Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories

1983 – VII – Choirboy Lemmy Is Making Contact With Slayer and Queensryche

The Vinyl Story

By 1994, the compact disc industry (CD) had taken over. The most cherished vinyl collections of people became a distant memory. Add to that list cassettes. But something unexpected also happened in 1994. The third album from Pearl Jam called “Vitalogy” was released on vinyl for the first two weeks. And it sold and it showed the recording industry that there is life in vinyl. Fast forward to 2017 and vinyl releases are now becoming the norm.

But in 1983, vinyl and cassettes ruled. But the story of vinyl is more nuanced. In the same way 1998 was the peak of the CD, 1978, was the peak of Vinyl, according to the RIAA. Sales of vinyl decreased each year after 1978 until 1993.

By 1983, the mighty cassette overtook vinyl sales and it stayed this way until 1991..

And speaking of vinyl, check out the back cover of the first Metal Massacre album. Look at the Ratt, Steeler and Metallica line up. Hard rock bands, metal bands and more abrasive metal bands are all together. United.

The Punk and Speed Metal Crossover Story

It all started with the New Wave Of British Heavy Metal. As Punk music became a commercial force in the late Seventies, metal bands had to adjust their sounds and tempo’s in order to compete with it. So even though most metal bands hated punk bands, there is no denying an unconscious influence on the metal genre. As the article at Vice states;

“Consciously or not, a lot of the anger, aggression and speed of punk started seeping into the music, and Iron Maiden even showed their mascot, Eddie, with punked-out, spiked red hair on the cover of the band’s debut album. NWOBHM bands also adopted the DIY ethic of the punk scene, putting out their own albums and singles instead of waiting for the mainstream to catch up to their sound and give them a record deal.”

In the State’s the crossover of punk and metal happened around 1983.

As the Vice article states, each band had a member who liked punk and brought it in.

“In Slayer, it was the late Jeff Hanneman, and in Anthrax it was Scott Ian (and it also has to be said that even though Cliff Burton was a bell-bottomed hippie, he had more of a punk attitude than anything). As Hanneman recalled in a 2004 documentary, “I was really into punk when we were getting together… I forced it on the other guys…I loved the speed and energy, but I didn’t want to go with just playing chord patterns all the time, because that’s basically what punk is. I wanted to make it fast with good, heavy riffs.”

So what a fitting way to being Part 7 of my 1983 series with Slayer’s “Show No Mercy”. If you want to get re-acquainted with the other parts, here they are.

For Part 1, click here. For Part 2, click here. For Part 3, click here. For Part 4, click here. For Part 5, click here. For Part 6, click here.

Slayer – Show No Mercy
Slayer’s debut hits the shelves in 1983, but I didn’t actually hear it until the late 90’s. This whole thrash movement has one unsung hero in Brian Slagel and his Metal Blade label. It all started from the “Metal Massacre” compilation and it kept on growing. A whole genre owes its success to Slagel.

It was Slagel who saw Slayer opening a show for Bitch (a band that was on the original “Metal Massacre” album. Impressed, Slagel asked the band to submit a song for “Metal Massacre III”. Soon after, Slayer had a recording contract and a few months later, “Show No Mercy” hits the streets.

“We did it every night from 11PM to seven in the morning. It was the only time this guy could get away with charging us next to nothing. We paid him for his time and for the tape. ‘Here’s a $400 check.’ We spent $1,500 for it in total. Kerry borrowed money from his dad to pay for half, and I paid half.”
Tom Araya – Loudwire

Evil Has No Boundaries
When certain scenes happen, the majority of the bands have the same influences or similar influences, so they start to do the same thing as other bands and there is a lot of copying going on. You can hear the NWOBHM (Judas Priest and Iron Maiden) in Slayer, with a special nod to Venom and Danish metallers Mercyful Fate.

Can someone tell me the difference between “Whiplash” from Metallica and “Evil Has No Boundaries”?

Who cares anyway, both songs are relentless and anarchic. The next re-iteration of the “heavy metal thunder” was faster heavy metal thunder.

Lyrics in the song are written by Jeff Hanneman (RIP) and Kerry King, while King is responsible for the music.

Midnight has come and the leathers strapped on
Evil is at our command
We clash with God’s angel and conquer new souls
Consuming all that we can

I’ve always classed the “WE” in the song as a movement/musical culture. In this case, it’s the aggressive speed metal movement taking on the status quo.

