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#39159 - 06/07/10 03:21 PM Songs that Kick Your Ass
Michael A.Aquino Offline

Registered: 09/28/08
Posts: 2721
Loc: San Francisco, CA, USA
After all those sad songs, welcome to the Adrenalin Side!

First everyone needs to wake up ...

Song to the Sun, Jefferson Starship

 Originally Posted By: Paul Kantner
When it works best, we become a great churning air machine, capable of moving people to the unknown, of making you cry, laugh, march in silly parades.

Then something slinky ...

Black Velvet, Alannah Myles

and something to take you to the edge:

Si Senor the Hairy Grill, Yello

In the interests of safe and responsible driving:

I Can't Drive 55, Sammy Hagar

And back to the Nam:

Susie Q, Creedence Clearwater Revival

Got your air guitar ready?

Old Time Rock and Roll, Bob Seger

In honor of Jake:

Hot Rod Lincoln, Part 1 & Part 2, Bill Kirchen, Johnny Cash, Dwayne Eddy, Roy Orbison, Johnny Miller, Marty Robbins, Merle Haggard, Flatt & Scruggs, the Ventures, Bo Diddley, Chuck Berry, B.B. King, Elvis, the Beatles, the Stones, the Sex Pistols, and Jimmi Hendrix. [Vut, you ton't believe me? Well, don't take my vord for it - Ask Helga!]

Now down to the beach to worship the Great Surf God Kahuna!

Pipeline, Dick Dale and Stevie Ray Vaughan

As your attorney I advise you to get the hell out of L.A.:

Combination of the Two, Big Brother & the Holding Co.

... perhaps to a quiet place like

Detroit Rock City, KISS

and that's it.

Michael A. Aquino

#39162 - 06/07/10 04:50 PM Re: Songs that Kick Your Ass [Re: Michael A.Aquino]
Dimitri Offline

Registered: 07/13/08
Posts: 3413
I guess it is a good sign of knowing 3/4 of the bands/artists as indicated... Looks like my culture level is high enough.

Songs I think who kick ass include
Dragonforce - through the fire and the flames If only for the badass guitar playing at around 3:20 till 4:30

Another one would be
Alestorm - terror on the high seas formerly known as Battlelore. Yes folks, it's pirate rock/metal. And this song makes me want to sail ships and do dangerous stupid stuff.

A more classic one should also be Chuck Berry - Jhonny B. Goode .
Altough the 80ies version as being used in Back to the future carries a slight preference as being played/sang by Michael J Fox .

However Motley Crue and their song wild side also has this kick-ass touch I like to hear. ( Seeing them live on stage is also quite a show, which I did last year at Dessel during Graspop).

Others would include: Motorhead - Born to raise hell
Dimmu borgir - Progencies of the great apocalypse
and last but not least
Saxon - motorcycle man

Edited by Dimitri (06/07/10 04:56 PM)
Ut vivat, crescat et floreat

#39165 - 06/07/10 06:26 PM Re: Songs that Kick Your Ass [Re: Dimitri]
Jake999 Offline
senior member

Registered: 11/02/08
Posts: 2230
Bir (One) - Mezarkabul (Helps To Know Turkish) BIR

Mr. Pinstripe Suit - Big Bad Voodoo Daddy Mr. Pinstripe Suit

Moonshine Rider - Lucifer's Friend Moonshine Rider

Fire It Up - Black Label Society Fire It Up

Burning Down The House - Talking Heads Burning Down The House

Personal Jesus - Marilyn Manson Personal Jesus

Renegade - Steppenwolf Renegade

Epic - Faith No More Epic
Bury your dead, pick up your weapon and soldier on.

#39169 - 06/07/10 08:35 PM Sixx Sixx Sixx [Re: Dimitri]
Michael A.Aquino Offline

Registered: 09/28/08
Posts: 2721
Loc: San Francisco, CA, USA
 Originally Posted By: Dimitri
However Motley Crue and their song wild side also has this kick-ass touch I like to hear. ( Seeing them live on stage is also quite a show, which I did last year at Dessel during Graspop).

Thereby hangs another strange tail ...

- by Michael A. Aquino VI°, GM.Tr.
Runes Special Edition, January 1986
Order of the Trapezoid

 Originally Posted By: HPL, The Case of Charles Dexter Ward
From that time on the obliteration of Joseph Curwen’s memory became increasingly rigid, extending at last by common consent even to the town records and files of the Gazette. It can be compared in spirit only to the hush that laid on Oscar Wilde’s name for a decade after his disgrace, and in extent only to the fate of that sinful King of Runagur in Lord Dunsany’s tale, whom the gods decided must not only cease to be, but must cease ever to have been.

 Originally Posted By: O'Brien, in George Orwell's 1984
You must stop imagining that posterity will vindicate you, Winston. Posterity will never hear of you. You will be lifted clean out from the stream of history. We shall turn you into gas and pour you into the stratosphere. Nothing will remain of you: not a name in a register, not a memory in a living brain. You will be annihilated in the past as well as in the future. You will never have existed.

In the very first episode of the recently-revived Twilight Zone television series, a man telephoned his home only to find the call being answered by his double - a Doppelgänger (as Goethe called such magical mirror-images). This story of an “ultimate identity crisis” was resolved only when the double finally killed the progressively-more-insane original ... or was it the other way around?

