It’s an unfair gag that Lemmy and co have been making the same album for 30 years. We appraise their works, warts ‘n’ all.

Think of Lemmy, and clearly defined images scroll across the mind. Rapidly emptying bottles of Jack Daniel’s, fruit machines, warts and moustaches’ the man has become so much a part of British culture that his fame has long outdistanced the career of Motörhead. Yet the band he started in 1975, with a view to shocking horticulturists everywhere (declaring lawns would die if he and his gang moved in next door), have had a massively distinguished and influential career.

Lemmy came up with the Motörhead format after being fired by Hawkwind for ‘taking the wrong drugs’, initially hooking up with former Pink Fairies guitarist Larry Wallis and drummer Lucas Fox. The line-up lasted long enough to record the On Parole album for United Artists, before the band were dropped by the label and the record shelved (eventually coming out in 1979).

Stopping only to sign to Chiswick, and swapping Wallis and Fox for ‘Fast’ Eddie Clarke and Phil ‘Philthy Animal’ Taylor respectively, Motörhead released their self-titled debut in 1977 ­ amazingly, it charted. The trio¹s brand of dirty rock¹n¹roll appealed to punks and metalheads alike. The next few years were groundbreaking. The albums Overkill (1979), Bomber (also1979) and Ace Of Spades (1980) were increasingly successful. On the Bronze label, by now the band were even getting mainstream TV attention. So, it was no surprise when 1981’s stunning live album No Sleep ‘Til Hammersmith debuted at number one on the UK charts.

But two years later, Clarke quit, and Motörhead brought in former Thin Lizzy man Brian Robertson for the underrated Another Perfect Day (1983). However, there was to be another upheaval when Lemmy refashioned Motörhead in the mid-’80s, recruiting ex-Saxon drummer Pete Gill, plus guitarists Wurzel and Phil Campbell. And, while the band have never reached the same heights, nonetheless they’ve shown a certain degree of consistency over the past two decades. In 1987, Taylor returned to the fold (he would be fired five years later, with Mikkey Dee coming in). And when in 1995 Wurzel left; Motörhead reverted to the three-piece format, which has remained intact for the last 13 years.

Grammy Award winners in 2005 (ironically for a cover of Whiplash by Metallica, one of the many big names they’ve inspired), Motörhead now attract a new, younger audience, one that realises 33 years on, Motörhead play nastier, more guttural riffs than almost anyone. Your lawn still isn¹t safe.

ESSENTIAL: CLASSICS

OVERKILL
Bronze, 1979

The album that really started the Motörhead craze, and established their unmistakable style ­ one that¹s barely varied to this day. It’s full of songs that have become Motör classics over the years, from No Class to Stay Clean, Capricorn to Tear Ya Down. And the title track is inimical yet also warm. The unmistakable, unmissable drum pattern stills draws gasps of awe.

But what makes Overkill so successful as an album is that there’s a thorough consistency throughout ­ no song is wasted, no beat is merely thrown away. A lot of hard work and thought went into making this sound so simple. Three decades on, it¹s an essential masterclass for Motörhead wannabes.

ACE OF SPADES
Bronze, 1980

There¹s little doubt that 1980 was a vintage year for hard rock and metal albums ­ and this stunner was right up there with the best. If there¹s one Motörhead record that defined the classic trio of Lemmy, Fast Eddie and Philthy Phil then this is surely it. Whatever happened in the studio produced a towering classic. Uncompromising yet commercial, edgy yet radio-friendly, Motörhead weaved a unique fabric of energy, riffs, melody and wit. Mere mention of the song titles ­ Ace Of Spades, (We Are) The Roadcrew, Jailbait ­ is enough to get the blood pumping. But the whole is greater than the sum of individual tracks.

SUPERIOR: THE ONES THAT HELPED CEMENT THEIR REPUTATION

MOTÖRHEAD
Chiswick, 1977

Although this wasn¹t the first album recorded by the band ­ that was On Parole ­ the self-titled record was their debut release. With the classic line-up in place, Motörhead actually wanted this to be a live farewell record, as they seemed to be getting nowhere slowly. Thankfully, they were persuaded to go into the studio, recording most of the album in just two days. The lack of time and budget suited their style. What comes across is a raw, aggressive trio, straddling punk and metal on songs like Iron Horse/Born To Lose, White Line Fever and the revamped Hawkwind number Motörhead. A vibrant and urging introduction to the band.

