Motörhead: Entire Studio Discography Review

For close to 3 weeks, I listened to nothing but Motörhead. And I really mean nothing but Motörhead.  I didn’t even intend to write about it, I just wanted to try and listen to every single studio album at first. It became much more than that. I started giving the albums ratings (out of 10 stars). Little by little, I started writing comments on a notepad and realized that I could turn this into a full-on discography review. It was an absorbing experience.I did quite a bit of research and spent hours watching live shows to try to listen to certain albums within the context of their eras. I calculated that I spent nearly 50 hours in total listening to Motörhead albums and watching live shows. I’d often go back and re-listen to albums, and I’d often think to myself ‘Who are you to review Lemmy?!’.

Well, here we are.

Motörhead has been a band that has been with me my whole life, one of my favorites and I wanted to get some perspective on how a band can, year after year, continue to make new albums. Are they all good? How does the sound change (if indeed it does at all)? And how can a band challenge itself for so long? I’d listened to half of the band’s studio albums before, but I wanted to listen to everything and find out. I also wanted to do so in no particular order – I did not want to go chronologically.

I rated the albums out of 10 stars within the context of its own discography: 10 out of 10 being an absolute Motörhead classic/essential listening. Weaker albums are also dealt with in this context: to the band’s credit, a bad Motörhead album is still better than most albums out there. That’s how consistent this discography proved to be.  This is a band that deserves more than to be summed up with typical “All Motörhead albums sound alike” reviews. There are differences through the years, and I hope this article helps to do them justice.

Since the band was started by Lemmy Kilmister, who is the only remaining original member, the group’s longevity should be attributed not just to Lemmy’s obvious talents and perseverance, but (and I only realized this midway through this whole experience) his incredible ability to keep Motörhead a band effort, and not just his own project. Songwriting is usually credited to the entire group, and Lemmy’s dominating bass sound/playing changes drastically when we listen to albums in which, for example, Motörhead has 2 guitarists in the band instead of 1. Lemmy is very good at being in a band, which is not an easy task, especially when the band is able to, time and time again, retain its fast and aggressive fusion of punk, blues, hard rock and metal.

I believe that his ability to remove ego here and consistently make decisions with regards to what is best for the group, musically, shows an incredible amount of integrity.

To the best of my own ability, I’ve checked facts and historical information to be accurate. However, given that this was a one-man job: listening, researching, writing, editing, I may have overlooked certain things. I also wanted the reviews to be kept straight-forward and to the point. Please feel free to leave a comment at the bottom. All comments are subject to my approval, because the internet. I’d love to get your comments, feedback, your own reviews, experiences or memories with the band, if you have ’em! Please note: although I’ve included a bit of history and context, this is not meant to be a history or biography of the band. For this, you should definitely read Lemmy’s autobiography, White Line Fever.

Although I am not reviewing live albums/shows/videos, the Motörhead live experience is as important as the studio work. Any serious fan will want and should listen to No Sleep Till Hammersmith. There is a wealth of live material out there that you should get your hands on. I’ve seen them live 3 times, and looking forward to the next show here in Montreal on September 18!

Here begins what turned out to be a nearly 4000 word review of the band’s discography.

1977– Motörhead 5/10


Note: The songs for the first album also appear on the album “On Parole” – recorded in 1976 but only released in 1979 after the success of “Overkill”.  The eponymous album and On Parole have similar track listings, but offer different recordings of the songs. For the purpose of this discography I’ve chosen to review it in its eponymous format.

This first LP shows the band is struggling to find its voice and is stylistically all over the place: there’s punk (Vibrator), there’s the classic Motörhead sound (the title song, originally performed with Hawkwind), and a great deal of distorted pub/blues rock. It gets awkward at times (Train Kept A Rollin’), hearing Lemmy seemingly use these songs as practice to find his proper vocal style. As a historical document, it’s an interesting piece of music that basically gives us a rough blueprint of the band. This is far from the band’s best work and is best used as the audio equivalent to an old photo album.

1979 – Overkill 10/10

OverkillI’d listened to Overkill countless times, but listening to the first album in the context of the discography made me appreciate it even more. It’s incredible how the band just came fully formed here and is completely confident.  The contrast in quality and sound is huge (compared to the first record). Side by side, you’d think this is a different band altogether.

This album is pure perfection, and remains one of the most influential rock records ever. As far as heavy music goes, it’s still hard to top this one. Lemmy deserves more credit as a singer: the vocals to Stay Clean are just genius. I mean, hearing him ending lines as if he’s catching his breath is a lesson in true vocal performance that adds urgency in a truly original manner. It’s a little detail that I find astounding every time I listen to it.

Once the title track was first played and Phil Taylor’s double-kick drumbeat started, it opened the floodgates to a new era in heavy rock drumming!

1979 – Bomber 8/10

BomberWhile not the landmark that Overkill or Ace of Spades were, this is a strong album and an essential one in the band’s catalog. I’ve always loved this album, with songs like Dead Men Tell No Tales, Stone Dead Forever and Lawman being my favourites. The 2nd half of the album has a few weaker moments, but the title track closing the album is a true Motörhead classic. It’s even more impressive to think that in the space of 2 years the band came out with so much great material. I saved this one to end my discography listening experience on an assured high note, which it did not fail to do.

