Motörhead – Manticore Tapes
2LP | LP | CD | DL
Out Now
A “lost album” by Motörhead sits neatly between the band’s 1977 self titled debut album and On Parole, which was recorded before it. Nathan Brown says fans of early Motörhead will löve it.
Billed as a lost album, I had seen Manticore Tapes being touted online and heard the version of Motörhead’s eponymous theme tune which measured up to the version on their formal 1977 debut. I was intrigued, tempted.
Motörhead had originally been signed to United Artists, a legacy of Lemmy’s time in Hawkwind, where he wrote the song that gave the band its name. A line up of Lemmy, Larry Wallis and Lucas Fox had laid down an album between Sept 1975 and February 1976, Fox being replaced part way through by Philthy Animal Taylor. UA wouldn’t release it and so Motörhead’s first album – on Chiswick – was the second one they actually recorded with the classic line up of Lemmy, Fast Eddie Clarke and Phil “Philthy Animal” Taylor. After Motörhead released Bomber on Bronze (which, along with Overkill and Ace Of Spades, is one of their best releases in my opinion) UA realised their error and On Parole hit the streets. For my money, some of the songs sounded better on On Parole than on Motörhead. These “lost tapes” sit neatly between the two.
As the press release tells us: “In August 1976 the band set up at Emerson, Lake & Palmer’s legendary Manticore Studio in Fulham to rehearse and showcase the new lineup [Lemmy, Fast Eddie and Philthy Animal]. While they were there, they recorded together for the very first time and now, forty nine years later, this long lost tape has surfaced, been dusted off and restored in all its raw glory, to celebrate the seminal hard rock band’s 50th anniversary“.
Yes, there is a rawness to this, but there is more clarity than you’d expect from what could be treated as a demo for the Motörhead album, Lemmy’s warts’n’all. As some of Lemmy’s inter-song banter has been retained, this is a studio quality album with a live feel, “live in the studio” if you like. You can tell that the band are still testing out different approaches and honing the attack on some songs this line up, while others were clearly ready.
After an “Instro” they launch into Leavin’ Here, the Holland-Dozier-Holland tune that Motörhead made their own. Lemmy’s insistence that they were always a “rock’n’roll” band is demonstrated by this number, but the boisterous playing is more then just rock’n’roll. The middle section hints at the monstrous machine they would become by the time of the Overkill album. Ever tongue in cheek, Lemmy concludes with “Thank you. I didn’t realise there was anybody there”. Vibrator takes off, speedier than the On Parole version, matching the 1977 album but with Lemmy’s rattling bass higher in the mix.
Slower, but still spirited and lively, the head nodding Keep Us On The Road reveals Philthy Animal’s trademark double beat battering of high hats that contributed to the urgency of the Ace Of Spades era. A great version despite Eddie breaking a string. Another Hawkwind refugee, The Watcher has different gaps, more bluesy guitar and vocal emphasis, completely with added reverb when you compare to the better known version.
With the extra clarity and plenty of attack, the song Motörhead seems to have more kick and punch than the 1977 release. I’ve seen comments from people online that “this is how it should have sounded”.
The vocals are sparse in their version of John Mayall’s rocking and rolling blues-athon I’m Your Witch Doctor, and the chaotic truncated stop adds to the excitement. Despite lacking full vocals, musically it’s a more full-blooded version than the take on Beer Drinkers and Hell Raisers EP. Again with Iron Horse/Born To Lose the vocals are somewhat lost, in the background, but the vibrancy of the instruments carry this song.
Three alternate takes finish off the set. Another stormin’ version of Leavin’ Here and Vibrator have a guitar heavy mix with the bass in a less prominent position. The Watcher is another atmopsheric delivery, with a few different guitar breaks and runs on the bass.
If you love early Motörhead then this is worth getting, as a companion to Motörhead and On Parole, and is a better “live” version of the songs from that era than the 1983 What’s Words Worth? live album recorded in 1978. Motörhead completists will have ordered it on first sight.
The Manticore Tapes is available as a deluxe expanded bookpack containing a double LP and 7” single (extra live tracks), a single LP, CD and digital.
Available online from various outlets via imotorhead.
~
Wörds by Nathan Brown. You can read more from Nathan on his Louder Than War archive over here.
A Plea From Louder Than War
Louder Than War is run by a small but dedicated independent team, and we rely on the small amount of money we generate to keep the site running smoothly. Any money we do get is not lining the pockets of oligarchs or mad-cap billionaires dictating what our journalists are allowed to think and write, or hungry shareholders. We know times are tough, and we want to continue bringing you news on the most interesting releases, the latest gigs and anything else that tickles our fancy. We are not driven by profit, just pure enthusiasm for a scene that each and every one of us is passionate about.
To us, music and culture are eveything, without them, our very souls shrivel and die. We do not charge artists for the exposure we give them and to many, what we do is absolutely vital. Subscribing to one of our paid tiers takes just a minute, and each sign-up makes a huge impact, helping to keep the flame of independent music burning! Please click the button below to help.
John Robb – Editor in Chief