The context, of course, is much wider than the list of milestones. More so, it’s a genuine labor of love, the volume’s lush layout – photos and reproductions of memorabilia, plus quotes from the fearsome foursome and their inner circle visually linked to a particular event, providing contextual immersion into the skeletal tale.
Yet even though a familiar day-by-day format would seem rather abstract, it’s not non-personal, what Martin recursively including a quote from his own review of the band. As for their shenanigans (“It’s relentless, the poop,” remarks Popoff) it’s par for the course, and this book offers not so much critique, music-wise and otherwise, as analysis of underlying processes which took CRÜE to the top. To think that Mick Mars turned 65 soon after the book was out can be as shocking as to find out that some of the players still name “Motley Crue” – the quartet’s only record without Vince Neil on vocals, and sans umlauts, – as their favorite album, or to learn that they used to cover “Paperback Writer” early in the day. Some of those are truly amazing for a casual fan and uninitiated alike. The question may arise as to who needs it when “The Dirt” that the group penned themselves is available, yet when there’s so much self-mythology involved it does make sense to distill the story to simple timeline facts. Bad boys’ illustrious saga in its gory glory detail – reeling in the years without weaving their collective hair in a yarn.Īrtists tend to undermine this author’s efforts by continuing to build their chronology after Martin Popoff has written a final chapter of a book on a band’s endeavor, but CRÜE – a musical bunch who always were up to no good – seem to be gone for good now, so the tome’s end is where the end’s due.
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