Die by the Sword
It’s written by Jeff Hanneman (RIP) way before they were signed and it’s brilliant. The song has so many movements and so many different guitar styles/elements in it. It’s basically the style that Metallica would push even further between “Ride The Lightning” and “Justice For All”.

Mindless tyranny, forgotten victims

Governments create systems and Corporations create ways to make money from these systems. The Corporations then employ us to work. The banks then offer us ways to borrow from them and once we are in debt we are no better than slaves, the forgotten victims.

Metalstorm/Face the Slayer
The first 19 seconds is the embryo of the “Creeping Death” intro. James Hetfield or Kirk Hammett would have been influenced by it. Musically, it is a Kerry King composition and lyrically, it’s written by King and Hanneman

Your life is just another game

For the Corporations the game is to make money. How many lives they destroy in the process, is insignificant.

Queensrÿche

There is something unique about hearing the early recordings of bands. It could be the youthful enthusiasm or the fact that they wrote songs without thought of reward. When Queensryche started back in the early Eighties, they were called the Mob. Once they got management and a label interested, a simple search found another band with  that name.

“At the time, Chris DeGarmo, had the song “Queen of the Reich,” which was [inspired by] a nightmare that he’d had. We combined “queen” and “reich” and gave the result a new spelling. There weren’t many bands in the Q section of record stores back then, so that helped us stand out.”
Michael Wilton

Between 1981 and 1983, The Mob worked hard to save up enough cash to record a four-song EP. But they still couldn’t find a singer. They called up Tate who was still in the band Myth, and asked him to lay down the vocal tracks for the EP, and Tate agreed.

At the time of the recording, The Mob had three finished songs in “Queen of the Reich,” “Nightrider,” and “Blinded.” The music for another song was complete, but it had no lyrics. Tate liked the music and decided to write lyrics for it. The song would become “The Lady Wore Black.”

The completed EP generated a buzz in the Seattle scene, however major labels rejected it and Geoff Tate went back to Myth.

“We had four songs that we recorded at a local studio called Triad Studios. It was an eye-opener for us to be in such a big room and use analog tape and a big mixing board. We had a lot of fun, and it was a learning experience. Then we pressed about 20,000 EPs. Soon after, we got this amazing review in Kerrang! magazine, and that’s when everything took off. We all had day jobs—I was a resistor twister at this electronics place—and all of a sudden I hear “Queen of the Reich” on the local radio station. People thought it was some European band. They didn’t realize it was us!”
Michael Wilton 

It was the Kerrang review along with the sales of the EP that sealed Tate’s fate and he decided to leave Myth and join Queensryche full-time.

Queen of the Reich
While the demo was released in 1983, the songs are originally recorded in 1981. It’s a progressive metal composition that was way ahead of its time. The world also got to hear Geoff Tate, and they got to know one of the best songwriters in Chris DeGarmo via this song. I think it’s safe to say that Queensryche started off a New Wave Of American Metal Mastery.

“A lot of people don’t know about that song. A lot of people don’t care about that song. It’s an early song that was written and it shows. It’s funny the reaction you get, because it’s a lot of blank stares. In fact, it’s the same stare you get when you play a new song that nobody’s heard before. People just aren’t that familiar with it. Given there are a few hard-core fans that might know that song, or like that song, and know what it is, but the majority of the people there don’t. So it’s not really a song that I enjoy singing, strictly because, lyrically, it’s pretty adolescent. It was the first song written thirty-some-odd years ago and obviously I cannot relate to it anymore. I think, for performance, it’s always best for the performer to really believe in the material they’re singing or playing. If you don’t believe in it, it’s really difficult to get behind a song, do it well and do it at a level that comes across with any kind of believability. For me, I honestly can’t relate to the whole dungeons-and-dragons lyrical content of that song; it’s really cartoonish and juvenile to me”.
Geoff Tate 

While musically, the song is brilliant, it’s easy to understand why artists as they get older seem to steer away from certain songs because of the lyrics.

The Lady Wore Black

We sat for some time together in silence
Never speaking in words
Of all her thoughts she spoke with her eyes
And I listened remembering all I heard

All songs rooted in mysticism have their roots in real life situations and I am sure “The Lady Wore Black” would be no different. Hell, the verse above could be about a relationship going sour.

