01. Victory or Die
02. Thunder & Lightning
03. Fire Storm Hotel
04. Shoot Out all of Your Lights
05. The Devil
06. Electricity
07. Evil Eye
08. Teach Them How to Bleed
09. Till the End
10. Tell Me Who to Kill
11. Choking on Your Screams
12. When the Sky Comes Looking For You
13. Sympathy for the Devil (The Rolling Stones Cover)

    "Lemmy" Kilmister – bass guitar, vocals
    Philip Campbell – guitar, piano on "Sympathy for the Devil"
    Mikkey Dee – drums
+
    Jimmi Mayweather and Nick Agee - backing vocals on "Shoot Out All Of Your Lights'"
    Brian May – guitar solo on "The Devil"

Bad Magic arrives at a tumultuous time in Motörhead's history. What was meant to be a triumphant return after several years of escalating health issues experienced by frontman and all-around metal icon Lemmy Kilmister has been hampered by a series of cancelled or abbreviated live sets that have become so reliably frequent that they could make George "No Show" Jones blush… although in Lemmy's case there is obviously an actual inability at play, rather than just blowing off the gig a la Jones or Axl Rose.

Motörhead's show in Austin last night may prove to be the final straw for the trio as a live act. The third aborted show in less than a week, Lemmy was forced to stop the band in the middle of their third song, "Metropolis", and announced to the crowd "I can't do it". Obviously the greatest concern here is for the man's health, but hey, that's the live side of the equation, it doesn't necessarily affect the quality of the recorded material, right?

Welllll, as much as I'd love to report otherwise the simple fact is that Bad Magic bears a great deal of the fatigue that Lemmy is experiencing behind the scenes… necessarily so, for better or worse. His voice, increasingly slurry and less articulate on recent efforts, has degenerated even further into a mushmouth drawl. It's a little easier to forgive knowing that it's a direct symptom of his health and not a deliberate phone in, but it can't help but detract from the recording to some extent. Other than that, the only real misstep here is an enormously pointless and unnecessary cover of the Rolling Stones' "Sympathy for the Devil", but while there is a certain consistency at play neither is there any real meat on these bones. While hardly terrible by any means, the album does exhibit a lean, mean muscle machine that has a hell of a lot of wear on the tires.

Lacking the feistiness and chip on their shoulder that the band showed with 2013's excellent Aftershock, the thirteen songs on Bad Magic are consistently guilty of going through the motions. Songs like "Victory or Die" and "Teach Them How to Bleed" are boilerplate Motörhead-by-numbers, sturdy enough to stand up in a mixtape or setlist next to classics like "Ace of Spades" or (ahem) "Metropolis", but too flimsy to warrant more than a cursory nod of acknowledgement on their own. "Till the End" is actually a spiffy enough change of pace, but when it's lined up in close proximity to something like "Choking On Your Screams", a middling track that shows Lemmy at his all time raspiest (you seriously feel the urge to clear your own throat when listening to this thing), it's hard to really get into any kind of groove for the long haul.

This probably shouldn't be terribly surprising; Motörhead haven't really strung together two above average albums in a row since the early 80's – some would cite March or Die a worthy follow up to the undeniably excellent 1916, but I'd call that one a half album's worth of excellent songs plus a whole lot of filler, and either way that was 20+ years ago – but, on the other hand, they've had very little trouble pumping out disposable records one after the other, with often the better part of a decade going by without any of them adding anything essential to the canon.

Look, Lemmy is a legend – 49% motherfucker, 51% son of a bitch – and regardless of who he's saddling up beside in whatever the current incarnation of the band happens to be, as metal fans we will always maintain a ton of respect and affection for Motörhead… which is why no one is rooting for the band to become the genre's version of Foghat or Three Dog Night, sheepily playing state fairs and free festivals to crowds of indifferent semi-fans.

In 2015 the ratio of great Motörhead albums to mediocre ones – ones that you listen to once when they first come out, think to yourself "hey, that was alright" and then shelve immediately, never to be actively listened to again – is hugely lopsided in favor of the thuddingly average. Lemmy rarely out-and-out embarrasses himself (although the questionable cover of "Sympathy for the Devil" here definitely belongs in that shortlist) but no one really needs another filler album out of Motörhead these days, and unfortunately empathy and a burning desire to see Lemmy rebound are not enough to make Bad Magic worth revisiting again and again. It really, truly gives me no pleasure to badmouth anything Lemmy does at this point in time, but I have a professional obligation to call them like I see them, and if it turns out we've already seen Motörhead's last rally it will have been Aftershock, not Bad Magic. ---Jeremy Ulrey, metalinjection.net

