Category: Rock

Looks That Kill - Mötley Crüe - Shout At The Devil (Cassette, Album) download full album zip cd mp3 vinyl flac

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“Looks That Kill” is a song by American heavy metal band Mötley Crüe. It was released in , on the group’s second album Shout at the Devil. It was released on January 4, "Looks That Kill" is a song by American heavy metal band Mötley Crüliehageludedownfumetheamegilern.coinfo was released in , on the group's second album Shout at the liehageludedownfumetheamegilern.coinfo is released on January 4, Album · · 11 Songs. Available with an Apple Music subscription. Try it free.

However, it's one of those situations when it comes down to doing the basics well, because none of the songs are poor at all and I can have fun when listening to all of them, which is never something to sniff at. Jammy bastards. The Crue have always been one my favorite heavy metal bands, and this is one of their best albums the other best being Dr.

This album was a large change in sound from "Too Fast For Love", being much more aggressive, leaving out the glam and punk influences, resulting in a traditional heavy metal album that touches on speed metal at times. It's so much less commercial than their other albums. But what stands out to me about this album is the riffs. They really pack a punch. They sound sleazy, powerful, solid, and at times, dark.

The title track is a great song to represent the entire album. It's catchy, fun, and aggressive. It has a rather dark sounding guitar solo, and the vocals are rather haunting as well. Overall, it's a very nice track. The aggressive sound is most present in tracks like "Bastard", which has a rhythm that is just above being mid-paced, and a dark-sounding riff.

The aggressive sound can also be found on tracks like the speed metal track "Red Hot", and the heavy "Knock 'Em Dead Kid", which has a riff that is so catchy, that it's hard to focus on anything else, at times.

There are also less abrasive, fun songs, such as the sleazy "Ten Seconds To Love". The guitar is what stands out the most on this album. The riffs get stuck in the listeners head like bot fly larvae inside of flesh that was sick, but it's true. Mick Mars isn't the most skilled guitarist out there, but he definitely knows how to rock out quite a lot. His riffs are heavy and unpolished and they have a very hard edge to them, yet they are very well structured.

They're catchy, innovative, and just flat out charismatic. His solos aren't the best, but sometimes they're pretty good. The bass is the worst thing on this album. It doesn't sound bad, it's just extremely simple and nothing about it catches your attention. He has admitted to being a poor bass player at the time, but hey, he can carry a tune The bass isn't very prominent either, but it's there when it needs to be.

The drums are played quite skillfully on this album. Tommy Lee doesn't give very many hooks here, but his powerful and technical style of rhythmic drumming is enough to make up for that. His drumming is just as energetic as it is technical, which definitely ends up to make a sound that is very appropriate for the music on this album.

The vocals given by Vince Neil are high-pitched and raspy. I'm not saying that it's bad. It was pretty typical of heavy metal vocalists at the time, and when he wants to, he can actually sing pretty well.

He shows the amount of soul that he has at certain points, especially on the closing track, "Danger", but he also shows somewhat of a range throughout the album, so we know that he can do more than just the same-old-same-old style of vocals. Overall, this is one masterpiece of an album that I listen to it at least once a week or two, and not get tired of.

It has a raw sound that can get a little dark, at times, and it kicks ass, without repeating itself, or getting generic. Not many albums are good enough to be given that privilege, but there are a few. This is one of those few. If you're looking for something sleazy, aggressive and all out Looks That Kill - Mötley Crüe - Shout At The Devil (Cassette, then this album is most definitely for you!

So here we have it. Never again would something as prickly and headbanging emanate from this group, probably because the lure of massive profit in the mainstream was too strong to pass up. But I digress. If you want to weasel your way into the heart of this old metal fan, I can tell you right now the best way is to lay down tracks of snarling, riff-heavy guitar tone and Album) exactly where Shout at the Devil starts. From the opening title track, right through most of the CD, Mars lays it down.

The tone here forces its way into your brain. I have no idea what was used in the studio, but it's more about the sound than the performance. No one ever accused Mars of being any kind of virtuoso. But a "loud, rude, aggressive" guitarist he is. And that's not say there's nothing to point to from a musical standpoint. Lead breaks such as the one in Bastard, and certainly Too Young to Fall in Love, exhibit some solid planning and melody - particularly effective as a break from the regular cadence happening in the main sections of the songs.

