Mötley Crüe – Dr. Feelgood

Released in 1989, Dr. Feelgood stands as Mötley Crüe’s most commercially successful album, but for guitarists, it’s much more than a collection of hit singles. It’s an essential study in hard rock riff-writing, high-octane solos, and tonecraft. Mick Mars, the band’s enigmatic guitarist, was at his absolute peak on this record. His playing combines raw aggression with surprising technical finesse, all wrapped in a blues-drenched metal framework.

The production by Bob Rock gave the guitars a clarity and punch that set a new standard in late-’80s metal. The rhythms are thick and percussive, the leads cut through with searing sustain, and Mars’ tonal choices highlight the dynamics of each song. For guitarists, the album is a lesson in riff economy, phrasing, and rock-metal articulation. Danny Gill breaks down every song on this classic album in this exclusive Lick Library video course.

Track-by-Track Guitar Breakdown

1. T.n.T. (Terror ’n Tinseltown)

This short instrumental intro sets the tone with a dark, cinematic soundscape. The guitars are drenched in effects, creating tension with sustain and layered textures. While not riff-heavy, it introduces the dangerous, urban feel that runs through the album.

2. Dr. Feelgood

The title track is a riff masterclass. Mars locks into a power chord-driven groove built around the E minor pentatonic scale, spiced with chromatic notes. The opening riff uses palm-muting to give a tight, percussive attack, almost functioning as an extra rhythm instrument alongside Tommy Lee’s drums.

The solo is classic Mars: rooted in E minor pentatonic with flashes of bluesy bends and slides. He doesn’t overplay — instead, he delivers short bursts of energy with pinched harmonics and string bending that cut through the mix like a razor.

3. Slice of Your Pie

This track blends sleaze-rock swagger with psychedelic textures. The main riff leans on open-string riffs in A, creating resonance and drive. The rhythm section supports with syncopated rhythms, giving the riff a swung, blues-inflected feel.

Mars’ solo shifts between A minor pentatonic and natural minor with hammer-ons and pull-offs. The outro riff channels Led Zeppelin with layered guitars and a trippy whammy-bar trick descent.

4. Rattlesnake Shake

Pure party-rock riffing. The main guitar part is in G, built on chunky barre chords with heavy pick-slides between sections. The solo is frenetic, making use of alternate picking across G minor pentatonic runs.

The standout here is the use of galloping rhythms in the riff, which injects a metal edge into an otherwise bluesy rocker.

5. Kickstart My Heart

Perhaps Mars’ most iconic riff. The track kicks off with a whammy-bar trick simulating revving motorcycle engines — an unforgettable guitar moment. The main riff is a speed-metal gallop in D minor, using galloping rhythms and palm-muting.

The solo is a showcase: Mars deploys two-handed tapping, rapid tremolo picking, and wide string bending. The scale usage is largely D minor pentatonic, but he adds chromatic passing tones for a reckless, high-speed feel.

6. Without You

A power ballad that gives Mars room for melodic phrasing. The verse riff is built on arpeggiated chord progressions in G major, played clean with chorus and delay for atmosphere.

The solo is lyrical, almost vocal in phrasing. He uses vibrato and pre-bends with impeccable control, drawing from the G major scale and E minor pentatonic. Mars shows restraint here, proving that sometimes the best solos are about expression, not speed.

7. Same Ol’ Situation (S.O.S.)

This is riff-driven hard rock at its purest. Built on chord progressions in A, the verses are tight with palm-muting, while the choruses explode with open chords.

The solo uses A minor pentatonic with blazing slides and double-stops. Mars peppers in pinched harmonics for added aggression.

8. Sticky Sweet

A mid-tempo rocker with sleazy attitude. The riff is centred in C, with open-string riffs that give it a loose, swaggering feel.

Mars’ solo blends C blues scale with chromaticism. He leans on hammer-ons and pull-offs for fluidity, and finishes with squealing pinched harmonics.

9. She Goes Down

The sleaziest track on the record, built on simple but effective power chords in E. The riff relies heavily on palm-muting and syncopated rhythms to drive the groove.

The solo is short and dirty: E minor pentatonic, lots of string bending, and gritty vibrato. It’s less about technical showmanship and more about raw rock ’n’ roll attitude.

10. Don’t Go Away Mad (Just Go Away)

One of Mars’ most melodic riffs, based on arpeggios and open-string riffs in C major. The progression is uplifting, making it stand out in the band’s catalog.

The solo is tasteful, weaving between C major pentatonic and mixolydian flavours. Mars incorporates slides and vibrato for a singable quality.

11. Time for Change

The album closes with a socially-conscious ballad. Mars supports with clean arpeggiated chord progressions in D, giving the song a reflective tone.

The solo is restrained, using D major scale melodies with soulful string bending and wide vibrato. It’s an emotional closer that prioritizes feel over flash.

Mick Mars’ Contribution to Dr. Feelgood

Mick Mars was the unsung hero of Mötley Crüe. While the band was known for excess, Mars brought focus, discipline, and musicality. His riffs are deceptively simple but incredibly effective — always serving the song first.

On Dr. Feelgood, Mars’ tone is tighter and more aggressive than ever. He balances sleaze with precision, blues roots with metal aggression. Importantly, his solos are never random shred sessions; they are mini compositions with beginnings, climaxes, and resolutions.

For guitarists, Mars exemplifies the importance of:

Tone discipline: Thick rhythm crunch with articulate leads.
Economy of notes: Saying more with less.
Technique in service of songwriting: Using advanced methods like two-handed tapping or sweep picking only when musically justified.

Classic Albums - Dr. Feelgood

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