Review Summary: Triad
This is a chord, the slim and groomed figure stated while pointing at the blackboard… This is another, this is a third… leaving the attendees baffled. The above is an extract of a comic sheet present in the original record sleeve of “Another Perfect Day”, and Lemmy is way smarter than what he wants us to believe.
The basic construction block consisting of three notes, a triad if you may, can indicate - constrict or expand - harmony, mapping out or framing melodies on top. The powerchord though is of an epicene nature, containing the root and fifth of each basic chord, lacking the third… lacking minor or major identity, metalers don’t give a ***.
Now the bass in a rock context more often than not moves around these two notes as well. Yet in a Motorhead context the Rickenbacker moves around these two notes in distortion. Brian Robertson gained his chops providing twin guitar for Thin Lizzy, and at least a basic knowledge of harmony -theoretical or/and experiential- is a prerequisite for making two guitars provide interplay of a non-unison matter. Contrary to "Fast" Eddie Clarke, in principle Robertson would never approach a tune with regard to duplicate Lemmy’s lines…
Yet again in principle Motorhead’s sound, up to that point was based around that concept. The distorted fuzzy unison, of Lemmy and Eddie Clarke backed by the pounding of Taylor behind the drum set, provided the rawness, the attack… Lemmy’s naturally distorted voice on top enhanced the dirtiest - slimiest sound earthlings could possibly provide, a sincere sum of its parts, the sound of Motorhead.
Now subtract one of the four above elements - the guitar parts - and refurbish them to provide contour on top of what is already there in abundance. The riffs are based around higher registers of the chords than Lemmy’s bass is. Notice how the melodic embellishments expand Motorhead’s concept in “Dancing on your Grave” or “Another Perfect Day”. Notice how the guitar lucidly dances around the Rickenbacker gallop during the intro of “Back at the funny farm”, both sections are crystal clear… not pertaining to texture, Lemmy’s axe is still distorted, dirty raw, yet the guitar parts now provide breathing space, clarifying the idea behind the gallop, reaching the capacity - the hidden musical potential of Lemmy’s experiential extract. The attentive solos evident in the likes of “Shine” or the outro of “I Got Mine”, are accommodating the tunes, they are not present by default, they won’t show off - they will serve.
Lemmy burps at the beginning of the last track “Die you bastard”, making room maybe for the impending syncopations flirting with his Rickenbacker. This was the last time Motorhead would have a taste of the above.
I guess when one is used to bourbon, he may be tempted by a more refined beverage now and then, not in front of his drinking buddies though; that is with the exception of Ian Fraser Kilmister. Lemmy won’t give a *** about what his buddies think about him trying refreshments, as he won’t give a *** about someone like me, pointing out that he shouldn’t be playing distorted powerchords on the bass. After all, he is a more prolific drinker than most of his buddies and most probably he is a smarter bloke as well - even if he doesn’t want us to believe that. At the end of the day, his cupboards will still be filled with the No7 brand, and while mixing three parts of Jack with one part of lets say... an expensive Chardonnay variety, would provide a disgusting tangible outcome before or after the cocktail being consumed - musically, this release turned out superb.
“Another Perfect Day” is a misunderstood (check the comic on the section depicting motorhead fans dazzled by the meaning of hence) landmark in Motorhead’s Discog. The sum of a triad exceeding individual capacity; hence, for all the different reasons, this ranks up there with “Ace” or “Overkill”, and between you and me - if I was forced to keep one of those under a gun pointing at my forehead, I might choose the one with Robbo. Then if you asked me how my day was, I would answer perfect; no… not 'cause the bloke pointing a gun at me, spared my life - but because I'd still be the proud owner of a Motorhead album.
