#4 Motley Crue - Too Fast For Love: Birth of Glam Metal

ROCKTOBERFEST: A Countdown of the 31 Most Bitchin Glam Metal Albums

#4 Motley Crue - Too Fast For Love (Released 1981) Platinum #77 Billboard 200

Ode to Sticky Fingers. You can actually like Vince Neil's Crotch on Facebook. I have. Have you?

Vince Neil (Egg-Burrito Crotch) - Vocals

Mick Mars (P.I.M.P.) - Guitars

Nikki Sixx (What's a shower) - Bass

Tommy Lee (Fat Chick Thrilla)

The year was 1981 and a ragtag bunch of 3 Sunset Strip miscreants and their older, hired gun axe-slinger recorded the album that changed the world of music. Not many bands can say they created a whole genre of music, but Motley Crue can claim to hold that distinction. With the release of Too Fast For Love, Motley Crue took glam rock, punk rock and heavy metal and mixed it into the complex, filthy genre of glam metal. But first for this all to be realized someone had to die. That person was a guy named Frankie. Born from this man’s death was Nikki Sixx, the true persona of Frankie. You just got to love glam and their flair for the dramatic. So lets begin with the Ballad of Nikki’s alter ego and his death. On with the show…

The riffs are so heavy, distorted and raw. The bass is fuzzy. The drums are loud and driving. The vocals alternate between sneering and screaming. The mix is unpolished. There is nothing pretty about this album and that is the point that the pop metal albums missed. Yet there is something irresistible of the Dirt shoveled by this band. It is the earnestness of living on the streets. The album is a true snapshot of 1980-81 Hollywood. On all the other albums, Motley Crue plays characters and because of who I am I see the beauty and magic in that artificial construct.  If something had to be real in order to offer the world value, economists, fiction authors and anything involving theoretical models would be out of jobs. But for this one album, the Crue are who they are. A struggling, crude band that don’t really know how to play their instruments, but God fuckin Damn all the haters because they are making it and they are dragging everyone kicking and screaming to the streets. That is what I care about. Show me some damn heart and I will love you. Fuck the chops where is the heart.

Or as the members of Crue would say where are the HUGE TITS!!! What Does everybody want? HEAD! HEAD! HEAD! What else? CRUE! CRUE! CRUE! CRUE!

Shut up, Martin! The Boys in the Crue dont care about waxin philosophic! Show Your Tits!

I speak a lot of urgency when writing these reviews and that is what so many “rock” bands miss from today’s music. Their music isn’t urgent. The band members aren’t conveying the idea that you need to listen to this NOW because if you don’t you are missing something cool. On the Crue album, you have no idea what will happen next. Is Vince going to start just showing off his screamin ability like in “Come On and Dance”.

Seriously listen to Vince go during the last minute or so. Jesus, why couldn’t I get to see that live. 

What riff will Mick Mars play next (Take Me To The Top) or in his whirlwind solo in Piece of Action? What interesting subject will Nikki Sixx pen next (Merry Go-Round)? How will Tommy Lee take over songs (Piece of Action)? When is the last time you listened to an album and were taken on a roller coaster ride? That is what Too Fast For Love offers a wild, unbridled and dynamic look at life on the sordid streets of Hollywood. I like formulae as much as the next human because I like consistency and safety. This is an album of individualism that was a man’s vision, who brought along three other men to create an album about the human condition. This album represents a triumph for individualism against the forces of stagnation. Now Take Me To The Top, Mick…

