| | Motorhead No Sleep 'Til Hammersmith CD Motorhead Discography of CDs
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Motorhead: Lemmy Kilmister, Fast Eddie Clarke, Phil Taylor. Recorded live in England in 1980 & 1981. All tracks have been digitally remastered. Personnel: Lemmy (vocals); "Fast" Eddie Clarke (guitar); Phil "Philthy Animal" Taylor (drums). Liner Note Authors: Garry Bushell; Phil Alexander. Recording information: Studio. Photographers: Ross Halfin; Mick Stevenson. Released in 1981, the live album No Sleep 'Til Hammersmith recaps the highlights from the legendary run of albums Motörhead released during the prior few years, namely Overkill, Bomber, and Ace of Spades. The band's lesser self-titled debut album is also accounted for here with two inclusions ("Motörhead" and "Iron Horse"), but by and large, the focus is on the standout songs from the aforementioned trio of classics. This alone makes No Sleep 'Til Hammersmith noteworthy, for it plays like a greatest-hits set, opening perfectly with "Ace of Spades." But what makes it all the more noteworthy -- and more than simply a run-of-the-mill, gap-filling live album -- is the performance: in a word, it's breakneck. The trio of Lemmy (bass and vocals), "Fast" Eddie Clarke (guitar), and "Philthy Animal" Taylor (drums) absolutely rips loose through this 11-song set, upping the intensity and speed of the already intense and speedy studio recordings. Yes, believe it or not, these performances are even more crazed than their studio-recorded counterparts. Of course, the fidelity isn't as clear and the instruments aren't nearly as in relief, since this is a live recording (and while it's of high quality for live recordings of its day, it's relatively lo-fi by today's standards). Still, the breakneck nature of this performance distinguishes No Sleep 'Til Hammersmith from its studio predecessors, making it an excellent, recommended complement to those essentials. Moreover, it's an important release because it captures Motörhead live during the peak of the classic lineup's rise to fame. Motörhead could do no wrong at this point in time, as they were laying the foundation for the coming thrash movement, in a way, and their winning streak continues here on No Sleep 'Til Hammersmith, one of the best live metal albums of all time. ~ Jason Birchmeier Unlike many heavy metal contemporaries, Motorhead leader Lemmy possesses self-deprecating humour. Stripped of pretension, he goads the basic three-chord trick with a full-throated bellow, emphasizing his trio's vicious racket. On this live selection the group reprise the cream of their back catalogue with untrammelled venom, in the process destroying already power-packed studio counterparts. Continuing a line from the MC5 and Stooges, rather than gothic fantasy, the band understand the excitement of noise and exploit it to its full potential. Thrash metal and hardcore owe them a debt but, as this album proves, there is only one Motorhead. Released in 1981, the live album No Sleep 'Til Hammersmith recaps the highlights from the legendary run of albums Motörhead released during the prior few years, namely Overkill, Bomber, and Ace of Spades. The band's lesser self-titled debut album is also accounted for here with two inclusions ("Motörhead" and "Iron Horse"), but by and large, the focus is on the standout songs from the aforementioned trio of classics. This alone makes No Sleep 'Til Hammersmith noteworthy, for it plays like a greatest-hits set, opening perfectly with "Ace of Spades." But what makes it all the more noteworthy -- and more than simply a run-of-the-mill, gap-filling live album -- is the performance: in a word, it's breakneck. The trio of Lemmy (bass and vocals), "Fast" Eddie Clarke (guitar), and "Philthy Animal" Taylor (drums) absolutely rips loose through this 11-song set, upping the intensity and speed of the already intense and speedy studio recordings. Yes, believe it or not, these performances are even more crazed than their studio-recorded counterparts. Of course, the fidelity isn't as clear and the instruQ (10/96, pp.186-187) - 3 Stars - Good - "...the best title of any live album ever....contains faster and rougher versions of Motorhead's best songs, most of which were pretty fast and rough already..." Mojo (Publisher) (12/01, p.124) - "...A masterpiece..." Record Collector (magazine) (p.138) - 4 stars out of 5 -- "[D]elivered with brutal immediacy....There is a fearsome intensity throughout, meaning this remains one of the key live metal albums." No Sleep 'Til Hammersmith Music Motorhead No Sleep 'Til Hammersmith Songs No Sleep 'Til Hammersmith Music No Sleep 'Til Hammersmith Music Review Buy No Sleep 'Til Hammersmith CD Purchase No Sleep 'Til Hammersmith CD To buy, Click on price to add to cart | Motorhead Ace Of Spades CD (1980)
No Sleep 'Til Hammersmith
$9.99 Includes liner notes by Steffan Chirazi. 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 ...
