Mötley Crüe – Shout At The Devil
Tracklist
| A1 | In The Beginning | 1:13 | |
| A2 | Shout At The Devil | 3:16 | |
| A3 | Looks That Kill | 4:07 | |
| A4 | Bastard | 2:54 | |
| A5 | God Bless The Children Of The Beast | 1:33 | |
| A6 | Helter Skelter | 3:09 | |
| B1 | Red Hot | 2:20 | |
| B2 | Too Young To Fall In Love | 3:34 | |
| B3 | Knock 'Em Dead, Kid | 3:40 | |
| B4 | Ten Seconds To Love | 4:17 | |
| B5 | Danger | 4:44 |
Companies, etc.
- Manufactured By – Elektra/Asylum/Nonesuch Records
- Pressed By – Specialty Records Corporation
- Produced For – Julia's Music, Inc.
- Recorded At – Cherokee Studios
- Mixed At – Cherokee Studios
- Lacquer Cut At – Sterling Sound
- Phonographic Copyright ℗ – Elektra/Asylum Records
- Copyright © – Elektra/Asylum Records
- Published By – Vaguely Acceptable Music
- Published By – Warner-Tamerlane Publishing Corp.
- Published By – Mötley Crüe Music
- Published By – Maclen Music, Inc.
- Published By – ATV Music Corp.
Credits
- A&R, Product Manager – Tom Zutaut
- Bass, Pedalboard [Bass Pedals], Vocals – Nikki Sixx
- Crew [Road] – Clyde "The Spide" Duncan*, Jim Beauregard, Tim "Looser" Luzzi*
- Design [Album Cover] – Bob Defrin
- Drums, Electronic Drums [Simmons], Vocals – Tommy Lee
- Electric Guitar, Acoustic Guitar, Vocals – Mick Mars
- Engineer [Second] – Doug Schwartz
- Lead Vocals – Vince Neil
- Lighting [Lights And Lighting Design] – Phil Ealy
- Lyrics By – Nikki Sixx (tracks: A1 to A4, B1 to B5), Vince Neil (tracks: B4)
- Management – Doc McGhee, Doug Thaler, McGhee Entertainment, Inc.*
- Management [Business] – Chuck Shapiro, Susan Farrell
- Mastered By – George Marino
- Music By – Mick Mars (tracks: A5, B1, B5), Nikki Sixx (tracks: A2 to A4, B1 to B5), Vince Neil (tracks: B1, B3, B5)
- Narrator – Allister Fiend (tracks: A1)
- Photography By – Barry Levine
- Producer – Tom Werman
- Recorded By, Mixed By – Geoff Workman
- Tour Manager – Richard J. Fisher*
Notes
Specialty Records Corporation pressing with red labels. Includes printed inner sleeve with lyrics and credits. Some copies includes advertising insert.
Runouts etched except for "STERLING" and SRC logo which are stamped. "E A S T" embossed around Side B spindle hole.
9 60289-1 appears on spine, 60289-1 appears on label, back cover and inner sleeve.
Recorded and mixed at Cherokee Studios, Hollywood, California.
℗ © 1983 Elektra/Asylum Records
All selections published by Warner-Tamerlane Publishing Corp./Motley Crue Music, BMI except
A1 published by Vaguely Acceptable Music, ASCAP
A6 published by Maclen Music, Inc. c/o ATV Music Corp. BMI
Runouts etched except for "STERLING" and SRC logo which are stamped. "E A S T" embossed around Side B spindle hole.
9 60289-1 appears on spine, 60289-1 appears on label, back cover and inner sleeve.
Recorded and mixed at Cherokee Studios, Hollywood, California.
