More than anything, I was hoping that the album would be as good, if not greater, than Motörhead's previous album 'Aftershock'. Would I be getting an 'Inferno' reprint like the last 4 albums? Or would I be getting the Motörhead album to usher in a new era for the band? Well, the album happens to deliver more of the latter than the former and let me tell you, this is a rock solid Motörhead album. Going into Motörhead's 22nd studio effort 'Bad Magic', I was uncertain of what I'd be getting. Sometimes, it's about the way it makes you feel, and how you know everything will be alright, even when reality begs to differ,
BAD MAGIC PRODUCTION PROFESSIONAL
Music isn't just about the 4/4 drum beats, the professional production or the endless riffs and solos, which this album possesses. It's a Motörhead album - you know what you'll get. No one expected it, no one wanted to believe it and when you listen to this album, years on from the fact, you still can't fully accept it.Īs an aside, this review is light on actual musical critique. You can drag up every example of Lemmy's voice deteriorating or recycled riffs and I will tell you 'They were still there, still playing and trying to tour worldwide.' This isn't a perfect album because it is the best musical representation and send-off to a legendary band, but because it was the last album before the fucking shocking news of Lemmy's death. Everyone seems to accept it was fine for the band to go and 'This is what Lemmy would want'. None of the musical tributes seem to capture that. This isn't a dying gasp, but rather a band cut down when they had more to give. If Lemmy hadn't died, they would have kept going. This album is a the chair over the head to anyone who believes in getting old and letting go peacefully. To me, this is as good a swansong as anyone could hope for. Tell me when it's over that you think it's average album from a band on their way out and I might believe you that YOU believe that. Even the Motörballad, 'Til The End', gives the musicial middle-finger to convention and what is expected from an over-the-hill band.
The snarling, rebellious attitude is present in every song. If you ignore the fact it is (or pretend it isn't) their final album together, you probably wouldn't believe it. In terms of the music, it is the mix of heavy bluesy rock and punk attitude that Motörhead has epitomised throughout their career. The rhythm duo of guitar and drums are as powerful as always, Phil and Mikkey are a good team, and their aggression and energy seeps through, elevating the album beyond expectations. I have done enough stints in healthcare and seen enough granny fanny to recognise not everyone gets to be an active senior citizen. His vocal performance is energetic, although if you point out it's not as powerful and more reliant on vocal layering, I will reply 'Yeah, and? Man was pushing 70, allow it.' Please get to 70 and have the energy to get out of bed, let alone into a vocal booth to record lyrics you wrote down, and then moan it's not as powerful as a 33 year old. Lemmy probably knew he was facing an imminent death, and although this bleeds through in some songs, his irreverent and 'don't give a fuck' attitude overwhelms any despair. Lemmy's lyrical talent seems to have been downplayed among aficionados and critics alike, which is frustrating, because they all seem poignant and relevant to me. If you what experimental, listen to 'Another Perfect Day'. It's an album that does what Motörhead does. There aren't any revelations, new directions or experiments to be found. Lemmy, Phil and Mikkey are above all of that, and as such, their final collaborative effort needs to be judged as an album, not some statement of a movement, culture or ideology they are not a part of and likely have no interest in. These commentators need to shut the fuck up. Consequently, any allegations of Motörhead as rock dinosaurs will be jumped on by non-fans as evidence of evil leftist agendas trying to shut down rock n roll. That's not a new phenomenon, but it feels especially acute, seeing as any fame-hungry dickhead will jump on any criticism (perceived or otherwise) of the American "liberal" (Americans don't know what this word means) movement as endorsement of their short-sighted dogma, even through a tenuous connection. In 2020, it's sacrilege to even question dead people. Airbourne, Saxon, Metallica, bands I like, none of them come close to what Motörhead actually stood for and played. Shocked? Why? It's been a few years, you know the story, there's nothing new under the sun yada yada, blah blah.Įvery and any band has recorded and released their ever-so special tribute to the unique and ballsy personality of Lemmy and the rest of Motörhead, chocked with yawns and clichés, and they all pale, PALE, next to the force this band actually was.
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