Za recenzję tego longplaya wystarczyłoby jedno słowo: Motörhead. Bo z grupą Lemmy'ego jest niemal jak z AC/DC, tylko nowe albumy ukazują się zdecydowanie częściej, regularnie co dwa lata. Poza tym wszystko się zgadza. Poszczególne albumy Motörhead różnią się od siebie praktycznie tylko tytułem, okładką, tytułami utworów i składem. Muzycznie jest bez zmian. Czasem pojawi się jakaś ballada, akustyczny blues lub inne niewielkie urozmaicenie, ale większość utworów to nic więcej, jak kolejne wersje "Ace of Spades". Riffy, solówki i melodie (czasem nawet tempo) są niby różne, ale utrzymane w tej samej, mocno ograniczającej konwencji. Nie inaczej jest na najnowszym dziele grupy, "Bad Magic" - 22. studyjnym albumie w jej dyskografii.

Już od pierwszych sekund grupa daje jasno do zrozumienia, że nie ma zamiaru niczego zmieniać, niczym zaskakiwać. "Victory or Die" to stuprocentowy Motörhead - szybkie tempo, ciężkie brzmienie i charakterystyczny, zachrypnięty wokal Lemmy'ego. Chociaż akurat jeśli chodzi o ten ostatni element, to pewną różnicę słychać, nawet w porównaniu z wydanym dwa lata temu albumem "Aftershock" - wokalista jest tutaj jeszcze bardziej zachrypnięty i jakby zmęczony. To pewnie efekt jego złego stanu zdrowia, o czym głośno było ostatnio w mediach. Muzycznie jest jednak jak zwykle bardzo energetycznie i ciężko uwierzyć, że średnia wieku grających tutaj muzyków wynosi 58 lat! Gdyby tylko troszkę bardziej dbali o różnorodność utworów... Przy pierwszym przesłuchaniu "Thunder & Lightning" miałem wrażenie, że przez przypadek jeszcze raz odtworzony został poprzedni kawałek - dopiero w refrenie wyraźniej słychać, że to jednak inny utwór. "Fire Storm Hotel" rozpoczyna się od bardziej wyrazistego riffu, tempo jest nieco wolniejsze, ale ciężko uznać to za wielkie urozmaicenie. Tym bardziej, że linia wokalna jest identyczna jak w dwóch poprzednich kawałkach. A i w kolejnych nie ma co liczyć na większe zróżnicowanie w tej kwestii.

Po przesłuchaniu "Bad Magic" odnoszę wrażenie, że zespół tym razem miał zamiar postawić przede wszystkim na energię i czad, maksymalnie ograniczając liczbę "niespodzianek" (których na "Aftershock" było całkiem sporo). Na pierwszą z nich trzeba czekać aż do utworu numer dziewięć. "Till the End" to klasyczna rockowa ballada, w warstwie muzycznej wyróżniająca się czystszym brzmieniem. Nawet wokal Lemmy'ego brzmi tutaj bardziej melodyjnie - chociaż nie jest to czysty śpiew, jak w "Dust and Glass" z poprzedniego albumu, a typowe dla tego muzyka chrypienie. Od reszty albumu odstaje również "When the Sky Comes Looking for You", w którym położono większy nacisk na warstwę melodyczną. Z kolei "Choking on Your Screams" zwraca uwagę nawiedzoną partią wokalną (w stylu utworu "Orgasmatron"). Na tle całości na pewno wyróżnia się także "Sympathy for the Devil", czyli cover jednego z największych przebojów The Rolling Stones. Wersja Motörhead jest wierna oryginałowi, jedynie zaostrzono brzmienie i... zepsuto wszystko okropną partią wokalną. Oczywiście, Lemmy nawet za sb woich najlepszych lat nie zaśpiewałby tego utworu tak, jak Mick Jagger, ale to, co tutaj zaprezentował, woła o pomstę do nieba (a może raczej piekła?). Wyłącznie jako ciekawostkę należy natomiast potraktować fakt, że w "The Devil" gitarową solówkę zagrał Brian May. Były gitarzysta Queen tak bardzo wczuł się w styl Motörhead, że jego partia równie dobrze mogła wyjść spod palców Phila Campbella.