The first song off the album was penned specifically for Vince Neil’s unique delivery. Besides singing for Crue, Neil was destined to fuck, drink and sing Sweet and Cheap Trick covers. Sixx, a huge fan of these bands, crafted Livewire for this preening, reedy voice. Livewire pre-dates Thrash metal by a good two years, but it would stand to be the fastest, heaviest, thrashiest song LA would produce until Metallica and Slayerrrrr would arrive on the scene. This Motorhead meets Cheap Trick track is infectious. It begins with that speed metal riff that smokes and sounds exactly like the song title, a Livewire. When Vince screams “SHOUT!” we are off the races with a killer double-bass attack. Vince screams like his life is dependent on it. The song introduces the idea that is consistent through every Crue song, Nikki writes the song so that everyone knows exactly what the song is called so Livewire is the most common lyric. The breakdown (there is no solo as this was supposedly a punk song) is awesome lyrically as Neil cocky as ever proclaims “You better lock your door because I am on the PROWL tonight.” Before we hit the big finish complete with plenty of cow-bell and high-wattage riffage. 

There is only one video from this album and it is for Livewire and it illustrates every trick from the Crue playbook at the time. Right off the bat, there is a skull with a pentagram on it. Immediately, there is an edge to it. You are NOT supposed to watch it. Then that speed metal riff hits. With the exception of Motorhead, just the idea of that riff was so completely foreign to the human mind. It is so loud and aggressive. Then all the theatrics. Mick drooling blood. Nikki setting his pants on fire. Vince bradnshing a flaming sword. Tommy being chained to a chair in S&M fashion. The black and red leather, the chains, the ghoulish make-up, the candles, skulls, the pentagrams on the bass drums. All these come together to create the total Crue package. Glam metal never was an audio genre. A glam metal can be excellent by itself, but glam metal is truly an audio-visual genre. It is like Shakespeare. You can read Shakespeare and enjoy it and capture value from it. But to truly appreciate it you must see it unfold before your eyes and it is exactly the same way with glam metal. Hey Shakespeare was crafted for the masses too with its tawdry jokes and so when the Crue is singing about women’s legs in the air they are just continuing the tradition. Sorry girls these four men are Too Fast For Love (very Cheap Trick)…    

The next song, I am picking and this is like picking between my children is Public Enemy No. 1. The riff is melodic as it is raw. This is a perfect example of a British glam rock song taken distorted and injected with sleaze and made into a glam metal song. There is of course the requisite cowbell. I love a song when the lead riff is the same melody as the vocal melody. I am such a sucker for that. I also love the lyric, “Coming home as fast as the speed of sound”. I love how the pre-chorus crescendos cogently into the chorus of “Public Enemy No. 1”. The solo features Mars’ distinctive dirty playing. There is no finger-tapping, no technical flare. Mars actually a student of Hendrix, Beck and many blues-rock guitarists brought a very different style to Southern California then the Van Halen, Rhoads, and speed metal guitarists had. This combined with Sixx’s love for glam led to this unique sound.

Let’s slow it down with what I think is Crue’s most beautiful song, Starry Eyes. I don’t what it is early glam, but they had a knack for making hypnotic choruses.  The gong just goes off and I am in a trance. Vince’s voice just drips with emotion and vulnerability. The Crue are often the cocky braggarts that cannot be beaten, but when Nikki shows that vulnerability, it can truly be beautiful. The rhythm section just keeps that pounding in time. The riff is a buzzsaw, but is hypnotic itself just going up and down. While, Vince repeats Starry Eyes over and over again, but even in itself simplicity there is elegance because of his delivery. 

Finally we end this lengthy review with the song that single-handedly crafted the genre of sleaze rock. The lyric “use you up and throw you away” will forever be the sleaziest lyric of all-time. The riff just builds and builds. Vince begins in a preening, seductive whispering. Then he goes into his falsetto, while the tension builds in the music. Then Tommy just lets it all out and music just lets out in the climax while Vince screams “Get a piece of your action! Uh huh!” I love how he lets out on “uh huh”. The solo on this one is absolute roller-coaster that ends in a really cool climax that I do not want to ruin so just go listen to the song. This one is definitely in my top 5 of all-time favorite Motley Crue songs. 

After the verbal blowjob, I just gave Crue what they fuck could top this album. Let me say that this is definitely one of my favorite albums of all-time in any genre. I firmly think if you ever want to pass real judgment on  glam metal, you have to listen to this album once.  LONG LIVE THE CRUE! CRUE! CRUE! CRUE! CRUE!

