Archive for Ace of Spades

Great Metal Albums of 1984: Motorhead- No Remorse

Posted in 1980s, Death, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on January 22, 2018 by 80smetalman

 Originally, the 1984 compilation album, “No Remorse” from Motorhead was on the list to be visited a little further down the line. However, with the recent passing of Fast Eddie Clarke, it would only be right and a proper tribute to not only Eddie but all three of the original members of Motorhead who are blowing the eardrums of the angels in that better place, to visit it now.

With all of the heavy metal floating around in 1984, I was certainly motivated into listening to as many heavy metal bands as humanly possible. Motorhead was one of them. I had heard a lot about them by then and wanted to listen for myself. Cue, the compilation album, “No Remorse,” which came out in that year. What an album for anyone unfamiliar with to cut their teeth on! If someone who knew absolutely nothing about Motorhead asked which album they should experience first, I would definitely recommend this one.

“No Remorse” is much much more than some greatest hits album. Sure all the great Motorhead songs up til then are on the album. Hell, it wouldn’t have been right if “Ace of Spades” wasn’t the opener on it. In fact, it would be sacrilege! Then, there all the other great ditties like “Iron Fist,” “Motorhead,” “Jailbait,” “Bomber” and “Overkill.” Most would be content with thrilling the fans with all of those great songs and a few more. No, not Motorhead, with “No Remorse,” there’s twenty four songs. Some are great Motorhead songs, others are recorded live and there’s the bonus of four previously unreleased tracks! So what you get here is a Motorhead party!

It was one of these new songs that would become my all time favourite Motorhead song. That song just happens to be “Killed By Death.” Man, I just love that song. Probably because of the way that guitarists Michael Burston and Phil Campbell just solo all over the song and of course Lemmy’s unmistakable vocals. While some may think it’s a bit more melodic than traditional Motorhead songs, there’s enough raw power in the song to let you know that it is indeed Motorhead playing it. Another great new song from the album is “Snaggletooth.” That was is definitely worth a listen as well.

Track Listing:

Disc One

  1. Ace of Spades
  2. Motorhead
  3. Jailbait
  4. Stay Clean
  5. Too Late, Too Late
  6. Killed By Death
  7. Bomber
  8. Iron Fist
  9. Shrine
  10. Dancing On Your Grave
  11. Metropolis
  12. Snaggletooth

Disc Two

  1. Overkill
  2. Please Don’t Touch
  3. Stone Dead Forever
  4. Like a Nightmare
  5. Emergency
  6. Steal Your Face
  7. Louie Louie
  8. No Class
  9. Iron Horse/Born to Lose
  10. (We Are) The Road Crew
  11. Leaving Here
  12. Locomotive

Motorhead (original line up) 

Lemmy- bass, lead vocals except on “Emergency”

Phil ‘Philthy Animal’ Taylor- drums on Disc 1 tracks 1-5 and 7-11; Disc 2 1-5 and 7-11

Fast Eddie Clarke- guitar on Disc 1 tracks 1-5 and 7, 8 and 11; Disc 2 tracks 1-5 and 7-11, lead vocal on “Emergency”

Brian ‘Robbo’ Robertson- guitar on Disc 1 tracks 9 & 10

Michel ‘Wurzel’ Burston- guitar on Disc 1 tracks 6 & 12; Disc 2 tracks 6 & 12

Phil Campbell- guitar on Disc 1 tracks 6 & 12; Disc 2 tracks 6 & 12

Pete Gill- drums on Disc 1 tracks 6 & 12; Disc 2 tracks 6 & 12

Motorhead was going through a lineup overhaul when “No Remorse” was released. Phil Taylor and Brian Robertson had left the band and guitarists Phil Campbell and Michael Burston and drummer Pete Gill would eventually join. Whatever the trouble that was going on in the Motorhead camp at the time, the sheer greatness of “No Remorse” cannot be denied.

