Mötley Crüe

The second Mötley Crüe album comes across as both more refined and heavier than their 1981 debut. However, the most notable improvement lies in their songwriting; "Shout at the Devil" is a collection of tracks that all hold their own. Yes, even the piece the band didn't compose, the unexpected Beatles cover, "Helter Skelter," somehow fits into place.

Singing along to the title track while throwing your fists in the air may feel a tad awkward for someone past their teenage years. It has a somewhat staccato quality, and while the squeals of Mick Mars' guitar and Vince Neil's voice certainly represent what the band was all about at that moment, it's far from among the strongest recordings on the album, even though its legacy may suggest otherwise. 

But within these 34 minutes and 47 seconds, Mötley Crüe delivers some of their best moments. "Looks That Kill" is just as memorable as its iconic music video, featuring sharp guitar riffs, Vince's high-pitched screams, and a catchy chorus with gang-vocals in a way that would soon become the template. "Too Young To Fall In Love" stands out with its infectious chorus melody introduced by Mars's terrific guitar work, and the solo remains one of his best. "Ten Seconds To Love" captures the essence of '80s Sunset Strip sleaze, with lyrics reeking of 80's sexism ("Bring your girlfriend, maybe bring two, I've got my camera, make a star outta you").

On "Red Hot," the band ventures close to the contemporary British metal scene, with Tommy Lee's thunderous drums leading into one of the heaviest moments on the album. Mick Mars' guitar solo is once again a highlight, evolving into a twin-guitar performance (we can only assume he's playing both parts). If you ever wondered what Mötley Crüe playing at Judas Priest pace might sound like, this just may be it.

Just as "Starry Eyes" served as a slightly forgotten gem on their first album, the closer "Danger" assumes a similar role here. It's a dark, dramatic semi-ballad that delves into the gritty world of Hollywood gang life. In 1983, Nikki Sixx's lyrics claiming, "...this is my town, this is Hollywood," hit the mark, as he and his band would pave the way for a whole bunch of bands trying to gain similar attention.

The tour for the album would prove a massive success, with Mötley Crüe filling arenas and concert halls on both sides of the Atlantic, partly as an opening act for Ozzy Osbourne (who was touring with his new "Bark At The Moon" material). The latter later described it as "One of the most dangerous tours I ever did", which of course, coming from Ozzy, speaks volumes.

"Shout at the Devil" may very well be Mötley Crüe's most consistent and best work. While the album's most famous songs are widely recognized, it also contains some less spotlighted music worth revisiting again and again.