Welcome to another edition of From My Collection. Since I had so much fun last week going back in time to 1982, I figured I’d stay there this week. There are many hidden gems in hard rock and heavy metal that are hidden not because of their musical shortcomings, but because they came off the tails of extremely critically or commercially successful albums. Off the top of my head, I can think of AC/DC’s For Those About to Rock (following Back in Black), Judas Priest’s Point of Entry (following British Steel), and the subject of today’s essay, Motörhead’s Iron Fist. Despite following the groundbreaking Ace of Spades, Iron Fist almost feels like a black sheep in the Motörhead catalog, though not nearly as black a sheep as its successor, Another Perfect Day (perhaps more on that in a future essay). This week’s essay will attempt to explain why, while also analyzing the music within. “Devil’s grip, the iron fist!”
When Motörhead entered the studio to record their fifth album, Iron Fist, in early 1982, they were on top of the world…and by “the world”, I mean England. Their last album, Ace of Spades (1980), peaked at #4 on the UK Albums Chart and was certified gold by 1981. The title track was released as a single and even cracked the Top 40, coming in at #15. Despite coming from humble DIY beginnings, the punk and NWOBHM scenes had now gained significant momentum, as the thought of Motörhead cracking the charts was unthinkable just a few short years earlier. The US rock market, dominated by the likes of Journey, Styx, and REO Speedwagon, was nowhere near tailored for a rough and ready act like Motörhead. If they weren’t gonna ease in there, they were gonna break in by force. That’s exactly what they did when they accompanied ex-Black Sabbath frontman Ozzy Osbourne on his first solo US tour. It also happened to be Motörhead’s first foray into the States.
Taking all this into account, the stakes were high for Iron Fist. Lemmy could’ve caved into corporate pressure and polished the band’s sound for further commercial consumption. At the very least, he could’ve sandwiched in a ballad or two. But, no. Lemmy stood strong and continued to keep his promise that if Motörhead moved next door to you, your lawn would die. This is evident by the first few seconds of the opening title track. Just like “Ace of Spades” before it, Lemmy wastes no time. His bass serves as a battle cry before Fast Eddie and Philthy Animal join him on guitars and drums respectively, charging headfirst into battle. If I were to do a Top 10 Motörhead songs for this site, there’s no doubt “Iron Fist” would make the cut.
Side A rages on with the underrated “Heart of Stone”. It’s speedy, sleazy headbangers like this that paved the way for Midnight and Superchrist come the 2000s. “I’m Your Doctor” recalls the band’s earliest days. It’s upbeat old school rock n’ roll with a signature motörcharged punk n’ roll twist and some witty lyrics to boot. I might be alone on this one, but I’ve always felt “Go to Hell” was the band’s way of acknowledging the metal scene of the time. The massive, metallic riffs have more in common with Scorpions than Motörhead. “Loser” is another oddball: An unsung anthem with hard rock undertones. “Sex and Outrage” closes side A the way it began. It’s a filthy hardheaded speedster that takes no prisoners.
As we flip on over to side B, Lemmy’s tongue in cheek lyrics take centerstage yet again on “America”. It was a common occurrence of the era for European metal bands to write a song about the States, whether or not they had stepped foot in the “land of the free” before. Def Leppard had “Hello America”. Saxon had “Midnight Rider”. Acid had “America”. Motörhead also had “America”, though not to be confused with the Acid song of the same name. More or less a sequel to “(We Are) The Road Crew”, “America” chronicles Lemmy and the gang’s maiden voyage through the States.
“Shut It Down” is played in the same punk n’ roll vein as “I’m Your Doctor”, while “Speedfreak” lives up to its name in more ways than one. Fun fact: “Speedfreak” is a synonym for Motörhead. I’m sure by now you’re all aware that the name “Motörhead” has nothing to do with motorcycles and is in fact slang for someone (in this case, Lemmy) who takes copious amounts of speed, but in case you didn’t, surprise! Lemmy was indeed a “Speedfreak”. He loved and lived for speed, both the music and the drug.
As humorous and witty as Lemmy’s lyrics could be, they could also be uplifting and empowering. Take “(Don’t Let ‘Em) Grind Ya Down” for example. It’s more authentic and convincing than most of what came forth the late 70s punk boom. It’s one thing to say you’re against “the man”. It’s another thing to prove it. Speaking of standing up to “the man”, “(Don’t Need) Religion” tackles one of Lemmy’s “favorite” topics, you guessed it, religion. Lemmy’s anti-authoritarian stance on religion and politics would become a fixture of Motörhead’s ethos for the remainder of their career, peaking on the 1986 masterpiece, “Orgasmatron”. The fastest and filthiest is then saved for last, “Bang to Rights”. It’s no “The Hammer”, but it sure is a proper way to close such a record.
So why has Iron Fist lingered in cult status for nearly 40 years while Ace of Spades is by and large considered the crown jewel of the Motörhead catalog? The answer lies directly within the question. Fans held Ace of Spades in such a high regard that they made it up in their heads that nothing could ever follow it. This is despite that Iron Fist is just as excellent as Ace of Spades, perhaps even better in certain aspects. If that last sentence rubs you the wrong way, I highly recommend you revisit Iron Fist before giving your thoughts in the comments below. It’s only fair. Besides, there’s far worse you could listen to than Motörhead, like all the other bands in existence who AREN’T Motörhead.
I now have something today to blast in the car!