New Wave music reviews

I first heard Nik Kershaw's 15 Minutes CD at a listening station at a record store when it first came out. I am not a big fan of his, but I remember him from the early/mid 1980s and was interested in what he was doing currently. Boy, was I surprised. The first track is unbelievably catchy. The chorus is wonderful. "Have a Nice Life" is nice in a sing-along sort of way. "Find Me an Angel" is hauntingly beautiful. "Your Brave Face" is an addictive rocker. "What Do You Think of It So Far?" has one of the best choruses I've heard in a long time. "God Bless" is a different-sounding song with some interesting, and strangely familiar, guitar work. "Fiction" is a pleasant, slow number with more nice acoustic guitar and lyrics like: "If they made a film of the book of the memory with Bobby De Niro and Demi De Moore, you'd sit in your seat with your popcorn and chocolate, and wonder aloud at the point of it all." The heavy sounding chorus to "Made in Heaven" makes the song. "Shine On" is adequate but "15 Minutes" is an excellent ending, I especially like the synthesizer/orchestra part. Almost every track here is excellent. The only track I do not care for as much is "Billy" which seems like overly forced story-telling about a girl looking for Mr. Right and falls for a boy wanting numerous Mrs. Rights. It is cute, though, and I think a lot of people will like it.

As one might guess, I bought this CD right after leaving the listening station, and only when I got home to listen to it on my stereo did I discover that this CD does not end with "15 Minutes" but includes a bonus remake of Kershaw's early 1980s hit "Wouldn't It Be Good." I was very happy to hear this song, as it was the track I most remember from Nik Kershaw's 1980s output. It is slower rendition of the song with acoustic guitar. It is not as good as the original, of course, but it was still a welcomed surprise. 13 quality tracks! I would not be surprised if Kershaw's most devoted fans call 15 Minutes his best album.

Kershaw reminds me of a lot of other pop/rock singer-songwriters like Aimee Mann, Elliot Smith or Glenn Philips who are never appreciated to the degree they should be, because (especially young) people are always looking for the excessiveness in popular music. It isn't exactly something you say..."check out 15 minutes, this f&*%n rocks man". But repeated listens reveal a man who has a gift for writing this kind of music that is only shared by a handful of people on the planet (think Paul McCartney, Sting in the Police years, etc.). Beatiful, moving, perfect songs.

Artists like Nik Kershaw, Andrew Gold and Jude Cole are part of tht select club whose magic seems obvious to music afficianados but obscured to the mass of the music buying public. I don't know what justice there is in being a musician's musician or a songwriter's songwriter, but Nik Kershaw is both. I was of course familiar with Nik's 80's output - "The Riddle" being a class pop record that is still very listenable today and "Radio Musicola" that followed, revealed a sharp wit and keen observations, as well as an artist that didn't take himself too seriously. That, however is no excuse for us not to!!
Buy "15 Minutes" and hear the musings of a mature artist, blessed with a great pop sensibility.

During the time this band was popular, one could go to the Agora Ballroom in Atlanta and see a host of hot bands who were signed to major labels. Fortnox, Riggs, Swingin Richards, and so many more. The Producers were the best of the lot.Even today the question remains as to why these guys{ Producers} did not make it all the way. The vocals were unbelievable,and the musicianship was as good as it gets. I think this album is a little high, but quite frankly I don't care. I owe it to these guys for some of the best shows I have ever seen. Thanks for the memories, fellows. Buying this is the least I can do...

Glad I got mine, 'coz look at the price of this baby. I think Van Temple and this core of rockers have been sadly underated. Every track here is tight, melodic, in-your-face rock and roll. The Producers gets most the raves, but You Make The Heat backs it up plenty. Many of the overlooked and underappreciated songs deserve mention. How can you NOT crank up "Who Do you Think You Are?", "You Go Your Way", "Sensations" and "The End"? This is awesome, rock-edged power pop, loaded with catchy riffs and skinny-tie attitude. "She Sheila" is pure powerpop brilliance, pubescently charged. "Operation", one of my favorites, showcases a bit of Van's killer guitar technique, plus thundering, heart pounding drums, all driving a storyline of heartbreak and angst. Cranked, you can't help but succumb to its emotional gush, as Van reminds us what it all feels like. "Dear John" is the reminder and the story to back it up. Superbly crafted rock songs, a perfect detachment from the hum drum corporate stuff that continually pours from the radio today. You'll be happy you gave this disc a few spins. Glad I got mine. ===MikeG===

Having had the honour & privilege to open for this Atlanta-based quartet on two occasions are among the highlights of my 18+ year musical career, so I'm glad to see their first two LPs have finally been transferred to digital era.

