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Back at the Funny Farm
Shine
Dancing on Your Grave
Rock It
One Track Mind
Another Perfect Day
Marching Off to War
I Got Mine
Tales of Glory
Die You Bastard!
1982's Iron Fist might have broken the run of unimpeachable rock'n'roll Motörhead had been on since 1979's Overkill, but Another Perfect Day showed that the band only needed some fresh blood to come back firing on all cylinders.
The departure of 'Fast' Eddie Clarke opened the doors for former Thin Lizzy guitarist Brian 'Robbo' Robertson to join and in his only studio outing with the band he brings a sense of flair befitting a band that had topped the charts with one of history's greatest live records.
Compared to the lethargy of Iron Fist, Another Perfect Day is pure greased lightning from the rock'n'roll legends, opener Back At The Funny Farm showcasing Lemmy's oft-overlooked lyrical wit, while the likes of Shine, Dancing On Your Grave and Die You Bastard go hell for leather to show the nascent thrash metal scene how its done.
The band even brought back some of the panache of Bomber-era tunes Sweet Revenge and Poison with the album's title track, One Track Mind and I Got Mine, Robbo wailing away like a true guitar god.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in May 1983
- Zig-Zag Walk - Foghat
- Feast - The Creatures
- Ring of Changes - Barclay James Harvest
- Piece of Mind - Iron Maiden
- You Bought It, You Name It - Joe Walsh
- Crises - Mike Oldfield
- Too Low for Zero - Elton John
- Speaking in Tongues - Talking Heads
- Back to Mystery City - Hanoi Rocks
- Cool Kids - Kix
- The Eleventh Hour - Magnum
- Head First - Uriah Heep
- The Net - Little River Band
- Siogo - Blackfoot
- Holy Diver - Dio
What they said...
"Listening to Another Perfect Day, it’s hard not to regret the more melodic, more experimental Motörhead that was lost to us fans as a result. Yet, of course, this isn’t some random metal band we’re talking about, and that Motörhead went back to killing your neighbours’ lawns with subsequent albums is, of course, a good thing." (Metal Reviews)
"Thanks in part to Tony Platt's excellent production, Another Perfect Day ranks among the band's best-sounding records ever, but tinkering with a legendary formula is always fraught with danger (is that a boogie-woogie piano on Rock It?), and as one might expect, the results here are alternately exhilarating and sometimes frustrating." (AllMusic)
"Nothing in Robertson’s previous experience suggested he would be a good fit for Motörhead. We’re not here to question Robertson’s chops; he was part of the two-guitar tandem that recorded some of Lizzy’s finest albums in the ’70s. But he clearly wasn’t Motörhead material. Certainly not the way he looked, and image was a key ingredient in Motörhead’s appeal." (Decibel Magazine)
What you said...
Chris Downie: When revisiting this 1983 entry in the Motörhead canon, a similar career crossroads that springs to mind is when Kiss (coincidentally around the same timeline) released their impressive Creatures of the Night and Lick It Up albums in 1982 and 83 respectively. When asked why the former (arguably equally as strong as the latter, if not better) was regarded as a relative flop, while the latter became their best selling studio album in half a decade, front man Paul Stanley made the astute observation that "this proves people often listen with their eyes" and elaborated that the former was borne amidst line-up changes, while the latter benefitted from the removal of their trademark make-up and ushering in a new (visually speaking, at least) era.
At this stage in their career, Motörhead were faced with a key line-up change, in what was, on paper, quite a coup; securing the services of ex-Thin Lizzy legend Brian Robertson to replace the iconic 'Fast' Eddie Clarke.
With the benefit of hindsight, this clearly wasn't a huge musical departure, but merely a stretching of a tried and tested formula many perceived had gone stale on Iron Fist, itself a fine album but unfortunate in that it came after a legendary streak that encompassed the Overkill, Bomber and Ace of Spades albums, topped off with the No Sleep 'Til Hammersmith live album.
Like Kiss around this time, the imagery and aesthetics dictated much of the reaction, and with Robertson's wardrobe choices being a focal point amongst fan discussions, it was clear the album was never going to get its fair dues. This is a pity, as the impressive lead guitar work throughout does sound like a band reinvigorated. Tracks like Dancing On Your Grave and Back At The Funny Farm certainly don't sound out of place in their canon and while this doesn't quite match the quality of their top-tier releases, there is a compelling case for it being in their top 6. 8/10.
Nigel Mawdsley: Whisper it very quietly, Motörhead at their commercial 'melodic' best!
Gary Claydon: "It was all down to the shorts". So says Phil Taylor, about halfway through the Motörhead documentary The Guts and the Glory. The drummer is adamant that all the problems with the Brian Robertson incarnation of the band were due to the guitarist's choices in on-stage attire. The documentary doesn't linger too long on this one-album interlude.
For his part, Lemmy always maintained that Another Perfect Day is a good album. He was less than enamoured with its gestation though. "A fucking nightmare" is how he describes it's recording in The Guts and the Glory. "He (Robertson) would take 17 fucking hours over one guitar track, then, when it came out, every fucker hated it!".
