
The Crue’s 2005 compilation album ‘Red, White & Crue’ saw the band reunite for a second time in their history. (This time around, it was drummer Tommy Lee returning to the fold.) The 38-track set featured some of the Crue’s biggest hits, fan favorites and a few new tracks including “Sick Love Song,” which was penned by Nikki Sixx and James Michael who would go on to be the lead singer in Nikki’s side project aptly named Sixx: AM. It’s a great example of how even a quarter-century in, the Crue still had *it* and are a prime example of being greater than the sum of its parts.
The John Corabi-era with Motley Crue is a unique time to examine, because when you revisit 1995’s ‘Motley Crue’ -- the lone album the band released with Corabi as its singer -- it’s a pretty solid rock album. However, it just doesn’t *sound* like Motley Crue, so it feels out of place in the band’s catalog likely due to Nikki, Tommy and Mick playing to John’s strengths. “Loveshine” is the first of four tracks from that LP to appear on this list, and it’s the sound of ‘Led Zeppelin III’ hanging out with The Black Crowes. Great song, but it’s one of the last things you’d expect from Motley Crue.
If you listen to “Rattlesnake Shake” and think the horn section sounds an awful lot like the one used on Aerosmith’s “(Dude) Looks Like A Lady,” it’s because tenor saxophonist Tom Keenlyside, baritone saxophonist Ian Putz and trumpet player Henry Christian played on both tracks. (Fun fact, right?) Whether or not this was a planned homage to Aerosmith or just a happy accident, “Rattlesnake Shake” is one fun tune.
“Keep Your Eye On the Money” acts as a pseudo-title track on ‘Theatre of Pain,’ especially on the lyrics, “Comedy and tragedy/Entertainment or death/Like sister morphine/Hooked on her game/Time to place your bets,” which make subtle reference to the album’s cover. There’s a unique tension in the song. Clearly, the band knows it’s living life dangerously, but they just can’t stop because they have a big payday ahead. Definitely more depth to this song than you’d think.
Another rare topical song that closes out a Crue album, just like the aforementioned “Fight For Your Rights”! This time around, we find the band looking to the youth to push society forward to a better tomorrow. It’s almost as if Motley made their own version of “Greatest Love of All,” which shouldn’t work but it does. The Crue is joined by a host of background vocalists including all of Skid Row, which, once again, shouldn’t work but it does.
There’s no denying that when John Corabi was tapped to replace Vince Neil that Motley Crue’s sound drastically changed, but clearly the rise of grunge had an impact, too, as evident on “Power to the Music.” Opening the band’s self-titled 1994 album, the track is a gritty anthem that doesn’t get enough love in the Crue’s catalog.
‘Theatre of Pain’ was the Crue’s third studio album, and by that time, they were already rock stars, but on “Raise Your Hands To Rock,” they still look back fondly on the days before they were household names and just trying to make it. Simply put, it’s a fun track with a big sing-along chorus, which makes it puzzling as to why they only performed it live once at a December 1982 show in Santa Monica, Calif. according to Setlist.fm.
The glam influence is STRONG on “Toast of the Town,” the b-side to the Crue’s very first single “Stick to Your Guns,” which was featured on the original 1981 release of ‘Too Fast For Love’ but omitted on the 1982 re-release of the album once the band signed to Elektra records. The track would be included on the 2003 reissue of the album, and it’s a good thing it was because it is a ridiculously good time of a tune.
With the premiere of the film adaptation of ‘The Dirt’ and the band recording new tunes for the film’s soundtrack, we should’ve known Motley Crue was going to renege on their "Cessation of Touring Agreement" they signed before their "Final Tour" in 2014-15. Then again, with “The Dirt (Est. 1981),” which features Machine Gun Kelly who portrayed Tommy Lee in ‘The Dirt’ film, they clearly show they have plenty left in the tank. Hopefully, “The Stadium Tour” will *finally* happen in 2022. (Thanks a lot, coronavirus pandemic!)
Once again, the rise of grunge very much had an impact on Motley Crue, who incorporated elements from the genre on their eponymous 1994 album featuring John Corabi on vocals. If you want to get specific, the track seems very influenced by Temple of the Dog, Soundgarden and the whole vibe of Alice In Chains’ “I Stay Away,” particularly the strings on that track. The moment you realize it’s *really* a Motley Crue song is when Mick Mars launches into a slide guitar solo about four minutes into the 6:36 track. Definitely an underrated song or, perhaps, misunderstood.
The only thing more confusing than Motley Crue without Vince Neil is ‘Generation Swine,’ Neil’s first album back with the band following his firing back in 1992. There’s just *too* much going on with the album as far as musical directions are concerned, but that doesn’t mean there weren’t bright spots on the LP. The brightest of those spots lies with “Afraid,” the album’s lead single and a stealthy tender love song Nikki Sixx wrote when he was first seeing his eventual second wife, actress/’Playboy’ Playmate Donna D’Errico.
