When attempting to pay homage to the largest legend in rock and roll and metal, you must gather the best bands to capture the snarl and bite of Motörhead. Obviously, you want road -tested stage bombers. Charging like the Orgasmatron, each band picks a classic bullet and pulls the trigger. Motörhead merged their spirit and passion into music that attracted punks, headbangers, rebels, and burn outs. Motörhead’s music is a collection of furious rants by which any hooligan, any misanthrope, any social outsider, can bond. Raise a glass. Rest In Power, Lemmy.

Damaged Cases kicks off with the ultimate guitar-driven track, “I Got Mine,” covered by the ugly (and proud!) sons NYHC. Stripping down to pure hooligan rock ‘n’ roll with a strong backbeat and dressed with smoking leads, Paul’s gruff voice delivers a Lemmy-worthy sibling. The production is clean and sharp.

“We Are the Road Crew” is covered by road dogs Street Dogs, who come in with that punk bounce, weaving along. Nailing the English metal feel seals the deal with this ode to the road, especially at the chorus with a 70s vibe. A fun and raucous jam.

Brick By Brick select a classic track, maybe the second-most covered Motörhead track, with that coveted guitar line, blistering lead, and amazing chorus. Rousing the most stagnant of audience members to jump and point, “Iron Fist” is a grizzly number, with the Upstate lords of hardcore metal galvanizing a beatdown version of this banger. BxB kicks into double time (check the bass kicks and taut riffs); tuned low and growling giving this classic a new twist.

Rust from the Australian Oi! scene tackles “Sex and Outrage.” Home of Rose Tattoo, Marching Orders, THUG, and more, Rust comes from a lineage of outlaw rock ‘n’ roll. It is no surprise that Rust deliver a sneering version, coming with the great Aussie scene on its back. This cover would snuggle in like a python on any of Rust’s five brilliant LPs with its bodacious , rollicking guitars and tight-as-hell production.

American War Machine out of Boston give a down-and-nasty, hardcore stomp to a big, tough song with an ode to the rebellious loner on “Rock ‘n’ Roll.” These guys do the original call-to-arms justice. The drums take center stage and propel this blazing track fast forward. Truth’s voice and Silverman’s crunchy ESP backed by his Slapshot rhythm section render one bad ass cover.

Unruly Boys from NC spew forth a thick, chunky stomper as the serve up their version of “The Hammer.” Fast and nasty, the punky song is engaging. The snaring embraces the antagonistic vibe of the original which closes out the Ace of Spades LP. Blessed here with an Oi! twist, hard guitars and precise drumming drive the unrelenting energy like a railroad spike.

Thug Riot (Bricktop) out of AZ continue the searing renditions of Motörhead. The chaotic fury (reminiscent of fellow statesmen FatSkins here) is heightened by the bridge’s double bass work. “I Ain’t No Nice Guy” is an outcast’s anthem. This version will have you smashing bottles and kicking away barstools waiting for any challenge. Burning intensity ramps up the sound.

The now-sadly-retired McGuire’s Mob out of PA give a mid-tempo twang here. But still, heavy rock ‘n’ roll and growled vocals solidify the original’s aspersion of our media pundits’ controlling our lives. “Talking Head” is a cool mid-tempo romp. One of the bits of great Lemmy commentary instead of just another tribute to the rock and roll lifestyle (not that there’s anything wrong with that…). ‘Gruff’ is a good word to describe this one.

Countime approach the impossible, covering the most beloved of all Motörhead songs, “Ace of Spades.” Not to mention the fact that every dirty rock band has covered this, including the mighty Blood For Blood on Victory’s Built for Speed compilation. Countime is a tough-ass, heavy hardcore band repping LA. The execution is flawless here. The sound and tone (guitars, but especially the bass line) chosen here reimagines the classic, and the chorus is incredible. The darker guitar tone with the slowing down into a picking-up-change mosh part is genius. But the verses are fast and succinct, punching perfectly. I wouldn’t blame anyone for being skeptical when hearing the notion; but after one listen you know this the truth. Killer.

The closer goes to The Fighting 48th, who get grimy on their rock ‘n’ roll exploitation of “Over the Top.” The pulsating riff sets a tone of defiance. Moving fast and thunderous, the joint is charging force. Thick, distorted guitars and a minimalistic drum sound make it feel live and rambunctious.

Purchase the album here.