Stories involving doubles created by magic, science, or impersonation have always been fascinatingly shuddersome. Who can forget the Metropolis robotrix, who went on a rampage of apocalyptic destruction while the real girl whose features she had taken lay imprisoned in the Pentagram-emblazoned house of Rotwang the magician? Who was “the Man in the Iron Mask” immortalized in Alexandre Dumas’ tale - said to be a double of the King, and to possess “too much” knowledge of the infamous chambre ardente Satanic orgies whose exposure scandalized the French court?

To many people, one’s appearance and one’s name have a significance beyond mere convention. They are “extensions of the soul”, as it were. To know the true and/or complete name of a god or dæmon was often to have power over him; the mere utterance of the 72-letter name of the Hebrew God - known as the “shemhamforash” - was reputed to destroy the universe if pronounced correctly. An Indian legend says that if the name of Shiva is uttered repeatedly, he will open one of his eyes, again destroying the universe [if YHVH hasn’t trashed it first].

To take away one's name, or to deny him the right to assert it, is thus an act psychologically akin to murder. Without a name, one is merely a piece of animal flesh displacing time and space. With a name, one has identity. In Aldous Huxley’s Brave New World the bewildered humanoids constantly spoke of themselves as “we”; the climax of the story came when one bold soul struggled upward through the mists of this confusion and began to speak of himself as “I”. “To be or not to be: that is the question,” said Shakespeare’s Hamlet - as indeed it is.

A year ago another young man was fitted for an “iron mask” - rather a different type of heavy metal than that to which he had previously been accustomed. His name is Matthew Trippe, but he is better known to rock music enthusiasts as Nikki Sixx, co-founder, composer, and bass guitarist for Mötley Crüe.

Who or what is Mötley Crüe? The most controversial, if not notorious branch of rock music is “heavy metal”, known for music, costumes and lyrics which espouse Frazetta-like fantasy, intense sexuality, and an exultant, emotional, neo-barbarian life-style. While its roots can be traced back to such groups as the 1960s’ Iron Butterfly and Alice Cooper, contemporary heavy metal might be said to have come of age with the band KISS, whose musicians invariably appeared in exotic black/silver costumes and face-paint. KISS concerts went beyond mere musical recitals; they were orgies of fireworks, hydraulic stages, hyperamplified sonics, and general audience hysteria unequalled for spectacle since Adolf Hitler’s Nürnberg rallies of the 1930s. Bat-winged Gene Simmons, famed for his fire-breathing and prehensile tongue, would taunt the audience for not screaming loud enough: “You know you can do better than that - I want to see you bring the roof down!” - in answer to which there would erupt a feral roar that would come pretty close to doing just that.

Why heavy metal at all? The answer is not at all difficult to see. This is not the secure l950s, when the world was America’s backyard to work or play in; nor the 1960s, when - secure in our virtue - we set forth from Camelot to slay the dragon of monolithic communism; nor the 1970s, when we immersed ourselves in nostalgia, back-biting, and escapist fantasies.

These are the 1980s, when all of our comforting illusions have been shattered, and when Americans of all ages find themselves surrounded by depressing and dehumanizing realities which they shrink from confronting. We thought we had conquered racism, only to find that tensions are higher and more destructive than ever. Neighborhoods once secure are now fortified with steel bars, alarms, firearms. We are dismayed to see that America, far from being the world's savior, is intensely hated by many people who consider it as the “great evil”. Commercially we are increasingly despised by those who consider us merely a spoiled consumer economy, ripe for the plucking - and the most profitable destination for heroin, cocaine, and angel dust. Even the beautiful governmental temples of Washington, D.C. are blighted by ugly concrete barricades against terrorists. Commercial successes still occur, but are increasingly characterized by a “yuppie” ethic that views the dollar not just as the supreme god - but as the only god.

In this “arid wilderness of steel and stone” it is not surprising that the spirit of Moloch prevails. It is a time for witch-hunts and scapegoats. Elder America scrabbles for solace in “moral majority” religious fundamentalism, but younger America - having been brought up in a de facto materialist environment, is not so easily coaxed into a primitive religious stupor. Rather it responds with passionate frustration at being so near to a technological paradise, yet ever denied it by the inexorable decay of the social and moral fabric so necessary to support it. Heavy metal, like the torchlight pageants of Nazi Germany, is an explosion of fury - fury at being hemmed in by the problem and seeing no rational solution to it - of creativity prevented from creating - of idealism without meaningful ideals. [“Yes!” thundered Hitler, “we are barbarians!”]

Under the cruel and jagged armor of heavy metal, therefore, one frequently finds a surprisingly rich outpouring of artistic, poetic, and musical talent - which in turn explains the seductive appeal of this type of music to a wide range of audiences. One does not go to a heavy metal concert to lighten one's heart, but rather to drive oneself to heights of raw emotional frenzy, followed by a dizzying descent into emotional exhaustion. Thus are the grinding frustrations of reality at least momentarily bludgeoned into the background.

