Motorhead Contest! You love Motorhead and so do we. So we're psyched to be able to offer you contest prize of one double-LP edition of the new Motorhead live! Just answer the question: What was the first release put out by our Label, Ripple Music. The winner will be chosen at random from those with the correct answer.
Motörhead have announced The Wörld Is Ours - Vol 2 - Anyplace Crazy As Anywhere Else limited edition Fan Package. This special limited edition DVD / Blu-ray and double CD comes with a 12x12” deluxe panel coffee table style photograph book. On 150 pages of high quality paper, you will be able to enjoy rare and unreleased photo material, stage shots and backstage impressions of the band, their road crew and the fans.
Steffan Chirazi, editor of the Metallica Fan Club Magazine and independent author, shares stories of his personal experiences with Motörhead and allows the reader to dig deeper into their daily routine, filled with anecdotes about the legendary rock`n`roll band.
This unique collector’s edition is limited to 1,000 units worldwide and is available only from Motörhead's label at the UDR online shop.
I'm not going to lie. When I first starting writing this article it was a straight up OG retrospective of Fast Eddie Clarke's career. I had dates, record labels, names of studio musicians; all carefully researched and recited in the same monotonic style you've read thousands of times. Then I decided, you want cold hard facts? Go to Wikipedia.
I can't talk about this man and his guitar playing without being passionate. This isn't a flash in the pan phase like when I get into a band, soak up all their music, get bored and move on. I've got a stack of Jag Panzer, Attacker, and Gamma Ray CD's that fall under that category. (Remember Power Metal??)
No, no Mr. Clarke, or Eddie as I affectionately call him in my mind, go back all the way to 1988. I was an awkward 15 year old pimply faced female with googly eyes and a uni-brow. The only solace I found was in soaking up outdated issues of British Heavy Metal magazines purchased at the local record store, the infamous Zig Zag in Brooklyn. Every week I took my hard earned allowance and bought a stack of KERRANG! And Metal Hammer and poured through the pages, reading about all these bands who the average American metal head never heard of.
It was through these magazines that I discovered Marillion, a band I would eventually travel up and down the east coast, and then across the country for (but that's a story for another day). Magnum, all my precious NWOBHM bands, and then Fastway.
All these articles were talking about the “new” album, On Target and how Fast Eddie Clarke was collaborating with some dude named Lea Hart to make this perfect hard rock album. I looked at the photos; Eddie had teased hair poking out under a cowboy hat and about four bandanas tied around various parts of his anatomy. The article briefly glossed over Motörhead. I remembered them. I had read about them in Hit Paraders Top 100 songs of all time issue. They were the dudes with bullet belts strapped around their chests, posing in the desert somewhere. I always wanted a Motörhead back-patch for my denim jacket too, something about their mascot Snaggletooth that epitomized true heavy metal hardcore toughness to my soft young brain. So I put “Fastway” together with the dudes in the desert, came to the conclusion that Eddie was the “cute” one, and decided I had to seek out this On Target tape.
Lo and behold the local Sam Goody had the cassette, along with another one called “Bad Bad Girls” that had a more recent copyright date. (The cover photo had girls with bandanas over their faces, bandit style. Notice a theme here?) I bought both of them and ended up listening to the more recent one about twice. On Target however had a permanent home in my cassette Walkman. (Yep I'm that old). These were the days before the internet and instant access to everything you ever wanted to know about anyone ever. I had no clue about the history of the band, didn't know these two tapes were the bands last grasp at something resembling commercial success. Was too young to have seen them on tour opening for the likes of AC/DC and Saxon in the mid 80's. My neighborhood didn't get cable television till the mid 90's – so I had never seen Fastway's video for “Say What you will” when it was in heavy rotation on MTV's headbangers ball. This was a totally new entity for me, and as far as I knew they consisted of these two cassettes.
As I got older (and waxed away the uni-brow), I grew out of my awkwardness and started hanging around with anyone who was even remotely involved in the music industry. This led to me dating musicians at various levels of success, mostly guys in cover bands in New Jersey belting out horrible versions of old Judas Priest nuggets. I actually was engaged to marry the drummer from one of my favorite NWBOHM bands who I had met over the internet because of my promotional work with the British Steel Festival. He toured all over the world while I babysat his son and his dog, and I didn't really mind. He would always come home with presents and great tour stories. Then I saw the promo poster for a festival he was playing in England in 2007 – Saxon, Girlschool, Tesla, and FASTWAY!
“That sounds like an awesome fest!” I said, pulling out my passport and polishing my Doc Martens, “England is beautiful this time of year” “Hon, you know we can't afford to take you,” was the answer, “But I’ll bring you back some Cadbury's.”
SO I got about three sacks full of British chocolates and found out Fastway went on directly after his band.
“You'll never believe who we met at a stop on the motorway after the fest” Dude said to me when he got home, “We were all getting coffee and currant buns and tea cakes, when this old, gray haired dude in a leather trench coat and a bullet belt walks in. We all knew he was somebody, you know? He just had that air about him. And of course we're all wearing our band t-shirts and stretch jeans because we always have to look like rock stars. So this guy orders his food, nods at us and walks out. And this chubby dude that was with him nodded at us and said 'you boys in (ex's band name here) know who that was, right? That was Fast Eddie Clarke,”
Dead. I stopped eating my double Decker bar and could feel the drool coming out of my mouth. “Did you get me an autograph? Home phone number? Lock of hair? Something?” Dude shook his head, “I didn't want to be a fan boy. Besides I didn't know you liked him that much.” I did say he was my ex, right?
Now its 2012, and I read on the interwebs that Fastway released a new album, “Eat Dog Eat”. I made my presence known on their facebook page and I’m sure the admin is sick of seeing posts like “FAST EDDIE IS THE FUCKING MAN! COME TO NYC BABAY XXXXX. Interviews with Eddie seemed positive as he always stressed he wanted one more tour or the US before he dropped dead. The man is in his early 60’s and had Lemmy for a drinking partner, not to mention he was hospitalized a few years back for vomiting blood, so every day above ground is a good day. And then the rug was taken out from underneath Fastway. Toby Jepson, the singer/bassist on the album and front-man for their handful of live gigs a few years back, re-joined his old band Little Angels and Fastway and my beloved Eddie were left to twist in the wind.
Of course, being the kind, compassionate loony fan girl that I am, I posted on Toby's page congratulatting him on the reformation of LA but pleading with him to not forget Fastway. My post got a handful of “Likes” but no response.
In the most recent interview I read with my future ex-boyfriend he sounded like Fastway was dead in the water now, and he seemed upset, saying how the band is jinxed. I just wanted to hug him for that.
Then two weeks ago on “That Metal Show” - the mainstream media's method of telling “normal” people what metal bands are cool – one of the hosts held up a copy of the new Fastway CD and praised the songwriting and musicianship!! Validation from Eddie Trunk and his lackeys – what more could the band ask for?
