Motley Crue Discography __full__ Site
Following the moderate success of Saints of Los Angeles and the subsequent “Crüe Fest 2” tour, the band entered the studio in early 2012 with a clear goal: prove they weren’t just a nostalgia act. Tensions were high—Vince Neil’s vocal struggles were public, and Mick Mars’s worsening ankylosing spondylitis made touring painful. But Nikki Sixx pushed for a darker, grittier album, inspired by early ’80s punk and the bluesy sludge of Mötley Crüe (1994) with John Corabi.
(5:21) Epic closer. Starts as a mournful acoustic dirge (Mick playing alone), then the band crashes in—drums, bass, Vince wailing. About watching your genre die. Final lyric: “Turn me up when they play my song / Then turn me off when I’m gone.” Fades on feedback and static.
Produced by Bob Rock, this album solidified the band as global superstars with hits like "Kickstart My Heart" and the title track. motley crue discography
This record transformed them from a local club act into international metal icons, defined by the anthem "Looks That Kill".
Here’s a fictional, detailed entry for a new Mötley Crüe album, designed to fit within their real-world discography timeline and style—specifically as a follow-up to their 2008 comeback Saints of Los Angeles . Following the moderate success of Saints of Los
(4:47) Sequel to “Saints of Los Angeles.” Slower, more defeated. A homeless kid on the Sunset Strip watches limos roll by. Mick’s solo sounds like a car horn stuck in traffic. Bittersweet.
The tour was short—just 28 dates—due to Mick’s health. A live DVD, Smoke & Mirrors: Live from the Whisky , captured the raw energy. In 2020, the album was reissued with three bonus demos, including a scrapped track featuring a posthumous guitar solo from Randy Rhoads (sampled from a 1981 soundcheck). (5:21) Epic closer
The title ASHES TO AMPLIFIERS reflects themes of mortality, addiction’s long hangover, and the band’s own near-cremation—both literal (Vince’s 2010 car accident) and metaphorical (the death of the ’80s excess). The cover art (designed by longtime collaborator John Taylor Dismukes) shows a shattered Marshall stack rising from a pile of cocaine-dusted rose petals, with the Crüe’s pentagram logo burned into the speaker grille.
The first five albums are widely considered the "Gold Standard" of hair metal.
(3:09) Short, fast, punk. Tommy’s double-bass pedal gets a workout. Nikki called it “our ‘Anarchy in the U.K.’ for the foreclosure generation.” Pure vitriol.