Sixx wrote the bulk of the material. He's a metal fan yes, but also delves into a little punk, glam, and calls the New York Dolls a big influence along with a few others.

The metal obviously rears its ugly head in the guitar passages, but injecting other styles like these really requires the cooperation of your front man, and Neil is clearly up to the task. Punctuating in the right places, screeching in others, he's the focal point of a raw production, fitting it all together perfectly -- a couple sour notes notwithstanding.

I actually think Tommy Lee has suffered a little as the years have worn on, in terms of the respect he has enjoyed in the heavy rock community, because here he's absolutely brilliant; a thunderous pounder keeping perfect time and smashing every beat with strength and wild abandon. The off-beat section after the solo in "Too Young to Fall in Love" is incredible; just off-the-rails awesome. I knock a few points off, especially on the 2nd half of the disc since the songs wane a little bit in my mind.

It's nearly impossible to put together 10 songs of consistent ownage, and there are no shortage of other albums that rock like hell yet have a few lower moments. I'm not a fan of "Danger" or "10 Seconds to Love," for example. Immaterial really; the great tracks completely overshadow the filler lurking at the end of the disc. Snarling, headbanging, and nearly coming apart at the seams.

Shout at the Devil is well beyond the bulk of what came from Hollywood, and remains the one shining moment of the band's career; a moment where there was real promise that sadly wasn't realized as the years wore on. The 's was the decade that metal thrived. All of the familiar subgenres, such as thrash metal and death metal, all had their beginnings in this one decade alone. It was a glorious time for headbangers like us. However, there were also bands that qualified as metal that were more into making money than music.

These were the bands that thought hairspray and makeup were just as manly as muscles and chest-hair, cos that seemed to sell records more than complex arpeggios. Motley Crue is one of many bands who practiced this.

As evidenced by the alternate and more well-known cover of their breakthrough album, "Shout at the Devil", the band members went through great lengths to look pretty for the public.

Yet, does the music itself still hold up despite these band members appearing in all of their androgynous glory? Actually, in my opinion, this album, "Shout at the Devil", is Motley Crue's best effort. It has that raw energy of a metal band that we all know and love. The riffs in this album, including the title track, aren't very complex, but it's their catchy factor that made the album get so ingrained in the minds of many. The song only consists of a few power chords but said power chords seemed to be all that the band needed to gain popularity.

The riffs much of the songs on here including "Too Young to Fall in Love" and the all-time favorite "Looks that Kill" actually aren't really that bad, even for a glam metal band! What's more is that the riff is pretty catchy, which is basically why it's a crowd favorite. There is also the fact that the band barely even used synthesizers throughout their career.

That's actually a good thing, since they are more inclined to make millions and sell records, and therefore would have used them to dominate their music and shove the guitar out of the way. The band is not without its drawbacks, however, and the thing that offends me the most about them besides their laughable attire and hairstyles is the vocals of the band's singer, Vince Neil.

I swear, he doesn't even sound like a real person singing at all. His voice is high-pitched and nasally, and believe me, high-pitches and being nasally don't make a very good combination. In fact, it can get quite irritating real fast. It's that kind of voice that I'm sure sounded just as bad as fingernails on the chalkboard to many people, making them the Avenged Sevenfold of the 80's.

It's like they got Porky Pig to do the lead vocals. That's what it sounds like. Vince Neil is obviously not a very talented singer, but Nikki Sixx isn't all that great of a musician either. You barely hear the bass, like he just played along with the key of the song and in the beginning of the title track, you hear him simply bend the strings.

That's basically how good he is at playing bass. Not quite Cliff Burton, I must say, and the only reason why he's famous is cos of his actions, including his nasty drug problem. Then again, they really didn't need a talented bass player in order to sell records and chart. All they needed was a catchy riff, and the music was set.

On the contrary, the lyrical themes actually have a bit of variety to them. Granted, much of them are sex-related, something to expect when listening to a glam band, but there are also songs that relate to other things. Take for instance, "Danger", which is about some kid who forms a gang in Los Angeles after his life completely falls apart.

