Woman Accuses Vince Neil of Misdemeanor Battery

Woman Accuses Vince Neil of Misdemeanor Battery?

The Associated Press is reporting that a woman has lodged a complaint against Mötley Crüe singer Vince Neil, alleging that Neil grabbed her arms in an elevator at the Las Vegas Hilton.

Neil, 49, wasn't arrested but the police did take statements from the woman and two other people regarding the misdemeanor battery complaint on Sunday. The investigation is still open.

It was not revealed if Neil and the woman knew one another prior to the incident; she did not appear to be injured.

It's been a bumpy summer for Neil's, who's band wrapped a stint on Ozzfest last month. The singer is due in court October 27 on separate misdemeanor drunken driving and speeding charges. He has not yet entered a plea. He is accused of driving his Lamborghini sports car 60 mph in a 45 mph zone before being stopped June 27 near the Las Vegas Strip. Tsk tsk. Vince Neil is breaking too many laws in one news post.

What can Vince Neil do to stay out of legal hot water? 

 

This is one of Vince's six business he owns. Obscene really. Must be great. Well keep you posted some more about Vince's lifetstyle. This is interesting

Vince Neil Arraigned Today For DUI

According to RadarOnline.com, MÖTLEY CRÜE frontman Vince Neil will be formally arraigned today (Monday, October11) for DUI and speeding charges — both misdemeanors — stemming from his recent arrest. At the hearing, Neil is expected to enter a plea to the charges.
Neil failed three field sobriety tests and had a blood-alcohol level almost three times the legal limit during his June 27, 2010 Las Vegas arrest on suspicion of driving under the influence of alcoholTMZ.com obtained the Las Vegas Police Department report (view report as PDF file), which indicates that Neil was pulled over for driving 60 mph in a 45 mph zone and for "weaving between the lanes."  According to the report, the arresting officer detected the odor of alcohol on Neil's breath and asked the singer to perform a variety of field sobriety tests, three of which Vince failed. Neil — who admitted to having consumed three glasses of champagne at the Hilton hotel earlier in the night — eventually gave up by saying, "I can't do this," the report states. Vince was then asked by the officer to take two breathalyzer tests and, according to the report, he registered .215 and .216 — nearly three times the .08 limit.Vince was previously arrested in 2007 for suspected DUI but worked out a deal in which he pleaded no contest to reckless driving in exchange for having the DUI charge dropped, according to TMZ.com. 

Nevada state law says that people convicted of DUI twice within seven years face anywhere from 10 days to six months in jail.

The singer lives in Las Vegas, where he owns a chain of tattoo shops and a restaurant at the Las Vegas Hilton.Neil was sentenced to 30 days in jail and five years probation in 1984 after an accident in which he crashed his car, killing passenger Nicholas "Razzle" Dingley of the band HANOI ROCKS. Neil was driving under the influence at that time.Neil also pleaded no contest to a charge of assaulting a music producer in 2002, and again pleaded no contest in 2003 to charges he attacked a prostitute at the Moonlight Bunny Ranch in Nevada. In 2004, an arrest warrant was issued after he allegedly hit a sound engineer at a show in Texas.Vince's new solo album, "Tattoos & Tequila", sold 7,500 copies in the United States in its first week of release to land at position No. 57 on The Billboard 200 chart."Tattoos & Tequila" was issued in Europe on June 4 via Frontiers Records and was made available in the U.S. on June 22 through Eleven Seven Music.Below is Vince Neil's mug shot — taken right after he was arrested in Las Vegas, Nevada on June 27, 2010 on suspicion of driving under the influence of alcohol.

Tommy Lee's Favorite Transexual

Let’s get right to the point. There are few in Toronto’s gay community who don’t know who she-male bombshell Nina Arsenault is. Canada’s most famous transsexual (holder of two masters degrees, and a fab magazine columnist), recently collided Crying Game-style with Tommy Lee. You all know who Tommy Lee is. Rock star. Pamela Anderson’s on-again-off-again. Gifted between the legs Now everyone's talking. Shinan Giovani, gossip at the National Post broke the story, which was then picked up by the infamous 'Page Six' at the New York Post. Across North America celebrity websites are gleefully dishing the dirt, and even US magazine’s been calling. What exactly happened? And why the fuss? Nina sat down with me late Saturday afternoon to reminisce tell her side of the saucy story.


