El final de Motley Crue???

DarthMercury escribió:

keith_caputo escribió:

Señor Bolardo escribió:Una puta canción que ni siquiera es suya, joder.

Como casi todo SOLA

Hombre, los compositores eran Nikki + dos o tres ayudantes invitados si no recuerdo mal. También entiendo que Nikki nunca ha tenido un gran apoyo en la composición más allá de los solos de Mars y poquito más.

Pero esta última canción no es de Sixx, ¿no?

Perry go round escribió:

DarthMercury escribió:

keith_caputo escribió:

Señor Bolardo escribió:Una puta canción que ni siquiera es suya, joder.

Como casi todo SOLA

Hombre, los compositores eran Nikki + dos o tres ayudantes invitados si no recuerdo mal. También entiendo que Nikki nunca ha tenido un gran apoyo en la composición más allá de los solos de Mars y poquito más.

Pero esta última canción no es de Sixx, ¿no?

No dejan claro quien ha compuesto la canción. Ahí Michael dice que recibió el encargo y que está haciendo esa última canción con los Crüe. Pero a diferencia de los otros foreros que han comentado, que interpretan que James Michael ha compuesto la canción, lo que yo interpreto es solamente que la está produciendo. Yo interpreto que cuando dice que ha recibido el encargo de hacer esa última canción de los Crüe, se refiere a hacerla como productor. Que probablemente Nikki Sixx haya compuesto la base del tema, se la haya enseñado tanto al resto del grupo como a James Michael, que James Michael, como productor, habrá sugerido algunos retoques, y que por tanto aparecerá como co-autor, pero que la idea probablemente sea de Nikki Sixx. Es lo que pasó en el SOLA, donde aparece James Michael como co-autor de muchos temas que van firmados por Sixx.

keith_caputo escribió:

Perry go round escribió:

DarthMercury escribió:

keith_caputo escribió:

Señor Bolardo escribió:Una puta canción que ni siquiera es suya, joder.

Como casi todo SOLA

Hombre, los compositores eran Nikki + dos o tres ayudantes invitados si no recuerdo mal. También entiendo que Nikki nunca ha tenido un gran apoyo en la composición más allá de los solos de Mars y poquito más.

Pero esta última canción no es de Sixx, ¿no?

No dejan claro quien ha compuesto la canción. Ahí Michael dice que recibió el encargo y que está haciendo esa última canción con los Crüe. Pero a diferencia de los otros foreros que han comentado, que interpretan que James Michael ha compuesto la canción, lo que yo interpreto es solamente que la está produciendo. Yo interpreto que cuando dice que ha recibido el encargo de hacer esa última canción de los Crüe, se refiere a hacerla como productor. Que probablemente Nikki Sixx haya compuesto la base del tema, se la haya enseñado tanto al resto del grupo como a James Michael, que James Michael, como productor, habrá sugerido algunos retoques, y que por tanto aparecerá como co-autor, pero que la idea probablemente sea de Nikki Sixx. Es lo que pasó en el SOLA, donde aparece James Michael como co-autor de muchos temas que van firmados por Sixx.

Yo solo veo 2 opciones

1. El tema ha sido compuesto y producido por James Michael (este tio es productor y compositor para otras bandas y ya compuso bastante xa el SOLA de Motley Crue)
2. El tema ha sido compuesto x Nikki Sixx/James Michael

Aqui, desgraciadamente, Vince, Mick y Tommy pintan muy poco, cosa q paso en el fantastico SOLA.

keith_caputo escribió:Ya se saben los detalles del disco de versiones country de los clasicos de Motley Crue

"Nashville Outlaws: A Tribute To Mötley Crüe" track listing:

01. RASCAL FLATTS - "Kickstart My Heart"
02. FLORIDA GEORGIA LINE - "If I Die Tomorrow"
03. LEANN RIMES - "Smokin' In The Boys Room"
04. JUSTIN MOORE - "Home Sweet Home"
05. CASSADDE POPE WITH ROBIN ZANDER - "The Animal In Me"
06. AARON LEWIS - "Afraid"
07. BIG & RICH - "SOS"
08. SAM PALLADIO AND CLARE BOWEN - "Without You"
09. ELI YOUNG BAND - "Don't Go Away Mad"
10. LAUREN JENKINS - "Looks That Kill"
11. THE CADILLAC THREE - "Live Wire"
12. THE MAVERICKS - "Dr. Feelgood"
13. BRANTLEY GILBERT - "Girls, Girls, Girls"
14. GRETCHEN WILSON - "Wild Side"
15. DARIUS RUCKER - "Time For Change"

keith_caputo escribió:MÖTLEY CRÜE's Tommy Lee has confirmed to Billboard.com that he has finished laying down the drums for "All Bad Things Must End", a brand new CRÜE track the band hopes to release to coincide with its "The Final Tour", which kicks off July 2 in Grand Rapids, Michigan. "We're just mixing (the song) and getting it together," Lee said. "It's pretty heavy, but it's really melodic. It's definitely about this time right now with the band and what the feeling is and kind of all that wrapped into a song. I hate to say it's like a goodbye, but it definitely references our time here."

