Band:	Motörhead
Album:	Bastards
Style:	Heavy metal
Release date:	November 1993

01. On Your Feet Or On Your Knees
02. Burner
03. Death Or Glory
04. I Am The Sword
05. Born To Raise Hell
06. Don't Let Daddy Kiss Me
07. Bad Woman
08. Liar
09. Lost In The Ozone
10. I'm Your Man
11. We Bring The Shake
12. Devils
13. Jumpin' Jack Flash [Rolling Stones cover] [2001 re-release bonus]

With no need for any caveats, Bastards is the definitive Motörhead album. Twelve tracks of the finest rock 'n' roll the legendary group had to offer, the only question you must ask yourself is, why did you not listen to this album sooner?

To say this album has weak moments is to complain that a piece of gold isn't as shiny as it could be. No element of the album can be pulled apart and held up as the weak part even when held under the microscope that is repeated listening. The only negative comments that can be attached to this album are related to the bad handling this album endured upon its release; all but lost in between the sea change that was the early 90s and label issues, Bastards had an anchor chained to it that more than likely kept you from hearing it until after you decided to delve into the band further.

The four-track run of "Burner" through to "Born To Raise Hell" is the pinnacle of the band's work; each as no-nonsense kick-ass as the preceding track. The perfect mix of rock 'n' roll, blues and metal the band were known for, the balance is perfected here, and while they come damn close for the rest of the album (and indeed for most of their career), this just happens to be the moment of equilibrium. If you are a fan of each of the flavours the band have to offer you are well catered for here. All out metal? "Burner". Blues? "I'm Your Man". Rock 'n' roll? "Bad Woman". This album has it all.

Building on from "1916" from the same album; "Don't Let Daddy Kiss Me" and "Lost in The Ozone" show the band could change gears and do slow, moody numbers just as well as they could kick ass. They provide time to catch your breath before throwing you back to the wolves that is the rest of the album, while never sounding like an arbitrary break between what comes before and after them. If the description of "slow" and "moody" makes you think that Lemmy is growing soft on you, don't be fooled; tackling the issues of incest and environmental degradation, it exchanges instrumental heaviness for a lyrical and thematic one.

What does this album do wrong? It finishes, that's all.

Easily the best album from this incarnation of the band; is it a better album than the likes of Ace Of Spades or Overkill? Yes, though it would be a hard choice. While it would like choosing between your favourite beers (either way you're going to be having too much fun to notice much difference), I would give Bastards the nod, as this album just has that extra bit of variety that the others didn't.

The only time this album shouldn't be in your record player is when you're holding it aloft in the air like Rafiki held Simba. R.I.P. Lemmy, you left a hell of a mark on the world with this album.