That’s where it stands today. I keep hoping that somehow the band will make it over to the states, even if, selfishly its just to New York for a showcase gig or something, so I can finally tell Eddie about this one sided relationship that's been going on for longer than he's been sober!
First off, I gotta say something about that cover. I mean, come on! If that ugly beast with the fingerless leather gloves isn't a nuclear explosion of face-erupting rock fury I don't know what is. It's so awesomely ridiculous that I had no choice. Must-put-CD-into-player. Consider that a successful, subversive mission. Cover art that is so awesome it demands I play the CD.
Now for the music.
Maybe it's because there was the famous mad skin banger back in the glory days of Samson (and Iron Maiden at one point too) named Thunderstick. And maybe it's because there was a primo NWOBHM band named Fist who released some killer, thrashing metal back in the day. Maybe its because the obvious combination of these two names would be Thunderfist, that I had all kinds of preconceived notions that what awaited me was gonna be a hell-unleashed fury of NWOBHM-tinged, explosive rock and roll mayhem. Check. Consider that another successful, subversive mission. Name equals music. Thunder and Fist!
Thunderfist are all that and more. Raw and primal and full of spit and semen and scorn, the five crazies who compose the band churn out sleaze and slippery, uncut gunmetal rock with unfettered abandon. And damn, do they do it good!
Guitars wail and riff and destroy all land-based creatures in their path. Drums harken the holocaust. Bass vibrates the clothing off young women. And throughout the whole mayhem, Jeremy Cardenas gasps and wails and screams and pulverizes any poor sap in his wake. This is the unruly spawn of Motorhead in a love-oil fest with AC/DC in the NWOBHM pleasure tent of Motley Crue. And the Crue reference here is only in the amount of my-own-dick loving sleaze that goes on here, not the music. Because, quite frankly, I'd listen to the real as fuck rock of Thunderfist over the cartoon hijinks of Motley Crue anyday.
Seems the Thunderfist crew have been at it for a while with a couple of other albums to their name, produced by legendary Jack Endino. Which makes sense. I hear these guys and I think of other Endino creations like Dirty Power. Pure, unadulterated, primitive rock. The guys come from Salt Lake City, hardly the bastion of sperm-fest rock, but the boys insure us that none of them are married to their sisters and I suspect their middle-fingers are raised so often up the butts of the ruling Mormon elite that they gotta wear splints to prevent ligament damage. Seems the boys like nothing more than riding motorcycles, fixing cars and beating the shit outta rednecks, then providing them with drugs.
Yep, that sounds about right.
What we got here are 8 original songs of neanderthal post-NWOBHM metal, and a couple of covers, including "None of Your Business"originally by the Streetwalkin' Cheetahs. But the boys definitely take that one over, pounding out a primal-punk, metal swear-fest. As for the original, hold onto your jockstrap coach, cause these misplaced Utah rockers are a terror. "Cut and Run" is pure Lemmy-is-God, post Motorhead madness with supercharged tempo and mind-crushing riffs. Man, that chorus is pure gold, with the backing vocals cutting in amongst the blitzing guitars. A super, rifftastic song.
"Hit the Bottle Again" kicks off with the type of riff that I ate for lunch when the NWOBHM was fresh. Rolling ascending, then descending runs of guitar madness. Ride that E for a while then tear into the "All fucked up, all fucked up tonight" hook. Yes! Hit the bottle again amid a raging chorus that spits out like a lost treasure from some pre-historic metal album. "Don't Get it For Free" again screams NWOBHM to me. Maybe the real Fist this time, or the early killer Def Leppard stuff like "Rocks Off" You know, back when Leppard used to be a real band. I don't know. Everything sounds kinda familiar to me, but all amped up and definitely made their own. Thunderfist don't sound like anybody but a bunch of guys who love the fuck outta rock n roll.
And they do the whole thing with enough humor to reveal how much fun their having. They named their record label, ECG Records, for El Chango Grande. Why you may ask? Because bandmate Jeremy looks like a big monkey when he performs. And, yes, El Chango Grande means big monkey. They keep that humor running through their music with such classics as "Eskimo Pussy is Mighty Cold" with it's soon-to-be legendary refrain "I don't know what I've been told, Eskimo pussy is might cold. It's cold in here!"
There's not a weak cut here. (except for their cover of Eric Carmen's "That's Rock and Roll" - which in their defense isn't a bad cover, it's just that I'd much rather hear more of their own material). From the epic doom majesty of "The Wizard's Lament" to the AC/DC Bon's-back-from-the-dead blitz of "As Good as it Gets" this is gunbarrel-shove-the-cattle-prod-up-the-religious-wankers-ass metal done right.
And I can guarantee you this baby will reappear in my Top Ten list for the year. It's way too much fun not to.
Last year Classic Rock magazine ran an ad for an upcoming Motorhead DVD called Live In Old New York filmed at a show I was at in February 2011. The show was great but given the fact that I was there with about a dozen of my best friends and had just as many beers I was looking for something to refresh my memory. Turns out they had a change in plans and released this show from Santiago, Chile later in the tour instead. Probably a good idea since Motorhead is huge in South America and those fuckers are crazier than a NY audience these days.
Motorhead's been on a roll the past few years. Their albums The World Is Yours and Motorizer have been big improvements over some of the others that have come out this century. They don't change the set list that much, so swapping in a few new songs from these two albums is a nice change of pace. "Iron Fist" is back in the opening spot of their concerts followed by the trusty "Stay Clean." If you're in doubt that Motorhead still packs a mighty crash bang wallop in concert, all you need to see is these 2 songs to know that's not true. Newer songs like "Get Back In Line," "The Thousand Names of God" and "Rock Out" sit along nicely with the old classics "Metropolis," "Over The Top" (always a highlight), "Killed By Death" and, of course, "Ace Of Spades." Slower songs like "The Chase Is Better Than the Catch" and the "Stranglehold" inspired "Just Cos You Got the Power" give everyone a chance to bang their heads a little slower and save some energy for the inevitable "Overkill." I've never been a fan of the song "Going To Brazil" but it's towards the set and a welcome chance to hit the can and get a fresh beer, whether it's at the concert or at home.
Filmed by Sam Dunn's Banger Films (Iron Maiden Flight 666, Rush: Beyond The Lighted Stage) in black and white, it looks kinda cool at first but after awhile I was wishing it was in color. There are 3 bonus songs from the NY show in color as well as 6 from Manchester that look great. I was pleased that they included "Killed By Death" from the NY show because the crowd went apeshit when Doro Pesch came out to sing it with Lemmy and featured Todd Youth on guitar. I was lucky enough to catch a Motorhead show in New Jersey when Todd was filling in for Phil Campbell when his mother passed away. Todd did a great job and it was nice to see him back onstage with the band and clearly having a great time. Michael Monroe makes a cameo on the Manchester version of "Born To Raise Hell. Man, that guy is skinny but he really knows how to twirl a mic stand. The bonus interviews catch them in various states of inebriation and contain a few witty quips but nothing you don't know already. The audio discs that come with the DVD are a nice bonus but chances are they won't get played too much. Lemmy, Phil and Mikkey sound great but it's hard to top No Sleep Til Hammersmith for the ultimate Motorhead live album. Motomaniacs probably already have this but if you're skeptical that they can still give you a neck ache and hangover like they did 30 years ago, get this muther pro to.