According to Lee, fans can also expect to see a new CRÜE greatest-hits album, with the possibility of more new material "still an open conversation, so who knows. Maybe there's some more music for us down there," he said.

keith_caputo escribió:Ya se saben los detalles del disco de versiones country de los clasicos de Motley Crue

"Nashville Outlaws: A Tribute To Mötley Crüe" track listing:

01. RASCAL FLATTS - "Kickstart My Heart"
02. FLORIDA GEORGIA LINE - "If I Die Tomorrow"
03. LEANN RIMES - "Smokin' In The Boys Room"
04. JUSTIN MOORE - "Home Sweet Home"
05. CASSADDE POPE WITH ROBIN ZANDER - "The Animal In Me"
06. AARON LEWIS - "Afraid"
07. BIG & RICH - "SOS"
08. SAM PALLADIO AND CLARE BOWEN - "Without You"
09. ELI YOUNG BAND - "Don't Go Away Mad"
10. LAUREN JENKINS - "Looks That Kill"
11. THE CADILLAC THREE - "Live Wire"
12. THE MAVERICKS - "Dr. Feelgood"
13. BRANTLEY GILBERT - "Girls, Girls, Girls"
14. GRETCHEN WILSON - "Wild Side"
15. DARIUS RUCKER - "Time For Change"

SETLIST PRIMER CONCIERTO DE LA GIRA:

danitoledo escribió:

SETLIST PRIMER CONCIERTO DE LA GIRA:

Edko Fuzz escribió:El mismo setlist (casi) que todas las giras que han hecho estos 10 últimos años. No me motivaría nada.

ion escribió:

Edko Fuzz escribió:El mismo setlist (casi) que todas las giras que han hecho estos 10 últimos años. No me motivaría nada.

Es bastante más extenso que en las últimas giras. Se parece a lo que hicieron en Carnival Of sins.

The crowd wasn’t saying “Cruuuuuuuue.” They were saying something else that rhymed with it.

To put it politely, Motley Crue did not have a good night Wednesday at Van Andel Arena. It was the official kickoff of the band’s 70-odd-date “Final Tour” – its last-ever go-round, they promise - and some glitches are to be expected. But the train derailed early and significantly, and it took the clearly frustrated group half the show to get back on track.

Three songs in, during “Primal Scream,” drummer Tommy Lee broke the head on his kick drum, prompting Mick Mars to fill time with a guitar solo. After five minutes of noisemaking and riffing on Jimi Hendrix’s “Little Wing” – Mars seemed hung out to dry – singer Vince Neil took the mic and apologized, tossing in a forced laugh as he told the audience it would be a few minutes before they were ready to play again. The house lights came up, and the crowd got restless.

After a 10-minute delay, the band made a decent recovery, chugging through “Same Ol’ Situation” and “Looks that Kill.” “On With the Show” was supposed to merge with “Too Fast for Love,” but the band stopped dead in its tracks. “He broke something again,” Neil said of Lee. “The band forgot their own song,” bassist Nikki Sixx said. They restarted and powered through the number, Sixx visibly upset and off his game, and Neil looking confused. Then Mars experienced problems with his monitors and guitars. Cue another delay, and a few boos.

“Oh man. First-night (expletive). We’re breaking down. You guys can always say you were here,” Neil half-heartedly joked.

Unwisely, the Crue stuck with the setlist, and followed several minutes of dead air with an unfamiliar song, new single “All Bad Things Must End,” an ode to the band’s impending sort-of retirement. They segued sloppily into their hit cover of “Smokin’ in the Boys Room,” the crowd half-heartedly singing along. By the time they ran through the ballad “Without You,” it was clear they were out of sync, and songs weren’t ending as much as they were dying on stage.

The crowd animosity from paying a lot of money for a ticket – between $50 and $125 – began to wear off somewhat, replaced by another emotion: pity. You had to feel sorry for the Crue. They were trying to win the crowd back after unfortunate circumstances, some of it their fault and some of it not, and it was rough sledding.

Motley Crue is Sixx’s baby. He’s the primary songwriter, and the band’s driving force. Halfway through the show, he addressed the audience sincerely, asking them to take a seat. “I need to sit down too, the way we’ve been playing tonight,” he said, before firing up the band for a raucous cover of the Sex Pistols’ “Anarchy in the UK.”

Now, the Crue has never been the tightest live act, and compensate with volume: the guitars sound like aircraft engines, the drums thwup-thwup like helicopter blades. Sometimes, the sound was so distorted, you couldn’t tell what song they were playing until they came to the chorus, even during massive hits such as “Don’t Go Away Mad (Just Go Away)” and “Wild Side.” Neil tends to yowl and shout more than sing, and he often seems winded as he runs around the stage, skipping over words and phrases, letting the crowd, or a pair of scantily clad, dancing female backup singers, fill in the gaps.

