Certain truths exist in the world of rock ‘n’ roll, and arguably, Ian “Lemmy” Kilmister has established them all. For he is a valiant god, one who seems to be the very designer of that rock ‘n’ roll lifestyle sought after by so many of the world’s musicians. Incessant boozing and consumption of virtually every drug under the sun has only enhanced the music Kilmister has produced, and he maintains this existence with fervent force today, at the ripe age of 65. Music clearly pumps through his body as steady as his blood does, and it has helped Motörhead remain a solid icon of heavy rock for 35 years.
Touring to promote their 21st full length album, The Wörld Is Yours, the band was greeted at the Roseland Theater Saturday night by a mass of metalheads, young and old. There was little standing room left by the time the show got underway, and the crowd's eager and rowdy anticipation, at that point, seemed at the brink of explosive destruction. They had just witnessed a concise set by blistering blues rock quartet Clutch, and it was clear it had left the audience frothing at the mouth for more of the same. Clutch truly is a solid rock 'n' roll band, fronted by an effectively growly vocalist and backed with impressive instrumentation. In comparison with other rock groups of today, there's not much variety to the band's sound, but there is something to be said about the precision and skill they produce with their music. Because let's be honest here: rock 'n' roll just ain't what it used to be. The genre's been reduced a shallow, mostly unenjoyable thing that few bands seem to know how to do right anymore. Clutch, however, combine a respectable mix of blues and rock in their sound, and they do it without being cocky showoffs.
This was definitely evident in their set, which was direct and to the point. An essentially rapidfire succession of songs were delivered with very little dialogue spoken between each. Clutch's setlist was ripe with tracks from a wide variety of their albums over the past seventeen years, and it showed how their music has considerably sharpened. "The Dragonfly" was arguably one of their best of the night, even though it seemed a departure from their other songs. It was considerably heavier, and reminiscent of metal from the early years, but it also proved the band's recorded version to be nowhere near as awesome as the live one.
Guitarist Tim Sult demanded recognition with warbling licks that accentuated the band's sound in a way I didn't know they were capable of. It was especially noticeable in "Profits of Doom," a song whose instrumentation was nicely backed with lyrics that shocked me with their depth. I'd never really explored much of Clutch's catalog, but investigating their lyrics after the show proved to me they've got a helluva way with their words. Thoroughly astounding was the realization that they were singing Biblical references in that song:"Genesis and Exodus/Leviticus and Numbers/Gideon is knocking in your hotel while you slumber."
In all, Clutch played it safe with a show fierce enough to rev the crowd, but too unimaginative to dwarf the impending arrival of one of the most revered rock bands of all time. It was a smart move, and it only amplified the intensity of the reaction Kilmister, guitarist Phil Campbell and drummer Mikkey Dee got as they walked out onto the stage. Kilmister flashed a meager smile as he announced, "We are Motörhead, and we play rock 'n' roll." And so they do. From start to finish the band emanated a level of dirty cool that can maybe only be matched by the likes of Ozzy. The trio have a powerful connection together, and it stems from Campbell's attachment to the band for 27 years, Dee for 18. To call them a tight-knit bunch to their face would probably get you decked, but it's more than true. And the incredible thing is that their stage act doesn't feel rehearsed, or overdone - even though Kilmister's likely announced that quote a thousand times, it still packs a punch that gives you chills. Of course, that could also likely be due to the fact that he effortlessly commands worship, but it's incredulous, nonetheless.
Motörhead proceeded to put on exactly the kind of show their fans had come to see, and it contained thunderous moments of guitar and a drum solo that lasted nearly four minutes. The commentary throughout was priceless, especially in that it painted Kilmister to be, shockingly, a funny dude. Seemingly no one could make out what he was mumbling in between songs, but that was what also made the guy so lovable. His lyrics were frequently tough to understand, however, in part because of the ferocity the instrumentation held behind him, and also his inability to sing as clearly as he was once able to do. Everyone knew the lyrics, though, and so they shouted them along with him, hands raised in the air the whole time. Playing favorites such as "Rock Out," "Motörhead" and "Killed By Death," the band was able to introduce new tracks such as "Get Back In Line," off their upcoming release, to a very receptive audience. Kilmister introduced "In the Name of Tragedy" as something along the lines of "a British, Shakespearean kind of bebop," even though it was far from it. Very crashing and wicked-sounding, the song concluded with plumes of smoke shooting up alongside the drums, signaling the onset of Dee's substantial drum solo.
Politically-minded "Just 'cos You Got the Power" was brought forth as Kilmister announced, "Now we're gonna play a slow song for you, so you can fuckin' relax." Yet another moment of sarcastic hilarity from the man I would've never pictured as having any sense of humor, whatsoever. Everything about the set confirmed the band is still fully functional, and absolutely badass for being able to pull it off to the degree they still do. The only disappointment in the night was the set closing "Ace of Spades," in which Kilmister seemed to forget the speed the song should be sung in. Campbell and Dee fought to bring their instrument's speeds down to that of his vocals, and it resulted in a near disaster. The many years of playing side by side helped keep the song together, but it was a bit of a shame to hear their best song not delivered with perfection. Their encore of "Overkill" was pretty spot on, however, and as Kilmister cocked his bass guitar in his hands, like a gun, to close the song, it made up for any failings the show might have produced.
Who knows how long Kilmister will continue to unleash his unfailingly rocking ways to the masses, but I've got money on him remaining in the circuit for at least another ten years. He really is something to behold, and any of you who haven't gotten to see him and his band in action should only hope you'll live long enough to seem them perform. In other words, don't let Lemmy die before you do.
