Mötley Crüe - Generation Swine review


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Band: Mötley Crüe
Album: Generation Swine
Release date: June 1997

01. Find Myself
02. Afraid
03. Flush
04. Generation Swine
05. Confessions
06. Beauty
07. Glitter
08. Anybody Out There?
09. Let Us Prey
10. Rocketship
11. A Rat Like Me
12. Shout at the Devil '97
13. Brandon

They were sober at the time too.

Talk about squandered opportunity; for the first time in years, the classic Mötley Crüe line-up had reunited and they spent their first record back together sounding as uncrüe as possible (so good then?). While glam was about as fashionable as disco come the late 90's, it is still surprising to hear how far removed the band would be willing to move to try and sound relevant and not be stuck in past (before glam nostalgia was a thing anyway).

Generation Swine is the sound of a band hearing Rammstein and KMFDM once from a muffled speaker and trying their damndest to replicate it (with a hint of alternative metal thrown in for good measure). Drowned in cheap-sounding electronics and effects is Mötley Crüe, the band known for sleaze, blues guitar, propulsive drums, shrill vocals and odes to lewd and crude. In their place come songs to their children, distorted vocals, guitars that are about as close to blues as the Sun is to Pluto and gated drums.

Despite this, there is the odd occasional flash of the Mötley Crüe of old and some personality injected into the music, with tracks like "Generation Swine" and "Is Anybody Out There" trying to own the flag of disaffected youth like in the days of yore; however, this proves to be the exception to the rule. If you were a fan of the Crüe before this then these are the few moments their past is flirted with. For the most part though, this is an album by a band who have a vague idea about a genre and know it could be a ticket to success (spoiler warning: it wouldn't be). As a result, songs like "Flush", "Let Us Prey" and "Confessions" sound bland and generic, with the band creating a facsimile of the style and showing an inability to impress any type of personality into the music as a result, let alone their own.

The album is listenable if only out of bemusement and curiosity; none of it will make you slam down your headphones and swear off of it, but given the sheer volume of good music in the world I can see no other reason as to why you should want to return to this. If you're short on time just stick on "Shout At The Devil '97"; the band conveniently offer up an instant comparison for you that is easily digestible. I would only say, don't be fooled by the track's energy; that is a trait they didn't care to imbue the rest of the album with.

It's rare that a comeback album serves to be the worst offering by a band and the one that ventures furthest from the sound of old; credit to the band not typecasting themselves or trying to repeat their past fortunes, but this is taking that line of credit down the route of bankruptcy. Generation Swine is certainly something, however that thing is not good nor something you would voluntarily return to.

Rating breakdown
Performance: 5
Songwriting: 4
Originality: 5
Production: 6


Written on 07.12.2020 by Just because I don't care doesn't mean I'm not listening.

Guest review by
Some things weren't clear when Vince Neil left The Crue and it is still not clear if Vince Neil decided to go back to Motley Crue or if he was forced to do it by their record company. Anyway, The Crue was working with "Generation Swine" when they decided to fire John Corabi (Neil's replacement) after the poor results they got with their previous album, "Motley Crue". Producer Scott Humphrey, who previously worked with Rob Zombie was hired this time. The Crue really was looking for some kind of sound a la Marilyn Manson, since they also hired his keyboardist, Charlie Clouser. This album was co-produced by Nikki Sixx and Tommy Lee. These guys were impressed by Bob Rock's philosophy, so it was time to use what they had learned.

published 22.06.2008 | Comments (9)

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