Every bit as funny as "This is Spinal Tap" but it's the real deal documentary and these poor guys aren't trying to be funny. Ozzy Osbourne is a gas. Every nobody interviewed was sure they'd be the next Steve Tyler. These dudes look like ladies.
46 Reviews
Easy to watch and listen to, if not that illuminating.
Hey_Sweden11 February 2017
Full disclosure time: this viewer is a metalhead, and has been for over 30 years, since discovering bands like Judas Priest and Iron Maiden. Yet somehow catching this documentary, itself almost 30 years old now, eluded him. A follow up to director Penelope Spheeris' earlier definitive punk rock documentary, its focus on the men (and women) who make hard rock and heavy metal is certainly a natural progression, since so many parental and authority figures abominated these genres as well.
The film mostly consists of sit down interviews with some of the reigning kings of the genre and the confident (you could easily call them overconfident) up and comers of the era sharing their thoughts. Not surprisingly, it's the veterans like Lemmy, of Motorhead, Gene Simmons and Paul Stanley of KISS, Steven Tyler and Joe Perry of Aerosmith, and Ozzy Osbourne, that tend to offer the most interesting observations and anecdotes. There is one interview, however, with W.A.S.P. guitarist Chris Holmes, filmed as he lounges in a swimming pool while his mother (!) looks on. It goes from amusing to disconcerting in a hurry.
The notion of "Sex, Drugs and Rock 'n' Roll" is very much on the minds of various interviewees here. Viewers should be prepared for some pretty frank dialogue. One thing that sobers you up quickly is seeing how many of the young turks proclaim that their lives would have no more meaning if they couldn't play their music. Obviously, the aspirations of groups like London, Odin, and Seduce for super stardom didn't pan out, and as Poison front man Bret Michaels points out, it is important to stand out from the pack in some over crowded genres.
The sequences with Bill Gazzari, the so-called "Godfather of Rock 'n' Roll", only serve to add a titillation factor (not that some people will complain about that, mind you), and interviews with an anti-metal authority figure will likely get some viewers hopping mad.
I found it interesting that Megadeth, one of my favorite acts from this era, are saved for near the end, given that they're one act that's portrayed as actually caring more about the music than fame and lifestyle.
Overall, decent entertainment with a variable soundtrack (some of the new music is okay, some of it not so good).
Seven out of 10.
The film mostly consists of sit down interviews with some of the reigning kings of the genre and the confident (you could easily call them overconfident) up and comers of the era sharing their thoughts. Not surprisingly, it's the veterans like Lemmy, of Motorhead, Gene Simmons and Paul Stanley of KISS, Steven Tyler and Joe Perry of Aerosmith, and Ozzy Osbourne, that tend to offer the most interesting observations and anecdotes. There is one interview, however, with W.A.S.P. guitarist Chris Holmes, filmed as he lounges in a swimming pool while his mother (!) looks on. It goes from amusing to disconcerting in a hurry.
The notion of "Sex, Drugs and Rock 'n' Roll" is very much on the minds of various interviewees here. Viewers should be prepared for some pretty frank dialogue. One thing that sobers you up quickly is seeing how many of the young turks proclaim that their lives would have no more meaning if they couldn't play their music. Obviously, the aspirations of groups like London, Odin, and Seduce for super stardom didn't pan out, and as Poison front man Bret Michaels points out, it is important to stand out from the pack in some over crowded genres.
The sequences with Bill Gazzari, the so-called "Godfather of Rock 'n' Roll", only serve to add a titillation factor (not that some people will complain about that, mind you), and interviews with an anti-metal authority figure will likely get some viewers hopping mad.
I found it interesting that Megadeth, one of my favorite acts from this era, are saved for near the end, given that they're one act that's portrayed as actually caring more about the music than fame and lifestyle.
Overall, decent entertainment with a variable soundtrack (some of the new music is okay, some of it not so good).
Seven out of 10.
YAY THE BEST ROCK & ROLL MOVIE EVER!!!!!
Mykii Suicide PBF15 May 2000
I LOVE THIS MOVIE SOOO MUCH IT HURTS
It's brilliant
the best bits are chris holmes from W.A.S.P. drinking himself to an early grave in a swimming pool while his mother watches and frowns every time he says the "F" word, Odin being laughably awful and claiming they'll be bigger than the Stones and Zeppelin ("What if you don't make it?" "Oh but we will!" "Yeah but what if you don't?" "Oh, but we will though, see!?!")
ha ha
It has interviews with Aerosmith, Poison, Lemmy, Ozzy Osbourne (before he went all new-metal and put together the Ozzfest (grrr), Faster Pussycat, Riki Rachtman, Janet Gardner (before Vixen got big) & Megadeth and Live stuff from FASTER PUSSYCAT !!!
this film is totally amazing
It's just a shame it's really hard to find in the UK!
100000000000000000000r out of 10
It's brilliant
the best bits are chris holmes from W.A.S.P. drinking himself to an early grave in a swimming pool while his mother watches and frowns every time he says the "F" word, Odin being laughably awful and claiming they'll be bigger than the Stones and Zeppelin ("What if you don't make it?" "Oh but we will!" "Yeah but what if you don't?" "Oh, but we will though, see!?!")
ha ha
It has interviews with Aerosmith, Poison, Lemmy, Ozzy Osbourne (before he went all new-metal and put together the Ozzfest (grrr), Faster Pussycat, Riki Rachtman, Janet Gardner (before Vixen got big) & Megadeth and Live stuff from FASTER PUSSYCAT !!!
this film is totally amazing
It's just a shame it's really hard to find in the UK!
100000000000000000000r out of 10
Decent, but incomplete, documentary
MetalGeek16 January 2006
Obviously with a screen name like "MetalGeek," I was bound to get around to reviewing this movie sooner or later. :)THE DECLINE OF WESTERN CIVILIZATION II: THE METAL YEARS (1988) is an fascinating, occasionally hilarious study of the "Glam Metal" scene that was raging in Los Angeles during the late 1980s. If you lived through this period (like I did) and loved the music, then you will find much to enjoy here, from the live performances by L.A. staples Lizzy Borden and young (at the time) hopefuls Odin and Seduce, to the words of wisdom from hard rock royalty like Gene (Kiss) Simmons, Lemmy of Motorhead, and Ozzy Osbourne. The scenes of bikini contests at L.A.'s infamous Gazzari's night club will also provide necessary eye candy. :) The reason I call this an "incomplete" documentary is that for the most part it mainly focuses on the "hair metal" scene and many of the participants are unknown rockers who (righfully) remained unknown after this movie was released. There is no exploration of the history of the genre, nor is there any talk about some of the other trends in metal (thrash, crossover, death metal) that were also making noise in the scene around this same period of time. In addition, many of the younger band members interviewed here come off as delusional, chortling, sex-crazed dorks who are sure that HUGE success is right around the corner for them. Looking at this movie nearly 20 years later you wonder how many of them wound up asking "Would you like fries with that, sir?" when the grunge movement came along in the early '90s and wiped hair metal off of the musical map. In addition to the unintentionally hilarious interviews with the many band members and assorted hangers-on, the film is worth seeing for two things: the absolutely harrowing scene featuring Chris Holmes of W.A.S.P., who floats in his swimming pool, drunk as a skunk, telling the world "I drink because I'm not happy," and the scenes featuring Megadeth in the studio working on the song "In My Darkest Hour." In their interview scenes, Megadeth seem to be the most "together" and lucid band in the entire film, which is kind of ironic now because that short-lived Megadeth lineup eventually dissolved due to massive drug use. In short, headbangers and hair metallers will love the trip down memory lane that this movie provides, but those looking for a documentary about metal that looks beyond the hairspray may be disappointed. I don't believe the film has been released on DVD (probably too many hassles with music publishing rights) but if you can find it on VHS in an out of the way video store it's well worth your while.
