![]() ![]() “I’ve known all the songs for as long as I can remember.”Īs mentioned above, John 5’s promotion to the ranks of Mötley Crüe came while the band was locked in legal disputes with outgoing guitarist Mars, who sued the band for conspiring to fire him and accused Sixx of miming on stage. “Honestly, I really did know all the Crüe songs,” John 5 admits. In fact, the only thing he had to learn was “the arrangement of the medley that’s in the middle of the band’s live setlist.” Solos aside, John 5 already had a solid grasp on Mötley Crüe’s catalog going into the gig. ![]() He continues, “I checked with the guys and said, ‘I’m going to play them as they are on the records.’ They said, ‘Okay, well, you can have a solo.’ And that’s when I go completely berserk. I wanted to give those songs respect.”īut despite his desire to stay true to the solos as heard on the records, the band ended up giving John 5 their blessing to go completely “berserk” on his own ideas. That’s how those songs were written, how they were recorded, and how they should be performed. “It’s like you’re looking at some sheet music you’re looking at Mozart, and you’re like, ‘Well, I’m gonna improvise over this part,’” he says. Explaining his approach, the Fender signature artist likened learning Mötley Crüe to approaching the work of Mozart. Indeed, John 5 strictly stuck to what had already been recorded, giving himself no leeway for improvisation over particular parts of classic Crüe tracks. Feelgood – these are very important to me and the world.” The squeals in Looks That Kill or the harmonics in Dr. ![]() “Those solos are so important to me as a fan, and they’re so important to the audience. “I wanted to play those solos exactly as they were written,” he explains. ![]()
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