  

To play us out is a song about a man that got too much, too soon and wound up at the Merry Go-Round.    

#5 Skid Row - Skid Row: Park Avenue To Skid Row

ROCKTOBERFEST: A Most Excellent Countdown of the 31 Most Bicthin Glam Metal Albums

#5 Skid Row – Skid Row (Released 1989) 5x Platinum #6 Billboard 200

Sebastian Bach (Axl’s BFF) – vocals

Scotti Hill (Worst Hair In Band. Still Get Pussy. Success Kid.) – lead and rhythm guitars

Dave “The Snake” Sabo (My snake intimidated Jon Bon Jovi) - lead and rhythm guitars

Rachel Bolan (I am compensating with this nose chain) – Bass

Rob Affuso (One night aint enough of his love) – Drums 

The debut album from these East Coast rockers, Skid Row, is the youngest album to crack the top 10 being dropped on the masses in 1989. It features the vocal prowess and range of Sebastian Bach. Don’t let his pretty boy looks and long blonde locks fool ya, this right here is a one tough muthafucka that belt out a power ballad as well as he can sneer through a sleezy steamer. Skid Row imparts an East Coast toughness on this album, which can be derived from the New York/DC punk scenes. Hill/The Snake are not most technically proficient guitar tandem, but they get the job done with buzzsaw riffs and short, melodic solos.

What differentiates this band from the other millions of clone glam milieu in 1980s is the raw, unadulterated talent of Sebastian Bach and the aggressive metallic sound. In the only other “legitimate” countdown I could find for a Best Glam Metal albums of all-time, Skid Row’s debut took the top spot. This is what metal-rules.com had to say,

Here is the link to their clearly inferior countdown: http://www.metal-rules.com/polls/index.php?id=8

“With their very first release from 1989, Skid Row turned heads. From out of the blue, this Jersey quintet took on the Sunset Strip juggernauts (Crue, Poison, GNR, etc.) and held their own. Armed with such hits as "Youth Gone Wild," "18 and Life" and "I Remember You," Skid Row soon commanded the airwaves and ruled over the wild, headbanging youth of the free world. Certainly, circa 1989, you couldn't scan the magazine section of your local grocery store without seeing a few pictures of Sebastian Bach reflecting off the covers of Circus, Hit Parader, Metal Edge or RIP magazine. Skid Row at number one? Well, the collective view of the Metal Rules staff seemed to think so. It cannot be argued, however, that Skid Row, supported by some great riffs and an amazing voice, released one of the best albums of the late 80's!”

Most of the albums in my top 5 were not eligible for voting due to a narrow view of what glam metal is. However, the fact East Coast glam albums took numbers 1 and 2 (Cinderella’s Night Songs) over Ratt’s Out of The Cellar (#3) is just preposterous. This comes from a huge Skid Row fan. Without further adieu, let me see them BIG GUNS!

Axl + Baz = <3

The first cut off the album is the tongue firmly planted in cheek, Big Guns. What do you learn from this? You learn that Bach will be screamin and howlin through the rest of the album. The riffs will be buzzsaw, nasty little bitches that don’t sound that good, but make you revel in the filth. Most importantly, the boys don’t take this too seriously. (AMEN!) This song always brings a smile to my face and has me singing along. 

The chorus is just too good, “She has the BIG GUNS!//Pointed at my heart//She has my lovin reaching for the sky.” What on earth could he be talking about??? I have always wanted to play this song while a buxom lass was running about, but alas buxom lasses no longer listen to the METAL~!

Next up is the first song I ever heard from Skid Row, their metal anthem, Youth Gone Wild. First off, it features a “Woah” outro so the song has to at least be good. Overall, I think the riff could be more prominent. I fuckin love the drum fill signifying we are going into the chorus. Bach just absolutely owns this song and conveys the emotion of living on the street and fighting for their right to party.