"Bad Magic" to album, który z pewnością zachwyci wszystkich wielbicieli Motörhead, nie oczekujących od zespołu nic więcej oprócz kolejnej porcji prostych, ciężkich i energetycznych kawałków. Jedynie zasmucić ich może kiepska forma wokalna Lemmy'ego. Album nie ma natomiast żadnych szans, aby zainteresować ludzi, których nie zainteresowały poprzednie wydawnictwa grupy. Na pewno nie jest też pozycją, od której polecałbym zacząć poznawanie dyskografii Motörhead - lepiej rozpocząć od klasycznych "Overkill" i "Ace of Spades", najbardziej dopracowanego "Another Perfect Day", lub wspomnianego już "Aftershock", na którym muzycy pokazali większą wszechstronność. ---pablosreviews.blogspot.com

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01 - The trooper (Iron Maiden) 
02 - Enter sandman (Metallica) 
03 - Breaking the law (Judas Priest) 
04 - Hellraiser (Ozzy) 
05 - Shoot 'em down (Twisted Sister) 
06 - It's a long way to the top (AC-DC) 
07 - God save the queen (Sex Pistols) 
08 - Ramones (Ramones) 
09 - Desire (Ozzy) 
10 - Whiplash (Metallica) 
11 - Cat scratch fever (Ted Nugent) 
12 - Louie louie (Richard Berry)

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1. Born To Lose (4:01)
2. I Know How To Die (3:19)
3. Get Back In Line (3:35)
4. Devils In My Hand (4:21)
5. Rock N Roll Music (4:25)
6. Waiting For The Snake (3:41)
7. Brotherhood Of Man (5:15)
8. Outlaw (3:30)                     play
9. I Know What You Need (2:58)       play
10. Bye Bye Bitch Bye Bye (4:04)

Line Up:
Lemmy Kilmister – vocala, bass
Philip Campbell – guitar
Mikkey Dee – drums

The common misconception about Motörhead is that they've been recording the same album over and over again for 30-plus years, but nothing could be further from the truth. Just ask the band's most discerning, long-serving fans and they'll eagerly wax poetic about the nuanced distinctions between, say, the amphetamine blues of Overkill, the blazing Spaghetti Western slugfests of Ace of Spades, the bruising metallic crush of Orgasmatron, or the thrash-fueled onslaught of Sacrifice. If anything -- and not even these die-hard fans can deny this -- one could say that the band's albums released from the late ‘90s onward began blending together somewhat, for lack of cohesive personalities and enough quality songs. So bucking these two trends is essentially the mission faced by Lemmy and co.'s 20th career studio album, the cheekily named The Wörld Is Yours (which, in a novel marketing ploy, was delivered in time for Christmas 2010 with an issue of Britain's Classic Rock Magazine, ahead of its 2011 release worldwide). And, believe it or not, its mission was accomplished, to a certain degree, on both counts! Particularly in reference to challenge that first point, since The Wörld Is Yours may eventually be remembered as Motörhead‘s ultimate "rock & roll" album, thanks to a clutch of consistently bluesy, ‘50s rock-rooted, tunes like "Get Back in Line," "Rock ‘n' Roll Music," and "Bye Bye Bitch Bye Bye." Then again, Lemmy has always stressed that his is a rock & roll band, not a heavy metal band, and he proceeds to press the point home with an unusually large number of speed-averse offerings, as well, including "Waiting for the Snake," the nightmarish "Orgasmatron" throwback, "Brotherhood of Man," and "Born to Lose" (a new song named after an old Lemmy slogan so entrenched in band lore, even knowledgeable Motörbangers may be surprised that it wasn't used already). As for challenge number two, it's hard to proclaim any Motörhead "all-timers" out of this lot with unwavering, absolute conviction, but there are several winners among the cuts cited above, plus a pair of absolute corkers in the rollicking, defiant "I Know How to Die" and the thrill-a-second "Outlaw," which sounds like three songs wrapped into one with its memorable chorus, searing Phil Campbell guitar solo, and pulverizing twin-kick-drum tattoos courtesy of Mikkey Dee. This pair of grizzled old vets, together with their seemingly indestructible, mutton-chopped leader, still constitute a formidably powerful and a well-oiled rock & roll machine, there's no doubt about that. And that's one thing that certainly has been repeated many times over on most every Motörhead album, The Wörld Is Yours more successfully than others. ---Eduardo Rivadavia, allmusic.com

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1 	Ace Of Spades 	2:45
2 	Love Me Like A Reptile 	3:19
3 	Shoot You In The Back 	2:36
4 	Live To Win 	3:34
5 	Fast And Loose 	3:19
6 	(We Are) The Roadcrew 	3:09
7 	Fire Fire 	2:41
8 	Jailbait 	3:30
9 	Dance 	2:34
10 	Bite The Bullet 	1:38
11 	The Chase Is Better Than The Catch 	4:15
12 	The Hammer 	2:44

