mötley crüe

In the beginning, it was 1981 and bassist Nikki Sixx left London, the glam metal band he’d formed in Hollywood three years earlier, to start a new project with drummer Tommy Lee. Then, they pulled in guitarist Mick Mars, who responded to the duo’s classified ad for a “loud, rude, and aggressive guitar player,” and eventually persuaded singer Vince Neil, a former classmate of Lee’s, to leave his band Rock Candy for Mötley Crüe.

From its start with 1981 debut “Too Fast for Love,” Mötley Crüe lived up to its mismatched epithet, from its diabolical breakout “Shout at the Devil” in 1983 to the late ‘80s with its most commercially successful release, “Dr. Feelgood.”

Addictions, near-death experiences, hiatuses, departures and reunions — Mötley Crüe survived them all. Each step on its musical journey is commemorated on “From the Beginning,” an album that includes the band’s first single “Live Wire” through its most recent track, “Dogs of War,” released 43 years later. The band also revived a Mötley Crüe classic with a newly recorded version of its “Theatre of Pain” ballad “Home Sweet Home,” featuring Dolly Parton, which reentered the charts in 2025 at No. 1, 40 years after the original recording’s release.

“Mötley Crüe and Dolly Parton together is the ultimate clickbait,” says Sixx, with a laugh. He previously played bass on the country legend’s 2023 “Rockstar” album. “I guess it’s part of that wow factor that has been part of the Mötley Crüe fabric for a long time.”

Proceeds from the new recording of “Home Sweet Home” benefit Covenant House, the nonprofit with which the band has partnered for nearly 20 years through its Mötley Crüe Giveback Initiative. Sixx first worked with Covenant House around the publication of his 2007 memoir, “The Heroin Diaries,” and helped develop a music program at the Hollywood center. In October 2024, the band also played a series of intimate club shows, dubbed Höllywood Takeöver, at the Troubadour, the Roxy and Whisky a Go Go in West Hollywood, which helped raise $350,000 for the organization.

“These kids are everything,” says Sixx. “These kids are the future. They might end up changing the world. What if one of these kids can cure cancer and they just didn’t have a shot?”

Playing those smaller shows in 2024, which also included the Underworld in Camden, London, and the Bowery Ballroom in New York City, is the bare-bones sound, much like rehearsals, that Sixx has always loved.

“One of my favorite parts about being in a band is rehearsal,” he says. “There’s nothing like it. It’s raw, just bass, drums, guitar, and vocals off the floor. Then, you add all the bells and whistles as you go along. When we can do things like that, it just reminds me who we are.”

It’s also part of what keeps Lee excited at this stage of the band’s career, which includes its third residency in Las Vegas in 13 years, which kicked off last week and runs through Oct. 3 at the Dolby Live at Park MGM. (A portion of the ticket proceeds from the 10-show residency will benefit the Nevada Partnership for Homeless Youth.)

“I’ve been married to Nikki and Vince for over 44 years,” says Lee. “Like with any marriage, you gotta create ways to make it exciting, to keep it fun, or else you find yourselves at the breakfast table, with your face in the paper saying ‘Pass the butter.’ So Vegas in Dolby Atmos, new music, club shows, crazy videos, Dolly — we’ve always been trying different stuff to make the audience and us go ‘Oh, f— yeah.”

For Mötley Crüe, Las Vegas has nearly become a second home since the band’s first residency at the Joint at the Hard Rock Hotel in 2012 and its “An Intimate Evening in Hell” a year later.

“We’ve got this great body of work that you don’t really realize until you get this far,” says Sixx. “But now, we’re in one of those interesting places where, if we don’t play the hits, we get
s—, and if we do play the hits, we get s—.”

“From the Beginning” is Mötley Crüe’s new compilation album.

(Chris Walter)

Some deeper Crüe cuts worth inclusion in the set include “Stick to Your Guns,” a non-single on “Too Fast for Love,” and a song that the Runaways’ ex-manager, producer Kim Fowley, asked a then-teenaged Sixx to write for Blondie in 1979.