Next post: Metal Church

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Great Metal Albums of 1984: AC/DC- 74 Jailbreak

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , on May 7, 2017 by 80smetalman

Being predictable again! If you have been following me for some time, you have probably already guessed that I am posting about an AC/DC album because tribute band Hell’s Bells came to town. They did and unlike my post about the previous two AC/DC albums, I actually went to see them last night. You know, sort of for inspiration but I really don’t need any to see Hell’s Bells or post about AC/DC’s 1984 album, “74 Jailbreak.”

Pity the Foo

First the show, Hell’s Bells were supported by the Foo Fighters tribute band, Pity the Foo. Now, except for the videos I’ve seen on the Kerrang channel, I have no experience of the Foo Fighters. But if they are anything like the tribute band on stage, then maybe I should delve into some of their back catalogs. Pity the Foo honoured the band they were tributing on this evening. They were tight and if they weren’t playing Foo Fighters material, they could have played anything, even their own material and played it very well. The two Foo Fighters songs I know they played were “Monkey Wrench” and “A Long Road to Ruin” were good examples of how good this band was. When they left the stage, they had accomplished their mission of warming things up for the headliner. Pity not many people bothered to turn up and see them.

Hell’s Bells ascend the stage. God, I wish my hand was steadier.

If I went into great details of Hell’s Bells performance, then all I would need to do is copy and paste previous posts about them. What I can say is that last night was their best performance ever in the five times I’ve seen them. Like always, they were note perfect in regards to AC/DC and played an array of AC/DC classics that everyone in the audience will have heard at least their favourites. For me, it was “You Shook Me All Night Long,” “Highway to Hell” and they ended with “Whole Lotta Rosie.” One thing they did different was play “Ace of Spades” in dedication to Lemmy. When they left the stage at the end of an hour and a half, which flew by too quickly, there wasn’t one disappointed person in the room.

Another thing I noted was the huge age range in attendance. I’ll be turning 56 next month and I can happily say that I wasn’t the oldest person in the room, not by a long shot. However, there were second and third generation AC/DC fans there as well. Many bands who last for over four decades aren’t as able to pick up followers from the younger generations. I remember the generation just below me regarding the Rolling Stones as golden oldies. They don’t say that about AC/DC.

Angus’s double does his strip act.

Hell’s Bells taking it home.

Unfortunately, Hell’s Bells didn’t play any songs off the “74 Jailbreak” album. Yes, I know in reality that it’s and EP but talk about five grab you by the throat songs. These were tracks that were only previously released in Australia and made available to the rest of the world as part of this EP. My question here is why they waited so long before treating us to them. With the benefit of hindsight, one might have thought that they might have released this in 1980 after Bon Scott’s tragic death. After all, his vocals are simply fantastic on the album. “Jailbreak” did feature on the “Dirty Deeds Done Dirt Cheap” album but it’s a good opener. Likewise, “Baby, Please Don’t Go” is a good closer. Many an AC/DC album has those so nothing new in that department. However, it’s the three songs in the middle that make the album for me. All of them feature some pretty nifty guitar work compliments of Angus Young but my favourite of all is the middle track, the very bluesy sounding “Show Business.” Angus just cooks on this one and I now put him on the same shelf as some other great blues guitarists. So my question here is why isn’t this album or EP talked about more in AC/DC circles?

Track Listing:

  1. Jailbreak
  2. You Ain’t Got a Hold on Me
  3. Show Business
  4. Soul Stripper
  5. Baby, Please Don’t Go


Bon Scott- vocals

Angus Young- lead guitar, backing vocals

Malcolm Young- rhythm guitar, backing vocals

George Young- bass, backing vocals, drums

Rob Bailey- bass

Mark Evans- bass on “Jailbreak”

Phil Rudd- drums, percussion on “Jailbreak”

Tony Currenti- drums, percussion on tracks 2-4

Peter Clack- drums, percussion on “Baby Please Don’t Go”

Whenever people talk about AC/DC albums, it seems that “74 Jailbreak” doesn’t get mentioned. My guess is it’s because it’s considered an EP. EP or album, there are five great songs on here and that’s more great songs that many other bands have on one entire album. Maybe Hell’s Bells will play some songs from it next time they come to town.