A timeless piece of rock documentary
tywebb20 April 2001
I have read the comment of my fellow viewer and apparent Heavy Metal Connisseur, who says this film falls short of completely covering the Heavy Metal scene at the time.
But I really don't think that that's what Spheeris was trying to do. This film is so much more. Like any truly great documentary, it somehow manages to capture life, raw and unfiltered.
The characters are funny, loveable, sad, pitiful, admirable, inspiring, bewildering, all at the same time. A very odd, strangely fascinating and mystifying mix of moods and emotions and realness that is stranger than fiction.
Like Paul Thomas Anderson and other great filmmakers, Spheeris has this talent of having compassion for her subjects, rather than judging them in some way. It is what it is. She gets out of the way and lets an utterly fascinating and at times "un-real" segment of life tell its own story. A timeless piece of rock documentary.
But I really don't think that that's what Spheeris was trying to do. This film is so much more. Like any truly great documentary, it somehow manages to capture life, raw and unfiltered.
The characters are funny, loveable, sad, pitiful, admirable, inspiring, bewildering, all at the same time. A very odd, strangely fascinating and mystifying mix of moods and emotions and realness that is stranger than fiction.
Like Paul Thomas Anderson and other great filmmakers, Spheeris has this talent of having compassion for her subjects, rather than judging them in some way. It is what it is. She gets out of the way and lets an utterly fascinating and at times "un-real" segment of life tell its own story. A timeless piece of rock documentary.
The Metal Years
Scarecrow-881 January 2007
Warning: Spoilers
Before making crap comedies, Penelope Spheeris unearthed the facade of heavy metal in this absorbing look into the burgeoning growth of dream-seekers in LA(among other places of venue such as London and Detroit)rock scene. We hear from many well-known rock stars from such great bands as Aerosmith, Kiss, Ozzy, and Alice Cooper. But, it's those who we not expect that really impress(at least, me)the most. Particularly Dave Mustaine of Megadeth & Lemmy from Motorhead(when asked whether or not others should go after the chance to achieve as a rock star, Lemmy replies, "Go for it. Run it up the flag pole and see who salutes it.").
The saddest part of the film is seeing the effects of alcoholism on Chris Holmes of Wasp. Spheeris deserves credit for not ducking away from truthful subjects such as the possibilities of failure, sexual effects that could possibly happen such as Aids, and how alcohol and drugs has absorbed many of their lives. The film also unflinchingly shows the roles of women in the rock scene whether they are trying to make it as rock stars, or as groupies. It's also kind of cool to see bands I listened to as a kid and teenager starting out in the LA scene as virtual pups.
The saddest part of the film is seeing the effects of alcoholism on Chris Holmes of Wasp. Spheeris deserves credit for not ducking away from truthful subjects such as the possibilities of failure, sexual effects that could possibly happen such as Aids, and how alcohol and drugs has absorbed many of their lives. The film also unflinchingly shows the roles of women in the rock scene whether they are trying to make it as rock stars, or as groupies. It's also kind of cool to see bands I listened to as a kid and teenager starting out in the LA scene as virtual pups.
A walk down memory lane...(wince)
micame-125 May 2006
As a former metal groupie (the horror!), when I saw this depiction of the lonely lives and substance-riddled minds of my heroes, it actually inspired me to go to college! It is a poignant, wistful, sad, and insightful look at a genre of music that instilled fear in the hearts of parents(well, at least in mine), and a venue for teens to unleash their anger toward a misunderstanding world.
The best kind of musical documentary is always done best through the eyes of a true fan, and Penelope Spheeris is no exception. While to the casual viewer the film may seem shallow and all fluff (which is how the LA metal was widely portrayed), if one looks past the hair, excess, bravado, t & a, and flowing alcohol,it is easy to uncover the painfully lonely, opportunistic, naiveté' of the struggling bands, and even some of those who "made it." The scene with Chris Holmes guzzling vodka in his pool was simply heartbreaking...and the expressions on his mother's face were fully able to convey her harsh reality. Some of the "classic" performers... Aerosmith, Ozzy, and Lemmy were able to reflect on the business with some learned wisdom, while Paul Stanley and Gene Simmons attempted to convey a fantasy life that appeared way too scripted and laughable (I'm still a huge KISS fan, though). One interesting element in viewing the film almost 20 years later, is how some of the bands downplayed or sidestepped the issue of drug use (note the expressions on their faces when substances are discussed), then appear on "Behind the Music" years later to reveal their debilitating addictions.
Having been involved peripherally in the scene for a few years, I can say that Spheeris' portrayal was 100% accurate based on what I witnessed. I would've liked to have seen the inclusion of other important bands of the LA scene (Motley Crue, Skid Row, etc), and a separate documentary highlighting British metal (Sabbath, Iron Maiden, Judas Priest)would've been fantastic.
It was a fun, irreverent, and exciting time! I can look back at it and laugh since I emerged relatively unscathed... although I am somewhat embarrassed by the extraordinary heights of my hair and the plunging depths of my blouses in "86.
The best kind of musical documentary is always done best through the eyes of a true fan, and Penelope Spheeris is no exception. While to the casual viewer the film may seem shallow and all fluff (which is how the LA metal was widely portrayed), if one looks past the hair, excess, bravado, t & a, and flowing alcohol,it is easy to uncover the painfully lonely, opportunistic, naiveté' of the struggling bands, and even some of those who "made it." The scene with Chris Holmes guzzling vodka in his pool was simply heartbreaking...and the expressions on his mother's face were fully able to convey her harsh reality. Some of the "classic" performers... Aerosmith, Ozzy, and Lemmy were able to reflect on the business with some learned wisdom, while Paul Stanley and Gene Simmons attempted to convey a fantasy life that appeared way too scripted and laughable (I'm still a huge KISS fan, though). One interesting element in viewing the film almost 20 years later, is how some of the bands downplayed or sidestepped the issue of drug use (note the expressions on their faces when substances are discussed), then appear on "Behind the Music" years later to reveal their debilitating addictions.
