Blade Runner radio, tonight!

edit: I cannot attend this show due to illness.

 

LIVE at 12:00 AM (ET) Saturday morning!  It’s Robert Daniels and Jason Drury on VISIONS IN SOUND with music from BLADE RUNNER!  Tune in on your dial to 98.5 or internet to CKWR.  You folks in the UK can tune in as you enjoy some morning java!

As to my own involvement, I’ve come down with a mystery cold-like illness.  Whether I can make it to the station or not remains a question mark at this point in time.  I’d certainly like to.  Even if I’m “well enough” to go, I can’t risk passing this on to anyone else.  But you should still listen, if I’m there or not!  Rob and Jason always do an entertaining show with great music.

I’d love to share my own stories of this movie.  Seeing the comic book in a convenience store.  Thinking the title was cool if ambiguous.  But wishing Harrison Ford would get back to playing Han Solo or Indiana Jones already!  (As kids, we really did think it was that simple.)  I didn’t see the movie for many years later, when it was showing on one of the new pay TV channels.  Family friends the Lazbys were over, and it didn’t make sense to anybody!  The thing I remember the most about that viewing was the guy selling eyeballs.  I think that’s the moment all of us pretty much gave up trying to enjoy it.

But times and perspectives change.

Blade Runner’s visual impact came later.  The first and most obvious example was Iron Maiden’s Somewhere In Time album.  The front and back cover art are smorgasbords of Blade Runner visuals.  Numerous films have attempted to rip off Ridley Scott’s remarkable cityscapes, notably George Lucas in Attack of the Clones.

Listen in THIS Saturday 12:00-2:00am (ET).

REVIEW: Ghost – “Kiss the Go-Goat” (2019 single)

GHOST – “Kiss the Go-Goat” (2019 Loma Vista 7″ single)

Ghost began as a gothic, Satanic metal experiment.  They grew to include more pop and more humour, and while it hasn’t all been good, most of it has.  In 2019, Papa Nihil and his merry band of Nameless Ghouls have returned with the kitschy single “Kiss the Go-Goat” / “Mary on a Cross”.  It’s not much of a departure from their last album, the excellent Prequelle.

Look at the subtitle on the A-side of the label.  “The long-lost remastered 1969 single.”  That Ghost humour again.

“Kiss the Go-Goat” has a driving organ/guitar riff that is the kind of stuff recent Ghost glory has been based on.  The corny chorus of “Satan, Lucifer…” is far removed from the old orthodox days of “Satan Prayer” and ante-nicean creeds.  But it rocks, solidly and without embarrassment.  A track this good could easily have been on Prequelle.  “Mary on a Cross” doesn’t have the same impact, but is not an also-ran.  It’s a little darker but the recurring organ part is perfectly piquant.

If not for the worrisome possibility (probability?) that these two songs will show up on some kind of future deluxe edition, this single would be an absolute must for all boys & girls, far & wide.  In fact, it has shown up on a very very expensive edition of called Prequelle Exalted, in a disc called Seven Inches of Satanic Panic.  Unless you plan on spending that kind of dough, maybe buying this single is a good option after all.

4/5 stars

 

#799: Mix CD 10 – “I’m So Bad Baby I Don’t Care” (2003)

GETTING MORE TALE #799: Mix CD 10 – “I’m So Bad Baby I Don’t Care” (2003)

Welcome back to an informal series of stories on the subject of musical rediscovery!  It is a blast listening to mix CDs (or tapes) that you made ages ago. To get you caught up, you can check out the below if you so choose!

This is one I have been looking forward to, for a couple reasons.  One, I love the cover artwork.  I recently reconnected with an old friend from the UK named RooRaaah.  He drew this rabbit, “Rab C. Rabbit”, and I always thought the crude sketch was hilarious.  If I hadn’t used it on my 10th mix CD, I might have lost it forever.

The second reason is that I burned this CD in the aftermath of dating Elli, as told in Record Store Tales Part 15: Dating a Radio Station Girl.  I was seeking all sorts of music, from heavy and angry to soft and soothing.  There’s a healthy dose of nostalgia, as I knew I could always return there to fill the holes in my heart.  There are even some rarities here, the kind of things you found by browsing Limewire.