None of this is new. That’s just the Crue.

They also compensate with spectacle: Flames, fireworks, banks of strobing lights, a spiked disco ball. Lee’s signature absurd drum solo is always the hotly anticipated cheap thrill. He strapped himself into the kit as it followed a rollercoaster-style track up and over the crowd, the platform spinning him upside down. He played relatively simple beats to pre-programmed dubstep tracks – a nod to Lee’s side gig as a DJ – and dropping F-bombs from the arena rafters. “The (expletive) cheap seats are the (expletive) (expletive) now, aren’t they?” he exclaimed when the rig stopped, at eye level with the upper deck.

To be fair, the Motley boys put themselves back together during the show’s final third. A spitting flamethrower on Sixx’s bass guitar during “Shout at the Devil” made up for Neil’s blatant disregard for lyrical enunciation. “Dr. Feelgood,” “Girls, Girls, Girls” and “Kickstart My Heart” pleased the crowd down the stretch. Yet by the time the band encored with “Home Sweet Home,” a calculated heartfelt conclusion to their last-ever Grand Rapids show, the whole endeavor felt like an anticlimactic wheeze over the finish line. Melancholy sparks quietly showering from the inverted-pentagram lighting rig just didn’t make us cry while we said goodbye. Wednesday night, the Crue got their butts kicked more than they kicked butt.

If the world was a just place, opener Alice Cooper would be headlining arenas, with his protégés in spectacle – Kiss, Motley Crue, Iron Maiden – as the support act. But the Detroit-born legend is primarily a nostalgia act now, albeit a damn good one. His 50-minute set was all hits – “School’s Out,” “Under my Wheels,” “I’m Eighteen,” “Poison,” “No More Mr. Nice Guy” – and classic Alice shtick. The original horror-rocker trotted out his pet boa constrictor, had his head chopped off in a guillotine, was tortured by a naughty and ghoulish nurse and was electrocuted in a Frankensteinian contraption. Nothing new for Alice, but we love him for never breaking character, and entertaining us without fail.

Edko Fuzz escribió:Eso sí, acojona el montaje que lleva Tommy Lee para el solo de batería! (sonido horrendo, aviso)

Justin Case escribió:

Edko Fuzz escribió:Eso sí, acojona el montaje que lleva Tommy Lee para el solo de batería! (sonido horrendo, aviso)

En Mendizabala empalmarán el recorrido con la torre de Fito.

Edko Fuzz escribió:Reseña del concierto:

The crowd wasn’t saying “Cruuuuuuuue.” They were saying something else that rhymed with it.

To put it politely, Motley Crue did not have a good night Wednesday at Van Andel Arena. It was the official kickoff of the band’s 70-odd-date “Final Tour” – its last-ever go-round, they promise - and some glitches are to be expected. But the train derailed early and significantly, and it took the clearly frustrated group half the show to get back on track.

Three songs in, during “Primal Scream,” drummer Tommy Lee broke the head on his kick drum, prompting Mick Mars to fill time with a guitar solo. After five minutes of noisemaking and riffing on Jimi Hendrix’s “Little Wing” – Mars seemed hung out to dry – singer Vince Neil took the mic and apologized, tossing in a forced laugh as he told the audience it would be a few minutes before they were ready to play again. The house lights came up, and the crowd got restless.

After a 10-minute delay, the band made a decent recovery, chugging through “Same Ol’ Situation” and “Looks that Kill.” “On With the Show” was supposed to merge with “Too Fast for Love,” but the band stopped dead in its tracks. “He broke something again,” Neil said of Lee. “The band forgot their own song,” bassist Nikki Sixx said. They restarted and powered through the number, Sixx visibly upset and off his game, and Neil looking confused. Then Mars experienced problems with his monitors and guitars. Cue another delay, and a few boos.

“Oh man. First-night (expletive). We’re breaking down. You guys can always say you were here,” Neil half-heartedly joked.

Unwisely, the Crue stuck with the setlist, and followed several minutes of dead air with an unfamiliar song, new single “All Bad Things Must End,” an ode to the band’s impending sort-of retirement. They segued sloppily into their hit cover of “Smokin’ in the Boys Room,” the crowd half-heartedly singing along. By the time they ran through the ballad “Without You,” it was clear they were out of sync, and songs weren’t ending as much as they were dying on stage.

The crowd animosity from paying a lot of money for a ticket – between $50 and $125 – began to wear off somewhat, replaced by another emotion: pity. You had to feel sorry for the Crue. They were trying to win the crowd back after unfortunate circumstances, some of it their fault and some of it not, and it was rough sledding.

Motley Crue is Sixx’s baby. He’s the primary songwriter, and the band’s driving force. Halfway through the show, he addressed the audience sincerely, asking them to take a seat. “I need to sit down too, the way we’ve been playing tonight,” he said, before firing up the band for a raucous cover of the Sex Pistols’ “Anarchy in the UK.”

