Motorhead at a jazz festival? Really? Yes, really! In all fairness, the Montreux Jazz Festival is renowned for its diversity and inclusiveness, everyone from Deep Purple to ZZ Top have graced the hallowed Auditorium Stravinski stage over the years. Motorhead always crossed genres throughout their illustrious career, from punk to metal and everything in between, Lemmy would pop up in the most random of places from milk commercials to movies. It feels like the most natural thing in the world knowing that Motorhead brought their uncompromising, ear bleeding show to a jazz festival!

This lovely live recording of that very show was recorded on the band’s ‘Kiss of Death’ tour and features the most dynamic line up of the band (in my opinion) with the Welsh wizard Phil Campbell on Guitar and Mikkey Dee on drums. The track listing is a career spanning one with all eras of Motorhead (up until that point) being showcased to deafening effect.

 Opening with Snaggletooth, and Lemmy’s famous mantra of ‘We are Motorhead, and we play rock n roll’ it’s easy to see why this line up of the band lasted the longest. They really are as tight as a duck’s backside, to me though, the age-old argument of ‘are Motorhead a heavy metal band?’ with Lemmy always insisting that they were a rock n roll band falls down with the undeniable fact that Mikkey Dee is 100% a metal drummer, and a bloody good one at that!

We get all the favourites of course, Stay Clean, Metropolis, Going to Brazil, Killed by Death, Iron Fist, Ace of Spades, and a ferocious performance of Overkill. For me though, the later material on this live album highlights some of the bands best. In the Name of Tragedy from the Inferno album is an absolute belter and sounds amazing here. We also get the brilliant neck destroying ‘Be My Baby’ from ‘Kiss of Death’ and it’s great to hear ‘I Got Mine’ from ‘Another Perfect Day’ sounding so fresh. We also get a decent cover of Thin Lizzy’s ‘Rosalie’ which works well with Lemmy’s vocal approach. ‘Sacrifice’ with its double bass drum barrage and crunchy riff has always been a favourite of mine and we get a trademark Mikkey Dee drum solo in the middle of the song.

The production is rock solid, the band really are on fire here, and the package is great as usual from the BMG camp. Available on double LP, double CD, and all digital platforms. Live at Montreux Jazz Festival 2007 will be a great addition to any Motorheadbangers collection. Jazz….nice..

Author: Kenny Kendrick

When Motorhead folded after Lemmy’s death in 2015, everyone wondered what would become of guitarist Phil Campbell and drummer Mikkey Dee. Would they stay together and form another band? As it turns out, that wasn’t to be, these days Mikkey sits on the drum throne for German metal titans the Scorpions, and Phil Campbell turned his side project while he was in Motorhead; Phil Campbell’s All Starr Band into something permanent and changed the name of the band to Phil Campbell and the Bastard Sons. The Bastard Sons in question are of course Phil’s actual sons Todd, Tyla and Dane on guitar, bass, and drums respectively.

 A self-titled EP was released in 2016 and they released their debut album ‘The Age of Absurdity’ in 2018 on Nuclear Blast records. The album was well received, winning best album at the 2018 Metal Hammer awards. The band succeeded in salvaging some of the Motorhead swagger with a modern edge that helped them fit in to the NWOCR movement.

 Their second album ‘We’re the Bastards’ which was released in the autumn of 2020, followed on nicely from the debut with more fist pumping anthems. In 2021 the band parted ways with vocalist Neil Starr. Andrew Hunt from Buffalo Summer/Valhalla Awaits filled in for some live dates including a headline spot at 2021’s Steelhouse Festival while the band looked for a full time replacement for Starr.

In January 2022 the band announced Bootyard Bandits front man Joel Peters as their new vocalist after completing a UK tour with PCATBS. The band have always been a force to be reckoned with live and with this latest release ‘Live in the North’ we have been given a great insight into just how good they are as a live unit. I have been lucky enough to have seen the band live numerous times now, and they never disappoint. The album was recorded in 2021 at the Independent in Sunderland and the track listing has a dusting of both studio albums as well as some Motorhead classics and material from Phil’s solo album ‘Old Lions Still Roar’.

