MÖTLEY CRÜE’s Nikki Sixx Accepts That Rock & Roll Hall Of Fame Doesn’t Take His Band Seriously: “It’s not a big deal!”

On Sunday (December 17), Nikki Sixx took to his account on X, the platform formerly known as Twitter, to write: “I think people get too worked up about the RRHF. If you get in that’s cool and if not, it’s not a big deal. It’s not some elite club that defines you. It’s an award. None of us hopefully make music just for awards. I do like the idea of jamming with other musicians at the ceremony.”

Sixx and the Crue have been shut out by the RRHOF for a reason. They are a fake band, as revealed by Mick Mars, who has been at war with Sixx for years over the music the band put out. Mars playing was mostly stricken from the last few Crue albums, as Sixx opted instead to go with ghost guitarists like DJ Ashba.

Funny Sixx should mention “jamming” because many insiders feel that with the recent exposure of Sixx, Lee and Neil employing pre-recorded audio at concerts, as confirmed by the Mick Mars lawsuit, ended any chance the glam metal band had to cement their own name forever among rock’s greatest bands.

Furthermore, the word going around now is that Sixx never played much bass really on the Crue’s albums, that a ghost bassist was used, as was done on the forthcoming new Crue studio album. The rumor is that the album producer Bob Rock handled the bass duties for Sixx on their latest recordings.

As the story goes, Nikki Sixx purportedly didn’t play on the Too Fast For Love album.

There are some neat little bass lines and tricks on it that he couldn’t have pulled off, back then. Then Sixx had an alleged shoulder injury as an excuse for Tom Werman to take forever in the studio grinding out Nikki’s very minimal bass lines for Shout At the Devil.

Listen closely and fans will not hear one interesting technique similar to those present on the first record appeared on the second, and they mixed those bass lines so low they are barely audible. Guess Werman didn’t want to go through it again on Theatre of Pain, so Nikki was stricken from the record. As for Mick’s guitar sound on that record, it was the only thing that was unique and authentic.

Don’t forget now that Carmine Appice said he was solely responsible for setting up Tommy Lee’s drum sound on Theater of Pain. It wouldn’t be shocking to learn that Appice was Lee’s “ghost drummer’ too. Record labels prefer to hire top notch studio session musicians to get the job done faster and to add more seasoned, technical playing.

Late ex-MEGADETH drummer Nick Menza stated he was brought in as a ghost drummer for several bands. He even said ghost musicians are ‘very common’ in the rock music biz.

The 80’s metal/glam/hair records basically all sound the same because bands/producers used the same session players.

“MÖTLEY‘s always been that kind of band that just, (a) won’t go away, and (b) with some of those kind of people, we’ve always butted heads with that kind of stuff,” Tommy Lee explained. “People sometimes don’t think that we’re the fucking real deal, I guess. I don’t know what their deal is. Who knows, bro? Who knows?”

“People sometimes don’t think that we’re the fucking real deal.”

– Tommy Lee