1980 – Ace Of Spades 10/10

Ace_of_Spades_Motorhead_album_coverMatches Overkill quality-wise. Incredible guitar playing by Eddie Clarke here. With faster, heavier songs, this one took everything one step further and in my case has often replaced the use of caffeine in the morning.

An essential life experience.

1982 – Iron Fist 8/10


Make no mistake: this is a classic Motörhead album, and the last with the original lineup. Unfortunately, it has a few songs in the middle which aren’t all that outstanding. This is still one of band’s finest albums, but I can’t say it is quite on par with Ace Of Spades, Bomber & Overkill. The title track, I’m The Doctor, (Don’t Need) Religion – even Remember Me, I’m Gone which was a B-Side, are songs which are part of the very best material the band has ever produced. Unfortunately, tracks like Sex & Outrage, and America are not as consistent or notable. Still, what an incredible run of great albums that just shows no signs of stopping.

1984 – Another Perfect Day 10/10

220px-Motorhead_Another_Perfect_Day_CoverThis isn’t an album that was well-received, nor was it very successful. This period in question is documented as being the low point in the band’s career, but you wouldn’t know it listening to this record. Many may disagree with my assessment here, but I think this album is an essential record, and in my Top 5 Motörhead albums. This is the first and only album featuring Brian Robertson on guitar, following Eddie Clarke’s leave after Iron Fist. Anything you read about this album will not fail to mention that Robertson was incredibly slow at recording his guitar, needed everything note perfect and was fired shortly because he just really didn’t fit in (long story very short). Lemmy still hasn’t talked to him to this day, apparently. But here’s the thing: the guitar work on this album is just amazing, and the overall feel of this album is totally unique in the Motörhead discography because of it. Robertson adds effects to his guitar that may arguably date the album, but I don’t find this is to the detriment of its quality (what helps is the drums and bass retain the same sounds we’ve come to expect, so the guitar work I find just adds personality). The guitar effects are integral to the songs themselves, and I would have a hard time imagining the band playing these songs live without them. The band sounds like they’re on fire here throughout, with some nice extended jams on songs like One Track Mind (which has a really nice Stranglehold-esque vibe to it) and the title track. If you remove the drama that surrounds the making of this album, it’s just a perfect Motörhead record. Amazing.

1986 – Orgasmatron 4/10

220px-OrgasmatronMostly good songs here, but sonically this is a really weird album. There are really awkward gang vocals (and a lot of them!), weird panning on the drums (why, on some songs, the bass drum is panned totally to the left, is one of life’s great mysteries) and the sound of the record actually takes away from the quality of the material. It does not sound like a Motörhead record, and that hurts the album more than anything. Guitarists Wurzel (who would stay until the Overnight Sensation album) and Phil Campbell (still in the band to this day) made their debut here, although I do find they started adding personality to the band’s sound only on the next album.   It appears Motörhead was trying  a different approach to songwriting: Deaf Forever and the title track, for instance, are much slower-than-usual tempos, adding a sense of menace to the sound. It would work, but the production on this album and the mixing keeps distracting you from it. It’s just not an enjoyable listening experience, and this is what I end up taking with me more than anything else. The title track is a true classic though (often covered by Sepultura, too). But asides from that one song, this is the first album in the discography I’ve listened to so far that really sounds dated and uninvolving. It’s too bad, because it really feels like the band was trying to do something quite good with the songs themselves. You know, I’m thinking out loud here, but maybe a remix of this album would work. I’d be curious to hear it mixed differently. Or in mono? Rant is over.

1987 – Rock N Roll 5/10

Rock_'n'_Roll_(Motorhead_album_cover)This is a back to basics return. I’d read reviews that stated this was an abysmal record, but it really isn’t! The band sounds like Motörhead again, and appears having a lot of fun. The songs here are indeed overall disappointing, but the musicianship is strong, and original drummer Phil Taylor is back. It has a few cool moments though: The Wolf starts with a nice drum intro that takes us back to Overkill, while Traitor and Blackheart have Lemmy in a proper pissed-off mood, and the band plays fast and aggressive throughout. Not a great album, but definitely not as bad as I’d heard it was. I’m actually disappointed that the B-Side to Eat The Rich, Just ‘Cos You Got The Power didn’t make the album, because it’s a very good song that would have ended the album with real strength.

1991 – 1916 – 8.5/10

220px-1916_(album_cover)1916 is a rebirth for the band, and is also one of its more experimental ones. Songs like Nightmare, Love Me Forever, and the title track show new depth to Lemmy’s songwriting, and No Voices in the Sky along with One To Sing The Blues are some of the all-time best fist-pumping Motörhead songs. The quality of this album is undeniable and it’s easy to understand why, after its release Lemmy was commissioned to write songs for Ozzy Osbourne’s No More Tears album. One of the most interesting/creative albums of Motörhead’s career, and the band sounds eager to prove itself once again, shoving the competition aside. I think this one might be overlooked, but taking risks here stylistically definitely paid off.