By the early 1980s a number of heavy metal bands had begun to appear on the scene, and the race was on to see which could be the most outrageous. Twenty years ago we used to think that the Fugs, the Stones, the Fish, and the Mothers of Invention were just about as raunchy as you could get, but now they appeared as models of drawing-room decorum next to metalloids who looked and sounded rather like the beast-men from the island of Dr. Moreau. Of these, one of the most bizarre was Mötley Crüe. Formed in January 1981 by Matthew “Nikki Sixx” Trippe together with Mick “Mars” Reese, Tommy “Lee” Bass, and Vince “Neil” Wharton, the Crüe was signed by Elektra/Asylum Records in mid-1982 and went on to become one of the flagships of the heavy metal fleet after the 1983-84 smash success of its second album, Shout at the Devil.

Middle America - still dominated largely by the generation who thought Elvis’ hip-movements too shocking for television - reacted to heavy metal with increasingly hysterical alarm and indignation. Writing in the New York Times earlier this year, columnist William Safire praised the U.S. Senate’s hearings & citizens’-group efforts to censor or suppress heavy metal. “What’s to be done about sex-violence, sado-masochism, and Satanism being sold to youngsters?” he fumed. “I am a libertarian when it comes to the actions of consenting adults. With complete consistency, I am anti-libertarian when it comes to minors. Kids get special protections in law and deserve protection from porn-rock profiteers.”

Allegations that serial murders and teenaged “Satanic” gangs were inspired by heavy metal music fueled calls for censorship-ratings in music similar to those applied to pornographic & violent films, and Mötley Crüe - as Mick Mars later told me - appeared to be careening straight for an “X”.

In mid-1984 the build-up of such public pressure resulted in a decision by Mötley Crüe’s management to sanitize the band. The leather, chains, flames, and Satanic insignia of Shout at the Devil gave way to circus-clown attire - pastels, polka-dots, and garter-belts - on the cover of Theatre of Pain, Crüe's third album, released earlier this year. Composer Nikki Sixx, whose Satanic lyrics had already been censored on the second album [even to its title, which was originally Shout With the Devil], was warned that he was the main cause of the Crüe’s Satanic image and instructed to deny it publicly.

There was, however, a problem: Nikki Sixx happened to believe in the Satanism he espoused in the songs he wrote, and he didn’t want to be “sanitized”. What to do? On April 1 road manager Richard Fisher told Sixx that he would be replaced upon the expiration of his contract that year. It is entirely possible that, at that time, it was contemplated that Sixx’ departure from the band later in the year would be openly acknowledged and a replacement just as openly added to the group. But now events took a turn which would ultimately result in a maze of intrigue, deception, and cover-ups to rival Watergate itself.

“In April we had just gotten off tour with Ozzy [Osbourne],” recounts Sixx, “and the band members decided to go our separate ways for a couple of weeks. I chose to go and stay with Jeff Rogers, whom I had met in Naples, Florida while doing a publicity stunt in February. On June 1 Jeff and I were invited to a party by a friend of his named John Spears. We got there at 8:30 PM and got stoned. At 10 PM Jeff and John asked me if they could use my car to get some more beer ...”

Sixx refused, but said he would drive them. Directed to the Pavilion shopping center in north Naples, he parked the car and strolled into a movie theater to visit the manager, whom he remembered from a previous publicity engagement, while the others headed for the row of shops. Leaving the theater, Sixx walked back towards his car, then noticed a man walking out of a bookstore in front of him.

“Out of nowhere I saw John catch up to him, and by the reflection of the light I saw a knife, which John put up against his throat. I panicked and ducked down behind a car. John ran to my car and called, ‘Come on, Nikki!’ I stood up and looked at Sam [Weiss, the bookstore owner], who saw me. Then I ran, jumped in my car, and sped off.”

At first it seemed that there would be no aftermath to the incident. On June 22 Sixx returned to work with the band, making a series of publicity appearances in Arkansas, Tennessee, North Carolina, West Virginia, and Pennsylvania to promote Shout at the Devil. Unknown to him, a second robbery had since been committed - this time using a rifle owned by Sixx. In Erie, Pennsylvania on August 28th, Sixx was arrested by two policemen who showed him a warrant for his arrest on the charge of armed robbery.

“I waived extradition and was returned to Florida. I spent 39 days in seclusion. Then our record company put up the $50,000 bond so that I could work on our latest album, Theatre of Pain.” He returned to Los Angeles for recording sessions from November 27 to December 21, 1984 - after which he helped make the video for the song “Smokin’ in the Boys Room” from Theatre.

On December 8 disaster struck. Lead singer Vince Neil’s sports car went out of control in Redondo Beach, California, resulting in Neil’s arrest for vehicular manslaughter and drunk driving. Intensive efforts were made to overcome the adverse publicity of this incident, to include dedication of Theatre of Pain to Nicholas Dingley (killed in the crash) and a message on the jacket exhorting fans not to drink and drive. While fans’ attention was focused on Neil’s tribulations in Los Angeles, however, another drama was taking place - unnoticed - in Florida.

