![]() ![]() The next two numbers could be classed in that category. ![]() The simple reason for this is that Lemmy’s approach has always been in the same tradition of Little Richard or the MC5: high energy rock’n’roll combined with more humour than you might think. Which brings me to another point - yes, there’s some heavy metal silliness involved with Motorhead in general, but few other bands at that time crossed a boundary by being accepted by a punk audience if not by most of the media. Not much let up in pace with ‘Stay Clean’, notable not only for a great riff, but some rock’n’roll spirit lyrics from the Lem (‘Don’t be scared, lived to win, although they’re always gonna tell you it’s a sin!’) and a rumbling bass ‘solo’. ![]() Bar a few good false endings that are exactly as the title suggests. In comes the treble-overdriven Rickenbacker trademark of Lemmy, in comes Fast Eddie’s flash guitar and the song’s pretty much an exciting & adrenalin inducing runaway train crash from then on. This is isn’t a subtle introduction: it’s the band effectively hijacking your sound system so ‘Philthy Animal’ Phil Taylor can pummel some suitably demented sounding beats through it, then finding way of making it all sound even LOUDER. It is the bona fide classic album with classic line up and perhaps most important of all, a classic producer in Jimmy Miller, the guy at the desk for just about all the Stones most crucial albums.Īlthough essentially metal and essentially of it’s time approaching the 80’s, Overkill ends up sounding timeless to these lugs, largely because every single fucking bit of production sounds just right.įirst example of which is the drums that open Overkill. It doesn’t mean no album is worth investigating & all you need to know for now is - this is it. Of course that’s a sweeping statement, but for a casual listener there’s more than an element of truth. Like their spiritual-music brethren the Ramones & AC/DC, Motorhead essentially never changed their sound, which leads to the same accusation/opinion that ‘all the album’s are the same’. with a view to increasing the sales, the single was released in three different covers, one each of lemmy, clarke and taylor.Yes, it’s a classic everyone & their granny loves.īut just forget about it for now, especially if you’ve just got the track on a play list and think ‘that’s all the Motorhead I need’. in june 1979 'no class' was lifted from the album as a follow-up single, backed with a previously unreleased song, 'like a nightmare'. three weeks after the initial release of the album in black vinyl, the album was released in a limited edition of 15,000 in green vinyl. the chiswick album 'motrhead' had been a hasty affair as was its production, although it had a sub-bootleg quality which may be appealing, 'overkill' had more spring and bounce, and a thundering title track that would become a show-stopper for years to come. the first release from those sessions was the single release of 'overkill' backed with 'too late, too late' in 7" and 12" pressings. sales of the single brought the band their first appearance on bbc television's top of the pops, which gave bronze the confidence to get the band back into the studio to record a second album. the band toured to promote their single 'louie louie' while chiswick released the motrhead album in white vinyl, to keep the momentum going. bronze records signed the band in 1978 and gave them time in wessex studios in london to record richard berry's 'louie louie' and a new song by the band, 'tear ya down'. Deluxe double cd edition with a bonus 19 track cd featuring b-sides, alternative versions, the 1979 peel session and live in concert. ![]()
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