1992 – March ör Die  3/10

220px-March_or_DieThis was the first Motörhead album I’d ever listened to. I was 10 or 11 and bought the cassette, and I have to say I didn’t like the album. To this day, I have a problem with it, but nearly 20 years later I can actually understand why! By this point, Ozzy’s No More Tears album had come out, sold millions, and some of the strongest songs on No More Tears were penned by Lemmy (the whole album is great though). So I can understand why Lemmy would have chosen to record his own take of the song Hellraiser, but I personally will always prefer Ozzy’s take, maybe that’s because I knew Ozzy’s version first. There’s also a cover of Ted Nugent’s Cat Scratch Fever here which is completely useless (I don’t know, I mean this was Motörhead’s first and only major-label album, was this to help break the band further in America? They played it live quite a bit in the early nineties, so maybe they just liked the song, but the cover here doesn’t work for me). The album opener, Stand, is a catchy song with a singalong chorus but in the context of their discography, it’s actually a pretty weak Motörhead track I find. The one real moment of brilliance here is Too Good To Be True, which I think is one of the most beautiful songs the band has ever written. Just like the rest of the album, perhaps Motörhead shows a bit more of a commercial side here (Lemmy arguably sings a bit cleaner on this album…still sounds like Lemmy though), but this song is pure gold. I don’t care, commercial or not, I remember loving that song as a kid and it still reaches me today. There’s a real vulnerability in the lyrics, and while the song completely rocks, it also breaks your heart. Too Good To Be True: listen to the song. March ör Die also has a semi-acoustic single called I Ain’t No Nice Guy (feat. Ozzy and Slash), which is good, but works better when I see Lemmy perform it only with Phil Campbell, fully acoustic (found on the 25 & Alive Boneshaker dvd’s bonus features). March ör Die is, I think, the weakest album in the band’s discography. Did I mention that you should still listen to Too Good To Be True though?

1993 – Bastards 9.5/10

220px-BastardsOne of the essential Motörhead releases. With the exception of the ballad ‘Don’t Let Daddy Kiss Me’, a well-written and thoughtful tune in its own right, this is a classic ass-kicking album, and stands alongside any of their best. I think that the inclusion of drummer Mikkey Dee with this record (still the drummer to this day) helped the band find a more aggressive sound and helped to rightfully put Motörhead back on the map as one of the most important rock ‘n roll bands of all time. I nearly gave it a 10, but I do find that Don’t Let Daddy Kiss Me interrupts the flow of the album a bit, whereas the other ballad here, Lost In The Ozone, continues with the fine songwriting experiments brilliantly displayed on 1916, and is a standout track. This is one of my favorite Motörhead albums, and one of the ones I most frequently revisit. Essential!!!

1995 – Sacrifice 8/10

220px-Sacrifice_(album)This is one that I’ve always linked with the Bastards album: they’re both super aggressive, quality records that (for me) fit hand-in-hand together. Anyone who grew up watching Troma movies in the 90s should already be familiar with the insanely great title track, but the album as a whole is worth your time (especially considering the brief running time). It isn’t as consistent as Bastards, with a few weak moments here and there, but songs like Over Your Shoulder, All Gone To Hell and Out Of The Sun are 5 star songs. Sacrifice is one of the heaviest Motörhead albums of all time. Mikkey Dee’s drumming here deserves lots of love, pushing the band to try out different, more syncopated rhythms .

1996 – Overnight Sensation 6.5/10

220px-Overnight_SensationThis one found the band back as a 3-piece and was an eye-opener for me: It made me look at the last few albums differently due to a small stylistic shift. Gone is the songwriting experimentation and guitars in the front, back with what we now consider the classic Motörhead sound, and the album is much more bass-heavy and rock ‘n roll sounding as a result. It isn’t as aggressive as the previous 2 records, and it isn’t as consistent, but I still thought it was good. Listen To Your Heart has Lemmy essentially playing the rhythm guitar with his bass, which is a really cool idea. Love Can’t Buy You Money has a strong groove and a bass solo that takes us back to Stay Clean. I Don’t Believe A Word (with a surprising return to clean vocals from Lemmy!), Overnight Sensation and Civil War are the standout tracks here. The rest is good if not phenomenal, but this is the band regrouping and focusing on creating music as a 3-piece again after years of having 2 guitars. I’m sure I’d include 3-4 tracks of this album if I made a custom Best Of playlist. But I wouldn’t do that, I’m 16 albums into this discography and realizing that almost every one of them has enough strong points to make it worth a spin. That’s an incredible achievement. The front cover was immediate proof that Joe Petagno was integral to the Motörhead album experience (when I was a kid and saw this album in record stores I remember thinking it was a compilation because Motörhead albums always looked pretty badass!). Joe Petagno. Check him out. Buy a signed print. He’s part of the legacy too (though since the Kiss Of Death album, he has unfortunately resigned from producing work for Motörhead).