“I was 17 years old, and we recorded that song, and because no record company would sign us, we started our own label and got a distribution deal,” Sixx recalls. “When we finally joint-ventured up with Elektra Records in ’82, they said we needed to take a song off since it made the vinyl sound thinner, so ‘Stick to Your Guns’ got cut, but I’ve always loved that song.”

Sixx recently revealed that Guns N’ Roses once considered covering the early Crüe track.

”Now I get people saying, ‘We want to hear, “Stick to Your Guns,” ’ “ says Sixx, laughing. “There’s like eight people that know that song. That’s a good way to shut down an arena.”

For Lee, there’s something more paternal around the band’s lengthy catalog.

“I know every artist says it, but our songs are like our kids,” he says. “And over the years, they grow up and they develop [their] own personalities and character. Some stay pretty close to home, settle down, and start their own family. Others go out on a Thursday night and come home on Sunday with no shoes and a shaved head, but we love them all the same.”

With every song, Lee says, the band members understand each other more. “We know how to push each other a little further, and hopefully get the greatest out of each other.”

While there’s always room to make new music, Sixx, who has been the band’s chief songwriter since its inception, prefers the pace of releasing singles.

“It’s just a different landscape now,” he says, “so to create one or two ideas, or co-write three is manageable, and it’s also digestible for the fans.”

So many things have changed, and he is also aware of some misconceptions about the band. “The music is Mötley Crüe — Mötley Crüe is not ‘The Dirt,’ ” says Sixx, citing the 2019 film based on the band’s 2001 tell-all memoir. “People have it confused because we were so honest and it became such a part of the fabric of us that they forget about the riff on ‘Kick Start My Heart’ and just remember the hotel that we tried to burn down in Ontario.”

Another misconception, Sixx says, is the band’s split with Mars in 2022. After issuing a statement that Mars had retired from touring due to his ongoing battle with ankylosing spondylitis, the guitarist sued Mötley Crüe in April 2023, alleging that he was forced out of the band and that his bandmates attempted to cut his 25% ownership stake. Guitarist John 5 — who has filled in on lead guitar duties since October 2022, prior to the lawsuit — continues to tour with the band.

“[Mick] came to us and said, health-wise, he couldn’t fulfill his contract, and we let him out of the deal,” recalls Sixx. “Then he sued us because he just said that he can’t tour. We were like, ‘Well, if you can’t tour, you can’t tour.’ I will probably come to that too someday.”

Although there was no final settlement in court between Mars and the band, a Los Angeles judge ruled in 2024 that the band failed to provide documents to Mars in a timely manner and was ordered to pay his legal fees, Loudwire reported. The underlying dispute regarding the band’s business and Mars’ potential ousting went into private arbitration.
The arbitration is still ongoing but in the first phase the arbitrator ruled in favor of the band and against Mars. The arbitration is still ongoing but in the first phase the arbitrator ruled in favor of the band and against Mick.

Mars’ claims around the band’s use of backing tracks were another point of contention and something Sixx has continued defending. He says the band started playing around with audio enhancements in 1985 and cites the “Girls Girls Girls” track “Wild Side” as a “perfect example” with its sequenced guitar parts. “Anything we enhance the shows with, we actually played,” he says. “If there are background vocals with my background vocals, and we have background singers to make it sound more like the record. That does not mean we’re not singing.”

Mars, who is currently working on his second solo album, was contacted by The Times but declined to comment for the story.

Sixx calls Mars’ accusations a “crazy betrayal” to his legacy and to the fans. “Saying he played in a band that didn’t play, it’s a betrayal to the band who saved his life,” adds Sixx. “People say things like, ‘Well, if you guys are really playing, then I need isolated tracks from band rehearsal.’ … It’s ludicrous.”