The title track, despite its riff being only a few power chords, has lyrics that are actually quite poetic. They consist of lots of metaphors to describe the Devil or whoever they're singing about To give you an idea, the opening lyrics read as follows: "He's the wolf screaming lonely in the night, he's the blood stain on the stage". Okay, Nikki Sixx might Album) be the best bass player in the world, but he could sure come up with some pretty decent lyrics.

Well, they might be a little pretentious at times what with the intro "In the Beginning", but other than that, they're actually pretty decent.

The sad thing is, that talent of writing good lyrics would disappear as the band's career went on, as "Dr.

Feelgood" had basically much of their songs being about sex, making it quite cliched. It's actually kind of hard to take a band like Motley Crue seriously, especially when their faces are covered in layers of makeup, but sometimes there are some hidden gems waiting to be discovered in their discography. Sure many people might not like it, but I understand why.

It's what I consider to be Motley Crue's magnum opus, and it's easy to see why many Crue fans consider it as such. Not bad for a bunch of guys with a tacky fashion sense! Moving from Chatham to Margate at the age of twelve, I was a pretty lost kid. My friends had deserted me as I started to get into rock music, which was incredibly uncool at the time for a pre-teen. Their obsession with girls and drugs left me cold, so instead of joining them I retreated, craving for something better to fill my days.

On one of my daily newspaper walks with my mum I found myself perusing the magazine counter at the newsagent and there I saw a picture of quite an ugly chap sticking out his tongue on the cover of an early edition of Metal Hammer magazine.

On closer inspection I found that not only was it Gene, but Kiss were still together, Looks That Kill - Mötley Crüe - Shout At The Devil (Cassette. I spent my final summer holidays in Chatham locked in my room, watching television, listening to records, and writing lists of my favourite songs, all the time avoiding the menace of my fathers drunken beatings and what I thought must eventually lead to the breakdown of my parents' marriage. On the day of the move I had packed up all my tapes and records and took only one cassette to listen to on my yellow waterproof Sony walkman for the trip.

Motley Crue pumped into my ears the whole journey. A soundtrack for the motorway journey and the arrival at my new coastal home above a fish and chip shop where my devotion to all things rock spiraled out of control for the next few years. Shout At the Devil begins with the short horror-style, keyboardbased intro which seamlessly flows into the title track. Shout… itself is a rousing chest beater of an anthem with Mick Mars' twiddly fingers piercing the stomp with some excellent solo work.

When his Shout… introduction comes in, it truly arrives with a bang. Song after song has a great chorus, thick riffs, and over the top tub thumping. Lyrically though I feel Steel Panther had the guts to do what Motley never did. There is so much smutty innuendo that I just want them to come out and say what they really mean.

All said, I love this record dearly. That car journey heading into my future with a rocking soundtrack turned my life around. This was the album that overhauled me into a denim-clad teen rocker with Metallica patches, a half arsed mullet, and tattered white basketball boots. Plus it was my introduction to The Beatles Helter Skelter, Looks That Kill - Mötley Crüe - Shout At The Devil (Cassette was covered here with little fanfare, just another piece to the puzzle that I thought was a Motley Crue original for far too long.

The shame, the shame. To be totally frank, Motley Crue's debut album didn't do it foe me as much as other people. I found it to be too all over the place, going from speed metal one minute to corny cock rock the next. But "Shout At The Devil" is crucial crue for a reason. It was the band getting something of a budget, and stepping into a heavier direction with it.

Sure the hard rock and glam is still here, but it's more well developed, surprisingly less corny, and mixed with juicy LA heavy metal. The band was amateurish but pretty competent on "Too Fast For Love". Here they're clearly still working on their abilities. The riffs are hooky and repetitive, we get short, simple solos, etc, but the guys' performances are still for all intents and purposes better. Vince Neil's voice I never minded. Grating at times, maybe, but he's spirited and has great mountainous BALLS, which clearly Album) in his aggressive crooning and shouting.

Nikki Sixx continues to give bassists a good name; it's thick and rough, and his control of the riffs is great. Mick Mars is a decent guitarist but not as great as many make him out to be. His attempts at soloing tend to feel as though he had a hard time with it, causing for a droning, too-simple, too-safe aura in the solos, which plagues a number of the songs.