BOMBER
Bronze, 1979

Recording two albums in one year can have the effect of drastically diminishing the potency of the latter release. Not so here. Motörhead followed Overkill with a record that was almost its equal. Bomber kept up the momentum and quality of its predecessor through a succession of top songs, with Lemmy excoriating personal targets such as his father (Poison), the police (Lawman) and heroin (Dead Men Tell No Tales ­ ironic when you consider Bomber producer Jimmy Miller was heavily into the drug at the time). The title track became a de rigueur part of the band’s live show, thanks to the unforgettable 40ft replica of a Heinkel.

NO SLEEP ‘TIL HAMMERSMITH
Bronze, 1981

One of the finest live albums of all time, No Sleep captured the full glory of the band in their pomp. Recorded during three shows on the Short, Sharp Pain In The Neck UK tour in ‘81, it’s a breathless hurtle through Motörhead’s most memorable material, when everything was louder than everything else. There’s scarcely any room for breath, as a fierce pace is maintained throughout. Lemmy, Clarke and Taylor were all in rousing form, and if anyone ever questions just how powerful Motörhead were onstage at the time, this will scatter those doubts. It debuted at number one ­ putting the seal on the Motör¹s legend.

ORGASMATRON
GWR, 1986

The first, and last, full album to feature drummer Pete Gill, it amply showcased that the new guitar alliance of Wurzel and Phil Campbell was ready to take Motörhead forward. This is probably the band¹s heaviest record, with the title track, Deaf Forever and Doctor Rock earning their spurs, proving this new line-up had plenty to offer. In addition, the dirty Motörhead groove which had made them so successful a few years earlier was still intact, this time operating under the expert guidance of producer Bill Laswell. Incidentally, ever wonder why there¹s a train on the cover? Because the album was originally to be called Ridin¹ With The Driver.

GOOD: WORTH EXPLORING

IRON FIST
Bronze, 1982

How do you follow Ace Of Spades? For many, Iron Fist didn¹t quite cut the proverbial mustard. But while it might not have lived up to the expectations of the time, it was far from disappointing. The problem arose when the band elected Eddie Clarke to produce what turned out to be his last album with the band ­ which might not have been the best decision they ever made.

However, there¹s enough strong music here to cut through any studio deficiencies. The title track is arguably among the very best that Motörhead have ever done, while Heart Of Stone and (Don’t Let ‘Em) Grind You Down are no slackers either.

ANOTHER PERFECT DAY
Bronze, 1983

When Fast Eddie quit Motörhead in 1982, nobody expected his replacement to be former Thin Lizzy hero Brian Robertson. As a result, though, many believed this album ­ the only one to feature Robertson ­ to be a misguided clash of styles. However, time has proven Motörhead made an inspired choice of new guitarist. Robertson added a fresh blues edge to the music, while also delivering some of the finest lead work of his career. Lemmy and Philthy ensured the essential Motör flash and groove remained inviolate.
Not heard this album for a while? Give it another spin.

1916
Epic, 1991

After the disappointment of 1987¹s Rock ‘N’ Roll, Motörhead were firmly back in the saddle on an album where they showed a remarkable aptitude for taking risks. The title track was unlike anything the band had ever attempted before, being a mournful ballad about the unnecessary loss of life during the First World War, while R.A.M.O.N.E.S. was a tribute to the legendary band of the same name. If Going To Brazil and The One To Sing The Blues were more in step with what was expected of Motörhead, it was the intense diversity that makes 1916 the best record the band have made in the past two decades.

AVOID

ROCK N ROLL
GWR, 1987

After the impressive Orgasmatron, and with Philthy back on drums, much was expected of this record. However, it turned out to be something of a disaster. Apart from Eat The Rich, it’s a collection of misaligned songs which never get close to emulating the precision and energy that had made the band such a major global phenomenon. Exactly why Motörhead fell down so badly remains a mystery. But the fact is that the tracks sound rushed and lacklustre. It was as if there was no enthusiasm in the studio, maybe a measure of over-confidence. Probably the only truly dreadful Motörhead record.

MALCOLM DOME