As usual, I opened with a comedy bit:  Trey Parker and Matt Stone yelling “Dude!” at each other, from the movie Baseketball.  “I guess you’ve got a point there.”  Then straight into the brand new Anthrax:  “Safe Home”.  We’ve Come For You All was fresh and this song captured part of how I felt.  “My whole world has moved on.”  It was a strong, albeit mainstream single for the thrash pioneers, and one that still holds up.

From there to full-on nostalgia:  “Mr. Roboto”!  Wow, she must have really done a number on my heart to make me go all the way back there, the first rock record I ever bought.  At this point in my history, I lost my original LP copy and hadn’t yet got one on CD since it was so hard to find.  Hence the Limewire download.  A co-worker picked up the Styx CD for me in Toronto a year or two later.    Then, first of three Motorhead tracks is a wakeup:  “I’m So Bad Baby I Don’t Care”.  I was definitely pissed off!  But then it’s onto the Faces classic “Ooh La La”, a taste for which was acquired by repeated viewings of Rushmore.

Albums and artists tend to repeat on this CD.  Even certain songs repeat!  Jellyfish’s excellent “The Ghost at Number One” is the first of two appearances.  I can taste the nostalgia, as I retreated to a simpler time, sitting in front of the TV watching music videos on Much.  I always appreciated the Beatles-esque track, which I haven’t heard in years.  Back to the 80s again, and the Gowan classic “A Criminal Mind”.  Comfortable MuchMusic memories in the basement.  A dark, plaintive song that spoke to me.  “And you will never break me, till the day I die.”

Motorhead’s “R.A.M.O.N.E.S.” reflects a fresh appreciation for punk rock in my post-Elli haze.  You could thrash out to it and just rock the frustrations till they were gone.  This song will lift you up no matter how deep the hole.  A real weird rarity follows this, a Limewire discovery:  Mike Patton & Dillinger Escape Plan covering Justin Timberlake’s “Like I Love You”.  And they fucking kill it, too!  Just a bootleg, but good enough for a mix CD.

Back to the movie Rushmore.  One of the most impressive tracks in that movie is the Live At Leeds version of “A Quick One (While He’s Away)” by The Who.  Once a co-worker told me exactly what that song was (from expanded edition of Live at Leeds), I grabbed it (before buying the CD later on) from Limewire.  The track is an utter marvel, and I maintain the live version is the superior one.  I couldn’t believe it was actually live!  It’s as clean as a studio cut with perfect harmonies, but with explosive live energy.  It’s my favourite Who song, hands down.  It’s the kind of song that made me feel smug, like “Yes, I have fucking great taste in music.”

The first repeat band (and song) is “The Ghost at Number One”, this time live.  Jellyfish’s immaculate live version is tight as a drum.  Then, a magnificent double repeat:  Styx, now with Lawrence Gowan on lead vocals, with “A Criminal Mind”!  And not just “A Criminal Mind”, no; live in Kitchener Ontario, this one!  It’s cool that James “JY” Young threw down that wicked guitar solo right across town.  So this one is special to me no matter how you slice it.  The centerpiece of the CD, perhaps.

Don’t read anything into “Crabsody” by AC/DC being on this CD.  It’s not on any of the US albums, so I downloaded it when I searched for “rare AC/DC” on Limewire.  (Strictly a novelty song, incidentally and not a lost AC/DC classic.)  You can definitely read “nostalgia” into the next track.  Back to 1981 (Jesus!) and “Believe It Or Not” by Joey Scarbury.  And I clearly went for the most mangled transition I could manage, since the very next song is “Chinese Arithmetic” by a Patton-fronted Faith No More (second appearance for Mike).  The track opens with Patton announcing, “The word of the day is…fuck.”  Which he then repeats a few times, before seguing into “Vogue” (as they often did).

Finally it’s back to Gowan again, and “Strange Animal” (featuring Tony Levin on the Chapman Stick).  The rhythm that Levin lays down is a beast!  Even in shitty Limewire quality, this song moves.  Motorhead make their final appearance on the war ballad “1916”, a song which I found real affecting at that time.  I got the album as soon as possible.

Ending the CD (sort of) is CKY, whose only real claim to fame is an attachment to the Jackass guys via Bam Margera’s brother Jess.  The details are lost to me now, but I would have heard this song either a) on a Margera DVD or b) on a mix CD played in store.  It’s a good little ballad circa the millenium, and it suited my grey heart.  It’s been years since I last played it, and I can hear what I liked in it.  Thank God I’m not that sad sack o’ shit anymore, though.