Another battle the band has found itself in involves Neil’s health problems and the criticism he’s faced following recent performances. Originally scheduled to perform in March and April, Mötley Crüe postponed its Las Vegas shows so the lead singer could undergo an undisclosed medical procedure. “He needed time to heal, and he’s been working really hard,” Sixx says.

“You can tell he’s working up the stamina, and a lot of people are like, ‘Oh, man, he’s not kicking ass like he used to,’ but it takes a lot of courage to have a doctor tell you you will probably never go onstage again and to fight through that. If he’s got some imperfect moments here and there. They’re getting erased as the days go with rehearsal.”

Back in Las Vegas, Lee has looked forward to connecting with fans again, even if those in their teens and 20s were turned on to the band via “The Dirt.”

“Our goal is the same for all: to give them an incredible show,” he says, “to leave it all on the stage.”

Now, more than 40 years into Mötley Crüe, it may have been a patchwork journey of emotions for Sixx, but he wouldn’t change the experience for anything.

“We believe in this band,” he says. “It’s been 44 years. We’ve been in the band longer than we weren’t in the band. We’ve seen everything — everything. I guess that’s why it was a movie.”

As the manager of Guns N’ Roses during the band’s debauched heyday, Alan Niven has no shortage of colorful stories.

The LAPD fetching Axl Rose from his West Hollywood condo and bringing him directly to the stage so Guns N’ Roses could open for the Rolling Stones at the L.A. Coliseum.

Slash going off script and taking a Winnebago for a joyride — and then standing in rush hour traffic and brandishing a bottle of Jack Daniels — while filming the “Welcome to the Jungle” music video.

Guitarist Izzy Stradlin carrying a $750,000 cashier’s check that Niven had to take from him and hide in his own shoe for safekeeping during a raucous trip to New Orleans.

About 15 minutes into a thoughtful Zoom conversation, the garrulous Niven poses a question of his own: “Why was I managing Guns N’ Roses?”

Given what he describes, it is a good question.

“Because nobody else would do it,” he says, noting that the band’s former management firm “could not get away fast enough” from the group. “No one else would deal with them. Literally, I was not bottom of the barrel, darling — I was underneath the barrel. It was desperation.”

Case in point: his very first Guns N’ Roses band meeting. On the way into the house, Niven says, he passed by a broken toilet and “one of the better-known strippers from [the] Sunset Strip.” Stradlin and Slash were the only ones who’d shown up. Once the meeting started, Stradlin nodded out at the table and Slash fed “a little white bunny rabbit” to a massive pet python.

“And I’m sitting there going, ‘Keep your cool. This may be a test. Just go with it and get through it.’ But that was my first GNR meeting.”

These kinds of stranger-than-fiction anecdotes dominate Niven’s wildly entertaining (and occasionally jaw-dropping) new book, “Sound N’ Fury: Rock N’ Roll Stories.” With brutal honesty and vivid imagery, he describes the challenges of wrangling Guns N’ Roses before and after the band’s 1987 debut, “Appetite for Destruction.” These include mundane business matters (like shooting music videos on a budget) and more stressful moments, such as navigating Rose’s mercurial moods and ensuring that band members didn’t take drugs on international flights.

But “Sound N’ Fury” also focuses extensively on Niven’s time managing the bluesy hard rock band Great White, whose lead singer, the late Jack Russell, had his own struggles with severe addiction. To complicate the entanglement, Niven also produced and co-wrote dozens of the band’s songs, including hits “Rock Me” and “House of Broken Love.”

Niven mixes delightful bits of insider gossip into these harrowing moments: firing for bad behavior future superstar director Michael Bay from filming Great White’s “Call It Rock ’n’ Roll” music video; Berlin’s Terri Nunn sending President Reagan an 8-by-10 photo with a saucy message; clandestinely buying Ozzy Osbourne drinks on an airplane behind Sharon Osbourne’s back.

And his lifelong passion for championing promising artists also comes through, including his recent advocacy for guitarist Chris Buck of Cardinal Black.