And Tommy Lee, the little guy. Again, not as great a musician as many make him out to be. Admittedly though he is better at his craft than Sixx, showing off that moxie and attitude that Vince displays in his vocal work. The production has some of that rawness featured on "Too Fast For Love", but for the most part goes forward with a bigger sound.

I'll admit right now: I don't like the title track. What are you doing?! You, you put down that sharp device right now! Why is it shaped like my junk? The goofy intro is basically pointless, and the title track, while having traces of a catchy chorus and decent mood, just feels like it never gets its shit together and gets going.

Again, don't hit, but it like original song more. The redux here is pretty cool and heavy as fuck, but it lacks the more, shall we say, "truthful" and authentic aggression of the original.

Plus, no "I've got blisters on me fingaz! The underrated "Danger" strolls along with a swaggering sort of menace and a simple but melodic and atmospheric chorus. The aggressive bruiser "Bastard" is quite cool, as is the legendary mid-paced "Too Young Too Fall In Love"; catchy as holy hell, and armed with a heavy main riff. This near-speeder wouldn't be out of place on a Judas Priest record with its heavy and driving but melodic riffage and spitfire attitude.

Sure there's some definite clunkers here, and even some downright useless moments, but "Shout At The Devil" still keeps on going as a hard glam classic. You know who you are if you dig this kind of metal, and this one will be a welcomed addition to your collection.

Of course, Alice Cooper was doing this years before, but compared to Vince Neil, Alice could be the reasonably normal looking guy next door. Production wise, this is much shinier sounding than the debut, with Tom Werman producing. Not as catchy as the title track, but those riffs! Mick Mars rules, all of his riffs are memorable. Both songs are anthemic, lethal, sleazy and catchy.

The song writing is typical of Nikki Sixx, mean and sleazy. The Beatles cover is awesome as well, and blows chunks over the original one, which was never one of the Beatles best songs anyway.

To conclude then, this album rules. Plain and simple. Holy shit! Does this album kick ass, or what? Well, if you're into nice and fun 80s metal with awesome riffs, then it certainly does rule! This in my opinion, is the best glam metal album ever so far. It has yet to be matched so far.

It has aggression, riffs, and balls, while also containing the fun and catchiness of typical 80s metal. It certainly doesn't get much better than this, and it's even better than their last album. Other than Ten Seconds to Love, there's really no less than awesome song on this album. The riffs are at their best here, Vince Neil sings with attitude, and the solos are great as well.

The title track, inpaticular has a great sing-a-long chorus that is so cathcy that you can't help but SHOUT along to it.

Helter Skelter is a nicely done Beatles cover, and like Boris stated, is a heavier. Then, there's the heavier songs on the album that help maintain Motley Crue's heavy metal status. Bastard fucking rules with those mean ass riffs, and a chorus that slays. Red Hot is total speed metal ala Judas Priest. It's similar to Livewire on their last album except not as awesome as said track, though it still slays.

Then we have the absolute highlight of this album. Too Young to Fall in Love. Damn, this song is fucking awesome! It has everything, from ballsy riffs and attitude, to catchiness and fun. It's not very fast, but the riffs surely make up for that. This is one of the Crue's best songs.

Other than one filler Ten Seconds to Lovethis album is flawless. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International.

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Shout at the Devil displays Mötley Crüe's sleazy and notorious (yet quite entertaining) metal at its best. When compared to its predecessor, Too Fast for Love, one can see that the band's musical range certainly widened over the course of its first two albums; the record features catchy, hard-rocking songs, but also includes an instrumental ("God Bless the Children of the Beast") and a. Shout at the Devil () by Mötley Crüe. Labels: Elektra Records. Genres: Heavy Metal, Glam Metal. Songs: In the Beginning, Shout at the Devil, Looks That Kill, Bastard, God Bless the Children of the Beast, Helter Skelter (The Beatles cover).. Members: Vince Neil, Mick Mars, Nikki Sixx, Tommy Lee, Jai Winding, Geoff Workman. Inside the Album: Mötley Crüe's 'Shout at the Devil' Tom talks about recording the songs "Looks that Kill" and the title track, 'Shout at the Devil.' You can listen to the entire interview @ liehageludedownfumetheamegilern.coinfo Hit the subscribe button if you would like to know when new excerpts have been added.

View credits, reviews, tracks and shop for the Cassette release of Shout At The Devil on Discogs. Label: Elektra - 96 • Format: Cassette Album, Stereo • Country: Italy 4/5(2).