Back in the early era of MTV (when they used to actually play music videos!), The Producers had three videos in heavy rotation ("What's He Got?", "Certain Kinda Girl" & the inimitable "She Shelia") & things looked very good for them. Unfortunately, a rather petty falling out between the band & a spiteful rep (who shall remain Al Teller) at Portrait Records cost them the brass ring after their sophomore -- & superior even to their excellent debut -- effort, which they've been paying for ever since.

The Producers, fortunately, are still very much a viable entity, although they generally don't travel very far outside their stompimg grounds unless they're performing for a private or special function. If you're ever in the Atlanta area, LOOK FOR THESE GUYS!!! It's a Power Pop feast you won't be sorry you saw. If you're not lucky enough to catch them live, get this compilation of their first two LPs, "The Producers" & "You Make the Heat". It won't replace the live energy of their shows, but it'll give the listener an extremely close approximation of how good these guys are, as there's not too terribly much lost in the translation.

(Then, go buy their finally-released "lost" album, "Coelacanth" -- but that's for another review!)

I remember hearing Precious on the old M105 outside of Cleveland back when it was first released. Christ, what a song! I was sold at that moment and the album didn't disappoint. It is an unbelievable debut, especially considering that it came out during the pre-MTV days when labels still took a chance on groups instead of the "safety first" attitude that now prevents so many groups from record deals and sends them to the internet to market their wares. This band couldn't have been a safe bet by any means! This is a frantic, punky, sexy, sonic dose of autobiographical material from the jaded mind of Chrissie Hynde. Better yet, the material does not sound dated like so much from the late 70s/early 80s (except for the hip-at-the-time Space Invaders sample!), thanks to the lack of synth and the timeless incindiery guitar work of the late great Jimmy Honeyman-Scott. I feel fortunate to have seen this band in Pittsburgh just after they released the fantastic follow-up to this album, and they were just as intense and powerful live as on those two fantastic albums. An essential rock and roll record.

The first side was hard-rockin' new wave. None of that geeky Devo stuff or Elvis' forays into Burt Bacharach-ville. It kicked tail.

When I was younger, all we listened to was the first side. The second side was too mellow. After listening to this album for 20+ years, the best song is "Kid," which I think is one of the most overlooked pop songs ever.

Coming after endless years of flabby glam and mushy disco, this album reminded us of what rock and roll is supposed to be. From beginning to end, it is so relentlessly tough, edgy, and downright overpowering that it will rearrange your teeth in their sockets. As a public safety consideration, do not play this CD while driving in your car. Easily the best debut album by anybody, ever.

1977's Cheap Trick LP is the first in now 25 or so (including
solo projects by several) band members from Rockford, Illinois.
I still marvel at the first LP pre-MTV 5 video clips for 'He's
A Whore', 'Mandocello', 'Hot Love', 'The Ballad of T.V. Violence', 'Oh Candy' (the first three LPs by these guys had 'Oh
[Candy/Caroline/Claire]' girl named songs that began with the letter 'C').

I also remember the vinyl copies had a side 1 and a side 'A'.
WoW! These guys not only rocked but also were funny with single,
double and triple entandres galore. This disk is not as polished as later efforts like: One On One (though every bit as loud - in spots), Next Position Please, The Doctor and Standing on the Edge, but they were young, an opening act back then and just getting started.

Jack Douglas (Aerosmith, among others) produced and did as good a job here as with other Trickster records (whoops, sorry: disks). I got dragged to a Kiss concert (I hate 'Em!), but guess
who opened? I fell in love with 'Em and have seen these guys
(also Pete Comita, Jon Brant) 34 times since 1977. Yea, I am
hooked, I guess.

The proof that opposites attract can be seen in how different
these guys look. This album is not their best by a long shot
and like In Colour (which is not very good), most of the material here is better on their later many Live LPs. A good start though. [Since Amazon uses a different 'rating scale'
then I traditionally use, my rating would be: **.5 stars out
of ****, so I always round up.]

Cheap Trick (1977.) Cheap Trick's first album.