Kicking off with a rousing rendition of ‘We’re the Bastards’ the band are on fire throughout the set. Joel Peters sounds like he’s always been there fronting the band, he really is a fine front man, engaging the crowd and singing his heart out. The Bastard Sons themselves are all fine musicians and play a blinder here as always. Drummer Dane is world class and shows his fine-tuned chops here driving the band all the way. Todd and Tyla sound great, Todd’s crunching guitar sound works perfectly and Tyla has that rumbling bass sound that’s worthy of every Lemmy lick he plays. Then we have Papa Campbell himself, still playing like his life depended on it every night, he really is an inspiration. ‘Bite My Tongue’ swaggers along nicely, ‘Rock Out’ sounds revitalised here with a little more pace than the Motorhead original. ‘Spiders’ grooves along with a riff that Tony Iommi would be proud of. ‘Son of a Gun’ is an absolute belter of a track that sounds so much better live. Motorhead anthem ‘Born to Raise Hell’ is full of rock n roll boogie and is a guaranteed crowd pleaser. ‘High Rule’ is another track that sounds better live with its double time chorus that Dane has a ball with. ‘These Old Boots’ pumps along nicely with Peters taking on the vocals that Dee Snider of Twisted Sister provided on ‘Old Lions Still Roar’ with ease.

We are then treated to a breakneck speed version of ‘Ace of Spades’ which rolls into a clap along rendition of Hawkwind classic ‘Silver Machine’. ‘Ringleader’ brings us back to the band’s original material with a bang before we are ‘Going to Brazil’. ‘Dark Days’ does what it says on the tin, a brooding chug fest that comes into its own in a live setting. ‘Big Mouth’ from the bands debut EP is a mainstay in the bands set and always goes down a storm. The album closes with a fantastic execution of Motorhead’s ‘Killed by Death’.  

Live in the North’ is a solid representation of Phil Campbell and the Bastard Sons in a live setting. A great listen from start to finish, and with 15 songs and just under an hour’s duration, you get plenty of bang for your buck. As I write this, the band are taking pre orders for a signed CD version or a T shirt and CD bundle. Get on it quick people! Oh, and fuck you Tyla Campbell!!


Buy Here

Author: Kenny Kendrick

Limited to 1000 copies and released in May ‘Turbonegro Must Be Destroyed’ is a wholly independent release for one of the finest underground Punk Rock Garage bands ever to grace the earth. Not many other punk rock band, that never was part of the mainstream, left such a footmark like Turbonegro did. Bars in Mexico and Spain are named after the band. The Turbojugend, the fan club of the band, is only comparable with the fan clubs of old rock giants such as Motorhead or Kiss with as many hipsters wanting the levi denim with their name on it as genuine lovers of the band and boy are the Turbojugend a loyal lot.

There have been many tribute records made so why not another one from a bunch of bands many of us are familiar with and some new ones no doubt? In the very best DIY manner, this album is not released by a label and will be distributed by the bands only. The drawings of Hank and Tony on the sleeve have been made by Warren Mancini, a tattoo artist from the USA. The layout has been created by Javier Villalpando. Javier already created the TUR30NEGRO lettering for the band’s 30th anniversary in 2019. So who and what’s on it?

Familiar to regular readers will be the likes of Christmas, The Dwarves, Stacy Crowne & Scumbag Millionaire. Opening up the album is a truly brutal “knocked out of the motherfuckin’ park” take of ‘I Gotta Knife’ from the zero fucks given combo that is Christmas. A band that got what Turbonegro was all about and carried the very same DNA coursing through their veins. That’s how to open a tribute album and make the listener sit up and pay attention. Bosh! job done.

How to follow that up? Ah, I know Scumbag Millionaire. Yup, ‘Just Flesh’ is a clap of thunder that scorches your speakers. Taking the spirit of the song and turbocharging it to the max. This is sounding like a top tribute already and we’re only two songs deep. I reach for the volume this deserves to be turned up louder as a sleazy ‘Du Mongo’ makes my skin crawl for all the right reasons as its creepy crawl through my speakers. Hang on it’s The motherfuckin’ Dwarves putting their sleazy slap on ‘Blow Me (Like The Wind)’ like only the Dwarves know-how. Dripping in sex appeal and slithering through the broken glass floorboards of some damp dark dungeon this is a blast and exactly how a tribute album should roll.