Skid Row wins hands-down the award for the best pure power ballad with I Remember You. A perfect blend of power and sugar. It begins with the typical acoustic intro and Bach showing his range with a sweet melody. Before the band kicks in and the guitars blare, only to show restraint again before full-bore on the chorus. The chorus is urgent and catchy. You just have to hear it. As was typical in the late 80s, the best solo can be found on the power ballad. The bridge out of the solo (it was the 80s they had a bridge into the solo too, excess at its finest), which is what Skid Row excels at and loves and this song is a perfect example of this. Bach vocals on the lyrics of “I woke up to the sound of pouring rain. Washed away a dream of you. Nothing else could ever take you away. Because you will always be my dream come true. Oh my darling, I love you.” If that doesn’t moisten and drop some panties, I have no fuckin clue what will. Great finish, great song, definitely take a listen.

Ok, put away the tissue box, it is time to fuckin rock again with Piece of Me. Bach is sleezin in the city with his high heels on and looking pretty, but he is looking for a fight. That disparate juxtaposition (pretty & fighting) is what glam metal so interesting and vital. This is definitely the heaviest and toughest song on the album that is a portent of things to come. Slave to the Grind, the follow-up is a heavy metal masterpiece, but it was NOT a glam metal album, it is a straight-up heavy metal album (it would be the first heavy metal album to debut at number one). I love that sound of the lead guitar on this one coupled with the pounding of the drums I just want to bang the shit outta my brain. The whole song sounds like it is on the verge of collapse with all the belligerent energy and Bach’s strained, but powerful vocals are on full display. 

We wrap this review with the last of the hits from this album, the power ballad: 18 & Life. This one deals with subject matter of a troubled teen that makes one bad mistake and ends up behind for the rest of his life. The music reflects the change in usual subject matter of power ballads being a bit darker, a bit heavier, and ominous. There are cool hooks you continue to learn on each listen. Like just now as Bach says “Ricky is the Wild One” the lead guitar does a screech. Just cool little things like that. Bach sounds vibrant preaching the travails of Ricky with his heart of stone. It is a cool little story in genre that is bereft of songs with stories. 

Listening to this album again, I am bumming that missed out on my chance to see Seb Bach in concert in Detroit. But with Van Halen tickets at $100 (that was for the cheap seats!) you have to make some sacrifices. For those who don’t know Bach and Skid Row have broken up. Bach has a solo band and then there is Skid Row. I definitely recommend the nest album, Slave to the Grind, who those who like their metal a bit heavier and faster.

From the youngest album to the oldest album to make the top ten, we are taking the way-back machine. Here is Skid Row’s Sweet Little Sister to play us out.    

#6 W.A.S.P. - W.A.S.P.: FUCK LIKE A BEAST!

ROCKTOBERFEST: A Most Excellent Countdown of the 31 Most Bitchin Glam Metal Albums

#6 W.A.S.P. – W.A.S.P. (Released 1984)  Gold

Blackie Lawless (Heavy Metal Alien) – Vocals, Bass

Chris Holmes (Look Ma, I Love Vodka!) – Lead &Rhythm Guitars

Randy Piper (Is he related to Rowdy Roddy?) – Lead &Rhythm Guitars

Tony Richards (Did he explode?) - Drums

Blackie and the Boys torch the town, ravish the women, drink aplenty and rule the world with their steel six-strings. This ultra-badass album comes from the band known as We Are Satan’s People or We Are Sexual Perverts. Either way they are apart of the elite Unholy Trinity of Glam (Motley Crue, Ratt), together these three bands with capture 4 of the top 6 albums on this countdown. These are the bands that formed glam metal paved the way for everyone else to reap the rewards. WASP was the darkest, heaviest of three drawing on the shock rock acts of the 70s and pushing the envelope even further. Holmes and Piper are among the most under-appreciated guitar tandems of all time. I just fuckin love that incredibly metallic tone. It is so fuckin ballsy. But this aint no death or black metal album (even with songs such as Torture Never Stops and On Your Knees). Blackies makes sure to bring the fuckin hooks on every song. 