Looshis : I’ve been excited about chatting with you all day – this is going to be like great girl talk.


I: Yes. So set the scene. When were you at Ultra Supper Club?


T: It was last Saturday night. I went to Ultra Supper Club with Jason Ford. And you know how there are those little curtained-off areas in the middle, sort of translucent? So you can see people, but you can’t see who they are. It’s a nice place, Ultra. I think it’s classy. But there are these girls walking by in these tiny little mini-skirts, silicone tits out -


I: That struck you as odd.

T: I said to Jason, ‘what the fuck is going on here, tonight? Do these girls work here? Do they make them dress like that? Because they’re dressed like fucking Hooter’s waitresses.’ Why would someone come to this place dressed like that? And there were a lot them. Young girls. And in particular there was one I was making fun of in this tiny miniskirt. So we were having a laugh about that, eating dinner. And then I was walking to the washroom, and I noticed that when I walked by where Tommy Lee was sitting - and there were about maybe six guys there - everyone would turn. And I heard some guy say, ‘That girl’s body is sickening!’ Like in that good way. But I was just like, ‘whatever’. You know what guys are like.


I: But you knew they were talking about you.



T: Yes, I did. I knew they were talking about me. So I sat back down at my table. Then this guy comes up, and he’s like, ‘I’m not sure if you’re aware of this, but Tommy Lee is at the club.’


I: Who was the guy?


T: He said he was one of Tommy Lee’s people. And he said, ‘He’d really like to meet you.’ So I was like: Oh, that’s why there’s all these girls here parading around like this. So he picked me? Oh my lord! But I didn’t say that, I just thought that. I said, ‘I’m eating dinner with my friend, but maybe when I’m finished I’ll consider it.’ I didn’t want be full star-chaser. Because he must have girls like that all the time. And I always think for male stars like that, women are so disposable to them. I was desperate to meet Tommy Lee at that moment, but I wasn’t going to seem it. But then as soon as I was finished eating, as soon as the waiter took my plate away, that guy was back. And he said, ‘So would you consider coming to meet Tommy Lee?’ And at this point I’d had a couple of glasses of champagne, so …


I: What is it that made you even interested in meeting him in the first place? Do you find him attractive or are you just interested in hooking up with a celebrity?


T: Just the celebrity, and he’s a trophy, and the experience. And I guess … (Pauses to consider.) When there’s all these genetic females lined up, wearing next to nothing, with their hair done, and their tits out and asses up, sucking their waist in? And he comes for me? I felt like the Pamela Anderson of transsexuals!

I: Do you think to yourself: ‘He thinks I’m a genetic female’ as you said, or do you think to yourself: ‘He knows I’m transsexual.’


T: No, he thought I was a female at that point. So I go over to meet him. I’m not nervous at all, and I think, ‘you know what I’m going to do? I’m going to treat him just like I treat my clients at stripping.’ And so when I went over to meet him, he introduced me to everyone at his table.


I: I read in the Post that he had been drinking since seven in the morning.


T: He said he’d been drinking since seven in the morning, but he didn’t seem drunk to me. He was eating some sort of carbohydrate. And then there was no chair for me to sit down on.


I: He invited you over and had no chair?


T: No. And I do this thing at stripping. (Slides off her chair and crouches down, butt-to-boots, looking upwards.) To talk to a guy I crouch next to his chair like this. So, to speak to the guy I have to look up at him. And that’s a very attractive way for a man to look at a woman, because he’s looking down at her. And when you’re looking up, your face looks best. And it’s almost like you’re right there at his lap, ready to give him a blowjob. So I talk to him there for a moment, and say, ‘Tommy, you know, I left my drink at the other table. So I think it would be gentlemanly if you bought me a drink.’ He was like, ‘Yeah, for sure. You want to do some shots?’ And I said, ‘Let’s do tequila.’ ‘What do you want, gold or silver?’ he says. And I said, ‘both. Two for you, two for me.’ I was trying to do this edgy thing and not be like a groupie.

I: You weren’t going to be one of those bimbos you saw earlier.


T: I wasn’t going to be another bimbo or another fart-catcher for him.


