Vince Neil Albums (3)
'Live at the Whisky: One Night Only'
Release Date 5/27/2003
Tracks 12
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See Album Tracklist and Review
What The Critics Say
Vince Neil at the Whisky. It may not be the Beatles at the Star Club -- or even Otis Redding at the Whisky -- but it has weight, a sense of history, and purpose. The Whisky was one of Mötley Crüe's mainstays, so when the singer returns for a show and a souvenir live album years later, it should be an event. It's not. It's an oldies show, a Crüe revue performed by the man himself. Even Vince Neil knows that nobody comes to see him to hear his solo songs. He knocks out "Look in Her Eyes" (remember that? The first tune on his first solo record) early in the show, devoting himself to the Nikki Sixx songbook for the rest of the record, hitting most of the big tunes: "Kick Start My Heart," "Home Sweet Home," "Looks That Kill," and "Dr. Feelgood," among them, of course, along with the de rigeur cover of Brownsville Station's "Smokin' in the Boysroom." Though there are some songs that are firmly for the die-hard fans -- fan favorites and album tracks like "Knock 'Em Dead, Kid" are revived -- this still plays like an oldies show with all the schtick that entails, including a flirtation with medleys, as he has "Girls Girls Girls" slide into "Same Ol' Situation." Neil sometimes is in thin voice, stretching the limits of his upper register, and, on record at least, his exhortations to the crowd get tedious, particularly since they're just variations on "make some noise" and "get your hands up," usually punctuated with some conjugation of "f*ck" (although "get your drunken hands up" on "Dr. Feelgood" is a nice turnabout on an old favorite). All in all, it's perfectly respectable and not a bad listen (something that can't honestly be said about Neil's other solo efforts), but it's a nostalgia-fest -- Vince is dedicated to keeping his music alive, and he's doing a good job with it, but you gotta believe like he does to have Live at the Whisky: One Night Only work for you. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
By the time Vince Neil got around to releasing his second solo album, the good-time, sleazy glam-metal of the '80s had transformed into a dark, dour grind in the '90s. His debut record, Exposed, didn't acknowledge the change, and it didn't perform very well. Carved in Stone does try to keep up to date, much like the eponymous effort from his former band, Motley Crue. Like that album, Carved in Stone is massively flawed. Experimenting with hip-hop and industrial beats, as well as found sounds and samples, Neil has created a record that appeals neither to an imaginary new audience nor to his old fans. The album has its moments, which all occur when he sticks to his tried-and-true three-chord sleaze-metal, but the album is by and large a failure. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Vince Neil's solo debut is a glittering hunk of 1980s hair metal space junk, crash-landed smack dab and smoking in the town square of 1993 alternative city. With crack hired gun Steve Stevens along for the ride, Neil runs through a gloriously anachronistic set of athletic, Mötley-lite rockers, thumbing his nose at the flannel and hair grease revolution with his gaggle of strutting Aqua Netted vest guys (pictured on the back cover in full-on preen). It's unclear just what Neil is exposing with this album, since its lyrics mostly just extend the sexual conquests ("You're Invited (But Your Friend Can't Come)") and concurrent never-say-die/gonna-die-young ethos ("Can't Have Your Cake") espoused by his old band. Exposed does wind down a bit after its revved up open, offering the dull "Can't Change Me." While the LP's florescent riffing and histrionic vocal exercises prove Neil isn't lying, "Change" is still a leaden attempt at rebel-on-the-road oath uttering. For evidence of risk-taking or stylistic shift, it's a better idea to look to "Living Is a Luxury." While it's crammed with awesome Flying V wankery from Stevens, it also features a jazz guitar solo and some synth overdubs during its extended outro. Neil's not actually singing during this interlude, but the attempt at atmosphere is admirable. Nevertheless, Exposed is best when it's happily keeping hair metal aloft. As the unsuccessful hip-hop and industrial flirtations of Neil's sophomore solo effort would prove, outmoded metal is best left to relive its glory days without worrying about the new model that will inevitably replace it. In the end, this is exactly what Neil exposes. ~ Johnny Loftus, All Music Guide