WASP combines glam rock, shock rock and heavy metal into a streamlined attack for the listener that is as vicious as it is sweet. Glam is a genre that hinges upon the convergence of macho toughness, sleazy filth and partying excess. The variety on the record from metal anthems, to mid-tempo crushers to speed metal destroyers provides evidence that Blackie is not a one trick pony. Blackie also has the best voice of the three vocalists in the Trinity. His voice has a power that is almost unmatched in glam metal (Dee Snider has a shit ton of power), but he brings a certain haunting style to his vocal hysterics. While Crue and Ratt tried to out-sleaze each other, WASP always brought a sense of danger different from these bands because of the haunting vocals. 

A Main Event In Any Arena, right Gorilla?

The difference in guitar attacks between the three bands also demonstrates how different glam metal could be. Ratt brought the straight-ahead, pulse-pounding, head-banging Judas Priest staccato riffing with an Eddie Van Halen flare on the solos. The Crue was lucky to have Mars a totally unique guitarist with his RUDE, heavily distorted, raw buzzsaw riffs derived from the Dolls and Cheap Trick. WASP’s guitar tone was indebted to the terrifying, technical sound reminiscent of guitar-god, Randy Rhoads (RIP). Ratt was the flashy, polished attack. Crue were the too heavy to be punks, too angry to be glam and too pretty to be metal band that kicked so much ass and got so much pussy. WASP was the glam band from Hell. Well lets get onto this killer muthafucka.

Glam Gods: Nikki Sixx and Balckie Lawless were originally in the same LA glam band: Sister

My mom’s favorite glam metal song is the first cut off the album, I Wanna Be Somebody. One of my all-time favorite anthems, that encapsulates everything I am about: shiny cars, dirty money, and lots of rock n roll. I aint ever getting old, bitches. This song also displays fully how much Blackie loves drums fills. The song just sounds urgent you NEED to know the next lyric, the next fill, whats the solo. Blackie conveys this emotion with vocals with his great employment of inflection. Even though it follows the standard formula, the emotion, rawness and heaviness drag it through the sleazy filth to among the best song ever.  I love how he screams “SO CRY OUT!” So bitchin. The solo is a barn-burner that leads right back into the that super sexy glam breakdown that just draws me to this music. Hit the fuckin chorus Blackie. Damn this song fuckin rules. I WANNA BE SOMEBODY!

Next up, maybe my brother’s favorite glam metal song, L.O.V.E. Machine. Blackie and the Boys sure love to prove they can spell. My brother and I played this song non-stop a couple of summers ago because it rocks so fuckin hard. This is a killer example of that spooky effect that Blackie can achieve his vocals that no other glam vocalist can replicate. “You see that trail of broken hearts//They all belong to me//Magic runs through my fingers//One touch youll see” Holy shit, good lyrics on a non-Crue album, ya shitting me. I fuckin love WASP. The guitar fill is one of the best hooks ever. I love the fuckin rumbling rhythm section, it sounds straight off a NWOBHM album. Like I said, I love glam metal albums that remember to put metal in glam metal. This album is just chock full of face-melting solos and this song is no different. Fuck this album kicks so much damn ass.  

Then comes the mid-tempo stomper to remind all the B.A.D (yes another phonetics lesson from the boys in W.A.S.P.) Girls that he loves them even if their parents think they have been very B.A.D. I love that opening guitar riff and it just plays in a hypnotic loop through the rest of the song. The snappy 80’s snare is on full-display here with giving the song plenty of punch. The solo employs so many cool shred techniques and offers the perfect bridge back to a catchy chorus. 