UFO – Making Contact
UFO is one of those bands who worked and toured quite hard and got stiffed on the money by managers and record labels. Even to this day, the re-releases of their classic albums just means a bigger pay-day to the record label instead of the songwriters.

To understand “Making Contact” you would need to go back to 1980 and Neil Carter is looking for a new gig, while still in “Wild Horses”. Phil Collen introduces Carter to UFO, who had just gotten rid of Paul Raymond. An audition was set up and Carter joined in the middle of recording “The Wild, The Willing and The Innocent”. Carter’s input came via backing vocals and the sax solo.

Then came the expensive “Mechanix” album, written and recorded at Queens’ studio in Montreux, Switzerland. After another commercial disappointment, Pete Way just stopped turning up and Paul Chapman with Neil Carter took over the bass duties for “Making Contact”.

“If there had been an offer I would have gone long before UFO made a move, to be honest. I have to credit them for giving me my first rock break, but the band were very limited on song writing ability and were always regarded as a pale THIN LIZZY clone. They were rock ‘n’ roll with a capital “R” and that led to some crazy times, poor performances and excess as you can imagine. I cannot imagine these days how I got through some of the situations that I was faced with over that period, and in UFO!”
Neil Carter

The line-up was Phil Mogg on vocals, Paul Chapman on guitars, Neil Carter on keyboards/bass and Andy Parker on drums while Gary Lyons was on board originally and then replaced by Mick Glossop as producer.

They had a bizarre way of working as a lot of the songs were basically written as backing tracks with little or no thought of the melodies or lyrics until Phil Mogg actually did the vocals. A lot of the tracks were written and formed in the studio which is rather an expensive way of doing things! Sad in a way, but we had to get on with it and musically it made no real difference, surprisingly. I read a few things that Pete said about the direction the music was heading and, under my influence, how there were more keyboards etcetera, but UFO had always tried different things in the studio, long before I joined. For “Making Contact” Paul [Chapman] and I had to take control and use the studio time effectively. We were a bit more organized on that one and spent several weeks writing at a hotel in Sussex before recording it at the Manor Studios in Oxfordshire. A lot of “Mechanix” was written in QUEEN’s studio in Montreaux… and that was expensive!
Neil Carter 

Blinded By A Lie
It’s written by Neil Carter and Phil Mogg and it’s got a pretty wicked riff.

I got the information from a friend last night
And it looks so very different in black and white
I was “part of the second party”, that was me
Signed away my life, really couldn’t see

Is it about those dubious recording contracts artists signed in their quest for fame.

Call My Name
It’s written by Neil Carter and Phil Mogg.

I met you watching the cars go by
You were there, every night, at the corner of elm and vine
And you had nothing to hide
For just a few bucks and you know it’s a free ride

One of the biggest problems for UFO was their lyrics. In 1983, we wanted the “rebellious, standing up to the authority” lyrics. Instead Mogg is singing about being in love with a lady of the street.

All Over You
It’s written by Neil Carter and Phil Mogg.

Dumb lyrics ruin a good musical song.

By 1983, UFO was playing the MTV catch up game and their past 70’s success was not enough to keep them going, so it was no surprise that they disbanded. Billy Sheehan started off the “Making Contact” tour, but things didn’t go too well and after Phil Mogg performed wasted in Athens, Greece, UFO was no more.

Motorhead – Another Perfect Day
Another band that was playing the MTV catch up game was Motorhead. Although Lemmy was a legend of all legends, the Chuck Norris of the metal world, he wasn’t a superstar in a commercial sense and would never really become one. But the man had a way with words. Eventually, he would make more money writing lyrics for Ozzy than what he did with Motorhead.

Here is a quick snapshot of some golden words in each track from “Another Perfect Day”.

I really like this jacket but the sleeves are much too long
From “Back At The Funny Farm”
Lemmy’s take on a straight jacket.

Bet ya thought I wouldn’t have no style
From “Shine”
Don’t judge Lemmy based on his looks and appearance.

But you know you ran out of money
Wound up on your knees
From “Dancing On Your Grave”
A Lemmy tale for a cold winters night, about Lemmy’s favourite topic, a woman out of money and resorting to a career on her knees to make it through.

Rock’n’roll music gonna stop the world
From “Rock It”
The start instantly reminds me of “Under The Blade” from Twisted Sister. I would have used the words, rock and roll music gonna change the world.