Now, the Crue has never been the tightest live act, and compensate with volume: the guitars sound like aircraft engines, the drums thwup-thwup like helicopter blades. Sometimes, the sound was so distorted, you couldn’t tell what song they were playing until they came to the chorus, even during massive hits such as “Don’t Go Away Mad (Just Go Away)” and “Wild Side.” Neil tends to yowl and shout more than sing, and he often seems winded as he runs around the stage, skipping over words and phrases, letting the crowd, or a pair of scantily clad, dancing female backup singers, fill in the gaps.

None of this is new. That’s just the Crue.

They also compensate with spectacle: Flames, fireworks, banks of strobing lights, a spiked disco ball. Lee’s signature absurd drum solo is always the hotly anticipated cheap thrill. He strapped himself into the kit as it followed a rollercoaster-style track up and over the crowd, the platform spinning him upside down. He played relatively simple beats to pre-programmed dubstep tracks – a nod to Lee’s side gig as a DJ – and dropping F-bombs from the arena rafters. “The (expletive) cheap seats are the (expletive) (expletive) now, aren’t they?” he exclaimed when the rig stopped, at eye level with the upper deck.

To be fair, the Motley boys put themselves back together during the show’s final third. A spitting flamethrower on Sixx’s bass guitar during “Shout at the Devil” made up for Neil’s blatant disregard for lyrical enunciation. “Dr. Feelgood,” “Girls, Girls, Girls” and “Kickstart My Heart” pleased the crowd down the stretch. Yet by the time the band encored with “Home Sweet Home,” a calculated heartfelt conclusion to their last-ever Grand Rapids show, the whole endeavor felt like an anticlimactic wheeze over the finish line. Melancholy sparks quietly showering from the inverted-pentagram lighting rig just didn’t make us cry while we said goodbye. Wednesday night, the Crue got their butts kicked more than they kicked butt.

If the world was a just place, opener Alice Cooper would be headlining arenas, with his protégés in spectacle – Kiss, Motley Crue, Iron Maiden – as the support act. But the Detroit-born legend is primarily a nostalgia act now, albeit a damn good one. His 50-minute set was all hits – “School’s Out,” “Under my Wheels,” “I’m Eighteen,” “Poison,” “No More Mr. Nice Guy” – and classic Alice shtick. The original horror-rocker trotted out his pet boa constrictor, had his head chopped off in a guillotine, was tortured by a naughty and ghoulish nurse and was electrocuted in a Frankensteinian contraption. Nothing new for Alice, but we love him for never breaking character, and entertaining us without fail.

http://www.mlive.com/entertainment/grand-rapids/index.ssf/2014/07/concert_review_motley_crue_muf.html

DarthMercury escribió:

Edko Fuzz escribió:Reseña del concierto:

The crowd wasn’t saying “Cruuuuuuuue.” They were saying something else that rhymed with it.

To put it politely, Motley Crue did not have a good night Wednesday at Van Andel Arena. It was the official kickoff of the band’s 70-odd-date “Final Tour” – its last-ever go-round, they promise - and some glitches are to be expected. But the train derailed early and significantly, and it took the clearly frustrated group half the show to get back on track.

Three songs in, during “Primal Scream,” drummer Tommy Lee broke the head on his kick drum, prompting Mick Mars to fill time with a guitar solo. After five minutes of noisemaking and riffing on Jimi Hendrix’s “Little Wing” – Mars seemed hung out to dry – singer Vince Neil took the mic and apologized, tossing in a forced laugh as he told the audience it would be a few minutes before they were ready to play again. The house lights came up, and the crowd got restless.

After a 10-minute delay, the band made a decent recovery, chugging through “Same Ol’ Situation” and “Looks that Kill.” “On With the Show” was supposed to merge with “Too Fast for Love,” but the band stopped dead in its tracks. “He broke something again,” Neil said of Lee. “The band forgot their own song,” bassist Nikki Sixx said. They restarted and powered through the number, Sixx visibly upset and off his game, and Neil looking confused. Then Mars experienced problems with his monitors and guitars. Cue another delay, and a few boos.

“Oh man. First-night (expletive). We’re breaking down. You guys can always say you were here,” Neil half-heartedly joked.

Unwisely, the Crue stuck with the setlist, and followed several minutes of dead air with an unfamiliar song, new single “All Bad Things Must End,” an ode to the band’s impending sort-of retirement. They segued sloppily into their hit cover of “Smokin’ in the Boys Room,” the crowd half-heartedly singing along. By the time they ran through the ballad “Without You,” it was clear they were out of sync, and songs weren’t ending as much as they were dying on stage.

The crowd animosity from paying a lot of money for a ticket – between $50 and $125 – began to wear off somewhat, replaced by another emotion: pity. You had to feel sorry for the Crue. They were trying to win the crowd back after unfortunate circumstances, some of it their fault and some of it not, and it was rough sledding.