Nikki Sixx’ trial was scheduled for December 27, and after finishing Theatre he and Mick Mars drove to Florida in Mars’ Lamborghini (which Sixx had decided to buy). December 27 came and went; Sixx could not bring himself to appear and had jumped bail. Four days later, shortly after midnight on New Year’s Day, Sixx and Mars took the Lamborghini out for a spin, whereupon there followed an episode straight out of Smokey and the Bandit. Recalls Sixx:

“The speeding ticket was quite a laugh. I was moving at 102 down U.S. #41 when I passed a Highway Patrol car. He put his siren and lights on, and caught up with me. When he was about 50 feet behind me, I floored it. Then I had to make a turn. I slowed down to 130 and spun the car to make it turn around 1-1/2 times. Then I had an 8-mile straightway. I floored it again, going past 170. In a little over a minute I saw a massive road-block and slammed on the brakes. One thing I learned is that you can't outrun a radio!”

Sixx received a ticket for (a) 189 mph in a 45 zone [which means the entire 8-mile stretch in under two minutes!], (b) speed too fast for conditions, (c) ran stop sign, (d) willful & wanton reckless driving, (e) ran red light, (f) driving on wrong side of road, (g) improper change of lane or course, (h) careless driving, (i) improper passing, and (j) improper turn. [“How,” I later asked him, “does one make a proper turn at 189 mph?”]

For these transgressions Sixx was slapped with a $750 fine by Judge Anderson the following day; he recalls that passenger Mars - who had been rather vocal in his annoyance at the arrest - was hit for twice that amount. Little did Sixx realize, however, how important that traffic ticket would be in the months to come.

Sixx’ failure to appear in court on the armed robbery charge had apparently not filtered down through the police bureaucracy by January 2, so he and Mars were able to pay their fines and go. Sixx headed for Erie, Pennsylvania where his ex-personal manager resided. “She hid me until March 4th, when I was caught and taken to the ‘Erie county prison’. I fought extradition for three more months, but on June 28th was finally taken back to Florida’s Collier County Jail.”

Meanwhile Mötley Crüe was on tour. Nikki Sixx’ replacement, however, was not appearing under his own name of Frankie Ferraro; rather he was appearing as ... Nikki Sixx!

How could such an impersonation succeed? It is not as difficult as it might seem. Sixx had always appeared in exotic war-paint and with a shaggy head of hair. On neither of Mötley Crüe's first two albums is there a close-up photo of him in which all of his features are clearly visible, and on Theatre of Pain the lower half of “Nikki Sixx”’ face is covered in both photos, so that the difference between his jawline and that of the real Sixx cannot be seen. As bass guitarist and background vocalist, Sixx is not as instantly recognizable to live audiences as, say, lead singer Neil or lead guitarist Mars. Ferraro’s eyes are blue while Sixx’ are green, but rock-concert audiences are not usually fine-tuned to such details - particularly when they are not alerted to the fact that an impersonation is taking place.

So all through the spring and summer, while thousands of Mötley Crüe fans were applauding the imitation “Nikki Sixx”, the real one remained locked up in the Collier County Jail. In July he spoke to Elektra’s New York office, which assured him that he could still write music for the Crüe, and that he would continue to receive royalties for the band’s performance of his songs. [“Did you ever see any of that royalty money?” I later asked him. He responded, “Not a cent.”]

At the end of October, still sincere in his personal commitment to the Prince of Darkness, he wrote to the Temple of Set, identifying himself and applying for admission. Since it seemed a bit odd for a rock star to be buried in a Florida jail, we called Elektra Records’ Los Angeles and New York offices. We were informed by both that the real Nikki Sixx was on tour, and that this Matthew Trippe fellow was simply an imposter who should be ignored. I wrote back to the Man in the Iron Mask, asking for some evidence. Along came a series of letters crammed with anecdotes about the band, song lyrics [some “un-censored” from the sanitized versions on the albums], mail from fans, and - the Lamborghini traffic ticket [showing Sixx’ name as driver of the car and Mick Mars as its registered owner].

Sixx’ application to enter the Temple of Set was reviewed by the Council of Nine at the Temple’s Conclave in Las Vegas at the end of October. On one hand there was sympathy for an avowed Satanist, particularly one who had stuck to his guns under such adverse conditions. On the other hand it seemed inadvisable to admit someone under indictment for armed robbery, bail-jumping, and Smokey-and-the-Bandit car-chases at precisely the moment when Satanism was being pilloried in the media for heavy metal horror and criminal activity. Ultimately it was agreed that admissions to the Temple should be based solely on the sincerity and capability of the aspirant, whether or not it might be convenient for the Temple in terms of public relations. Nikki Sixx was admitted as a Setian I° on Halloween.

His ordeal in Florida, however, was only just beginning. Present in the audience at his trial on August 13, he recalls, were Mötley Crüe producer Tom Werman, director Daniel “Doc” McGhee, Ozzy Osbourne, and Brian Johnson [of the band AC/DC]. Sixx did not have an attorney and was assigned public defender David Mourik, who told him that the prosecution had an ironclad case and advised him to plead “no contest”.

Trusting Mourik’s advice, Sixx did so and was returned to jail - for another three months - to await sentencing. In early November he was sentenced to pay a fine, six months’ probation, and 2 years’ community control (a form of house arrest, which would restrict him to Florida). Since the bookstore owner had testified that the robbery had occurred in order to support drug habits, Sixx said, he was also ordered to attend a drug rehabilitation program.