Two faced women, two black eyes
From “One Track Mind”
The social lynch mobs would tear this line apart for promoting violence against women.

The truth is only black and white
No shade of grey
From “Another Perfect Day”
The legal profession deals with the grey.

Never rise again, we lost a million friends
From “Marching Off To War”
World War 1 and the end of worlds’ innocence.

Here’s the story, there’s only me
From “I Got Mine”
Damn right, it’s only Lemmy and no one else.

You’ll find that I’m real bad luck
From “Tales Of Glory”
It’s as heartfelt as Lemmy would get.

Deal with the misfits, wipe ’em out
From “Die You Bastard”
Lemmy’s take on governments trying to wipe out the punks.

Musically, this album is excellent. The problem was MTV and Motorhead didn’t fit the MTV bill of marketable bands that looked good on video. So Motorhead would be that cult band that is forever respected but not as commercially successful as they should be.

Heavy Pettin – Lettin Loose

“Glasgow in the 1970s was all about learning through meeting people, going to gigs (Nazareth included), running around wild, listening to KISS, getting drunk and learning to play guitar, and meeting lovely creatures that produce little people from their insides. Most of my learning about music came from three distinct places during the 70s: The Glasgow Apollo (an amazing place to experience live music at the time), Listen Records, and my mates Mick and Stu (incidentally, I played in a band with these guys – we almost started World War III in Scotland with our band the Criminal Minds). Had it not been for these three elements I’d have struggled with learning about music and the music business. Glasgow itself was made up of many crazy people who lived in dreary rundown council estates. I was born in the backroom of a tenement house on one of those estates in a place called Castlemilk. I remember Castlemilk as a place of violence and early deaths. I also remember it as a place of adventure.”
Guitarist Punky Mendoza

Heavy Pettin are from Scotland and “Lettin Loose” is their debut album. Brian May was on board to produce and then disappoint three-quarters of the band with the final product. Roger Taylor was even asked to leave the room as his presence intimidated Punky Mendoza from recording a lead.

“When I joined Pettin the band was actually called Weeper. But it was only used as a transitional band name. I only played in one band before Pettin. It was basically a bedroom headache called Zero Trap. Incidentally, if you have heard of the band The Almighty, the original guitarist, Tantrum, was the bass player in Zero Trap.”
Guitarist Punky Mendoza

Music is a lifers game. You can’t enter it when you want and expect something gold to happen. It’s a long process full of highs and lows.

“We actually did better in America than anywhere else. The name was accepted in America without any problems. The record company had better fries to cook than Pettin. That was why we never made it in the States.”
Guitarist Punky Mendoza 

A lot of people asked why Heavy Pettin never made it. Was it the band name, was it the lack of a single or as a record label exec would say, was it the “Minnie Mouse on helium voice of their lead vocalist”.

In the 80’s, for a band to make it, they needed a large push from their record label. If that didn’t happen, their recorded product would not get out to listeners. I didn’t hear Heavy Pettin until the 90’s, when I picked up their first two albums in a second-hand record shop.

“There is no doubt at all that most of the band wanted to sound like a Mutt Lange production. In fact, partly due to the influence of Def Leppard, Pettin lost the chance to be managed by Peter Mensch and Cliff Burnstein – Leppard’s management team at that time.”
Guitarist Punky Mendoza

Why have two of the same acts, especially when Def Leppard in 1983 are still very current and active.

In And Out of Love
The first 17 seconds sets up the song by using minor key (sad) with major key (happy). Overall, it’s a great song musically and the Chorus is pretty cool.

As a bonus, the “Minnie Mouse on helium voice” was not really relevant on album number 1, but it would be on Album number 2.

(In and out of love) she told me she loved me
(But love is not enough) oh, lead me away
(In and out of love) I’ve gone all to pieces
She can’t hear a word that I say

It’s a cool Chorus. Nothing original, but melodically its good.

Victims Of The Night
The 90 second intro is quality metal and for any people who said to me that Heavy Pettin is too light for them, I always tell them to check out this song. Because for 1983 standards, this song is as metal as it gets.

Can you hear the cries as they scream out in the night
The children live in fear, the victims of the night
(Raging like thunder) flashes line the sky
(They’re going under) too many young were born to die

The only time the title of the song is mentioned, and that’s in the first verse.

