By 1988, impolite dudeness (tattoos included) was a longtime truth of life on Sundown Strip. What had begun a couple of years earlier than because the scum additionally rising in sleazy Hollywood flea havens just like the Starwood and Gazzarri’s was now the mainstream. Thousands and thousands had been being made out of what nowadays is known as hair-metal. Residing a block away, on the time, from the place the dual meccas of the scene – the Rainbow and the Roxy – sat side-by-side on the boulevard, I guarantee you, ‘hair-metal’ was not a time period utilized by anybody again then. We merely revelled in it as shameless LA-style rock with a capital ‘R’, into which the phrases glam-metal, popmetal, punk-metal and – a lot later – hair-metal, fitted snugly.
This was make-up and steel, constructed on the gleefully recycled meet-cute riffs of authentic English glam-rockers like Candy, Slade, David Bowie and T.Rex, delivered with a thumping-headache Gary Glitter beat and full-fat refrain of mascaraed males in silvery space-boots. The exemplars appeared like unexpectedly chopped rails of coke on a bathroom seat at The Whisky: Quiet Riot, Mötley Crüe, Ratt, Poison, Weapons N’ Roses.
They had been chased by a hairsprayed horde of coulda-wouldas: W.A.S.P., Vixen, Quicker Pussycat, L.A. Weapons… The second-bananas had occasional hits that rotated briefly on MTV. However the large boys stormed the palace of Tower Information, and the largest multiplatinums had been now something by Whitesnake and Bon Jovi, Weapons N’ Roses and Def Leppard. Or Poison. Or Ozzy. Or Van Halen. Or…
By the summer time of 1988 it was official: LA steel didn’t simply rock, it dominated, dude.
The shrapnel hit in every single place. The Cathouse, co-owned by soon-to-be Headbangers’ Ball host Riki Rachtman and Quicker Pussycat singer Taime Downe, took over from the Rainbow because the place the place rock stars mingled freely with duded-up scenesters. Slash and Duff leering from the balcony, CC Deville and Tracii Weapons on a sofa surrounded by keen admirers, not all of whom had been strippers and dirt wrestlers from the Tropicana.
LA-based journal RIP was now the place for 80s-age steel fanatics to get their vicarious kicks. The primary non-porn journal printed by Larry Flint, creator of Hustler, the worst-selling subject of RIP had the Rolling Stones on the duvet; their best-selling cowl: Axl Rose in full-bearded Charlie Manson mode, aiming a shotgun at you, with the headline: ‘THIS INTERVIEW WILL BLOW YOU AWAY!’
Filmmaker Penelope Spheeris freeze-framed the scene along with her 1988 documentary The Decline Of Western Civilization, Half II: The Metallic Years. Tawn Mastrey, aka The Leather-based Nun, was the most well liked DJ at KNAC, the LA steel station with a site visitors reporter named Headbangin’ Barb and automobile insurance coverage advertisements for “dudes” with questionable driving data.
“Everybody needs to appear like Nikki Sixx now,” mentioned Melissa Lopez, a neighborhood hairdresser who specialised in “rock’n’roll hair”. By 1988 everybody did appear like Nikki Sixx.
Sixx days until Christmas, 1987. The third sold-out night time of Mötley Crüe on the 14,500-capacity Nippon Budokan in Tokyo. The final night time of what has been a catastrophic Japanese tour and, though they didn’t understand it but, the ultimate night time of the Women, Women, Women world tour.
Mick Mars, their corpse-faced guitarist, stumbles round. Lengthy, tall Tommy Lee, stripped to the waist, stands and leers, a badass twirling sticks of dynamite. Blond-bimbo singer Vince Neil – Child Lee Roth – does his every-frontmanyou’ve-ever-seen shtick. However that is Nikki’s journey. Lean, and blood-famished as a vampire, he’s so strung out from heroin withdrawal that he doesn’t even bear in mind throwing a whisky bottle at somebody’s head and being thrown in jail. Excessive as a substitute on bourbon and bile, Nikki is a blurred imaginative and prescient of debauched splendour, cradling his white bass like a useless physique.
Each band wants a frontrunner, a whip-cracker, somebody to kick ass. Van Halen had Diamond Dave. Ozzy has Sharon. Mötley have Nikki. Sixx-feet-plus of baaad angle constructed on zero self-worth and hard-won avenue smarts. The place would the opposite three be with out him?
The Women, Women, Women album was Mötley Crüe’s largest but, reaching No.2 within the US. The sleaze-classic title observe, with its singsong refrain that sounded just like the Seashore Boys detoxing, was additionally an enormous chart hit. There was one different killer observe: Wild Facet. The remainder, not a lot.
It had been the identical story for each Mötley album. A few built-in-the-lab hits floating like useless flies in a bathroom. Tom Werman, producer of three quadruple-platinum Mötley albums in a row, had developed a fastmoving type suited to a band that handled recording periods like one other night time on the Tropicana, filling it with groupies, sellers, hangers-on. To get as many as two first rate tracks out of them was thought-about near-genius.
