special introductory paragraph! On Parole
Motorhead
Overkill
Bomber
Ace Of Spades
No Sleep 'Til Hammersmith
Iron Fist
The Best Of Motorhead Live
Another Perfect Day
Orgasmatron
Rock 'N' Roll
No Sleep At All
1916
March Or Die
Bastards
Sacrifice
Overnight Sensation
King Biscuit Flower Hour
Snake Bite Love
No Remorse
Everything Louder Than Everyone Else
We Are Motorhead
Hammered
Stone Deaf Forever!
Inferno
Kiss Of Death
Motorizer
Like their colleagues AC/DC and the Ramones, Motorhead have been re-using
the same three-chord riffs over and over for going on 25 years now.
Singer/bassist Lemmy Kilmister, with his trademark disgusting facial moles
(and occasional facial hair), and his rotating band of gypsies have been one
of the most predictable and consistently pleasing hard rock/heavy metal band
of all time, say their fans. Critics just bitch though. Damned critics. I
refuse to put myself in the same category as those fiends (mainly because I
don't get paid to do this shit, and only about 8 people see my reviews
anyway). With a bluesy attitude but amphetamine-driven rhythms, the
Motorheads were entirely instrumental in the creation of speed metal (check
out "Overkill," a classic high-speed thrasher recorded a good five years
before Kill 'Em All came out!). It can take a while to get into them
though. For one thing, Lemmy has a vocal range of literally about two
notes. Secondly, unless you listen really really closely, pretty much every
song DOES sound the same. But damn you and hells to me, they totally rock
and a lot of their tunes are killer. Plus -- Lemmy just seems like such a
nice guy!!!! Any rock fiend would be a fool not to buy all their albums
like I did.
Apparently Lemmy used to be in the art rock band Hawkwind (which I
still find really difficult to believe, but then I find it difficult to believe in
your bullshit "loving" Christian God too!). This CD features the earliest
Motorhead material, as recorded by Lemmy, drummy Phil "Philthy Animal"
McGillicudy (his name isn't actually McGillicudy - i'll look it up and let
you know what it is later) and Pink Fairies guitarist Larry Wallis. The
songs are good, but the mix is just hideous, making it sound like the band
recorded inside a big metal box. Also, there's something distinctly
"Motorhead" missing from the presentation. The guitar is too traditionally
bluesy like Cream - not metal enough. And am I crazy or did someone put a
"space alien tinny fuzzy annoying" distortion effect on the ol' Lemmer's
microphone? Ear, ear - this material wasn't released until years after its
recording in 1976 (at least I think it was '76 - how the fuck should I know?
Look it up in your Funk & Wagnalls!), and by then more rockin' versions of
most of the tunes had been long-since released on the official Motorhead
debut, reviewed below!
Phil's last name is Taylor. Just like Mick,
Elizabeth, John, Kiley, Rip, Andy and Phil "Philthy Animal"
McGillicudy.
Motorgeekier note:
PS
Now THIS is Motorhead! New guitarist "Fast" Eddie Clarke brings with him an
absolutely FILTHY grungey heavy guitar tone that meshes perfectly with
Lemmy's hoarse roar and Phil "Philthy Animal" McGillicudy's crash and bash
r'n'r style. Eight classic hard rock tunes (well... "White Line Fever"
isn't a classic, I suppose, and "Vibrator" is still a little gross and
offensive...
And if there's one thing I can't stand, it's things that are gross and
offensive!!!!
(innocent whistling)
Motorhead are a wonderful hard rock/heavy metal band. They rock heavily but
catchily, with blues riffs mixing with Lemmy's natural sense of hard rock
melody. Buy this, buy that, buy 'em all. Great early headbanging material.
EXCELLENT kickass version of "The Train Kept A-Rollin'" too! Blows
Aerosmith and the Yardbirds clear out of the water of life! Existential
doodoohead!
Did I mention that Lemmy was a HUGE speed freak? As in
amphetamines? Ha!
Did I mention that about a month ago, I got really
wasted at a Mexican restaurant and signed my credit card slip "David
Casserole"? For some reason at the time it seemed funny.
I then proceeded
to leave my credit card on the table, so the stewardess had to chase after
me to return it. But in the end it was all okay and I TOTALLY got laid that
night!!!! Man, NOTHIN' gets a guy porked like tequila!
I'm with you--great debut! Love Virbator and Iron Horse/Born to
Lose. The bonus tracks on the remastered CD include an awesome version
of Beer Drinkers and Hell Raisers and On Parole. Funny stuff. Lost
Johnny and Train Kept A Rollin' are top notch. Gritty record!
and it's amazing what obsession will do to a man. especially when you record a song ON to
a cassette tape OFF of an irrisponsible college radio station called ALBUM 88. and that
college radio prgram HAPPENS TO BE DEFUNCT AS OF PRESENT TIME. and come TWO YEARS later
you HAPPEN to be lsisening to that VERY cassette and the Cannibus-soaked, prick-of-a-DJ
doens't TELL you the name of the band you heard, and you REALLY LIKE THE SONG YOU HEARD and
the song sounds like shit because you recorded it off the radio but you really love the
song but you can't figure out WHO the fuck the band is because you can't call the DJ
becuase the Dj by now, is probably lying dead in some fecal-drenched restroom in some desert
in Arizona. who knows?
IS the band HAWKWIND? HOW THE FUCK AM I SUPPOSEWD TO KNOW??? it sounds too good to be
Hawkwind anyways.
Oh sweet sweet Motorhead. More dirty smashing beerhall anthems, paced fast
for fist punchin' and Irish kickin'. Features "I'll Be Your Sister," later
to be covered by Superchunk! Also features "Overkill," later to be ripped
off by Motorhead about fifteen thousand times! Look, I've no clue how I'm
going to review every Motorhead album in an interesting manner. THEY ALL
SOUND LIKE MOTORHEAD. And, although they all contain a duff track or two,
you'd be a fool not to own every single one.
Except maybe
Motorhead
Sings The Phil Collins Catalog. That one's not that great.
Say, did any of you see Motorhead on that "Young Ones" episode? Weren't they
awesome? What song did they do? Was it "Ace Of Spades"? Also, while I'm
on the subject, am I remembering wrong or did The Damned perform a song on
there called "Video Nasty"? Because I have all the Damned albums but I
still haven't managed to run across that song. Anyone?
How about you?
The one sitting naked in front of the computer with your hand on your
pud?
And if you're wondering what constitutes a "duff" tune for Motorhead,
that would be a song like "Metropolis" that sounds like Motorhead, smells
like Motorhead and eats like Motorhead, but it's slow without being wicked
cool, and when it's gone, you don't care.
As opposed to something like
"Tear Ya Down" that just fucking KICKS YOUR FUCKING HEAD IN!!!!!!
Classic album, and rightly so. Power from one end to the other, and
cool ass production. Favorites? Overkill, Stay Clean, No Class, Damage
Case, Limb From Limb--oh, the list goes on. Play it loud. It cooks! A
9!
It's Phil "Philthy" Taylor, I believe Mark.
Overkill is one bad-ass motherfucker of an album. Usually when I'm feeling
depressed, which has been quite a bit lately, I put on "Loose Nut" by Black
Flag, and I get angrier and more depressed. Now, when I put on Motorhead,
especially this album, and especially "Stay Clean" it puts a huge smile on my
face. I can't explain why this is so, but perhaps I should listen to more
Motorhead and less Black Flag. But back to the album, I think the whole thing
is great. Perhaps the most consistently enjoyable of all of the Eddie period,
if not the best, and definately more bluesy than punky. Hell, I even like
"Metropolis!" But, shit, why does the CD reissue have TWO fuckin' versions of
"Louie Louie?" Anyway, I'd give it a 9.
Also of note is The Golden Years, which looks like one of those dumb
rip-off compilations, but is a really cool collection of demos from 1976-1980
and while it is lo-fi as all hell, it fuckin' rules. it has versions of
"Bomber" and "Stone Dead Forever" that kick the shit out of the versions on
the Bomber album. Oh, and "Ace of Spades" has the same lyrics as the
version of the one we all know and love, but in a not unlike The Fall-type
fashion, the music is TOTALLY DIFFERENT! It's "Ace of Spades," but it isn't!
Weird! I'll give it a 7. It's damn good, but definately only for fans. As far
as rip-offs go, I'd definately skip "Over The Top," which is a "rarities"
collection that, unlike the disc I just mentioned, features songs that have
already been released as "bonus tracks" on the Castle reissue albums (which
is kind of silly because Castle put this one out, too.). And I'm sure that if
you like Motorhead enough to buy a rarities collection, you already have
several studio albums form their "classic" period, and if you have CDs, then
they're more than likely the Castle reissues, so you already have the songs.
How redundant! Except Castle are pretty good scam artists. Anyone who has the
Damned or the Fall compilations by Castle can attest to that.
Why don't you review The Damned next? You know you want to.
I'll Be Your Sister is the low point for me although Overkill would rate as my favourite Motorhead record, above Ace Of Spades.
Okay look sunny funny sarah, even though I personally am a Motorhead fan, I
can't just come out here and give high grades to every single album if'n I
feel the band isn't bothering to come up with enough awesome riffs to carry
an album from start to finish. See, when your style is THIS simplistic, you
really gotta make sure that you've got a good groove AND catchy hook goin'
down. Whether it be slow blues metal or fast punk metal, Motorhead
generally have a good grasp on what makes a song memorable and what doesn't.
Unfortunately this is not ALWAYS the case. I don't know if it was a
combination of too much speed and alcohol, or too much time on the road or
record company demands or Lemmy's big mustache or what, but this album seems
to totally lose its way about halfway through. The songs stylistically are
exactly what you demand and expect from Motorhead, but there just doesn't
seem to be any lyrical or musical hook to wrap your arms around and
squeeze. "Stone Dead Forever," for example. Yes, it's considered a classic, but I
think that's mainly due to a catchy chorus and excellent guitar solo.
Because in the verse, NOTHING HAPPENS. Plus there's a slow bluesy number
featuring "Fast" Eddie Clarke on vocals and holy majoley if you thought the
ol' Lemmster was bad, wait til you hear "Fast" try to croak out a
tuner.
By the by, weird western themes on here, seems like. Song titles
like "Dead Men Tell No Tales," "Lawman" and "Sharpshooter" (all EXCELLENT
headbangin' tunes, btw.). So yeah, I'm not going to just lie and say that
every album they did was really good from start to finish. I'm going to try
to be a little more discriminating than that, but it's a bit difficult
because...well.... I REALLY LIKE MOTORHEAD!!!!!
Nice album cover!
See, now here's what I'm talking about! High-speed, blueezzzeey r'n'r from
Britain's finest miscreants or whatever the hell a douchebag critic would
call them. To me, they're just Moley and the Uglies and they play music
that is GODODOODODODODODOD good! Riffs must have taken a good 45 seconds to
throw together, but they WORK! The band knows rock and roll - they know how
to chug away at an E and throw in a couple of generic blues progressions,
but in a GOOD way! Lyrics about jailbait and screwin' and reptiles and
shooting people. And the title track is one of the most perfect rock and
roll songs ever recorded. If you feel differently, I don't think you know
what rock and roll is. As for the rest of the album, obviously it would be
hard for it to match up to the title track, but it does a pretty FUCKING
good job at doing just FUCKING that. Most of it is high-speed and when it's
not, you still get sucked in to their drug-addled stupor of distorted
electric instruments and no ukuleles goddammit would you please get off the
fucking ukulele issue for once in your goddamned fucking life.
To me, this
is Motorhead at their purest and most recommendable. There's just not a
single low point on the album. If you can deal with simple, stupid,
predictable, high-energy punkish bluesish rock, you gotta get it and get it
now. Was there ever another band that merged punk and blues like this? If
so, tell me who they were! I want to be a fan!
Still, essential and fun!
Oh, and that bit about the ukeleles made me laugh uncontrollably for reasons that I cannot yet comprehend.
Hello, I'm Dick Van Patten. And I've discovered a whole new way of making friends with Lemmy Kilmister. Some people think that the direct approach is the way to go; others prefer the silent treatment. But having known Mr. Kilmister for many years, dating back to my founding of the band Hawkwind in 1968, I know the man like the back of my hand -- which believe me I know quite well since I'm always wackin' it! Here, let me share some of my knowledge with you.
The first thing to do when you see Lemmy Kilmister walking towards you in the library or discotheque is to shout (LOUDLY - he likes loud noises, like his music), "HEY LEMMY! WHERE'S SQUIGGY? HA HA HA!" This will alert him instantly to your wit and charm. The next step, now that you've 'broken his ice' so to speak, is to poke violently at his multiple facial warts while shouting, "HOLY 'MOLE'-Y! HA HA HA!" At this point, he may start playing hard-to-get, just to make sure that you really like him for who he is and are not just another celebrity hanger-on like Phil Campbell. If he mutters something to you like "C'mon, cut it out," that's your key to let loose with the greatest razzleberry of them all: "'MOTORHEAD'? WITH THE WAY YOU WON'T STOP TALKING RIGHT NOW, THEY SHOULD CALL YOU 'MOTORMOUTH! HA HA HA! Also, all your albums suck."