℗ © 1983 Elektra/Asylum Records
All selections published by Warner-Tamerlane Publishing Corp./Motley Crue Music, BMI except
A1 published by Vaguely Acceptable Music, ASCAP
A6 published by Maclen Music, Inc. c/o ATV Music Corp. BMI
Barcode and Other Identifiers
- Barcode (Text): 0 7559-60289-1
- Barcode (Scanned): 075596028912
- Rights Society: BMI
- Rights Society: ASCAP
- Pressing Plant ID (Labels): SP
- Pressing Plant ID (Label Side Two): E A S T
- Matrix / Runout (Label side A): ST-E-60289-A-SP
- Matrix / Runout (Label side B): ST-E-60289-B-SP
- Matrix / Runout (Runout Side A Variant 1): ST-E-60289-A-3 1-1 STERLING [SRC logo]
- Matrix / Runout (Runout Side B variant 1): ST-E-60289-B-2 1-1 STERLING [SRC logo]
- Matrix / Runout (Runout Side A Variant 2): STE-60289-A-5 |5m1-2 STERLING [SRC logo]
- Matrix / Runout (Runout Side B variant 2): STE-60289-B-2 |5m1-2 STERLING [SRC logo]
- Matrix / Runout (Runout Side A Variant 3): STE-60289-A-5 1-1 STERLING [SRC logo]
- Matrix / Runout (Runout Side B variant 3): STE-60289-B-1 1-1 STERLING [SRC logo]
- Matrix / Runout (Runout Side A Variant 4): 1-5 STE-60289-A-3 STERLING SRC
- Matrix / Runout (Runout Side B variant 4): SRC 1-1 STE-60289-B-1 STERLING
- Matrix / Runout (Runout Side A Variant 5): STE-60289-A-5 [SRC logo] STERLING 1-1
- Matrix / Runout (Runout Side B variant 5): STE-60289-B-1 STERLING [SRC logo] 1-15M1-1
- Matrix / Runout (Runout Side A Variant 6): STE-60289-A-5 SRC STERLING 1-1SM1-2
- Matrix / Runout (Runout Side B variant 6): STE·60289-B-2 STERLING 1-1SM1-2 SRC
Other Versions (5 of 242)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
| Shout At The Devil (LP, Album, Stereo, Gatefold) | Elektra, Elektra | 96-0289-1, 96 0289-1 | Europe | 1983 | |||
Recently Edited | Shout At The Devil (Cassette, Album, AR, White, Dolby) | Elektra, Elektra | 9 60289-4, 60289-4 | US | 1983 | ||
Recently Edited | Shout At The Devil (LP, Album, Gatefold) | Elektra, Elektra | 96-0289-1, 960 289-1 | Europe | 1983 | ||
Recently Edited | Shout At The Devil (LP, Album, Club Edition, Carrollton Pressing) | Elektra, Elektra | 9 E1-60289, E1 60289 | US | 1983 | ||
| Shout At The Devil (Cassette, Album, Club Edition) | Elektra, Elektra | E4-60289, E4 60289 | US | 1983 |
Recommendations
Reviews
Mine has a long pronounced scratch still plays through fine. Love how old vinyl can hold up better than newer presses. Same story with some of my african presses from 70s. As for the album. Duh. Its prime crue. Sounds awesome for a g copy.- Best Motley Crue record it has an amazing cover of helter skelter (by the Beatles)
My favorite Motley Crue LP. This is the soundtrack of metal and hair rock at its best. Motley Crue defined so many styles of metal, rock, and outfits that will be forever remembered. I have the original and the release. I am not a fan of the recent LPs The original LP has a sound you cannot get from today's records. I still buy some since newer artists are emerging. It came with the original inserts and the Vinyl itself is in pretty good condition.- Edited 6 years agoSolid sound quality, maybe an 8.5 out of 10 stars. Mixed at a lower volume than today's standards but there's very little noise floor so you can turn it up, which you should do anyway! Nice tight sound across both sides, evenly mixed instruments - nothing stands out too prominently in the mix except maybe the vocals which aren't overwhelming. Good channel separation, but not ultra-wide. I think most of the recent reissues were cut from CD, most sound quite different and IMO not nearly as good. As with most vinyl of this era, an original is often best.
Release
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