Take no prisoners
No-one stands in your way
Fight for your life here today

It seems like that every single day, especially right now. We are all so over committed with our banks/lenders, it’s a fight every day to keep a roof over our heads. Our leaders like to make war and in the process invite war back to the streets of suburbia. The war on drugs has been going on since the 70’s and almost 50 years later, more drugs are on the streets than ever before.

Rock Me

(They’re out there waiting) anticipating
(No turning back now) so get on with the show

The Rock N Roll show.

Once upon a time everyone could get a ticket at a reasonable price. Today, everyone can get a ticket at a premium price and depending on which credit card company you are with, you might have access to early pre- sales.

Roll The Dice

It’s basically a speed metal song.

You can’t get it all in your life
It’s the way you roll the dice

Damn right. Small actions each day lead to great changes in the future.

For an audience that was eating up the pseudo-Satanic barbed-wire pop metal of Crue’s Shout at the Devil, Pettin’s breezy melodic rock didn’t quite deliver the goods.
Classic Rock Magazine 

Choirboys

“We used to rehearse in a friend’s parents’ garage. Then we went into a shop that was in a deserted building that we rented from somebody for about a year. We did recordings in there and we did rehearsals there. That was at Rosebery in Sydney. It was a classic garage band. We literally rehearsed in a garage.”
Mark Gable

Choirboys is an Australian band, formed in 1976 on the Northern Beaches, about 90 minutes away from where I live on the Southern Beaches. By 1983, they had a record deal with Albert Productions, after a demo found its way to George Young.

“And then George rang me up and said ‘I like what you’re getting together Mark’ and away we went… And then there was no turning back. As George described it, ‘you’re on the treadmill’ and it’s a wonderful treadmill.”
Mark Gable

As soon as they got some momentum going, Mark Gable’s vocal cords ruptured and 1984/85 was spent in hiatus. Of course, once “Run to Paradise” came out in 1987, the Choirboys, would go on to fulfil the potential they showed 4 years earlier.

Never Gonna Die
“Never Gonna Die” is the lead single from their self-titled debut.

When the Fridays bring the weekends
The night will be our home again

It’s a pub rock song, about playing in a pub. You can’t get any more Aussie then that. Maybe our PM Turnbull can add Pub Rock to his list of Australian values.

The smell of beer and perfume

All of these places still smell on beer and perfume and whatever else ends up on the floor these days.

I don’t live for music, no
I say I live for rock ‘n’ roll
We won’t let them push us
We won’t let them touch us

It’s a melodic rock anthem.

Other tracks of note on the debut album is the AC/DC inspired “Talk Big” with some cool lyrics about people I am sure we have all come across in our lives.

And I’ve seen you kiss the feet
Of someone better than you

Yes, how many of those people have we met in life?

Well you Talk Big
But you ain’t got nothing to say
All that big talk
But your mouth gets in the way

In the end, all of that big talk lends to empty houses and loneliness.

Your With The Big Boys Now (Carrie)
The riffs in this song are brilliant and it’s got some tasty shred at the end.

You’re sleeping with a rock star
You’re with the big boys now

It’s all about trying to grow up to fast.

Fight by the Book

Another tasty guitar lead over an AC/DC inspired rhythm.

He gets his clothes
At the best store
He gets his hair cut for free
He never walks with the riff raff
He wouldn’t like to talk to me

We are the riff raff and we are the ones that drive society and culture. It would be great if we all realised it.

Bull Shit

I say the politics
Well they’re lunatics
They say it’s right
But we know it’s wrong
Spread the word

It’s all just
Bull shit to me

We used to call it once upon a time. These days, we still like to call it, however with social media and the need for everyone to be liked, we are hesitant.

On Twitter I see Zoltan Bathory get into a few exchanges with followers/trolls on his political and social views. Robb Flynn calls out Anselmo for racism and he gets his life threatened. Artists who supported Clinton, slam Trump and his followers and alienate a percentage of their fan base who voted for Trump.

Saxon – Power And The Glory

It’s their fifth studio album produced by Jeff Glixman and their last album on Carerre before their supposedly big money move to EMI Records in 1984.

Well, I always thought that was one of our best albums, because it was great to do it. We did it in Atlanta with Axis Studios with a guy called Jeff Glixman, and Jeff was great to work with, because he was sort of a pretty easy-going type, but he knew how to keep the band happy. So we’d go into the studio, and…he was a keyboard player and he’d have his Hammond organ, and he’d just say, “C’mon, let’s go jam some songs!” So we’d be there jamming some songs, and then he’d get off the keyboard, run into the control room, and say, “Right, we’re gonna do a take now!”
Steve Dawson from Saxon 

That’s a cool vibe to have recording an album, but not so cool when the band is forking out the cost of the recording. No wonder bands never recoup.