I: Did you just say ‘fart-catcher’?


T: Yes. I wanted to be this ballsy chick: Let’s see if you can drink me under the table. The tequila comes, and I throw mine back like nothing - and then he throws his back and he gagged on his! And at this point I was like, ‘you fucking pussy! You’ve got this badass Motley Crue reputation, tearing-up-hotel-rooms-bullshit and you’re gagging on a shot tequila? And I threw mine back like that?’ Then he laughed and said, ‘Listen, I’ve been drinking since seven am.’ He said, ‘Somebody get this girl a seat.’ But no one could find a chair for me. And so Tommy said, ‘Okay, I’ll just move over on my chair and you can sit on the edge.’ I said, ‘I can’t sit there. I’ve got a lot of junk back there, Tommy.’ So I sat on his lap. And he said, ‘What do you do for a living?’ And I said, ‘Oh, I’m an exotic dancer.’ And he had both arms on either side of me and he gave me two thumbs up and he grinned from ear-to-ear and said, ‘Perfect’! I’ve never seen the Tommy Lee / Pamela Anderson sex tape, but I know he’s notorious for having some huge dick. But when I was sitting on his lap, at that moment when I told him I was a stripper? I’ve never seen that video, but he is packin’ somethin down there!

 And then I said, ‘Also, I’m a columnist for this magazine. And I talk about sex, and have adventures in the sex business and then write about them.’ He didn’t seem very interested in that.


I: He liked your night job better than your day job.


T: Yes, he did. Then he said, ‘Who’s that guy you’re sitting with?’ And I said, ‘Oh don’t worry about him, he’s gay. In fact, he’s met you before, he works for MuchMusic. You probably don’t remember him because you meet a million people all the time.’ And Jason didn’t think Tommy would remember him. So then he said, ‘Bring him over.’ And I said, ‘You don’t have a problem with gay people, do you?’ And he said, ‘No, no, not at all, bring him over.’ And then Jason came over into the area. And then I think what happened was that this guy who was there who was high up at MuchMusic, looked at Jason, knowing Jason’s gay, and then looked at me as Jason’s friend. And then I saw him staring at me. And then I saw this happen around the table: (Makes whispering motions.)


I: They started playing telephone.


T: Each person whispered to the person next to them, who looked at me, who then whispered to the person next to them, who looked at me, who then whispered to the next person who was (eventually) Tommy. And he took a good, hard look at me. And I’m sitting on his lap, so our faces are rightclose together. And he’s looking at me, and I would say we stared at each other for a good ten seconds.


I: Which is a long time.


T: Which was an eternity. But what are you going to do in that moment when this guy, he’s trying to figure out, ‘Is this, like, a tranny sitting on my lap?’ So I smiled at him, as if to imply, ‘That’s right … I’m a she-male!’


I: But you were playing this whole thing by ear, right? You didn’t have any –


T: I didn’t have a hidden agenda; I wasn’t trying to embarrass him. But if Tommy Lee asks you to sit on his lap –


I: No need to even finish the sentence.


T: So we had this really long look at each other. And I smiled at him and he smiled back at me. But he was cool. He knew he got duped, but he was cool. And then he slapped both his hands down on the table and he went, ‘Well, I’m dying for a cigarette.’ And at that moment I very much had the sense that was a code. Because he spoke it to his bodyguard. And nobody spoke to the bodyguard. People were talking amongst themselves, but the bodyguard was just there. So I said, ‘Oh, great, I’d love to have a cigarette too!’ At that point the bodyguard put his hand up and said, ‘You’re not coming to smoke with us.’ And that was the end of it.


I: They went for a cigarette and never came back?



T: That’s my interpretation of events. He tried to pick me up, found out I was a she-male, and just decided ‘this is not for me’.


I: Would you have slept with him?


T: No, I had already decided that I wasn’t going to sleep with him. I’m very much aware that women are disposable to men like this. Because I’ve dated other famous guys, on the down low, and women are disposable to these guys. He can get his dick sucked by anyone. There were girls lined up there that night. With probably that intention.


I: Did you ever have it going through your mind, ‘at some point, the fact that I’m not female is going to come up.’ Because I guess I’d ask you that any kind of time when guys are going to think you’re a woman, so what are you going to do?


