Review by Rob Broom for MPM
Pumping rock and roll collection of singles, rarities and live cuts from Motörhead.
Having been initially branded (by Lemmy) as the band that would make your lawn die if they moved in next door, by the late 1970’s and early 1980’s Motörhead were unlikely Top Of The Pops (a UK weekly TV show covering the chart hits of the day) darlings.
Starting with ‘Louie Louie’ and running through to the ‘Please Don’t Touch’ collaboration with Girlschool, just about every single release got the band valuable TV exposure and for the fans it was simply amazing to see them on prime time TV. Classic times documenting what was to many fans the ‘definite’ period of Motörhead, but as methods of obtaining music have changed, the value of the single as a money making entity has diminished and nowadays they are more a preview of a forthcoming album.
Jumping forward ten years or so from their prime time UK TV appearances , for the period covered by this release (and thereafter) the band lineup consisted of Lemmy (bass and vocals), Phil Campbell (guitar) and Mikkey Dee (drums). Second guitarist Wurzel was originally involved in preparation for the Sacrifice album that was released in 1995, but left the band before recording began and Motörhead remained a trio thereafter.
Proceedings open with the rumbling ‘Sacrifice’. Along with its easy to learn shout one word chorus, the song batters and punches it’s way to a vicious conclusion. A great opener.
After a storming live version of ‘Over Your Shoulder we get ‘I Don’t Believe A Word’ (Single Edit). This has a brooding pace and throb that compliments the songs lyrics. It’s a very different sound to the recognised Motörhead ‘classics’, yet with the addition of some synthesiser and electronics could easily become a Hawkwind song!
Both ‘Overnight Sensation’ (Live) and ‘Love For Sale’ canter along with all the swagger of Lemmys rock and roll heroes. The latter is a fantastic tune with the superbly tongue in cheek lyrics that Lemmy seemed to be able to knock out at will (and often did!).
‘Take The Blame’ has the kind of drumming that has underpinned Mikkey Dees career. Try banging your head to this. It’s the drumming from Overkill on speed. Lemmys lyrics rarely flinch or hold back and the subject of his wrath on this tune is politicians. He certainly doesn’t mince his words! There is also an unexpected brief burst of keyboards which are tremendous!
‘God Save The Queen’ is a savage mauling of the Sex Pistols classic. It’s a band enjoying themselves hammering out a song that meant something to a whole generation of punks and those beyond. Motörhead were always willingly embraced by the punks and Lemmy was a great friend of the Damned in particular (even briefly playing bass in the Doomed). Lemmy might not have Johnny Rottens sneering vocal delivery, but he certainly carries the song off very well indeed, stamping his own character onto the lyrics.
The pace drops dramatically for ‘One More Fucking Time’. Lemmy really attempts to sing and hold a tune as the song begins (and makes a good effort of it!) but don’t let that fool you as the song roars along. Many people will relate to Lemmys impassioned lyrics and the chorus is an obvious singalong. It is a wonderful piece of music and clocking in at almost seven minutes makes an even bigger treat!
A blistering and catchy ‘Shut Your Mouth’ (Single Edit) rips along with a sharp guitar riff and solo from Phil Campbell while ‘See Me Burning’ is driven along at breakneck speed by Mikkey Dees drumming and Phil once again slides in a nifty red hot guitar solo.
‘Whorehouse Blues’ does literally scoop up the blues and while Lemmy does a great Billy Gibbons (of ZZ Top) impression in places, at its heart the song is still Lemmy being Lemmy. It’s an entertaining change of pace and style from the band. There is some sizzling guitar picking from Phil Campbell and amusing lyrics.
‘Killers’ returns to the tried and tested war themes. There is a beat and rhythm to this period of Motörhead that is unmistakable and Killers is a great example of that. The song thunders and roars along like a Ferrari that’s lost it’s exhaust.
‘God Was Never On Your Side’ is another slower paced piece that simply slams your face into the table and keeps pounding. Lyrically Lemmy is on point dripping with bile and questions regarding the blind acceptance of faith and religion. I suspect the songs title was inspired by the ‘God Is With Us’ motto found on WW2 German soldiers belt buckles. The band absolutely nail the whole piece. A standout Motörhead moment to my ears and a song a few other metal bands should really consider covering.
Following that we get the bruising ‘Trigger’ which returns us to a more familiar Motörhead tempo as it rattles and riffs along.
Wrapping up the music section ‘R.A.M.O.N.E.S’ (2006) and the accompanying live version are both fast and frantic, ripping along with the buzz saw guitar sound that typified the Ramones. Lemmy’s fitting tribute to a phenomenal band.
This review is based on the collectors box set of 7” singles which also includes a disc with two interviews that coincided with the ‘Inferno’ album release. There is an expanded CD release with a couple of extra tracks.
Whilst on a first glance this release might seem a bit of a ‘cash grab’, it really goes contain an excellent mix of songs which I really enjoyed listening to It shows that Motörhead – whilst always heavy rock and roll – were most definitely not one dimensional during this period of their career. There are some delightful changes of pace that highlight Lemmy’s songwriting ability and while there is no doubt that several songs here can proudly stand alongside the likes of ‘Overkill’ and ‘Ace Of Spades’, the rest of this furious collection are no slouches either!
By most accounts Lemmy would get quite frustrated that most people really only recognised Motörhead for the ‘Ace Of Spades’ line up and ignored the later albums and the valuable contributions of Mickey Dee and Phil Campbell.
While the die hard Motörhead fan base will decry that, I believe its broadly speaking true for many in the wider rock and metal community who ignore the band after ‘No Sleep ‘Til Hammersmith’. So if you fall into that category (and even if you don’t!) then ‘We Take No Prisoners’ is an essential way to right the wrong and reintroduce yourself to an explosive period of Motörheads history.
Go buy it now and turn it up – your lawn should blossom with vigour!
PREORDERS HERE – motorhead.lnk.to/prisoners