Having been involved peripherally in the scene for a few years, I can say that Spheeris' portrayal was 100% accurate based on what I witnessed. I would've liked to have seen the inclusion of other important bands of the LA scene (Motley Crue, Skid Row, etc), and a separate documentary highlighting British metal (Sabbath, Iron Maiden, Judas Priest)would've been fantastic.
It was a fun, irreverent, and exciting time! I can look back at it and laugh since I emerged relatively unscathed... although I am somewhat embarrassed by the extraordinary heights of my hair and the plunging depths of my blouses in "86.
Interesting, but it's a big joke
stevenfallonnyc28 September 2010
I'm giving this a "7" rating because "The Metal Years" film is an interesting one. Interesting, in that almost all the bands showcased are so bad, and the "musicians" so horrid, that you can't take your eyes off them.
You get a bunch of big guns, like Ozzy, Alice, Kiss, Poison, Lemmy and a few more. But mostly the movie is made of lesser metal heads, and it's not a pretty sight. It's like a Saturday Night Live skit that is 90 minutes long, all making fun of rock and roll, trying to make rock look as silly and ridiculous as possible. Only thing is, this film is dead serious.
"The Delusional Years" would have been a decent title for this movie, when it comes to the unsigned bands they speak to - ALL of them are sure they are going to be rich, wealthy, legendary rock and rollers. It's downright sad (almost), as in one incredible sequence, where the narrator asks a bunch of musicians what will happen to them if they don't "make it." All of them pretty much say they will make it. Now, positivity is a good attitude, but there were so many cookie-cutter hair metal bands back then, how can they all seriously think this.
One band, Odin, is especially pathetic. Odin is one of the absolute worst bands you will ever hear, or see. The singer defines "unlistenable." But there they are, in a hot tub with sluts, all sure they will make it. One of them admits to almost killing himself at times, dampening the festive chicks-in-hot-tub mood. Odin what you see in this movie, is exactly what you'd see today if comics made fun of the era. They are BAD.
But not to single them out, so are a bunch of the others. Truthfully though, you really don't get a sense of the inside of rock with this movie. It's kind of cookie-cutter, just like the bands - a typical documentary that really could have been about many genres of music.
The saddest part of course is the Chris Holmes sequence, with him drunk in a swimming pool while his mom watches. The saddest thing here really isn't Chris - it's his mom, for just sitting there like a rock while her son drinks himself to death on a raft in a pool. Good going, mom.
If you want to laugh for 90 minutes and think to yourself that some people out there actually took this (for the most part) horrible music seriously, this is the movie for you.
You get a bunch of big guns, like Ozzy, Alice, Kiss, Poison, Lemmy and a few more. But mostly the movie is made of lesser metal heads, and it's not a pretty sight. It's like a Saturday Night Live skit that is 90 minutes long, all making fun of rock and roll, trying to make rock look as silly and ridiculous as possible. Only thing is, this film is dead serious.
"The Delusional Years" would have been a decent title for this movie, when it comes to the unsigned bands they speak to - ALL of them are sure they are going to be rich, wealthy, legendary rock and rollers. It's downright sad (almost), as in one incredible sequence, where the narrator asks a bunch of musicians what will happen to them if they don't "make it." All of them pretty much say they will make it. Now, positivity is a good attitude, but there were so many cookie-cutter hair metal bands back then, how can they all seriously think this.
One band, Odin, is especially pathetic. Odin is one of the absolute worst bands you will ever hear, or see. The singer defines "unlistenable." But there they are, in a hot tub with sluts, all sure they will make it. One of them admits to almost killing himself at times, dampening the festive chicks-in-hot-tub mood. Odin what you see in this movie, is exactly what you'd see today if comics made fun of the era. They are BAD.
But not to single them out, so are a bunch of the others. Truthfully though, you really don't get a sense of the inside of rock with this movie. It's kind of cookie-cutter, just like the bands - a typical documentary that really could have been about many genres of music.
The saddest part of course is the Chris Holmes sequence, with him drunk in a swimming pool while his mom watches. The saddest thing here really isn't Chris - it's his mom, for just sitting there like a rock while her son drinks himself to death on a raft in a pool. Good going, mom.
If you want to laugh for 90 minutes and think to yourself that some people out there actually took this (for the most part) horrible music seriously, this is the movie for you.
Odin, Odin, Odin.
scarbone8 April 1999
This is possibly the most entertaining sequel in film history. The first "Decline" film presented the punk rock scene of the late seventies/early eighties and captured the rebellion and dissatisfaction found in that movement. This film focuses on the much more entertaining glam-metal scene of the late eighties. We witness such awesome sights as W.A.S.P.'s Chris Holmes getting loaded in his pool while his mom sits pool-side contemplating a very late abortion. Our old pal Ozzy's juice-pouring methods are something to behold and my new favorite band Odin sits in a hot tub with a bunch of metal-sluts and tells us how they want to be bigger than Zepplin and the Stones. This is intercut with their live performance where the lead singer expresses less range than Mark Slaughter and has no ass in his pants! We hear about struggling metal-heads who use women for their money and their food (they of course plan to pay them back with furs and cars when they get big.) And the always entertaining Poison treats us to a healthy dose of rock n' roll stupidity. This film contains some of the stupidest people I have ever witnessed. Why it won no Oscars is beyond me. I think it is one of the truly great films of the decade.
it was great in 88
suz-218 February 2002
when i saw this back in 1988 I had a great appreciation for it. i was there, that was my scene. Now I look at it and see what a sad commentary it is on the
scene. It really makes most of the people of the era seem stupid. Perhaps
this was the intent. I doubt it. I would be curious to see what has happened to most of those people. certainly we all know who made it, but out of the little people...who is still alive, who is back in their home town...who is flipping burgers...and what pathetic soul is still trying to live the dream!!! that is the saddest thing about rock-n-roll...you may have to stick with the game...but you also have to know when to quit!!!
scene. It really makes most of the people of the era seem stupid. Perhaps
this was the intent. I doubt it. I would be curious to see what has happened to most of those people. certainly we all know who made it, but out of the little people...who is still alive, who is back in their home town...who is flipping burgers...and what pathetic soul is still trying to live the dream!!! that is the saddest thing about rock-n-roll...you may have to stick with the game...but you also have to know when to quit!!!
Hard rock, Hollywood, the mid 1980's...
ACME_Horses25 October 1998
During the opening credits, there is a great pan shot across a line of fans waiting for a rock show. It sets the stage, so to speak, for a very entertaining--and informative--look at the heavy metal scene in the late 1980's. The movie concentrates on Hollywood, which was aruguably the epicenter of hard rock throughout that decade.
The decadence, flamboyance and unabashed immaturity in some the movie's scenes appears cheesy and fake when compared to other music eras...particularly the proceeding grunge period in Seattle. That said, it contains fantastic interviews and footage of some of the 80's biggest rock stars--and rock locations.