 1998 – Snake Bite Love 5/10

220px-Snake_Bite_LoveA return to a heavier sound here does not translate to immediately great songs. I was let down by the album, which I found altogether rather forgettable. Hey, it sounds like Motörhead doing what they do best, so I won’t say it’s a bad album: Lemmy could read the phonebook and I’d still be listening. The track Assassin, a return to the syncopated rhythms of Sacrifice, is a good song but does not match the quality of its predecessor. My favorite songs here were the (slightly) more quiet track Dead And Gone, the excellent Joy Of Labour, and the album closer Better Off Dead. To give you an idea, 2 days after listening to the album I could barely remember any of it, which is a rare occurrence in the Motörhead catalog. Unfortunately, I also did not feel like listening to it again. I was 17 albums into the discography, and went back to hear Inferno again instead!

2000 – We Are Motörhead 8/10

220px-We_Are_MotorheadShort and so very sweet, this one has a familiar feel building on the fast and furious style of Bastards and Sacrifice. The only misstep here is the cover of Sex Pistols’ God Save The Queen. It’s good, but it doesn’t match the quality of the new songs. As this album only has 10 songs and a brief 35 minutes-ish running time, I’d given this one a 9 had it not been for God Save The Queen, because the rest is great. The album ends with what appears to be the band’s 21st century mission statement: the wonderful title track We Are Motörhead, and it feels as if it has found a new sense of purpose for the new millennium (check out the front cover if you need a mission statement). Very fast, very heavy – one of the band’s better latter-day albums, and the song One More Fucking Time is a classy & cool slow burner, with intensely personal lyrics and an awesome guitar solo* served as an outro. This album was new to me, and I ended up actually listening to it a few times in the context of this discography because I liked it so much.

*Let’s take a moment here. I haven’t talked about the greatness of Phil Campbell much. Phil Campbell should be recognized for his incredible guitar playing. His riffs, his solos, his energy, his live presence, the dude is such a talent. I’ve spoken about Mikkey Dee in this discography review, and I also need to mention how incredibly important Phil Campbell’s sound is for this band. Listening to every album, you realize that the band is much more technical (musically) than it gets credit for. In its current lineup, Motörhead is a team of 3 incredible musicians who are also incredible songwriters. Motörhead is Lemmy’s baby, but the band is credited as writing most songs together. And I will dare to say that I think this lineup is the best the band has ever had.

2002 – Hammered 4/10

220px-Hammered_(album)I thought this one sounded very weak. There are a few good songs here, such as the brutally heavy Red Raw, and the very catchy Mine All Mine (my two favorite songs from Hammered). As a whole, this record didn’t keep my interest, and I actually found some of the songs to go on for too long – No Remorse (not a cover of the Metallica song) is a very good song at its core, but does not need to be 5 minutes long. The album ends with a curious spoken-word outro called Serial Killer that ends the album on a downer (though I’ll give bonus points for the album title, and I love how classy the album cover looks).

2004 – Inferno 8/10

220px-Inferno_albumThis was the 11th album I listened to in this discography, and I was so impressed by this one.  30 years later the band can write still an album that sounds insanely loud and inspired! So many standout tracks here : Terminal Show (featuring a guitar solo by Steve Vai), In the Black, Suicide, Down On Me, Killers, and the insanely cool In The Name Of Tragedy… Great songs with awesome hooks! A really consistent album that has a few forgettable moments and one nice surprise:  Whorehouse Blues, a nice acoustic jam letting Lemmy sing the blues – and the band even brings out the harmonica (this anomaly is cheekily addressed in the lyrics: “You know the only thing that’s missing, Is a little mouth harp blues, And you know life’s full of suprises, You know we do that too”. A very good album, and though it isn’t likely to be addressed as a milestone in the band’s career, is way up there with some of the best material it has recorded.

2006 – Kiss Of Death 8.5/10

220px-MotorheadkissofdeathThis band and lineup is relentless! This is a really, really heavy album with so much good stuff. Where to begin? Well, count on Motörhead to have a ballad called God Was Never On Your Side. Kiss Of Death has some of the best, most ferocious material I’ve listened to. This was the last album I put on that was new to me, that I’d never listened to before. And man, I’m gonna keep going back to this one. Sucker, the album opener sets the tone nicely, with Lemmy sounding as pissed off as ever. He sounds even more aggressive at age 60 here! There isn’t a bad song here. Near the end of the album you start to feel like maybe the album could have made even more of an impact if it had been 1-2 songs shorter, but what a minimal complaint that is! This is one of the definitive latter-day albums (though what is latter-day Motörhead? It sounds here like Lemmy truly will never stop – and I just listened to the band’s new single, Thunder and Lightning for the upcoming Bad Magic album – Lemmy is now 69 years old and this thought still appears to be true).

2008 – Motörizer 6/10

220px-Motorizer_coverI wasn’t sold on the first half of the album, but by the end of Motörizer’s last song, The Thousand Names Of God, I realized that Motörizer’s biggest flaw is its track order. Every Motörhead album has its classics, but I’d the issue here is that they just happen to be in the latter half of the album. Despite some routine tracks like One Short Life and the opening track Runaround Man, this one’s well-worth your time. The last 3 songs (Heroes, Time is Right and The Thousand Names Of God) are just epic, English Rose has a very memorable chorus and When The Eagle Screams has a great groove and single-handedly saves the first half of the record from being altogether forgettable.

