Nikki Sixx recently commented on Mötley Crüe’s controversial history and the polarizing nature of the band’s work. He addressed the issue in a statement shared on WTHR.
The statement focused on how the band’s authentic approach to their music and image has consistently drawn both passionate supporters and vocal critics. Sixx explained the band’s philosophy on operating independently and the reactions it generates.
“Like us or hate us, one thing about Mötley Crüe is we have so many people that we just really piss them off, and other people that they say we’ve changed their lives,” Sixx said.
“So I guess if you’re gonna operate the way we operate and say it and do it the way you wanna do it, not like anybody else, you’re gonna probably draw both extremes of types of reactions. And that’s kind of also been accidentally the magic of Mötley Crüe.”
Sixx specifically addressed the backlash surrounding the band’s 1983 album ‘Shout at the Devil.’ He noted that Christian groups protested outside their concerts while arenas remained full. Sixx said, “We put out ‘Shout At The Devil’ and it was, like, ‘I keep saying, ‘But it said ‘Shout At The Devil’, not ‘With The Devil’.’ [There were] Christian groups outside the concerts, [accusing us of being] devil worshipers. And at the same time, the arenas were full. So there are bands out there like that, that are polarizing.”
The album became a defining moment in the band’s career, sparking controversy that would ultimately fuel their rise to stardom.
“And I think that’s kind of exciting. All genres have that — we’ve got our hip-hop guys, our country guys, our rock guys. So it’s about being authentic and being able to take some bricks in the face if you have to,” added Sixx.
The original title of the album tells an interesting story about how the controversy began. According to Louder Sound, the album was originally conceived as “Shout With the Devil” by bassist Nikki Sixx, who was fascinated with dark imagery at the time. The record label rejected this title. According to A&R representative Tom Zutaut’s account in the band’s 2001 memoir The Dirt, he intervened after experiencing what he believed were supernatural occurrences at Sixx’s house.
Zutaut warned Sixx: “If you keep shouting with the devil, you’re going to get killed.” Sixx ultimately agreed to change the title to “Shout At the Devil,” which Zutaut believed provided a crucial semantic shift away from active participation with evil forces.
The album’s controversial elements extended far beyond its title. The pentagram emblazoned on the original album cover became a major target for Christian groups and religious organizations. They interpreted it as promoting satanism and devil worship, according to Wikipedia. Churches denounced the album, and televangelists warned of its satanic influence. Conservative record stores quietly refused to stock it. The song “Bastard” was specifically targeted by Tipper Gore and the Parents Music Resource Center (PMRC), who spearheaded efforts to have warning labels placed on albums with disturbing content.
“We put out ‘Shout At The Devil’ and it was, like, ‘I keep saying, ‘But it said ‘Shout At The Devil’, not ‘With The Devil’.’ There were Christian groups outside the concerts, accusing us of being devil worshipers,” Sixx explained. “And at the same time, the arenas were full. So there are bands out there like that, that are polarizing.”
Despite the religious backlash—or perhaps because of it—the album became a commercial success. The controversy generated enormous publicity, as noted by Ultimate Classic Rock. The album peaked at No. 17 on the Billboard album chart. Every scandal and headline only served to boost its appeal to younger audiences who saw the band as rebellious icons their parents feared, turning what could have been a career-ending controversy into a launching pad for global stardom.
Sixx concluded by emphasizing the importance of authenticity across all music genres. He stressed the willingness to face criticism for staying true to one’s artistic vision.
“And I think that’s kind of exciting. All genres have that — we’ve got our hip-hop guys, our country guys, our rock guys. So it’s about being authentic and being able to take some bricks in the face if you have to,” he said.
