Published on Feb 6, 2000
N.B.: The version reviewed is the Castle Music
reissue.
“There’s two types of people, good people and
bastards; nothin’ else comes into it.”–Lemmy
This quote may not make much sense in an album review, but it’ll
get clearer at the end of the review.
What is Motorhead? Well, the word was British slang for
amphetamine user. Now, for us, it’s the name of one of the more
revered bands in the worlds of both punk and metal. Who is
Motorhead? Three words: Ian “Lemmy” Kilmister. While there have
been a number of line-up changes – alright, enough changes to make
Spinal Tap seem stable – Motorhead has always been the baby of
revered and worshipped bassist Lemmy Kilmister. After working his
way through 60s acid-rock bands (including a stint with Hawkwind in
the ’70s), Lemmy formed Motorhead and went out to conquer the
world.
Unfortunately, they have been often dismissed for lack of camera
appeal – none of the guys have ever been what you’d call pretty –
or for an inability to blow wide open the charts across the world.
So, while Backstreet Boys top the charts, Motorhead is still deemed
to the opening band tier. (Unfair! Unfair!)
Still, the amount – and more importantly, the quality – of
Motorhead’s work has earned it a place in the halls of rock’s
loudest bands. Not to mention made the band and Lemmy into neo-gods
for the likes of Metallica, Megadeth, and every other metal band
out there. Ask those in the know – the musicians, the artists – and
they will tell you that Lemmy is as close to a bass god as there
is.
Enough of that, you came here to read about this album. Compiled
at a moment when Motorhead found its lineup changing once again,
this two-disc set brings together most of the best from Motorhead’s
70s and early 80s work. From song one in disc one to the end of
disc two, you will enjoy this.
The album kicks off with “Ace Of Spades.” It’s just rollicking
and rocking fun. Hearing this song made me realize something –
Motorhead grooves. I don’t mean groove in a soulful, slow way. I
mean, as hard and fast as they go, there’s real rhythm behind the
noise. There’s only one other band that I know that can both rock
and groove at the same time and that’s AC/DC. I mean, listen to
tracks like “Too Late, Too Late,” “Stay Clean” or “Like A
Nightmare.” That’s real blues-infected rock.
At the same time, you hear the lyrics and realize that this is a
band big on humor. Stuff like “Jailbait” and “Snaggletooth” are
done with some serious tongue-in-cheek. They also do a cover of
“Louie, Louie” that must be considered a novelty act. If you take
them seriously, then I have a really cheap championship franchise
to sell you in New Orleans.
Of course, a lot of the groove does lie in the capable hands of
Lemmy. He gives songs a driving quality, a real beat. From stuff
like “Bomber” – which I keep seeing with fake explosions gong on –
to “Overkill,” “Stone Dead Forever” and “Masterplan,” Lemmy’s bass
just thunders throughout the whole two-disc set. Sometimes though,
it becomes a bit too much – as in cases like “Locomotive” and
“Metropolis,” which are good, but dissapear under the heavy bass.
Besides that, Lemmy’s vocals infect all of the songs with a heavy
blues feel that is probably due to too much alcohol and drugs. You
get a sense of that in “Motorhead,” “Iron Horse” and “Leaving
Here.”
Some of these songs are also very punk-ish. “Iron Fist,” “Please
Don’t Touch” and “Locomotive” all sound like prototypes for the
punk sound. At the same time, many of the songs are also filled by
80s sound. Some of it rises above it to sound really great –
“Killed By Death,” “No Class,” “Shine” – while some are not as
great – “Emergency,” “Dancing On Your Grave,” “Steal Your Face.”
That doesn’t mean that the songs are bad by any stretch. It’s just
that some of the over-the-top quality of eighties rock becomes a
bit too much. It’s still only a minor complaint.
Besides that, there’s several bonus tracks here on this
re-release. First, there’s two versions of “Under the Knife.” While
both are good, I tend to prefer the second version for its faster
speed. There’s also the aforementioned “Masterclass” and two songs
that the band did with Wendy O. Williams. One of them is a more
eightie-ish version of “No Class” that should be a grrl punk group
staple I would think. The second is a cover of “Stand By Your Man.”
I can’t help but think of it as amusing as “Louie, Louie.” It
sounds like a novelty thing, but it always brings a smile to my
face.
Are there some things I would take away? Not much. While I know
this happens before it was ever created, I would have loved to hear
a few cuts from
Orgasmatron. Plus, there are a few other tracks that should
have been here – telling just from Chris’ reviews. Tracks like
“Dead Men Tell No Tales,” “The Chase Is Better Than The Catch” and
“Damage Case” do belong their turn here. Oh well, small gripes.
So what’s the quote from Lemmy got to do with this review? You
see, Motorhead is not one of those bands that you will see on TV
and be interested. Nor will you hear them on the radio and be wowed
by them. No, this is a band that someone from within will introduce
you. People in the know will find those who are open minded or
rebel metalers and ask them why haven’t they gotten into Lemmy and
Co. Therefore, think well of those who ask you to listen to
Motorhead. They do it because they think you should listen to it
and because they think you are ready and worthy to start you on
your journey.
Chris is a good person for getting me into Motorhead. Now, I do
the same to you. If you like Metallica, Megadeth, Slayer, KoRn or
are into metal and punk – even if you just want to try new things –
pick up this album. You’ll thank me later.