Easy Action Records in the UK have released some pretty incredible live recordings of The Stooges, Iggy Pop, MC5 and Sonic's Rendezvous Band the past few years and now they bring us this monumental live Hawkwind document. Leave No Star Unturned captures them in January 1972 headlining a show that also featured performances by the Pink Fairies and Syd Barrett at a venue called the Cambridge Corn Exchange. Pretty cool line up. I can only imagine how fried everyone was but their lids must have really flipped once Hawkwind blasted into their intro song "Technicians Of Spaceship Earth." A minute of space rants and noise before launching into a powerful, 12 minute version of "You Shouldn't Do That" (3 minutes shorter than the studio version).
In 72 Hawkwind had one of their best line ups with Captain Dave Brock (guitar, vocals) leading the charge with Nik Turner (sax, vocals), Lemmy (bass, vocals), Terry Ollis (drums), Robert Calvert (lyrics, insanity) and the keyboard/noise generating duo of Dik-Mik and Del Dettmar. Later in the year Terry Ollis would be replaced by Simon King and that line up would record the classic Space Ritual album in December. Leave No Star Unturned finds them in very good form but they have not yet achieved the ignition they would have on the nights the recorded Space Ritual. Still, live Hawkwind from the classic era is always a good thing, especially since the set lists are pretty different. Only 4 songs are repeated on both albums - "Born To Go," "Earth Calling," "Master Of The Universe" and "Welcome To The Future." The basic framework of the songs are similar but Hawkwind were never afraid to experiment night after night. The version of "Silver Machine" from this show with Robert Calvert singing was later overdubbed with Lemmy's voice and turned out to be a big hit single for them. The version they released was definitely an improvement but it's still cool to hear it the way it went down on this night.
"The Awakening" is a tripped out 2 minute instrumental bridge setting up a very tripped out "You Know You're Only Dreaming." Those songs would definitely make you feel warm and fuzzy if you're dosed but "Paranoia" would totally freak you out. The studio version on their first album is pretty nuts but this one makes that one seem tame. Lemmy really hammers away at a repetitive bass line while the band creates all sorts of swirly chaos around him. Listening to this really loud when sober might make your stomach a little queasy. Just think of the poor hippies getting bombarded with this noise and a bunch of strobe lights pointed right at them! Genesis never did this.
The limited edition version of the CD comes in some very cool packaging, about the size of a DVD box. There's a booklet with rare photos, including a couple nudies of dancer Stacia, and informative liner notes. If you're new to Hawkwind, Space Ritual remains the definitive document but more experienced travelers will want to embark on this trip pronto.
The press release that came along with this album says, “Maax can only be described as pure, old school, alcoholic heavy metal hellfire scathing the night with buzzsaw riffage of fist-banging, slutfucking black thrash n' roll to haunting passages of Luciferian menace.” So I guess if that’s the only way it can be described, my work here is done. Adios!
Just kidding. Although there is a lot of truth in that press release, I can elaborate a little. This is definitely an album with an old school feel. The production values feel a lot more like a black metal release, especially the vocals. And there is also that Motorhead-like, take no prisoners, vibe. The first track smacks you right in the mouth and the hits just keep coming. For an American band they sure have nailed the European metal style, and I certainly mean that in a good way. From reading their bio it appears that they have an issue with revolving door band members and if they could stabilize their lineup I think this band could make some serious noise in the metal world.
I guess if you are going to use the phrase “slut fucking” in the description of your music, it goes without saying that you refer to women as sluts in your lyrics, and have lots of songs about fucking and drinking. And fighting. And Satan. And lyrics like “Rot and roll, we are the new breed, Fuck you, this is our new creed”. Good thing these guys came along now instead of the days of the PMRC.
There is actually an impressive variety of music on this album. The first 6 tracks are along the lines of what you could call black n’ roll, mostly with an emphasis on just some solid rocking. “Do What Thou Wilt” has that kind of punky, Motley Crue feel, like something from their first 2 albums, before they went all hair metal. “Purge of Depravity” and “Overthrone” veer off into black metal territory. “Black Thrash Em All” has a nice, thrashy feel, hence the name. I tell ya, you don’t have to be a genius to write these things.
MAAX has 2 previous releases and based on what I heard here I will seek them out and see what they sounded like. This is definitely a band that you want to file away in your memory and keep an eye on. They are not a carbon copy of anything else that I am familiar with and take several elements of metal and combine them in their own way. Metal is a genre that needs some originality and these guys have it. Next time I go out on a Saturday night for some drinking, fighting and slut fucking, this is my soundtrack.
There are a handful of music icons simply known by one name. Some of these mononymous people include renowned legends Bono, Elvis, Madonna, Prince, Flea, Slash, Ozzy and of course, Lemmy. Every time you utter Lemmy it’s hard not to imagine the legendary badass lead singer and bassist of Motorhead rocking out on stage. His larger than life persona has only been catapulted by Pop Culture like in the movie Airheads with the now famous question “Who would win in a wrestling match: Lemmy or God?”
Despite never changing his act or regiment, Lemmy appears to have never aged a day and can still be found hanging out at The Rainbow Bar and Grill on the Sunset Strip when he isn’t touring with Motorhead. As even the documentary film, Lemmy: 49% Motherf**ker 51% Son of a Bitch, illustrates, Lemmy is just a down-to-earth rockstar who continues to live life the way he wants.
Recently I was turned onto the rockabilly supergroup Head Cat, which consists of Lemmy (Motorhead), Slim Jim Phantom (The Stray Cats) and Danny B. Harvey (Lonesome Spurs, 13 Cats and The Rockats). The name Head Cat comes from the combination of Motorhead, The Stray Cats and 13 Cats. The band formed while recording the Elvis Presley tribute album Swing Cats: A Special Tribute to Elvis. The trio stuck around after the recording session and goofed around by playing classic rock songs they knew. In 2006, Head Cat released their first album Fool's Paradise and their second album, Walk the Walk…Talk the Talk was released earlier this year and contains original Head Cat material.
Lemmy (vocals, guitar, bass, and harmonica), Slim Jim Phantom (drums, percussion and additional vocals), and Danny B. Harvey (double bass, guitar, keyboard) deliver a delicious and delightful album filled primarily with cover tunes along with two new awesome rockabilly songs, “American Beat” and “The Eagle Flies on Friday.”
