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National Features >
City Pages
Michele Bachmann, Unmuzzled
You don't need to read Sarah Palin's book to hear the ravings of a mad woman.
By Matt Snyders
Miami New Times
Pimp Daddy
The rise and fall of a chubby sex-cult leader.
By Natalie O'Neill
Riverfront Times
Babe 'n' Arms
Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.
By Nicholas Phillips
Dallas Observer
The Fight for Texas
Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.
By Sam Merten
Motley Crue
Red, White & Crue (Hip-O)
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By Geoff Harkness
Published on February 24, 2005
Motley Crue's sixth retrospective, barely distinguishable from its five predecessors, compiles the usual suspects -- "Looks That Kill," "Girls, Girls, Girls," etc. -- and a whole disc of 1990s lowlights. Material from the quartet's bratty 1981 debut, Too Fast for Love, is savant-style genius -- the band's sleazy stew of metal, glam-punk and cocaine still sounds potent. Motley's slow dive into big-production commercialism isn't without merit, either: "Shout at the Devil" lives up to its name, "Home Sweet Home" remains the archetypal hair-farmer power ballad, and Tommy Lee's ass-kicking stick work never sounds groovier than on "Dr. Feelgood." After that, the tracks trend-hop from punk to grunge with increasingly meager results. Oh-no-they-didn't covers by greats such as the Beatles, the Rolling Stones and the Sex Pistols further prove the theory that the Crue's place in rock history is overstated.
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