Unsurprisingly, Niven says people had been asking him for “decades” to write a book (“If I had $1 for every time somebody asked me that, I’d be living in a castle in Scotland”). He resisted because of his disdain for rock ‘n’ roll books: “To me, they all have the same story arc and only the names change.”

A magazine editor paid him such a huge compliment that he finally felt compelled to write one.

“He said, ‘I wish I could write like you,’ ” Niven says. “When he said that, it put an obligation on me that I couldn’t shake. Now I had to be intelligent about it and go, ‘Well, you hate rock ‘n’ roll books, so what are you going to do?’ ”

Niven’s solution was to eschew the “usual boring, chronological history” and structure “Sound N’ Fury” more like a collection of vignettes, all told with his usual dry sense of humor and razor-sharp wit.

“If you tell the stories well enough, they might be illuminating,” he says. “I saw it more as a record than I did a book. And you hope that somebody will drop the needle in at the beginning of the record and stay with the record until it’s over.

“For me, dialogue was key — and, fortunately, they were all more f— up than I was,” he adds. “So my memory of the dialogue is pretty good. … There’s some dialogue exchanges in there that imprinted themselves for as long as I live.”

One of the artists that doesn’t get much ink in “Sound N’ Fury” is another group known for its hedonistic rock ‘n’ roll behavior, Mötley Crüe.

“The fact that people are still interested in what you’ve got to say about things that happened 30 years ago is almost unimaginable,” Alan Niven says.

(ECW Press)

Niven promoted and facilitated distribution of the independent release of the band’s 1981 debut, “Too Fast for Love” and helped connect Mötley Crüe with Elektra Records. He doesn’t mince words in the book or in conversation about the band, saying he feels “very ambivalent about the small role I played in the progression of Mötley Crüe because I know who they are. I know what they’ve done to various people. I know how they’ve treated certain numbers of women. And I am not proud of contributing to that.

“And on top of that, someone needs to turn around and say, ‘It’s a thin catalog that they produced,’ in terms of what they produced as music,” he continues. “There’s not much there and it’s certainly not intellectually or spiritually illuminating in any way, shape or form. They are brutish entertainers, and that’s it.”

Still, Niven says he didn’t hesitate to include the stories that he did in “Sound N’ Fury,” and by explanation notes a conversation he had with journalist Mick Wall.

“He sent me an email the other day saying, ‘Welcome to the club of authors,’ ” he recalls. “And I’m going, ‘Yeah, right. You’ve been doing it all your life. I’m just an enthusiastic amateur.’ And he said, ‘Welcome to the club — and by the way, it’s cursed.’”

Niven pondered what that meant. “A little light bulb went on in my head, and I went, ‘Ah, yes, the curse is truth,’ because a lot of people don’t want to hear the truth and don’t want to hear what truly happened.

“There are people in the Axl cult who won’t be happy. There will be one or two other people who won’t be happy, but there’s no point in recording anything unless it’s got a truth to it.”

Niven says when the book was done, he didn’t necessarily gain any surprising insights or new perspectives on what he had documented.

“The fact that people are still interested in what you’ve got to say about things that happened 30 years ago is almost unimaginable,” he says. “I never used to do interviews back in the day. But at this point, it would just be graceless and rank bad manners not to respond.

“Occasionally people go, ‘Oh, he’s bitter,’” Niven continues. “No, I am not. I don’t think the book comes off as bitter. Many times I’ve said it was actually a privilege to go through that period of time because I didn’t have to spend my life saying to myself, ‘I wonder what it would have been like to have had a No. 1. To have had a successful band.’ Well, I found out firsthand.”

Niven stresses firmly that management was more than a job to him.

“It was my way of life,” he says. “People who go into management and think it’s a job that starts maybe at about half past 10 in the morning once you’ve had your coffee and then you check out at six, they’re not true managers.

“They’re not in management for the right reasons,” he adds. “Rock ‘n’ roll is a way of f— life. It’s 24/7, 365. And that was my approach to it.”