2010 – The World Is Yöurs 7/10

220px-MotorheadworldisyoursThis one starts out with 3 absolutely killer songs: Born To Lose, I know How To Die, Get Back in Line: awesome. The rest of the album is uneven. Rock ‘n Roll Music is an honest testament to Lemmy’s love of rock ‘n roll, but I didn’t care much for the song despite its good intentions. The middle section here drags a bit, but Brotherhood of Man picks it up quite nicely, with its Orgasmatron-like (the song, not the album) style. Bye Bye Bitch Bye Bye made me realize that in Motörhead’s world, a breakup song is a feel-good song because it means Lemmy reclaims his freedom! (it also made me go back to Too Good To Be True from the March ör Die album, which I find is lyrically so unlike the band’s songs that I wish I could get further insight. I love that song.) This one is worth listening to for its first 3 songs alone, yet at its worst The World Is Yöurs is still extremely entertaining and rockin’. No small feat 20 albums into your career.

2013 – Aftershock  8/10

220px-Motörhead_AftershockAh, the beauty of editing. If this album ended at song number 10, Crying Shame, I’d give it a 9 without a doubt. The first 10 songs are just *awesome*. And with Lost Woman Blues and Dust And Glass, Lemmy’s letting his Blues flag wave, showing that after 35+ years, Motörhead can still surprise you. These are slower, gentler songs that somehow retain the feel and attitude we’ve come to expect from the band. It’s a brilliant album that ends with 4 songs that should have been bonus tracks or B-Sides, and not because they’re not good, but because the rest is so g-r-e-a-t. Like I said, I’d have given this a 9 or maybe even a 9.5 if the review was solely based on the first 10 tracks. It’s inspiring to know that a band can make such quality work 21 (studio) albums into its career, a real testament to its songwriting strength.

If you’ve taken the time to read all of this: Thank you. Doing this for 3 weeks straight was a real challenge!!

Special thanks to Alistair McIntosh.


Review: Philip H. Anselmo & The Illegals @ Heavy Mtl Aug. 11 2013


The final guttural growl emerges from the beast that is Phil Anselmo right before the song ends. He is performing one of the 8 songs that appear on his very first solo album, Walk Through Exits Only with his new backing band, The Illegals.  We’ve just heard some of the most brutal, extreme and difficult music to have ever graced the stage of Heavy Mtl, with no head left unbanged (Yes, that is a new word) and now that the song has ended we find Anselmo, in no shortage of breath talking about…middle age. In a self-deprecating, funny way.

Today, we find a sober-looking albeit beer-swigging Phil Anselmo having fun and, quite honestly, surprising us with a ridiculous amount of charisma. He’s cleaned up long ago, he’s cleaned up his image, and he’s hungry for what seems to be a rebirth of some sorts. It isn’t that he has not been active since the Pantera days – his band Down has recently released The Purple EP, and in the early  00’s he kept busy with the ever-aggressive Superjoint Ritual.  But it is clear that right now Phil Anselmo is doing what he wants to be doing (as he should), and what he wants to be doing, musically or otherwise is what most of us have not been expecting. He’s not too busy revisiting the Pantera classics (at least, as far as this show proved). We had the cutup of Domination/Hollow as you can find it on Pantera‘s Official Live: 101 Proof album, but otherwise this 45 minute set was purely focused on Philip H. Anselmo & The Illegals material. It should be noted that he’s also been busy founding his own record label, Housecore Records and October 24-27 will see the inauguration of the first ever Housecore Horror Film Festival. Pretty cool stuff.

This was my first time seeing Phil (yep, I call him by his first name). Phil’s been around for a very long time in my life, starting at the age of 12 when I first discovered Cowboys From Hell. 15 years later, I finally get to see him live, after years of watching live clips from dvds or youtube. That’s great, but then what do you get when you finally get to see a metal legend when said legend is now at a musical age where so many dwell in a comfort zone? I didn’t really know. I mean, I’d read reviews and comments of this tour, and they were generally positive. Well, I will say, even though I’ll sound like a tired old cliché, that I wasn’t expecting something this good. His stage presence is as commanding as anything I’ve ever seen, his band is musically ridiculously tight and technically proficient – this is another thing that could have fallen flat, with the amount of time signature changes each song has, and Anselmo’s voice itself sounds as aggressive as it’s ever been.

