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Trollheart · 10-23-2013, 02:36 PM

Bastards --- Motorhead --- 1993 (ZYX)

The godfathers of thrash, the original noise merchants, the metal elite, call them what you want, Motorhead have been around a long time. They've seen it all and done it all --- and probably given some of it up! --- from the birth of metal in the late sixties/early seventies through the NWOBHM and on into the rise of grunge and the decline, then partial rebirth of metal, and through it all they've adapted, changed their sound and moved with the ...

Hold on just one fucking minute! This is Motorhead we're talking about! Motor. Head. These guys never have, never will, change to suit any fad, trend or changing attitude. As immovable as a mountain, as unchanging as the tides, as stuck in their ways as a constipated elephant, Lemmy and the boys have charted a career down over thirty years which has never wavered, never changed, never fucking adapted one little bit, and they're as popular now as they were back at the height of their career, when albums like "Ace of spades" and "Overkill" were giving Metalheads wet dreams. Some things never change, and never should.

But though the music doesn't change, the lineup has. Conceived originally as a power trio, Motorhead built their popularity on that model, but in 1982 their beloved guitarist "Fast" Eddie Clarke departed to form Fastway, and was replaced originally by Thin Lizzy's Brian Robertson, then later by Phil Campbell, also joined by Wurzel as a second guitarist for a period lasting two years, and even Phil "Philthy Animal" Taylor was replaced on the drumseat, leaving the band in 1991. This album is the first to feature their new four-piece lineup, a short-lived one to be sure.

There's an almost slower sense to the opener, with a boogie rocker more reminiscent of a faster, dirtier ZZ in "On your feet or on your knees", and you can't help feeling that "Fast" Eddie might think this a little limp. It chugs along nicely though, Lemmy's sandpaper-raw voice as powerful as ever. Right off I don't hear a huge difference in the extra guitarist but we'll see as the album goes on whether it was a good idea or not. It's a short song, the shortest on the album at barely over two and a half minutes, then the real speed kicks in as we hit "Burner", and new guy Mikkey Dee does his best to follow in Taylor's shoes --- yes, Tommy Aldridge played the drums on the previous "March or die", but we all knew he was little more than a placeholder, and were still mourning the loss of "Philthy", weren't we? It's more like the Motorhead of old as we steam rather than chug along, the pace reaching frenetic levels, another short song as we plunge into "Death or glory".

The tempo, once reached, seems likely to keep going and in a similar vein lyrically to Lizzy's "Angel of death", this track seems to be written from the standpoint of an immortal being who is doomed to fight forever through history. The lyrics namecheck various historical figures, such as Hitler, Napoleon and Roman gladiators, and the song somehow both reviles and glorifies war with a sort of fatalistic acceptance. Powerful percussion from Dee on this one, then Lemmy puts on an almost death metal growl for "I am the sword", which paradoxically sounds more thrash metal and even has its own sense of melody going on. Not too often you mention that word in conjuction with Motorhead! And it fades!

The only song on the album written by the big man solo, "Born to raise Hell" starts with a drumbeat quite akin to the opening of "Run to the hills" then rocks along steadily in an almost commercial rock vein, again I could hear ZZ singing this. Shot of the Ramones and Slade in there too. Next up is a real departure for the guys in the acoustic ballad "Don't let daddy kiss me". With a title like that it's going to come as no surprise that we're talking about child abuse and paedophilia/incest here, and Motorhead have my respect for tackling such a serious and taboo subject. It works really well, the drum kicking in halfway through as the electric guitar also pounds in and the song takes off on the back of a searingly emotional solo, underlining the seriousness of the situation Lemmy is singing about. As for the man, he puts in a brilliant, restrained and low-key yet menacing performance. Superb song.

Back rocking then with "Bad woman", a lot of Lizzy in this along with a smattering of the Crue, the tempo not quite as fast as it has been before the ballad, but pounding along nicely, till they go all Metallica with "Liar", Lemmy's growl one of anger and derision, with sharp guitar from the boys backing him up. Keeping it slow, for Motorhead that is, "Lost in the ozone" reintroduces acoustic guitar and could in some ways qualify as a ballad, though not in the same vein as "Don't let daddy kiss me". Nice sound to it overall and another quite introspective vocal from our man Lemmy. Oddly enough it's almost steel guitar adding a Country sound to "I'm your man" -- thankfully not a cover of the old Wham! song! --- which reminds me of those old campaigners, Blackfoot, and keeps the tempo relatively low.