Next post: Queen- The Works

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Bloodstock 2016- Thursday

Posted in 1980s, Concerts, Death, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , , on August 15, 2016 by 80smetalman

It’s Monday, I have returned and sobered up from three and a half kick ass days at Bloodstock. There were highs, there were lows, not many but all in all it was a unforgettable weekend of metal. If I tried to post the entire weekend in one post, I’d be typing til next Friday, so I’ll break it down day by day, starting with the day we arrived, the Thursday.

The trip there was quicker than expected, no traffic hold ups even where I expected them to be. So we got there in great time with music from Axel Rudi Pell, Kill or Be Killed and the Disturbed to serenade us on the journey. After, lugging most of our gear quite a long distance and standing in a long line to get in, we finally found a suitable place and pitched the tent. Thank God we had a trial run with the tent, otherwise it would have been hard going. Once we did that, got the rest of our provisions and fed our faces. We were then ready for the first night’s festivities.

Our tent, it's a wonder it stayed up all weekend.

Our tent, it’s a wonder it stayed up all weekend.

Group photo: Joe, Gemma, Teal and me

Group photo: Joe, Gemma, Teal and me

Our first objective was going to the new Lemmy Bar opened in honour of the legend himself. However, we were briefly sidetracked from some sounds coming out of the Sophie Lancaster tent. Being curious, we investigated and discovered a band called Sumer. We only caught the last song and a half but it sounded good, more hard rock than metal but I liked them. It could have been a good omen on what was to come.



When Sumer left the stage, there were no further distractions so we immediately proceeded to the Lemmy Bar. It was one of the former Bloodstock bars remodeled and renamed but the change was definitely for the good. Out of tribute to the Heavy Metal God, we all went in and each purchased a ‘Lemmy,’ (Jack Daniels and coke.)



Inside was totally dedicated to the God

Inside was totally dedicated to the God

Me enjoying my Lemmy

Me enjoying my Lemmy

I wonder how many Lemmys he had

I wonder how many Lemmys he had

After we drank our Lemmys, music coming from the Sophie Lancaster tent once again beckoned. Going back, we were very fortunate to catch the final couple of songs from Irish thrash metallers, Psykosis. I only might have heard two songs from this band but they left me asking myself why these guys weren’t more known. If you have heard of them, I would love to read your feedback on them. I was impressed!



While Sumer and Pyskosis both provided a brief look into things to come that weekend, the main event of the night was still to come. When Phil Campbell and the Bastard Sons hit the stage, they did not disappoint. Their musicianship was superb and Phil showed that he can definitely work a guitar but it was the covers performed by the band that got the crowd going. The evening was always going to be about Lemmy and deservedly so but before they got into that, there was a brilliant cover of the Black Sabbath classic, “Sweet Leaf.” The Motorhead covers followed quickly after that and that was when they brought in the big surprise. Dee Snider from Twisted Sister was brought in to sing the Motorhead anthem, “Born to Raise Hell” and it raised the roof. While playing, the band stopped so Dee Snider could say: “This year, we lost a friend, a hero, a heavy metal fucking God!” Obviously, he was talking about Lemmy and also turned out that Pepper Keenan from Corrosion of Conformity accompanied on backing vocals. Other treats included the two Motorhead classics “Ace of Spades” and my all time personal favourite Motorhead song, “Killed By Death.” Campell totally nailed these and his guitar solo on the cover of ZZ Top’s “Sharp Dressed Man” was really cool. Needless to say, a mosh pit formed for “Ace of Spades” and even I went into it. Not long after, the band left the stage and came out with one more surprise. I doubt anyone in the tent was expecting them to play the Hawkwind classic, “Silver Machine.” The tent erupted here and Phil Campbell and the Bastard Sons left the stage having wowed the audience.