Here’s the thing about his current project: Your mind is used to the 4/4 metal breakdowns and song structures, even if only subconsciously, so when the band somehow switches it up to one of its many odd time signatures, you’re not seeing it coming. You’re just not used to it. You get locked in a groove and then suddenly, bang, another part abruptly starts. It makes the entire band sound insanely heavier, as a result. I have to admit that on record it’s hard to digest at first, but I guess it’s designed to be that way. When you see it live it’s very different, somehow. It’s like you “get” it. It’s in your face and you can’t help but go along with it.  I was grinning while headbanging for 45 minutes, and judging from the crowd I wasn’t the only one. I even saw all 4 members of Godsmack by the side of the stage for the entire duration of the show, smiling from ear to ear. They weren’t just smiling with empathy at Phil Anselmo’s lyrics (How’s about “It’s ruined/Everybody ruins music/Not just me” or “Rant with me/Rant!/And I’ll slip/And shake/then slip/And stick/Let them fall on their asses/With a fist and a fuck you/Rant!”), they, Godsmack, were just smiling with admiration. I saw Shannon Larkin, a super-influencial drummer, grinning at what the Illegals’ drummer Joe Gonzalez was playing – I mean, he makes it look so damn easy. The entire band does. I swear I even saw a glimpse of Rob Zombie taking a picture by the side of the stage (I may be wrong, as tall dudes with dreads and beards often look like Rob Zombie).

You see, by making an album void of first-listen noticeable melodies, Anselmo shows at what point a lot of metal right now is in a safe and repetitive state.  He’s pointing out a problem by showing a solution. He isn’t saying all metal should sound like what he’s doing, but he’s showing that there are still ways to make it sound fresh, which in itself is innovative. I believe this album, Walk Through Exits Only, will be regarded as quite influential in a few years time. I believe this tour proves that although you don’t see him jumping around anymore, Anselmo can still show you how it’s done. That’s important for a style of music that is so physically demanding. The ” I can’t see myself doing this at 50” argument has now been completely rendered false, and that selfishly gives me hope that some of my favorite metal bands right now will still be around in 20 years, cranking out albums and touring.

I don’t think this is lost on Anselmo. His new album is often about music, or the state of music. Even though he is a household name in the world of metal, the massive fan he is deep down shows someone trying to keep a style of music close to his heart very much alive and well – and most importantly, honest. Second best thing to watching this live? Watching Phil Anselmo watching Mastodon by the side of the stage live. See Phil geeking out by playing air guitar, air drums, headbanging, singing along while making stage moves. That was in itself worth the price of admission alone. They don’t nickname him “The Kid” for nothing.

And there you have it: the show, like the album itself is uncompromising, extreme, vulgar (he doesn’t just spit on stage, but snots too! Hits himself on the forehead with the mic and bleeds!) but it’s also very smart, and very true and not without a sense of humor. It’s not always the case that, after seeing the show, you really want to listen to the album again. It’s even rarer that on top of this, you feel like after seeing the show you will understand the album better.

Job well done, sir.

Black Angels Review: Montreal April 12 2013

I wasn’t sold upon my first few listens of the new Black Angels album, Indigo Meadow. My thoughts were certainly influenced by the release of the first single “Don’t Play With Guns”, which I thought at first was quite awful, and a bit of a generic departure for the band.

I decided to listen to the album again, this time without prejudice – and with one major change: I played it really, really loud.

It made all the difference. The Black Angels have 2 members less on this record than the last time I saw them live, and they indeed have streamlined their sound. The atmospherics are no longer in your face. They are in your face if you play it loud, however.

And it was with this that I had the album on repeat and grew to enjoy it more with each listen. My faith in last Friday’s show finally restored, I had a few drinks at Foufounes Electriques with some friends before the show, and got our hazy selves to Le National, where the band was playing.

Arriving in a taxi, the first thing that happened was a Musique Plus camera crew jumped on us asking “Are you Black Angels Fans?”. I answered yes and was then told that they had just interviewed singer Alex Maas, asking him to do a Rorschach Test, and would I be happy to oblige? This way Black Angels fans could compare fan-to-band.

What a crock of shit. I gladly took the piss.

-What’s this to you?
-Gene Simmons’ facepaint.
-And this?
-A woman’s genitals.
-And this?
-Two wolves making out.

My friends joined in as well, that should keep the editing guy busy.

So the show started as another whiskey went down, and man was it exactly what a Black Angels show should finally look like: Big. A big stage, huge projections, big sound. This is a band that deserves to be seen in a large venue, and as they’re going on, the venues are getting bigger, so the future is looking good for band and fans alike.

This last album of theirs has a lot of listeners divided, based on reviews I’ve read. My take? I think these songs were meant to be heard “live”, which explains the sometimes sparse sound of the new record. To hear “Indigo Meadow”, “Evil Things”, “Don’t Play With Guns”, (PS: is it just me or the melody really reminds me of Here Comes The Sun?!) show-opener “I Hear Colors (Chromaesthesia)” alongside…shall we say, classics? “Young Men Dead”, “Entrance Song”, “You On The Run”, “Telephone” and “Black Grease” worked perfectly with the new material, and the setlist had a fantastic album-to-album balance.

If anything, it’s like the band pulls you through a trip that would range from the evolution of psych between 1965-1969.

A very intense performance – the highlight to me was drummer Stephanie Bailey, who will one day marry me. She’s amazing. A very intense drummer, with a perfect feel and great creativity. Definitely brings personality to the band, and I tip my hat to thee.

It was a visual treat, a near-perfect setlist, a dedicated performance by the band, and exhausting in the very good way that rock shows can make you. Worth the 20$!