The next thing you know, Lemmy Kilmister will be buying you a drink and calling you his best buddy. Or "bloke," as they say in "Jolly Old Europe"! And I'm Dick Van Patten.
Hay! Who let Dick Van Patten onto my computer? And why are there shit stains all over the keys now?
I can answer that! I'm Dick Van Patten! I shat all over the keyboard!
Ahhh!
This is a live album recorded by Motorhead a long time ago, shortly after the recording of their (or "its") fourth album, Ace Of Base. It features two songs from Motorhead, one from Bomber, five from Overkill and three from Ace Of Spades, but all recorded LIVE!!! LIVE!!! LIVE NUDE GIRLS!!!! It includes all four title tracks, as well as several other fast asskickers and mean midtempo numbers like "Capricorn," "Metropolis" and "Stay Clean." You don't really need it if you already own the first four studio albums, but if you're a cheapo in Indonesia or some shit and you want one basic compilation of vintage early classic Motorhead, this is some awe!!!!
Both fans, friends and new listeners alike will enjoy the way that Lemmy dedicates "The Hammer" to "Little Filbert" (a type of hazelnut), and who but Lemmy would have thought to allow a member of the road crew to introduce the song "We Are The Road Crew"? A half-retarded lab monkey, that's who! The only stencher to be found is "No Class," and only because it's a direct ripoff of ZZ Top's "Tush" (and you know gollarned well that Lemmy knew this because he'd led his band through a cover of "Beer Drinkers & Hell Raisers" just several months prior or afterwards). "Iron Horse" is kinda slow and uneventful too, but elsewhere - YOUZA PAN! Gritty, mean thrash, blues and hard rock all churned together in a blender filled with rocks! Great tough sound too, though it all runs together into a grey mass of noise if you're not paying attention.
Let me apologize for calling you a pan a few sentences ago. Also, even if the music doesn't excite you because you're a stodgy old businessman in a three-piece suit concerned about your investments instead of a rebel Hell's Angel in a black leather jacket giving free mustache rides, nobody but a mundane impotent fool would deny the electrical excitement generated by the WWII airplane zoom and air ride siren wafting around the album as the crowd chants, "Motorhead! (clap clap) Motorhead! (clap clap) (repeat)" in anticipation of the inevitable ass-kicking encore.
Unfortunately the encore wasn't included on the record. Albums were pretty short back in the early 80s. But let me tell you -- as a guy who was sitting in the front row at that show, the encore was UNFUCKINGMAZING. Instead of Motorhead, who should come out but the four reunited Beatles!!! They all came out and played Abbey Road in its entirety before going into a four-hour set of greatest hits and requests! It's unfortunate that this wasn't recorded and everybody else in the theater was in the bathroom and missed it, but man it sure was MY bag! Hell, I was shakin' my fist and shoutin' "MOTHER NATURE'S SON!!!! MOTHER FUCKING NATURE'S SON!!!!!" When they were finished, I pissed all over Paul McCartney and wrote "No More Lonely Nights" for him.
Well, that's my story. Remember kids, I'm Dick Van Patten! If anybody asks you who wrote that dumb-as-shit Motorhead review where the Beatles come out and he pisses on 'em, tell 'em it was John Houseman as "Dick Van Patten!" Because I'm Dick Van Patten! Hay! Hay everyone!
Anyway, that's my new book. Publish it or shove it up your ass, I don't care.
Eat shit,
For reasons that have baffled me since 1573, many critics apparently
consider this a "step down" for Motorhead. I couldn't be more in the
minority if I were a black Jewish crippled Iranian woman with fifteen ears
and a rosy-smelling bowel movement of love. This is a fanTAStic Motorhead
album! Awesome heavy fast killer riffs from beginning to end with almost no
missteps (I personally think "America" may be the worst song that Motorhead
has ever written and I suppose one or two others are a dollar late and a
martin short but rock and roll is about passion guts determination and
volume. Motorhead has all, with the possible exception of
marijuana.
I love the fact that Lemmy has the balls to sing a song called "(Don't Need)
Religion". Great song too! Slow and evil. Like Matthew Broderick or a
pitchfork being lodged in and out of your eyeball over and over until
there's just a goopy mess dripping out of the socket.
Lemmy Kilmister!
Angus Young! Johnny Ramone! Without them, there would never have been an
Elvis Presley or the Beatles. Rock and roll begins with these three
goddesses of the silver screen. People who rub their genitals and then
smell their fingers are not good people.
On top of this, I do believe in GOD, so (Don't Need) Religion is a
bit offensive. Attacking religious nuts is one thing (like he does
nicely on most other records) but condemning my maker is a bit sticky.
Oh well. Still love him, warts and all. And I think the album cover
rules, so....
Atheism is the only "ism" for me.
Also, it's the other way around. without the Beatles there's a good chance would never have existed. :P But, you know... whatever, right?
This is one of about seventy-eight billion live Motorhead ripoff products
you're going to find in your local used record store. I don't know when or
where this was recorded, but it contains a whole slew of Iron
Fist songs (and nothing later), so I'm assuming it was recorded during "Fast"
Eddie Clarke's final tour with the band. I personally think the song
selection is terrific - a nonstop high-energy riff factory - but the
recording is only slightly above bootleg quality, unfortunately.
Everything's really muffled sounding.
Like the desparate cries of Enrique
Iglesias as you smother him with a pillow.
And they changed the riff to
"Ace Of Spades"! Explain THAT one, Nicky Skopelitis!
WHY??? Why did "Fast" Eddie Clarke decide to leave the band? To form the
band Fastway??? That's hardly a forgivable reason. Either/or, they replaced him with a more "musical"
guitarist named Brian Robertson. But he's not that much more musical so
don't start shakin' like a leaf at preeminent queries and images of Lemmy
singing atop U2's The Edge playing a delightful jittery mid-80s melody of
life and politics. Nope, this shitkicker just plays with a little chorus on
his guitar and throws in a catchy as hell pop riff every once in a while ("I
Got Mine" and "Dancing On Your Grave"! Wow! Excellent!). But the songs
are still all Lemmefied, chugga chugga chugga write along. Just with a
touch of prettiness here and there and less sludge than you'll find on their
other albums. I say buy it! Brian was gone by the time they did their next
album anyway, so this is more of an interesting diversion than a destruction
of band philosophy. Apparently Brian was a primadonna dicknose who refused
to play their old songs in concert. Who in Sam's Alley is he to think he
believes? Fie on it!
Oh! Untimely death!
Why did they have to cram (Don't Need) Religion on the remaster?
Grrr....
Mind you the current line up of Zoom, Dee and Lemmy is the best, no prima donnas with them
Need I say more?
"RebelJukebox@aol.com (James)
James, you wouldn't have hated it at all. I was lucky and PRIVILEGED enough to see this iteration of the band at the Metro in Chicago. The band had stacks of Marshall amps about 15 feet high all along the back of entire place. Can you say FEEDBACK?!?! I ventured down from the balcony onto the main floor, about 20 feet out, when Lemmy announced "This is called Iron Horse." When Phil started slamming into the drums, I literally felt as though a horse were kicking me in the chest. It was SOOOO loud, the loudest thing I've ever heard (and by the way, I once measured Iron Maiden pegging my SPL meter with 126 decibel peaks from 50m away-but Motorhead was WAY louder. Wish I'd had the meter). My friend Mike Jamison stayed up in the balcony the whole time next to the mixing board, which he reported had "every single light all red." On the way home, he kept hitting his ears with his fist, since he stupidly refused to bring earplugs...
The show itself was quite good. (I was most familiar with the "Ace of Spades" album, which I had bought at a garage sale for ten cents. I looked at the cover and said "what's up with these guys?,"bought it, brought it home, cued it up. When the needle hit the groove, I jumped with fright at the caucophony issuing forth. And absolutely LOVED IT!) The show covered (not in order): Ace of Spades, We Are The Road Crew, Bomber, Overkill, I Got Mine, Die You Bastard, Iron Horse, and the rest I just couldn't swear to, it's been too long. It was one long blurry maelstrom of fury, with the eye of the storm occasionally being evinced by Brian Robertson. In the middle of all the heavy metal speedfreak thrash metal, he'd suddenly be whipping off some very high speed but very melodic bit of fretwork. It wasn't jarring at all, it fit well in an odd way, never to be seen again in any later incarnation of Motorhead. the several times afterward that I've seen them (and they are invariably intense and very entertaining) I've never heard any material from "Another Perfect Day."
P.S. The album is worth buying for the funny cartoon about the band that's in the liner notes.
Cheers!
I read about Brian Robertson before I heard this album, but nothing in print can prepare you for this exceptional auditory onslaught. Lemmy & the "art" rocker? What's that?! Just go for it - this classic stands on its own even among Motorhead classics. The excellent production was unprecedented for Motorhead as was the concerto performance of band versus solo instrument - to my ear not experienced before or since in rock music. It's Lemmy's chugging locomotive sound clashing with Brian's whining Gibson (?) sound and the mix is an incendiary battle of titans never to be imitated or equalled. That they managed to collaborate for even this one album is mindboggling in retrospect and it's difficult to imagine a followup. I'm glad they didn't bacause we would have missed the mighty mass of Motorhead music that has followed and to my great relief, continues unabated and undiluted to this day.
HAH??? Three years go by and Lemmy comes back with an entirely new
four-piece band....called....Motorhead? Seriously, SHEESH! He's got two
guitarists now and some drummer who very clearly is NOT Phil "Philthy
Animal" McGillicudy. Are we in for a disappointment? A band change akin to
that of Bloodrock after Jim Rutledge left?
No, of course not. I realized
I set you up for disappointment there but the truth is that Mr. Lemmy has
always been the heart and soul of this band and as long as he doesn't drop
dead or suddenly become a huge bluegrass fan, Motorhead will probably never
fail to please its diehard fanaticalans. This album is awesome!!! Very
HEAVY and guitar-filled in every nook and cranny. No silly melodies, just
one- and two-chord chuggidy-chuggles at all kinds of delightful speeds!!!!
It's neat having two guitarists in this band! They create this huge wall of
slickish heavy dirt covered in a weird shimmery sheen of Windex (must be a
little chorus or somesuch goin' on?) with no breaks in it at all - a sound
that is unlike both the motorcycle chug of the early stuff and the poppish
guitar of that last dude. BAMMO! And most of the songs are fantastic too.
The title track goes on for like 6 minutes, mostly on one chord, and it's
just deafeningly joyously brilliant. "Deaf Forever" isn't the most
creative song title they've come up with though. Don't they already have a
song called "Stone Dead Forever"? And then there's a song on their next
album called "Stone Deaf In The USA"!!! Why??? WHY ARE THEY CONSTANTLY
NIBBLING AT MY PSYCHE???? MY PSYCHE HAST DONE NAUGHT TO HARM THESE
FINE MINSTRELS!!!!!
Hey! Phil "Philthy Animal" McGillicudy is back in the band! And all their album covers
look exactly like! Okay. This album starts weak. The title track is just
okay, and "Eat The Rich" is just stupid. Bad music, dumb lyrics. Bloop.
Rest of the album kicks Brenda's Aske though! And really, what more can you
say about a Motorhead album? Punkishness, thrashiness, bluesiness - And
"All For You" even has a "pop" chorus that your mother will desire to sing
along to because I know that fat bitch and she's always pulling shit like
that, the douche cunt whore!
And dig the hilarious spoken word prayer
after track 4 - i laughed, i cried, i kissed you, i killed you.
btw, love
that fuckin' "Traitor" song - makes my ballsac pop out of my trou and dance
around the room until an unbearable sharp pain develops in my stomach area
and I pass out! And "Dogs"? Hell, I'm adopting a puppy in a couple of
weeks! It's as if Lemmy Kilmister read my mind!
Screw you too Mark! every Motorhead album sounds different and Lemmy never claimed to have started speed metal. He never even claimed that Motorhead played metal. He wanted to sound like MC5 meets oldschool rock n roll! He did it! "Ace of Spades" "On Parole" and "Remember Me, I'm Gone" all have a rockabilly twang. So maybe he just plays hard rockabilly!
Pointless live album featuring mostly tunes from the last two albums. Sound
is a little thin, I think, considering there are two guitarists in the band.
Only sounds like one. Bass and guitar are too separate. I don't know.
Shit my ass! Or rather, "u". Shut Burzum's Aske! But holy poopdish does
Lemmy like to rock and roll. Go Lemmster go! One nice thing about this
live album is that includes "Just 'Cos You Got The Power," and "Killed By
Death," a cool couple of bloozers previously available only on singles!
Still, not much of an incentive to buy an album full of songs you already
own. How can I give it less than an 8 though? "Ace of Spades"? "Traitor"?