Every period and genre in music should have its story documented. And this movie is like a time capsule of hard rock in the 80's.
The decadence, flamboyance and unabashed immaturity in some the movie's scenes appears cheesy and fake when compared to other music eras...particularly the proceeding grunge period in Seattle. That said, it contains fantastic interviews and footage of some of the 80's biggest rock stars--and rock locations.
Every period and genre in music should have its story documented. And this movie is like a time capsule of hard rock in the 80's.
The Hollywood Club scene...
DBlackthorne21 May 2006
Features interviews with notables in The Heavy Metal genre, fans, groupies, and aspiring musicians, with performances by Odin, Lizzy Borden {still performing}, London {post- Nikki Sixx}, Seduce {who really did possess some talent there}, and Megadeth {before they mega-died}.
Questions range from the plans of the musicians if they are not successful {from what I have seen, most did not - considering their apparent adamance, I wonder how many of them actually became homeless, conformed, became involved in other positions within the music industry, or otherwise died*; among them all. I did recognize Vixen who went on to experience some success with an album}, to the "satanism" angle, which was limited {perhaps thankfully} to 'the devil horns' hand gesture, most comically explained by a Christian probation officer as containing the ubiquitous authority of The Devil with the upthrust fingers, and the three pointing down representing the denial of the Christian trinity, also containing '666' within the bend of the fingers - I honestly do not believe any of the 'rockers' and 'metalheads' even considered that more involved Occult symbology, and just lift it in the air as a habit, but was probably first used by Ronnie James Dio as relating to Heavy Metal. She also had quite a collection of confiscated gauntlets, studded fingerless gloves, spiked bracelets, and collars - no doubt plenty of records and tapes as well.
A cleaned-up Steven Tyler & Joe Perry of Aerosmith relate tales of their narcotic excesses, a rehabilitated Ozzy Osbourne has an amusingly pleasant morning chat while preparing breakfast {at one point, he misses a glass almost completely while pouring some orange juice and talking about his own alcoholism and drug use}, Alice Cooper in full makeup on the theatrical set takes umbrage at a certain band for what he feels is unjustified replication, KISS' Gene Simmons offers intelligent and concise commentary on the going-on within the industry, Paul Stanley also offers cohesive commentary amongst a bevy of beauties in bed, Lemmy Kilmeister of Motorhead offers gruff realities overlooking Hollywood, and WASP's {at the time} Chris Holmes drunkenly rambles on about his intoxicated exploits as his poor mother sits poolside, progressively becoming more inebriated with two bottles of Vodka - one can readily perceive his unfortunate mental degeneration.
I thought club owner and sharp dresser Bill Gazzarri had quite a remarkably life-loving attitude, offering great opportunities to many bands who may otherwise would have never seen the spotlight, and initiated salacious events such as dance and strip contests for sexy young ladies. His commercials were heavily circulated on 105.5 KNAC at the time, which was the only Heavy Metal radio station in the L.A. area - now there are none. KNAC DJ Tawn Mastrey was also featured herein.
Ultimately, I feel 'The Decline of Western Civilization part 2: The Metal Years' was an accurate, though somewhat limited documentary of the 80's Metal subculture, although I personally would have liked to have seen interviews with Venom, King Diamond, Possessed, Bathory, Manowar, and Celtic Frost as well. Perhaps there will eventually be a part 4, focusing on these 'dark bands'? It would be interesting, but whether or not they are actual Satanists would be another matter altogether. This film concentrates largely on Hollywood 'pop-metal' and Glam rock.
_________
* Incidentally, 'The Decline of Western Civilization part 3' features interviews with some of the homeless street dwellers of Hollywood.
Questions range from the plans of the musicians if they are not successful {from what I have seen, most did not - considering their apparent adamance, I wonder how many of them actually became homeless, conformed, became involved in other positions within the music industry, or otherwise died*; among them all. I did recognize Vixen who went on to experience some success with an album}, to the "satanism" angle, which was limited {perhaps thankfully} to 'the devil horns' hand gesture, most comically explained by a Christian probation officer as containing the ubiquitous authority of The Devil with the upthrust fingers, and the three pointing down representing the denial of the Christian trinity, also containing '666' within the bend of the fingers - I honestly do not believe any of the 'rockers' and 'metalheads' even considered that more involved Occult symbology, and just lift it in the air as a habit, but was probably first used by Ronnie James Dio as relating to Heavy Metal. She also had quite a collection of confiscated gauntlets, studded fingerless gloves, spiked bracelets, and collars - no doubt plenty of records and tapes as well.
A cleaned-up Steven Tyler & Joe Perry of Aerosmith relate tales of their narcotic excesses, a rehabilitated Ozzy Osbourne has an amusingly pleasant morning chat while preparing breakfast {at one point, he misses a glass almost completely while pouring some orange juice and talking about his own alcoholism and drug use}, Alice Cooper in full makeup on the theatrical set takes umbrage at a certain band for what he feels is unjustified replication, KISS' Gene Simmons offers intelligent and concise commentary on the going-on within the industry, Paul Stanley also offers cohesive commentary amongst a bevy of beauties in bed, Lemmy Kilmeister of Motorhead offers gruff realities overlooking Hollywood, and WASP's {at the time} Chris Holmes drunkenly rambles on about his intoxicated exploits as his poor mother sits poolside, progressively becoming more inebriated with two bottles of Vodka - one can readily perceive his unfortunate mental degeneration.
I thought club owner and sharp dresser Bill Gazzarri had quite a remarkably life-loving attitude, offering great opportunities to many bands who may otherwise would have never seen the spotlight, and initiated salacious events such as dance and strip contests for sexy young ladies. His commercials were heavily circulated on 105.5 KNAC at the time, which was the only Heavy Metal radio station in the L.A. area - now there are none. KNAC DJ Tawn Mastrey was also featured herein.
Ultimately, I feel 'The Decline of Western Civilization part 2: The Metal Years' was an accurate, though somewhat limited documentary of the 80's Metal subculture, although I personally would have liked to have seen interviews with Venom, King Diamond, Possessed, Bathory, Manowar, and Celtic Frost as well. Perhaps there will eventually be a part 4, focusing on these 'dark bands'? It would be interesting, but whether or not they are actual Satanists would be another matter altogether. This film concentrates largely on Hollywood 'pop-metal' and Glam rock.
_________
* Incidentally, 'The Decline of Western Civilization part 3' features interviews with some of the homeless street dwellers of Hollywood.