What he did not yet know was that the establishment in question turned out to incorporate intensive Christian-fundamentalist religious programming as well. The community control and drug-rehabilitation sentence seemed odd to Sixx, who did not have a drug habit [nor, as a successful rock musician with a sizable income, would he need to rob a bookstore in order to support one]. And that wasn't the trial’s only surprise, as he wrote to me:

“This is weird. The dude who planned it was found ‘Not Guilty’. He’s the one who robbed the man. Jeff was in the car and got 3-1/2 years. I was blamed as the mastermind and I got 2-6 months. Strange as hell!”

But anything, even a drug program, seemed better than the Collier County Jail, so Sixx reported to the “New Life Center” of Fern House, Inc. in West Palm Beach. His initial joy at being out of jail [“Beds - real beds! - TV, couches, pop & candy machines!”] soon changed to apprehension when he began to realize what he had walked into. “It’s a church of God, and they preach that you should accept God in your Will. Screw them! All you really need is faith in yourself. They’re the types that want one to ask for forgiveness and to be ‘Born Again’. These people are brainwashed. Rules here are strict: No playing rock music or wearing T-shirts that invoke the Devil.” And:

They cut my hair! And I mean it is short. They cut all the black off and left me with only short brown hair, and then denied me the right to dye it, saying: ‘It is the work of the Devil.’”

A short haircut could perhaps be survived, if not enjoyed - but other, more ominous developments began to be communicated by Sixx via phone calls during the following weeks: He was forbidden to communicate with friends from his “former life”. He was forbidden to go into a music store. Mail addressed to him was intercepted, confiscated, and/or destroyed. Even his guitar was confiscated. Verbal abuse and intimidation by the staff became a daily routine. Even his telephone calls to me were cut short abruptly by the staff after one or two minutes. It seemed that a systematic effort was underway, first to cut off all of Sixx’ contact with anyone who had known him as the insidious heavy metal Satanist, and then to work on him psychologically until he had completely lost his identity and could be re-programmed into a good little Born-Again Christian.

Increasingly concerned over Sixx’ plight, I asked Tom Traxinger, the Court Counselor who had assigned Sixx to Fern House, to investigate. He did so - with the result that, after his query had been fielded, Sixx called to say that he had been promptly hauled before one of the program directors, told that he would now be permanently restricted to the premises, that his phone calls would henceforth be restricted as well, and that the slightest infraction would result in his immediate return to jail. He was told that the the Temple of Set is “a sick, crazed cult” with which he should have nothing more to do.

At this news I wrote to the head of Fern House, promising public exposure of the treatment Sixx was receiving unless his human and civil rights were immediately and meticulously respected. The result was (a) a phone call from the program director saying that he “didn’t take lightly to threats”, and (b) Nikki Sixx being dumped at the West Palm Beach bus station at 8 PM with $2 in his pocket and a warning that he had until 1 PM the following day to report to his probation officer - 200 miles away in Naples!

Sixx called Temple of Set Priest Roger Whitaker from the bus station, and Whitaker offered to wire him funds for transportation. Sixx, however, was able to obtain emergency travel funds from Mötley Crüe’s Tommy Lee and complete the journey in time.

Lodged with friends in Naples, Sixx thought his troubles at an end. He began to speak about forming a new band, of returning to his musical career.

It seems that the vested interests behind Mötley Crüe thought otherwise. With one Nikki Sixx safely out of circulation in jail or a religious-deprogramming/drug-rehabilitation program, the other Sixx could continue to perform with the band until fans had grown completely accustomed to him. But the house of cards was beginning to tremble. Sixx’ ex-manager told him that Elektra was beginning to receive mail and phone calls from confused fans voicing suspicion about Ferraro. Sixx added that he was called by Doc McGhee, who said that if he continued to assert his identity, the company would prosecute him for fraud and see that he was returned to jail.

Then Sixx’ ex-manager called the family with whom he was staying, warning them that he was schizophrenic and quite possibly a physical danger to them. She phoned Priest Whitaker, first saying that she was just a housewife who had never worked as Sixx’ manager, then relaying the same warnings about prosecution of Sixx should he refuse to cooperate in the Ferraro representation. Priest Whitaker recommended an attorney to aid Sixx in a legal claim for his name, musical accomplishments, and royalties. Sixx responded that Gene Simmons of KISS had advised him against confronting Elektra until he had first made his plight known to his many fans and rallied popular support behind him.

So the Man in the Iron Mask remains today in Naples, Florida on probation and under “community control”, while the other “Nikki Sixx” works on a fourth album with the other three members of Mötley Crüe. Through the kind interest of Paul Kantner, he has been referred to a skilled attorney specializing in the music business, who hopefully will see fit to take his case.

What exactly is going on here? Part of the answer comes from Adept Demon O’Brien, who reports from contacts in the music business that, due to the Neil disaster and the whopping $2 million fine it entailed, Mötley Crüe is in dire financial straits. One speculates that corporate interests advanced this sum on condition that the group adhere to puritan standards of personal behavior henceforth, the idea being that the Crüe was still a good bet as a money-maker but that any more adverse publicity could destroy it permanently.