Even "Built For Speed" pounds on this one!!! And OH that hilarious Lemmy
and his wacky stage banter. (He really does sound like a nice guy - no
joke. Good personality in that guy). Let's talk about rock and roll for a
moment. Because Motorhead, to me, IS rock and roll. No frills. Extremely
predictable - but ALWAYS catchy, loud, brash, funny, chunky, bluesy,
energetic - just ROCK AND ROLL. There are a lot of people in the world who
insist that the "ultimate" rock and roll album is Who's Next or
Blonde On Blonde or Born To Run or so on. But, as much I DO
like those albums as extremely enjoyable examples of music in the rock
genre, when you compare them side-by-side to REAL rock and roll like
Motorhead, AC/DC and The Ramones, they're pussy music. Okay? Try listening
to Who's Next right after Ace Of Spades and not feeling like a
pussy. It's bullshit. "Goin' Mobile"? "Song Is Over"? (it sure takes a
long fucking time getting there!!!). Whatever. Let's not get back on the
topic of The Who. I'm just thinking about rock and roll is all. And how
different people have different outlooks on the topic. Me, I like my rock
and roll to inspire me to bang my head and jump around. I guess SOME of
Who's Next does that. "Bargain" is sure an awesome song, for
example. Hell, I really do like Who's Next - I just think it's way
too bombastic and slow to considered one of the best rock and roll albums of
all time. But then again, most of Motorhead's albums are hampered by a few
weak tunes too. But at least they're KICKASS weak tunes!!!!! YEAH!!!
KICKASS WEAK TUNES!!!!
Hmm. Well, they changed, see. Trying to branch out. Slower tempos. Two
of the songs focus on keyboard and voice instead of guitar. Two of them are
depressingly generic blues-scale r'n'r tunes. But that's okay! There's
still enough kickass tuneage on here to recommend it - "I'm So Bad Baby I
Don't Care" is a G--D--- M-----F------ S---D------- C---S------ P----L------
A--K------ classic, and tracks 8-10 are a nonstop kickass garbage tree post
do! A tribute to the Ramones!!!!!!! And look, I don't mean to come across
as a sissified gentrification proponent, but I love the title track, a
rumination on war driven by a slow plaintive keyboard line and Lemmy singing
way above his range. If you're in the wrong mood, it's really easy to laugh
at off as an experiment gone awry, but it's SUCH a sad song, with Lemmy's
voice quivering just like the 16-year-old soldier he is portraying in the
song would. This is not a good place to start your Motorhead collection
only because it's not really representative of how good they are at what
they do best. I mean, "I'm So Bad Baby I Don't Care" is a goddamn
motherfucking shitdouching cuntsucking pricklicking asskicking classic, and
8-10 are Fish to Poop, but the others? Some are good, some aren't, but it's
just not MOTORHEAD!!!! With all this slowness and diversity, you might feel
like you're listening to Who's Next or some other album for fags and
girls.
Phil "Philty Animal" McGillicudy quit again! Now a guy named Mikkey Dee is
playing drums! Look, I'll tell ya what. This album sounds like Lemmy is
trying to create hit singles for the metal kids. But it's like 3 or 4 years
late, isn't it? It's got Slash and Ozzy on it, as well as a cover of a
not-that-great Ozzy song, and it's WAY overproduced for Motorhead. No more
buzz or mess or crazy rock action - this is too slick, too rigid, too
perfect. Some of the songs are still good, but Ozzy good, not Lemmy good.
Good like "commercially viable" and "accessible," not good raucous rock and
roll action. It even had a hit single! Remember "I Ain't No Nice Guy After
All"? With Ozzy singing on it? And another complaint - the band is no
longer giving us a creative mixture of punk, metal and blues. They've
separated the components, leaving us with shit like "You Better Run," which
is "Bad To The Bone" with different lyrics. And a cover of "Cat Scratch
Fever"??? What, is Lemmy suddenly 11 years old again? I mean come on.
Nugent had some great songs but... "Cat Scratch Fever"???? Sorry to bitch.
In conclusion, it's not nearly as disjointed and experimental as the last
album, but it's also not a Motorhead that would make me a fan. Some great
radio-ready tunes here and there, but nothing wild and exciting.
Side 2 gets my vote though. "Asylum Choir" kicks ass, and the
somehow heartfelt "Too Good To Be True" is all at once sad and funny
with Lemmy singing women woes. "You Better Run" is a rip off of Bad to
the Bone, yes, but still kinda cool. March Or Die rules the planets, a
scary, evil sounding end of the world apocalypse.
"Cat Scratch Fever" makes me laugh. Lemmy covering Ted Nugent is
indeed a funny prospect.
Just to let you know...
I had read in an interview with Mikkey Dee that he did NOT play drums on this album. Tommy Aldridge ( http://www.Tommy Aldridge.com ) did all the drum tracks for the album on a short notice. Lemmy knew Mikkey Dee was going to join the band but he needed a drummer asap to go into studio production.
Mikkey Dee got his picture taken on it but never played one drum note on the recording !
MS: When you joined the band, it was the "March or Die" album that was the new album. There was lots of speculation as to who actually played on that album.
MD: Tommy Aldridge. Yeah, yeah, it was finished when I joined the band. They wanted me to re-do the whole album, but Peter, he was the producer, they didn't have the budget to start doing drums again. It was almost finished.
MS: So Phil "The Animal" is not playing on the album?
MD: No, no, no, no, it's Tommy Aldridge
Here is the link of the interview with Mikkey : http://www.metal-rules.com/interviews/WeAreMotorhead.htm
I love Motorhead and it`s my pleasure sharing a bit of my knowledge with you Mark :-)
Thanks for posting this !!
Ahhh! Finally they've stopped trying to appeal to teenyboppers and normal
people. But what they've moved on to is kind of strange. The first three
songs are kickass thrash-type tunes with Metallica-style double-kick-drums
and the whole smorp, then it totally slows down into this heavy repetitive
chugalug double-guitar assault. I mean, it's great stuff, but REALLY slow
for Motorhead. And the tunes are longer than a gigantic smelly brown poop
that goes from your ass clear across the bathroom into the toilet and down
that little hole too. They groove along and you either get into it for the
nice chord sequences and wash of heavy guitars (especially during the second
half of "Devils" - gorgeous!) or you cry out for another "Ace of Spades" and
get bored. Myself, I think it's a really nice way for a bunch of older guys
to go. Cool chunky and VERY heavy sounds. Not what you'd expect from ol'
'Head, but then after the last couple CDs, how would we really know what to
expect? If you're a fan of modern metal, this is a good one to pick up.
May not be nonstop action and may at times even put you to sleep (in a nice
way), but Bastards is a really good record with no pretensions or attempt to
have a hit single. No nonsense. No bullshit. Just play good songs and go
home. Don't worry about FM radio or MTV airplay. Play music for music's
sake. Or, in the case of the disturbing child abuse song "Don't Let Daddy
Kiss Me," for social conscience's sake. I seem to be running off at the
mouth now. One final thing: GREAT production and/or mix! Very heavy and
full! Like my bowels after Eww. I'm gross. New question for you (if
you've already answered my Three Doctors question): do you still like me?
If so, why?
Don't Let Daddy Kiss Me is beautifully eerie and sad, Lost in the
Ozone and We Bring the Shake are both worth serious butt kicking note.
My favorite here is Devils, though, because the hypnotic guitar line and
vocal arrangements rule.
I'm with Mark on "Born To Raise Hell"--it is the weak effort. Oh
well. Nod and orc-rock it through this track and go right to the next.
Doesn't fuck anything up.
One of the guitarists quit, it's back to a trio and All Aboard the Train to
Ass-Kickin'!!! Completely abandoning that long-song thong that dominated
the lax album, this is the Motorfreds back doing what the fans love 'em best
fer -- hard fast punk blues thrash kickaxin' with catchy riffage!!!! A few
songs even have some drop-D Helmet swoopiness going on, which is a cool as
hell break from the catchy as fuck sweat thrashin' on the rest of the
record, which sounds JUST LIKE classic Motorhead. Fast-paced, heavy, in,
out, BAMM!!! The most headbangin' album they've put since Iron Fist
Fuck -- jeeps, even the SLOW songs make youse want to bang your head!
BANG YOUR HEAD! METAL HEALTH WILL DRIVE YOUR DAD! TO THE GROCERY STORE TO
PICK UP SOME GUM AND A WIFFLE BALL! That song "Order/Fade To Black" just
doesn't work though. It's icky. Oooh! But dig "Dog Faced Boy"! It
sounds like the God Bullies!!!! Mmm. Sweet sweet Mike Hard.
Favorites? Gott'em! Sacrafice, Sex and Death, Over Your Shoulder,
Dog Face Boy (which my friend and I sing as "Cunt Face Boy" because we
read Red Dragon at the same time) and one helluva smacker on the end
called "Out of the Sun". Perfect. I even love Order/Fade to Black (and
can forgive Mark for not liking it because he hates anything that stops
and goes) Perfect. Buy it. Be it.
And did anyone else notice that the back of Snaggletooth's mouth looks like a
cunt on the front cover? Then I go out and get the tour shirt and his tounge
looks like a dick! Maybe that's why I like this album so much!
Mark, you obviously don't love Motorhead enough since you don't give 9's to Another Perfect Day - 1916. The way you review these albums, you make it seem as if they all sound alike! The nerve!
As far as Motorhead albums go I'm not so sure about this one, doesn't really
grab me. 'Bastards' though - holy shit that is one awesome album! I love the
sound they've got with the two guitarists on that one, but they don't seem
to maintain it for this one. Weaker production and less interesting tunes
I'd say.
If 'Snake Bite Love' and 'Overnight Sensation' are the norm as far as all
the following albums go, then I think they should get another guitarist in -
For the sake of the BEEF! ye know?
(and 'Another Perfect Day' is never a 9)
I'm no fool. I realize I'm handing out 8s like no other numbers exist in
this world. Well maybe that was the case back when the chinks invented the
abacus and the slopes played with their knobs all day but this is 1996 and
things have changed a buck or two. These albums aren't perfect. But I like
Motorhead a lot and for the most part they've stuck with a really likeable
style for a whole lotta years. This album is no exception. The first half
is a lot like the previous album - fast and kickass ("Eat The Gun"? More
like "This Is A Really Good Song," if you ask me!). Then the second half
tries some other type things - midtempo dark blues rockers, a nice little
acoustic pop tune, stuff liken' that. But they do what they do. Heavy.
Excellent blues/punk combination in a lot of these tunes, just like in "Ace
Of Spades" from days of yore. Nice mix. Nice hoarse yelling. Annoying
back cover that reminds me of all those Ozzy reissues. First front cover
ever that doesn't look exactly like all their others. If I were named
Josie, would you say bad things about me? That doesn't seem fair to me, or
to anybody named Josie. PS I was totally kidding about that "chink" thing.
So don't sic Johnny Cochrane on me. Or for that matter, Tom Cochrane.
Because if life is a highway, I want to ride him...... ALL NIGHT
LONG!!!!!!!!!
Easy 8. Have a beer on Lemmy and play it loud.
It certainly SOUNDS interesting -- a live document from the short-lived
Brian Robertson era -- but the execution and recording render it nearly
worthless. First of all, Brian refused to play the big hits, so six of
these seven songs are from Another Perfect Day. And they're
muddily-recorded so you can't really hear what Brian is playing anyway. And
Lemmy's voice is even more disgustingly hoarse than usual. The real saving
grace is an awesome 21-minute interview with Lemmy from 1997, during which
he trashes Robertson, talks about the horrible last days with Phil "Philthy
Animal" Donohue, and basically lets you in on the sort of person he really
is -- a sarcastic guy with firm beliefs about what is and ISN'T rock and
roll. He even defends Metallica against cries of "sell out"! Excellent
interview, which is good because the live stuff is a real letdown.
Depressingly limited set list, and several great songs ruined by shoddy
sound.
On "Dead And Gone," against a gentle arpeggiated guitar line, a
double-tracked Lemmy sings in harmony with himself. No, I'm not playing a
baker's joke or archer's dozen! He really does! And it's gorgeous... in
its own special phlegmy way. Aside from that, this is more of the same
great material from late-period Motorhead. I'm not going to repeat all
those words again. You know exactly what it goddamned well sounds like so
stop playing coy. Only other digressions from the tried (tired? FUCK YOU!)
and true: "Assassin" has a weird rhythm but Lemmy ruins it with shitty
vocals anyway. And "Don't Lie To Me" is southern rock Motorhead style.
Maybe you'll like it; I don't. I made a hilarious joke tonight. I told my
fiancee that when we adopt a puppy in a few weeks, whenever a woman walks up
to me on the street and asks its name, I'm going to reply "Snatchmagnet!"
just to see what the response will be. Ha indeed, eh?