T: I knew he couldn’t kick my ass at Ultra Supper Club if he had a problem with it. I think part of my game was, ‘I’ll see how long I can work this before he figures it out.’

Tommy needed to go smoke a cigarette after his close call with almost smoking a cock. Can you imagine the look on Pam's face the next time she saw him...Tommy Lee is the modern day Eddie Murphy!

Stephen Pearcy Is Back For More And It's Not Heroin

When we spoke to Ratt frontman Stephen Pearcy, the anticipation to release his band’s first album in over 10 years, Infestation was still growing. The band had just revealed their return-to-form single “Best of Me” which fans ate up alive (pun intended) and the rave reviews began to pour in. Now, with the album out , we’re looking back on Ratt’s reunion, how the addition of guitarist Carlos Cavazo aided in the making of Infestation, and how the 30-years-later album ultimately fits into Ratt’s early days coming up on the Sunset Strip. Light up and Ratt and Roll.

Take us through the band’s evolution from your first EP to Infestation. 

It started out as a monster I created, and somehow, some way, we’re still in the picture and still taking care of business with each other and everybody else, but we’re a little more aware. The thing that I think most of us hold to this day is that we really care about the music, first and foremost. To me, I wanted to get back to the way it really was: work on stuff apart, then you’re working together, and next thing you know, you’re in pre-production in the studio… and it worked – it worked very well. I’m happy with all the songs.

How did the band’s reunion come about in the first place? 

I’m going to say music – it’s not like everybody really needed a dollar or something. There are benefits, and I just saw our catalogue, I saw too much interest in our back catalogue and I wanted to stimulate it whether I was involved or not, and that’s what initiated the first go-around, and then the second one, I’m just so hard to please, and you get bored very easily, and my guys think I’m just a nutbag, but I’m the sober one at the moment in this circus, so this time around, it was pretty much, ‘Hey, we got something cool here, what are we going here?’ We don’t compete with anybody but ourselves in the first place, so there’s no intimidation factor there. It was pretty much, ‘Let’s get this thing moving, it’s worth a shit, it’s worth something, and not just monetarily, it’s worth something, it’s our integrity, it’s us, we created this thing,’ and that’s what pretty much brought around the second go-around, and hopefully there won’t have to be a third.

With having so much history together, how do you pick up and get back to where you started? 

It still has to do with the music, it’s weird and people are like, “Oh, he’s talking out his ass,” but for us, it’s music, even though the payoff is good here and there in the music business, and we’ve learned that, but it’s still hard dealing with each other sometimes. When it comes down to it, you get us onstage together, and everything just dissipates, and when we get offstage it’s like “Fuck you” again. But it’s all music. I go up there just looking for that few seconds of euphoria, and if I get it, I’ve done my gig. If I get off, everybody’s going to get off, if they want. That, to me, is how I direct myself, forget about the business, forget about everything else, and you just go out and do it, and if people dig it, they dig it.

And judging by the response to “Best of Me” so far, they seem to dig it… 

Yeah! The single is doing good, I’m happy about that. You never know what to expect. The way this is all going, it’s like this is our first record or something. What, aren’t we jaded by now? This is no big deal… now all of the sudden we’re getting reports, 5,000 sold on the Internet, that it’s still hanging, doing good…we forgot about all that stuff years ago. You get spoiled and jaded.  I can’t wait until [fans] get the big picture and the real full CD, because it actually kicks major ass.

Tell me more about the single, what is it about? 

That’s a messy place…it probably has to do with some kind of relationship thing. It could be taken many ways, but it’s pretty much a him/her affair/relation kind of thing. [It’s] as good as it gets, but if there was something better, but there isn’t, this is the best of me -- and I don’t know how I came up with that crap. I just kind of put myself in the element of the way we wrote and it was exactly like it was back – or real close – to the schematics of our first records, sitting in a room together, living together for a month, however long, and all of the sudden you’re going into pre-production and you’re in the studio. Me, I can’t write lyrics until I’m in there and right before --  the minute I think it’s done -- I’m rewriting the whole song. That’s what happened on this record, I rewrote everything every morning for a couple of hours.

Adding guitarist Carlos Cavazo to the band, how did that help with the writing process? 