But Jeff got a good vibe out of us. But I could never understand why the critics didn’t like it, to be honest. It didn’t get really great reviews. But I like it. “Watching the Skies” is one of my favourites. And the actual title track, “Power and the Glory,” is brilliant to play live, absolutely. One of the best things ever.
Steve Dawson from Saxon 

The Power And The Glory
It kicks off the album with a riff that would have influenced Iron Maiden’s “Two Minutes To Midnight”.

The General says we’ll will win the war,
Just sacrificed a thousand more

We just commemorated Anzac Day in Australia and if you read Anzac history, you will see how the British Generals sent the soldiers of their Commonwealth countries into battle first. While the young men got cut down by machine gun fire, the Generals watched from afar, safe from all the hell.

Nightmare
This song has got a cool groove.

That my nightmare begins where reality ends

“Take the blue pill or the red pill”, Morpheus said to Neo.

The Eagle Has Landed
It’s very Sabbathy in the Intro, just plodding along and building. And when the very “Stormbringer” influenced riff from Deep Purple comes in, it’s time to bang that head. Actually, when I heard “The Outlaw Torn” from Metallica, I immediately thought of “The Eagle Has Landed” from Saxon. The songs are very similar in structure.

The world’s in celebration
As we wait for your return
You took a giant leap for mankind
On another, on another world

The moon landing fascinated people. After another half a dozen more trips, the moon trips got canned. People got bored and didn’t really care anymore.

I had Helix, Great White, HSAS, Krokus, Arc Angel and I-Ten on this list as well, but the albums are not on Spotify Australia, so no commentary about them.

And if you want to listen to 1983-Part 7, click here.

Standard
Influenced, Music, My Stories, Unsung Heroes

Motorhead – 1916

Hot Metal February 1991….

The below review of “1916” from Motorhead is by Darryl Mason who gave it Five Skulls out of Five Skulls.  It appeared in the Hot Metal February 1991 issue. The italics are the actual review from Hot Metal and the rest is my addition.

KILLER! Is the headline in a big bold white font for album number 9. This is Lemmy before his work with the Osbourne camp for “No More Tears”. And for some reason, I feel like his lyrical contributions to “No More Tears” validated Lemmy (warts and all) to the mainstream.

Lemmy doing a ballad?

With f_____kin keyboards?

But that’s not the only big news to come out of Motorhead’s latest album “1916”.

The band that practically invented thrash six years before the term was coined have slowed down the juggernaut ride of drums and guitars to create a classic heavy metal album.

If you’ve been a fan of Motorhead since they first got into the picture as “the world’s best worst band” and followed them through the last decade and a half of mega albums like “Overkill”, “No Sleep ‘Til Hammersmith” and “Orgasmatron”, then “1916” will be a surprise.

Yet after all, Lemmy and Motorhead have always been into shock tactics.

Before the album was even released there was controversy.

It was Motörhead’s first studio album in nearly four years, and their first release on WTG after their legal battle with GWR Records was resolved. It seemed to be a trend in the MTV Eighties were significant bands from the Seventies struggled with record label deals because they were not “good looking” and “marketable” for MTV. Black Sabbath, Bad Company and Deep Purple come to mind straight away.

Then they had the producer problem. According to the band, initial producer with Ed Stasium was fired for putting in instrumentation without the bands knowledge, while Stasium said he quit because Lemmy’s drug and alcohol was too much for Stasium to work with. Pete Solley was then hired to produce.

The Motorhead version featured Lemmy  on bass and vocals, Phil “Wizzö” Campbell on guitar, Würzel also on guitar and Phil “Philthy Animal” Taylor on drums.

Yeah, the album has some full-on heavy, fracture-your-skull tracks in the ball-tearing “Going To Brazil” and “The One To Sing The Blues”, but Lemmy throws in a healthy slice of humour to the metal when everyone seems to be taking it all a little too seriously these days. Check out “I’m So Bad”.

Motorhead pays tribute to the Ramones in the song of the same name. Short, thrashy, trashy and mashy. It’s a killer.

