Review Summary: A fearless, commercially ignored experiment where Nikki Sixx traded glam metal comfort for raw creativity — and made it count
58 was a side project created in 2000 by Nikki Sixx, best known as the bassist and intellectual driving force behind the legendary (for better or worse) hard rock band Motley Crue, and Dave Darling, a music producer, songwriter, mixer, and multi-instrumentalist.
Sixx is the more recognizable name of the duo, but you need to forget everything you might know about Motley Crue when talking about 58, because these are completely different animals.
Not even Generation Swine (the only truly experimental work in Motley Crue’s entire career) comes remotely close to the sound of 58. The foundation of this side project is melodic pop/rock, with moments that range from alternative rock to hip-hop-influenced grooves, along with samples and experimental textures. In fact, the band’s sound is much closer to Boxing Ghandies (Dave Darling’s band) than to Motley Crue.
The idea behind 58 was not to be a traditional band — no touring, no conventional promotion. According to Sixx, the group was “strictly an artistic thing,” focused on experimenting with ideas and blending styles rather than adhering to expectations or commercial standards.
That resulted in an extremely interesting album, where each song sounds quite different from the others. Sixx described the recording process as the result of casual jam sessions between him and Darling, starting with hip-hop loops combined with rock riffs — a mixture they themselves considered “strange.”
The approach was carried out with absolute freedom, almost no planning: deciding who would play what was often done by flipping a coin. Many lyrics were written on the spot, without revision, in a spontaneous way.
Sixx explained that this was part of the project’s appeal: if people liked it, it would be for what the album truly is — not because of industry pressure or a traditional record label push.
The album’s sound was described by the members themselves as a mix of glam, hip-hop, rock, pop, funk… and a “car crash” — suggesting shock and experimentation rather than a pure or conventional genre.
So, what about the song you might be asking now, dear reader.
Piece of Candy has an indie touch. Its lyrics are somewhat prophetic: they anticipate by several years the cultural phenomena of reality shows in the Big Brother style and platforms like OnlyFans. The “la-la-la” at the end of the song is catchy and sticks in your head for hours.
Killing Joke is funky and full of groove. In fact, you’ve never heard Nikki Sixx’s bass as prominent and interesting in Motley Crue as you can hear it here on Diet for a New America: “Ah, ah, it’s a killing joke,” sings Dave Darling — but it might as well be, “Ah, ah, this is a great song.”
Queer is “lazy,” kind of loose and laid-back. It’s another very funk-driven track with a strong bass line that pushes the song forward.
Other great moments include the incredible cover of Alone Again (Naturally) by Gilbert O’Sullivan, Stormy (dedicated to Sixx’s daughter), and the depressing All My Heroes Are Dead.
In the end, this is an album that gets more right than wrong. It’s not perfect — there are a few fillers, minor inconsistencies, and moments that could have been more polished — but when it works, it really works. It shows personality, risk, and a strong sense of identity. Sixx would never have had the space to experiment like this in Motley Crue.
Commercially? Completely irrelevant. I remember checking the sales figures a few years later — the CD had sold a mere 5,000 copies.
But who cares?
Trust me: listen to Diet for a New America. It’ll be worth your time.