In the seventies, many arena-oriented pop-rock artists made it big. One of many was Cheap Trick, whose enormous success was mostly attributed to the mass sales of their Live At Budokan record (in the seventies, live albums were all the rage, and often times an artist's live album would become the band's most popular record.) Unfortunately, due to the success of their live album, Cheap Trick's other work, in particular the material that predated it, tends to go unnoticed by fans of the group. Rick Nielsen, Robin Zander, Bun E. Carlos, and Tom Petersson released their Jack Douglas produced debut album in 1977. How does the band's first record measure up?

Cheap Trick's debut album blew me away. My expectations were a litle unclear - for the most part, all I had heard from the group were songs from the Budokan album, the big hits, and their contribution to the Top Gun soundtrack. I'm not exactly sure what it was I was expecting, but I am more than satisfied with what I heard. Jack Douglas's production goes toward a raw sound that tries to capture the band's unadulterated, live show energy, and this style of producing the record succeeds beautifully. The general style of music on the record is a sort of hard pop-rock - something not many artists can do! The band's rock stylings are certainly harder and faster than many of a pop artist of the day, but they aren't anywhere near being as heavy as most so-called hard rock and heavy metal bands of the day were. The band's style was the happy medium between two extremes. Despite this debut not being much of a commercial success, it really was a great record. The band explores a variety of themes here, which only adds to the record's overall entertainment value. Rick Nielsen is seriously one of the most underrated guitarists in classic rock. His playing shines through on every track on this album. In the end, it doesn't bother me that this album didn't do that great commercially at its time of release - all I care about is the music, and it rules.

This album was remastered, and I must say, the Sony Legacy people know how to do remasters! The album features the restoration of the original vinyl tracklist, new liner notes, rare photos, and even some bonus cuts (mostly alternative versions of the tracks.) Other record companies that do remasters could really learn a thing or two from Sony.

Cheap Trick's debut is one of the best, and one of the most underrated classic rock releases of the seventies. Sure, it's their Budokan album and their later studio efforts of the late seventies and early eighties that get most of the credit, but this one is every bit as good (possibly better) than the popular stuff. Don't pass it by if you're a classic rock fan.

Among the top 10 best debuts in rock history, Cheap Trick hit their zenith with this one. The follow ups, "In Color" and "Heaven Tonight" should have been nearly as good, but stiff, dull production kept them from reaching the rock stratosphere that CT's debut rocketed into with the help of producer Jack Douglas, who captured a young, raw and brilliant rock band making history. Fans have been waiting for an album this good for nearly 30 years, and there's probably not one of us that doesn't think they can do it. Viva Cheap Trick!

This album is almost 25 years old, and it still sounds fresh. They don't make 'em like this anymore. This is straight ahead, pure, no b.s. rock and roll. In a perfect world, any of the 12 songs from the original debut could've been a number one hit. Mr. Crenshaw makes it look so easy, but writing simple, catchy songs is still a difficult thing to do. These songs will stay in your head FOREVER. My favorites are "There She Goes Again", "Girls...", "Rockin' Around in NYC", "Cynical Girl", "Mary Anne", and "Brand New Lover".

Plus, Rhino makes it even better with 10 demos/b-sides/live tracks. Yes... 10. "Brand New Lover" shows up in a different form as a hidden track, buried after "I've Been Good to You". The demo of "Whenever You're on My Mind" beats the version on 'Field Day'. "Starlit Summer Sky", another demo, is just flat out romantic. Again, he makes it look soooo easy. The b-sides "You're My Favorite Waste of Time" and "Somebody Like You" could've fit on the original debut easily. Perfect pop.
The live stuff is good, my faves are "Rave On" (and if that doesn't cement the comparisons between Marshall Crenshaw and Buddy Holly, nothing will) and "Stop Her on Sight."

All in all a great deluxe edition job. Nothing is out of place. So, if you truly love rock and roll, not rock (there is a difference), get this NOW.

Marshall Crenshaw brings back the loveliness of 50's rock & roll with the pop rock of the 80's and he does it extremely well. Each song on this album is a rock & roll gem, with very good lyrics, Marshall's trademark voice and a great hook. Soem of the songs are a little cheesy (especially "Girls..."), but the pros far outweigh the cons. The lyrics are always fun and meaningful, and you'll probably catch yourself singing along to a couple of the tracks. The musicianship and production are great, especially for the time period. One of the best albums of the 80's and one of the best of all time, "Marshall Crenshaw" is pure fun and a definite must-have for any music fan.