“Nightmare/The Dream Time” is a dark, nightmarish song covered in possessed background sounds and waves of chilling guitars.

But here’s the big one. The song “1916” closes the album and it begins with a chorus of churchish organs before Lemmy comes in with a chilling tale of children going to war.

“1916” is going to finally pull Motorhead out of the ridiculous ‘cult band’ limbo world they are continually thrust into, and good on ‘em. After 16 years they deserve it.

Get this and load your brain with some power sounds.

And the album is full of Lemmy’s brilliant lyric writing.

“The One to Sing the Blues”

I can’t always say
Just what I want to say
I’m out-of-place again,
You’re on my case again
Bringing up the past
And sling it in my face again

Yes, even the great Lemmy might have felt they he was censoring himself in a relationship.

And that god damn past is the bringer of all evil on the world. No one is bringing up the future and slinging it at our faces. It’s that god damn past. The best part is when your other says, “you NEVER”. For me, that means, they want an argument.

“I’m So Bad (Baby I Don’t Care)”

Come round and pop your cork,
Wham, bam, thank you ma’am,

This is the tongue in cheek Lemmy I know, full of humour. The “No More Tears” album really brought Lemmy to the forefront as a great lyric writer. “I Don’t Want To Change The World” and “Mama I’m Coming Home” have lines in the songs that are cemented in metal and rock culture.

“No Voices In The Sky”

This is one of the Ed Stasium produced songs to make it to the final master tape.

Rich men think that happiness
Is a million dollar bills,
So how come most of them O.D.
On sleeping pills,

There is so much truth in the song. You think that having a lot of money will lead to happiness. How many CEO’s are onto their second or third relationship/marriage? How many ended up spending time with their children? How many ended up volunteering to coach their kids in a sport? A few might, but the majority are just focused on ensuring that what they have accumulated isn’t lost.

“Nightmare / The Dreamtime”

Evil lives within ourselves, We need nobody else

“1916”

16 years old when I went to the war,
To fight for a land fit for heroes,
God on my side, and a gun in my hand,
Chasing my days down to zero,

“Nightmare/The Dreamtime” and “1916” are both about the Battle of the Somme in World War I…As Lemmy has stated and Wikipedia has the quote;

“Nineteen thousand Englishmen were killed before noon, a whole generation destroyed, in three hours – think about that! It was terrible – there were three or four towns in northern Lancashire and south Yorkshire where that whole generation of men were completely wiped out.”

I was born out of the wars in peaceful and laid back Australia. My father and mother were born in 1944 with the European war raging around them. My grandfather was just born after World War 1 ended, which meant that my great-grandfather survived WW1. I am here and my three boys exist because the generations before me survived. But a lot didn’t survive.

“Love Me Forever”

This is another song produced by Ed Stasium and to be honest, this song is a surprise with its clean tone arpeggio riff.

We are the system, we are the law, We are corruption, worm in the core,

 There is no trust in our institutions. Our leaders serve the corporate lobbyists who fill up their coffers via campaign contributions or a nice job with them once they push laws through that benefits said corporation. It was bad when Lemmy wrote about it, but it’s exponentially worse today.

“Angel City”

I wanna backstage pass,
Drink Bon Jovi’s booze for free,
I wanna be a star
And buy a hundred guitars,

Lay by the pool
And let the record company pay,

So where does a guy who’s just speaking his truth fit into the world of pretty boy MTV stars. If you want to know about Los Angeles, then get the lowdown from Lemmy.

Because the above lyrics are more or less the culture that MTV created.

How many interviews did you see on MTV where the artists are standing in a room with a collection of a thousand guitars.

I remember watching the “Decade of Decadence” video from Motley Crue and Nikki Sixx is being interviewed outdoors with the pool behind him, Tommy Lee and Mick Mars are in their home-built studio’s and Vince Neil is being interviewed in his man cave, playing pool/billiards by himself and the platinum and gold records are hanging behind him.

And I guarantee you that every struggling musician wanted all of that and more. But there was a reason why Motley Crue had the riches and the rest of us didn’t. Work ethic, luck, right place at the right time all play a part, but for Motley it was the lifestyle. They lived and breathed their lyrics.

For Motorhead and Lemmy his music was a lifestyle. He lived and breathed his lyrics.

I can’t say I was a huge fan of the album when it came out but I always have been a huge fan of how Lemmy can summarise a 20 page chapter into a four to eight line verse.

Standard