This is a 22-track (24, if you own the double-album!) compilation of greatest hits and hard-to-find non-LP
tracks. It's true that Motorhead has a delightfully aggravating habit of re-using the same riffs over and over
and over (especially in the case of their theme song -- they have used that high-speed one-chord thing so
many times, it's unfathomably good!). But on their regular studio albums, it's not quite so obvious because
the albums DO feature a slight bit of diversity in and among themselves. If you lay all their albums end to
end, you're certainly going to hear the same types of songs over and over, but on any one particular album,
you'll be able to enjoy some different chord sequences, surely. Unfortunately, that does not come
through on this compilation. By picking only the most popular tracks, they've made it sound like
Motorhead only has two songs, and just keeps re-recording them with different titles. With the exception
of the dancey, fun "Please Don't Touch" and melodic "Dancing On Your Grave," every single song on here
is either a high-speed one-chord wonder or a slow trudger "blues" type number. Though, as you know, I
have no problem at all with a bunch of high-speed songs that sound exactly the same (hey, I love hardcore
punk!), by slamming them all together like this, it becomes way too clear which songs just DON'T belong
on a "greatest hits" compilation, even one that features lots of rare tracks. "Killed By Death"? "Like A
Nightmare"? These are interminably bland slow songs that don't say or do ANYTHING. Then there's "No
Class" and "Stone Dead Forever," which I think I've already complained about earlier on this page. So it's
not even a perfectly FLOWING collection of two different songs repeated over and over. I mean, there are
oodles of classic early thrash songs on here, but I totally don't think it's anybody's best bet for getting into
Motorhead because, though it highlights their energy level wonderfully, it also makes them look REALLY
uncreative. Even more so than they actually are! I give it a low 8 and suggest buying all the studio albums
instead.
As Mark says somewhere in here,
it's hard to say anything creative about Motorhead. Why? Ever heard AC/DC? Know how even though
they HAVE changed it's hard to describe because it doesn't
change much? I mean all the elements are there in everything they do! Same
thing with these guys. Get the point?
Well, this is the only Motorhead album I own (I bought Ace Of Spades
but the fucking thing had a scratch and I couldn't listen to Please
Don't Touch! AND I LOVE PLEASE DON'T TOUCH! But I got Heaven Tonight,
so everything worked out.) so I can't say much about
the track selection. But everything here kicks! There are a couple of
slower ones that don't completley stick a pitchfork in my ass, but
maybe the production is just kinda weak.
If you're gonnna get a Motorhead best of, get this one or the
new one (getting it soon hopefully). I got it for 15 bucks at a Best Buy! And
there's some stuff only on here. Killed By Death, Snaggletooth,
Steal Your Face, Locomotive, Masterplan, and Stand By Your Man. Please
Don't touch is on here too. And so's Ace Jailbait Emergency
Overkill. After a while they all tend to run together if you don't devote a life
span to hear the differences. I mean it's all loud crappy
devil worshiping goat head chopping blood drinking mindless music for depressed
people and bikers. Right?
This collection should be placed before Orgasmatron, though. There were four brand new tracks that were the first ones released by the two-guitarists line-up; that´s also the reason why they are on here, as they probably aren´t among the classics from this era. According to "White line fever", Lemmy had to fight a bit to get those tracks onto the album, making it something more than just a best-of. I also think "No sleep ´til Hammersmith" is really missing here, since it´s one of the really classic albums - although not my favourite. It went straight to No. 1 in Britain and I don´t think this has happened to this group neither before nor since...
Live double-CD recorded in Hamburg, Germany. Awesome loot of smooch, but
who the fuck thought it would be a good idea to include "Born To Raise Hell"
and "Going To Brazil"? Those songs should never have been written, let
alone put on a live album! And I know it's a classic, but I'm I nuts all
crazy or is "No Class" a ludicrously obvious ripoff of ZZ Top's hit single
"Tush"? "Killed By Death" seems to drag here too. Still, awesome loot of
smooch with classics jugulating their whole career - from your "Overkill"
through your "Iron Fist" up on through to your "Burner" and your "Love For
Soul". And OH! How I love "Orgasmatron"! Hath any band ever played one
chord for six minutes so bleedin' well, mate? Being a live recording, it
of course isn't as heavy as a studio recording, but it's plenty energetic
with lots of crowd screaming and adorable stage patter from our hero of the
day. 25 songs, most of them great! They all kinda run together after a
while if you don't know them all by heart, but then if you don't know them
all by heart, what the hell are you doing all goddamned day? Listening to
Modest Mouse? Eating Cheez-Its? Sending email to Larry Hagman at
larry@larryhagman.com? Actually, you should do that. Let him know he's
doing a great job! Also, when you're done emailing Larry Hagman, please note: if you have a
puppy dog and you love him, turn this CD off a bit early. The end of
"Overkill" features about a minute and a half of really high-pitched guitar
feedback!
HOLY FUCKING CHRIST!!! It's the year 2000, for fuck's out loud. WILL THESE
GUYS EVER STOP ROCKING SO FUCKING HARD???? Lemmy's gotta be like a million
years old (actual age: around 55), but he's still leading the charge of this
great great wonderful great terrific rock and roll band as they crash and
bash into the New Millenium, of which New York City is the capital of the
world according to what that voice said in my taxi cab the other day. But
what does that have to do with Phillip "Zoom" Campbell? I'll tell you what:
Shiddlybee! This album has, in my opinion, two weak tracks: "Heart On Your
Sleeve" and "Wake The Dead" - they're slow and awkward. The other eight,
however, are WONDERFUL KICKASS MOTORHEAD CLASSICS!!! Oh okay, "God Save
The Queen" is a Sex Pistols classic, but the other seven in all honesty rank
up there with ANYTHING Motorhead have ever done. "One More Fucking Time" is
DEFINITELY the greatest ballad they've ever done. Slow, easy and bitter as
all hell (hence the profane name!). And stuff like "See Me Burning," "Out
To Lunch," the title track and "Stagefright/Crash And Burn" is WAY too fast
to be played by guys this age. WHEE!!! Lemmy is the all-time greatest.
His melodies may be simple, but they'll stick in your head forever. Because
they're AWESOME! "Dude!" Please everybody go buy a Motorhead album or
two or three tonight, because they're not rich and they should be. Aside
from a couple of minor asides, they've stuck to their louder, faster
principles nonstop for 25 years. And warts and all, Lemmy deserves a loving
kiss on the cheek from you for that. Just for ruling so damn much. By the
way, I'm 13 years old.
Still kicking ass! Take that, Metallica!
In my Spinal Tap Companion book, it mentions that Les Claypool of Primus has a tattoo on his shoulder that could be either Motorhead's Lemmy Kilmeister or Spinal
Tap's Derek Smalls. And it's likely not a coincidence that the bands have similar logos and umlauts over their names. Motorhead can be somewhat laughable if you're not a real
HARD ROCK fan. They still dress in leather like Hell's Angels from 1975, the guitarist ALWAYS wears a baseball cap (which is rock music's way of saying "I'm emotionally
incapable of dealing with my male pattern baldness") and they have not changed a THING since album one so many years ago. The songs are still about war ("Voices From
The War"), sex ("Mine All Mine" and "Dr. Love," in which he uses the interesting euphemism "Get her in her in between"), the negative influence of religion ("No Remorse,"
"Brave New World") and violence ("Red Raw" and "Serial Killer"). And the music is all heavy simple throbbing, thumping, mid-to-fast-tempo mean distorted fun hard metal
("Walk A Crooked Mile," "Down The Line," "Brave New World," "Voices From The War," "Mine All Mine," "Shut Your Mouth," "Kill The World," "Dr. Love," "No
Remorse" and "Red Raw.") (Notice I didn't say "Serial Killer"! That's a POEM! With just NOISE in the background! It's really really bad!) They seem, on the whole,
more midtempo on this one than they've been before, but hell they're old and at least the midtempo stuff really KICKS! (Simplistically, of course). Nobody but AC/DC and
Ramones have been able to create so many amazing songs while displaying no diversity at all for over two decades. Hell - "Mine All Mine" has ONE chord in its verse -- and
that chord KICKS ASS!!!! Don't bother comparing them to bands with artistic aspirations - Motorhead just want to rock - and they do it very well. So look for it by
name! It's the one with the evil fanged guy with big horns on the cover! (That was a little joke for all the Motorhead fans out there -- nearly EVERY Motorhead album has
that evil fanged guy with big horns on the cover). Which reminds me of a little joke I'm going to make up right now: Why do Motorhead make almost all of their album
covers look exactly the same? Because 98% of their fan base CAN'T READ!!!! HA AHAHH1!! A AHHAHHEAHEH!!!!!
The album starts of with “walk a crooked mile”.the perfect beginner.Its got a very
interesting chorus.something very very different from what mr.kilmister usually does.the next
“down the line”.wow!fantastic.sounds a lot like Sabbath.
The other great songs are Dr.love,shut your mouth,no remorse;kill the world all have very
interesting tunes.Then there is “red raw”,a very fast track just to ensure that motorhead
can still play fast n loud.The only unwanted track is “serial killer”. This album just
proves that they are not a rusted old outfit but a well oiled machine which can take on the
challenge of any of today’s metal bands. Take that metallica!!!.A sure 10 for this.A must
for any self respecting metalhead.
Just some additional comments that come to mind:
Can you imagine a human being not wanting to listen to 6 1/2 hours of Motorhead in a row? That very fiend currently occupies our nation's White House. "I can't sit here and listen to three or four tracks from every single studio album along with several BBC Sessions and rarities," he said to me on the phone last Tuesday. "And I'm afraid that I'm going to have to ask that fifth disc of all live material to 'bring it off' at the moment. Otherwise, we'll help in any way we can." Don't blame me! I didn't vote! But in today's ramshackle state of global unrest, at least there's one thing you can count on: Eggs being tasty. But in addition, there's a second thing you can count on and that's the unapproachable steam train pummelling galloping death horse attack of "Meadowlark" Lemmy and his Motorhead band. One of the three greatest rock and roll bands of all time (the other two being AC/DC and the Ramones), Motorhead has come quite a ways from its earliest incarnation as a motorcycle gang of speed freaks that merged blues-metal and punk into a high-speed thrash attack years ahead of its time. Indeed, 28 years, four guitarists and three drummers is quite a ways. Luckily, their musical progression has felt more like six months, 1 guitarist and the drummer buying a new cymbal. In F.A.Q., aside from improved production, their music hasn't changed much at all! Unspoiled by a few early '90s attempts at mainstream hair metal radio success and a slightly advanced sense of diversity over the years (at some point in the early 80s, one of the band members must have realized that 3/4s of their material sounded like "Ace Of Spades"), Motorhome can still be counted on to provide instantly gratifying kickass heavy mean rhythmic metallic hardcore rock and roll. But do you need to be instantly gratified for 6 1/2 hours? As every woman who has ever made love to that fat guy on the "Time to make the donuts" commercial will tell you, the answer is yes. Sometimes it takes 99 extremely similar songs for one to fully appreciate the tiny differences that make each one special. I have reached that point with Motorhead, and once you reach it, it's very hard to write off any song they do, no matter how few chords it might use. A line-ending blues guitar trill here, a grunted/whispered chorus there, a perfectly timed octave jump everywhere -- add one of these singular identifiers to Lemmy's perpetually raspy shriek/sing and doomy distorted bass thumping, (whoever's) double-speed guitar accompaniment and (whoever's) reliable doop-chick-doodoo-chick drums, and whammo - you've got 90+ fucking amazing songs by a Power Trio with the "Power" to write better songs than "Trio" (of "Da Da Da" fame), whether you like to doodoo on your chick or not Christ take this sentence out. Everybody is going to take issue with a few song choices here and there -- I personally would've thrown in a sewage treatment facility of my choosing the sludgy forgettable "Like A Nightmare" and "Dogs," cliched blues-rocker "You Better Run" and 50s-rocker "Angel City," near-parody bad metal riffer "Over Your Shoulder," entirely riffless one-noters "Nadine" and "Steal Your Face" and bland unworthy set-closer "Born To Raise Hell," but that's it. And that's only eight songs out of 99. NINETY-NINE. Imagine each of those songs as a red balloon, floating in the summer sky. Now imagine the war machines springing to life, getting the message that something's out there. Oh no! Everyone's a superhero! Everyone's a Captain Kirk! Worry worry, superscurry! Take the disc out in a hurry! Okay, I've taken 45 valia (plural of "valium") and can continue. There. I'm done. No wait, there's more! I have more to say. There's a Twisted Sister cover on here. And three different versions of the greatest one-chord song of all time, "Orgasmatron." Otherwise, no song is repeated aside from "Motorhead," and that's only repeated because its first appearance is by Hawkwind (Lemmy's former band)! And how about this - Motorhead doing a cover of Hawkwind (Lemmy's formal wear)'s "Silver Machine"? One thing pisses my piss off though - the great-as-shit book that's included in the package mentions a song they recorded with famous black thespian Ice-T. Why isn't the song on any of the discs???? Don't MENTION something to me and then not include it! (Except the cover of "God Save The Queen," of course, which was issued as a single but thankGODfully left off of this box set). It's hard to think in a straight line when you're blowing your ears out with this relentless glob of energetic growly wheezy noise, but then I guess that's to be expected from a band called "Motorhead." It'd be one thing if they were called "Clearhead" or "Thinking Cap," but they're NOT. And I apologize for insisting at gunpoint that they were. I'll just conclude by saying that nobody - NOBODY - is qualified to say "I own all the Motorhead I need" if they don't have this box set. This is the DEFINING Motorhead package. Five discs, 99 songs and one appearance by television actor Ozzy Osbourne. Without it, you'd might as well refuse to hand over important documents to an independent commission investigating the September 11th terrorist attacks. WAIT A MINUTE! I THINK I JUST PUT TWO AND TWO TOGETHER! No, never mind - the first one just looked like a 2. Do you have any idea how to stop this giant millipede from dropping turds all over my math paper?
