Motorhead - Orgasmatron
GWR
Motörhead Metal
9 songs (35:33)
Release year: 1986
Motorhead
Reviewed by Goat

I’ve been getting back into the more traditional side of Metal recently, as eagle-eyed readers will have noticed from my steadily-increasing respect for all things 1980s, culminating even in a positive review of Anthrax’s debut – not positive enough for certain members of the forum, but hey, you can’t win ‘em all. Motörhead are a band that I’ve always loved, but never given much thought to – much like many readers, I suspect. They’re the kind of Metal institution that avoid controversy and just keep plugging away quietly, avoiding the rapturous hype that the Maidens and Priests of the world receive, existing for the sake of Rock N’Roll itself with no other expectations, and whilst I’ll admit to not having heard every single ‘head album (especially in the 90s) there’s a lot of good in their post-Ace Of Spades output. No doubt every single person reading this can instantly recall that overplayed classic, but less than half of you will have listened to Orgasmatron, and it’s a damned shame.

Following the controversial Another Perfect Day (melody and Motörhead going together like, well, ballet shoes and Motörhead guitarists, although its reputation is better nowadays) Lemmy shook the line-up up, guitarists Michael Burston (Würzel) and Phil Campbell joining, and with drummer Pete Gill and producer Bill Laswell Motörhead recorded the rather excellent Orgasmatron. It’s an absolute classic in my view, a blast of Metal certain to kill your lawn and make you rock the hell out – the band at their best. The biggest complaints come over the production, as mentioned above handled by producer/bassist extraordinaire Bill Laswell (of many projects but especially Praxis) yet he did a fine job in my view. Turn it up, you weak-eared scum! Let that bass tone rattle your eardrums, let those riffs pummel you into submission, let Lemmy’s croak work its magic, and you’ll soon find yourself dancing along. Few will deny that the drum sound is excellent, and whilst the mix may be a little uneven and the start of Deaf Forever does sound slightly strange, those powerful gang shouts and the kickass nature of the song itself will soon convert you. Throughout the album you’ll be able to hear the odd experimental bit of clattering in the background, but it’s Motörhead through and through, no real cause for complaints from even the most vehement of purists.

The songs are uniformly excellent, building up to the soul-chilling heaviness of the title track. Deaf Forever is a fine opening number, the instruments coming together perfectly with an excellent solo and killer lyrics – Lemmy’s penmanship as underrated as ever. Nothing Up My Sleeve is classic Motörhead, that perfect bass rumble instantly recognisable, whilst the Bluesy vibe of Ain’t My Crime and the rather excellent Claw keep the album moving in style. There isn’t a single weak track present, from Ridin’ With The Driver (the album’s working title, hence rather awesome snaggletooth-on-a-train cover art – although it’s fun to imagine what a warpigasmatron would look like) opening with the rather kickass line ‘iron child out of Vulcan’s forge, metal scream and thrash’ to the amazing Doctor Rock – not Doctor Spock, as Lemmy helpfully points out. It all builds up, however, to the title track, an epic blast that continues to astound me with sheer heaviness over twenty years later. Lemmy’s voice drops to a growl as the band pound their way up the mountain of grandeur, the bass ringing out even more. The lyrics are simply fantastic, a well-written and apocalyptic criticism of religion, war and politicians that’s as true today as it was then – again, Lemmy’s lyrics are very seldom praised. Sepultura’s popular cover is nowhere as good, relying on the groove and missing everything else that’s happening, not to mention that Cavalera’s voice lacks the sheer evil atmosphere that Lemmy provides here. The man is a legend for a good goddamn reason.

Not much more to relate, except that the three bonus tracks on the 2004 Sanctuary CD issue are all excellent, two live cuts energetic and fun and an alternate version of Claw rounding the package off well. The main draw is the album itself, however, a great collection of Rock N’Roll stormers that deserve to be mentioned in the same breath as the band’s other classics if not quite placed on the same pedestal as Overkill. As much of a religion as Metal is, it’s really just a breakaway extremist group from the Rock tradition, and as proud as I am to listen to music as extreme and out there as I do, it’s always great to re-examine the original Electric Church – Motörhead are an essential band for all, and Orgasmatron is a vital experience for any fan.

Killing Songs :
All
Goat quoted CLASSIC
Other albums by Motorhead that we have reviewed:
Motorhead - Rock 'N' Roll reviewed by Goat and quoted 80 / 100
Motorhead - Bad Magic reviewed by Goat and quoted 78 / 100
Motorhead - Aftershock reviewed by Goat and quoted 80 / 100
Motorhead - Another Perfect Day reviewed by Goat and quoted 86 / 100
Motorhead - 1916 reviewed by Goat and quoted 90 / 100
To see all 21 reviews click here
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