Motley Crue is Sixx’s baby. He’s the primary songwriter, and the band’s driving force. Halfway through the show, he addressed the audience sincerely, asking them to take a seat. “I need to sit down too, the way we’ve been playing tonight,” he said, before firing up the band for a raucous cover of the Sex Pistols’ “Anarchy in the UK.”

Now, the Crue has never been the tightest live act, and compensate with volume: the guitars sound like aircraft engines, the drums thwup-thwup like helicopter blades. Sometimes, the sound was so distorted, you couldn’t tell what song they were playing until they came to the chorus, even during massive hits such as “Don’t Go Away Mad (Just Go Away)” and “Wild Side.” Neil tends to yowl and shout more than sing, and he often seems winded as he runs around the stage, skipping over words and phrases, letting the crowd, or a pair of scantily clad, dancing female backup singers, fill in the gaps.

None of this is new. That’s just the Crue.

They also compensate with spectacle: Flames, fireworks, banks of strobing lights, a spiked disco ball. Lee’s signature absurd drum solo is always the hotly anticipated cheap thrill. He strapped himself into the kit as it followed a rollercoaster-style track up and over the crowd, the platform spinning him upside down. He played relatively simple beats to pre-programmed dubstep tracks – a nod to Lee’s side gig as a DJ – and dropping F-bombs from the arena rafters. “The (expletive) cheap seats are the (expletive) (expletive) now, aren’t they?” he exclaimed when the rig stopped, at eye level with the upper deck.

To be fair, the Motley boys put themselves back together during the show’s final third. A spitting flamethrower on Sixx’s bass guitar during “Shout at the Devil” made up for Neil’s blatant disregard for lyrical enunciation. “Dr. Feelgood,” “Girls, Girls, Girls” and “Kickstart My Heart” pleased the crowd down the stretch. Yet by the time the band encored with “Home Sweet Home,” a calculated heartfelt conclusion to their last-ever Grand Rapids show, the whole endeavor felt like an anticlimactic wheeze over the finish line. Melancholy sparks quietly showering from the inverted-pentagram lighting rig just didn’t make us cry while we said goodbye. Wednesday night, the Crue got their butts kicked more than they kicked butt.

If the world was a just place, opener Alice Cooper would be headlining arenas, with his protégés in spectacle – Kiss, Motley Crue, Iron Maiden – as the support act. But the Detroit-born legend is primarily a nostalgia act now, albeit a damn good one. His 50-minute set was all hits – “School’s Out,” “Under my Wheels,” “I’m Eighteen,” “Poison,” “No More Mr. Nice Guy” – and classic Alice shtick. The original horror-rocker trotted out his pet boa constrictor, had his head chopped off in a guillotine, was tortured by a naughty and ghoulish nurse and was electrocuted in a Frankensteinian contraption. Nothing new for Alice, but we love him for never breaking character, and entertaining us without fail.

http://www.mlive.com/entertainment/grand-rapids/index.ssf/2014/07/concert_review_motley_crue_muf.html

Tiene guasa que diga que Alicia es un 'nostalgia act'... como si Mötley no tuvieran exactamente el mismo planteamiento en esta gira

De todas formas da la impresión de que el agüelo sigue en plena forma y encima canta más que Vince Neil

Justin Case escribió:

DarthMercury escribió:

Edko Fuzz escribió:Reseña del concierto:

The crowd wasn’t saying “Cruuuuuuuue.” They were saying something else that rhymed with it.

To put it politely, Motley Crue did not have a good night Wednesday at Van Andel Arena. It was the official kickoff of the band’s 70-odd-date “Final Tour” – its last-ever go-round, they promise - and some glitches are to be expected. But the train derailed early and significantly, and it took the clearly frustrated group half the show to get back on track.

Three songs in, during “Primal Scream,” drummer Tommy Lee broke the head on his kick drum, prompting Mick Mars to fill time with a guitar solo. After five minutes of noisemaking and riffing on Jimi Hendrix’s “Little Wing” – Mars seemed hung out to dry – singer Vince Neil took the mic and apologized, tossing in a forced laugh as he told the audience it would be a few minutes before they were ready to play again. The house lights came up, and the crowd got restless.

After a 10-minute delay, the band made a decent recovery, chugging through “Same Ol’ Situation” and “Looks that Kill.” “On With the Show” was supposed to merge with “Too Fast for Love,” but the band stopped dead in its tracks. “He broke something again,” Neil said of Lee. “The band forgot their own song,” bassist Nikki Sixx said. They restarted and powered through the number, Sixx visibly upset and off his game, and Neil looking confused. Then Mars experienced problems with his monitors and guitars. Cue another delay, and a few boos.

“Oh man. First-night (expletive). We’re breaking down. You guys can always say you were here,” Neil half-heartedly joked.

Unwisely, the Crue stuck with the setlist, and followed several minutes of dead air with an unfamiliar song, new single “All Bad Things Must End,” an ode to the band’s impending sort-of retirement. They segued sloppily into their hit cover of “Smokin’ in the Boys Room,” the crowd half-heartedly singing along. By the time they ran through the ballad “Without You,” it was clear they were out of sync, and songs weren’t ending as much as they were dying on stage.