Thought I'd let you know about the Motorhead/ Ice-T song.
I believe the song you're referring to is 'Born to Raise Hell' credited to Motorhead with Ice-T and Whitfield Crane (who's Whitfield Crane? well, I believe he was the singer for Ugly Kid Joe). It's the first song on the 'Airheads' soundtrack, which I own because I picked it up for 99 cents. It's probably not included on the Motorhead box set BECAUSE IT'S A REALLY AWFUL SONG. And I'm a HUGE fan of Motorhead. I once drove three hours to see them in St. Louis with W.A.S.P. only to find they had dropped out of the tour (only later did I find out it was because Blackie Lawless was such a fuckbag) anyway, that's a story for another day. If you must hear this song I'm sure the soundtracks not hard to find cheap. The movie sucks as well, although it does have a Lemmy Cameo.
When I woke up this morning to find a nude George H.W. Bush parachuting out of an airplane in the arms of a buxom young man, I gasped in agitation, "He's goddamned 80 years old!!! How the damned God can he DO that?!? Shouldn't he be having an old person heart attack about now!?" Just moments later, I put in the new Motorhead CD and my eyes nearly burst out of my chest -- "Lemmy's goddamned FIFTY-EIGHT years old!!! How the hell can he still kick so much ass without keeling over dead?" And then the truth suddenly hit me like a pair of pants -- great men, like George H.W. Bush and Lemmy, NEVER AGE. You saw Ronald Reagan at age 80, right? He was an impotent old pile of genital warts who thought his wife was a rocking horse. But not George "H.W. stands for Hell! Whatagreatpresident!" Bush. He's still out there showin' 'em 'ow it's don'! It's just unfortunate that the apple fell so far from the tree. George H.W. Bush is an American hero who protected our little friend Kuwait from the evil clutches of Saddam Hussein; George W. Bush is borderline retarded and masturbates into a jar. But Lemmy is still TAKING ASS and KICKING NAMES LATER! And I'm no apologist. I'm not the guy who says, "Dude, the Pretty Things are back - and TOUGHER than ever!" or "Dude, the Standells did a reunion show - and DIDN'T completely suck balls like a bunch of old bags!" When I say Motorhead sounds every single bit as mean, fast, heavy and ALIVE on Inferno as they did on their debut 27 years ago, well I suppose you could respond that 2/3rds of the band has been replaced by that time. Nevertheless, Inferno is a KILLER Motorhead album. Everything you've loved about their last several albums (once they stopped trying to have hit singles) is back for another visit -- the out-of-control locomotive chugga-chugga-chugga rhythms, the heavy-as-mud guitar and bass tones, the simple yet entirely original variations on the same old chords -- and Lemmy still sounds like an evil drunken pirate ahoying your mateys. They even present an acoustic blues number for your enjoyment! The more time flies, the less Motorhead gets lousy. The album cover looks just like all the others, the band photos look just like all the others, even the song titles ("Life's A Bitch," "Fight," "In The Year Of The Wolf") are just like all the others. But the thing is -- it's not like Bad Religion where they just keep reusing the same goddamned chord sequences over and over. The Motorheads honestly DO work to develop new variations on their basic style. Time and time again while listening to this latest chunk of wonder, I've thought to myself, "Oh, come on; you can't write a riff that simple in 2004. Why, this sounds just like..... umm.... hmm.... uhh...." and then I'm stuck there trying to figure out where I've heard it before, like Phillip Spaulding trying to figure out where Reva is when she's out balling Lujack, when the truth is that I've never heard it ANYWHERE! (except for "Killers" and one or two others maybe, but for the most part I've never worn my UNDERWEAR!) So there you go. If you like Motorhead, you'll love Inferno. If you don't like Motorhead, you've lived your life incorrectly. Go back and start again. With Jesus.
It does! fucking! rock! the! fuck! out! of! every! listener!!!!!!!!! Indeed.
Please, mention this & that everyone gets a copy by browsing Egay !!! It is such a cool song and worth listening to it once...then you will magically be drawn to re-listening agagin&again :-) [if you dont like smilies i apologize...because i'm a fucking german from damned Ol'Europe so forgive me if you can, will ya please?]
And also you forgot to review their newest album KISS OF DEATH - a true masterpiece...and also "no remorse" which not only sees the first appearance of Mikkie, Phil and Wurzel and features such classics as "leving here (live)" (I think from the "Golden years EP"), "Killed by death" (I LIKE that version), Locomotive, under the knife (both versions - slow one and fast one - not only one of them like the else very fine "stone deaf forever" compilation), stand by your man (with Wendy O) and masterplan.
JESUS! CHRIST! HOW? DO? THEY? DO! IT!?!?!? This is Motorhead's eighteenth studio album, its twelfth with Welshman Philip Campbell on guitar, and its ninth as a trio comprised of Lemmy, Mikkey and Phily. Mikkey is now 42 years old, Philip just turned 45, and Mr. Kilminster is a staggering SIXTY YEARS OLD, yet they are still the greatest goddamned Motorhead the world could ever ask for. As Aerosmith plays music for little kids, AC/DC records one album every 75 years, and the Ramones float around playing harps, the 'head (Motor) continues to churn out CD after CD after CD after CD -- and they haven't made a bad one yet.
What's so astonishing about this consistency isn't just that these three men are intelligent songwriters -- after all, there are plenty of clever songsters out there in Musicland. What makes Motorhead so impressive is that they've now released eighteen strong, mean, hooky albums without venturing even one stop outside the most stylistically limited formula in the universe. Seriously -- if you've ever heard a single Motorhead song in your life, you know exactly what they sound like. However, against all expectations, they do NOT simply write the same song over and over again. Sure, they had a few different songs that sounded like "Ace Of Spades" in their early years, but not since Philip joined -- and that was two decades ago. Most of their career has simply been one great mean heavy metal/hard rock album after another, with surprisingly little riff repetition. So I ask you again -- HOW DO THEY DO IT!?!?! This is a REALLY fucking good Motorhead album! And so was their last one! And the previous six! And then you're back in the 'let's try to have hits' days, but even those records were more good than bad. My point is that if you're a Motorhead fan, good news! Here's another solid addition to your record collection.
Having said that, Kiss Of Death is a surprisingly diverse record considering that it still all sounds exactly like Motorhead. Touched-upon subgenres include: (a) classic Motorthrashin' "Sucker" and "Going Down"; (b) MotorBobSeger Chooglerockin' "One Night Stand"; (c) NY Dollsy Motorglammin' "Christine"; (d) silly 'evil' MotorPriest "Devil I Know"; (e) acoustic'n'organ Motormelodrama "God Was Never On Your Side"; (f) swingin' funk/hard rock MotorDanzig "Living In The Past"; (g) angry-as-shit grinding pounding Motordeathmetal "Kingdom Of The Worm"; (h) slow bluesy Motortrudger "Under The Gun" and (i) three other rockers and a re-recording of "R.A.M.O.N.E.S." The lyrics are about sex, war and common sense.
That's your album. BUY IT TODAY. And pray that Lemmy, Mikkey and Philip liv 4eva, so gr8 cla-SIC mtl'l nevR Di.
That last bit was for all you text message fans out there. IMHO, UR KEWL! L8R!
BRB
JK! LOL!!
ASPCA!!! BBQ!!!! BYOB!!!!!
LMAO!!!!!!!! EMAO!!!!!!!!! I'M EMFAO!!!!!!!!!!!
Hmm.
In all the excitement, I seem to have eaten my own ass off.
I have a copy of this...and when I went to play it (years ago) it
kept skipping on that part where he's saying "this is for all you record
companies out there!" skip "this is for all you record companies out
there!" skip "this is for all you record companies out there!" I took
that CD player back and got a new one, but On Parole went into a box
when I moved and I can't seem to ever dig it back out. Should I bother?
From what I heard, it sounded mostly like an ill-produced Motorhead I.
Motorgeek note:
At least one cut on here is worth getting: the funky apocalyptic sci fi spacerock epic "The Watcher". Its a cool tune. Not as trudgy as the original Hawkwind version on Doremifasolatido.
I read that they didn't have a proper guitar amp during the session and had to overdrive the guitar signal using the mixing board input volumes. That's why it's all tinny sounding. True?
boomchikkalikkawyawyawyawaoooowwuhhhptchhh!!!
Lucas Fox played drums on the on parole album, not Phil Taylor. The sound quality of the whole album was bad due to lack of proper equipment and low quality,no-budget [united artists gave them like $7.98 to make the album with],b-studio production.The songs "motorhead" & "lost johnny" also each appear on Hawkwind albums. Lemmy writing "kings of speed" and having it turn out to be Hawkwinds biggest single is probably what caused him to leave them & start Motorhead.
On Parole was recorded in late 1975. And actually both Lucas Fox and Phil Taylor plays the drums on it. Fox quit the band and Taylor over-dubbed Fox's drums except on Lost Johhny ( I think) and the bonus tracks that appear on some cd re-issue of the album.
Lemmy was kicked out of Hawkwind after being busted for speed while on tour in North America - read his autobiography White Line Fever for all the details. No matter what you think of the production, On Parole is worth owning - and playing.
just got it after years and years of motorhead listening... to me, 'on parole' is to 'motorhead' what the original mix of 'raw power' is to the updated one. after so much listening to motorhead chugging amazing riffs that have given me so many hours of joy and thus made me sick of them, to hear this version is such a novelty that it's almost more enjoyable. I can't say I prefer that amatuerish, punkier mix or larry wallis' bland singing or the lack of overdriven guitars or that awful song 'fools' or the added sound effects on several songs, but I definately find them more interesting
I was going to ask to do the Motorhead reviews, Mark, but you beat
me to it!
hoowee! rock and roll! the great the about motorhead is that
they emphasize the roll, yet they don't forget the rock. and by the way, hawkwind was
pretty good. the song "motorhead" was originally theirs and
it kicks booty; the vocals are great
I just never understood why the band chose Motorhead as their name instead of, oh I
dunno...WARTHOG!
Jesus H CHRIST! Hawkwind?? There is a band that changes with the times. Now i don't know
that much about Hawkwind and i would honestly like to know more. of course, like many
other bands, staying fresh is essential. a band from the late 60's who unfortunately are
still together playing mostly benefit shows. not unlike many other bands of their era. (The
Rolling Stones come mind, and i am convinced THEY are already dead) Hawkwind went from
sounding like Pink Floyd to sounding like Pink Floyd TRYING sound like Nine Inch Nails. Not
to mention they had more people revolve OUT of their line-up than say... Black Flag...
Misfits... and uhhh.. even MOTORHEAD. that Warthog Lemmy happend to be one of them. lemmy's
actually more ancient than most people think. the guy was actually a roadie for Jimmy
Hendrix, i think he just might have out-lived Mick Jagger by 1,000 years.
Honestly, all bullshit aside, Hawkwind aren't that bad of a band. once Lemmy joined
they're sound became more heavy metal-oriented and very before-their-time. (perhaps, even
before Sabbath.) They're extremely underrated. and hey, that selfish scottish/english prick
john Lydon adored their music prior to his days in the Sex Pistols. you can't go wrong
there. You also can't go wrong with their late 80's early 90's sci-fi-psychedelic-metal.
well, it's amazing what you can learn over at CD Now anyway.
A wallop!
Prindle. That son of a bitch does a Motorhead page before I buy all the
albums and get to do one. Right now, I only possess maybe a third to one
half of the Motorhead catalog, depending on how many albums you believe they
have.
I saw those two 'Young Ones' shows too. Motorhead did do
Ace Of Spades, and I remember seeing a punk nostalgia
program, where Rat Scabies talked about the Damned's
appearance on there. He said the BBC requested some song or
other, but they said 'No - We'll write a new one for you.'
Still - why do you care? It was after the third album, and
they sucked after the third album - just became some
horrible eighties New Romantic nightmare. Still - Brian
James. What a guy. 'You Know' is fucking ace.