Notable bands I’ve not heard before would be CatEater taking on ‘Hurry Up And Die’

Stacy Crowne gets the tone spot on for their romp through ‘Humiliation Street’ getting the thin line between Street Punk and big glorious Glam Rock. I am quietly glad the bands stayed away from a lot of the big-ticket turbo tunes and went for deeper cuts. I know there are a lot of top trumps with cult bands seeing who can pick the most obscure to cover but I don’t think that’s the case here the songs are treated with the right amount of respect and bands have taken ownership in their styles which is fantastic.

‘Selfdestructo Bust’ from Alarmstufe Rot is a riot whilst Deviltrain walks on the sleazy wild side with ‘Rendezvous With Anus’. Syff takes a buckin’ bronco ride on the frantic smasher that is ‘Prince Of The Rodeo’ delivered with an air of “have some of that” and in keeping with the rest of this album is a top turn. Hell even Christmas main man Max delivers a sleazy ‘Everybody Loves A Chubby Dude’ Feed Me Feed Me, Feed me more of this more like, inject this sleazy punk rock right into my bloodstream.

The Dogs dish up a romping ‘Armed And Fairly Well Equipped’ with parping keys added to the thuggish riff for good measure. Finally signing off this monumental tribute is a Schreng Schreng & La La with a Haunting ‘Sailor Man’ in the style of Johnny Cash and his American recordings style twisting your Mellon in true Turbo style.

Listen, I know there will be detractors of tribute albums but Turbonegro was way out there with the greats of the underground and the original lineup with Hank was a very special band to many many people the flame will be kept burning as long as bands like these keep rolling out records as good as this one. Get it, listen to it, investigate the bands that deliver the goods and then bow down to Turbonegro and all who sailed in her for they were an exceptional band and they spawned many fine bands who followed in their footsteps and continue to do so. Buy It! Then check out the bands who make this such a great record they deserve your support.

Pick it up Here

Author: Dom Daley


Motörhead, the iconic Godfathers of heavy metal, released their 23rd (and final) studio album Bad Magic in 2015. Instantly hailed as one of the best the beloved trio had recorded in many years, Bad Magic: SERIOUSLY BAD MAGIC enjoys a bonus-packed refresh, adding two previously unreleased tracks from those furious sessions:
Bullet in Your Brain” and “Greedy Bastards” as well as a snarling, fangs-out live performance from that subsequent tour at the giant Mt Fuji Festival in Japan in 2015. Fans will also get “War, Love, Death and Injustice”, an audio interview with Lemmy conducted by Motörhead expert Robert Kiewik during the tour, and should the desire to have a chat with Lem or anyone beyond this mortal coil arise, the box-set will exclusively contain a MURDER ONE ouija board (complete with the Ace of Spades planchette to spell out the conversation). 
A new video for “Bullet In Your Brain”, featuring exclusive, never before seen footage of Motörhead in the studio for the Bad Magic sessions, is available right now. A foot-down, fist-pumping, Lemmy-bass-driven stomper with a deliciously dirty Campbell riff, and Dee-driven dynamics, both the song and footage are a tremendous treat for fans who have craved new Motörmaterial.

At the time of its release back in 2015, Bad Magic arrived as a massive kick in the teeth for anyone who believed Motörhead were going to amble along into a peaceful little pasture containing fluffy little lambs, folk music and perhaps the odd medieval lute here and there. Big-rig head crushers such as “Thunder & Lightning” and “Teach Them How To Bleed” brought such people to their knees begging for forgiveness, as the album unfurled into their toughest, leanest, meanest and most uncompromising album in aeons. Much of this came down to long-time producer Cameron Webb getting the band to record live at NRG North Hollywood, Maple Studios and Grandmaster in California together for the first time in the Kilmister/Campbell/Dee era, and from the crackling punk energy of “Electricity” to Brian May of Queen’s scintillating guest-appearance on “The Devil”, a vast wealth of aggression, attitude, and excellent songwriting was cultivated in that furious working environment. Phil Campbell didn’t just record possibly his finest guitars, he threw down most certainly his best solos for decades, while Mikkey Dee’s drumming found new tribal resonance with the Motörhead sound he had helped nurture. There was also one of Lemmy‘s rawest lyrical life reflections on “Till The End”, and a cover of TheRolling Stones’ “Sympathy For The Devil” which made the song feel like one of their own. One of the hidden gold-dust additions to Bad Magic: SERIOUSLY BAD MAGICis Motörhead’s famous, and internationally acclaimed, version of David Bowie’s classic “Heroes. Originally slated for inclusion on the last release only to be withdrawn at the last minute, it was a cover version which Lemmy had a great affection for, and as such its inclusion here is both fitting and just.