Mudhoney Is Still Awesome

You can subscribe to 2 different philosophies when you see a live show: you can think that it’s all about the music, that the look of the band is not nearly as important. Or you can think of it truly as a show, where the importance is played on providing as much of a visual experience as a musical one (in some cases, you will find it ok to even have the music come secondary to the show itself).

Personally, I dig both.

I remember seeing Mudhoney in this tiny club, not even 2 meters away from the stage. It was a badass rock n roll show. Band and crowd felt like one. The setting was intimate, and for lack of a better word, it felt “real”.

Mudhoney just came out with a pretty remarkable album called “Vanishing Point”, and after 3 or 4 listens, I know that this is an album that will keep growing on me and keep me grinning at Mark Arm’s ongoing rants. The single “I like it small” proves exactly the point of why Mudhoney work so well in a setting that is, indeed, small: they were a band that could have gotten away with much more success than they have had, but they truly instead chose to embrace what they had in a time where living in Seattle was becoming a trend for bands that truly wanted to “make it”.

Perhaps what is great about the current state of music as far as a band like Mudhoney is concerned, is that “making it” does not carry the same weight that it did 20 years ago. They’ve seen all kind of trends come and go and have seen that through not changing a single thread of their identity as a group, their consistency can be seen seen as what it truly means to make it: they can still release the music they want to, they can still tour the types of venue they want, and judging by this new album and having seen them live they are still having a lot of funs in the process.

Their consistent wave of the middle finger to an industry that has changed so much is a fresh reminder of what’s missing in a lot of modern music: attitude. I hate to sound like “rock is dead” etc… Lester Bangs was saying that in 1973 the moment the Stones released Goats Head Soup.
Call me an idealist, but I do believe in the words of Neil Young: “Rock n roll will never die”.

My point is that this album made me realize at what point people are still trying to reinvent the wheel, as far as rock music is concerned. Yet the rock bands that I relate to seem to know that their band is not the first rock band you’ve heard. They wear their influences on their sleeves, with pride to concentrate on something greater than a temporary gain of attention: songwriting.

Mark Arm shall forever remind us of Iggy Pop. That’s cool. We know what Mudhoney sounds like, we know what the Stooges sound like. I think that’s what this new album of theirs made me realize and why I like it so much. I actually listen to what’s being said, I listen to every instrument and that only makes me want to put the record on repeat.

By not changing, Mudhoney is making us care about what they have to say. Give this new record a listen – and pay the 20$ if they come to a town near you.

Sound City Review/Winter 2013 Playlist

I’ll start this off by saying that anyone who has not seen it should stop reading this and check out Dave Grohl’s Sound City documentary. It’s rare to see a film that is so passionate. And I might not be a multi-million selling rock star, but for anyone who has an interest in music but does not play an instrument, I can tell you that the parts where the musicians are playing together in the studio are so genuine that I felt like yelling: DUDE, THAT’S REALLY HOW IT IS!

If anything, it was gratifying to see that the feeling of 4-5 people just playing music together pretty much seems to remain the same if the passion is there, regardless of status.

Though I wouldn’t mind some free time in Grohl’s 606 studio. Just putting it out there.


Me with Dave Grohl, 2009. I gained a little bit of weight since then, looking back. Hmmm.

The reviews I have read about the Sound City soundtrack were extremely underwhelming and unrealistic. I’ll offer my own brief take.

First off, let’s set up decent expectations. You listen to the soundtrack after watching the movie, you see that these songs seemed to be 1 day individual sessions. So to anyone expecting the Grohl+Stevie Nicks combination to be as good as anything on Rumours, that is not happening. How could it? No tension between band members, no cocaine binges. I mean, not to go off on a tangent here, but imagine a typical scenario for that recording session:

Stevie Nicks: Hey Lindsey Buckingham, I wrote this song called Dreams. Let me sing it for you, it has a great melody and it’s all about you! Find the prettiest guitar chords, please. Especially during the line ”Players only love you when they’re playing”

Lindsey Buckingham: No problem, Stevie Nicks. By the way, I need you to add back vocals to this new song I wrote called GO YOUR OWN WAY.

I would pay good money to see this happen.

But what was I saying? Ahhhh yes.

Ok, so the idea behind the Sound City Soundtrack is not to make the greatest album with the greatest songs of all time. To begin with, it is about celebrating the art of making music, about musicians playing together and all the while paying tribute to a studio that helped shape them.

So if the songs sound more like sketches, well, that’s normal. Just like a real live performance, it’s not meant to be perfect and these songs can be interpreted differently in that respect.

I think it’s a great album. I think it might be worth doing the opposite of what I did though: If you haven’t seen the movie or heard the soundtrack, see the movie first. I think you might hear the soundtrack a bit differently and a bit more accurately that way. My two cents.


Here’s what I’ve been listening to during this never ending winter.

Just press play!


