Shout at the Devil
| Shout at the Devil | ||||
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| Studio album by Mötley Crüe | ||||
| Released | September 26, 1983 | |||
| Recorded | April–July 1983 | |||
| Studio | Cherokee Studios, Hollywood, California | |||
| Genre | Heavy metal | |||
| Length | 32:54 | |||
| Label | Elektra | |||
| Producer | Tom Werman | |||
| Mötley Crüe chronology | ||||
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| Alternative CD edition cover | ||||
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| Singles from Shout at the Devil | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| AllMusic |   |
| Martin Popoff |   |
| Rolling Stone |  |
| The Rolling Stone Album Guide | |
| The Village Voice | D |
Shout at the Devil is the second studio album by American hard rock band Mötley Crüe, released on September 26, 1983. It was the band's breakthrough album, establishing Mötley Crüe as one of the top selling heavy metal acts of the 1980s. The singles "Looks That Kill" and "Too Young to Fall in Love" were moderate hits for the band.
Shout at the Devil was Mötley Crüe's breakthrough success, bringing them to international attention. The album's title and the band's use of a pentagram brought the band a great deal of controversy upon its 1983 release, as Christian and conservative groups claimed the band was encouraging their listeners to worship Satan.
The album was one of the breakthrough releases of what was to become the 1980s "hair metal" movement, and was very influential in that regard.
In a contemporary review for The Village Voice, music critic Robert Christgau panned Shout at the Devil and felt the band's commercial appeal lies in false braggadocio on an album that is poor "even by heavy metal standards".Rolling Stone magazine's J. D. Considine found their style of rock music formulaic, innocuous, and unoriginal in his review of the album: "The whole point of bands like Motley Crue is to provide cheap thrills to jaded teens, and that's where the album ultimately disappoints." In The Rolling Stone Album Guide (2004), he later dismissed the band's music as "a distressingly mild-mannered distillation of Kiss and Aerosmith clichés".
AllMusic's Barry Weber was more positive in a retrospective review and viewed Shout at the Devil as their best album, which "displays Mötley Crüe's sleazy and notorious (yet quite entertaining) metal at its best." Canadian journalist Martin Popoff considered Shout at the Devil inferior to Mötley Crüe's debut album, but found its music extremely addictive if unoriginal and called it "punk rocking lobotomy metal". Adrian Begrand of PopMatters called the album a "timeless L.A. metal classic", which "people often forget how dark, how sleazy, how menacing ... really is". In his opinion, it contains the band's best singles and "remains to this day Mötley Crüe's finest hour".
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