The real final track is just a coda, a preview of the new Metallica song “Frantic” via a show called MTV Icon.  Remember, when they paid tribute to Metallica and had Snoop up there doing his thang to “Sad But True”?  Well Metallica closed the show with their own song, and then I guess the credits must have rolled or something, because this thing just fades out before James can even deliver one “Fran-tic-tic-tic-tic-tock!”

I put some effort into typing out an interesting looking tracklist on the back, and Rab C. Rabbit looks fab on the front.  I even glued the two together to make the insert.  Here’s the funny thing though.  I guess I must have needed a case to put this CD in, so I swapped out one from a local band called Vacuity, and threw their CD in the trash.  The vacuity.net sticker is still on the back.  This is funny, because one of the guys from Vacuity worked at the Record Store, and, well, he really wanted me to like his band.  When he and store parted ways, I parted with the CD!  Dick move, I know, but he was kinda a dick.

I think this my mix deserves:

5/5 Rab C. Rabbits

 

 

 

 

Sunday Chuckle: Radio Mission Accomplished Face

RECAP:  Visions In Sound – The Black Hole on 98.5 CKWR

To those of you who tuned in:  thank you!  Sorry to Holen MaGroin for not reading your email on the air.  I couldn’t quite figure out how to work “I wish I could ask about The Black Hole, but I’ve never seen it, Disney sucks ass, Fuck ’em,” into the discussion.

Thanks Rob Daniels for having me, and to Jason Drury for awesome insight and comedy relief. (Ernest Borg-ninny.)

I was doing research all week, including watching lectures from Neil DeGrasse Tyson and other scientists about black holes.  Neil DeGrasse Tyson is a harsh critic of the film, incidentally.  I was glad to have worked this into the discussion.  Due to the sheer amount of research I did, I was overprepared and hyped to go.

I always take a nap before the show, which used to air at 12:30 am.  Well, I hadn’t been on Visions In Sound for a while.  I woke up at 11:50 to have my coffee and a bite to eat.  Then my phone rang.  It was Rob and they were about to go live!  Turns out the show was back to the 12:00 am slot.  Whoops!  I hopped in the car and drove down to CKWR which happens to be only 10 minutes away anyway.  I made it in just in time for my introduction, and that’s including having to stop for a R.I.D.E. check on my way!  Thank you to the local boys in blue, always doing a fantastic job keeping us safe on the road.

Among the myriad subjects discussed, one of the most interesting to me included Rob’s topic, the blaster beam.  I’d never even heard of it before, but I have absolutely heard it before.  It’s an integral part of the soundtrack to Star Trek: The Motion Picture, which I am intimately familiar with.  I thought that what I was hearing was a guitar.  Turns out it’s a bizarre 15-foot long beam of stainless steel with strings and pickups.  You can hear it readily in The Black Hole (music by John Barry), and now I know what it really is.

We also talked a bit about the toyline (available by mailing in UPC codes found on cereal boxes).  We couldn’t ignore the elephant in the room, which is the bizarre ending to a so-called “children’s film”.  In this visually stunning abstract sequence, the villain Dr. Reinhart (Maximilian Schell) embraces and merges with his robot minion called Maximilian (no relation).  Reinhart finds himself trapped in Maximilian’s shell (pun intended) ruling over a hellish landscape.  Wild-eyed and helpless, Reinhart is punished for the evil he inflicted.  Meanwhile our surviving heroes, including robot V.I.N.CENT. (Roddy McDowell) experience a wild ride including visions of a heavenly cathedral and a floating angel.  They then emerge in a brand new universe, to triumphant swells of Barry’s score.  This raises numerous questions about the film’s message on heaven, hell, morality, mortality, the soul, artificial intelligence, and more.

Thanks again to Rob for having me.  I am currently planning to be there for his 1000th episode a few weeks from now, and his Rise of Skywalker special the following week.

This episode can now be streamed at Visions in Sound, just click the link right here.

 

 

#798: Chinese Democracy

A sequel to Record Store Tales Part 285: Chinese Democracy

GETTING MORE TALE #798: Chinese Democracy

I met Thussy back in 2007.  He joined the team at work and we became friends immediately.  We liked the same stuff.  Trailer Park Boys, Guns N’ Roses, comedy.  He is responsible for getting me into Super Troopers, which admittedly took a couple tries.  We were also both getting married around the same time, so we had similar complaints and gripes to talk about.  Drama with bridesmaids and seating plans, egads.