“Come On and Dance” is obviously a filthy song (“When she's on top/Well, you can't be stopped/Watch her scream/Watch her suck you clean”), but there’s something very charming about it. Perhaps it’s the minimalist arrangement and production or even the way it feels like Vince Neil is working through his vocal to determine his sound. Either way, it’s a great piece of glam metal.
“Modern times and new blood’s pumping/Only the strong survive” were the lyrics that closed out “Hooligan’s Holiday,” the lead single from the Crue’s self-titled 1994 studio LP featuring John Corabi on vocals. The obvious style change from the band due to having a new singer and to keep up with current trends was met with a mixed reaction at best, but since the release of ‘Motley Crue’ strong tracks like “Hooligan’s Holiday” have managed to survive. Sure, the Corabi era will always feel a little strange, but you can’t deny quality regardless of who’s behind the mic.
An underrated ballad with an interesting history, “If I Die Tomorrow” features songwriting credits from Nikki Sixx and the band Simple Plan. Bob Rock produced Simple Plan’s 2004’s studio album ‘Still Not Getting Any…,’ and “If I Die Tomorrow” was a track left over from the recording sessions. Rock then passed along the tune to the Crue, and after Sixx made some changes, the band recorded the song and was the lead single to their 2005 compilation album ‘Red, White & Crue.’ The band took things one step further in the song’s music video which depicted each Crue member reliving some of the most horrific moments in their lives, from Sixx nearly dying from a heroin overdose to Vince Neil’s drunk driving accident that resulted in the death of Hanoi Rocks drummer Razzle.
‘Saints of Los Angeles’ was Motley Crue’s first studio album following their reunion with Tommy Lee in 2004. At this point in their career, the band really had nothing left to prove, but that didn’t stop them from putting out one of their strongest singles in years with the title track, which is loosely about when the Crue first signed with Elektra Records in the ‘80s. (“We are, we are the saints/We signed our life away.”)
It’s unknown if there was a particular inspiration behind “Starry Eyes,” but if this Nikki Sixx-penned tune was about a specific woman, clearly Sixx had it *bad* for her. Looking back on Motley Crue’s first album and its raw energy, it’s amazing what the band grew to be and just how much they had *it* from nearly day one.
Judging by title alone, one would be quick to assume “Dancing On Glass” was about strippers which would be a proper fit on ‘Girls, Girls, Girls.’ However, the song’s subject matter is far grizzlier, and its second verse leaves little to the imagination it’s about drugs. (“Silver spoon and needle/Witchy tombstone smile/I’m not puppet/I engrave my veins with style.”) Even staring down a tough subject, Motley Crue still manages to churn out one hell of a rock song.
Mick Mars’ guitar tracks are just *so* damn good on “Without You,” a grand power ballad and third single from ‘Dr. Feelgood.’ The track was reportedly inspired by Tommy Lee’s relationship with Heather Locklear. While Tommy and Heather didn’t stand the test of time, “Without You” still does.
Motley Crue has a handful of covers in their catalog, but their take on Brownsville Station’s “Smokin’ in the Boys Room” is, by far, their best. The cover was their lead single from ‘Theatre of Pain’ and would peak at number 16 on the Billboard Hot 100 Chart.
Remember that thing about Motley Crue having *it* from nearly day one? “Piece of Your Action” is another prime example of that. It’s an undeniably dirty, sexy song. (Tight action, rear traction/So hot, you really blow me away/Fast moving, wet and ready/The time is right, so hang on tight.”) Perhaps most importantly, “Piece of Your Action” brilliantly showcases how valuable Mick Mars is to the whole Crue dynamic. It’s hard to imagine any other guitarist filling that role.
‘Theatre of Pain’ was a bit of a style departure compared to the Crue’s previous two studio albums, but “Tonight (We Need A Lover)” was proof those metal hellions from the Sunset Strip were very much part of the band’s identity. Tommy Lee providing a killer drum track is far from shocking, but the drums on “Tonight (We Need A Lover)” manage to reverberate in your gut.
The melodrama of “On With The Show” is equal parts Meat Loaf and Bruce Springsteen. It’s truly a wild Crue track that doesn’t get enough attention. “On With The Show” is a semi-autobiographical tale about Nikki Sixx (born Frank Feranna Jr.) and how he changed his name to distance himself from his absent father. (“Frankie died just the other night/Some say it was suicide/But we know/How the story goes.) Once again, so melodramatic!
Honestly, it’s the sexiest song about a quickie ever. Name me another song about a quickie that’s better. I’ll wait...