Time, though, has been kind to Another Perfect Day. These days the album is viewed a lot more positively than it was back then. To be honest, I think most of the negativity was driven by the music press. I was (am) a big Motörhead fan and they had quickly become an automatic fixture on my gig-going calendar after first seeing them in 1978. Among the fans that I knew or chatted to at gigs etc., Another Perfect Day was a lot more highly regarded. Sure, there were some misgivings, plenty of naysayers, but there was also a sense of curiosity about the new line-up.
At the time, Motörhead were in something of dip in their career progression. Pushed by their record company, Bronze, to get another album out in order to capitalise on the commercial success of both Ace Of Spades and No Sleep 'Til Hammersmith, the resulting Iron Fist felt somewhat rushed, most of the songs sounding not quite 'finished'.
On top of that, there was the production. With nobody able to agree on a producer (or willing to meet the financial demands of some) it was left to a rather reluctant Eddie Clarke to assume knob-twiddling duties. The results were disappointing, and Lemmy was never shy at saying so in public. This simply added to 'Fast' Eddie's growing unease, which wasn't helped by some of the band leader's extra-curricular activities – his collaboration with Wendy O Williams on a version of Stand By Your Man being the final straw, as far as Clarke was concerned – and he decided to jump ship.
Thus, Motörhead found themselves without a guitarist, midway through an American tour. Stepping up to the plate for the rest of the tour was Brian 'Robbo' Robertson, who had last been seen flogging the near lifeless carcass of his Wild Horses project.
All went swimmingly at first ( apart from the shorts!). It was still something of a surprise when Robbo joined in an official capacity. And that's when the problems started. I've always believed that it was the live performances that turned the fans against Robbo but not, as Phil Taylor maintained, purely because of his shorts (I saw two dates on Another Perfect Tour and don't remember him actually wearing shorts. I admit, that may be my memory playing tricks).
No, the problem was the band was touring a new album that had received a mixed reception and playing it almost in its entirety to fans who had either never heard the songs before or were still familiarising themselves with them.
On top of that, crucially, was Robbo's refusal to play any of the 'hits'. I still believe that they could have gotten away with the setlist if only they had closed with Overkill and an encore of Bomber and Ace of Spades. As it was, watching a Motörhead gig without the likes of those songs just felt weird.
What about the album itself? Another Perfect Day is a good album. I liked it then and I like it still. I've never believed it was as massive a departure for the band as many have made it out to be. Yes, it has a more melodic edge than normal with Robbo's guitar fairly prominent in the mix.
There are some fine songs, though, some of which wouldn't have been out of place at any juncture of Motörhead's storied career. The best example is album opener Back At The Funny Farm, with a truly killer riff, propelled by Taylor's trip-hammer bass drum. Lemmy is on excellent form, including the humour-filled lyrics. Anybody who thinks this is anything other than a five-star, primo slice of heavyweight-'head needs to fuck off and stand in the corner at the back of the class, 'cos you plain haven't been paying attention!
The rest of the album might not quite live up to the opener, but that doesn't mean there isn't plenty of quality elsewhere, with I Got Mine, Rock It and Shine being particular highlights. There are plenty of tasty guitar licks on Another Perfect Day, and it's well paced. Tony Platt does a fine job on production as well, even if Lemmy thought he gave too much prominence to Robbo's guitar (he referred at times to Platt being 'Brian's boy' during recording).
Although Lemmy always thought that Another Perfect Day was actually a good album, he wasn't particularly fond of it for a good while, flatly refusing to include any of its songs on the band's concert setlists. His attitude towards it mellowed in time, to the extent that I Got Mine, Dancing On Your Grave and the excellent Rock It would become live staples in later years.
Overall, Another Perfect Day is a fine addition to the Motörhead canon. "Top notch", as the man himself says during the intro to Back At The Funny Farm.
Footnote - I like the album cover, including the self-deprecating cartoon insert. The artwork looks great on a tour shirt!
Philip Qvist: I can't say I was a huge Motörhead fan, and I never really went out of my way to buy their records - even if I knew many of their best-known songs and would agree that they rocked and that their best lineup was arguably Lemmy, Fast Eddie and Phil. But it does mean that I can review this album without many preconceived ideas.
If initial reviews of Another Perfect Day were neutral at best, then it does seem that reviews have become more positive in the ensuing years. Whilst I would agree that Brian Robertson may not have been the perfect fit for the band, his guitar playing is still pretty good in my opinion.
My favourite tracks were One Track Mind, I Got Mine, the title track and Shine - although there are no real duds on display here. In short, the record is pretty strong, especially for one that was so poorly received at the time. It's no Ace Of Spades for sure, but it is a more than decent album from the band. I can't say I like the album cover, though.
