It’s not often that a band really finds its niche after two
decades together. In the case of Motorhead, while they’ve normally
cranked out quality material since bursting onto the scene in the
mid-’70s, they’ve been on a creative roll for a good portion of the
’90s.
Case in point:
Sacrifice, their 1995 release that saw their final
recordings with guitarist Wurzel, who left the band around this
time. This departure forced bassist Lemmy Kilmister and crew to
tighten up their act to re-fit the trio (something Kilmister was
used to; up until 1984, Motorhead was a trio). But something else
happened in the process: they freed up the rhythm patterns to
become a little more challenging. This isn’t just metal, it’s a
touch progressive. And no matter what you call it, it’s great.
First, my one complaint about this album: it’s too damned short.
I realize that Motorhead has put out short albums in the past (one
of which,
Orgasmatron, is still one of my all-time favorites). But
somehow, I really wish that this one had more to it musically; I
mean, what do you do after 36 minutes, once you’ve built up a good
amount of headbanging steam?
You know you’re in for one powerful trip once the title cut (and
the album’s opener) kicks in. To this day, I don’t know how
Kilmister, guitarist Phil Campbell and drummer Mickey Dee are able
to keep the beat on this song; the rhythm pattern is that
challenging. But “Sacrifice” is a definite war cry to let the world
know that Motorhead was back on a bigger-name label (no offense to
my buds at CMC International, but they
were an up-and-coming label in 1995), and they were
pissed.
Sacrifice is especially noteworthy for three things. The
first, as we’ve hinted at already, is the use of more complicated
rhythm patterns – or even just a shift in tempo, something the band
hadn’t used a lot of over the years. It could be a subtle thing
worked into the mix (“Sacrifice,” “Over Your Shoulder”), or it
could be more pronounced (“Order / Fade To Black”). Either way, it
is sure to keep listeners on their toes.
The second thing is the lack of a ballad (or ballad-like) track,
something Motorhead had been doing regularly since
1916. It seems strange to use the words “Motorhead” and
“ballad” in the same sentence, but it’s even stranger to admit that
I really missed that kind of a track this time around. Fact is,
when you consider past tracks like “I Ain’t No Nice Guy” and “Don’t
Let Daddy Kiss Me,” you realize these things
work. It’s a minor disappointment, but a disappointment
nonetheless.
Finally,
Sacrifice is noteworthy for the use of shorter songs –
namely, those that float around or just under the three-minute
mark. “Sex & Death” is a barely two-minute onslaught that
carries more power than a Commonwealth Edison transformer these
days. (If you live in the Chicago Metropolitan area, you’ll
understand the sarcasm.)
For all the great tracks on
Sacrifice (the first half alone will be enough to melt your
brain), things seem to take a minor downturn near the end. Oh,
tracks like “All Gone To Hell” and “Don’t Waste Your Time” still
kick ass, but others like “In Another Time” and “Out Of The Sun”
seem to get lost in the shuffle. If
Sacrifice has an Achilles’ heel, this is it.
While I consider most of Motorhead’s discography to be required
owning, I especially see the last five years’ worth as being
essential for anyone who appreciates metal. One listen to
Sacrifice, and you’ll understand why.