Lemmy – bass, vocals
"Fast" Eddie Clarke – guitar
Phil "Philthy Animal" Taylor - drums

With the 1980 release of Ace of Spades, Motörhead had their anthem of anthems -- that is, the title track -- the one trademark song that would summarize everything that made this early incarnation of the band so legendary, a song that would be blasted by legions of metalheads for generations on end. It's a legendary song, for sure, all two minutes and 49 bracing seconds of it. And the album of the same name is legendary as well, among Motörhead's all-time best, often considered their single best, in fact, along with Overkill. Ace of Spades was Motörhead's third great album in a row, following the 1979 releases of Overkill and Bomber, respectively. Those two albums have a lot in common with Ace of Spaces. The classic lineup -- Lemmy (bass and vocals), "Fast" Eddie Clarke (guitar), and "Philthy Animal" Taylor (drums) -- is still in place and sounding as alive and crazed as ever. The album is still rock-solid, boasting several superlative standouts. Actually, besides the especially high number of standouts on Ace of Spades -- at least relative to Bomber, which wasn't quite as strong overall as Overkill had been -- the only key difference between this 1980 album and its two 1979 predecessors is the producer, in this case Vic Maile. The result of his work isn't all that different from that of Jimmy Miller, the longtime Rolling Stones producer who had worked on Overkill and Bomber, but it's enough to give Ace of Spades a feeling distinct from its two very similar-sounding predecessors. This singular sound (still loud and in your face, rest assured), along with the exceptionally strong songwriting and the legendary stature of the title track, makes Ace of Spades the ideal Motörhead album if one were to choose one and only one studio album. It's highly debatable whether Ace of Spades is tops over the breakthrough Overkill, as the latter is more landmark because of its earlier release, and is somewhat rougher around the edges, too. Either way, Ace of Spades rightly deserves its legacy as a classic. There's no debating that. --- Jason Birchmeier, allmusic.com

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01 Intro 
02 Iron Fist 
03 Stay Clean 
04 Get Back In Line 
05 Metropolis 
06 Over the Top 
07 One Night Stand 						play
08 Rock Out 							play
09 Guitar Solo 
10 The Thousand Names of God (Without Mikkey Dee) 
11 I Know How to Die 
12 The Chase Is Better Than the Catch 
13 In the Name of Tragedy 
14 Drum Solo 
15 In the Name of Tragedy (reprise) 
16 Just 'Cos You Got the Power 
17 Going to Brazil 
18 Killed by Death 
19 Band introductions 
20 Ace of Spades

Line-Up:
    Lemmy (Ian Kilmister) – Bass guitar, lead vocals
    Brian Robertson – Electric guitar
    Phil Taylor – Drums

Bloodstock Open Air is a heavy metal festival held annually at Catton Hall in Walton-upon-Trent, England, since 2005. Previous line-ups have included bands such as Opeth (2008/2010), Children of Bodom (2005/2010), Nightwish (2008), Cradle of Filth (2009), Testament (2007), Arch Enemy (2007/2009), Europe (2009) and Twisted Sister (2010).

Bloodstock Open Air was conceived as an extension of the original Bloodstock indoor festival which ran from 2001 until 2006 at Derby Assembly Rooms.

After an amicable parting in 2006 with his business partner Vince Brotheridge, in 2007 Paul Gregory bought his daughters Vicky and Rachael on board as directors. “It was an obvious move for me,” he explained, “as both had been working on the festival from its inception. They have brought their talents to the fore as the festival’s continued growth is very much due to their commitment.”

Motörhead are an English rock band formed in 1975 by bassist, singer and songwriter Ian Fraser Kilmister, known mainly by his stage name Lemmy, who has remained the sole constant member. The band is often considered a precursor to or one of the earliest members of the New Wave of British Heavy Metal, which re-energised heavy metal in the late 1970s and early 1980s. Usually a power trio, Motörhead had particular success in the early 1980s with several successful singles in the UK Top 40 chart. The albums Overkill, Bomber, Ace of Spades, and particularly No Sleep 'til Hammersmith, cemented Motörhead's reputation as one of Britain's foremost rock bands.