It was great. Me and him pretty much wrote “Best of Me” with the producer putting his two cents in there, and who’s great to work with, by the way, who’s not just a fan, he’s a very prominent producer, and we took a great chance and it paid off. Carlos is amazing, I’ve known Carlos since way back in the day -- way back, before Ratt in ’82, ’81, and he fits the mold. He’s about as close to Robbin’s situation as we get, we’re back to the double solos and the harmonies and stuff that I really wanted to dig into, and as Warren did, too. He works very well. A couple of great songs we got out of him for this record, good ideas. As a bass player, too, Robbie Crane’s been in the band longer than the original bass player, Juan, and he came up with some great song ideas and I co-wrote a great song with him. It’s kind of cool for me, it’s cool writing with everybody, collectively, then I do my own thing, as everybody else does – you bring an idea in and see what happens.

Where did the title for ‘Infestation’ come from? 

I don’t want to pat myself on the back on that one, but we were going back and forth on all these titles, and I’m usually spearheading a title, and everyone was asked to come up with titles, and nobody was agreeing on anything. I had some cool ones, and out of the blue, I just thought, “Fuck, our first tour was called the World Infestation Tour. Infestation.” I brought it up to everybody and it just clicked.

That being your first tour, and you’re hearkening this record back to your early days. Does it all fit full circle? 

Yeah, that’s what I mean about just coming up and thinking, “Oh my god, this is almost like our first record again,” even though we’ve been there and done that, and just thinking in terms of, “OK, our first tour in ’84 was World Infestation,” it just kind of fit, and the music, to me, fits right in between Out of the Cellar and Invasion, I think people are going to be real surprised when they hear the full CD, because we have yet to put anything out in so long, the last record, to me, was disastrous, even though there are some good songs on there. That’s my personal opinion.

Why do you say that? 

It wasn’t up to par, we were a mess, we’d just gotten back together, and we skipped a beat and had to get us back on track, so to speak, and you can’t change some situations and people, so the only thing that we got going for us is that we like what we do with the music, we didn’t get into this to become a success story, we got into it because we liked the music and the parties and all of the sudden things got bigger and better and more and more. They got more better. [laughs]

Now that you are reaching a new generation of fans, what do you want them to know about your legacy? 

That it’s not just cookie-cutter music. There’s so many bands that came out at the end of our genre just because it was a popular thing, they’re calling it hair metal now, this or that, but it’s rock and roll. To be identified as that is a little disturbing, but I’d like to think…I have a 13-year-old daughter now, her friends know who I am, as weird as that is, and it’s so easy for them to turn on YouTube and see us either doing a great show or somebody falling off their ass, but just knowing that we are a good rock and roll band, we call it Ratt and roll, but it’s ours, and that we do like getting people good music, and if we can, the best show possible. We didn’t really start this to be press darlings or to be the most popular thing on the block, shit just happened. It’s kind of funny when people, especially for me personally, when people go, “That guy sucks, he can’t sing, he sounds like a squashed cat,” or something, I go, “Well, shit, it sure has paid well over the years, thank you.” I never considered myself a professional singer in the first place, I’m a professional screamer. That’s what I tell my kid, “Honey, I’ve got to go yell at some people.” So the legacy, I’d say we call it Ratt and roll, it’s ours, check it out, it’s good. I’ll put it up against anything.

Tell us more about the brand that is Ratt & Roll. 

It’s just a strange thing, because you never know what’s a hit. Here, look at the White Stripes, you have a drummer and a guitar player, and they have hits. The industry has changed, the music has changed, the business has changed, it’s not like it was when we started, that was the tail end of the early Eighties, when you had the Motleys and the Ratts and the WASPs and these other bands, Quiet Riot, and you were getting something new. None of us knew what was going on except that it was something different. It will never be repeated, it’s like the Seventies with the Doors or Zeppelin or Sabbath or Priest or something, so to be in that category is way cool, but how we make it ours is beyond me, because we are a strange bunch, it’s hard to control ourselves.

Starting out in 1980, how do you feel knowing that Ratt is still pertinent in 2010? 

Very fortunate. Either we cannot be exterminated, which is the variable to a rat, and we like it like that. It’s a weird thing. Sometimes, I think it’s the strangest occupation you could ever have. But it’s cool, because it’s dangerous, it’s colorful, it’s exciting, and it’s right in with my territory.