Damn fine album, probably the best from the Clarke-era (yes, even
better than Ace). It has some of the catchiest songs you'll ever hear, plus
the title track, which just may be the greatest thrash metal song ever
conceived.
hey - I'm the one sitting naked in front of the computer with my hand on my
pud! but I'm not into the damned, I'm afraid, and I don't remember ever
seing them on the young ones. but I do remember motorhead doing ace of spades.
anyways, this album rocks like all hell let loose. every song righteously
kicks the butts of pansy-ass mofos the world over on a regular basis -
including 'metropolis'! yes! I love that song! it's a bit like motorhead on
acid, dontcha think? a little bit psychedelic? hey, just cos it's not
hundred-mile-an-hour metal frenzy, don't knock it. the only song on here
that doesn't grab me by the balls and twist is 'capricorn' - not that it's a
bad song, just that it's not as good as the others. and I especially love
lemmy's little comment at the beginning of (I think) 'I'll be your sister':
"I'm so drunk". cracks me up every time.
personally, I'd love to hear 'motorhead sings the phil collins catalogue'.
can you imagine: "how can you just turn and walk away, when I'M ABOUT TO RUN
YOU OVER ON MY IRON HORSE AND BOMB YOU TO OVERKILL HA HA MOTORHEAD ALL NIGHT
ACE OF SPADES ACE OF SPADES AAAARRRGHHHH!!"
Just got out of my Motorhead phase, so I feel inclined to write...and if any
of you want to know what albums to purchase from Motorhead...THIS IS ONE OF
THEM! It gets better every time I hear it...I even like Capricorn now! In
fact, Motorhead is the most consistently good band I think I have ever
heard...except for their next album, ironically enough...
Here's a bit of trivia: the Young Ones episode that had Motorhead had them playing as a four-piece.
That's the only time I've seen them play not as a trio. Also, Oscar-winner Emma Thompson was in the
same Young Ones episode, although I don't think she was the 2nd guitar player.
The Damned ditty 'Nasty" can be heard on "The Long Lost Weekend" comp,
or on the first BBC Sessions CD (typical kick-ass drum-sound BBC
version, naturally)...
I remember you mentioned the song the Damned played on the show the Young Ones(I think that's what it's called), and the name of the song is called Nasty and it's on the "thanks for the night" 7 inch. If you can find any compilation with that song on it your in luck, or you can buy the 7 inch as far as I know it's still in print, and I also hear there is a 12 inch version.
just had to throw my 2 cents in regarding "metropolis", because it blows my feeble mind that anyone could not count this as one of motorhead's best songs. this song, and "capricorn" are examples of the genius of that classic motorhead line-up. they sound positively otherworldly, and eddie's guitar tone and solos are probably divinely inspired, althogh i don't normally consider myself a believer in that sort of occurance!
I have to disagree with your opinion of Metropolis, it's one of the best tracks on the record...that and No Class kick it.
Agreed--last half loses momentum. But BOMBER rocks and the first
few tracks are great. A step down but not by a whole lot.
Bomber was a let down to my ears. A good portion of it sounds like generic
70's hard rock to me. Plus, I think they stopped doing speed while recording
this album, and started smoking tons of pot, 'cos all the slower songs sound
lethargic to me ("Lawman," and "Sweet Revenge," I'm looking at you. Who
thought it was a good idea to put these two songs together?) I even think
"Stone Dead Forever" is a great song, though it does use the same bass line
as every Motorhead album. And yes, something does happen during the verse.
Sheesh. This isn't bad album, but it just doesn't kick as much ass as a
Motorhead album should. And "Step Down?" Man. "Fast" Eddie's lucky he didn't
get kicked out of the band for that one. I'll give this one a 6 and be glad
that the next album they released was...
i don't know, man. this album is pretty freakin good. sure,
some songs are not all out ass-kickin, but they still rock like no other. and stone dead
forever rips, homey. and don't forget it. and yeah, eddie
clarke can't sing for shit, but neither can lemmy, therefore making your criticism of the
"bittersweet" (??) song, "step down" dumb. not quite
motorhead, but that's no reason to dismiss it.
Following a great album, one that is terribly mediocre. What
happened? No matter how many times I listen to them, most of these songs just
don't have that "Motorhead-energy." Aside from the title track and "Stone
Dead Forever," most of the tracks just kind of sit around and blur
together.
back when these guys only had 4 or 5 albums,this was universally
regarded as their worst, but it's a real favourite o' mine for its
not-quite-Motorhead-business-as-usual grungy sludginess. Yeah i think
that guy who said they musta been smoking lotsa pot for this album had
it right...Yeah well what's wrong with that? (as Paul McCartney once
sang)
Surprisingly dissappointing, especially because it's highly lauded as one of
their most popular. In fact, only Rock N' Roll and March Or Die are
arguably worse. My theory: they didn't give themselves enough time to
write this...they were too eager to continue riding the wave of Overkill.
"Lawman" and "Bomber" are incredible, but anything else really doesn't match
up to the previous album. In addition to "Stone Dead Forever" (which I
still don't understand why it's a hit), other lowpoints include "Sweet
Revenge", "Talking Head", and (AAACCCKK!!!) "Step Down" (a song for those
who wondered what it'd be like for a different vocalist to front the band.
But it's just a terrible song.) Oddly enough, still kicks the crap out of
most "poor" albums by most bands.
i just have to speak out in defense of this apparently totally underrated album! i really think you all are missing the point on this baby. i love the stoned guitar masterpieces (yes, that's right, MASTERPIECES!!) "sweet revenge", "step down", and "lawman". "sweet revenge" is so menacing, and eddie's guitar tone on this stuff is majestic. i actually have days when "step down" is my favorite track off this thing, and i think the vocals rock! this line-up really could do no wrong, in my opinion, with the exception of maybe a bit of "iron fist", but even that one's got it's classics. if you're considering whether or not to purchase "bomber", i highly recommend it.
Ace Of Spades! Fuckin' A! What do I say? What can I say? It's a perfect
10. But why doesn't anyone ever mention "The Chase Is Better Than The Catch?"
That's like, the best Motorhead song ever!
I have some mixed feelings here, but it hits more consistently than
BOMBER. The good tracks? Ace of Spades, Love Me Live A Reptile, (We Are)
The Road Crew, Shoot Ya in the Back, The Hammer, Jailbait...good stuff.
The rest is so-so. Dance and Fire, Fire don't do a whole lot for me.
Fast and Loose is a bit cheesy even for Lemmy.
The one everyone loves, and yeah, it does rock very hard. This
is without a doubt one of the most influential metal albums of all time, up
there with "Black Sabbath" and "Reign in Blood." The title track is an
instant classic, and some of the other songs are damn good too (especially
"Road Crew" and "Live to Win"). Still, I think "Overkill" is just a bit
better... Be sure to pick up the re-issue, which features some cool Headgirl
songs.
An album way far ahead of it's time. Lemmy
Rules!!!!!!!!!!!!!!!!!!!!!!!!!!
If you don't LOVE this album, you should be shot dead by those three
gun-totin' geniuses on the cover. If they don't do it, I will! If you like
anything about rock, punk, or metal, anything at all, you will love this!
It's the Stooges meets AC/DC on crack! "Ace Of Spades," "Love Me Like A
Reptile," and "We Are The Road Crew," are three of my all-time faves. Oh
yah, and there's the second side too...BUY IT!!!
A FUCKING METAL MASTERPIECE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
It's true, all of Motorhead's 'fallacies' are present here. But some albums are great simply because of how much ass they kick, and if so, then Ace of Spades just may be the pinnacle of them all. Great riffs, every song a winner, and it fucking rocks the entire way through. "That's the way I like it, baby--I DON'T WANNA LIVE FOREVER!!" A solid 9!
Gotta agree with the 10, this is Lemmy's masterpiece and gotta agree that "The Chase is Better Than the Catch" is the song that gets lost in the shuffle (though they did include it on "Everything Louder Than Everyone Else", 1999's classic
live record with the new lineup). IMO, second only to "Back in Black" among 1980's albums, period.
Right on the money. This album rules! We all know "Ace Of Spades", but what about "Shoot You In The Back", "Fast And Loose", "We Are The Road Crew", "The Chase Is Better Than The Catch", and "The Hammer"? Holy shit, that's half the album! The only motorhead I currently own, but I certainly hope to get some more.
Director: Norman Lear
Written by: Don Knotts
Starring: John Houseman as "Dick Van Patten"
Special Guest Appearance by Secretary of State Colin Powell as "Mark Prindle"
1979 Norman Lear Productions
Danielle Steel
hell yeah. this is the shit. buy it. and i happen to know a lot
of black jewish crippled Iranian women and they're all fully functioning members of
society. just like pinheads and puerto ricans.
Well, the production and some of the songs kick serious ass, but
there's a distinct feeling of monotony here. I mean, most Motorhead
sounds relatively the same, but this record sounds like one long song
with big riff changes. Iron Fist is great. I'm Your Doctor and a few
others are too, but...the rest.
Much better than everyone seems to think it is. The title track is
great (though even better live) and there are some other good songs on here
like "Sex and Outrage" and "Speedfreak." The major problem is the production,
which is a little weak and detracts from the overall power of the
album.
I dig this more and more...it's not as instantly appealing as Ace Of Spades,
and a lot dirtier production-wise, but there's some good shit on here!
"Bang To Rights" is the fuckin' shit! (Sorry, I swear a lot when I'm
excited.) Again, like Bomber, not as much care was placed in this
follow-up. But the new element of melody starts to peek it's (motor)head
out of the ballsy punk attitude they've always had. A melodic quality that
will come to fruition on Another Perfect Day...
Hey, ya missed "No Sleep 'til 'ammersmith"!
Again, I agree with Mark, in that I've also read many unfavorable reviews of this Motorhead album. Maybe I'm a bit biased (it was the 1st Motorhead album I've ever heard and among the first "heavy metal" records in my collection), but I think "Iron First" is just sheer brilliance. From the production, to the songs themselves, to the lyrics (Sorry Mark, there are FAR worse Motorhead songs than "America"...Haven't you heard "March Or Die"???). Plus, the intensity of the music put them on par with bands like Venom, GBH and Discharge, all of them having admitted being "heavily" influenced by Motorhead. "Sex And Outrage" is just plain speed and power; "Iron Fist" , the opening track, is a merciless attack on your senses, "Heart Of Stone", "Don't Need Religion", "Speed Freak"...etc. It's an album with basically no filler material. Much better than the over-praised "Ace Of Spades". Sure, that album is pure magic, but there are 2 o 3 songs that could have been left off as B-Sides. Also remember that this is the last Motorhead album with THE "classic" line up of Lemmy, Fast Eddie and Phlithy Phil. For anyone out there who hasn't heard a Motorhead album and would like to own one, start with "Iron Fist". Let's see how their other albums fare after you've listen to this!
I just don't see what "balls" have to do with professing an aversion to religion... That's quite common, isn't it...? :P
Another Perfect Day? More like Another Perfect Record if you ask me!
Sorry, I couldn't try to resist trying to be Mark for a minute. I would have
hated seeing the band during this period, but this album is so fucking great
and Brian Robertson is an amazing guitarist. The production is the best that
it's ever been, and the songwriting is top drawer. I know I'll get blasted
for this, because I, like many people consider the "Fast" Eddie Clark period
to be Motorhead's "classic" period, but the songs on this album are much,
much more memorable than on Bomber, more distinctive than on Overkill,
and is as every bit as ass-kicking as Ace Of Spades and the more melodic
approach to the songs make them kick ass even more! Perhaps this being their
seventh studio album, they felt it was time to experiment a little, and it
works. I couldn't give this a 10, because it's not the most easily
reccomendable album to Motorhead neophytes, but (gulp!) I actually think this
is a better record than Ace Of Spades! No shit! I give it a very very high
9. I also have the Motorhead Live On The King Bicuit Flower Hour disc that
was recorded around this period, and it kicks supreme ass, despite the sound
being a bit messy.
A step up, WAY UP, as far as I'm concerned. Another Perfect Day may
have lost Eddie and gained that wuss Brian, but the melodies are great
on this album. All the songs kick ass to some degree. I love Back At The
Funny Farm, Shine, Dancing On Your Grave, Rocket, and the title track.
Big ruling riffs and sharp guitar punctuation, with a pretty solid vocal
from the bullfrog.
The one album with Brian Robertson is certainly a major
departure from the normal Motorhead material; most of the songs just don't
have that "kick you in the gut" power to them. This is by no means a bad
album, but I wouldn't recommend it to casual Motorfans or as the first
purchase of someone interested in the band. Despite the overall
melodicism, however, "Back at the Funny Farm" is fast and raw, one of the meanest and
best songs Motorhead has ever done.
Nothing weak, all strong, and a sense of melody to boot. Yah, I missed
Eddie, but Brian Robertson chipped in quite admirably on this album.
"Shine", "Dancing On Your Grave," "Marching Off To War," "I've Got Mine,"
"Die! You Bastard!"...all great stuff. Another must-buy for Motorhead fans!