As the title says, this is Motörhead delivering some SERIOUSLY BAD MAGIC.

Bad Magic: SERIOUSLY BAD MAGIC will be released on Double 12” Vinyl, CD Digipak with Bonus Disc, Limited Edition Boxset, Digital Download and Streaming. The Limited Edition Boxset will contain the CD Digipak with Bonus Disc, Double 12” Vinyl, exclusive Lemmy War, Love, Death and Injustice audio interview on 12” vinyl and exclusive edition Motörhead – MURDER ONE Ouija Board and Planchette. Pre-order all formats Here

Lavish tabletop book, packed with a treasure trove of never-before-seen photos, to be released December 30th in the UK

Graham Mitchell, who was Motörhead’s tour manager in the late 1970s and early ‘80s, was also an avid photography enthusiast. A new large-format tabletop book, Fast & Loose: Snapshots from the Graham Mitchell Archive, 1977-1982, collects nearly 100 of his snapshots, including many that have never been published before.

“I somehow knew how important it all was,” Mitchell says. “I knew I needed to capture at least some of those moments. I’d see the band to the stage and then immediately go out into the house, jostle with the punters, and get what I could.”

One of the most influential hard rock bands of all time, Motörhead mixed rock, punk, and heavy metal into an aggressive blend of pure explosive energy. During the era documented in Fast & Loose, the classic “three amigos” lineup of the band (Lemmy Kilmister, Phil “Philthy Animal” Taylor, and “Fast” Eddie Clarke) toured relentlessly and recorded a half dozen classic albums that continue to impact the music world today. All three of their estates participated and gave their blessing for Fast & Loose.  

In the period covered in the photographs, Mitchell was not only the band’s tour manager but, in his own words, “their babysitter, their procurer of women, their procurer of drugs, procurer of everything.” Somehow, in the midst of the whirlwind, when Graham picked up his camera he snapped amazing images of the group that document the raw power of Motörhead with an unparalleled intimacy that only a trusted member of the inner circle could capture.

Rather than posed promotional images, these are gritty and off-the-cuff shots that catch the band in the studio, on stage, in rehearsals, partying in dressing rooms, clowning around in the van, and even getting into a shaving cream fight with fans. From side-stage performance shots, to up close images of band gear, to Lemmy wearing a slice of turkey as an eye patch, what’s presented in Fast & Loose is a true insider’s view.

“Most of my images,” Graham reveals, “are one-shot photos, and there’s no flash on any of them. They were done at 400 ASA to speed up the film and take advantage of whatever natural light I could get, so I was always flying by the seat of my pants whenever I clicked the shutter.”

Through it all, he managed to capture the harsh realities of the road (band members washing their hair in a tiny sink), the inevitable fun (living it up with members of the band Weapon backstage in Glasgow), and even the tender moments (spending time with Phil Taylor’s dad).

Rather than cleaning and sanitizing the photos, each one is presented with the gritty immediacy of the moment. There are scratches and blemishes, but that’s the point. It preserves an era.

“You know, there used to be a Motörhead saying,” Graham reflects. “Take no fucking prisoners. It always made sense to me, and I like to think these photos capture that in all its (occasionally grotty but never boring) glory.”

Fast & Loose is an up-close-and-personal look at a one-of-a-kind group that is essential for any diehard fan. Published by BMG, it’s available now in the US, and will be released in the UK on December 30th.