If it were ever contemplated in 1984 that Sixx’ armed-robbery charge could be survived, that option probably went out the window at the end of the year when the Neil accident occurred.

It does seem peculiar that Sixx, who just drove the robber to his destination, not knowing that a robbery would occur, would be advised to plead “no contest” to an armed robbery felony charge and be found guilty - while the actual perpetrator was found “not guilty”. It also seems peculiar that the executives behind Mötley Crüe would not have provided Sixx with privately-retained legal counsel to fight for his innocence.

Then there is the nature of Sixx' sentence, which appears tailor-made to keep him (a) stuck in Florida and (b) out of circulation in “community control” (house arrest) preceded by a “religious deprogramming” operation which, if it had been allowed to control Sixx totally without external attention, might have succeeded in destroying or seriously damaging his unique artistic and Satanic personality.

If Sixx had received his just due “behind the scenes”, with Elektra sending him regular royalties for his musical work, it could at least be assumed that the best was being made of a situation which, if known publicly, might have resulted in the total ruin of the band. However the attempt to “erase” Sixx seems to have extended into monetary matters as well. Sixx states that he has seen no money from Warner's/Elektra at all since the beginning of 1985, and that checks from them in late 1984 were in the form of intermittent “pocket money” payments. On calling Elektra in New York in mid-85, he was told to “be patient”, and later that his earnings were being placed in an “escrow account”. He says that Mick Mars alerted him to the odd fact that the Florida state envelope containing the letter about this escrow account was actually postmarked in Los Angeles.

So it looks as though a deliberate decision were made to disconnect Matthew Trippe from his identity as Nikki Sixx, both publicly and - insofar as possible - psychologically. It is not known exactly who made such a decision. Whether or not the other three original members of Mötley Crüe anticipated the ordeal Sixx would endure as a consequence, the longer the Ferraro impersonation persisted, the more they were trapped into continuing with it. Even Ferraro himself, whether or not he believed the persona a temporary stand-in, is now stuck in the character - which, in the long run, will probably prove as unfortunate for him as for Sixx - if, no matter how talented he may be, he is impersonating another. Mars and Lee, at least, seem to have enough concern and affection for their old friend that they have stayed in occasional touch with him and on at least one occasion helped him with funds.
To merely expose the situation before the public eye might do damage that would help no one. Any corporate backers would promptly write off Mötley Crüe as a loss. Mars, Lee, and Neil would be disgraced for appearing to have cooperated in the abandonment and suppression of their old comrade. Ferraro would appear to have exploited Sixx’ misfortunes, to have deceived Sixx fans, and to be insufficiently talented to have succeeded on his own. And the real Nikki Sixx, after receiving an initial burst of publicity and sympathy, would remain saddled with a felony conviction and denied any royalties deserved from Warners/Elektra.

A better solution might be for an out-of-court, private settlement to secure for Sixx the past/present/future royalties he deserves, as well as the right to publicly assert the name Nikki Sixx as soon as the probation/community control is lifted. Alexandre Dumas’ story suggests a magically-appropriate end to the whole story, wherein - by advance agreement - Ferraro slips quietly out of the Nikki Sixx role and the real one just as quietly slips back into it!

A move should also be made to throw out the felony conviction, if in fact Sixx were not a knowing participant in the robbery and did nothing more than drive the perpetrators to the scene, then flee it in panic. He could presumably be criticized for poor taste in choosing friends, and penalized for fleeing the scene of a crime with the perpetrator - but that is a far cry from a felony conviction for armed robbery on his record, which will haunt and cripple him throughout his life.

Like Milton's Satan, Nikki Sixx attained great heights only to fall to the lowest depths. The issue is now whether, also like Satan, he will be able to rise again to a greater dignity than before: a dignity born of the ordeals he has undergone and survived - loss of fame, wealth, freedom, the near-loss of his very personality and name. If teenaged fans once cheered him as a symbol of adolescent Sturm und Drang, people of all ages may now cheer him as one of those very uncommon, very noble individuals who would risk all, endure all - rather than refuse to Be.


The British rock magazine Kerrang! subsequently ran a feature article concerning the Sixx-identity question, and the Mötley Crüe band/management continued to deny Trippe’s claims. The Internet website “Chronological Crüe” states here:

 Originally Posted By: CC
Matthew John Trippe claimed Mötley Crüe’s managers Doc McGhee and Doug Thaler decided to bring him in as a new Nikki Sixx, after he was unable to continue after a serious car crash in mid ’83. In January 1988 he filed a lawsuit against McGhee Enterprises, Inc. citing civil theft and other relief, claiming royalties that were never paid for songs he said he wrote. These included "Danger", "Knock ’Em Dead Kid", "Girls Girls Girls", "You’re All I Need", "Dancing on Glass", and "Wild Side". Mötley Crüe demoed a song called "Say Yeah" about Trippe in March 1989 for their #1 album Dr. Feelgood. On the 10th December 1993, Matthew Trippe finally dropped his lawsuit.

On the 25th August 1998, Chronological Crüe caught up with his former band member Roger Hemond, to gain this interesting insight into the Nikki Sixx impostor Matthew Trippe.

CC: What was the deal with his suit against Mötley? It was all a scam right?