Head Cat celebrates rock’s roots with new interpretations of classic songs from the 1950s and 1960s. This celebration of songs from yesteryear feels and sounds like a perfect fit for Lemmy as his distinctive voice oozes appreciation for these classics such as Larry Williams’ “Bad Boy”, Chuck Berry’s “Let It Rock” and Eddie Cochran’s “Something Else.”
Walk the Walk…Talk the Talk also includes the delightful “Say Mama,” “I Ain't Never,” “Shakin' All Over,” “Trying To Get To You,” the John Lennon/Paul McCartney “You Can't Do That,” “It'll Be Me,” and “Crossroads.” For half an hour, these 12 songs will entertain you from beginning to end. It’s truly remarkable how well Lemmy’s voice accompanies Head Cat’s sound and is the perfect fit as the lead singer for this rockabilly band.
Given the metal pedigree of the members of Iron Lamb, the surprise of this release is that it’s not really metal. When you have members, current and former, of bands such as General Surgery, Scurvy, Repugnant, Dismember, Insision, Bombstrike, Tyrant, and Dellamorte, I expected to be smacked upside the head by some full on Swedish death. But there is something else very enjoyable here instead.
While it’s not metal, it is very good punk and roll, which is how the band’s press release refers to this, and that’s as good a way to describe this as anything I can come up with. Listening through The Original Sin took me back to my holy trinity of Motorhead,Ace of Spades, Iron Maiden, Killers, and Saxon, Wheels Of Steel, which I discovered my junior year of high school and which started me on my metal path. If any of those 3 albums mean anything to you, Iron Lamb is right up your alley.
Band members Johan Wallin, Grga Lindstrom, Thomas Daun, and Daniel Ekeroth (who wrote the most excellent book “Swedish Death Metal”) have crafted a set of songs that for the most part put the pedal to the metal, but also throw in a couple of tasty changeups. This is the kind of CD I’d like to take on a road trip when I have a long way to go but a short time to get there, because it makes you want to mash the accelerator and see if you can get a 100 miles under your tires before the CD is over.
The album comes out swinging with “Rotten Wood/Original Sin”, “Dubious Preacher”, and “Our Demise”. Then, a cover of Motorhead’s “Poison”, which fits right in with the previous tracks and makes you wanna find a moshpit to jump into and spill your beer all over your fellow pit denizens. “Suicide” keeps the energy level at 100% and features some tasty guitar playing. As you would expect from a release like this, there’s an anti-social fist to the face with back to back tracks “I Don’t Wanna Be Like You”, and “I Don’t Like You”.
A little bit of change of pace comes from “Iron Lamb, Dead Inside”. There’s a literal change of pace in tempo, more of a sense of melody than you normally find in this style of music, and an interesting set of lyrics. This is followed by bonus tracks “Another Miserable Day” and “TBC”. I’ve never really understood the whole idea of bonus tracks on a release like this, because in my opinion “Another Miserable Day” is one of the stronger tracks on this album. So I guess I would say that when you buy this, make sure you get the version with the bonus tracks.
All-in-all, this is quite a ripper of an album and one that I was happy to find and definitely happy to recommend. It’s got the punkier side of NWOBHM down pat, has some very good guitar licks and solos that are not over the top and fit perfectly with what the music is doing, and if you have a pulse at all it is impossible to put this album on and not move something. Music is supposed to move us, and Iron Lamb accomplish this in a very visceral way. What more do you want?
This is the 2nd installment in my random reviews. Racer sends me tons of stuff to check out and unfortunately I don’t get to hear all of it in a timely basis so once a month I pick something completely at random and write it up. The only rule is listen first, look at promo material later.
August’s victim is a UK based outfit called XII Boar and their new 4 song demo simply titled XII. Track one starts off with a blast of feedback, the drummer counts the band in and we’re off into the void of a metal rendezvous. I chose wisely! XII Boar describes themselves as a stoner/sludge hard rock band and who am I to argue? The first song is called “Trainwreck.” Fast n furious that brings to mind Entombed and Cathedral with a little bit of early Venom and Bathory thrown in. Production is crude but suits the music very well and the vocals are guttural but not completely buried in the mix.
“Beg Borrow Steal” is up next and is slower but more pissed off sounding. Especially when the singer yells “God damn! Fuck yeah!” I would gladly salute that in concert with my can of beer. About a minute in the band shifts into a faster tempo jam that sounds like it was inspired by Black Sabbath’s “Behind The Wall Of Sleep” then slows down again for a bass break and a “Snowblind”ish guitar solo. These guys cram a lot of riffs into a 5 minute song. The song “Sludge” is pretty much how you would expect it to sound. Heavy and sludgy but faster than a lot of bands that play in this style and they’re done in less than three minutes. The last song “Skol” is a killer pillaging machine of riffs with some excellent cowbell during the “Supernaut” drum break. Each of the instruments take turns trading solos before the vocals come back in and a very heavy jam brings things to a conclusion.
XII Boar play a little too fast to be considered doom metal, but have enough slow and heavy stuff to satisfy that audience. They also bring in a much stronger classic rock influence of Motorhead speed and Blue Cheer fuzzed up blues riffs to reach the grizzled old timers. Lucky for me I picked this one at random. Definitely looking forward to hearing more from these guys. You can download the entire demo at their website. Check ‘em out.
I’m sure you’ve heard of Twisted Sister but do you know about Twisted FUCKIN Sister? Twisted Sister is the band you saw on MTV and heard on the radio starting in 1984 but loooong before that Twisted Fuckin Sister were blasting fast n loud in the bars and clubs of the tri-state NYC area. In the late 70’s/early 80’s heyday they were one of the heaviest bands out there. They battled against demon disco forces and helped make heavy metal a huge phenomenon on the east coast. They played 4 or 5 nights a week in any dump that could contain them and their ever growing fan base of rowdy sick motherfuckin friends (S.M.F.’s).
I’d heard the name and legend from older burnouts in high school but was first indecently exposed to them when they appeared on the short lived Flo & Eddie TV show. I was already a huge Alice Cooper fan and when I saw Twisted Sister on TV I knew these freaks would be right up my alley. They were introduced and then exploded into the song “Under The Blade.” It made my little 9th grade mind explode and I went berserk in front of the TV. Luckily it was late at night and no one could see me headbanging and jumping off the couch in my pj’s. Not long after that I tracked down this album, the band’s 1982 full length debut album Under The Blade. Twisted Sister had been releasing singles on their own labels for years but was unable to get a record deal. Finally, a punk label from England called Secret Records (home of The Exploited) took a chance on them. Long out of print, Under The Blade is back and better than ever.
Under The Blade has always suffered from a thin, low budget sound but the songs are so full of aggression and belligerence it’s never been a problem. The album was produced by Pete Way of UFO but who knows how sober he was during the recording. Twisted Sister had been playing these songs live for years so he probably stayed out of the way and made sure they were fired up enough to deliver good takes. “What You Don’t Know (Sure Can Hurt You)” was their set opener at the time and issues a challenge to rock out or get the fuck out. When I finally got to see Twisted Sister for the first time at Lamour in Brooklyn Dee got right in my face and screamed the line “HOW DO YOU LIKE IT SO FAR?” I like it just fine and still do!