Phil Campbell and the Bastard Sons

Phil Campbell and the Bastard Sons

Here's a picture with Phil Campbell actually in it

Here’s a picture with Phil Campbell actually in it

Dee Snider moved around the stage so much, I could only catch him when his back was turned.

Dee Snider moved around the stage so much, I could only catch him when his back was turned.

However, the night wasn’t quite over yet. After Phil Campbell and the Bastard Sons departed the stage, a bloke by the name of Simon Hall appeared on it. He explained that someone challenged him that if he did a roly poly (somersault,) the challenger said he would give £100 to the Sophie Lancaster Foundation which was set up to combat intolerance of alternative lifestyles. Well, somebody put news of the challenge online and it went viral. By the time Simon did his roly poly on stage this night, £1300 was raised for the foundation.

Simon Hall with some visitors

Simon Hall with some visitors

He had lots of support

He had lots of support

When we left the Sophie Lancaster tent that night, we were not only blown away by the great metal already experienced, we were also left with great expectations of what was to come the rest of the weekend. Now, I must state that I am writing about my experiences of the weekend and I’m sure there were over 15,000 different ones. If you have been to Bloodstock this past weekend, please share your experiences of this piece of metal history.

Next post; Friday

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Great Rock Albums of 1983: Todd Rundgren- The Ever Popular Tortured Artist Effect

Posted in 1980s, Heavy Metal, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , on January 6, 2016 by 80smetalman


The first time I heard the song “Bang On the Drum All Day” by Todd Rundgren on the radio, I thought, “This is great! Todd is back.” I have been a big Todd Rundgren fan since 1978 when a friend enlightened me to the “Something/Anything” album. Adding to the euphoria brought on by listening to that album, he then released the “Hermit of Mink Hollow” album in said year. If I wasn’t a Rundgren convert before, I certainly was after hearing both of those great albums. Therefore, it was a no-brainer that I would be obtaining his newest offering in 1983.



In a fairy tale world, I would be telling you how great “The Ever Popular Tortured Artist Effect” is. Unfortunately, it’s not. It lacks the versatility that I have always liked Todd for. On the two previously mentioned albums, there is lots of progressive rock, hard rock, ballads and even a little heavy metal. “Metal?” you ask. Just listen to the track “Out of Control” off the “Hermit of Mink Hollow” album and you’ll see what I mean. Another thing great about Todd’s previous albums is that he brings a bit of humour to some of the songs on both. However, on this album, the only evidence of that is on the track “Emperor of the Highway,” which is the second best track behind “Bang On the Drum All Day.”

The funny thing is that the first four tracks all start off with a very catchy introduction but each of those tracks quickly turn bland after and one loses interest. They are all very keyboard dominated and pretty much sound the same. “Tin Soldier” picks things up a little and it’s the third best track. Then comes to the two best tracks and they redeem the album from the previous blandness. Sadly though, the last two tracks are a big let down following the big single. Maybe Todd should have made “Bang On the Drum All Day” the closer, it would have worked in my humble opinion.

In defense of Todd, now, unlike the Motorhead album, reading a little of the background history to this album was a good thing as far as Mr Rundgren is concerned. It turns out that “The Ever Tortured Artist Effect” was a contractual obligation album. Therefore, he didn’t put the time and effort into it as he did with his better albums. This would be his last album with Bearsville Records. So, with this new evidence taken into consideration, I can let him slide for this album not measuring up to the previous ones.