RH: He could at times be very convincing and to this day, I don’t know whether or not anything he said was true. I have seen copyright forms processed by the Library of Congress that had every member of Mötley Crüe’s full real name, aka name, and social security number, with the exception of Nikki Sixx. All it said was Nikki Sixx and gave a social security number, which I swear to God was the same number on Matthew John Trippe’s social security card which I was holding in my other hand. I’ll tell you one thing, if I were going to try to pull what Matt alleges Thayer/McGhee did, I would probably pick someone a lot like Matt to do it with, because nobody would believe him completely - he was a lunatic! A variety of photos seemed to show differences in facial features through those years for Nikki Sixx. That could be attributed to any number of things though, I guess. Matt was at the time that I knew him, a member of the Temple of Set, which is a pretty exclusive organization. I find it a little strange that they would allow some weird-guy-nobody with no money to be a member, but I guess it could happen.

CC: What about his Nikki Sixx tattoos then?

RH: He had all of the tatts through the Theatre of Pain years. They were not cheaply done and there were several. He had a wife, a brand new baby boy, and no money - so I have no idea how he would have paid for them.

CC: So this is perhaps a case for Mulder & Scully [from the X-Files] in your mind then?

RH: He looked a lot like Nikki Sixx. Maybe a little heavier but the facial features were very similar. There are some things that leave considerable doubt as well, like the fact that he didn't ‘remember’ some of the music he had written. He was not a virtuoso bassist! But weirder shit has happened in this country by far.
Michael A. Aquino

#39177 - 06/07/10 10:25 PM Re: Songs that Kick Your Ass [Re: Michael A.Aquino]

Okay here are my top choices for kick-ass songs as of now.

There are plenty which could have been included on the list

• Born to Run – Bruce Springsteen (Quite possibly my favourite song and album. Great stuff.)

• Streets of Fire – Bruce Springsteen (intense piece of music – one of the most powerful guitar solos I have ever heard)

• Jumpin Jack Flash – The Rolling Stones (I love the goddamn Stones. This is a good one.)

• Johnny B. Goode – Chuck Berry

• I Fought the Law – The Clash version (Perfect song. Up there as one of my favourites. Best rock drumming ever.)

• Let There be Rock – AC/DC (Great song with a stupid film clip that I love featuring a toothless Angus wearing robes and a halo)

• Whole Lotta Rosie – AC/DC

• High Voltage – AC/DC (silly song – a real favourite)

• Baba O’Riley – The Who (Love the original Who line-up. Love Moon and Townsend

• Won’t Get Fooled Again – The Who

• Layla – Derek (Eric) and the D’s – (most powerful love song ever)

• Bow River – Cold Chisel (an uncompromising song)

• Letter to Alan – Cold Chisel (uncompromising song again

#39183 - 06/08/10 09:35 AM Re: Songs that Kick Your Ass [Re: ]
TV is God Moderator Offline

Registered: 08/11/08
Posts: 273
Loc: The Cornhole
I'm a sucker for classic metal riffs. Black Sabbath's Symptom of the Universe just gets me going.

HELTER SKELTER! To my knowledge the oldest "metal" sounding song recorded and still one of the greatest.

Cock victory from noise pioneers Hanatarash is a favorite. Once you're past the intro of the distorted voice and high feedback it goes into a most beautiful pairing of melody and noise. This is my idea of a party song (hence why I tend to hold parties of one)

HAMMER SMASHED FACE! So over the top cheezy and stupid in that perfect Cannibal Corpse way.

Mr.Bungle's Goodbye Sober Day always gets me going. I've always thought of Mr. Bungle to be a test of whether someone really likes music or just think they do. (They don't have to like it. They just have to get it)

I'd also suggest anyone to give Melt Banana a go. Screechy noise-rock guitar and high pitched japanese girl vocals all shoved into a heavy hardcore structure. Either you love it or you hate it. I saw them live a little while back and it was fucking amazing. Definitely a heart rate booster.

#39194 - 06/08/10 03:20 PM Re: Songs that Kick Your Ass [Re: Michael A.Aquino]
Fnord Offline
senior member

Registered: 01/11/10
Posts: 2092
Loc: Texas
Songs that kick my ass eh? OK.

First, in my world, that sort of lucid dream/yet semi awake stage between resetting the alarm clock is best represented by Frank Marino's Strange Dreams.

Later, head to the shower with the Talking Heads.

For a little inspiration to power through the day I'll often turn to Molly Hatchet, or Black Sabbath, or the Mighty Met, or I may attempt to gather the wind though I know it won't help me fly at all. When going down that road doesn't work, I tend to start looking backward for my ass-kicking.

Being that I'm a gentleman of the silver pated variety, my tastes tend to mellow as the sun descends. Most of what I listen to though has fire of one sort or another running through it.