American Glamfest
fatfil-414-45179720 July 2018
Warning: Spoilers
If you watch this movie expecting to see an intelligent appraisal of heavy metal you are in for an enormous disappointment. This mostly an embarrassing parade of C grade LA Glam bands that never made it, more interested in their looks and "P***y" than the music. Lemmy, Alice Cooper, Megadeth, Ozzy and Steve and Joe from Aerosmith are the only voices of reason. Chris Holmes from WASP is pitiful in his pool scene, and just sad guzzling bottles of smirnoff. Totally USA centric The title of the metal years conjours images of Deep Purple, Led Zeppelin, Black Sabbath, Judas Priest, not "London" or 'Seduce" (Who!!?) This is a lovefest for the LA scene of the late '80's. Crowning glory, Paul Stanley with 3 groupies draped across him, gazing adoringly at him while he talks about how transient they are. Pathetic. Just made me embarrassed to be associated with the genre
Great
Michael_Elliott27 February 2008
Decline of Western Civilization Part 2, The (1988)
**** (out of 4)
I had seen the Aerosmith and Alice Cooper clips of this documentary via a bootleg but never got around to watching the film until IFC showed it the other night and I'm certainly disappointed that I waited so long because Penelope Spheeris' film is one of the best out there of its type and ranks highly among the best documentaries to be made about rock 'n roll. Members of Aerosmith, Kiss, Poison, Alice Cooper himself, Ozzy and various no-name bands are interviewed. The legends interviewed here give the same old stories, which are still interesting but the great thing comes from all the interviews with those broke souls trying to make a name for themselves. Spheeris asks all the right questions from what happens if they don't make it and even asks some groupies if they're worried about AIDS. The film goes into great detail about various subjects and there's such a wide range of musicians that the film never gets boring. I'd love to see an update on the people involved here and see what their feelings are since none of them (to my knowledge) became famous. Also, in case anyone is interesting, during the Alice Cooper interview he's asked about people ripping him off and he mentions he'd like to hang one group but they bleed out the group. That group mentioned is W.A.S.P.
**** (out of 4)
I had seen the Aerosmith and Alice Cooper clips of this documentary via a bootleg but never got around to watching the film until IFC showed it the other night and I'm certainly disappointed that I waited so long because Penelope Spheeris' film is one of the best out there of its type and ranks highly among the best documentaries to be made about rock 'n roll. Members of Aerosmith, Kiss, Poison, Alice Cooper himself, Ozzy and various no-name bands are interviewed. The legends interviewed here give the same old stories, which are still interesting but the great thing comes from all the interviews with those broke souls trying to make a name for themselves. Spheeris asks all the right questions from what happens if they don't make it and even asks some groupies if they're worried about AIDS. The film goes into great detail about various subjects and there's such a wide range of musicians that the film never gets boring. I'd love to see an update on the people involved here and see what their feelings are since none of them (to my knowledge) became famous. Also, in case anyone is interesting, during the Alice Cooper interview he's asked about people ripping him off and he mentions he'd like to hang one group but they bleed out the group. That group mentioned is W.A.S.P.
Ah, the passage of time...
torbi-219 June 2017
Kind of hilarious to watch almost 30 years later
I mean who considers Poison a metal band? (answer no: Pop Hair Band is more accurate) I would love for her to do a where are they now version---especially because London, Odin, Seduce went nowhere and Alice Cooper now golfs and is an upstanding member of the community (watching his interviews you can tell his persona is just an act... while Steven Tyler's interview you can guess he's high AF.) The whole thing seemed ridiculously tame (unless the metal scene really was this uneventful) and everyone was just trying too hard to be impressive. I didn't like the staged shots (especially Paul Stanley), it seemed too contrived.
Excellent
preppy-317 April 2003
Great documentary of the heavy metal scene of the late 1980s. Unlike the first "Decline..." this movie concentrates more on interviews than concert footage. There are just fascinating talks with old time performers (Alice Cooper, Aerosmith, Ozzy Osbourne) and newcomers (Odin, WASP, Poison). The contrasts and their views on music, drugs and sex are very interesting and illuminating. The movie makes no judgments on the performers or their music...they leave that up to the audience. The whole feeling of the film is actually uplifting and very funny. The bands come across as very upbeat and accessible. The interviews with fans of the music are just as fun. Interesting to see Ozzy Osbourne years before that reality show he did for MTV.
The only depressing footage is an interview with Chris Holmes of WASP. He's drunk out of his mind and makes it quite clear that he hates life, is an alcoholic, had a heavily dysfunctional childhood and will be dead soon. Very scary to watch and sad.
That aside, this is a great, accurate documentary of heavy metal. A must-see.
The only depressing footage is an interview with Chris Holmes of WASP. He's drunk out of his mind and makes it quite clear that he hates life, is an alcoholic, had a heavily dysfunctional childhood and will be dead soon. Very scary to watch and sad.
That aside, this is a great, accurate documentary of heavy metal. A must-see.
"I think heavy metal is the true rock-n-roll of the 80s and rock-n-roll was basically music made by people who were thinking with their crotches."
Bored_Dragon6 April 2023
Penelope Spheeris, the director best known for the famous comedy "Wayne's World", made this film mostly for money, while her real passion is documentaries and music videos. She is the founder of the first LA production company for music videos, she signed several Megadeth videos, and probably her most important legacy is the documentary trilogy "The Decline of Western Civilization."
The first film, from 1981, deals with the punk scene of the late seventies, the third, from 1998, deals with the lifestyle of homeless teenagers, and the second, which is discussed here, shows the LA metal scene of the eighties, from the musicians' point of view.
There is not much music itself in this film and it relies mostly on interviews with promising bands of the time, as well as with already famous musicians, such as Aerosmith, Kiss, Alice Cooper, Motörhead, and Ozzy Osbourne. Topics range from motivations for playing music, attitudes towards money, success, sex, to the darker aspects of the rock scene, such as drugs, alcohol, and depression.
As a big fan of eighties music, especially glam and thrash metal of this period, this film was a real treat for me, even though I generally don't like documentaries. But it seems to me that "The Decline of Western Civilization Part II: The Metal Years" is not a real documentary. I think that the interviews are not spontaneous, but carefully staged to achieve the desired effect. Also, the choice of bands shown in the film is quite suspicious. As if the author was trying to portray the whole thing in a negative light, the film alternates between transfers of shame and those stereotypes of rock life that cause prejudice in people who are not familiar with this world.
I recommend it as entertainment, but as a source of information, it should be taken with caution.
7/10.
The first film, from 1981, deals with the punk scene of the late seventies, the third, from 1998, deals with the lifestyle of homeless teenagers, and the second, which is discussed here, shows the LA metal scene of the eighties, from the musicians' point of view.
There is not much music itself in this film and it relies mostly on interviews with promising bands of the time, as well as with already famous musicians, such as Aerosmith, Kiss, Alice Cooper, Motörhead, and Ozzy Osbourne. Topics range from motivations for playing music, attitudes towards money, success, sex, to the darker aspects of the rock scene, such as drugs, alcohol, and depression.