There are power ballads then there is a FUCKIN WASP POWER BALLAD. So while Bret Michaels loses his balls and replaces it with a huge pussy. Blackie writes a power ballad about being Satan and seducing women. Reason #19547 why WASP kicks ass. The chorus is absolutely hypnotic. One of the best choruses I have ever heard. Then that first note of that solo. Holy shit. Just what power and tone. Then whole solo is an ode to everything kicks ass about the 80s. Literally sounds like he is bending metal with his fingers. I was just listening to the song and I am like it is over already. That is always the sign of a true killer gem.  Come taste the Love of Lucifer’s Magic.

I LOVE every song on this album so much, but due to time constraints I will pick just one more. I am going with Tormentor. This chorus just again shows the knack of Blackie for writing haunting, catchy choruses.  The song begins with such a forceful burst of bass and that just a great guitar intro. The riff is very indebted to NWOBHM with a galloping pace, but with a distorted version of Randy Rhoads tone. 

Really the whole album absolutely smokes. Due yourself, a favor pick it up and come join me at the altar of Blackie.

Now that we are entering the hallowed grounds of the Top 5. Here is a recap of the #10-#6, which you can find in the archives.

#6 W.A.S.P. – W.A.S.P. (First-Wave Glam Metal)

#7 Cinderella – Night Songs (First-Wave Glam Metal)

#8 Poison  - Look At What The Cat Dragged In (First-Wave Glam Metal)

#9 Def Leppard – Pyromania (First-Wave Glam Metal)

#10 Twisted Sister – Stay Hungry (First-Wave Glam Metal)

This final song was not included on the album proper, but was the original first single from WASP and was the first song I ever heard from them. I am a sick, twisted fuck because of it. Proud of it! Sleeze 4 Life! I FUCK LIKE A BEAST!

#7 Cinderella - Night Songs: Bitches Wear Polka-Dots

ROCKTOBERFEST: A Most Excellent Countdown of the 31 Most Bitchin Glam Metal Albums

#7 Cinderella – Night Songs (Released 1986)  3x Platinum, #3 on Billboard 200

Tom Keifer (Wicked talented) – Vocals, Lead & Rhythm Guitars, harmonica

Jeff LaBar (The Love Child of Eddie Van Halen and Gene Simmons) – Lead &Rhythm Guitars

Eric Brittingham (Least Glam Metal Name EVAH~!) – Bass, Backing Vocals

Fred Coury (80's Snare to Die For) - Drums

Night Songs

We stay in 1986 with the other huge album of the golden era to come from this era: Cinderella’s Night Songs (aptly named, wont ya say?). The year 1986 was a sort of calm before the storm. In 1987, we saw the rejuvenation of heavy metal with bands re-defining their sounds with pop-saturated metal (Def Leppard, Whitesnake), the sleaze counter-revolution (Guns N Roses, Faster Pussycat) and the glam traditionalists showing they still kick-ass (Motley Crue, Dokken). While 1986’s debut from Poison oozes glam from the cover, to the lyrics and to the sonic attack. Cinderella brings a glam style that would have fit in the halls of Versailles under the Sun King. Lyrically, the band keeps it straight-ahead with partying and sex, but there are some common blues tropes that find their way into the music (Back Home Again, the title track). The music is the key differentiator as Cinderella brings a definitive metal edge to their sound. From the wails and howls of Tom Keifer to the high-wattage riffs from the talented guitar duo. Not to mention that wicked sexy snare that epitomizes the 80s with each crash and snap. 

Louis XIV would be proud!

Long Cold Winter (#31 on this prestigious list) saw Cinderella move in a blues direction with their music, which would be completed on their next album, Heartbreak Station. However on Night Songs, the band finds itself rocking just as hard they partied. The captured the First Wave of Glam Metal sound and gave it a fantastic send-off before it was killed off by the rise of pop and sleaze metal.