The crowd animosity from paying a lot of money for a ticket – between $50 and $125 – began to wear off somewhat, replaced by another emotion: pity. You had to feel sorry for the Crue. They were trying to win the crowd back after unfortunate circumstances, some of it their fault and some of it not, and it was rough sledding.

Motley Crue is Sixx’s baby. He’s the primary songwriter, and the band’s driving force. Halfway through the show, he addressed the audience sincerely, asking them to take a seat. “I need to sit down too, the way we’ve been playing tonight,” he said, before firing up the band for a raucous cover of the Sex Pistols’ “Anarchy in the UK.”

Now, the Crue has never been the tightest live act, and compensate with volume: the guitars sound like aircraft engines, the drums thwup-thwup like helicopter blades. Sometimes, the sound was so distorted, you couldn’t tell what song they were playing until they came to the chorus, even during massive hits such as “Don’t Go Away Mad (Just Go Away)” and “Wild Side.” Neil tends to yowl and shout more than sing, and he often seems winded as he runs around the stage, skipping over words and phrases, letting the crowd, or a pair of scantily clad, dancing female backup singers, fill in the gaps.

None of this is new. That’s just the Crue.

They also compensate with spectacle: Flames, fireworks, banks of strobing lights, a spiked disco ball. Lee’s signature absurd drum solo is always the hotly anticipated cheap thrill. He strapped himself into the kit as it followed a rollercoaster-style track up and over the crowd, the platform spinning him upside down. He played relatively simple beats to pre-programmed dubstep tracks – a nod to Lee’s side gig as a DJ – and dropping F-bombs from the arena rafters. “The (expletive) cheap seats are the (expletive) (expletive) now, aren’t they?” he exclaimed when the rig stopped, at eye level with the upper deck.

To be fair, the Motley boys put themselves back together during the show’s final third. A spitting flamethrower on Sixx’s bass guitar during “Shout at the Devil” made up for Neil’s blatant disregard for lyrical enunciation. “Dr. Feelgood,” “Girls, Girls, Girls” and “Kickstart My Heart” pleased the crowd down the stretch. Yet by the time the band encored with “Home Sweet Home,” a calculated heartfelt conclusion to their last-ever Grand Rapids show, the whole endeavor felt like an anticlimactic wheeze over the finish line. Melancholy sparks quietly showering from the inverted-pentagram lighting rig just didn’t make us cry while we said goodbye. Wednesday night, the Crue got their butts kicked more than they kicked butt.

If the world was a just place, opener Alice Cooper would be headlining arenas, with his protégés in spectacle – Kiss, Motley Crue, Iron Maiden – as the support act. But the Detroit-born legend is primarily a nostalgia act now, albeit a damn good one. His 50-minute set was all hits – “School’s Out,” “Under my Wheels,” “I’m Eighteen,” “Poison,” “No More Mr. Nice Guy” – and classic Alice shtick. The original horror-rocker trotted out his pet boa constrictor, had his head chopped off in a guillotine, was tortured by a naughty and ghoulish nurse and was electrocuted in a Frankensteinian contraption. Nothing new for Alice, but we love him for never breaking character, and entertaining us without fail.

http://www.mlive.com/entertainment/grand-rapids/index.ssf/2014/07/concert_review_motley_crue_muf.html

Tiene guasa que diga que Alicia es un 'nostalgia act'... como si Mötley no tuvieran exactamente el mismo planteamiento en esta gira

De todas formas da la impresión de que el agüelo sigue en plena forma y encima canta más que Vince Neil

Bob Dylan canta más que Vince Meal.

DarthMercury escribió:

Justin Case escribió:

DarthMercury escribió:

Edko Fuzz escribió:Reseña del concierto:

The crowd wasn’t saying “Cruuuuuuuue.” They were saying something else that rhymed with it.

To put it politely, Motley Crue did not have a good night Wednesday at Van Andel Arena. It was the official kickoff of the band’s 70-odd-date “Final Tour” – its last-ever go-round, they promise - and some glitches are to be expected. But the train derailed early and significantly, and it took the clearly frustrated group half the show to get back on track.

Three songs in, during “Primal Scream,” drummer Tommy Lee broke the head on his kick drum, prompting Mick Mars to fill time with a guitar solo. After five minutes of noisemaking and riffing on Jimi Hendrix’s “Little Wing” – Mars seemed hung out to dry – singer Vince Neil took the mic and apologized, tossing in a forced laugh as he told the audience it would be a few minutes before they were ready to play again. The house lights came up, and the crowd got restless.