The success of Women, Women, Women was meant to herald the subsequent step in world domination. As a substitute it signalled the tip. The identical month, Weapons N’ Roses launched Urge for food For Destruction. LA rocknoir at its apotheosis. Abruptly easy-action popcorn steel didn’t lower it any extra and Mötley Crüe had been now not the massive canines of the scene. Actually they had been already useless. They simply didn’t understand it.
When Nikki obtained again to LA and instantly OD-ed on smack whereas “partying” on the Plaza resort with Slash and members of Ratt and Megadeth – he was pronounced useless on the scene when his coronary heart stopped beating for 2 minutes – supervisor Doc McGhee cancelled the remainder of the tour and issued an ultimatum: get straight. Or Doc was out.
First to volunteer for rehab, mockingly, was Mick Mars. Mick didn’t have a drug drawback, he had a drink drawback, getting so rotted on tour that he’d get up in closets, the place Tommy had dumped him in disgust. Mick thought the rehab factor was stoopid. Simply needed to get it over with. “The one dangerous behavior we had was remedy,” he later claimed.
Then Tommy mentioned sure to rehab and everybody paid consideration. Tommy cherished cocaine, intercourse, Jack Daniel’s, weed and breaking shit. However these days, he confessed, he’d taken to taking pictures smack with Nikki “every now and then”.
For Nikki it was all the time medicine. Nikki was hooked on all the things. A multiple-overdose overlord. Vince appreciated to drink lots and do medicine lots and fuck and combat lots, pausing just for restorative blackouts. He’d killed his good friend Razzle three years earlier when wasted-at-the-wheel Vince crashed his orange-red ’72 Ford Pantera sports activities automobile with the Hanoi Rocks drummer within the passenger seat. Vince finally obtained off with a $2.6 million compensation fee and three weeks in jail. Vince in rehab, although? However he had no alternative. None of them did.
Aerosmith had not too long ago gone into group rehab. However they had been parents in comparison with the Crüe. When phrase obtained out that Mötley had been now a part of the hugs-not-drugs brigade, their picture took a success. “Dude, inform me once more: Nikki and Tommy and Vince and even Mick have gone away collectively to get clear and sober? You should be tripping, man!”
It was a million-to-one shot. But it surely labored. The 4 got here out so clear they squeaked once they walked. With nothing left to do with their time, they got here out energised and desirous to kick ass within the studio with their new producer, Bob Rock. Scorching from producing Kingdom Come’s platinum debut and The Cult’s first multi-platinum US album, Sonic Temple, not solely was Bob on a successful streak, better of all he had his personal studio, Little Mountain, in Vancouver, about as removed from the Wild Facet of LA as a bunch of newly sober, emotionally fragile, bitchy and freaked-out freaks may probably get.
Speaking by way of Zoom from the Wyoming farmstead the place he lives together with his 39-year-old spouse Courtney and their five-year-old daughter Ruby, Nikki remembers recording at Little Mountain as “a particular expertise”. He says Bob Rock advised them: “Look, you guys all have lives, and it’s arduous to have this a lot focus for this large of an initiative.”
“That’s why we modified producers. Bob mentioned: ‘I would really like you guys to return to Vancouver and simply… you stand up daily, you do no matter your morning ritual is. Then come into the studio able to work.”
They’d meet each morning within the gymnasium. Aerosmith had been additionally recording at Little Mountain, working with Rock’s mentor, Bruce Fairbairn, on their album Pump.
“They’d be within the gymnasium too,” says Nikki. “Then we’d be outdoors, taking in nature, leap on our bikes, drive over to the studio. Be there by eleven-thirty or midday and be artistic all day, after which return to our house and hearken to mix-down tapes, and rewrite lyrics.”
If that sounds a bit of boring, for Mötley Crüe it offered two issues that they had by no means identified earlier than: self-discipline and construction. And a bulletproof protect from the skin world.
“It was an entire submersive expertise,” he says. “That’s what gave us the flexibility to form of dodge and weave with a number of the totally different sorts of tracks we had in there.”
Nikki recollects Bob telling him to “take a shot at rewriting the lyrics” to a brand new quantity Mick had conjured up a thundering riff for.
“I had a bit of room that I’d go in and sit on the ground. No pc to drag data from, simply books and magazines. I’d work on lyrics then come out and present Bob, who could be like: ‘I believe you may do higher.’ I’d return within the room, come again out once more. Bob would go: ‘You’re midway there.’
“Eight occasions I rewrote that tune. He stored saying: ‘Extra Springsteen! Extra Ian Hunter! You know the way to do that. You’re a storyteller!’”