Thuss is a gamer, and we enjoyed chatting games.  Axl Rose did a voice (a radio DJ) in the video game Grand Theft Auto: San Andreas.  You could switch between stations, and if you chose the rock station you got Axl.  It was one of the few things Axl did that was released during that long dry spell between albums.  Of course, this led to ample discussions of Chinese Democracy.

“It’s never coming out,” Chris insisted.  I hated to say he was right, but it sure seemed that way.  He refused to back down on his position.  We’d been fucked with by this band for so long.  Guns had missed several release dates, so many that it had become a joke.  Axl chewed up managers and spat them out like stale bubblegum.  Then the Dr. Pepper soda company offered to buy a Dr. Pepper for everyone in America if Axl managed to make his 2008 release date.  Axl seemed good-naturedly amused by the idea, offering to share his Dr. Pepper with Buckethead when the album comes out.  (This because Dr. Pepper said the only Americans exempt from this offer were former Guns members Buckethead and Slash!)

On October 22 2008, I was working at my desk, listening to the radio when the DJ, Carlos Benevides, announced that they would shortly be playing a brand new single by Guns N’ Roses.  It was the title track, a song both Thuss and I were already familiar with.  He had a disc of rough mixes for many of the tracks, and I had the Rock In Rio bootleg CD set.  We already knew half the new songs, and “Chinese Democracy” was a track I thought smoked.  I called Thuss and he listened in as it played.

It sounded like shit on our little mono telephone speakers, but we were listening to brand new Guns!  The overall listener reaction was mixed to negative, but I already loved it.  “The album’s never coming out,” said Thuss.

“It has to, now.  There’s a single out.  It’s definitely coming.”

“No.”  Thuss was insistent.  “It’s never coming out.”

“But Dr. Pepper…” I began before being cut off.

“No.  Not coming out.  Never.”

The funny thing was, “Chinese Democracy” wasn’t actually the first song released from the album.  A month earlier, “Shackler’s Revenge” became the first new Guns song in nine years, when it was released as part of the Rock Band 2 video game, which neither of us had.

A new release date of November 23 was announced.  “Nope,” said Thuss.  “Nothing is coming out on November 23.”  It was, strangely, a Sunday.  Generally, nothing came out on Sundays.  It was absolutely an odd move that did throw the whole release into question for some.

I asked ye olde Record Store to hold a copy for me.  “Do you want vinyl?” he asked.  “No, just CD.”  It was something I’d regret, when he sold out of the vinyl a week later.  I emailed to ask if he had any left.  “Do you remember me asking you if you wanted vinyl?” he scolded.  “Yeah,” I sulked.

When I walked into the store on November 23 and was handed my precious copy of Chinese Democracy, it was so anticlimactic.  There it is.  It’s in your hands, the culmination of a decade and a half’s work.  You’ve been waiting all this time for this album, and there it sits.  An album that had “release dates” going back to 1995 and every single year since.  Then, you witness Guns return to the live stage from their cocoon, different but recognizable.  You watch them struggle to establish a lineup, and you hear rumour after rumour about song titles and release dates.  Then you’re holding a CD in your hands, a pitiful little plastic case with a little paper cover inside.  You hand the guy your debit card, he rings it in.  Transaction approved, you are handed your receipt.  Chinese Democracy goes into a little plastic bag.  Even though it’s probably the most expensive and longest gestating album of all time, your little plastic bag weighs the same as if you bought Sex Pistols.

At least I’d be able to show it to Thuss.  Monday the 24th rolled around.

“It came out.  I have it,” I told him as I strolled into his office.

“No it didn’t.  It never came out.  It’s never coming out.” He was sticking to his story come hell or high water!

“Yes it did! It’s in my car right now!  I’ll show it to you.”

“You have nothing,” he responded, refusing to come and look.

In the years since, Thuss has stubbornly stuck to his guns and his believe that Chinese Democracy has never come out.  “I have the unreleased mixes,” he says.  “That’s all there is.”

I emailed him to tell him I was writing this story, our tale of the time Chinese Democracy was released.

“So you are going to take a crack at some fictional writing…nice.”

I will never win this one!