Highlights include:
the whole album!

Marshall Crenshaw is one of the very few artists/bands to NEVER play a bad tune. It really surprises me that Marshall Crenshaw hasn't sold a billion records and doesn't have at least 5 top ten hits. The music is unique and the tunes are catchy. THIS IS EASY is 22 straight melodic/rockin tunes you can listen to straight through without skipping a track. I don't know anyone who doesn't like Marshall Crenshaw's music and Crenshaw's live shows are awesome by the way. I suggest you catch this band while you can, they are the last of a dying breed.

This album is almost 25 years old, and it still sounds fresh. They don't make 'em like this anymore. This is straight ahead, pure, no b.s. rock and roll. In a perfect world, any of the 12 songs from the original debut could've been a number one hit. Mr. Crenshaw makes it look so easy, but writing simple, catchy songs is still a difficult thing to do. These songs will stay in your head FOREVER. My favorites are "There She Goes Again", "Girls...", "Rockin' Around in NYC", "Cynical Girl", "Mary Anne", and "Brand New Lover".

Plus, Rhino makes it even better with 10 demos/b-sides/live tracks. Yes... 10. "Brand New Lover" shows up in a different form as a hidden track, buried after "I've Been Good to You". The demo of "Whenever You're on My Mind" beats the version on 'Field Day'. "Starlit Summer Sky", another demo, is just flat out romantic. Again, he makes it look soooo easy. The b-sides "You're My Favorite Waste of Time" and "Somebody Like You" could've fit on the original debut easily. Perfect pop.
The live stuff is good, my faves are "Rave On" (and if that doesn't cement the comparisons between Marshall Crenshaw and Buddy Holly, nothing will) and "Stop Her on Sight."

All in all a great deluxe edition job. Nothing is out of place. So, if you truly love rock and roll, not rock (there is a difference), get this NOW.

Marshall Crenshaw brings back the loveliness of 50's rock & roll with the pop rock of the 80's and he does it extremely well. Each song on this album is a rock & roll gem, with very good lyrics, Marshall's trademark voice and a great hook. Soem of the songs are a little cheesy (especially "Girls..."), but the pros far outweigh the cons. The lyrics are always fun and meaningful, and you'll probably catch yourself singing along to a couple of the tracks. The musicianship and production are great, especially for the time period. One of the best albums of the 80's and one of the best of all time, "Marshall Crenshaw" is pure fun and a definite must-have for any music fan.

Highlights include:
the whole album!

Marshall Crenshaw is one of the very few artists/bands to NEVER play a bad tune. It really surprises me that Marshall Crenshaw hasn't sold a billion records and doesn't have at least 5 top ten hits. The music is unique and the tunes are catchy. THIS IS EASY is 22 straight melodic/rockin tunes you can listen to straight through without skipping a track. I don't know anyone who doesn't like Marshall Crenshaw's music and Crenshaw's live shows are awesome by the way. I suggest you catch this band while you can, they are the last of a dying breed.

I know most would call them a one-hit-wonder, but the majority of their songs are great. I think this album and the band in general are quite underrated. I didn't get this album until recently, and realized what I was missing all these years. A very solid and catchy pop album. The title track was the hit here, but I believe "Moonbeam" was a single as well. This is consistently good, but my favorites are "Pop Goes The World", "Jenny Wore Black", "Intro/Walk On Water", and the excellent "On Tuesday". That song has quite the flute hook. Overall I like their "Rhythm Of Youth" album more, but this is the next best thing. Too bad they're all so hard to find.

Men Without Hats have been known as a synth-pop group with a touch of liberal social commentary blended in the music. They were doing quite well as this kind of group with songs like Safety Dance and Messiahs Die Young, however this time around things changed. Ivan and friends decided to do a concept album and the result is Pop Goes the World. The concept was some story about a boy and a girl, but that's not what's important. While it's a very different animal than the synth-pop trio's other albums it is a very worthwhile diversion from their norm.

MWOH signed up producer Zeus B. Held (no, I'm serious... he actually went by that name) to help put this album together. Zeus did a fair amount of producing with remix albums for Gary Numan, Alphaville, Dead or Alive, Erasure, Simple Minds and a slew of other 80's electronic and experimental groups. Add some studio musicians and you get a more acoustic album than the previous MWOH records.