Late in 2020, Amyl and The Sniffers went into the studio with producer Dan Luscombe to record their sophomore album, ‘Comfort To Me’ and so entered Covid 19, much like the story that is being written all over the globe. Some bands began to put their feet up and ride it out and some bands knuckled down taking the opportunity to start writing some new tunes for a new album and seeing the pandemic as just something they have to deal with, an obstacle of how to record remotely or outside of the box.

Amyl &The Sniffers are no different to everybody else in that respect, maybe, some would say with a more primitive, feral sound perhaps they had a jump start on many others but it’s taken 18 months to get this record to the shops.

Not just being an Aussie band the Sniffers have been all over the globe since 2019 touring their debut and have expanded the gene pool they’re fishing in and it shows on this new album.  ‘Comfort To Me’ is still the same beast but with more clothes on figuratively speaking of course.  Written over a long year of lockdown, the album has more Hard Rockin’ influences to the fore, old-school rock’n’roll (AC/DC, Rose Tattoo, Motörhead and Wendy O Williams are there for all to hear but it’s more than that the Cosmic Psychos loom large in their influence), There is also the powerful throb of hardcore like the compelling ‘Choices’ but their tip of the hat to fellow Oz underdogs the Cosmic Psychos on ‘Security’  Lyrically,  it is captivating and Amy does have plenty of energy in her vocals.


Sure singing about fighting, lust, booze, chaos and a whole lot more besides she’s looking for love for gawds sake on ‘Security’ and the filthy bass throb on ‘Knifey’ shows a departure with a measured sleazy slog talking about social issues as the menacing tempo slowly grinds through the gears adding a new edge to the bands arsenal and I like it.


The opener is inspirational as they are ‘Guided By Angels’ but it leads into ‘Freaks To The Front’ and from the thuggish Bass riff we’re taken around the back and given a good seeing to and throwing the C Bomb isn’t something you often get to hear even on an anti-social punk rock record but here it seems wholly appropriate as the band grab you by the face and shake the listener around for a bit. What a stonking introduction to ‘Comfort To Me’.


‘Comfort To Me’ is unapologetic and leading the way in feral punk rock n roll where they don’t seemingly give a flying fuck if you like them or now because they’re playing the songs they’d love to hear in some late-night bar and anyone who’s seen them live can testify that hearing some of these songs like ‘Maggot’ with its melody and Captain Sensible style solo is excellent and full of hidden gems showing themselves if you invest the time to play this record the respect it thoroughly deserves – the rewards are plentiful and as far as writing and recording a little better each and every time you enter a studio then Amyl & The Sniffers are winning.  This is a notch up from the debut and the variety is here and when the band are rocking out in full flight its a thing of real beauty, ‘Capital’ is a beast of a track, and ‘Don’t Need A Cunt (Like You To Love Me)’ is a tip of the hat to Lemmy and Venom at their raucous best if they were punk as fuck. Regardless of the controversial title, it’s a blast and guaranteed to leave one’s ears ringing.


Before the record signs off Amyl gives ‘Laughing’ a good seeing to and puts down her line in the sand and be warned not to cross it.  RPM isn’t laughing at Her we’re laughing with her and tunes like this make us love her band a little more on each play.  Which only Leaves the thuggish ‘Snakes’ to sign off with a winning combination of power and attitude. Now snakes terrify me but maybe if I had the attitude of Amyl & The Sniffers then I’d be out stroking the fuckers but until then I’ll just familiarise myself with this serpent and slither off to play it again and probably again and when I’m done I’ll play it some more.  What a top record this is. If you haven’t already jumped on board then please take my advice and give it a whirl it’s a fuckin’ Banger! Stick with it it’s a record that keeps on giving and who doesn’t like a record like that?

Buy Here

Author: Dom Daley



Motörhead… a life force, an energy, an attitude and the loudest, meanest, dirtiest music to smash the 20th and 21st centuries. With a bastard sound comprising an unholy synergy of rock, punk and heavy metal, Motörhead comes coated in relentless, ear-curdling power. They were life-changing for millions, carrying a spirit and approach to life and music which proudly said, “Honey, we’re hoo-oome, pour us a drink, because we’re here to enjoy ourselves!” The ‘off’ switch was never employed in the Motörhead lust for life, and they became legends as a result.