So now I have two stories both titled “Chinese Democracy”.  I say, why not?  Peter Gabriel has three self-titled albums.

The Black Hole radio, tonight!

I will be LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels and Jason Drury on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!  Join Us THIS Saturday 12:30-2:30am (ET).

What a bizarre Disney film The Black Hole was.  Marketed to kids with funny looking robots from the House of Mouse, instead of a swashbuckling adventure, kids got a strange treatise on life, death, morality, mortality, God, the soul, isolation, artificial intelligence, good, evil, heaven, hell, and eternity.  It attempted to be Star Wars, 20,000 Leagues Under the Sea and 2001: A Space Odyssey.

Rob, Jason and I will be playing the soundtrack by John Barry, and dissecting this interesting and puzzling film piece by piece.

For my DVD review of the The Black Hole, just click here.

 

 

#797: Don’t Be Afraid to Ask For It!

GETTING MORE TALE #797: Don’t Be Afraid to Ask For It!

In the early 90s, we got our first Costco store in Kitchener.  My parents raved about how much I’d love it.  In those early years, I enjoyed going with them.  I’d throw a 20 pack of Hot Rods into the cart and see if they’d notice (they always did).  They didn’t have much of a music selection, but what they did have was priced to go.  So I picked up a few current releases:

The Guns was a nice score.  The full Tokyo show, split onto two VHS tapes (sold separately).  At Costco prices they were affordable.  The show later made up a large portion of their album Live Era.  Costco was great for buying new releases, junk food in bulk, and the occasional electronics.  We enjoyed getting free food samples and checking out the latest in TVs and videos games.  I stocked up on blank tapes.  But there was one thing Costco didn’t have.

To be clear, it wasn’t that I was looking to buy this.  I was just being a shit.  I have a juvenile sense of humour, and always have.  Costco should have known that if they were going to leave pads of paper for “suggestions” at the end of every aisle, someone was going to write silly things on it.

Most people wrote sensible suggestions.  “Too much packaging on products” was a good one.  It’s true, Costco would use far too much cardboard and plastic to package together three things of deodorant.  But I noticed they didn’t carry something; something important that could easily be sold in bulk.  My mom gave me shit for it, but I always wrote “CONDOMS” on the suggestion pads.

I didn’t need condoms, believe me.  Definitely not in bulk.  But something about the idea tickled my funnybone, and so every time, I wrote it down.

“MICHAEL!” my mother would scold.  I’d grin and laugh.  It went on and on like this, visit after visit.

But you know something?  It was a good idea.  So good that a few years later, they were stocked.  I couldn’t believe it.

“Kathryn!” I shouted at my sister.  “Get over here, you won’t believe this.”  I proudly pointed at the condoms.  “Do you think that’s because of me?”  I mean, I wrote it down enough times.

I think I had something to do with it.  At least, that’s the way I tell the story, and I’ll be damned if I’m changing it now.  Costco carries condoms because of me.

There was one guy I knew back in the day who would have appreciated it.  He was a friend of a friend.  We were at an age when you’d be expected to be “embarrassed” to be buying condoms.  Not this guy.  He went up to the counter at the drug store and said, “See that?  That’s a five pack.  That means I’m getting it five times.”  Then when the transaction was done, he’d conclude by saying “See you tomorrow!”  No embarrassment for that guy.  I like to think that I got Costco to carry condoms in bulk, and I did it for that guy.  You’re welcome!

 

 

 

REVIEW – Star Wars: Shadows of the Empire soundtrack (1996)

STAR WARS: Shadows of the Empire soundtrack (1996 Varese Sarabande)

by Joel McNeely

Things were starting to heat up!  As Lucasfilm toiled away at the Star Wars special editions behind the scenes (and Episode I even further behind the scenes), they also launched a huge new multi-media story.  It was called Shadows of the Empire, and it was meant to represent a movie between The Empire Strikes Back and Return of the Jedi.  Just as Star Wars was re-entering the public consciousness again, out came this massive, sprawling thing that was meant to make you feel like you did when a new Star Wars movie was released.  It included:

  • A comic miniseries by Dark Horse
  • A novel by Steve Perry (not the singer)
  • A new Kenner toyline
  • Topps trading cards
  • Nintendo 64 first-person shooter game
  • A soundtrack composed by Joel McNeely

The catch?  You had to get everything in order to get the complete story of Shadows of the Empire.  Scenes in the game were not in the comics or novel, scenes from the comics were not in the game, and so on.