More later, perhaps.
From the ashes arisen

#39334 - 06/15/10 03:57 AM Re: Songs that Kick Your Ass [Re: Fnord]
Knievel74 Offline

Registered: 05/18/10
Posts: 149
Loc: NY
Ok. Here we go:

Promised Land - Elvis Presley (written by C. Berry)
Saturday Night's Alright For Fightin' - Elton John
I Stand Alone - Godsmack
Travelin' Band - Creedence Clearwater Revival
Bad Boy Boogie - AC/DC
Eastbound And Down - Jerry Reed
Panama - Van Halen
The Boys Are Back in Town - Thin Lizzy
Barracuda - Heart
Give It To Me Baby - Rick James

Those are just a few

...and any song by KISS
"Man was meant to live, not just to exist". - Evel Knievel

#39335 - 06/15/10 05:04 AM Re: Songs that Kick Your Ass [Re: Knievel74]
Jake999 Offline
senior member

Registered: 11/02/08
Posts: 2230
Looks like a Dark Ryde listener in the making! \:\) Some good choices fer sure.
Bury your dead, pick up your weapon and soldier on.

#83149 - 12/12/13 02:07 PM Re: Sixx Sixx Sixx [Re: Michael A.Aquino]
Conchis Offline

Registered: 12/16/11
Posts: 207
Loc: us
 Originally Posted By: Michael A.Aquino

Sixx called Temple of Set Priest Roger Whitaker from the bus station, and Whitaker offered to wire him funds for transportation. Sixx, however, was able to obtain emergency travel funds from Mötley Crüe’s Tommy Lee and complete the journey in time.

Lodged with friends in Naples, Sixx thought his troubles at an end. He began to speak about forming a new band, of returning to his musical career.

It seems that the vested interests behind Mötley Crüe thought otherwise. With one Nikki Sixx safely out of circulation in jail or a religious-deprogramming/drug-rehabilitation program, the other Sixx could continue to perform with the band until fans had grown completely accustomed to him. But the house of cards was beginning to tremble. Sixx’ ex-manager told him that Elektra was beginning to receive mail and phone calls from confused fans voicing suspicion about Ferraro. Sixx added that he was called by Doc McGhee, who said that if he continued to assert his identity, the company would prosecute him for fraud and see that he was returned to jail.

Then Sixx’ ex-manager called the family with whom he was staying, warning them that he was schizophrenic and quite possibly a physical danger to them. She phoned Priest Whitaker, first saying that she was just a housewife who had never worked as Sixx’ manager, then relaying the same warnings about prosecution of Sixx should he refuse to cooperate in the Ferraro representation. Priest Whitaker recommended an attorney to aid Sixx in a legal claim for his name, musical accomplishments, and royalties. Sixx responded that Gene Simmons of KISS had advised him against confronting Elektra until he had first made his plight known to his many fans and rallied popular support behind him.

What a cool piece of history! My father had mentioned to me that he had dealt with Nikki Sixx while in the TOS. I'm glad to have found this, its interesting to read one of the stories my dad told me from a different point of view. This is definitely going in my collection of odd family history.

#83369 - 12/16/13 12:07 PM Re: Songs that Kick Your Ass [Re: Michael A.Aquino]
Aciel Offline

Registered: 11/14/13
Posts: 130
Social Distortion.Here is one of my favorite albums, too many good songs to just post one.
And here is good ol Buddy Guy, still kickin ass.

#83371 - 12/16/13 03:57 PM Re: Songs that Kick Your Ass [Re: Aciel]
antikarmatomic Offline

Registered: 09/22/13
Posts: 3208
Loc: El Mundo
I'm more partial to their Mommy's Little Monster album, probably because its what I grew up with (circa GBH, Circle Jerks, Black Flag) - it has more to do with nostalgia than anything else I reckon.

I sorta had to say "what the hell is this crap?" when "I was wrong" hit the air-waves here in the states a few years ago, but this album you posted here is, admittedly, not bad at all - though it seems to have a sorta Buck-Cherry vibe to it... which in the right mood is indulgently diggable.

Edited by antikarmatomic (12/16/13 04:00 PM)
Angelic harlequins and sinister clowns.

#83372 - 12/16/13 04:37 PM Re: Songs that Kick Your Ass [Re: antikarmatomic]
antikarmatomic Offline

Registered: 09/22/13
Posts: 3208
Loc: El Mundo
To contribute, notwithstanding all the odd-ball things I've mentioned on a similar thread Ronald Jenkees... straight up nasty and the antithesis of pretentiousness right there \:D

Edited by antikarmatomic (12/16/13 04:40 PM)
Angelic harlequins and sinister clowns.

#83411 - 12/18/13 12:20 AM Re: Songs that Kick Your Ass [Re: antikarmatomic]
Zach_Black Offline

Registered: 05/14/11
Posts: 546
Loc: San Diego, California
I gotta go with these gems.

KMFDM - Meglomaniac - Juke Joint Jezebel

Bad Religion




The Offspring

The Cramps

Rolling Stones

Sister of Mercy

Dead Kennedy's



The Misfits

Social Distortion

#83415 - 12/18/13 05:56 AM Re: Songs that Kick Your Ass [Re: Zach_Black]
Le Deluge Offline
senior member

Registered: 08/05/12
Posts: 1790
The Cramps are a given. Live? I'd love to see someone top Lux.


The Insaints

Sisters of Mercy

Jesus and Mary Chain (now more than ever)

The Damned (same)

Nicki jaine

Scarring Party

Murderdolls (Or anything with Wednesday 13)


The Germs

Misfits (With Danzig)

I could go on and on. Anything from classical to p-rock can kick it.
Apres Moi ... Le Deluge

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