Leading the charge for their entire 40 year career, was the cultural icon Ian ‘Lemmy’ Kilmister, who swashbuckled around stages, streets and over seas like a glorious Mad Max pirate truth-sayer, roaring for the good and screaming at the wankers. With his propulsive sound and lyrical might leading the charge, Motörhead released twenty-two studio albums over those four decades, amassing chart topping records worldwide, a Grammy award and racking up around 20 million sales. Their hit song, ‘Ace Of Spades’, became Motörhead’s anthem, perfectly capturing their attitude for millions, and punching giant holes in stereos worldwide to this day.

Nothing was harder, nothing was faster, nothing packed more raw attitude and certainly nothing was louder, making Motörhead a cultural elixir that was regularly imbibed across all genre lines. Don’t take our word for it, look around any heavy metal, punk or alternative gig, and you’ll see the indomitable warpig logo and Motörhead gothic script on a t-shirt, a jacket, even an arm or leg or back (Motörhead tattoos are everywhere), all sitting on the bodies of rockers, metalheads, punks, bikers, rebels, outcasts, freethinkers and even athletes all around the world.

Yeah, that’s right, Motörhead’s cultural reach remains virtually peerless to this very day (the one you’re living right now as you read this), and it continues to span fans young and old, igniting their adrenaline and giving them both entertainment and identity.

This collection is the definitive assembly of Motörhead songs which have created this cultural phenomenon, and represents the first time all eras of the band’s recorded history have been represented in one place.

And we feel that if in this mad mad world we’re living in, some aliens decide to drop by your house for tea and demanding an explanation as to, “what the fuck is this ‘Motörhead’ that we keep hearing and feeling bits of in our extra-terrestrial houses millions of miles away,” you could happily play Everything Louder Forever and know that the question will be thoroughly answered. Buy two copies though, because you know they won’t leave without taking one themselves! Or something like that anyway…

See below for full details of the Everything Louder Forever and be sure to visit for news and updates!






Rock icons Danko Jones announce two livestream performances in celebration of the release of their 10th studio album Power Trio, out August 27th via MATE in GermanyThe livestreams are set for Saturday, August 28th at 8:00PM ET / 5:00PM PT and at 8:00PM CET and will be streamed live from Bridgeworks in Hamilton, Ontario.

To add to the excitement, the band will also be doing a Q&A for viewers after the performances. Tickets & info can be found HERE

Along with the livestream show announcements, the band has also released a new song today, “Start The Show”. Stream it HERE! And watch the lyric video HERE!

Ironically the last song on ‘Power Trio’, it is essentially Danko Jones’ answer to Cheap Trick’s “Hello There” – i.e., a song tailor-made to be the first song played at a Danko Jones show. It’s a reaffirmation of everything he was put on this earth to do. But in the wake of this pandemic-plagued year, the song also makes for a surprisingly poignant album closer, because it’s a reminder of all the shows that Danko didn’t get to play this past year, and a reminder of how much we’ve all missed that goosebump-inducing feeling of being in a packed club when the house lights go down, the music playing over the PA cuts out, and your favourite power trio emerges from the darkness to kick into their opening tune.  And yet despite this bittersweet subtext, “Start the Show” is brimming with the promise that we will experience that feeling once again—and, after the black cloud of COVID clears, Danko Jones will be there ready to give it to you.

“Start The Show” follows previously released singles “Saturday” and “I Want Out“.  Hitting #1 at German Rock Radio and Top 15 at Canadian Rock Radio, “I Want Out” has seen success with airplay around the globe. In April the band also released a fan-only track “Flaunt It”.  Album pre-orders are available HERE!

Power Trio sees Danko Jones delivering each engine-revving riff, soul-shaking stomp, and shout-it-loud hook with a sniper’s precision. It’s such a simple, self-evident title, but one loaded with significance, as it speaks to the special triangular alchemy Danko shares with his trusty bass-slinging accomplice JC and drummer Rich Knox.  It also stakes out the band’s place on a storied lineage of three-piece titans Jimi Hendrix Experience, ZZ Top, Rush, Motörhead, Venom, Dinosaur Jr., and the Jon Spencer Blues Explosion, to name a few.