| | Motorhead Bomber CD (1979) Bonus Tracks; Remastered
No Sleep 'Til Hammersmith
$9.99 + 5 Bonus Tracks (4 From Golden Years EP)
Motörhead: Lemmy Kilmister (vocals, bass guitar); "Fast" Eddie Clarke (guitar); Phil "Philthy Animal" Taylor (drums, percussion). One of a trifecta of classic Motorhead albums ...
| | Motorhead Overkill CD (1979) Bonus Tracks; Remastered
No Sleep 'Til Hammersmith
$9.99 Includes liner notes by Steffan Chirazi. Motörhead's landmark second album, Overkill, marked a major leap forward for the band, and it remains one of their all-time best, without question. In fact, some fans consider it their single best, topping even Ace of Spaces. ...
| | Motorhead Iron Fist CD (1982) Bonus Tracks; Remastered
No Sleep 'Til Hammersmith
$9.99 + 5 Bonus Tracks
Motorhead includes: Lemmy Kilmister (vocals, bass); "Fast" Eddie Clarke. Recorded in January and February 1982. Includes liner notes by Steffan Chirazi. All tracks have been ...
| | Motorhead Another Perfect Day CD (1983) Bonus Tracks; Remastered
No Sleep 'Til Hammersmith
$9.99
| | VH1 Presents The Corrs Live In Dublin CD (2002)
No Sleep 'Til Hammersmith
$6.39 The Corrs: Jim Corr (vocals, guitar, keyboards); Sharon Corr (vocals, violin); Andrea Corr (vocals, tin whistle); Caroline Corr (vocals, drums, bodhran, percussion). Recorded at Ardmore Studios in Dublin, Ireland in January 2002. You knew the Corrs had made it when they played the final JFK Awards ceremony of the Clinton administration. Playing it would have ...
| | Chicago: The Blues Today! CDs (1965)
No Sleep 'Til Hammersmith
$19.49 3 CD-Jr Wells,Otis Spann,Big Walter Horton,Johnny Young
Performers include: Junior Wells, J.B. Hutto, Otis Spann, Jimmy Cotton, Otis Rush, Homesick James, Johnny Young, Johnny Shine, Big Walter Horton, Memphis Charlie. All tracks have been digitally remastered. Personnel: Johnny Young (vocals, guitar, mandolin); Homesick James Williamson, J.B. Hutto, Johnny Shines, Otis Rush (vocals, guitar); Jimmy Cotton, Junior Wells (vocals, harmonica); Otis Spann (vocals, piano); Robert Crowder (alto); James Madison, Luther Tucker, Buddy Guy (guitar); Big Walter Horton, Charlie Musselwhite (harmonica); Roger Jones, Floyd Jones , Willie Dixon, Herman Hassell, Hayes Ware, Jack Myers (bass instrument); Elga Edmonds, Willie Lion, Fred Below, S.P. Leary, Frank Kirkland (drums). In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. The "Today!" part of the title was no bit of hyperbole, either. This series accurately portrayed a vast cross section of the Chicago blues scene as one could hear it on any given night in the mid-'60s. Rather than record full albums (which Charters had neither the budget nor the legal resources to pull off), each artist simply came in for a union-approved session of four to six songs, with each volume featuring three different groupings. With these recordings, blues suddenly gained respectability as something much more vital and vibrant than just a poor cousin of jazz. A new market for this music began, one that exists today in full blossom. Their effect on musicians was enormous. It's fair to assume that most blues-influenced artists had all ...
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