Review Summary: Batten down the hatches, the war has begun.
If asked what band I outwardly dislike, not so much for their music but for their avaricious business practices, poor work ethic, and overall lack of respect for anyone outside of themselves, it would be, hands down, Mötley Crüe. Ten years ago, I could have appreciated their legacy despite not gelling with their music – which I think is style over substance, punk-swag attitude over musicality – however, Mötley Crüe have really gone the distance since 2014 to ensure what legacy they have is submerged in petroleum, waiting for the right moment for someone to drop a match on it all. Indeed, despite my ambivalence towards their music, I’ve observed their business decisions ever since I saw them at their “The End” tour in 2015 – an ironclad, legally-bound farewell tour that ostensibly prevented the band from coming back and touring under the moniker. This came with merch sold at ridiculously exorbitant rates and an average-at-best performance from the band, with a forced attempt at tear-jerking the audience with “Home Sweet Home” at the end of the set. Of course, that “legally-binding” contract was quickly discarded with a loophole when Netflix’s hugely successful
The Dirt came along in 2019 and captured a new generation of fans. What has followed since is a comeback wrought in pernicious events, most notably the band’s infamous performances which show Vince Neil in a less than favourable light, shall we say, and a legal feud between Mötley Crüe and its former guitarist, Mick Mars.
Life has a way of delivering poetic irony sometimes: who would have thought the person standing over Mötley Crüe’s petrol-soaked legacy with a box of matches would be one of its founding members. Mick has been giving it the big licks leading up to
The Other Side of Mars’ release, the question is, does he follow through with talking a big game? Well, like Sixx did with his solo-debut
Heroin Diaries Soundtrack way back in 2007, Mick delivers something with almost equal potency. In fact,
The Other Side of Mars shares a lot of common ground with Sixx’s side-project, in that it's heavy, epic, and filled with purpose and emotion. The distinguishing feature here though is that this is a lot heavier than most probably envisaged. There are vestiges of his bluesy playing, but this album leans more on heavy alt-rock riffs and big choruses. The pummelling stomp on “Broken on the Inside”, the girthy “Killing Breed” with its swinging grooves and dominating slides, and the power-driving rocker “Ain’t Going Back” solidify its place as being Mick Mars’ heaviest project hitherto. Yet, what I like about this album outside of the heavier approach is the authentic 80s imprint he leaves on the record. Album closer “LA Noir” is not only an overt fu*k you to Mötley Crüe’s narrative Mick can’t play guitar anymore – a near 4-minute stonker that sees Mars ripping out a solo for the duration – the song is drenched in this sleazy 80s rock n’ roll flavour, and an awesome way to close the album. While the airy guitars and flourishes of piano make “Alone” sound like a ballad with a contemporary mindset entrenched in the zeitgeist of 80’s hair metal. Indeed, for songs like “Alone”, “Memories” and “Ready to Roll”, it’s hard not to smile at the way he’s integrated an era of music that is intrinsic to his artistic DNA, but if nothing else, it just adds a layer of freshness to the album’s mainstay alt-rock sound.
Music aside, Mick has picked a vocalist that best represents the riffs on here. Jacob Bunton’s voice feels like a smooth blend of Corey Taylor and Michael Starr; he’s able to dish out the higher registers on “Undone”, “Alone” and “Memories”, but has the earthy growl and grit needed to embolden Mick’s riffs on “Right Side of Wrong” “Ain’t Going Back Again” and “Killing Breed”. Like James Michael did for Sixx:A.M., Bunton delivers a barrel load of accessibility, hooks, power and emotion, interchanging and adapting as needed. In short,
The Other Side of Mars is bloody excellent. From a compositional standpoint, the songwriting is pithy, varied and interesting enough to make you want to go back to it straight after you’ve listened to it. It’s not a mind-bending adventure that’s going to redefine the genre, and for all intents and purposes it was never meant to be that.
The Other Side of Mars was clearly written to send a message to his old comrades: a hard-hitting, no BS alt-rock album with zero fat attached to it. With Mötley Crüe primed to release a new album with John 5, Mars firmly lays out his position and bats the ball back into their court while looming over their legacy with a match in hand. Depending on how the court case goes and the level of quality pertaining to Crüe’s new album, it may well determine how their remaining years are remembered. All of the drama aside, Mick has proven, at 72 years old no less, this rocker’s creativity hasn’t waned an iota.
