Too Fast For Love is nowhere near as ferocious-sounding as the leather-clad crotch shot on the cover would suggest. Indeed, its sound borders on the anemic but there is a surprising melodic resilience to songs like “Come On and Dance,” “Piece of Your Action,” and “Merry-Go-Round.”  

 Shout at the Devil aims for a heavier sound but doesn’t quite achieve it; as much as the Crüe tries to cultivate its bad-boy image through titles like “Bastard” and “God Bless the Children of the Beast,” the music is a distressingly mild-man 

 After Dr. Feelgood, Vince Neil was pushed out and replaced by former Scream vocalist John Corabi. Suprisingly this self-titled album sounds tougher and more focused, throwing real sparks with “Hooligan’s Holiday” and unleashing a fearsome groove in “Welcome to the Numb.”  

 Despite its beefier mix, Theatre of Pain doesn’t get any tougher than a tepid remake of Brownsville Station’s hoary teen-attitude classic, “Smokin’ in the Boys’ Room.” 

 The band’s sound began to catch up to its image On Girls, Girls, Girls. The album actually put some punch behind the leering lyrics, with such rockers as “Wild Side” and “Bad Boy Boogie” providing plenty of muscular guitar and relentlessly driving rhythm.  

 With producer Bob Rock behind the boards, Dr. Feelgood's sound is snarling and ferocious, while the songs – from the brutally swinging title tune, through the breathless surge of “Kickstart My Heart” – never lets up. Even the ballads seem plausible. 

 Corabi didn’t click with the fans, however, and when the Crüe returned to the studio three years later, Neil was back out front. But apart from a hyped and slightly hysterical remake of “Shout at the Devil,” Generation Swine is as limp as overcooked spaghetti. 

 Supersonic and Demonic Relics is strictly for hard-core fans.  

 More turmoil ensued, and the band marked time by releasing Live: Entertainment of Death, a painfully accurate concert recording.  

 With yet more lineup changes in place for its recording, New Tattoo is largely pointless. It shows occasional signs of life through the likes of “She Needs Rock N Roll.” 

 Red, White & Crüe is a nice two-disc set with a couple of decent new tracks.  

 Lee returned to the fold for a surprisingly successful reunion tour in 2005, chonicled on Carnival of Sins: Live.  

 The band returned to the sound of their Eighties catalog with 2008's Saints of Los Angeles. 

 The Crüe spent much of the 2000s mining the back catalogue for reissues. The best value for money is the fun-but-predictable Greatest Hit$.