As a big fan of eighties music, especially glam and thrash metal of this period, this film was a real treat for me, even though I generally don't like documentaries. But it seems to me that "The Decline of Western Civilization Part II: The Metal Years" is not a real documentary. I think that the interviews are not spontaneous, but carefully staged to achieve the desired effect. Also, the choice of bands shown in the film is quite suspicious. As if the author was trying to portray the whole thing in a negative light, the film alternates between transfers of shame and those stereotypes of rock life that cause prejudice in people who are not familiar with this world.
I recommend it as entertainment, but as a source of information, it should be taken with caution.
7/10.
Metal doc has it all
LinkTGF25 January 2007
Warning: Spoilers
I discovered this film after hearing Megadeth was in it so I tracked down a PAL format VHS to DVD rip of the movie - needless to say, it suffers from the poor quality of the rip but still very enjoyable Anyways, I recently caught it again in hi def on IFC Films and reminded me why I like this so much - so many people who think they can make it by imitating others so much so that no one can tell them apart - great documentary and should be mandatory watching for any band that is up and coming (to keep their heads out of the clouds).
One of the things I really enjoyed the most out of this, though, was to look back now and most if not all of the unestablished bands didn't even make anything out of themselves... Really sad, but great to see how things change over time
One of the things I really enjoyed the most out of this, though, was to look back now and most if not all of the unestablished bands didn't even make anything out of themselves... Really sad, but great to see how things change over time
Dude looks like a lady
juliankennedy2321 March 2018
The Decline of Western Civilization Part 2: The Metal Years is the second of three documentaries about youth music movements. The first was a groundbreaking look at the punk rock scene in 1981. This follow-up concentrates on the Glam Metal scene in Los Angeles in the mid-eighties. While certain scenes from the documentary have become legendary over the years the overall effect is all over the place. Unlike most music documentaries from the era, it is very well filmed with good sound that holds up today.
The Good: About halfway through the film there is one of the funniest things I have seen all year. Singer Randy O fronting Odin is performing in assless chaps. He borrowed them for the concert. It is a something that wouldn't be out of place in a Borat movie. In fact, the entire Odin segment is comedy gold combining the Borat vibe with grandiose quotes that wouldn't be out of place in This is Spinal Tap. Other highlights include Ozzy Osbourne cooking breakfast (he does so well till its time to pour the orange juice... so close.) And Lemmy being cool when everyone else (I am looking your way Paul Stanley) is simply trying too hard.
The Bad: The bands; while the original The Decline of Western Civilization certainly didn't have all winners they at least had some bands that would later become famous (Black Flag) and some and that was actually good (X). The Decline of Western Civilization Part Two consists of one horrible band after another. Another challenge is that interviews with dim and inebriated adolescents rarely provide what one would call insight. The filmmaker certainly lets them dig their own holes but obvious questions are often left on the table. (Do you wear makeup and dress like a girl because you are in the band or did you join the band to wear make-up and dress like a girl seems to be an obvious softball just hanging there for some of these guys.) There are also very silly asides that drag the movie out such as an interview with the LA prosecutor investigating the Heavy Metal scene and an endless sexy rock and roll dance contest that is neither sexy nor rock and roll.
In Conclusion: It is easy to forget with today's youth filming every moment of their lives how rare it was in the eighties for someone to point a camera at you. So as a document of this specific place and time the film certainly does a decent job. Glam Metal was dead as disco within a few years and almost everyone involved had to get real jobs. I am sure that many look back with a smile on their face and a shake of the head at their youthful folly. A fun time for those who remember those days.
The Good: About halfway through the film there is one of the funniest things I have seen all year. Singer Randy O fronting Odin is performing in assless chaps. He borrowed them for the concert. It is a something that wouldn't be out of place in a Borat movie. In fact, the entire Odin segment is comedy gold combining the Borat vibe with grandiose quotes that wouldn't be out of place in This is Spinal Tap. Other highlights include Ozzy Osbourne cooking breakfast (he does so well till its time to pour the orange juice... so close.) And Lemmy being cool when everyone else (I am looking your way Paul Stanley) is simply trying too hard.
The Bad: The bands; while the original The Decline of Western Civilization certainly didn't have all winners they at least had some bands that would later become famous (Black Flag) and some and that was actually good (X). The Decline of Western Civilization Part Two consists of one horrible band after another. Another challenge is that interviews with dim and inebriated adolescents rarely provide what one would call insight. The filmmaker certainly lets them dig their own holes but obvious questions are often left on the table. (Do you wear makeup and dress like a girl because you are in the band or did you join the band to wear make-up and dress like a girl seems to be an obvious softball just hanging there for some of these guys.) There are also very silly asides that drag the movie out such as an interview with the LA prosecutor investigating the Heavy Metal scene and an endless sexy rock and roll dance contest that is neither sexy nor rock and roll.
In Conclusion: It is easy to forget with today's youth filming every moment of their lives how rare it was in the eighties for someone to point a camera at you. So as a document of this specific place and time the film certainly does a decent job. Glam Metal was dead as disco within a few years and almost everyone involved had to get real jobs. I am sure that many look back with a smile on their face and a shake of the head at their youthful folly. A fun time for those who remember those days.
"If your parents don't like it, it's good"
nickenchuggets9 November 2021
Warning: Spoilers
Following the success of the first film in the Decline of Western Civilization series, it didn't take long for Penelope Spheeris to direct another, this time shifting the focus to metal music. The movie is similar to its predecessor stylistically, meaning it mostly consists of footage of various metal bands performing, as well as interviews with people involved in the metal scene. Some are very well known, such as Ozzy Osbourne, Alice Cooper, Aerosmith, Kiss, Megadeth, and Lemmy. For whatever reason, Lemmy was interviewed from a considerable distance, leading him to think Spheeris was trying to make him look foolish. Many of the people being interviewed belong to lesser known bands like Poison and Vixen. A surprising amount of them are fully convinced that they will have loyal followings one day, as they're determined to keep playing until they become popular. Even more strange, they are so certain they will succeed that one says if he doesn't become famous, he'll probably just commit suicide. It's all or nothing. Similarly to the first film, some cops are interviewed, and it always seems like they have nothing but bad things to say about the type of music being presented. In the first film, they tell how punks hate the police because hating authority is part of their subculture, and the police represent authority. It's essentially the same story being repeated as to why this music is a bad influence (especially on kids), but the type of music is different. One scene that I think is pretty odd is when Spheeris is interviewing Ozzy in his kitchen while he makes breakfast. While trying to pour orange juice, he spills most of it onto the table because he hand won't stop trembling. Eventually in the 90s, this part was shown to be fake and the kitchen didn't even belong to him. Aside from this, that particular scene also contains my favorite part in the movie, which involves Spheeris asking Ozzy what he thinks about going a long time without drinking. He just says "it sucks." My thoughts exactly. Another favorite of mine depicts the band London performing their single "Russian Winter", the prelude of which has the singer setting a Soviet flag on fire. While metal still remains a popular genre today, there's a bit of controversy surrounding this movie stating that the rise of the grunge genre is due to this film. This is speculated because apparently, metal fans in the movie were fed up with the non-stop atrocious behavior many of them were displaying, particularly when it came to gluttonous eating and drug use. In my opinion, this doesn't really add up considering that grunge had plenty of drug abusers listening to it, and some of the performers (Kurt Cobain) did drugs themselves. Even many of the musicians interviewed admit to almost being killed by their impulsiveness when using dangerous substances. To summarize, The Decline of Western Civilization Part II is formatted basically the same as the film which came before it, but this time, the movie offers an insight into the inner workings of one of music's most popular genres.