Catchy tunes like the AC/DC influenced “Bad Boys (Of Rock N Roll)” and “Shoot ‘Em Down” point towards the commercial direction that would eventually make them huge stars a few years later. Great songs, but hardcore S.M.F.’s like me always went ballistic for the Judas Priest inspired “Sin After Sin” and the always intense title track. “Destroyer” is probably the heaviest song they ever wrote. Slow and powerful with creepy heavy breathing during the intro, it’s obviously Black Sabbath influenced but sounds more like the Cro-Mags. This was always a major crowd pleaser with a sea of fists pumping the air. “Run For Your Life” starts out slow and heavy before shifting into major high gear. But my favorite Twisted Sister song has always been “Tear It Loose.” It’s a major headbanging boogier. Just imagine if Motorhead was drinking some of Jim Dandy’s moonshine while imbibing some pure crystal meth. You don’t even really have to imagine it since Fast Eddie Clarke plays dueling leads with Jay Jay French on it. “The Day Of The Rocker” is the last song and thuds along like AC/DC or Rose Tattoo at their blusiest.
Even better than having the album back in print is the bonus DVD of Twisted Sister’s notorious set at the Reading Festival in the summer of 1982. I had seen the photos in Kerrang magazine and heard that they blew away the crowd. The footage is everything I had hoped for and more. They come out blazing and basically destroy the audience with full on MC5/Ted Nugent energy and attitude. English festivals are notorious for the crowd throwing shit at bands. Within seconds rolls of toilet paper and eggs are flying up on to the stage. The band never flinches and Dee even challenges the entire crowd to fight after the show. They blaze through 7 songs from Under The Blade with supreme gusto and confidence. To jack up the energy level even more they end the set with their raucous cover of “It’s Only Rock N Roll.” During the breakdown who strolls out on to the stage but Pete Way, Fast Eddie Clarke and Lemmy. Not only do you have a triple axe attack but three bass players, too. Fast Eddie had quit Motorhead not too long before this show and this was the first time Lemmy and Eddie appeared in public together. Not a bad show, eh? The rest of the DVD contains interviews with the band about the Reading Festival and the making of Under The Blade. Great stuff, but the live footage is nothing short of totally mint deluxe.
Fans of Twisted Sister and Twisted FUCKIN Sister are ordered to pick this muther up at once. You won’t be sorry. Other good news for S.M.F.’s is that Rhino is FINALLY releasing an album from the landmark shows recorded at London’s Marquee club in March, 1983. Some of the recordings turned up as B-sides but never a complete show. Until that comes out, keep blasting this one and your worn out tapes of the killer 1982 WBAB radio broadcast from Hammerheads on Long Island. If you need a copy, lemmy know. I’d be glad to hook you up.
London trio Belleruche delivers another stellar song “3 Amp Fuse.” It’s a beautiful throwback track that balances traditional techniques and electric beats. Lead singer Kathrin deBoer’s soothing voice echoes classic jazz and blues over a catchy beat making it hard to define.
Reminiscent of a classic 1970s music video, “3 Amp Fuse” is everything you want in a good music video- an awesome song with killer visuals that don’t detract from the song. The simple structure is compelling, creative and most of all, charming. Belleruche delivers another magnificent music video that captures your eyes and ears effectively without doing too much. In the age of nano-second attention spans, take notice because this is one helluva video.
--Mr Brownstone
Nostalgia 77 - Simmerdown b/w Skin and Bones
It's fitting that on my iTunes library, Nostalgia 77 is alphabetized right next to Nouvelle Vague. Both bands mine a way-cool, retro lounge-ready vibe. Where Nouvelle Vague specializes in jazz samba versions of classic 80's songs, Nostalgia 77 explores their own muse of downtempo, reggae-jazz inflected goodness. "Simmerdown" is the first single from Nostalgia 77's 4th studio album and it's one to cherish. Featuring the sexy, downright smoky vocals of German singer, Josa Peit, "Simmerdown" is what Bob Marley may have sounded like if he'd gotten into martinis, not herb.
Best as I can tell, Nostalgia 77 is the work of one producer/musician extraordinare, Benedic Lamdin, and together with vocalist Josa he's hit paydirt here. "Simmerdown" is a lush yet ethereal must-play song for the end of the working day. A song to lead in the nights romantic activities after the hectic pace has melted away. Backside "Skin and Bones," brings a faint reggae pulse to the jazzy beat and plunks us down firmly in underground cool jazz lounge territory. Again, Josa's voice is hypnotic and I'm falling deeply into her trance.
Trent Fox & The Tenants - Mess Around EP
Really an E.P., not a single but still, it made it's way to my player tonight, so there you have it. Trent Fox and the Tenants crank the party up a couple of notches with some home-brewed, surf-laden, garage pop of the highest order. "Mess Around" is pure garage-rock retro heaven with shrieks, "yeah, yeahs" and a damn singable chorus. "Outta My Mind" is a time warp of amp-sliced fuzz and surf kicks with a stuttering beat and harmony vocal line straight outta 1964. "Jokes!" ups the ante a bit with a The Beat-esque punk attitude and some killer surf guitar. "Old Lady" and "Sounds Fine to Me" round out the set with the whole shebang clocking in at about 11 minutes playing time.
A brief burst of garage glory, like a flashing meteor. Always cool when you when you catch one of those.
Fatal Figures - Blue Zed b/w Alright
Released earlier this year on Big Neck Records, the Fatal Figures are made up of Aaron, Tracy, and Scott from the Blowtops. After a decade of plowing one gushy vein of garage rock horror show after another with the Blowtops, the remaining members decided to move on and explore new territory. While that sounds like something dramatic, in reality the Fatal Figures are doing what they've always done best. This is pure garage punk-death rock n roll. We got amped up, creeped-out Cramps here, some serious Pussy Galore and a whole lotta fun.
"Blue Zed" is the highlight here with Aaron Adduci being a hypnotizing front man. I don't know what this cat takes before a show, but lock it up, you don't want that getting loose in public. His vocals are a sputtered death moan of Boris Karloff meets The Sonics hysteria. The bottom end of this song is purely subsonic. An intense, mesmerizing listen. "Alright" is a Pussy Galore cover and really holds place until these cats dawn the creepshow punk and blast out their next original. Released on blood red vinyl, of course.
Motorhead - Louie Louie b/w Tear Ya Down
Yeah, yeah, I know it's gonna cost you $10 to track one of these down on ebay, but damn if it isn't worth every freaking penny. Find the one on Bronze records with the picture sleeve. Just seeing Lemmy, Fast Eddie and Philthy Animal caged behind that fence is worth the ten bucks alone. Damn, it looks like Philthy Animal is gonna eat his way outta that cage! Priceless.
