Motörhead

Motörhead

Roadracer Revisited Records, 1977

http://www.imotorhead.com

REVIEW BY: Christopher Thelen

ORIGINALLY PUBLISHED: 04/16/2000

Despite what Motorhead might want you to believe, their 1977 self-titled release was not their first effort. That honor goes to On Parole, an album they recorded in 1976 but that the label bosses decided to shelve - that is, until Motorhead became popular. (It eventually saw the light of day around 1979.)

And though this comment might earn me a punch in the nose from bassist/vocalist Lemmy Kilmister should I ever run into him again, in many ways I prefer On Parole to Motorhead. The feel of Motorhead is a bit more raw and unrefined - normally something good for Motorhead, but in this case, it's just a little too gritty.

For starters, the material on this disc is hardly the thrash-and-bash that Motorhead became known for. If you're looking for the speed and all-out power of a track like "Ace Of Spades," this just isn't the album. If anything, Motorhead is a bit of a throwback to Kilmister's days with Hawkwind - no surprise, seeing at least one song on this disc was originally done by Hawkwind, and another song was written (but never used) by the band.my_heart_sings_the_harmony_web_ad_alt_250

"Iron Horse / Born To Lose" always seems to have a magical quality about it, no matter what version I hear, and this version is no exception. A tad faster than the On Parole mix (which was plodding, but surprisingly good), the band - Kilmister, guitarist "Fast" Eddie Clarke and drummer Phil "Philthy Animal" Taylor - make sure that this song will be remembered as a classic of the band's catalog. Likewise, their cover of "White Line Fever," a song I first heard on their 1978 live album What's Words Worth, has a kick like a mule. (These days, What's Words Worth is damn near impossible to find - if you do see a copy, snag it post haste.)

What is surprising is that some of the band's time-honored classics don't seem to have that kind of power in these versions. "Motorhead," the song that defined this band, doesn't have the raucous energy that so many other versions I've heard do, and it falls a shade flat. And I have to admit I've never been a fan of the track "The Watcher," no matter how many times I hear it.

If all you know of Motorhead (besides any of their '90s releases) is what's on the compilation discs like No Remorse, then a lot of this material is going to be new to you. Tracks like "Vibrator," "Lost Johnny" and "City Kids" were early staples of Motorhead, but I can't remember the last time I heard any of these played live. Chances are you'll find a track or two that you'll add to your personal favorites list; I know that "On Parole" is on mine.

Of the bonus tracks thrown onto this re-release, be sure not to miss their cover of ZZ Top's "Beer Drinkers And Hell Raisers," as well as "Instro," which features Kilmister and the boys getting down and dirty with the instrumentation.

Motorhead is an album that doesn't seem to blend with the next releases that the band would begin churning out once they signed with Bronze. It is still worth checking out, so long as you don't expect to have your eardrums nailed to the wall.

Rating: B-

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© 2000 Christopher Thelen and The Daily Vault. All rights reserved. Review or any portion may not be reproduced without written permission. Cover art is the intellectual property of Roadracer Revisited Records, and is used for informational purposes only.