The Growlers – Naked Kids

California X – Sucker

Autre Ne Veut – Counting

Night Beats – A Night With Nefertiti

The Bronx – Style Over Everything

Ufesas – Goin’ To The Mountain

Mikal Cronin – Apathy

Psychic Ills – Take Me With You

New Model Army – The Hunt

Jorge Drexler – Rio Abajo

Fun Lovin’ Criminals – The Fun Lovin’ Criminal

Fugees – No Woman,No Cry

Fitz And The Tantrums – Moneygrabber

Clutch – Electric Worry

The Virginmarys – Dead Man’s Shoes

Bad Religion – Robin Hood In Reverse

New Album (EP) Reviews: Death Lullaby/ Demonhigh/ Warsong

Death Lullaby – Fractal (EP)













Within the first minute of listening to Montreal’s Death Lullaby, I already knew that they had what is needed to, at the very least, rival most death metal/grindcore bands. The technical precision, the speed, the uncompromising relentlessness of their sound. What blew me away was that they managed to very tastefully and tactfully incorporate just enough amounts of groove metal – let’s recall some of Devildriver’s earliest riffs – to stand apart from the other bands in the genre (often recalling Whitechapel). Melody is a strong point to Death Lullaby‘s music: the guitar solos are loud, spacey and echo prog-metal at times – a bit like if Periphery were to join up with Dream Theater. It’s a very good mix of extreme influences. In the end, Death Lullaby has its own brand of extreme metal, and this EP is worth your free download. Check it out here.

Demonhigh – EP









It’s really too bad I don’t understand more than 6 words of Spanish. There is something happening in the world that seems to cause every Spanish speaking rock band to kick some serious garage ass. This band sounds like Puerto Rico’s Davila 666 mixed with Mexico’s Los Explosivos. In this case, Demonhigh hail from Spain, and their mix of garage rock/Nuggets-like psych rock works so fantastically that you want to call The Black Lips to ask to bring the band on tour with them. Give this band a label please, and get them touring asap. Here’s another free download for ya.

Warsong – The Caravan (EP)












What’s this? Some more awesome rock ‘n roll from Spain? Cool with me.

Listening to The Caravan EP, Warsong often made me think of the 80’s Californian Punk/Hardcore bands such as X and The Adolescents. But this is some real ”driving the highway at night way too fast with a bottle of whiskey hiding under the seat while the windows are open” music (I think I just coined a new term there). It’s immediately accessible, fun and upbeat – yet dark and moody at the same time. Kind of like the band is sometimes having so much fun playing that they forget some of the anger lurking through their sound. This is another band that needs some distribution in America – and Canada specifically, if only because they sound like they’re one hell of a live band and I want to see them live. A fantastic EP. Listen to it in full here and download your free copy of their first release, 2011’s Ancient Times, here (as promoted by the band on their website, .


Special thanks to Cristian Sen from Demonhigh and Kevy Metal of Death Lullaby. 

Review: Steel Panther (Montreal, August 10 2012)

You’ve probably heard of Steel Panther. You know, 4 dudes who dress like 80’s glam-metal never left and have some of the most over the top, hilarious lyrics. What makes it work isn’t actually just the comedy bit, but it’s that these guys are super-qualified musicians and songwriters, so even though the songs are funny, they’re actually really well written and well played.

They mimic the bands they pay tribute to and parody perfectly. Hell, the Bon Jovi-like ”Party All day (Fuck All Night)” even has a key change in the last chorus, à la ”Living On A Prayer”.

Well, last night, they played their first ever show in Montreal, at the Corona Theatre, and it was spectacular.

I’ve seen a lot of shows in my life, and believe me, this was one for the books.

The crowd was one of the loudest I’d ever heard. During ”Asian Hooker”, a girl, dressed as uh…well, an asian hooker, went on stage and started stripping and dancing. Someone threw a blow-doll on the stage. At a certain point, there were about 10-15 girls from the audience on stage dancing while the band was playing. Guitarist Satchel did an awesome guitar/drum solo bit, hitting the bass drum while he was riffing on what was essentially a history of classic metal riffs, ranging from Black Sabbath, Metallica, Scorpions, Guns N Roses, etc…Oh, and condom balloons.

Whatever parody or humor Steel Panther carry with them, it’s never self-indulgent enough as to exclude others. This was a gigantic party.

I mean, the banter in between songs was hilarious. I don’t want to start quoting it. Just go on youtube, type Steel Panther live, and you’ll understand what I mean.

What really blew me away was that at a certain point, when songs like ”Community Property” or ”Tomorrow Night” start playing, you actually stop caring about the fact that the lyrics are funny. The band is so tight, the music so good that you actually find yourself singing along to words like ”I’m going to a party tomorrow night, tomorrow night/But tonight I’m gonna jerk off” with your serious, rock ‘n rolla face on.

The music just works, it’s fun. It’s funny. It is rock ‘n roll, and the show last night was a damn breath of fresh air.

I met the band after the show, and they turned out to be pretty much what you’d expect: naturally cool dudes with a kick ass sense of humor. It’s not like they stay in their stage persona when you meet them, but it’s not like singer Michael Starr seems too removed from it either. Cool dudes with an awesome sense of humor playing heavy metal?

Yeah, that simplicity is lacking nowadays.

Steel Panther, that was a night I won’t soon forget. Come back soon.

Low quality, iPhone 3G pics from last night (hey, apparently I need to start remembering to bring an actual camera to these shows):