Oh, yeah, the music. What can I say, it's Motorhead. It's "Louie Louie". It's rough and heavy and the meanest "Louie Louie" you've ever heard. Yet it still grooves. If you ever wanted to know if Motorhead could groove here's your answer. A fricking fantastic cover with heavy riffage, killer solo and Lemmy in fine form.
Backside "Tear ya Down" is simply one of my favorite Motorhead songs ever. Fast as anything from prime Motorhead time period, this is a pre-Ace of Spades explosion of Lemmy fury, Fast Eddie adrenaline and Philthy Animal Taylor rampage. A killer chorus and tight songwriting. This is kinda like the Ramones of the Motorhead catalog, meaning if it wasn't so powerful, heavy and frightening, somebody else could almost make this a pop song. Love it.
In the end, this single has special meaning around the Ripple office. Not only was it the first Motorhead single I ever bought (brand new, off the shelf), but when Pope and I first met this was one of our first musical bonding moments. At one point I even gave him my copy as a gift. Regrettably, it melted in the sun, so I went out a got another. Got one for you too, Pope.
Ever since people stopped buying rock records in decent quantities, there’s been an increase in quality documentaries on classic artists like The Ramones and Rush as well as rescuing a band like Anvil from obscurity. Given the subject matter, it seemed like Lemmy: 49% Motherf**ker, 51% Son of a Bitch would be the ultimate portrait of rocks favorite ugly son but unfortunately this one falls pretty short of expectation. While definitely worth watching, the overwhelming feeling I’m left with is “what happened? How did they not get the job done?”
Granted, I’m a bigger Motorhead fan than most Motorhead fans. Motorhead’s music changed my life the first time I shoplifted Iron Fist from Caldors back in 1982, and when I saw them for the first time in 1983 my ears rang for 8 days afterwards. To this day, all live performances are measured against that high energy volume overkilldose. It’s obvious the filmmakers are fans but not stone deaf forever Motorheadbangers. They have stated many times that the movie is about Lemmy and not a history of Motorhead but we all know that those two things are one and the same.
Some of the better parts of the film are about Lemmy’s days before Motorhead, including a great segment about the Rockin’ Vicars, the band he played guitar for in the mid-1960’s. They managed to track down some of his band mates and even legendary producer Shel Talmy (The Who, The Kinks) who make it clear that Lemmy was pretty much the same guy back then that he is now. The section on Hawkwind is also good. Lemmy repeats his often told tale of how he got fired from the legendary space rock band, but you also get to hear Dave Brock and Nik Turner’s side of the story, too. Even the Amazonian dancer Stacia gets some screen time. Unfortunately, there isn’t that much discussion of Hawkwind’s groundbreaking music. No one mentions that everyone should own a copy of Space Ritual and there’s no information about the classic albums Lemmy made with them.
The formation of Motorhead takes up about 120 seconds of screen time. Guitarist Fast Eddie Clarke is on and off the screen way too quickly. Philthy Animal Taylor apparently did not want to be interviewed for the movie and he’s barely mentioned. Again, there’s hardly a word on the incredible run of albums that line up made. Wurzel, Pete Gill and Brian Robertson are written out of the script. Mikkey Dee and Phil Campbell wind up looking like mere sidemen of a band that they’re equal partners in.
Way too much screen time is spent on pointless interviews with Billy Bob Thorton, Jarvis Cocker and the bass player from New Order. Who fucking cares what these clowns have to say about Lemmy? The usual VH1 talking heads like Scott Ian, Dee Snider, Dave Navarro and Henry Rollins have some good stories and there are interviews with all the members of Metallica except, surprisingly, Lars Ulrich. Dee has one of the funniest lines in the movie where he talks about not having seen Lemmy for a long time and goes backstage and it’s all the same roadies that he knew from ten years before. Dave Vanian and Captain Sensible of The Damned share some great tales from the insanity they participated in with Lemmy in the late 70’s.
One thing that the filmmakers get right is showing just how dedicated Lemmy is to his music. This is someone that has literally sacrificed everything for rock n roll. He’s had some moderate success but lives in a rent controlled 2 bedroom apartment with his enormous World War II collection when he’s not on tour or at the Rainbow Bar & Grill in LA. He has one son that he has a good relationship with and another one he’s never met. When he’s not playing music, he’s reading or gambling but always drinking.
Luckily the DVD helps correct some of the problems with the feature film. It’s worth picking up just for the full interview with Fast Eddie Clarke. It’s up to him to tell the real story of how the band started and he’s the only one to mention original guitarist Larry Wallis by name. Eddie also gives insight into how Motorhead got their signature sound – speedy music played by guys on speed. He claims that speed is a great drug to take when you’re playing music since you don’t have to leave the stage every 20 minutes to re-up. His story on how they wrote their signature song “Overkill” is hilarious and inspiring.
Other cool extras include extended interviews with Lemmy and individual features on Phil Campbell and Mikkey Dee. The movie could have used more of this and less ass kissing testimonials. Any movie about Lemmy is worth watching, and this one definitely is, but it should have been so much better.
In the beginning there was Link Wray. The noise that he started has been used, abused and loved by many over the years since he started the Rumble heard round the world, but few have been willing to take it to maximum like Motorhead have. 36 years into it Motorhead deliver their 20th studio album and it’s much better than it has any right to be.
Since 2004’s Inferno, Motorhead has been on a roll of putting out strong albums to support their always killer live show. Are they the equal of all time stone get-off classics like Overkill and Ace Of Spades? No, but hardly anything does by any band ever will. The World Is Yours and 2008’s Motorizer are kick ass rock n roll albums from start to finish. What more could you ask for?
Producer Cameron Webb seems to be able to get the best out of Lemmy, guitarist Phil Campbell and drummer Mikkey Dee and is insane enough to have done 4 albums with them. The band have praised him for not allowing them to write second rate songs and his ability to get a great sound and performance from the band. Anyone willing to endure their massive alcohol consumption, ear splitting volume, arguments and pranks deserves a lot of credit. He obviously knows what Motorhead fans want to hear.
“Born To Lose” starts things off in classic Motorheadbanging fashion – big drum fill, riff similar to their classic “Shoot You In The Back” and them Lemmy’s haggard growl. Sure, they’ve used the riff before and even the title way back in 1975 on “Iron Horse/Born To Lose” but who cares? By now you know where you stand with Motorhead – you love them or you cover your ears and retreat to the safety of your Wilco albums.
Most of the songs on The World Is Yours bear resemblance to some of their classic jams. “Brotherhood Of Man” is musically and lyrically an update of the world is doomed classic “Orgasmatron” and “I Know What You Need” reprises “Nothing Up My Sleeve.” The first single “Get Back In Line” is basically “Don’t Need Religion” part II. But that’s not to say that they only pinch from their own catalog. Lemmy was good friends with Phil Lynott and Thin Lizzy’s classic brawl starter “Are You Ready” shows up in “Devils In My Hand.”