The tip consequence was one thing Nikki referred to as Dr. Feelgood, which zeroed in on true-life tales of Hollyweird insanity. The tank-rolling, sirens-wailing Dr. Feelgood involved ‘a second-hand hood’ named ‘Rat-tailed Jimmy’ who traded his ’65 Chevy ‘for some powdered items’. The identical ‘Jigsaw Jimmy’ who ‘obtained a comfortable little job promoting for the Mexican mob’.
It wasn’t simply the lyrics Bob pushed them on, says Nikki. “He’s pushing Vince to sing higher. No person had carried out that earlier than. He’s pushing Tommy to alter up the beat. He’s pushing Mick: ‘I wish to re-do the guitars, double them, triple them, quadruple them…’ Bob centered on the little issues. You do sufficient little issues proper and also you make large change.”
Rock insisted the band document their elements alone with him, so that they didn’t must endure the others ready impatiently whereas Bob drilled them forensically, take after take after take. “You’d get residence at night time exhausted, however it was a particular expertise, which then changed into a particular album. We realized one thing that we nonetheless apply as we speak: ignore all the things else, neglect no matter’s happening outdoors the studio. You observe the creativity, after which magic moments occur. And that evokes the art work and an entire theme.”
In contrast to earlier albums, this time the Crüe had multiple ace up their tattooed sleeve. The livid Kickstart My Coronary heart referenced Nikki’s near-fatal OD earlier than rehab, not in a mawkish method however totally defiant. Vince middle-fingering America: ‘All the time obtained the cops coming after me/Customized-built bike doing 103…’
Any followers that feared a straight-no-chaser Crüe would lose their edge had been proved incorrect but once more as stake-thru-the-heart rocker monsters like Rattlesnake Shake and Similar Ol’ State of affairs (each uncommon full-band compositions) exploded like gunfire in a Barrio turf warfare. There was a deep Zeppelin swagger to Slice Of Your Pie and Sticky Candy, and whiplash AC/DC wit to She Goes Down. There was even a true-blue Springsteen-level ballad, With out You, by Nikki and Mick, which was pure street-symphony gold. Even some wry Crüe-style philosophy within the wonderful chugalug Don’t Go Away Mad (Simply Go Away).
“I obtained the title from a film or someplace and constructed it from there,” says Nikki. Or somewhat, Mick constructed on Nikki’s avenue poetry with beautiful guitar chorusing and solos. Plus, Vince’s unexpectedly heartfelt vocals. That summed up the album in a nutshell. No person anticipated Mötley Crüe to ever surrender medicine. No person anticipated Mötley Crüe to ever have a No.1 album. Or to ever make music as spectacular as this.
However they did. Sure they fuckin’ did.
Named after its assertion tune, Dr. Feelgood would turn into the largest and nonetheless the very best album Mötley Crüe ever made. Consequently, it additionally turned Mötley’s first US No.1 album; the title observe their US Prime 10 single – adopted by With out You, which additionally rode the US Prime 10 like a reasonably pony.
Within the UK, the place the Crüe lived on the covers of Kerrang! and the opposite devoted steel mags however acquired zero daytime radio play and due to this fact had no hit singles in any respect, the Dr. Feelgood album zoomed into the Prime 5, and is now acclaimed as one of many biggest albums of the hair-metal period. Second solely, maybe, to Urge for food For Destruction. However then all the things could be second to that album for years to return.
Final yr marked the thirty fifth anniversary of the discharge of Dr. Feelgood.
“I do know,” says Nikki. “How loopy is that? I imply, how the fuck did we each get right here?” he says with amusing. (We’re the identical age.) “I can’t inform you what number of occasions over time I’ve seen the Dr. Feelgood ‘RX’ image tattooed on folks.”
He acknowledges, nonetheless, that the particular sauce that went into making such a peerless monument to the late-80s LA steel scene – he jokingly refers to it now as “hairspray steel” – contained virtually not one of the substances that had beforehand outlined all the things about it. No medicine, no booze, no chicks with or with out dicks to distract them. As he observes wryly: “First time being sober was an actual totally different expertise from a band that was all the time wrecked.”
One which, sadly, was by no means to be repeated. It might be one other 5 years till the subsequent Mötley Crüe album, and by then Vince Neil had been fired, as had Doc McGhee, and the corpse of LA steel had turn into entombed beneath the Tower Of Babel that was grunge.
Vince would finally return, and Tommy Lee would then depart for a interval earlier than he additionally returned. Nowadays it’s Mick Mars who’s now AWOL from the band, his spot taken – for now – by John 5.
When their official group biography The Grime: Confessions Of The World’s Most Infamous Rock Band turned a world bestseller in 2001, nonetheless – adopted in 2019 by the equally celebrated Netflix film of the identical title – it propelled Mötley Crüe right into a realm of fame the place music hardly issues any extra. With one exception: the one they name Dr. Feelgood.
The thirty fifth anniversary version of Mötley Crüe’s Dr. Feelgood is out now.