Motörhead are typically classified as heavy metal, and their fusion of punk rock into the genre helped to pioneer speed metal and thrash metal. Motörhead's approach has remained the same over the band's career, preferring to play what they enjoy and do best; their appreciation of early rock and roll is reflected in some of their occasional cover songs. Motörhead's lyrics typically cover such topics as war, good versus evil, abuse of power, promiscuous sex, substance abuse, and, most famously, gambling. The name "Motörhead" is a reference to users of the drug amphetamine. The band's distinctive fanged-face logo, with its oversized boar's horns, chains, and spikes, was created by artist Joe Petagno in 1977 for the cover of the Motörhead album and has appeared in many variations on covers of ensuing albums. The fanged face has been referred to variously as "War-Pig" and "Snaggletooth". The band is ranked number 26 on VH1's 100 Greatest Artists of Hard Rock.

Motörhead - brytyjska grupa muzyczna powstała w 1975 roku z inicjatywy basisty i wokalisty Iana "Lemmy'ego" Kilmistera, który pozostaje jedynym stałym członkiem grupy. Grupa odniosła sukces komercyjny w latach 80 XX wieku, natomiast jej albumy Overkill, Bomber oraz Ace of Spades stały się inspiracją dla wielu wykonawców z nurtu heavy metal. Kilmister mimo kategoryzacji w gatunkach thrash i speed metal na którego rozwój wywarł wpływ określa muzykę Motörhead jako rock n' roll. Grupa w swej twórczości porusza takie zagadnienia jak wojna, zło, dobro, seks czy uzależnienia, ponadto posiada charakterystyczne logo o nazwie Snaggletooth, którego autorem jest artysta Joe Petagno.

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01. Runaround Man
02. Teach You How to Sing the Blues
03. When The Eagle Screams
04. Rock Out
05. One Short Life
06. Buried Alive
07. English Rose
08. Back on the Chain
09. Heroes
10. Time is Right
11. The Thousand Names of God

Lemmy – voclas, bass
Phil Campbell – guitar, backing vocals
Mikkey Dee – drums

Even if Motörhead had broken up around 1983 or 1984, they still would have gone down in history as one of the most influential metal outfits of all time. Motörhead, after all, was the first metal band to seriously incorporate punk; they wrote the book on thrash metal and speed metal in the late '70s and early '80s, paving the way for Slayer, Metallica, Venom, Megadeth, Testament, Anthrax, Death, Exodus, and countless others. But Motörhead, of course, didn't break up in 1983 or 1984, and they were still cranking out quality albums in the late 2000s. Lemmy Kilmister (who turned 62 in 2007) shows no signs of slowing down on 2008's Motorizer, which Cameron Webb produced at Dave Grohl's 606 Studios in Los Angeles. Despite the fact that Webb has worked with a lot of alt rock and alt metal artists (including Limp Bizkit, Orgy, Godsmack, Buckcherry, Lit, Ben Folds, and Monster Magnet) and produced this 39-minute CD in a studio that is owned by a member of the Foo Fighters and ex-member of Nirvana, Motorizer makes no effort to be alternative-sounding. Instead, the classic Motörhead sound prevails, and forceful, in-your-face tracks such as "Buried Alive," "Runaround Man," "When the Eagle Screams," and "Time Is Right" sound like they could have been recorded 25 years earlier. Motorizer never pretends to be groundbreaking, but if the material is predictable, it is engagingly predictable; Kilmister sounds inspired and focused throughout the album, and at 62, he has yet to overstay his welcome. Motorizer falls short of essential and isn't quite in a class with Motörhead's best late-'70s/early-'80s output, but this album is definitely respectable -- and it is good to see this seminal thrash/speed trio still plugging away after so many years in metal's trenches. ---Alex Henderson, allmusic.com

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01. Sacrifice
02. Sex & Death
03. Over Your Shoulder
04. War For War
05. Order Fade To Black
06. Dog-Face Boy
07. All Gone To Hell
08. Make 'Em Blind
09. Don't Waste Your Time
10. In Another Time
11. Out Of The Sun

* Lemmy Kilmister (Bass, Vocals) 
* Phil Campbell (Guitar) 
* Würzel (Guitar) 
* Mikkey Dee (Drums)

Metal bands are supposed to lose their energy and power as they age, but Motörhead stubbornly refused to obey that rule, maintaining their string of tough, enjoyable albums into the mid-'90s. Sacrifice, the group's 1995 effort, doesn't offer anything new, nor does it display a newfound subtlety. It's just straight-ahead, breakneck fast, ear-shatteringly loud Motörhead, with buzzing guitars, near-martial rhythms, and surprisingly catchy hooks. There are a few weak moments scattered throughout the record, but on the whole it's a thoroughly engaging and entertaining record from one of the most consistent metal bands in history. ---Stephen Thomas Erlewine, allmusic

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