Robertson (ex Thin Lizzy) is great. Lemmy and Phil really work to keep up. Ah yes, the bestest kick in the head on
this album is Die You Bastards. A great fantastic mix of punk, speed, metal, hard rock and Motorhead. My
favourite Motorhead of all so far.
traded in the original cd another perfect day for the remastered with bonus tracks
-forget Die You Bastards - long live Turn You Round Again!!!!
get it, do your self a favour, before you turn on this track, take your cd player, scan to this tune but press pause
before playing,
turn the amp up to eleven then stand between 2 of your speakers - let it loose - this song is the bestest
Motorheadest kick in the head -just a glorious guitar rippin' bass poundin' drum slammin' rocker out there this is
the tune of all head bustin' tunes
fuckin' scared the shit out of the kids on the block, but they had to come back for more "Who and What is That!"
I'd like to post, in response to
Another Perfect Day ? More like Another Perfect Record if you ask me! Sorry, I couldn't try to resist trying to be Mark for a minute. I would have hated seeing the band during this period, but this album is so fucking great and Brian Robertson is an amazing guitarist. "
This is my comment for your website review of Motorhead's Another Perfect Day.
Now, Orgasmatron! Man! The only real gripe I have with this record is that
the production is nearly as thick as you'd expect from a hard rock band with
two guitar players. Most of the time, you can only really make out one guitar
in the mix. And Lemmy's Rickenbacker is totally buried. Oh, and Pete Gill is
definately no Philthy Phil. But the songs on this album are fuckin' bad-ass.
"Deaf Forever" reminds me of Def Leppard for some reason, but it's still a
great song. More metal and less blues than before, but that was then, and
this is 1986. "Nothing Up My Sleeve" and "Claw" are both garsh dern classics,
and there's something to be said for a band that's still writing classics six
years after they've peaked commercially. And hell! They're still writing
classics! That said I love how "Mean Machine" and "Riding With The Driver"
hark back to the Brian Robertson era. And "The Chase Is Better Than The
Cathc" re-write "Built For Speed" isn't nearly as fast as you'd expect a song
with that title to be, but still it's one hell of a rocker. I don't like
"Doctor Rock" nearly as much as everyone else does. It just kind of sounds
like a Motley Crue song to me. And I know Motley Crue have a handful of
really really good songs, but the Motley Crue song this one sounds like isn't
all that great. Shit, what can I say about the song "Orgasmatron" that
Prindle didn't already say? Well, I thought that it was really funny that
Orgasmatron turned out to be a song about organized religion and not
an...Orgasmatron. The guitar solos in the middle remind me a lot of "Kitty
Empire" by Big Black. Not a bad thing.
A very powerful album (though the production could best be
described as rather "strange," but not in a way that really detracts from
it), this is where Wurzel and Phil Campbell joined, making the music much
heavier. This is really a transitional record, bridging the gap between the
hard rock-style of the Clarke-era and the generally more metallic later
years. Some of the songs here kick huge amounts of ass, such as "Ain't My
Crime," "Mean Machine," and "Riding with the Driver." The only real loser is
"Built for Speed," which doesn't do very much of anything. The title track is
amazing, a protracted, very eloquent attack on religion featuring some of
Lemmy's best lyrics (what other heavy metal singer even knows the meaning of
the word "sycophant"?).
Good album, but by Motorhead standards, not exactly what Doctor Rock
ordered. A couple of stinkers: "Doctor Rock" (possibly their worst song
ever), "The Claw", and "Built For Speed" isn't the best either, but enough
of the bad...this album has amazing tunes scattered throughout the rest of
it: "Deaf Forever" and "Mean Machine" being my favorites. Liked the new
direction, wish they could keep it going, minus the crap songs of
course...without the above three, this is an A album.
Yes! It’s all in the production! Let us thank the completely over-hyped, self important, hey I came up with a new effect on my bass head so let’s record 6 ambient albums with it on Pro Tools with all my rich “important” artsy friends, Bill Laswell (although I’m sure he’s a great guy). Come on though, he IS a bass player. He should know what a Rickenbacker sounds like, right? Wrong? Jealous much Bill? There are some great songs on this album that would’ve been much greater with a different producer. I saw them on that tour and the songs translated so much better live, thankfully.
Hey didn't sepultura cover Orgasmatron a while back ago?
Rock N' Roll was another let down for me. The production is better, and
Philthy's back, but Lemmy's voice is mixed way way way too high. I love the
guy's voice, but it can be a bit annoying when it drowns everything out.
Also, as Prindle noted, the first two songs are a bit weak. I'm actually not
that fond of "Blackheart" either, but the "No Class" re-write "Stone Deaf In
The USA" in all sincerity rocks my ass. Actually, "The Wolf" is really good
too, and "Traitor" sounds like it could be on "Overkill." "Boogeyman" isn't
too bad either. And both of the "Eat The Rich" B-sides on the reissue are
way etter than "Eat The Rich" in the first place. think I'll give it a low 7
and put on Bastards instead.
A step down from the last one. Only three songs are really
good - the title track, "The Wolf" and "Traitor" - and while the rest aren't
bad, they're not too memorable. Except for "Eat the Rich," which just
sucks.
Azmodi read my mind. Those are the only three songs worth purchasing the
album for...You ever notice how Motorhead cannot pull off cheesy
commercial-oriented songs whatsoever? No big surprise, since that is NOT
WHO THEY ARE SUPPOSED TO BE! Aside from the humor, everything they stand
for (balls, energy, attitude) is tossed out the window on songs like "Killed
By Death," "Doctor Rock," and on this album "Eat The Rich." What the hell
is that piece of crap? In fact, all of side 1 sounds like a Motorhead
tribute band. The second half picks up with "The Wolf," "Traitor" and
"Boogeyman" but jeez, even those are more experiments and leftovers than
anything. A decent album overall, but one that weakens with each successive
listen. Still love "Traitor" though, Motorhead's first preview of their
90's style.
sorry, I don't mean to write in so often but screw the rest of ya!!! Rock n Roll is an awesome album! Every song rocks, especially "All for You" plus "Blackheart", "The Wolf", and "Traitor". Also, watch Eat the Rich, the movie that the song is based on. It's funny! (only in that dry Brittish kinda way though) Lemmy plays Spider, a soviet double agent and it makes fun of the uppity yuppity rich like no other!
Wif'out a doubt, the greatest version of "Overkill" ever, anywhere (though I
haven't heard Ted Koppel's).
Yep, definitely less accessible then your average Motorhead record,
but nonetheless cool enough if you let it be. "I'm So Bad Baby I don't
Care" makes it worth buying in one shot. The rest are either good or
okay, but the title track is sad and beautiful. It's an interesting
mid-piece for the band, and not un-listenable to even die-hard fans.
Their more most mainstream record. Good or bad? The former, I think,
though it could be heavier and faster. Like Mark says, "I'm So Bad Baby I
Don't Care" is great, and so is the title track, though in a very different
way. "Nightmare/The Dreamtime" is also unique, even featuring backwards
vocals. Sort of like "Another Perfect Day" in that it's a departure from the
normal aural carnage, and is not the best place to start one's
Motorcollection.
If I had just not gotten into Motorhead in the last two or three years, and
were old enough to follow them throughout their entire career, I'd seriously
be concerned about Motorhead after the disappointing Rock N' Roll, and now
1916? In all honesty, 1916 isn't all that bad, but at that point, they
reall had done much better. Starts strong with the totally kick ass "One To
Sing The Blues," and "I'm So Bad (Baby I Don't Care)," I hated the pop-metal
riffery of "No Voices In The Sky" at first, but it's been growing on me. I
loved the version of "Going To Brazil" on the "Everything Louder Than
Everyone Else" album, but this one, is just kinda...flat. They're playing it
waaaay too slow. "Going To Brazil" is really a kick-ass rock tune when they
play it at the "Everything Louder" speed. Really! "Nightmare/The Dreamtime,"
starts out with a classic Lemmy bassline, but doesn't really do anything. It
just sits there and is annoying, and I hate it. "Love Me Forever" sounds like
Dokken, which is funny, because Mikkey Dee wasn't even in the band at this
point. "Angel City" sounds too much like L.A. Guns not to suck. Next. Like
Mark mentions, thankfully, when "Make My Day" starts, it's back to classic
ass-kicking, I like this song, they shoulda written more songs like
these to help them prosper during bad times. I thought I'd hate the song "1916," but
it reminds of the Pogues. I love the Pogues. Another low 7.
Can you beat the first three songs? I think not...dang good album, best
since Another Perfect Day. This is as commercial as Motorhead should ever
get. Good variety...my first Motorhead album. Some weak tracks, but has a
nice loose feel to it...Philthy's swan song, thank God for Mikkey...
I thought this was one of their best albums. It showed a range of style from
balls to the wall classic Motorhead ("One to Sing the Blues") to Another
Perfect Day type stuff ("No Voices in the Sky"). Didn't mention the Grammy
nomination for this album (that makes me lose all credibilty, right?). All
of the songs kick ass in their own way ("1916", "Shut You Down", "RAMONES",
ect.). Another Perfect Day aside, the best album from the post Clark days...
until Sacrifice.
It's got R.A.M.O.N.E.S. on it, right? There are hundreds of bands who haven't written anything as catchy in their entire career.
Well, I like this. In a different sort of way than I like Overkill
or Bastards, see, but I still like it. The mainstream metal sound is
here, which is unusual for Motorhead but this mostly doesn't succeed in
ruining anything (except Hell Raiser--which sounds big and dorky) Stand
is great. Bad Religion is great. Jack the Ripper is great. I Ain't No
Nice Guy After All is fine for what it is (and I love Ozzy's voice).
Mikkey Dee, formerly of King Diamond's band, joins up. Probably
song for song better than "1916," as the band seems to be in more of a
head-smashing mood. "Stand" is good, though it's followed by a truly terrible
cover of a Ted Nugent classic. "I Ain't No Nice Guy" may seem lame to some,
but the lyrics redeem it. Certainly the best of the lot are "Asylum Choir,"
featuring an awesome bassline, and the title track, which may even be a
better depiction of the desolation of war than 1916.
I knew I was in trouble the first time I popped in March Or Die. 11 songs
in 46 minutes, which means the average song is over 4 minutes. "Stand" is
fairly average Motormaterial of the time. It could have easily been on Rock
N' Roll. The cover of "Cat Scratch Fever" coulda worked if they'd just
played it faster. Man. I just don't understand Motorhead's aversion to
playing fast in the early 90's. "Bad Religion" is actually a pretty decent
song, saved from total crappiness by a catchy riff, and some head-bobbing
drums. How about "Paradise City?" Whoops. I meant "Jack The Ripper." "I Ain't
No Nice Guy" sucks. "Hellraiser" is funky in a bad way. Sucks. Makes me
nostalgic for "Rock N' Roll," even. "Asylum Choir" is okay. Not great. And
they put it on the album twice. Wait. That's "Too Good To Be True," never
mind. "You Better Run" DOES sound just like "Bad To The Bone!" hey! More
unessential Motorhead stuff. Unless you're as big a fan as I. Thank god
that Motorhead abandoned this "not-very-good" thing after this album. I'll give it
a 6 on the Prindleometer.
Uhhh.....no. At first, I thought it was kind of cool, until I bought the
rest of Motorhead's albums. Now it's hard to listen to the whole thing.
Word to sum up the album....CONFUSION. I don't think the band knew whether
to go commercial, do covers, take a new direction, or go back to their
roots. So they did it all, and rarely well. It's hard enough to focus on
one thing sometimes, but three or four? Nope. Bad idea... but can't blame
them for trying. One stinker of an album over the course of a whole career
is not too damn shabby! Why "Cat Scratch Fever?" Good for the Nuge, not
for Motorhead. Much rather listen to "Louie, Louie" 10 times in a row...On
"Bad Religion" and "Jack The Ripper" you see some signs of what's to come,
but not totally fleshed out songs. "I Ain't No Nice Guy" is good, but it
has no place on a Motorhead album. "Hellraiser" is okay, but Ozzy's is
better. And the last four tunes make me hurl! Did they write these in
their sleep!?!? Really, other than "Bad Religion" (maybe) and "Asylum
Choir", why bother? It's a "made-for-money" album, which is too bad since
at best those types of albums have little quality music, and at worst flop
in the charts as well. This did both. But again, just a one-off, so all is
forgiven.
I highly encourage a re-think of the identical ratings for MARCH OR DIE and 1916. Wheras 1916 is a tight, together album that features at least a bunch of classic, unforgettable cuts ("I'm So Bad," "No Voices In The Sky," "Shut YOu Down,") MARCH OR DIE is the one and only Motorhead record I was completley disapointed in. I fail to find one redeeming factor in the album, and a guest shot by Ozzy does nothing to influence that opinion. Even now, a grand total of one (1) song from this album features in the live set ("You Better Run"). 1916 had plenty of sonic grit plastered to it's sonic presence. MARCH OR DIE is perhaps the only tangable instance of the band mellowing out their fury for (potential) mass consumption. Which is wierd when one remembers that the following (and infinatley better and harder) release BASTARDS was the more succesful release both commercially and artistically. All hail Prindle for the forum for my rant. Also when listening to Motorhead it's is compulsory that only English beer should be consumed...Newcastle Brown is okay, but Old Perculiar or Bishop's Finger are preferable.