Dare I even say that "We bring the shake" sounds more AOR than metal? Yeah, well it does. Really rocks along but I could hear this on radio and some DJ coming on afterwards going "Uh, that was ... Motorhead? No, I'm not reading this incorrectly. Definitely Motorhead. The guys who brought you "Ace of spades". Yeah, them." Way to stick it to the establishment, Lemmy! Love this. Sadly we're almost done as "Devils" wraps the album up, but at least it is the longest track, six glorious minutes of pure rock'n'roll goodness with a feel of Gary Moore-era Lizzy about it, some fine guitar work from the two boys and a growling, snarly vocal from Lemmy. Sweet.

TRACKLISTING

1. On your feet or on your knees
2. Burner
3. Death or glory
4. I am the sword
5. Born to raise Hell
6. Don't let daddy kiss me
7. Bad woman
8. Liar
9. Lost in the ozone
10. I'm your man
11. We bring the shake
12. Devils

For those who find it hard to contend with the "wall of noise" Motorhead are usually associated with, "Bastards" is a good chance to hear what they can really do when they tone back the noise a little and really play. Despite its iconic status, "Ace of spades" never really did it for me, and though I love "Overkill", "Bomber" and others, this album comes across to me as the closest to an almost commercial side to Motorhead. Not saying it would play on any top forty station or anything, but there's a lot of the melody I like so much in this album.

Again, not a word you would expect to link with this band, and given the title of the album you would be expecting a no-holds-barred, all-out fret frenzy that just puts its head down and charges through the tracks till it reaches the end, breathless, sweaty and grinning. Although it's no slouch in that department, it's probably the most accessible I've heard Motorhead. And I've heard a lot of Motorhead. If all you know is "Ace of spades" then this would not be the worst place to begin your journey into the wild, loud and wonderful world of Lemmy and Co.