Along with Def Leppard’s “Pour Some Sugar On Me,” Motley Crue’s “Girls, Girls, Girls” probably helped its fair share of strippers pay their way through college. In fact, the song name-checks seven different strip joints, and over three decades later, three of those clubs are still open: Tattletale Lounge in Atlanta; The Body Shop in West Hollywood, Calif.; and the Seventh Veil on Sunset Blvd. in Los Angeles where the band filmed the raunchy song’s music video.
Motley Crue is responsible for some of the greatest arena rock tunes ever, but few of their songs feel as tailor-made for arenas as “Same Ol’ Situation (S.O.S.)” Of course, the song is the age-old story of boy meets girl, boy meets girl’s friend, the two women realize they love each other and then run away together. It’s all very “Tale as old as time.”
The second single from ‘Shout At The Devil,’ “Too Young to Fall in Love” boasts one of the Crue’s hookiest chorus and campiest music videos ever. The whole plot is a mystery beyond words, so just go and watch it...after you finish this list, of course. A tip of the hat to Tommy Lee for providing a rhythm track that is minimalist but meaty AF.
Hmmm...the early days often found the Crue too (insert adjective here) for love, it seems. Regardless of the descriptor, it certainly made for fun songwriting as evident with “Too Fast For Love,” another raw tune from Motley Crue’s debut that really showed the band’s punk influences. Plus, the way Vince Neil sings the “Oh no, oh no!” intro remains some of the most iconic notes he’s ever sung.
Simply stated: “Public Enemy #1” is a glammy, pop-punk delight! The track was co-written by Nikki Sixx and Lizzie Grey, who was Sixx’s former bandmate in London, the band Sixx co-founded before forming Motley Crue.
“Live Wire” is the first track on ‘Too Fast For Love,” and from the moment you hear Mick Mars’ chugging opening riff, you know Motley Crue is not a band to be messed with. It’s the type of song that can only bit written by someone who’s young and hungry. You just can’t get away with writing lyrics like, “Because I'm hot, young, running free/A little bit better than I used to be,” when you’re three albums into your career.
As Motley Crue looked back on ten wild years on their first greatest hits album ‘Decade of Decadence,’ they did so with a new track in “Primal Scream,” and it’s an absolute monster that packs as much attitude as anything they dropped in the previous decade. Of course, “Primal Scream” was one of the final singles released during Vince Neil’s first tenure fronting the band. It’s one of the finest examples of each member of the Crue operating on all cylinders.
It’s the title track to Motley Crue’s most commercially successful album, and it’s the band’s most successful single in their catalog peaking at number six on the Billboard Hot 100 chart. While the song explores the life of a drug dealer wasn’t necessarily a new theme for the band, “Dr. Feelgood” had a polish unlike any other Crue single until then. That’s a touch likely due to producer Bob Rock and the fact the band was sober during the making of the album.
“Shout At The Devil” wasn’t released as a single, but when you write a hook as catchy as, “Shout, shout, shout/Shout at the devil,” the people will undoubtedly find it and help make it an anthem. Fun fact: It’s the song Motley Crue has played the most live in their band’s history, according to Setlist.fm.
The fourth single from ‘Dr. Feelgood,’ “Don’t Go Away Mad (Just Go Away)” finds Motley Crue embracing pop elements in expert fashion without losing a touch of their metal edge. Plus, its title alone is one of the best kiss-offs in music. Who hasn’t gone through a breakup that ended with this type of vibe?
Motley Crue grew significantly from their debut to their second studio album ‘Shout At The Devil,’ and out the gate, they weren’t messing around as evident on the lead single “Looks That Kill.” It’s one of the Crue’s signature tunes for a reason.
Where would any strip club be without girls, girls and more girls. Motley Crue hit it out of the park with this classic
In the realm of power ballads, “Home Sweet Home” is among the most quintessential if not *the* most quintessential. Even when listening to it in your car, you’re almost tempted to lift up your lighter or phone and just sway. Tommy Lee’s piano intro is instantly recognizable, and his little drum fill at the end of the track is the perfect cherry atop one epic tune. Add Mick Mars’ guitar solo and the way Vince Neil wails “Tonight, tonight!” during the chorus, it’s no wonder this tune penned by Nikki Sixx and Lee is one of the Crue’s best.
Picking the best Motley Crue song is a tough challenge, because a number of songs in their catalog could be argued as their “best.” Why does “Kickstart My Heart” come out on top of our list? Because not only is it an incredible rock song, but it represents the essence of the Crue better than any other song in their catalog. When you’re a band whose debauchery is beyond legendary, picking the song that was inspired by Nikki Sixx being brought back to life following an overdose just makes sense. And, once again, it’s an incredible rock song that decades later is still a mainstay on active rock and now classic rock radio. It’s a song that just refuses to die, sort of like Nikki Sixx.