After a 10-minute delay, the band made a decent recovery, chugging through “Same Ol’ Situation” and “Looks that Kill.” “On With the Show” was supposed to merge with “Too Fast for Love,” but the band stopped dead in its tracks. “He broke something again,” Neil said of Lee. “The band forgot their own song,” bassist Nikki Sixx said. They restarted and powered through the number, Sixx visibly upset and off his game, and Neil looking confused. Then Mars experienced problems with his monitors and guitars. Cue another delay, and a few boos.

“Oh man. First-night (expletive). We’re breaking down. You guys can always say you were here,” Neil half-heartedly joked.

Unwisely, the Crue stuck with the setlist, and followed several minutes of dead air with an unfamiliar song, new single “All Bad Things Must End,” an ode to the band’s impending sort-of retirement. They segued sloppily into their hit cover of “Smokin’ in the Boys Room,” the crowd half-heartedly singing along. By the time they ran through the ballad “Without You,” it was clear they were out of sync, and songs weren’t ending as much as they were dying on stage.

The crowd animosity from paying a lot of money for a ticket – between $50 and $125 – began to wear off somewhat, replaced by another emotion: pity. You had to feel sorry for the Crue. They were trying to win the crowd back after unfortunate circumstances, some of it their fault and some of it not, and it was rough sledding.

Motley Crue is Sixx’s baby. He’s the primary songwriter, and the band’s driving force. Halfway through the show, he addressed the audience sincerely, asking them to take a seat. “I need to sit down too, the way we’ve been playing tonight,” he said, before firing up the band for a raucous cover of the Sex Pistols’ “Anarchy in the UK.”

Now, the Crue has never been the tightest live act, and compensate with volume: the guitars sound like aircraft engines, the drums thwup-thwup like helicopter blades. Sometimes, the sound was so distorted, you couldn’t tell what song they were playing until they came to the chorus, even during massive hits such as “Don’t Go Away Mad (Just Go Away)” and “Wild Side.” Neil tends to yowl and shout more than sing, and he often seems winded as he runs around the stage, skipping over words and phrases, letting the crowd, or a pair of scantily clad, dancing female backup singers, fill in the gaps.

None of this is new. That’s just the Crue.

They also compensate with spectacle: Flames, fireworks, banks of strobing lights, a spiked disco ball. Lee’s signature absurd drum solo is always the hotly anticipated cheap thrill. He strapped himself into the kit as it followed a rollercoaster-style track up and over the crowd, the platform spinning him upside down. He played relatively simple beats to pre-programmed dubstep tracks – a nod to Lee’s side gig as a DJ – and dropping F-bombs from the arena rafters. “The (expletive) cheap seats are the (expletive) (expletive) now, aren’t they?” he exclaimed when the rig stopped, at eye level with the upper deck.

To be fair, the Motley boys put themselves back together during the show’s final third. A spitting flamethrower on Sixx’s bass guitar during “Shout at the Devil” made up for Neil’s blatant disregard for lyrical enunciation. “Dr. Feelgood,” “Girls, Girls, Girls” and “Kickstart My Heart” pleased the crowd down the stretch. Yet by the time the band encored with “Home Sweet Home,” a calculated heartfelt conclusion to their last-ever Grand Rapids show, the whole endeavor felt like an anticlimactic wheeze over the finish line. Melancholy sparks quietly showering from the inverted-pentagram lighting rig just didn’t make us cry while we said goodbye. Wednesday night, the Crue got their butts kicked more than they kicked butt.

If the world was a just place, opener Alice Cooper would be headlining arenas, with his protégés in spectacle – Kiss, Motley Crue, Iron Maiden – as the support act. But the Detroit-born legend is primarily a nostalgia act now, albeit a damn good one. His 50-minute set was all hits – “School’s Out,” “Under my Wheels,” “I’m Eighteen,” “Poison,” “No More Mr. Nice Guy” – and classic Alice shtick. The original horror-rocker trotted out his pet boa constrictor, had his head chopped off in a guillotine, was tortured by a naughty and ghoulish nurse and was electrocuted in a Frankensteinian contraption. Nothing new for Alice, but we love him for never breaking character, and entertaining us without fail.

http://www.mlive.com/entertainment/grand-rapids/index.ssf/2014/07/concert_review_motley_crue_muf.html

Tiene guasa que diga que Alicia es un 'nostalgia act'... como si Mötley no tuvieran exactamente el mismo planteamiento en esta gira

De todas formas da la impresión de que el agüelo sigue en plena forma y encima canta más que Vince Neil

Bob Dylan canta más que Vince Meal.

Pero folla mucho menos. Creo.

ion escribió:

Edko Fuzz escribió:El mismo setlist (casi) que todas las giras que han hecho estos 10 últimos años. No me motivaría nada.

Es bastante más extenso que en las últimas giras. Se parece a lo que hicieron en Carnival Of sins.