Does that mean no more synth-pop? No way. You get two really catchy dance tracks on this album. The most famous one, Pop Goes the World, is a really great song and has a real catchy melody to it. The other track, Moonbeam, hit the clubs back in the 80's pretty strong and was the purist of the two in regards to that genre. They still sound very different than Safety Dance, but at the same time they sound a lot more polished musically and better produced.

Just about every song on this album is worth noting. On Tuesday has Jethro Tull peforming on flute and is as much a song of ambience as it is rhythm and melody. A great song to relax to. There are some really good piano ballads on this album with the reflective Bright Side of the Sun and the lightly angst-ridden Lose My Way. This album essentially has a good balance of high energy music, mellow tracks, peppy music, punchy music, and more in between. You will notice the underlying theme of "Johnny and Jenny" throughout most of the album, too.

While Pop Goes the World is very different from anything Men Without Hats did previously this album is definitely one of their better achievements. It shows that Ivan and the gang can expand their musical horizons successfully without losing what made them great in the first place. If you like 80's dance music, or if you just like good music, this album will be a nice addition to your collection.

This is one of the best albums to come out of 1987. Nice synthy pop feel and Ian Anderson on one song! That is worth the price alone.

This is my favorite MWH album.

When I was a senior in high school, Elvis Costello came out with My Aim is True, and it totally blew us all away with its cynical, on-the-money lyrics and terrific pop hooks. With heavy radio rotation of songs such as (The Angels Wanna Wear My) Red Shoes (which I made sure to get not long afterward), Alison, and Watching the Detectives, as well as Welcome to the Working Week, Mystery Dance, and Radio Sweetheart, Elvis was suddenly all over the FM dial, and we heard tell of concerts in which the 'angry young man' named Declan McManus spit on his audiences and told them off. A real regret was not getting to see him play live the first time he toured here, which I didn't have the opportunity to do 'til 1983, and a couple of times thereafter - always excellent shows, I might add (alas, no spitting). I have such specific memories of riding in a car singing Watching the Detectives and listening to these tunes while crossing the Long Island Sound by ferry on a trip to Shelter Island in New York on an early summer morning, Elvis' music the indelibly-etched soundtrack to that period that will forever play in my mind. Since this LP, Elvis has gone on, as we all know, to explore and master many genres of music, but - even given his wonderful subsequent work with Burt Bacharach - none hold as much power and meaning for me, even twenty five plus years on, as this LP does. Long live this King!!

There is very few albums that compare to this masterpiece. Every track is superb. One of the top 10 albums ever produced. Intelligent and quick witted lyrics, addictive melodies and clean pure energy, this album has it all.

The funny thing is I could issue a similar endorsement for E.C.'s next two albums as well. 1977's My Aim Is True, 1978's This Years Model & 1979's Armed Forces, may very well be the best three consecutive albums ever released by any one artist.

Other artists have had larger impacts on our history and influences to or culture (Beatles, Stones & that other Elvis) But for musical excellence Elvis Costello is second to none.

I remember having a very bad image of Elvis, lumping him into the "new wave" phenomenon for years. Then I finally listened to this cd. The songs are nothing short of incredible. Not a bad one in the bunch. The production is stark but that just enhances the power of the tunes to stand out on their own without gimmicks. I'm not sure he ever made another album as complete as this one, though I followed him through several more excellent lps. This one's a definite keeper.

I don't know which I enjoy more; the great music on this follow-up to the Cars first smash album, or the amazinging hot girl on the car looking like she's just begging to be taken!

How do you follow up a debut album that is a candidate for the most brilliant New Wave album ever? With another slightly-less brilliant New Wave album filled with loads of catchy pop-rock songs. The boys from Boston show they know a good thing when they hear it and that they are not even close to exhausting their pop-rock songwriting talents. They established a winning formula on their stellar debut and they stick to the formula here. Almost all the songs sound pretty much the same, having catchy melodies, infectious hooks and riffs, excellent pop sensibilities, and that New Wave Cars' sound. As a result this is a very consistent album that is lacking in diversity. When the songs are as good as the ones found here, one almost doesn't notice the lack of diversity. *Let's Go*, one of the albums best songs, is an excellent opener and gets this album off to a roaring start. *Since I Held You* and *It's All I Can Do* follow instep, seeing how they had *Let's Go* to show the way. *Double Life* is the albums only weak song. It just seems to drag along, lacking energy, and has the lamest hooks and melody of any of the songs. *Shoo Be Doo/Candy-O* are my favorite songs here. *Candy-O* has tons of energy, and I like the way *Shoo Be Doo's* echoing "just tell me what" part leads directly into *Candy-O's* opening riff. *Night Spots* is another energy-filled pop rocker and one of the albums best songs. *You Can't Hold On Too Long* and *Lust For Kicks* slow the tempo down and follow The Cars' simple, straightforward, pop-rock formula to a tee. *Got A Lot On My Head* and the albums closer *Dangerous Type* are both excellent. *Dangerous Type* challenges *Candy-O* for best song honors.

