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.