Track Listing:

  1. Hideaway
  2. Influenza
  3. Don’t Hurt Yourself
  4. There Goes Your Baybay
  5. Tin Soldier
  6. Emperor of the Highway
  7. Bang on the Drum All Day
  8. Drive
  9. Chant


Todd Rundgren- All instruments, vocals and production

All in all, “The Ever Tortured Artist Effect” isn’t horrible. It’s just not nearly as great as his best albums. Then again, when you record an album simply because you have to, it probably won’t be as good and you won’t put your best effort into it. Let it be known that my feelings for the posted album in no way detract from my assertion that Todd Rundgren should be in the Rock Hall of Fame.

On a separate note, when I learned about Lemmy’s passing last week, I thought that the metal hating UK newspaper, The Sun, would say little if anything at all about it. To my surprise, there was two pages dedicated to the great man and his contribution to music over the past forty years. Before we get to excited, one of the contributors did write about Lemmy’s limited vocal capability. He misses the point, Lemmy’s voice was perfect for the songs he sang. Let’s hear Olly Muirs try to sing “Ace of Spades.” Then again, the skeptic in me thinks that the main reason the paper ran so much about Lemmy is because he is seen as a British icon.


Next post: Bryan Adams- Cuts Like A Knife

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Great Metal Albums of 1983: Motorhead- Another Perfect Day

Posted in 1980s, Death, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , on January 3, 2016 by 80smetalman


It’s only right that I go out of sync a bit and write about Motorhead’s contribution to metal in 1983. I like to think that I am paying my small tribute to Lemmy and the contribution he made to music over the past four decades. I figure since I am exploring all the great albums of 1983, that I would post about Motorhead’s “Another Perfect Day” album, which came out in this year. It’s the least I could do in honouring the memory of this great man, who sadly left us this past week.

If you are looking for a big single like “Ace of Spades” on this album, there are none. There doesn’t need to be as I find that every song on “Another Perfect Day” just completely kicks ass. Things begin in true Motorhead fashion with the first two songs, loud, brash and in your face. Just how I like it with these guys. Then the third track, “Dancing on Your Grave,” has an intro that sounds like it was that of a song by Ratt or Twisted Sister. I listened with interest as this intro was nicely played but it lasts for a few seconds, then the song kicks in in true Motorhead style.

While I can’t say that there is one song that really stands out enough to be my favourite on the album as there is something to like on most of them, I do think the first half slightly outshines the second half of the album. I must stress the ‘slightly’ here because there’s not that much in it. “Another Perfect Day” is a great album!

My mistake here was to read the history behind the album. To quote Lemmy, he said “He fuckin’ hated it.” From what I read, this is down to the acquisition of Brian ‘Robbo’ Robertson on guitar who replaced Fast Eddie Clark. Robertson joined the band from Thin Lizzy and listening to “Another Perfect Day,” I would agree with the many comments that Robertson is a great technical guitarist. However, Lemmy claimed that Robertson would take seventeen hours to record one guitar track, thus making the recording of the album take much longer than normal. Then there his choice of clothing while on tour, which was not the standard denim and leather worn by Motorhead. Consequently, this led to Robertson and Taylor both leaving the band after the tour. For me, putting the behind the scenes stuff to one side, I can say that Robertson does lay down some really great guitar solos on here making me really love this album.

Track Listing:

  1. Back to the Funny Farm
  2. Shine
  3. Dancing on Your Grave
  4. Rock It
  5. One Track Mind
  6. Another Perfect Day
  7. Marching Off to War
  8. I Got Mine
  9. Tales of Glory
  10. Die You Bastard


Lemmy Kilmister- bass, vocals

Brian ‘Robbo’ Robertson- guitar

Phil ‘Philthy Animal’ Taylor- drums

Lemmy might have hated “Another Perfect Day” at the time but I love it. Saying that, he did include a few of the songs when he played live some ten years later. So my advice here is to listen to the album and completely enjoy it and don’t read about the history behind it. “Another Perfect Day” is yet another great Motorhead album.

