Review : MOTÖRHEAD – "The Wörld is Yours"

MotörheadThe Wörld is Yours
Release: 2011Jan25 (US)
Label: Motörhead Music/EMI
Rating: 4/5

Fucksakes, I may be officially older. I just called the cops on the party next door while I write a Motörhead review and listen to the new Burzum album. Eh, whatever. My girlfriend needs sleep, I have things to do, and still know how to rage without attracting the damned police, thankyouverymuch. It’s all about respect, really—and getting back to the review: I have it in…ahem…spades for this terrible trio, whose latest release has become my favorite among the Cameron Webb quadrilogy.

How much must you forgive the venerable band? Frankly, kind of a lot sometimes. Right from the get-go, they lift a riff from Black Sabbath‘s “A National Acrobat” and if I was in a pooh-pooh mood, maybe such things would get to me. But speaking of Black Sabbath, the first-and-only time I’ve seen Motörhead was on the Metal Masters tour when they played with Priest headlining, TestAmenT opening, and Heaven & Hell awesomeing—then I think of Dio. Folks, we shouldn’t look a gift Snaggletooth in the mouth when good new albums drop from the old dogs. (Aaaaaand my sister literally just called to say our dad is heading into the hospital. Okay, meat hook reality, it’s time to stop poignantly creeping in to shape my reviews. Reel it back again…)

Motörhead is so endearing, so “who-fucking-cares”—like with the funny scribbles by Lemmy throughout the liner notes. My favorite is “He’s learning to tiptoe!” …so good. Actually, pay attention to all the little feet in every picture—I dunno, I just like ’em for some reason. Almost as much as I like this band, who has now been playing together for as many years as total studio albums: twenty (don’t believe all the numbers in my ellipses-ridden review of Motörizer from MOM v 1.0).

Hearing Phil Campbell explode with riffage on every track, again affirms their strength as a three-piece (no offense, Würzel). He is deadly-efficient, through the flashy flourishes in “I Know How to Die” to the surprising slither in “Waiting for the Snake”. We don’t hear any ballads this time, but I dug the sleazy boogie behind “Rock ‘n’ Roll Music” and the merciless minimalist march that drives “Brotherhood of Man”—a vicious social critique with sinister vocals from Lemmy, punctuated by sampled crowd shouts. And you’ve gotta love those instrumental speed bursts, like in the middle of “Outlaw”—a great showcase for the always-interesting Mikkey Dee behind the drums.

Motörhead is still surly after all these years, and that suits me fine. The lead single “Get Back in Line” snarls “all things come to he who waits but these days most things suck”. At least they’re one of the things that doesn’t—a fact I’m glad to be reminded of, over and over again.

Try 1, 2, 3, 6, 7, 8, 10

01. Born To Lose
02. I Know How To Die
03. Get Back In Line
04. Devils In My Head
05. Rock ‘N’ Roll Music
06. Waiting For The Snake
07. Brotherhood Of Man
08. Outlaw
09. I Know What You Need
10. Bye Bye Bitch Bye Bye



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