Read more here http://en.wikipedia.org/wiki/Mot%C3%B6rhead

10-23-2013, 02:36 PM	#1984 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,971	Bastards --- Motorhead --- 1993 (ZYX) The godfathers of thrash, the original noise merchants, the metal elite, call them what you want, Motorhead have been around a long time. They've seen it all and done it all --- and probably given some of it up! --- from the birth of metal in the late sixties/early seventies through the NWOBHM and on into the rise of grunge and the decline, then partial rebirth of metal, and through it all they've adapted, changed their sound and moved with the ... Hold on just one fucking minute! This is Motorhead we're talking about! Motor. Head. These guys never have, never will, change to suit any fad, trend or changing attitude. As immovable as a mountain, as unchanging as the tides, as stuck in their ways as a constipated elephant, Lemmy and the boys have charted a career down over thirty years which has never wavered, never changed, never fucking adapted one little bit, and they're as popular now as they were back at the height of their career, when albums like "Ace of spades" and "Overkill" were giving Metalheads wet dreams. Some things never change, and never should. But though the music doesn't change, the lineup has. Conceived originally as a power trio, Motorhead built their popularity on that model, but in 1982 their beloved guitarist "Fast" Eddie Clarke departed to form Fastway, and was replaced originally by Thin Lizzy's Brian Robertson, then later by Phil Campbell, also joined by Wurzel as a second guitarist for a period lasting two years, and even Phil "Philthy Animal" Taylor was replaced on the drumseat, leaving the band in 1991. This album is the first to feature their new four-piece lineup, a short-lived one to be sure. There's an almost slower sense to the opener, with a boogie rocker more reminiscent of a faster, dirtier ZZ in "On your feet or on your knees", and you can't help feeling that "Fast" Eddie might think this a little limp. It chugs along nicely though, Lemmy's sandpaper-raw voice as powerful as ever. Right off I don't hear a huge difference in the extra guitarist but we'll see as the album goes on whether it was a good idea or not. It's a short song, the shortest on the album at barely over two and a half minutes, then the real speed kicks in as we hit "Burner", and new guy Mikkey Dee does his best to follow in Taylor's shoes --- yes, Tommy Aldridge played the drums on the previous "March or die", but we all knew he was little more than a placeholder, and were still mourning the loss of "Philthy", weren't we? It's more like the Motorhead of old as we steam rather than chug along, the pace reaching frenetic levels, another short song as we plunge into "Death or glory". The tempo, once reached, seems likely to keep going and in a similar vein lyrically to Lizzy's "Angel of death", this track seems to be written from the standpoint of an immortal being who is doomed to fight forever through history. The lyrics namecheck various historical figures, such as Hitler, Napoleon and Roman gladiators, and the song somehow both reviles and glorifies war with a sort of fatalistic acceptance. Powerful percussion from Dee on this one, then Lemmy puts on an almost death metal growl for "I am the sword", which paradoxically sounds more thrash metal and even has its own sense of melody going on. Not too often you mention that word in conjuction with Motorhead! And it fades! The only song on the album written by the big man solo, "Born to raise Hell" starts with a drumbeat quite akin to the opening of "Run to the hills" then rocks along steadily in an almost commercial rock vein, again I could hear ZZ singing this. Shot of the Ramones and Slade in there too. Next up is a real departure for the guys in the acoustic ballad "Don't let daddy kiss me". With a title like that it's going to come as no surprise that we're talking about child abuse and paedophilia/incest here, and Motorhead have my respect for tackling such a serious and taboo subject. It works really well, the drum kicking in halfway through as the electric guitar also pounds in and the song takes off on the back of a searingly emotional solo, underlining the seriousness of the situation Lemmy is singing about. As for the man, he puts in a brilliant, restrained and low-key yet menacing performance. Superb song. Back rocking then with "Bad woman", a lot of Lizzy in this along with a smattering of the Crue, the tempo not quite as fast as it has been before the ballad, but pounding along nicely, till they go all Metallica with "Liar", Lemmy's growl one of anger and derision, with sharp guitar from the boys backing him up. Keeping it slow, for Motorhead that is, "Lost in the ozone" reintroduces acoustic guitar and could in some ways qualify as a ballad, though not in the same vein as "Don't let daddy kiss me". Nice sound to it overall and another quite introspective vocal from our man Lemmy. Oddly enough it's almost steel guitar adding a Country sound to "I'm your man" -- thankfully not a cover of the old Wham! song! --- which reminds me of those old campaigners, Blackfoot, and keeps the tempo relatively low. Dare I even say that "We bring the shake" sounds more AOR than metal? Yeah, well it does. Really rocks along but I could hear this on radio and some DJ coming on afterwards going "Uh, that was ... Motorhead? No, I'm not reading this incorrectly. Definitely Motorhead. The guys who brought you "Ace of spades". Yeah, them." Way to stick it to the establishment, Lemmy! Love this. Sadly we're almost done as "Devils" wraps the album up, but at least it is the longest track, six glorious minutes of pure rock'n'roll goodness with a feel of Gary Moore-era Lizzy about it, some fine guitar work from the two boys and a growling, snarly vocal from Lemmy. Sweet. TRACKLISTING 1. On your feet or on your knees 2. Burner 3. Death or glory 4. I am the sword 5. Born to raise Hell 6. Don't let daddy kiss me 7. Bad woman 8. Liar 9. Lost in the ozone 10. I'm your man 11. We bring the shake 12. Devils For those who find it hard to contend with the "wall of noise" Motorhead are usually associated with, "Bastards" is a good chance to hear what they can really do when they tone back the noise a little and really play. Despite its iconic status, "Ace of spades" never really did it for me, and though I love "Overkill", "Bomber" and others, this album comes across to me as the closest to an almost commercial side to Motorhead. Not saying it would play on any top forty station or anything, but there's a lot of the melody I like so much in this album. Again, not a word you would expect to link with this band, and given the title of the album you would be expecting a no-holds-barred, all-out fret frenzy that just puts its head down and charges through the tracks till it reaches the end, breathless, sweaty and grinning. Although it's no slouch in that department, it's probably the most accessible I've heard Motorhead. And I've heard a lot of Motorhead. If all you know is "Ace of spades" then this would not be the worst place to begin your journey into the wild, loud and wonderful world of Lemmy and Co. Read more here http://en.wikipedia.org/wiki/Mot%C3%B6rhead __________________ Trollheart: Signature-free since April 2018 Last edited by Trollheart; 10-25-2013 at 01:07 PM.