Motorhead’s on tour right now in the USA playing to generations of fans and enjoying a big swell in much deserved popularity. Part of that is due to the new documentary of Lemmy’s life, but a more important part is that they play kick ass rock n roll and hardly anyone else does. If you haven’t bought a Motorhead album in awhile, don’t snooze on this one. If you can afford it, pick up the deluxe import version that comes with a special all Motorhead issue of Classic Rock Magazine. The album cover may not be denim jacket worthy, but you already have Overkill or the classic warpig logo done in acrylic on yours, right?
Fast, loud, angry and to the point. That’s really all one I say about Unsilent Death by the band Nails. Their 10 songs in 13 lucky minutes makes Blood, Guts & Pussy by the Dwarves seem like a Dream Theater concept opus. I’m sure crusty types can rattle off the names of hundreds of “d-beat” style bands that they sound like but to me Nails taps into the dirty source of Discharge, Motorhead, Hellhammer and Poison Idea.
Since this album is so short, the songs run one into another as sort of a brutal musical suite. The fast ones are very fast and are usually a minute or less. The opening pair of “Conform” and “Scum Will Rise” are over so quickly you barely have time to figure out if you like them or not. If those 2 annoy you then you certainly won’t like the longer, slower ones. The title track is over 2 and a half minutes of a slower Hellhammer/Celtic Frost grind with a bit of a Slayer chug thrown in at the end. The 28 second “Traitor” manages to squeeze in some tempo changes before crashing into the next blitz. The album wraps up with the lengthy “Depths” (almost 4 minutes!) with screechy feedback and negativity for all.
Production on Unsilent Death is heavy as hell. Guitars crunch all the time but squeal nicely when they have to. The bass sound is massive and the drums hit hard and fast. The vocals are guttural and screamy but never venture into cookie monster territory. Overall this is a winner if you need a speed fix and need to break a lot of shit in a hurry.
I’m probably the last person you want reviewing an “acoustic” album. For the most part, acoustic guitar bores me to tears after a few minutes (Muddy Waters – Folk Singer is one of the few exceptions). But this is Wino we’re talking about, the master of doom, not some Jeff Tweedy snooze-fest so I approached it with an open mind and open beer.
Thankfully, the electric guitar makes an appearance early on and helped me to dive into this very solid album. Wino is an excellent player and it’s actually refreshing to hear him play acoustic. Lots of the riffs would probably work well in a band setting but playing them solo creates space for his great singing voice and powerful lyrics.
The title track starts off the album sounding like something The Who might have done in their early 70’s prime, energetic and moody. What really sold me on the record is the 2nd song, “I Don’t Care.” I’d imagine this is what Wino would say to me if I told him I was hesitant about listening to his acoustic album. It’s impossible for me to resist any kind of “fuck you” type of song extolling the virtues of having long hair and doing whatever you want. And then he rips into a great electric solo. Wino’s mentioned that Ross The Boss (The Dictators, Manowar, Shankin Street, etc) is one of his favorite guitarists and you can really hear the influence on this one.
“Hold On Love” and “Old & Alone” reveal a bit of a Beatles influence with big melodies to counteract the strong, personal lyrics. “Shot In The Head” is a great honky tonk shuffle. It wouldn’t surprise me at all if Wino likes to drink beer and listen to Lefty Frizzell and Charlie Rich on a Saturday night. Even without bass or drums, it has a great boogie feel and killer slide guitar solo. The instrumental “O.B.E.” is all electric and lets him get all Frippertronic for 3 minutes.
“Green Speed” is the fastest song on the album with killer dueling electric leads over a driving acoustic rhythm. But the real highlight of the album for me is the cover of Motorhead’s biker anthem “Iron Horse/Born To Lose.” It’s always been one of my favorite Motorhead songs (especially the On Parole version when Larry Wallis was in the band) and Wino really makes it his own. With all due respect to Lemmy, I don’t think he has a drivers license and shouldn’t really be operating any vehicles, while Wino is a well known die-hard motorcycle mutherfucker. The lyrics obviously mean a lot to him and his soulful vocals deliver the message hard.
Wino’s discography is pretty solid and Adrift is a great addition to it. Don’t let the “unplugged” thing scare you off. You can still play it loud n proud.
Waveriders, have we got a special treat for you! In the formative days of independent rock journalism, one of the definitive, pioneering metal fanzines was Kick Ass. Today, we got a special Ripple contribution from none other than - Mike "Artie O." Hannon, one of the original innovators at Kick Ass.
If we all clap hard, beg, and plead, we may be able to get Mike to contribute more, but in the meantime, we're thrilled and humbled to welcome Mike into the Ripple fold.
ATTENTION: Citizens of Earth! This is Alan Davey, Panic! Do you remember the following words from somewhere? "Know your body's made to move, feel it in your guts / Rock 'n' roll ain't worth the name if it don't make you strut." If you do, this Gunslinger release must certainly have been what that great sage was talking about.
Friends, have I got an album for you. When was the last time you heard an album that was absolutely killer from start to stop? Better yet, absolutely killer over the course of eleven tracks?! Then when it stopped... you immediately hit start again! Well, this is one of those. Bass Assassination 101, delivered in spades, right here. I have had this one spinning on endless repeat and "Valium 10" since discovering its greatness. (Why is this scorcher not being praised on all corners of the globe? Yet shite like the latest album from Green Day is somehow honored as genius?! Questions for the ages, I guess.) I am more than a bit biased to players of this caliber, being a HUGE fan of the bass guitar and those who know precisely (and dangerously) what to do with it. Dare I say, Alan Davey is the ONLY person who could actually front Motorhead, other than Lemmy Kilmister, if the occasion ever arose. Big words, I know... but these are BIG sounds. The likes of which you just don't hear very often, if at all. Alan already did, essentially, take on that heady task during his lengthy tenure with Hawkwind. He was the perfect heir apparent, and the entire period was of great interest to me, conjuring memories of "Doremi Fasol Latido", "Hall of the Mountain Grill" and "Warrior on the Edge of Time". All older Hawkwind classics on which Lemmy had cemented the bottom so very brilliantly. Also, a few of my all-time favorite albums. So, this is where I stand in my vision here. It may be slanted, but it's slanted for all of the right reasons. If you are like-minded, please proceed and enter the craft...