The album follows the band’s electrifying, world charting album, ‘A Rock Supreme’ released in 2019. It also sees the band once again tapping into the production prowess of Eric Ratz, who previously amped up the bone-breaking boogie of 2017’s full-throttle rocker ‘Wild Cat’ and 2015’s bloodlusty Fire Music.
Band Photo By Dustin Rabin

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You never forget your first encounter with Motorhead. I vividly remember mine; I was around 12 years old and I had been regularly raiding my mate’s older brother’s vinyl collection. I had already been turned into a metalhead after blasting his copy of UFO’s classic live album ‘Strangers in the Night’ over and over and had my Dio virginity taken by Rainbow’s ‘Rising’ and his pristine copy of ‘Holy Diver’. I was flicking through to see what else would grab my attention when I came across his copy of ‘Ace of Spades’. I assumed they must be some sort of mad Mexican bandits judging by the cover with Lemmy and the boys resplendent with bullet belts, guns, and cowboy hats in the hot desert. (I was gutted when I found out years later that the photo was taken in High Barnet, London). Anyway, I feverishly took the LP out of its sleeve and put it on my mother’s crap hi-fi system. The opening bars of the title track was enough to have the speakers flapping, the neighbours complaining and this teenage scribe’s metal morphosis was complete.


This time in Motorhead’s history was to prove to be their most successful, ‘Ace of Spades’ reached number four on the UK album chart, and the ensuing ‘Ace Up Your Sleeve’ tour was their most lucrative to date, taking Bronze label-mates Girlschool out with them as support. This tour was documented in the loudest possible way with the release in 1981 of one of the best live albums ever recorded: ‘No Sleep ‘Til Hammersmith’. Confusingly, the album wasn’t recorded at the Hammersmith Odeon as many people think but was made up from material recorded at the Newcastle City Hall and the Leeds Queen’s Hall in 1981. The album’s title came from a mural painted on one of the band’s tour trucks. It was the band’s only number one in the UK and showcased a band at the peak of their deafening powers. The line-up of Lemmy, ‘Fast’ Eddie Clarke, and Phil ‘Philthy Animal’ Taylor is the most revered for good reason, the chemistry on stage is palpable and every track is performed as if their lives depended on it. It literally rips out of the speakers. I loved it as a spotty teenager, and I love it even more now.



This 40th-anniversary release of ‘No Sleep’ is hot on the heels of last year’s fantastic ‘Ace of Spades’ anniversary release. There’s so much here for Motorheadbangers to get their teeth into with the deluxe editions. You can choose from a remastered double CD or triple LP set, both come with bonus tracks, soundcheck recordings, and the previously unreleased Newcastle City Hall concert in its entirety. You also get hard books with the story of the album and brand-new photos, posters, a tour pass, and loads of other goodies.



There’s also the option of a four-CD box set with all three concerts that make up ‘No Sleep’ here in all their eardrum demolishing glory. Seventy-one tracks in total! The new remaster sounds incredible and you get all the thunderous bass runs, amphetamine-induced double kick drum mania, and full-throttle guitar riffs in crystal clear sound. The soundcheck recordings are a delight to behold, make sure you check them out!

40 years is a long time, give this reissue all the attention it deserves, turn it up as loud as you possibly can (fuck the neighbours), pour yourself a JD and Coke, and plunge yourself (Motor) headfirst into the audible delight that is ‘No Sleep ‘Til Hammersmith’. It’s what Lemmy and the boys would have wanted. We all miss you. RIP.

Buy Here

Author: Kenny Kendrick





Life on the road isn’t all glamour and rock’n’roll excess and Motörhead’s punishing tour schedule in 1981 took them all over the globe as they rode high on the success of Ace Of Spades. One integral part of the daily grind on the road is the sound check, although very little of it is ever seen or documented in the public domain.

Fortunately during the Short Sharp Pain In The Neck tour of March 1981, Motörhead had a mobile recording studio in tow as they recorded their thunderous, number 1 live album, No Sleep ‘Til Hammersmith now celebrating its 40th year. This rare recording of them performing ‘Stay Clean’ as they warmed up for the night at Newcastle on 30th March is accompanied by a video containing behind the scenes montages of the backbone of the Motörhead live show; the legendary road crew!