Next post: Todd Rundgren- The Ever Popular Tortured Artists Effect

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Great Metal Albums of 1982: Motorhead- Iron Fist

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , on October 8, 2015 by 80smetalman


While Hanoi Rocks may be great to play at a party to kick it up a gear, Motorhead has always gone the more direct attack your eardrums approach. Their 1982 album “Iron Fist” is no different. From the very first song, it is determined to assault your ears and leave you shaking so much that some may think your are having some sort of episode. At least it does that for me. Each time I listened to it over the past few days, I strangely found myself headbanging frantically and looking for a mosh pit.

Unlike “Ace of Spades,” there is no signature track on the album. Each time I thought I found one, the next tracks sounds just as good if not better. Every song is determined to pound you into submission with that typical Motorhead sound. I even tried to put forward the view in my own head that possibly the songs are all too similar. No, there are differences in them, it’s just that fearsome musicianship of Clarke, Lemmy and Taylor that make the songs what they are. If I had to pick the best tracks on “Iron Fist,” I would have to go with “America,” “Shut It Down” and “(Don’t Need) Religion.” The middle of these contains Fast Eddie’s best guitar solo. However, pick any track off this album and I wouldn’t disagree with you that it’s a good one.

Track Listing:

  1. Iron Fist
  2. Heart of Stone
  3. I’m the Doctor
  4. Go to Hell
  5. Loser
  6. Sex Change
  7. America
  8. Shut It Down
  9. Speedfreak
  10. (Don’t Let’em) Grind Ya Down
  11. (Don’t Need) Religion
  12. Bang to Rights


Lemmy Kilmister- bass, lead vocals

Fast Eddie Clarke- guitars

Phil “Philthy Animal” Taylor- drums

Lemmy has stated in interviews that “Iron Fist” was bad and inferior to other Motorhead material. Frankly, I don’t see it. To me this just another fine Motorhead album that makes me want to get up and smash a large object through a wall.

Next post: Ted Nugent- Intensity in 10 Cities

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Great Metal Albums of 1980: Motorhead- Ace of Spades

Posted in Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , on October 30, 2013 by 80smetalman


When I first started this blog, I intended it to be a trip down memory lane for old metal heads like me and a metal history lesson for younger ones. But I must admit that while I take this journey, I am learning a hell of a lot myself. Cue this album “Ace of Spades” by Motorhead. We can all be rest assured that whenever anyone mentions the name Motorhead, the obvious response is their most known song “Ace of Spades.” A few of those may know that the song was the title track for their kick ass 1980 album. What even fewer people may know was that how far ahead of their time Motorhead was in regards to heavy metal.

Why is this album so ahead of this time? The answer is quite simple: one cracking metal tune after another bombards your ear drums into submission. It’s everything that heavy metal was to become just a few short years later, it’s just that Motorhead did it first. “Ace of Spades” is loud with fast guitars, cranking solos and of course that unmistakeable voice of one Lemmy Kilmister. Every track is a celebration but the ones that stand out for me the most (other than the title track) are: “Shoot You in the Back,” “Jailbait,” “Bite the Bullet” and “The Chase is Deadlier Than the Catch.”

Track Listing:

1. Ace of Spades

2. Love Me Like a Reptile

3. Shoot You in the Back

4. Live to Win

5. Fast and Loose

6. (We Are) The Road Crew

7. Fire Fire

8. Jailbait

9. Dance

10. Bite the Bullet

11. The Chase is Deadlier Than the Catch

12. The Hammer



Lemmy Kilmister- bass, vocals

Fast Eddie Clark- guitar

Phil “Philthy Animal” Taylor- drums

It’s a hard fact that Motorhead were the early pioneers of thrash and speed metal. Their fast, aggressive style would be copied by many a band in the mid 80s. If I had a time machine I would go way back in my archives and put them in my category of “Other Great Metal Influences” or give them an honourable mention at the very least. So, I curse myself for not hearing this great album until a few years after it’s release and even more so for not fully appreciating it for many more. “Ace of Spades” song or album represents what metal would become and what it should always be.

Next post: Judas Priest- British Steel

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