Rock On! The Decline of Western Civilization Part II: The Metal Years is balls to the wall, interesting.
ironhorse_iv9 August 2018
Warning: Spoilers
Dust off, your vinyl collection, it's time to rock out to the glam hair bands of the 1980s. Much like the original movie, 1981's 'The Decline of Western Civilization', and its later sequel, 1998's 'the Decline of Western Civilization Part III", also directed by Penelope Spheeris. The second film of trio musical documentaries of hers, is less about, why & how the music scene, came to be, but more on the positive & negative effects of the hedonism lifestyle choices, the people involved with it, has taken. Featuring interviews with such popular musical acts like Kiss, Aerosmith, Poison, Alice Cooper, & others, also showcasing up and coming, unknown bands, like London, Lizzy Borden, Odin and Seduce through musical performances; the documentary electrifyingly chronicled the hair metal scene, from 1986 until 1988. Without spoiling the film, too much, I was deeply surprised, how many marquee names, the documentary has for a 1 hour and 33 minute movie. It's a who's who of prominent rockstars from that era of music. It was pretty cool to see them, all in one movie. However, I would had love to see more emphasis on getting acts like Guns & Roses, Quiet Riot, Val Halen, and Mötley Crüe to name a few, into the documentary to make the LA music settling, more personal & grounded. Scenes like involving the Rainbow Bar & Grill & Gazzarri's Club felt lacking, because of those bands absence. Besides, Motorhead's Lemmy, the famous musicians in the film, barely related to those locations; so scenes like the dancing contest at Gazzarri's come across as jarring and time-wasting. All of those talking sequences with the club promoters could had been cut; along with the die-hard fans spilling useless knowledge. The movie is already crammed with so many talking heads. So, why waste time on them? When Spheeris could had done, better, by getting those bands, I mention, to speak. Maybe, these bands could had given the film, a more in-depth insightful look into what it takes to be, in a hair metal band in Los Angeles; instead of, the silly surface level, highly repetitive, deadpan humor information, we, the audience, got, from these airheads. Because of this, the film felt more about a mockumentary like 1984's comedy film, 'This is Spinal Tap' than a serious rockumentary like VH1 TV Series 'Behind the Music' (1997-2014). We never truly get the serious emotional & informative complexities; a documentary like this, should have. Not only that, but it's not really that heavy, besides one, really off-putting, notorious interview with a drunken, Chris Holmes from WASP. The movie doesn't really expose much, the harsher, darkest side of the industry like the sexism, violence or living in a life full of excess. Nor, was the subject material, even that metal. Where were the performers, usually with fast percussive beats and low-register guitar riffs, overlaid with shredding-style lead work? The only one, I notice was Megadeth. Don't get me wrong, some of the songs have highly amplified distortion, extended guitar solos, emphatic beats, with singers singing with overall loudness; but most of the time, it sound like something from glam rock. The lyrics is another thing doesn't sound metal. Most metal songs often deal with social issues and criticism of the Establishment, using direct and denunciatory language, an approach borrowed from hardcore punk. Songs like "Cathouse" & "Bathroom Wall" were not only cheesy, but felt out of place. In truth, the subtitle for the movie should had been call 'the hair metal years', than the latter. Regardless of that, most of the music in the film was somewhat entertaining to listen to; despite nearly sounding the same. Only one bands feature in the documentary, honestly irritate me was Faster Pussycats. The lead singer for that band is really, really, bad with his cringe-worthy creaking vocals & over the top aesthetic. No wonder, why the excesses of glam metal created a backlash against the genre; creating the rise of grunge & thrash. You kinda do see it, in the final performance in this film. It's very foreshadowing. However, the film doesn't really talk about the rise of LA's hip-hop. That was another big factor in destroying the glam metal scene. Overall: While, the film doesn't have the informative depths that something like 2006's documentary, 'Heavy: The Story of Metal' or the raw edge of the first movie in Spheeris's series; it still worth watching for the amusing musical acts and the hilarious sequences that follow, even if some of them, were highly exaggerated & staged, such as Ozzy Osbourne making breakfast scene & the amount of Vodka that Chris Holmes drinks. It's probably the most fun of the three 'Decline of Western Civilization' films. I just wish, it didn't jump around, as much. It needed a little more narrative structure, rather than rapid-fire series of interviews. Still, it's one documentary worth headbanging too. So, mosh over and go find it!
like its predecessor, it's about a certain cross-hair of a particular music scene at the time
Quinoa19844 April 2006
I'll admit right off the bat that I didn't respond as strongly to the Decline of Western Civilization 2: the Metal Years as I did to Penelope Spheeris's first film and documentary, even as I know I did like this film. The former was a kind of fly-on-the-wall (as I recall, not as many direct interviews, more concert footage) look at this way of rock and roll life- of LA punks- that Spheeris knew intrinsically. In the Metal Years, she here isn't as much a fly on the wall in the sense of just getting the pure feeling of these people as she is getting answers to questions by a mix of highly popular and working-the-bottom bunch of Metal rockers.
It of course can't cover everything in such an amount of time, and one might be slightly disappointed to see Britain's metal scene is sort of overlooked in the course of the film (not that it isn't represented in interviews with Ozzy and Lemmy, but Maiden and Priest fans, among others, may wonder wtf). But if there is any single strength to this seemingly longer-than-90 minute film, with the interviews strung together in a interesting fashion alongside the concert footage, it's that this particular scene of American metal- particularly LA metal's scene- is captured very well.
And in this capturing of this time and place and the people all abound in it, it's of course of note to mention that everything the musicians say is not 100% reliable, and here and there it definitely has the feeling of bulls***ing with Spheeris's questions (however clever and funny). But there are enough true moments to really get the sense of these people at the time, that there is maybe at least some depth to the members of Poison (with really one good song in my opinion), or that Ozzy does have a very clear and honest view of what's gone on with him and the scene, or what rock means or drugs mean or sex.