What do you owe your staying power to? 

Hey, we’re rats, we can’t be exterminated. That’s the bottom line, we’re tenacious fuckers. We do have integrity and pride, even though we beat ourselves up, but hopefully, we’re on the victory lap here, and I’d like to see us win. We’ve never got into the race to win; we just wanted to be in it. Maybe we’ll see the checkered flag.

When you first started out, did you think you’d still be doing this 30 years later? 

Me, personally, yes and no, because Robbin and I used to always say, “Man, is this ever going to happen?” I think we all thought that we were the last in the L.A. scene to be signed, and ended up pretty much still being in the game. Robbin and I used to say, “Hey, when is this thing going to end?” Platinum records and big tours and things kept happening, so it was like, “Shit, let’s see how long this party lasts.” Then you get a wake-up call, and then you start looking at this business as a real business, and what you really want out of it, do you want the party or the paycheck or the girls? I was going to say ‘pussy,’ but…that’s the three Ps, pussy, party, paycheck, my dad hates that, but I love it. You eventually figure that out, and here we are, it’s still involved, and it’s crazy to think it would still be going on. Like anything, if somebody wants it, if you work for it, you’ll eventually get it. It depends on how bad you want it. You don’t necessarily have to sell a soul to get it. You’ve just got to work at it. My advice to young bands, and I have an independent label, and I say, “Don’t even get involved if you’re not into it for the long haul,” because it’s good to you, then it’s bad to you, then it’s good to you, and then you know you’ve had success when it’s really bad to you, and then you get a lesson, and if you can get through that lesson, you’ve actually earned your stripes, and you get rewarded, you get these badges of platinum records and shit.

What was the biggest lesson that you’ve learned?

It is a business, and you can enjoy it – just expecting those you work with to play a big role, and if it’s yours, it’s yours. What’s not always good for the goose is good for the gander, so to speak, and that whole saying, one for all, all for one, doesn’t necessarily work. But as far as this whacked out bunch we’ve got, it’s still working, and we really did work hard on this record, so it’s a good thing, and hopefully people will dig it, because the end result for us, is just if people like it. We like it, so we’re excited to share it. If we didn’t like it…I knew the last record wasn’t going to go down the way we wanted just because of the way everyone was so fucked up in their own element, including myself. I was not in the best place during this record, but I think that’s what got the best out of me during this record, it was like starting all over, was the approach I took, personally.

You mentioned that you weren’t in the best place – what was going on and how did it influence what you were writing? 

A lot of things, personal life and demons and chasing dragons…[laughs] It wasn’t very good to me, but it got a lot of good out of me, so I got a lesson and woke myself up and each one of us, I’m sure…I went to a weird place to get this record done, and it wasn’t a conscious decision, it was just part of what I was experiencing, and I was very honest about it on the record. There’s one song in there about heroin talking to me, there’s another song about my personal life with my kid, just weird stuff, and then you have the party element thing, and then you’ve got relation and association, and then you have, “Beat me behind the bar, whoop-de-doo, fuck you, too,” you’ve got everything in there, so something was working.

With substances being a part of Ratt’s past as well, and this record bringing you back to the beginning, how does Robbin’s passing due to his long battle with substances come into play? 

It woke me up, his situation. For a while, and during the record, I was on my own trip, which wasn’t exactly a good one, but I pulled out of it, I was almost going into a nose dive to win the war, and pulled out just in time, which I did, without being specific, because it’s my business, but I went to a weird place, and it wasn’t all that good, nor was it all that exciting, but I had to think about these things, as I’m sure each one of us, in our own weirdness or whatever, or vices, you don’t necessarily have to have a vice to be a freak, you can still fuck things up just by being one’s self. In my case, no, and that’s how I was so surprised that at the end of the day, how I was able to pull that out of the bag. But I was so into it, as I guess I pull myself away from everybody sometimes, so I did what I had to do, and that wasn’t necessarily a good thing, nor was it done for that reason, it just happened to be where I was. But not now. Now I’m flying kites and balloons, stepping on bugs. I’m actually racing cars, I’m sponsoring drag cars again.

