MOTORHEAD

[page in the process of being converted from MP3 status to full status]

Class ?

Introduction

ALBUM REVIEWS:

Disclaimer: this page is not written from the point of view of a Motorhead fanatic and is not generally intended for narrow-perspective Motorhead fanatics. If you are deeply offended by criticism, non-worshipping approach to your favourite artist, or opinions that do not match your own, do not read any further. If you are not, please consult the guidelines for sending your comments before doing so. For information on reviewing principles, please see the introduction. For specific non-comment-related questions, consult the message board.

For reading convenience, please open the reader comments section in a parallel browser window.

Introduction

Coming soon.

READER COMMENTS SECTION

ALBUM REVIEWS

ON PAROLE **1/2

Year Of Release: 1976

It's rather funny that upon hearing this, the very first album recorded (but not released) by the Godfathers of thrash and speed metal, the initial reaction is somewhat like 'sheez, I kinda understand why their record company turned this down'. On Parole was indeed recorded in 1976, but was deemed unsuitable for release by the band's record company; it was only released officially three years later, as the band's career was picking up steam and the public screamed for more Motorhead. The exact reasons of why the album was shelved for so long are not quite clear to me, but I can actually guess: the album sounds pretty sterile and feeble when compared to 'classic' Motorhead releases. On the other hand, it also presents the band as a gutsy, raw, unpolished outfit, which might be pleasing for those rock purists who'd never want their rock'n'roll overproduced or overslick; particularly for those who hate Motorhead as a show-offey, exaggerated, near-comic outfit reveling in sexist and satanic imagery.

READER COMMENTS SECTION

OVERKILL ****

Year Of Release: 1978

The first truly "classic" Motorhead album, and, well, it's really dang fine no matter what kind of complaints one could hang on it. Lack of diversity, lack of technical skill, sloppiness, primitivism... that's what we need on here and that's our main point. As far as "basic no-bull rock'n'roll" goes, Overkill simply beats the stuffing of just about any single Kiss album ever released.

READER COMMENTS SECTION

BOMBER ***1/2

Year Of Release: 1979

Mother dear, maybe Motorhead is my personal cup of tea after all... see, the problem is, I'm writing this review about half a year since I wrote the one for Overkill and you know, I'm pretty sure about half of the songs on here are just re-writes of older material, and the other half would be re-written on subsequent albums and everything. But truth is, I just love that stuff. So let's lower the rating just a wee bit for a couple so-so numbers and proceed from there.

READER COMMENTS SECTION

ACE OF SPADES ****

Year Of Release: 1980

The timing couldn't be more right for this album: 1980 was, unquestionably, the year when kick-ass heavy metal was bigger than ever. Back In Black! British Steel! Iron Maiden's debut! And although Motorhead, together with AC/DC, were representing the 'old guard' rather than the newly-emerging British New Wave of heavy metal scene, they fit in perfectly with this, their biggest selling record ever.

READER COMMENTS SECTION

NO SLEEP 'TIL HAMMERSMITH ****

Year Of Release: 1981

Yeah yeah yeah, this is a classic live metal album, speed and dirt and all. But before I start kissing its ass, let me just tell you one thing: if there ever was one band whose sheer power in the studio could be comparable to the live power, it's Motorhead. I mean, when we're dealing with hard rock/heavy metal, live albums usually present us with a chance to see the band let its hair down and sacrifice some of the meticulousness, precision and clean production in favour of aggression, energy, and spontaneity. This principle is theoretically unapplicable to Motorhead, because the band was never about meticulousness and precision in the studio, and as for the production, well, production on your average Motorhead record is usually as "clean" as a brontosaurus' bowel movement.

READER COMMENTS SECTION

IRON FIST ***

Year Of Release: 1982

Now don't get me wrong - I'll start this off with a disclaimer that I like Motorhead's style a lot (as if this wasn't already obvious from the previous reviews) and I guess everything they ever did was unabashedly great. At the very least, you can't say that Motorhead ever did filler because they either did no filler or everything they ever did was filler, and in the latter case these reviews become useless in the first place.

READER COMMENTS SECTION

ANOTHER PERFECT DAY ***1/2

Year Of Release: 1983

Pretty optimistic, almost friggin' yoo-too-ish title, considering that the band loses a crucial member here, notably Eddie Clarke himself. Enter Brian Robertson, fresh from the dissolved Thin Lizzy, but how on earth could Lemmy have fallen for that guy is beyond me, since the band's history is full of records of violent clashes between him and Robertson. Brian certainly kicked ass in Thin Lizzy, but he'd always been in the 'melodic metal' camp, with expressive complex solos that would advance far beyond "kickass", in dire contrast to Clarke's vehement brutal grossly overdriven Chuck Berry-isms. It came almost to the point of absurd when Brian actually refused to play some of Motorhead's most aggressive thrashing numbers onstage - including 'Bomber'! Needless to say, the sucky guy didn't last long in the lineup; the question is why would Lemmy think of having him in the first place.

READER COMMENTS SECTION