Kill ‘Em All (original working title: Metal Up Your Ass, which would have been awesome) did not chart upon its limited first release on Megaforce Records, but did enter the charts several years later, in ‘88 when reissued by Elektra Records after the success of Master of Puppets; it went to #120 in the US and then re-entered at #66 in 2016 (not surprisingly, it’s also done very well on the Swedish charts over the years). Kill ‘Em All has been hailed as one of the first speed metal records of the 80′s released in the US, propelling the speed and fury of the genre forward and outward. Metallica released two singles: “Whiplash” and “Jump in the Fire” (that track’s original lyrics written Dave Mustaine but rewritten by Hetfield after Lars Ulrich and Hetfield fired Mustaine just about a month before they began recording Kill ‘Em All, replacing him with guitarist Kirk Hammett). Neither song charted, however Motorhead’s cover of “Whiplash” won a Grammy in 2005. I’m not a big metal fan but I do enjoy Metallica occasionally when in a head-banging mood and this record certainly scratches that itch. My top tracks are “The Four Horsemen” “Phantom Lord” and “Seek & Destroy.”

*Grits was the term we used for the headbanger/hesher/metalhead/heavy metal fan subculture in our Wisconsin city.

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Ace of Spades was Motörhead’s fourth studio album – the first to be released in the US – and it peaked at #4 on the UK charts but reached legacy status where it continues to reside to this day. The title track “Ace of Spades” was the only track Motörhead released as a single, reaching #15 on the UK charts (hitting the charts again at #13 in December 2015 after Lemmy’s death). “Ace of Spades” has been placed on multiple best-of lists, including greatest guitar tracks and hard rock songs of all time. The whole album is fast – exhausting – with beats and guitar that never let up but other tracks that standout are the roadie anthem “(We Are) The Road Crew,” the romantic (kidding!) “The Chase is Better Than the Catch” and “The Hammer.”

We saw Motörhead play just once, on October 13th 1999 at the Rave in Milwaukee. Only Lemmy remained from the classic lineup by then of course: Clarke left in ‘82 and Taylor was gone permanently by ‘92. But it was still a memorable show. Nashville Pussy, Motörhead protégés, opened so it was LOUD, raucous, mean and amazing despite the Rave’s shitty acoustics.

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We saw Nashville Pussy several times in the late 90′s, all unforgettable shows. The first time was at O’Cayz in Madison and holy shit, mind blown insanity: bassist Corey Parks was still in the band and scared the crap out of the crowd in the small club with her signature fire breathing act. Probably a few months later we saw them play in Green Bay at some warehouse-y venue, likely now gone, and my friends and I spent much of the show distracted by a very large girl with a teeny tiny Hello Kitty backpack who danced maniacally and allegedly hooked up with Parks after the show. [Hilarious to me sidenote: a year or so later, Hello Kitty girl was one of the manicurists doing nails for those same friends before my wedding.] [I did not tell Hello Kitty girl about the Nashville Pussy connection.] We attended another concert in Milwaukee at Shank Hall (notable for its Spinal Tap association). Which is all a long way around to when we saw Nashville Pussy open for Motorhead at The Rave – the only time I saw Lemmy play live. Perfect pairing of bands for noise, debauchery and growling speed. The Rave’s acoustics suck, so badly that singer/guitarist Blaine Cartwright stopped NP’s performance to scream “What’s that noise??!! What’s that fucking noise? Does everyone hear that?” It was the sound of another band playing in another area of the club, its music bleeding through the walls. [Someone in the audience said it was barroom country rockers Commander Cody of “Hot Rod Lincoln” fame, but I think that may have just been a coverup for the awful acoustics because I have a really hard time believing that CC could match, much less overpower, the brute aural fury of NP.] Cartwright, pissed as hell, offered free tickets to audience members the next time NP played Milwaukee. We never took him up on that offer. Motorhead, surprisingly, were much more congenial to the shitty sound, or drunk enough to just not care.

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