THE CARS ARE A GREAT BAND AND ALMOST AS GOOD AS PINK FLOYD,LYNYRD SKYNYRD,BOSTON,THE WHO,AC/DC,BLACK SABBATH,LED ZEPPELIN AND THE STONES.THEY MADE NUMEROUS GOOD ALBUMS AND MANY EXCELLENT SONGS.GET ALL THEIR ALBUMS WHILE AVOIDING ALL ALBUMS FROM HUGELY OVER RATED BANDS LIKE DIRE STRAITS,NIRVANA,GUNS N ROSES AND FOREIGNER.FIVE STARS.

Inferno is not a bad album by any means, but my interest in it has worn off just a little bit since my first enthusiatic initial listens. it's hard to shake the sense of thinking there are a few too many Lemmy and Co. on auto pilot moments here...but the sense of dynamics is hightened to reveal some fresh ideas in the Motorhead camp. most notable in "Keys To The Kingdom" which has a great groove and is catchy as hell.

After too many mediocre, or almost-good, or downright bad, albums, this is a true return to form by Lemmy and the boys. Much of this seems to be related to the new producer hired for this album (and for the upcoming one), Cameron Webb. On the bonus DVD that accompanies some Inferno copies, Lemmy admits that Webb got them out of their old routine and really pushed them to 'try a little harder' this time.

And it shows. You can hear that a lot of care has gone into the songs, the production is cool and understated, and Lemmy's voice hasn't sounded better for a long time. OK, so there is no "Ace of Spades" or "Overkill" on this one, but the overall standard of the songs is quite high nonetheless. "Killers", "Down on Me", "In the Black", "In the Year of the Wolf", "In the Name of Tragedy", "Suicide", "Whorehouse Blues" are personal favorites since the first time I heard them, really outstanding stuff. Maybe it also has something to do with Lemmy's involvement with Dave Grohl and Probot, that all of a sudden Motorhead sounds relevant again, and ready to conquer a new generation of fans.

So please, none of that "Hey, this is Motorhead, these guys put out the same album every year, and it's always cool, so just go ahead and buy it", no, Inferno is different, and good. I remember hearing Orgasmatron on the radio when it was released, 20 years ago this year. I have to say Inferno is the best Motorhead studio album I've heard ever since.

Like most fans of Motorhead I felt that Ace of Spades was their culminating effort. There have been some excellent subsequent albums, but Ace of Spades was the one with the greatest armour-piercing impact. But last week, when I was watching Motorhead's awesome new live-show DVD "Stagefright," I heard a few astonishing songs which I did not recall having ever heard before. I learned they were from the new album, "Inferno." I immediately bought it.

This album cooks. There's not a weak song. Lemmy and the boys jam like men half their age. I personally think "In the Name of Tragedy" is one of the best hard rock riffs I've ever heard in my life; it's up there with TNT or Dirty Deeds (AC/DC) or Shattered (Stones) or Space Truckin'/Highway Star (Deep Purple) in terms of infectious appeal. I can just listen to that song over and over and over. "In the Year of the Wolf" has intense and somber character, a very unique, foreboding quality which I have never heard in a rock song before. It sounds in tone like an old Viking telling a story of a lifetime of warfare...or some similar recounting of spectacular and apocalyptic events. Even the ACOUSTIC "Whorehouse Blues" has a really catchy riff to it and really grows on you.

What is so cool (especially to those of us over 40) is that this is conclusive proof that there is indeed life ahead. Mr. Lemmy Kilmeister is now 60!! What an amazing character he is. I think it adds tremendous sparkle to an already legendary career that this "Lion in Winter" is still kicking out riffs of this quality and magnitude. This album is so good and so classic it will take several years for it to be fully assimilated by the old fans and new fans of Motorhead. It is clearly a top one-percenter. Wait for the neighbors to leave and turn it up loud!