MOTÖRHEAD, those lovable geezers who somehow haven’t completely decomposed yet, are unleashing “Leavin’ Here”, their *second* single (because one wasn’t enough, apparently) along with a music video that’s probably just as coherent as Lemmy after a bottle of Jack. This auditory assault is ripped from the forthcoming album “The Manticore Tapes”, dropping like a rusty anvil on June 27. Get ready to question your life choices! 🤘
The music video for “Leavin’ Here” is described as an “explosively raucous mixed media visual.” Translation: Expect a chaotic collage of stuff they found in the attic, combined with footage of the band looking vaguely menacing. It’s probably going to involve explosions, models that look like they were sculpted by a toddler, and enough archive footage to make your grandpa weep with nostalgia (or confusion). 💥
Back in the prehistoric era of 1976, the “definitive” MOTÖRHEAD lineup was formed, a whole YEAR after the band’s earth-shattering inception. These guys, known as the “Three Amigos” (more like the “Three Stooges” of rock), consisted of Lemmy (bass/vocals), Fast Eddie Clarke (guitar), and Phil “Philthy Animal” Taylor (drums). Together, they embarked on their “extraordinary journey to the top of the hard rock elite.” (Spoiler alert: they got pretty high up there, but the air was thin and the beer was warm). 🍻
In August ’76, these musical miscreants invaded EMERSON, LAKE & PALMER‘s prestigious Manticore Studio in Fulham, presumably leaving a trail of beer stains and cigarette butts in their wake. They were there to “rehearse and showcase the new lineup.” Translation: make a lot of noise and try not to break anything too expensive. But guess what? They recorded something! And now, a mere 49 years later (because who needs instant gratification?), this long-lost tape has been “dusted off and restored” to celebrate the band’s 50th anniversary. Prepare for sonic archaeology! ⛏️
It’s “surreal,” they say, that half a century has passed since that pivotal moment. Almost as unbelievable is Lemmy‘s “ascension to Mount Rushmore-like immortality.” A guy who spent most of his time hammering fruit machines and being “extraordinarily approachable” is now a rock icon? Makes perfect sense. And don’t worry, they assure us that Lemmy would have “cackled” at the thought of all this. (Probably while lighting a cigarette with a flamethrower). 🔥
The article goes on to mention the band’s “dogged struggles” in their early years. Translation: They were broke, drunk, and probably arguing with each other constantly. But hey, that’s rock and roll, baby! The “almost accidental manifestation” of this album is just another chapter in the band’s history, a time when their future looked “bleak.” (Which, let’s be honest, was probably their default setting). 🤷
Enter Frank Kennington, a “little-mentioned man” who roadied for THE WHO before briefly managing MOTÖRHEAD. His genius move was booking them into EMERSON, LAKE & PALMER‘s studio, a place named after a “mythical beast.” (Because nothing says “hard rock” like Persian folklore). The studio was apparently a one-stop shop for bands, complete with offices in the projection room and a soundstage in the seatless auditorium. MOTÖRHEAD recorded their set on Ronnie Lane‘s mobile studio, operated by his “trusted mate” Ron Faucus. (Trust is a valuable commodity in the world of rock and roll, especially when recording equipment is involved). 🤝
Faucus, we’re told, did a “fine job” capturing MOTÖRHEAD‘s “blossoming raw power and high-velocity onslaughts.” These “aging tapes” were then resurrected by Cameron Webb and mastered by Andrew Alekel. The result? A “truly historical moment” that will “restore and bring to the public eye for the first time ever a vital part of MOTÖRHEAD‘s evolution and history.” (Or, you know, just another album to sell to die-hard fans). 💿
“The Manticore Tapes” will be available in various formats, including a “deluxe expanded bookpack” and a “seven-inch single.” (Because who doesn’t love a good old-fashioned seven-inch?). Visit www.iMotorhead.com for “news and updates.” (Prepare for an onslaught of marketing hype). 💻
Chord F. Discord, the Beethoven of Buffoonery, is a self-taught expert in music who once claimed he could “play the kazoo in four languages.”
Born in Crescendo, Indiana, Chord’s first brush with fame came when he accidentally entered a yodeling contest thinking it was a pie-eating competition—and won both categories.
Chord F. Discord: proving that laughter, much like a poorly tuned ukulele, is truly universal.