McNeely had done a bit of soundtrack work, but had also crossed paths with Lucasfilm when he scored The Young Indiana Jones chronicles for television.  He was facing a losing battle by being the first composer besides John Williams to score a Star Wars soundtrack.  McNeely provides ample liner notes for each track of his score, explaining the scenes they represent from the fiction and how it translates into music.  These valuable notes are a terrific example of why listening to physical product is always the best way to listen to music.

The audio journey begins with the Star Wars theme, as if it were a full-fledged film score.  Differences can be heard, but not deviating far from course.  “Leia’s Nightmare” begins quiet and prequel-esque, with hints of “The Imperial March” and other classic Williams themes.  And even in retrospect, it is thrilling hearing them in the context of something new.

“The Battle of Gall” is an early attempt to rescue Han Solo from Boba Fett.  Fett has stopped at the Imperial moon of Gall on his way to Jabba the Hutt, with Solo frozen in carbonite.  Why?  No reason, except to milk the Boba Fett character even further.  Military drums can be heard as Luke and friends prepare their daring mission…doomed to fail, of course, since we have all seen Return of the Jedi.  A bouncy new theme in this piece sounds out of character, but memorable.  “Imperial City” is our first glimpse of the Galactic capitol world of Coruscant.  Much like it is described in The Phantom Menace, it is a planetary city.  Ideally, you’d be leafing through the Ralph MacQuarrie paintings of the planet while listening to the imposing horns and drums.  A  choir welcomes you to the city amidst fanfares and trumpets.  None of this sounds like Star Wars, but much of it is good.

An action scene on Tattooine follows, as Luke is chased by goons on speeder bikes.  He is rescued by new character Dash Rendar, a poor man’s Han Solo.  Dash has his own swashbuckling theme.  He was a huge part of the Shadows of the Empire campaign.  His ship, the Outrider, was saucer shaped with a side cockpit like the Millenium Falcon.  Lucas added it to the Star Wars special edition in ’97, making it screen canon forever.

Leia’s mission follows, as she searches the lowest levels of Coruscant looking for a crime organisation known as Black Sun.  She wishes to forge an alliance.  Their leader, the tall green Prince Xizor (shee-zor), is the main villain of Shadows.  Not nearly as terrifying as Vader or the Emperor, but he has his own scary theme.  The music paints a picture of an evil entity with refined, extravagant tastes.  He has one advantage over Leia when they meet:  alien pheromones that make him irresistible to women.  But Leia loves Han.  This battle of wills is composed as a dramatic ballet called “The Seduction of Princess Leia”.

We learn Xizor failed to seduce Leia on “Night Skies”, a piece of music he shares with Darth Vader, as he attempts to contact Luke through the Force.  The dark side of the Force is palpable in the air, then Vader’s theme returns.  Next, Luke rescues Leia from Xizor’s palace on “Into the Sewers”, which are the only way to sneak in undetected.  Xizor is defeated on “The Destruction of Xizor’s Palace”, when a massive space battle ensues.  A choir heightens the tension while exciting action music animates what’s happening.  Grab your action figures and play along.

The only serious flaw is that the soundtrack should really end like a Star Wars movie ends — with the credits theme music.  That aside, Shadows of the Empire is an enjoyable piece of music when you want to hear something just a little different and contemplative in the galaxy far, far away.

3.5/5 stars

NEWS: When ‘The End’ is Not the End – The Return of Mötley Crüe

2014

Tommy:  “Hey guys, how do we sell this farewell tour to our fans?”

Mick:  “Let’s call it The End so everybody knows this is the last one.”

Tommy:  “Good idea, but that isn’t what I meant.  How do we sell it so that they believe it?  We don’t want to be accused of doing this for the money, like Ozzy, Kiss and the Who.”

Nikki:  “How about…how about we sign contracts stating that we’ll never tour as Motley Crue ever again?  We’ll do it publicly; it’ll be great for the tour.”

Vince:  “Do I have to sing?”

2019

Motley Crue: “Let’s not just rip the contract up, let’s blow it up.  CA-CHING!  For the fans!”

 

Motley Crue will return to the stage (and your credit card statements) with Poison and Def Leppard.  Excited?  Disappointed?  Indifferent?  Let us know in the comments.