Shout At The Devil is a glam metal music album recording by MÖTLEY CRÜE released in on CD, LP/Vinyl and/or cassette. This page includes MÖTLEY CRÜE Shout At The Devil's: cover picture, songs / tracks list, members/musicians and line-up, different releases details, buy online: ebay and amazon, ratings and detailled reviews by some experts, collaborators and members. Shout at the Devil (Parla ad alta voce con il diavolo) è la traccia che apre, dopo l’intro In the beginnin, e che dà il nome al secondo album dei Mötley Crüe, uscito il 26 settembre per l’Etichetta discografica Elektra liehageludedownfumetheamegilern.coinfo nuova versione della canzone fu registrata nel per l’album Generation Swine. Formazione Mötley Crüe ().

Sep 08,  · Song: Looks That Kill Artist: Mötley Crüe Album: Shout At The Devil Year: Record Label: Elektra Writers: Sixx Band Members: Vince Neil - Lead Vocals Mick Mars - .

Apr 08,  · Mötley Crüe has always been about their image, from the tight leather to the makeup to the mediocre metal tunes that lose their steam after about the one minute mark. It’d be a lie to say that some of it isn’t a guilty pleasure though, and that alone keeps it . Shout at the Devil is the second studio album by American heavy metal band Mötley Crüe, released on September 26, It was the band's breakthrough album, establishing Mötley Crüe as one of the top selling heavy metal acts of the s. The singles "Looks That Kill" and "Too Young to Fall in Love" were moderate hits for the band/5().

Shout at the Devil () by Mötley Crüe. Labels: Elektra Records. Genres: Heavy Metal, Glam Metal. Songs: In the Beginning, Shout at the Devil, Looks That Kill, Bastard, God Bless the Children of the Beast, Helter Skelter (The Beatles cover).. Members: Vince Neil, Mick Mars, Nikki Sixx, Tommy Lee, Jai Winding, Geoff Workman.


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9 Commments

  1. Shout at the Devil displays Mötley Crüe's sleazy and notorious (yet quite entertaining) metal at its best. When compared to its predecessor, Too Fast for Love, one can see that the band's musical range certainly widened over the course of its first two albums; the record features catchy, hard-rocking songs, but also includes an instrumental ("God Bless the Children of the Beast") and a.
  2. Sep 30,  · Mötley Crüe fueron una de muchas bandas que conocí cuando tenía 5 años de edad; gracias a mis tías y al programa de videos "TV Rock", donde vi mis primeros videos de Heavy Metal de parte de Scorpions, Judas Priest, Twisted Sister, Quiet Riot, y por supuesto, Mötley Crüe/5().
  3. Mötley Crüe Producer Talks “Looks That Kill” “Shout at the Devil -Tom Werman Interview Excerpt Posted by admin On November 18, 0 Comment The excerpt below was taken from the full in bloom interview with producer Tom Werman.
  4. Mar 21,  · Shout At The Devil is Mötley Crüe’s crowning jewel and as much as I adore Dr. Feelgood, I love me some Shout At The Devil.. Released in , Shout At The Devil maintained the rawness of Too Fast For Love while introducing a highly polished sound that is arguably perfect. Whether it’s Sixx’s bass driving rhythm, Lee’s energetically addictive drum track, Mars’ legendary guitar licks.
  5. Shout at the Devil is the second album by glam metal band Mötley Crüe, released on September 26, The record, along with its predecessor Too Fast for Love, is regarded as one of the most influential of its genre. "Looks that Kill" and " Too Young to Fall in Love" became huge hits and "Shout at the Devil" became very popular as well.
  6. “Looks That Kill” is a song by American heavy metal band Mötley Crüe. It was released in , on the group’s second album Shout at the Devil. It was released on January 4,
  7. Listen to your favorite songs from Shout At The Devil by Mötley Crüe Now. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. Download our mobile app now.
  8. Shout at the Devil is the second studio album by American heavy metal band Mötley Crüe, released on September 26, It was the band's breakthrough album, establishing Mötley Crüe as one of the top selling heavy metal acts of the s. The singles "Looks That Kill" and "Too Young to Fall in Love" were moderate hits for the band/5().