Time: 7 p.m.
Tickets:$60-$80

LOS ANGELES, CA (February 25, 2013) - MÖTLEY CRÜE unveiled today the details of their 2013 Canadian Tour, which marks the most expansive run of Canada in the band's history.  The tour will commence this spring with a total of 18 show dates spanning from Vancouver to Quebec.  The tour kicks off on April 20 at Penticton's South Okanagan Events Centre, and runs through to May 14 when the band completes the tour at Ottawa's Scotiabank Place.  MÖTLEY CRÜE will be joined by special guests Big Wreck; this will be the only time the band will perform in Canada throughout 2013.

Hailing from Los Angeles, CA, the quartet--Vince Neil, Mick Mars, Nikki Sixx and Tommy Lee has commandeered the rock pantheon for over 30 years.

In that time, they have accumulated worldwide album sales exceeding 80 million, seven platinum or multi-platinum albums, 22 Top 40 mainstream rock hits, six Top pop singles, a star on the HOllywood Walk of Fame, three Grammy nominations for Best Hard Rock Performance and countless sold out tours across the globe, playing to millions of fans.

The first rock band in history to have completed an epic sold-out Las Vegas residency at The Joint at Hard Rock Hotel & Casino, MÖTLEY CRÜE is best known for continuing to reinvent not only their live show (with mind blowing elements such as Tommy Lee's 360 drum roller coaster) and music (brand new song "Sex" released in summer 2012), but remain on the forefront of entertainment via cutting edge social media interaction.

The band was featured in the award winning Super Bowl commercial for the KIA Optima.  MÖTLEY CRÜE's New York Times bestselling memoir, The Dirk is currently being adapted into a major motion picture.

For more information and for VIP tickets, please visit:
www.motley.com

Facebook: www.facebook.com/MotleyCrue
Twitter: @thevinceneil @MrMickMars @nikkisixx @MrTommyLand

 Motley Crue
http://www.motley.com

Mick Mars: Guitar
Nikki Sixx: Bass
Vince Neil: Vocals
Tommy Lee: Drums

Perhaps the most momentous accomplishment of Mötley Crüe’s rock n’roll legacy is the fact that its original members have survived to tell their tale—while remaining as active and relevant today as bands half their age, many of whom validated their own mojo from the original bad boys of rock.  After what would be more than a complete lifetime for most, the band who described their exploits in their NY Times best selling, rock and roll autobiography defining The Dirt, the band is as relevant as ever, releasing hit records, a new Grammy nomination, record setting tours and new fans discovering them through the cutting edge bands they take on tour, their active internet presence and the timelessness of the songs.

Piled alongside the grinding guitar riffs and ball-busting lyrics that have long defined the rabble-rousing rock quartet are enough bottles of booze, anthills of coke, bail bonds, willing women, body brandings and dysfunctional debauchery to fell many a lesser man. And yet after three decades of decadence, Mötley Crüe maintains its iron will, capturing new fans and influencing musicians across multiple generations. With persistently gratifying and iconic road spectacles, 2011 will bear witness to their endurance as the world’s most notorious band takes on the world’s most notorious city with their Las Vegas residency, Circus of Sin.

Vocalist Vince Neil, guitarist Mick Mars, bassist Nikki Sixx and drummer Tommy Lee have commandeered the rock pantheon for 30 years now and yet, Mötley Crüe’s rock royalty emanates with as much kickass iridescent relevance in the millennium as it did in the 1980s. The Crüe’s bragging rights comprise worldwide album sales exceeding 80 million—25 million in the U.S.—seven platinum or multi-platinum albums, 22 top 40 mainstream rock hits, six top 20 pop singles, a star on the Hollywood Walk of Fame, three Grammy nominations for Best Hard Rock Performance, a New York Times bestselling memoir, and tours logging more than 1,350 live gigs across the globe, to date. The band’s output encompasses nine studio and two live albums, six compilation CDs, three box sets, nine DVDs, and 24 singles with accompanying music videos.

Individually, the gang of four is as notorious as its collective. Over the decades, Neil has released three solo albums, including the top 15 “Exposed” in 1993.   Add to that the recent New York Times bestseller Tattoos & Tequila, a companion to the 2010 CD of the same name and more than $2 million raised for his Skylar Neil Foundation in memory of his daughter, who passed away in 1995 after a battle with cancer.

Big Wreck Website: www.bigwreckmusic.com
Twitter: www.twitter.com/bigwreckmusic
Facebook: www.facebook.com/bigwreck

Ian Thornley – vocals/guitar
Brian Doherty – guitars
Paulo Neta – guitars
Chuck Keeping – drums
Dave McMillan - Bass

 The first question after a long absence necessarily has to be ‘why did you go away?—which belies how happy fans are to see Big Wreck return. The truth is the details have grown hazy over the last decade and neither Ian Thornley nor Brian Doherty recalls precisely what brought about the shelving of their band. Sure, there were outside pressures and there was a machine whose component parts were no longer in sync. The simple answer on why Big Wreck is back owes to a rekindling of the friendship of these two musicians, who didn’t speak for years and, once they did, the guitars came out. “I just missed him,” says Ian frankly. “I called him just to hang out but of course knew the chemistry would be there.” Brian echoes the sentiment: “We got together and started doing the same things as when we first met, on personal and musical level. It seemed to make complete sense.”