Justin Case escribió:

Festival del humor:

- Intro bakalaera
- Vince entrando a cantar antes de lo que toca
- Cintas pregrabadas en el 1:30
- Irónico que el festival se llame Amnesia Fest

DarthMercury escribió:El set list de Alicia también tiene menos sorpresas que una peli porno:


Hello Hooray
No More Mr. Nice Guy
Billion Dollar Babies
I'm Eighteen
Under My Wheels
Poison
Dirty Diamonds
Welcome to My Nightmare
Feed My Frankenstein
Ballad of Dwight Fry
Killer
(Partial)
I Love the Dead
School's Out

Se agradece que mantenga Dirty Diamonds (en directo funciona muy bien) y que empiece con Hello Hooray (uno de los mejores inicios de show de la historia). El jodido Feed My Fronkonstin sigue ahí, eso sí. Ojalá pueda ver el show una vez más.

DarthMercury escribió:El set list de Alicia también tiene menos sorpresas que una peli porno:


Hello Hooray
No More Mr. Nice Guy
Billion Dollar Babies
I'm Eighteen
Under My Wheels
Poison
Dirty Diamonds
Welcome to My Nightmare
Feed My Frankenstein
Ballad of Dwight Fry
Killer
(Partial)
I Love the Dead
School's Out

Se agradece que mantenga Dirty Diamonds (en directo funciona muy bien) y que empiece con Hello Hooray (uno de los mejores inicios de show de la historia). El jodido Feed My Fronkonstin sigue ahí, eso sí. Ojalá pueda ver el show una vez más.

Justin Case escribió:

Festival del humor:

- Intro bakalaera
- Vince entrando a cantar antes de lo que toca
- Cintas pregrabadas en el 1:30
- Irónico que el festival se llame Amnesia Fest

roybatty21 escribió:

DarthMercury escribió:El set list de Alicia también tiene menos sorpresas que una peli porno:


Hello Hooray
No More Mr. Nice Guy
Billion Dollar Babies
I'm Eighteen
Under My Wheels
Poison
Dirty Diamonds
Welcome to My Nightmare
Feed My Frankenstein
Ballad of Dwight Fry
Killer
(Partial)
I Love the Dead
School's Out

Se agradece que mantenga Dirty Diamonds (en directo funciona muy bien) y que empiece con Hello Hooray (uno de los mejores inicios de show de la historia). El jodido Feed My Fronkonstin sigue ahí, eso sí. Ojalá pueda ver el show una vez más.

El show que vi en Suecia hace un mes:

Hello Hooray
House of Fire
No More Mr. Nice Guy
Under My Wheels
I'll Bite Your Face Off
Billion Dollar Babies
Caffeine
Department of Youth
Hey Stoopid
Dirty Diamonds
Welcome to My Nightmare
Go to Hell
He's Back (The Man Behind the Mask)
Feed My Frankenstein
Ballad of Dwight Fry
Killer (Partial)
I Love the Dead

Break On Through (to the Other Side) (The Doors cover)
Revolution (The Beatles cover)
Foxy Lady (The Jimi Hendrix Experience cover)
My Generation (The Who cover)

I'm Eighteen
Poison

School's Out (with Rob Zombie)


  

Edko Fuzz escribió:

roybatty21 escribió:

DarthMercury escribió:El set list de Alicia también tiene menos sorpresas que una peli porno:


Hello Hooray
No More Mr. Nice Guy
Billion Dollar Babies
I'm Eighteen
Under My Wheels
Poison
Dirty Diamonds
Welcome to My Nightmare
Feed My Frankenstein
Ballad of Dwight Fry
Killer
(Partial)
I Love the Dead
School's Out

Se agradece que mantenga Dirty Diamonds (en directo funciona muy bien) y que empiece con Hello Hooray (uno de los mejores inicios de show de la historia). El jodido Feed My Fronkonstin sigue ahí, eso sí. Ojalá pueda ver el show una vez más.

El show que vi en Suecia hace un mes:

Hello Hooray
House of Fire
No More Mr. Nice Guy
Under My Wheels
I'll Bite Your Face Off
Billion Dollar Babies
Caffeine
Department of Youth
Hey Stoopid
Dirty Diamonds
Welcome to My Nightmare
Go to Hell
He's Back (The Man Behind the Mask)
Feed My Frankenstein
Ballad of Dwight Fry
Killer (Partial)
I Love the Dead

Break On Through (to the Other Side) (The Doors cover)
Revolution (The Beatles cover)
Foxy Lady (The Jimi Hendrix Experience cover)
My Generation (The Who cover)

I'm Eighteen
Poison

School's Out (with Rob Zombie)


  

Y qué show!!!

Edko Fuzz escribió:Eso sí, acojona el montaje que lleva Tommy Lee para el solo de batería!

modes garcia escribió:habra si o si disco en directo y dvd.

Perry go round escribió:

modes garcia escribió:habra si o si disco en directo y dvd.

Yo lo que espero es la película.

wakam escribió:

Edko Fuzz escribió:Eso sí, acojona el montaje que lleva Tommy Lee para el solo de batería!

Hay que tomarselo con mucho humor porque si no esto ya es el ridículo total.

Clairvoyant escribió:Y a mi que me da igual que no traigan lo de la batería...