If there isn't always a focus in the line of questioning, or if there doesn't seem to be much of a structure to the film, maybe it's part of the point. Here we have a mix of rockers either trying to make it (Odin, who I think made it bigger since, are featured prominently, as well as London), or have made it (Aerosmith, Kiss, Megadeth and Alice Cooper among a couple others), and be it that a scene or two is staged or set up at a location for a desired effect, there aren't many punches pulled with the answers to the fairly straightforward questions. And some of them, when not all about "rock and roll is my life" does show the dark side quite accurately, especially considering the time period. One interview with the drunk in the pool gives the most to try and shake off, even as the manipulation of the filmmaker kind of kicks in with having his mother right there watching him in his over-drunk state.
But, it is at the end of the day an entertaining documentary, if only as being a fan of the sub-fold of music myself. Some of the concert footage is less than great, even as London and of course Megadeth give quality performances. There was, like with other good documentaries, enough talk coming out of people to really chew on, and it shows Spheeris in a sort of different direction than in the other look at life in underground rock and roll. It's not great, but for the fans of the bands &/or those interviewed, it is near essential viewing, and also with an anthropological side to it through the stories and Q&A's that work for those not as into the music.
It of course can't cover everything in such an amount of time, and one might be slightly disappointed to see Britain's metal scene is sort of overlooked in the course of the film (not that it isn't represented in interviews with Ozzy and Lemmy, but Maiden and Priest fans, among others, may wonder wtf). But if there is any single strength to this seemingly longer-than-90 minute film, with the interviews strung together in a interesting fashion alongside the concert footage, it's that this particular scene of American metal- particularly LA metal's scene- is captured very well.
And in this capturing of this time and place and the people all abound in it, it's of course of note to mention that everything the musicians say is not 100% reliable, and here and there it definitely has the feeling of bulls***ing with Spheeris's questions (however clever and funny). But there are enough true moments to really get the sense of these people at the time, that there is maybe at least some depth to the members of Poison (with really one good song in my opinion), or that Ozzy does have a very clear and honest view of what's gone on with him and the scene, or what rock means or drugs mean or sex.
If there isn't always a focus in the line of questioning, or if there doesn't seem to be much of a structure to the film, maybe it's part of the point. Here we have a mix of rockers either trying to make it (Odin, who I think made it bigger since, are featured prominently, as well as London), or have made it (Aerosmith, Kiss, Megadeth and Alice Cooper among a couple others), and be it that a scene or two is staged or set up at a location for a desired effect, there aren't many punches pulled with the answers to the fairly straightforward questions. And some of them, when not all about "rock and roll is my life" does show the dark side quite accurately, especially considering the time period. One interview with the drunk in the pool gives the most to try and shake off, even as the manipulation of the filmmaker kind of kicks in with having his mother right there watching him in his over-drunk state.
But, it is at the end of the day an entertaining documentary, if only as being a fan of the sub-fold of music myself. Some of the concert footage is less than great, even as London and of course Megadeth give quality performances. There was, like with other good documentaries, enough talk coming out of people to really chew on, and it shows Spheeris in a sort of different direction than in the other look at life in underground rock and roll. It's not great, but for the fans of the bands &/or those interviewed, it is near essential viewing, and also with an anthropological side to it through the stories and Q&A's that work for those not as into the music.
A Look Into The Early 80's American Metal Scene
schmidtp-542212 October 2016
I'm generally into rock and metal documentaries of famous bands. I came across this while looking for said music documentaries similar to Spinal Tap and this was a recommendation. After reading some reviews of my own it was portrayed as "funny" documentary. The only thing I found funny about this was looking 30 years into the past and the ridiculousness of it all. Now don't get me wrong, I enjoyed the documentary. The interviewer takes a step back and asks some tough questions of the interviewed bands. Showing some of the highs (KISS) but mostly lows and sometimes almost tragic (Chris Holmes). It's amazing some of the interviews with bands at the time that didn't go anywhere, however the belief that they had in themselves and the self denial is remarkable. The documentary also delves into the associated world of female groupies who thought it necessary to parade themselves in bikini contests (and their obvious lack of reality and self denial). That said, DAMN their was some fit bodies! I think the film was well worth watching for some of the bigger names: Ozzy Osbourne was pretty funny (when he was at least coherent), Lemmy was probably the most truthful about the scene and industry at the time, KISS (Gene Simmons and Paul Stanly) showing the pretentiousness of it all. Dave Mustane from Megadeths interview was interesting, considering the songs played and you can see the references back to and disdain of Metallica. Overall the film captures a very ridiculous point in time and music that will never be repeated and really should be watched by any music fan.
Vacuous and empty, just like most of the 80s metal bands
Agent105 September 2022
So here we go. Yes, I do like metal and various forms of metal, but it's pretty obvious I was not a fan of the party anthem, hair and glam metal scene so many people fell for. I prefer thrash, punk, hardcore, death and black....so to see the absolute verbal refuse flowing out of the mouths of the interviewees is just pure cringe.
Where to begin. It's pretty obvious the people interviewed for the film were delusional. While some of the same tropes were spoken about from Spheeris' previous film, it just didn't have the same impact as the primary motivation was fame and money. If part 1 of the Decline series was the rejection of capitalism, then part 2 is the abject bootlicking of that economic system. It's just didn't have the same impact, for nihilism seems much more "rock and roll" than trying to attain some shallow perception of "making it."
Everything about the film was rather pretentious, from Paul Stanley doing an interview with a bed full of models to just the ridiculous clothes that 90% of the people wore in this film. I guess one can say this was the 80s in a nutshell, and I can say this is example No. 1 of the outright emptiness of the decade.
I especially loved the delusion of Odin, from the fact they never really made it to the fact the lead singer sounds like Dr. Rockzo from Metalocalypse. The whole pursuit seemed aimless until they got some brevity from Dave Mustaine of all people, who's band Megadeth illustrated how superior they were to the brain dead party animals talking about trying to make a name for themselves. But that was metal in the 80s I guess. Alice Cooper implied making music that makes you think is a good thing...it's just you didn't see much of that in this movie that is for sure.
Where to begin. It's pretty obvious the people interviewed for the film were delusional. While some of the same tropes were spoken about from Spheeris' previous film, it just didn't have the same impact as the primary motivation was fame and money. If part 1 of the Decline series was the rejection of capitalism, then part 2 is the abject bootlicking of that economic system. It's just didn't have the same impact, for nihilism seems much more "rock and roll" than trying to attain some shallow perception of "making it."
Everything about the film was rather pretentious, from Paul Stanley doing an interview with a bed full of models to just the ridiculous clothes that 90% of the people wore in this film. I guess one can say this was the 80s in a nutshell, and I can say this is example No. 1 of the outright emptiness of the decade.
I especially loved the delusion of Odin, from the fact they never really made it to the fact the lead singer sounds like Dr. Rockzo from Metalocalypse. The whole pursuit seemed aimless until they got some brevity from Dave Mustaine of all people, who's band Megadeth illustrated how superior they were to the brain dead party animals talking about trying to make a name for themselves. But that was metal in the 80s I guess. Alice Cooper implied making music that makes you think is a good thing...it's just you didn't see much of that in this movie that is for sure.
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