Returning to that place where like-minded musicians communicate is to return to the wellspring of inspiration and creativity. With Big Wreck, that translates into an outpouring of rock music that is direct from the subconscious heart, and lives in the interplay of controlled horsepower and unbridled virtuosity. Big Wreck remains faithful to the Big Rock playbook but isn’t necessarily interested in the “so big it will eat your children” flavours of today. “I went for all the good stuff that’s missing on rock records these days,” says Ian in describing the recording process. “I wanted to avoid falling into the formulaic cookie-cutter trap. That’s not going to interest me so how can it interest the listener? I have to go with my gut, which means longer songs, intros and bridges which explore strange territories, more room for breathing and a different dynamic range or sonic palette altogether.” While contemplating the next studio sessions, Ian was listening to Dire Straits, Fleetwood Mac and Thin Lizzy, finding a love of the textures in clean guitars against dry drums for creating a sonic backdrop that’s rarer today.

As important as finding a more natural approach to the aural landscape, Ian was also committed (and unencumbered!) to approach the recording technique in a way that would offer least obstruction. “The first Big Wreck was recorded really quickly, almost like high-performance demos. When we got signed, that’s what they put out and it worked,” he recalls. Albatross would be best served by following this same template: written free from outside influence, recorded fast in the studio to match the vibe that Ian wanted to capture. “There’s no other word for it other than ‘vibe’ – it may be a cliché but you know when it’s there and you definitely feel its absence when it’s not.”

Albatross was recorded over a period of four weeks in mid-2011 at Vespa studios in Toronto with producer Eric Ratz (Billy Talent, Cancer Bats). “Working with Eric is really easy and really fast. I worked with him on Come Again and it was a great experience in the studio—we’re like-minded, we get along, we appreciate the same sorts of sound. I don’t want too many opinions in the studio and his I trust.” For a trusted ally outside the studio, Big Wreck relied on Nick Raskulinecz (Foo Fighters, Rush), producer of Thornley’s Tiny Pictures, who extended his services as an ‘executive producer’ to Albatross. The band would send him songs in progress and he would return suggestions for possible avenues down which to proceed. “Nick’s a great song doctor. With Time, that was a song made of three songs which had to be sewn together like Frankenstein’s monster, only much prettier.”

Looking back at the recording studio, says Brian, is something of a blur. “It was lightning fast. Ian had so much already written that I just had to come in, pick out some guitar parts and, before you knew it, I was done! It was crazy fast but not stressful at all. It was great to be back in that scenario and to see Ian work in the way that he likes best. So reminiscent of those first Big Wreck days.”

So what about the songs themselves? It can safely be said that Big Wreck of 2012 follows naturally from where their songbook left off a decade earlier. “Some of these songs [on Albatross] have been kicking around since then. A riff here and there, a melody that was just looking for its home – especially true of Albatross [the song]. That main lick has been with me a long time, working some sort of Rod Stewart Maggie May vibe. Do What You Will has had different lyrics in its various incarnations but it has remained with me as I won’t deny I have a soft spot for beer-chugging rock anthems.” Ian has an admitted soft spot for Led Zeppelin and All Is Fair treads a not-dissimilar path. “I’ve always been honest and open about my feelings for Mr. Page,” grins Ian.

Head Together was created by layering, over and over, vocals that almost – but not quite – line up. “I wanted to hear what it would be like to do 20 vocal lines on top of one another and then begin picking notes over top, in-between and around.” Putting new spins on old forms is a never-ending process of discovery. “You Caught My Eye has to be the most straight-up blues song I’ve ever done, which actually gave me lots of opportunity to play within that structure for solo’ing, different lyrical approaches and more. The guitar sound came first and everything else followed.”

Beyond the impact of their recordings, Big Wreck retains a legacy of an exceptional touring band who deliver on stage true to all the great rock legend and lore. “We’re getting incredibly impatient,” admits Brian. “Take a group of guys like us and put them on the road for weeks, playing 5-6 nights a week, and it’s a matter of what that can become. You can come see Big Wreck in a club and appreciate the Rock ‘n’ Roll party side and have a ball AND I think there’s a lot to listen to in terms of musicianship and songwriting. There’s a lot to offer and if an audience can work with that, this will be great.”

So Albatross is the same Big Wreck, only different. Fresh yet familiar, there’s no mistaken the voice, the virtuosity of playing, the pen from which it pours forth. Ask Ian Thornley if Big Wreck of 2012 is the Big Wreck that called it a day back in 2002 and he sees this as the natural extension of what he’s been doing for decades now. “It’s still the same thing. I’m still looking to get off and get that feeling. I’m still searching for the perfect thing. I hope I never find it.”

Big Wreck fans may argue that they’ve found what they’ve been looking for these last ten years.