The story of Gunslinger is a long one, dating back to 1979 when Alan Davey and his cousin, Nigel Potter, began to structure what they call "the sonic wall" that would soon become Gunslinger. At this time, their obsession with powerful, flat out rock and roll was beginning to take shape(s). During those early formative years, name change followed name change, but it was when they called their latest incarnation 'Chainsaw' that the real story begins... It was here that songs like "Warhorse", "Gunslinger", "Night Song" and many others first came into sonic being. The immense sound that was to become Gunslinger was thus born. With influences ranging (and raging) from Led Zeppelin, Deep Purple, Motorhead, Hawkwind and many others, the full-on assault was then thought to be in full flow. The band quickly gained a reputation for playing extremely loud and built a solid, loyal following. They then recorded a demo tape and a record deal was promised, but the deal was never signed. Alas, it was just not meant to be. As they say, the rest is history... until now, that is! But first, a short bit of further backstory is in order...
A long-time Hawkwind fan, Alan Davey ("Bass Assassin # 2", appointed that grandiose title by none other than one Ian "Lemmy" Kilmister himself), sent a demo of his playing to Hawkwind main man, Dave Brock, and was rightly recruited to join the Hawkwind ranks in 1984. Alan then went on to become the second longest-serving member of the band, playing and recording with them for 22 years. (Why didn't they make a movie about that? Instead of that crappy "Rock Star" debacle from a few years back. I'll tell ya, there is no justice in this world.) His time with Hawkwind was a very productive one, to these ears. The man's first gig with the band was at the legendary Stonehenge, for goodness sake. That is just epic stuff! No two ways about it.
But this isn't a Hawkwind write-up, it's a Gunslinger one. So, on to the meat and potatoes of this essential beast known as Earthquake in E Minor. (The album IS Earth-shaking, as the title suggests.) As advertised with the following quote: "Straight up dirty rock/metal, Alan`s 1st band with cousin Nigel Potter who wrote ALL the songs with Alan between 1979-82. If ya like old Motorhead & Hawkwind this is the perfect mix of the two!!" I couldn't say it better than that myself, so I let the quote speak for itself. Well, Motorhead and Hawkwind are two of my all-time favorite bands, so you know I'm going to praise music with a sound like that *IF* they get it right. I am happy to say that not only did they get it right, they have surpassed any expectations you could possibly have. (And I have expectations, believe me.) The music (barely) contained herein is so impressive to fans of the style, that it prompted a comment from a friend which revered: "Is this really Gunslinger? You sure it's not songs that were supposed to be on the album between Overkill and Bomber?" That is MIGHTY HIGH praise, and gives you a perfect launching pad for appreciation of the concept.
The current band is made up of Davey on bass and keys, his nephew Louis "Snag" Davey on guitar, and a young phenom simply named "Cat" on drums and backing vox. The guitar and drums on this particular album are performed by an earlier line-up consisting of Nigel Potter and the mysteriously named George A., respectively. Together, they form a triple threat, which virtually flies off the disc and comes looking for your blood. I haven't heard this kind of decimation in a LONG time, folks. (I'm a bit of a jaded old bastard, and never really heap praise like this on very much at all. I don't even write reviews, unless I've been truly inspired.) The collective is an absolute winner. Recalling, for me, the same feeling I had upon discovering Motorhead in my misspent youth. Maybe you remember when you first heard Tank'sFilth Hounds of Hades and were just pummeled from beginning to end? Well, this is that kind of deal. A real deal, made up of monster basses and all the aces!
I'm not really a track-by-track reviewer, but you would be hard-pressed to find a dud in this bunch. If I was pushed to name a few favorites, I would simply and honestly respond with, tracks one through eleven (this one really does go to eleven). As I said earlier, it is a completely enjoyable experience from start to stop, and really should be consumed as a whole. Sometimes half a dose does the trick, but this is a better pill when swallowed whole. Hell, the music makes me feel young and virile again... and that's not an easy thing to do! ha (Mission accomplished... and thank you for it!) This is the kind of music that first inspired me to start a band. This is the kind of music that can start and/or end wars, whichever may be your preference, of course. If any of this sounds appealing to you, and it should, get your hands on this album. Scare your kids, scare your dog, scare your cat. Hell, scare your lion... whatever may have you. I dare you to try and tame this monster! Take the bull by the horns, yes, but be forewarned that this choice may lead to blunt trauma and (motor)head wounds. Try fighting the "Snaggletooth" and "lemmy" know how you make out... if you survive, that is. (How's that for props?) Hey, it's fun to play with words like that (I haven't used some of those wonderfully over-the-top terms in years), but I really can't emphasize enough just how strong this album is. If it had been released in the early '80s, it would have been on many different top-lists as a favorite, I'm certain of it. Alas, that was not to be. But the time is now, and there is no better time than the present. Earthquake in E Minor is a winner on all counts. I would be remiss if I didn't mention the talented lead guitar and drums of the current line-up, as well. (See vids on the Gunslinger MySpace page and YouTube.) If only more of the younger players had this kind of education. Snag and Cat are really firing on all cylinders, and I am amazed that Alan has made discoveries like this in a younger team. Kudos to you all. Top-notch!
Alan and Gunslinger are also hoping to make their way to the USA for some shows. (Isn't there someone out there who can secure this?) The last time I saw him live was on a Hawkwind tour, many moon phases ago... which is entirely too long between visits. Let's do what we can to get that in order, huh? Phone your local politicians, fly a banner from a plane... whatever! This music is made for a live setting, and I hope I will get the chance to see that happen. The band's bio included this apropos proclamation, "We're loud, mean and coming to town!" Let's hope so. I would certainly be there... and you should save a calendar date, too. Gunslinger will be releasing a live album titled "Unlawful Odds" in February 2011. I am impatiently looking forward to that release from this unlawful act. Until then, I will keep cranking Earthquake in E Minor, while I gleefully watch the neighbors' lawn die! Hell, the only complaint I have about the Gunslinger album is that there is no umlaut used above the letter "U" in the band's name. Can't get any better than that for a current release, can you?
I fully realize that there are a lot of Hawkwind and Motorhead mentions in this review. That is not the only chapter in this story, but it's almost impossible not to reference those things when reviewing this album. If you are a fan of either band, make it your business to get this album. (After all, it is the business of the future to be dangerous.) Of course, there is far more to the Church of Alan Davey, so check them @ his web site. He is involved in many creative projects and is a very crafty musician of varying styles. I enjoy them all. Maybe you will, too? They don't make 'em like this anymore, that's for sure. Alan is also currently playing with Hawklords, a collective which showcases many other important former Hawkwind alumni. "25 Years On", and all are still a force to be reckoned with. That is an impressive feat!
For your consideration (as a fun side-note): Alan has even been spotted boldly sporting a T-shirt which reads, "My Rickenbacker Is Older Than My Wife!" Hell, if that doesn't win you over... I guess nothing will sway you. Remember, "If the Bombs Don't Get Ya, the Bullets Will". Carpe diem, baby!
Update: After completion of this review, Alan has now informed me that Flicknife Records will be releasing the live Gunslinger album. And the band have also acquired an agent in the USA who can finally get them some gigs on these shores. "So watch out, we're coming!", exclaims Mr. Davey. Heed the man's words. Hope to see y'all there...
