LP MOTÖRHEAD Motörhead (2LP) (Re) BOBV159LP - WHITE VINYL - RSD 2014 - SEALED
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August 17, 2015
Start Date:
November 19, 2014
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2LP MOTÖRHEAD
Motörhead
Limited Edition of 1000 Copies In White Vinyl
RSD - Record Store Day Edition 2014
Country of release: UK, 2014
Original released: 1977
Label: Back On Black
Catalogue number: BOBV159LP
Barcode: 0803341301399
Klappcover/Gatefold Sleeve: Ja/Yes
Condition Records: MINT
Condition Cover: MINT
LP ist noch verschweißt / LP IS STILL SEALED !!!
(Photo von meiner eigenen LP / Photo taken from my own copy)
Tracks Side 1:
1. Motörhead (3:13)2. Vibrator (3:39)
3. Lost Johnny (4:15)
Tracks Side 2:
1. Iron Horse /
Born To Lose (5:21)
2. White Line Fever (2:38)
3. Keep Us On The
Road (5:57)
Tracks Side 3:
1. The Watcher (4:30)2. The Train Kept A-Rollin' (3:13)
3. City Kids (3:27)
Tracks Side 4:
1. Beer Drinkers And
Hell Raisers (3:29)
2. On Parole (5:59)
3. Instro (2:39)
4.
I'm Your Witch Doctor (2:59)
Listen At YouTube:
( ) Motörhead seems so obvious, so all over the place, and an ugly presence that’s always been there. Like those bands, Motörhead would also prove to be hugely influential. Even though they never were about musicianship and complexity (heck, they weren’t even about songwriting), you might argue that only Led Zeppelin and Black Sabbath made more of an impact on hard rock/metal. Yes, Motörhead’s influences reaches further than Iron Maiden and probably even Judas Priest’s. Not only does about every straightforward band cite them as an influence (and where would the Supersuckers be without Motörhead?), they were one of the few bands that were respected by both metal and punk audiences. It’s all due to their explosive, no-nonsense attack. Their songs were usually short and sharp, propelled by Lemmy’s melodic bass playing and hoarsely shouted vocals, and what they lacked in the technical department, they made up for with sheer volume. Still today, attending Motörhead shows can cause ear damage, as the band makes sure they're the last thing you'll ever hear.
Now, what about this debut album? To be honest, it’s not really their debut. In 1976, Lemmy recorded an album with Larry Wallis (from the pink Fairies) and Lucas Fox, but United Artists thought it was sucky and told them to get lost. Wallis and Fox left and were replaced by Eddie Clarke and Phil Taylor, completing the classic Motörhead line-up. They recorded a bunch of songs in 1977 and the band immediately garnered a lot of fuss (the ‘real’ debuted was released as On Parole in 1979). The band’s single-minded approach is already present on this eponymous debut: even though tracks like “Iron Horse” and “Keep Us on the Road” are obviously rooted in classic (hard) rock, and even deviate from the loud & fast-style they’re famous for, the key ingredients (Lemmy’s hoarse rasp, a prominent bass that often overshadows the guitar – unless there’s a solo, the no-nonsense production job) are already there. Even though “Iron Horse” would become something of a concert favorite, I’ve never liked it that much, as it seemed to drag a bit too much for its own good, as if the band had been taking too many tranquillizers before recording (especially during the choooo-rrrrrruuuuuuuusss). I’d rather hear the opening salvo of “Motörhead” and “Vibrator,” song that are as much punk as they are hard rock. The title track follows a repetitive Ramones-styled groove, but the song’s just so goddamn catchy – despite the fact that no one actually understands what Lemmy’s blabbering about (at least, I don’t). “Vibrator” is a great showcase for the band’s early sound: heavily indebted to basic rock ‘n’ roll and with the bass completely dwarfing the guitar sound, it’s a blast to listen to, especially when they reach the chorus. Hearing Lemmy sing “Va-va-va-vibraytaahhh” is particularly exhilarating. The basic approach is also to their benefit during their rendition of oldie “Train Kept A-Rollin’”. While Aerosmith had already recorded something of a definitive rock version a few years earlier, Motörhead’s fuck off-version is equally exciting, with Clarke delivering some dirty but melodic soloing. Melody is actually what some of these songs lack to some degree. Oh, I hear you laughing, I hear you claim that this band wouldn’t even recognize a melody if it kicked them in the arse, but you’re wrong there … nearly all of their classics contain at least one unforgettable hook or key melody that lifts it even higher. “The Watcher,” a boogie with punk-styled vocals is one of those: fine sound, but when it’s over you’ll hardly remember it. But luckily, those moments are few, as most of the songs have something going for them, whether it’s a relentless, galloping rhythm (“Lost Johnny”) or an insane amount of energy and an all-over-the-place sound (the terrific single “White Line Fever”). You can hardly call Motörhead a classic album (and only the title track deserves that status), it’s too uneven to be considered more than good, but it’s nice to see how they started out, how they sounded before they invented several genres with the next few – better – albums that found them at the peak of their powers. Motörhead is the prologue to one of rock and roll’s finest chapters.
Note: Most editions nowadays come with five bonus tracks that basically continue in the familiar vein (but with too prominent and off-key vocals), even though the ska-styled guitar work of Larry Wallis’s “On Parole” is, uhm, wicked. The covers of ZZ Top’s “Beer Drinkers & Hell Raisers” and John Mayall’s “I’m Your Witch Doctor” also get the wart-treatment, leading to fine instances of ugly mayhem. (guypetersreviews.com)
Lemmy - Vocals, Bass Eddie Clarke - Guitars, Vocals Philthy Animal Taylor - Drums
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