Hey !
I have heard a rumor that the seemingly inexplicable inclusion of a piss-poor cover of "Cat Scratch Fever" on 'Head's worst album actually is explicable. Lemmy had expropriated the riff of aforementioned Nuge tune on "Don't Need Religion" way back on "Bomber." Either out of remorse or a threat of legal sanction by the Michigan Meat Murderer, Lemmy kicked him back some royalties by doing the cover. Or so I've heard. This is the only 'Head CD I've ever parted with after a handful of listens. That said, Motorhead are up there with The Beatles, The Who, Led Zeppelin, Black Sabbath, The Faces, Judas Priest, Wire and Joy Division/New Order as the only good rock 'n roll to come out of the much-overrated UK, a land incapable of producing a decent rhythm section and in thrall to stoopid fashion cults, those 10 bands excepted.
Now, I have not a copy of 1916 or March Or Die, but Bastards, ("which
you could only get in Germany, actually. The rest of the world, you couldn't
fuckin' buy it. You couldn't even steal it!") could very well be Motorhead's
best album since Another Perfect Day. Serious! This one even kicks ass over
Orgasmatron, which was pretty damn good. There's a whole bunch of fuckin'
rockin' rick ass songs on here. "On Your Feet Or On Your Knees" is another
one of my fave Motorhead songs, spoiled only by it's brevity. And "Born To
Raise Hell!" Man, I'm shaking my head at Prindle for not liking this song.
Not only is it a bad-ass rock song, it's also damn fun, and is a welcome
change after the more-serious tone of the first four songs. I don't dislike
"Don't Let Daddy Kiss Me," but it always feels out of place right in the
middle of 11 other kick-ass rock songs. Oh, and I don't care what anyone says
"Lost In The Ozone" kicks way too much ass to be considered a ballad. This is
a 9 all the way.
Crunch crunch and crunch! This is a great record, fast and furious
as hell and on par with early efforts. On Your Feet Or On Your Knees
kicks! Burner and I Am The Sword drive pins into your skullcap!
The best Motorhead album ever? Quite possibly. The last of the
4-piece band's albums is unquestionably the strongest, though the production
could be a tad heavier. The first two songs are ferociously fast and the
third features some incredible drumming by Mikkey Dee, who proves himself a
more than adequate replacement for Taylor. The only real loser is "I'm the
Man," actually. "Bastards" is also probably the most lyrically solid of all
the albums, like with "Liar" - who knew an anti-religious song could be so
catchy?
Cripes! Old men playing this fast and angry scares me on some
primitive level. This album is arguably the best--as good as anything in
the old days and far better than the last few records (even Bastards)
Great songs--fast as fuck, dirty as Hell, and Lemmy's voice is a burned
out, sabertooth growl. Love it. You can look at the album cover and just
know it's going to kick you up the backside.
A very slight step down in quality from the last one, though the
production is improved. The liner notes indicate these songs were written
with Wurzel, so perhaps some of them would have sounded even better with the
extra guitar... I used to dislike this album, though now it's growing on me.
The second half seems to all blend together and the songs seemed rather
indistinct, but it's still a good, solid album. The title track and "Over
Your Shoulder" are classics, actually.
I haven't spent much time with Sacrifice, but so far, it's a motherfucker.
A bit more one-dimensional than Bastards, but it's a motherfuckin'
motherfucker. I like it. Kind of like a better Rock N' Roll with some
heavier thrash and chug thrown in. Imagine how dumb I'd feel for owning
fourteen Motorhead albums if they didn't stop sucking. Easy eight.
Don't have Bastards. If it's anywhere near this good, don't tell me, or I'm
going to be a wreck until I pick it up...Sacrifice rules! Buy it! "Dog
Faced Boy" is my all-time favorite, and the rest kicks ass too! Heavy,
heavy, heavy...the new heavier Motorhead style shoots ahead all guns
blazin'! Wurzel, you left too soon...
Actually, Lemmy says that Wurzel did play on this album, but that CMC for
some reason chose to delete his picture from the cover. If you read the liner
notes, you'll see that he is credited for solos on "Dog-Face Boy" and "Out Of
The Sun".
no no no, I have the German release of Sacrifice on SPV records. Wurzel did play on it and quit after they were done making it. His photo is on the back of the German version. The photo with the four members standing in front of the iron boar has Wurzel airbrushed out in the U.S. version. The cover was also censored for the U.S. version. On the German cover, the tongue is a penis.
Well I'm glad this totaly obscure issue has been resolved - Looks like my
copy's an original, I was wondering why my version seemed to have Wurzel on
the back when you were saying they were down to a three piece.
It really is amazing to see a band consistently shift out more of
the same old thing with such grace. Look at these three wrinkly men on
the album cover...you'd never know. Fast and kick ass like the last few
records, there's lots more of the great M package here. Eat the Gun is
fabulous, ain't it Mark? Murder Show, Overnight Sensation, Civil War,
Listen to Your Heart...wam wam wam! And that terribly infectious "Crazy
Like a Fox"--which I find lyrically absurd but can't help liking
anyway!
A great album, one of their best. "Civil War" is a
monster of a track, followed by "Crazy Like a Fox," which somehow manages to
fit in a harmonica sensibly. "I Don't Believe a Word" is one of Lemmy's best
world-weary ballads. The title track is an attack on the music industry,
while "Them Not Me" is a very fast song dealing with our attempt to deny
responsibility for our fascination with violence in the world. You'd be best
advised to skip the last track, though... It's called "Listen to Your Heart."
The title alone should make any Motorheadbanger wary.
Better variety and more polish than the last album. Not quite as good.
Title track, "Civil War," "Love Don't Buy You Money," and "Them Not Me"
carry this album. Still must buy if you liked Sacrifice.
This is some rockin' Motorhead like it is supposed to be done - song
structures and riffs really stand out - I think this to be one of their
best, and one of their unsung greats. Crazy like a fox? I don't believe a
word? Civil War? If you don't like that, I don't like you.
Not the best, to be sure. Only a few real good tracks. "Love
for Sale" is about viagra, while "Dead and Gone" is another jaded ballad.
"Take the Blame" is a speedy attack on politicians, and "Nightside" is also
pretty good. If I hadn't bought this album used, I think I might've felt a
bit cheated.
At first, I wasn't as big on Snake Bite Love as the previous two records. I
think it's the lull on the second half of the album that did that to me.
But at least the "lesser" Motorhead tracks are not the cheesy crap that they
spewed out in the 80's, (ie. "Doctor Rock"). Upon further review though,
like it just as much as Overnight Sensation. First seven tracks make the
album seem destined for higher aspirations than Sacrifice, but the album
becomes a little too complacent after "Nightside" for my tastes. Still love
the album though, esp. "Assassin" and "Snake Bite Love."
Well, no not quite as good as Ace of Spades ( How the hell do you live up to that!) its riffs are about just as damn good as any AC/DC album.
Dead And Gone, a great ballad (is there such a thing?) kicks you in the balls as soon as the chorus chimes in. I love the way Lemmy slides his
hand down the neck of his Rickenbacker before it starts too. Better Off Dead is a pretty good song as well. This album should be proud to hold
the Motorhead name up to it. Damn, they have cool album covers too.
9/10
This one gets the 10 from me - probably because it was the album that got me a) into Motorhead and b) on to the first step out of my narrow minded musical universe where "heavy metal", among other things, was Taboo. (I was pretty young by then.) Only this isn´t "heavy metal", of course. Remember when Motorhead was considered "most extreme music ever"?! Today, it´s classic rock´n´roll, still sounding the same. However, at least in Sweden it was OK among punk fans to like Motorhead, so I first bought No Remorse on a cheap cassette in 1984 or something and later on vinyl (with leather cover!!). Good selection, interesting comments on each track by Lemmy and super cool package add together to the 10.
Everything Louder Than Everyone Else is a great fucking live album. There
isn't a single bad song here. Not even "Going To Brazil" or "Born To Raise
Hell." Both great songs. And the version of "Capricorn" is man...it's bad
ass. This is the one that got me into Motorhead, so, it's got a special lil'
place in my heart.
An excellent live album, bursting with
raw power and energy. Lemmy's bass lets loose a wall of sound so loud and
blistering that it drowns out Campbell's guitar half the time; it sounds like
he's playing a jet-engine. The song selection is pretty good, covering most
of their career, with early songs like "No Class" up to "Take the Blame" and
"Love for Sale" off their then most recent album. Some of the songs are
better than the album versions ("Iron Fist," "Orgasmatron" - which just drips
with evil malice - and possibly even "Burner"), some are about the same (the
two off Snakebite), and some just aren't ("Civil War," "On Your Feet or On
Your Knees"). Some of this has to do with the production, which is a bit
indistinct, and most of it has to do with Phil Campbell's playing. I'm not a
guitar player, but it seems clear (and I've heard actual players say much the
same) that this guy isn't Jimi Hendrix; half the time he doesn't seem to know
what the Hell he's doing. For some, this will surely take this album down a
notch (especially due to his mishandling of many of the Fast Eddie songs),
but I still think it's a great live album, just a shade less wondrous than
"Hammersmith."
Man, it's like friggin' clockwork. New Motorhead record, great album
cover, kick ass fast tunes, and Lemmy's trademark
phlegm-Jagermeister-Jim Bean ruined gullet. See Me Burning is a nice
opening, Stay Out of Jail rules, and yes, One More Fucking Time is a
knockout. God Save the Queen is hard to fuck up, and the boys do no such
disservice. We Are Motorhead is a nice little personal anthem for an
ending, too.
I heard from a friend of mine that some guy from Motorhead
is credited with saying, "We want to be the band that when we move next door to
you, your lawn dies." I thought that was one of the greatest things I'd ever heard.
Damn, most bands get slower and softer as they get older...
Not Motorhead! The album opens with "See Me Burning," which is incredibly
fast, and later it has "Stagefright," which is easily the heaviest song the
band has ever done. The title track opens with a riff reminescent of "Ace of
Spades," then tears off and becomes an instant classic. Some of the songs,
though, seem awfully similar... I'd be hard pressed to tell "Stay Out of
Jail," "Out to Lunch," and "Slow Dance" apart without a lyrics sheet; maybe
it's just me, but they all sound the same. The Sex Pistols cover is a lot
better than the Ted Nugent cover, though it seems unnecessary. I do like
"Wake the Dead," though, with an interesting instrumental break at about the
three minute mark. And, of course, "One More Fucking Time" is another great
ballad that will never, ever be heard on the radio. Motorhead is still alive
in the 21st century, and as swift and powerful as ever.
They could go on indefinitely like this, couldn't they? WELL, I FOR ONE
WOULD HAVE NO PROBLEM WITH THAT!!!! Buy this! Better than the last
two, combines styles of the last three, plus earlier classic Motorhead ("We
Are Motorhead", "Out To Lunch") "See Me Burning" and "Wake The Dead" kick
ass!! And in-between, there's more asses kicked!!! This and Sacrifice are
only topped by Ace Of Spades and possibly Overkill in my book.
With the passage of time 1 band is just not gonna give up. Motörhead is still the same
old uncompromising speed machine it has always been, and that's wat keeps them so bloody
special. Hammered the latest from the gods of metal.I’ll tell ya wat ;the lawn next door
has already died.!!!The band shows no signs of slowing down @ all.Hammered is full of
soon -to –be motorhead classics.Right from the 1st track “walk a crooked mile” the album is
full of pure unadulterated rock n roll tracks.
While this album is indeed more midtempo than We Are Motorhead, it is still superior, because most of the songs are much more distinct and have their own identity
(plus, nearly all of them are very good). And it still amazes me that guys this old can play a song as fast and blistering as "Red Raw"... It's no illusion, either - I saw Motorhead
in concert a few weeks ago and they're amazing, still. Lemmy's probably going to keep this up 'til he's dead, and I have no complaints about that. Btw, the name of
Motorhead's ubiquitous mascot/logo is Snaggletooth B. Motorhead. The "B" is for "Bastard."
Have read your site for years but never checked out Motörhead section 'til tonight. You shoot from the hip (reviews that tell it like it is - whutta
concept!), and the site kicks ass - EZ navigation, fast simple information w/o a bunch of useless fucking graphics. U kin evin spell & punk'choo'8! =)
So I wanna say Thank You for making this info available to everyone.
Motorhead Owns ..... Lemmy kilmister is a metal god from hell
Hi Mark. Discovered your site a couple of months ago and love it.
Please: you should've mentioned there's a VERY DAMN FINE COOL single version of "born to raise hell" feat. the notorious Ice-T ... and it is not at all cheesy...when you listen to it you feel they had a very good time recording this one!!! It bangs your head ball sac and all other good thingies!
Aren't you being a little bit leniant on this album? I'm also a huge Motorhead fan and own eac