Right, tell us more about that… 

It’s been something I’ve been wanting to do since way before music. I’ve been sponsoring cars for years, and we involve Ratt every now and then, or I just involve myself, like the funny car racecar I have now is a Top Fuel Records car, my record company car, and I actually just got off the phone with somebody, we’re proposing some ideas…it’s been a passion of mine, drag racing, and I’m thoroughly into it, I’ve written songs for ESPN2 and NHRA drag racing, and I’m always there at the races and I’m always sponsoring cars, and it’s very important, it’s what gets me off.

What about your record release party at the Sunset Strip, what are you looking forward to in ‘making your return’? 

We’ve played there before and even did a record there, but bringing Ratt as Infestation back there, it’s like the Gazzarri’s days when we first started out in L.A., it’s like going back to step one and saying, “Here, check this out, we have our own original songs and we like what we do, here’s the party, let’s go.” So it’s going to be a good thing to play some of the new songs, and of course, we’ll lay it down, take you round and round and all that other good stuff.

What do you ultimately hope to achieve with this new record? 

What I hope to achieve is to kick everybody in the ass and say, “Here, this is called Ratt and roll, how ‘bout it?” Like it or don’t like it, we love it.

Tommy Lee Said The Coke Is Arriving at Sixx

Methods of Mayhem mainman Tommy Lee has just released the long-awaited sophomore album A Public Disservice Announcement after a 10 year hiatus from the project. To talk all about the resurrection of the band, the new spin, new members, new headspace, ah ahem..new ideas and how the famed drummer balances his love of playing guitar, fucking beautiful whores just kidding, and being the all around bad ass douchebag we all want to be.

We last caught up with you in February 2009, when you were promoting Mötley Crüe's Saints of Los Angeles release. What's been going on with you since then?

TL: I've been working on this Methods of Mayhem record for a little over a year now. Mötley decided to take 2010 off, so I was like, this is a perfect time to make a new Methods record. 'Cause the last one I did was in 2000 and it's like, fuck, 10 years went by; it's time to make another one, let's do this.

The last Methods of Mayhem record was born in part out of your stint in jail. At the time you were also getting into Buddhism...

TL: Yeah, yeah.

So the Methods of Mayhem project is ironically part of a greater spiritual journey for you.

TL: It totally is. I call it my adult playground, or my adult sandbox. I totally get to go fucking crazy stylistically. I get to do whatever it is I want. Because I can't really do that with Mötley. We do a certain thing and that's what we do. So when I get a chance to do this, I fucking love it. I just get to go crazy.

Right, 'cause your role in Mötley is very defined; you're the drummer. Whereas with Methods of Mayhem, you're playing guitar, you're doing vocals...

TL: Yeah, pretty much everything right. Once again, I could just let it fucking rip. I love, love, love to sing and play guitar too, you know, and keyboards, and pianos, and turntables, and all kinds of shit. I get a chance to play with it all...Like I said, it's my chance to sort of freak out.

How does the creative process work for you? 'Cause it's got to be very different from working with Crüe, where you're part of a machine that functions in a very specific way. With Methods of Mayhem there's a blank page, and you have to create something out of nothing. How do you go about that?

TL: It's kind of like whatever you're feeling, you know. I'm a fan of so many different styles of music. Whether it's making a nasty dance club track or making a really aggressive metal track like "Fight Song," or a pop/rock tune like "Time Bomb" or "Blame." I am all over the place. I truly get to exercise all the fucking demons when it comes to this.

I love the progression of the album from rock through to dance on the last three songs ("All I Wanna Do," "Back To Before" and "Party Instructions"), the way they roll into each other, that really hits a sweet spot for me, kinda makes me wet.

TL: That's fuckin' awesome. I'm glad. That's so cool. Finally! You have no idea how many fuckin' interviews I do with a lot of fuckin' rock meatheads that just don't get that. I'm telling you, you're the first person that actually appreciated that. I did that for people like you, so that you could enjoy those songs back to back. Because what happened was, I had this very eclectic record that had pop, rock, and electro dance stuff on it, and I couldn't really [make it work] by making the record go all over the place. So what I did was I sequenced it so it took you on a journey through some rock, metal, pop, and then I wanted to close the album out with full-on club banger shit.