The first choice cut off the album is my dad’s all-time favorite glam metal song. Somebody Save Me. As my dad always aptly puts it, “There is no fuckin denyin this monstah riff.” Easily one of the best riffs in glam metal history. Keifer’s vocals just lend this song and this band so much credence. You can feel how pissed off he is throughout the songs. The song is a ferocious, driving, head-banging rocker. The riff is the real center-piece and the solo is relatively un-moving.  I just got to comment on the video, Jeff LeBar’s hair is FUCKIN HUGE!!! 

The first single off the album was the KISS-inspired Shake Me (the rhythm section is very bouncy and I love it). The chorus is the ultra-80s sounding, gang-shout of “Shake Me!”. Of course, Keifer fills-in in letting the lucky lass know “Don’t break it”. While the song is a standard 80’s metal anthem single, it is just contagiously fun and always love when it comes up on shuffle. In the video, Tom Keifer, ever the badass, picks up a guitar says I am just goin to shred on this. As lead vocalist, I always thought it was pretty BITCHIN he handled all the solos. The less said about Cinderella’s mega-creepy keyboardist the better. O those eyes, how they leer. This video also taught me mean bitches wear polka-dots!

The major hit and one of the top 5 power ballads of all time is Nobody’s Fool. Unlike most power ballads, instead of wallowing in one’s depression, Keifer tells this bitch to fuck off and that he is coming back stronger than ever. It is definitely one of the most empowering power ballads out there. It is pretty heavy for a glam power ballad and one that brings the huge-end production values that make these songs so endearing. The chorus is anthemic and readily accessible. The hook is definitely the guitar/keyboard/drum crescendo to the chorus. In the video, the bassist is rockin those hideous glam bangs that everybody was so fond of in the mid-80s and at least they were paired with acid-washed overly shredded jeans. That would have been an nightmare. 

Next up is the powerful, metal-bending Nothin For Nothin that just pulverizes the listener into submission with a killer riff. The riff is an up-tempo crusher that features a great lead guitar hook that sounds like an engine revving and the squeal of peelin rubber. Great hook in the form of the gang-chorus that has you shoutin along with them. Cinderella doesn’t showcase the best solos of the metal bands, but this one is a definite face-melter. Keifer’s wail keeps the listener involved throughout the song.

Personally as a fan of heavy metal, I like when my glam metal remembers to put the metal in glam metal. That is exactly what Cinderella offers on this album, which is why this album has always been a a personal favorite of mine.

Since we are getting close to the top 5, here is a review of #11-31 that can be found by going through the archives.

#11 Faster Pussycat – Faster Pussycat (Sleaze)

#12 Hanoi Rocks – Two Steps To The Move (Glam Punk)

#13 Ratt – Invasion of Your Privacy (First-Wave Glam Metal)

#14 LA Guns – LA Guns (Sleaze)

#15 Quiet Riot – Metal Health (First-Wave Glam Metal)

#16 Motley Crue – Dr. Feelgood (Pop Metal)

#17 Whitesnake –Whitesnake (Pop Metal)

#18 Def Leppard – Hysteria (Pop Metal)

#19 Poison – Open Up and Say Ahhhh (Pop Metal)

#20 Vain – No Respect (Sleaze)

#21 Crashdiet – Rest In Sleaze (New Wave of Swedish Sleaze)

#22 WASP –Last Command (First-Wave Glam Metal)

#23 Dokken – Tooth &Nail (First-Wave Glam Metal)

#24 Steel Panther – Feel The Steel (First-Wave Glam Metal)

#25 Motley Crue – Theatre of Pain (First-Wave Glam Metal)

#26 Crashdiet – Generation Wild (New Wave of Swedish Sleaze)

#27 Faster Pussycat – Wake Me When Its Over (Sleaze)

#28 Ratt – Dancing Undercover (First-Wave Glam Metal)

#29 Pretty Boy Floyd – Leather Boyz With Electric Toyz (Bubbleglam)

#30 LA Guns – Cocked & Loaded (Sleaze)

#31 Cinderella – Long Cold Winter (Pop Metal)

Once Around The Ride finishes this review with a bass-heavy attack as Keifer howls through this heavy metal attack.