Steve Pereira: The legendary sex rock god Lemmy didn't do heavy metal or thrash metal or speed crap - he did hell for leather rock played hard and fast. This is basic stuff, cut back to the basics and with the volume turned up to 13. Not music to contemplate in quiet silence, not music to write reviews about on the internet, this is music to bash your balls to while shaking your head so hard your brain rattles and snot comes out of your ears. Go Lemmy Go!
Andrew Cumming: This album was disliked so badly at the time of its release. It is a major departure from anything the band had done before. And Brian Robertson was an odd and controversial choice to replace Fast Eddie. But this is a fantastic album packed full of great songs. And Robbo’s style of playing elevates the sound, adding genuine musicality to the thundering accompaniment. It also stands the test of time, sounding as good today as it was when I first heard it.
It didn’t last - it was never going to last. And we’re probably all the better for that. The next lineup set Motörhead up for the lengthy and hugely enduring career that they had. So this album remains a slightly odd, hugely welcome and still very enjoyable addition to their back catalogue. Recommended to anyone with the remotest interest in heavy rock. Just don’t come looking for Ace Of Spades.
Mike Canoe: Honestly, it's hard not to go into this one with preconceived notions because I know that Thin Lizzy's Brian Robertson is on lead guitar. As such, Another Perfect Day sounds like a Motörhead album with longer solos that are higher up in the mix. That may be true, that may just be what I expected to hear, or be a bit of both.
I generally like it as I like most Motörhead albums to which I have listened to all the way through (which, admittedly, is a small fraction of the whole). I still like Dancing on Your Grave and Back at the Funny Farm from various compilations and/or "best of" lists. Rock It, One Track Mind, and I Got Mine also stand out after several listens this week.
Funnily enough, I was recently looking for an album from the Lemmy/Phil Campbell/ Mikkey Dee lineup to suggest as a club pick. While Another Perfect Day is not that, it's proof positive that there was plenty of Motörhead to enjoy beyond the hallowed three-album run of the early '80s.
Mark Herrington: Another Perfect Day is a solid Motörhead album, but not a great one, elevated by Robertson’s impressive guitar playing. I saw them on this tour, back in 1983.
For me, it doesn’t quite capture that raw, primal element of many of the albums that preceded it, which I found so compelling.
That characteristic would be more in evidence with their next album, the bruisingly heavy Orgasmatron, which I rate above this.
Dale Munday: I have often wondered what the atmosphere in the studio was like whilst recording this album. Allegedly quite tense with Brian's fastidious studio approach, coming head-on with Phil and Lemmy's smash and grab, get it done philosophy.
It's also well documented that Lemmy had a real problem with Brian's onstage attire. I've always found that quite amusing, Brian with his headband and skimpy shorts making Lemmy's blood boil.
As is often the way, from great chaos comes great art, which I believe this to be. It's not Motörhead as we know it, but in a really good way. Slaughtered at the time by critics, now having grown massively in stature with time.
Second only to my favourite Motörhead album, Overkill.
Peter Barron: The first gig I ever went to was on this tour (making Anvil the first band I ever saw), and not only did I not know the album, I didn't really know what was happening to me, except that it was really loud and really really impressive.
Anyway, it wasn't long until I got loads of Motörhead albums, including Another Perfect Day and coming along after the golden years, I never felt the negativity towards it that someone who had been there since '79 or whatever did.
It is a bit mellower, but strictly in relative terms; yacht rock it isn't. The lead playing is all of incredibly high standard, melodic with impeccable phrasing, vibrato and bends, absolutely the acme of blues-rock soloing, I don't think it's overplaying at all.
The songwriting is good, good riffage, some moody bits, typical slow grinders, fast ones, some great lyrics ("refuse disposal refugee...") and Die You Bastard at the end.
And back in 1983 again, Motörheid pointed the way to Venom and all points thrash, faster but not louder. But Another Perfect Day is great enough to stay the course, and its quality won out in the end, with a deserved reputation well higher than its initial reception.
Because it's fucking ace! And maybe the only Motörhead album with a chorus pedal on it!!?
Robin Jordan: I got this after Ace of Spades as a young kid. It was in the cut-out bin as I was hitting my teen years around No Remorse. I loved the added melody to the Motörhead sound. It is very listenable front to back and still get regular spins to this day. I never understood why it was hated back then and am happy that it's been re-evaluated since.
John Edgar: Not only was I already a Motörhead fan when this came out, but I was also a huge Thin Lizzy fan. Knowing that, it's safe to assume I was definitely looking forward to the release of Another Perfect Day. Here, we get Lemmy and Phil doing what they do best with the added edge of one of the greatest hard rock guitarists of the day.
Guitarist Brian Robertson brought something I consider to be very special to the mix. That 'special something' is best expressed in the Motörhead comic strip that's included on the album sleeve in which, upon listening to Brian play, Phil tells Lemmy; "Ere, he's a bit musical isn't 'e?" Brian definitely took the band up a notch, and he's the reason that this is still my favourite Motörhead album.
Troy Geitman: This was my first Motörhead album and tour. I rank this my third favourite from their discography. Tons of melodies and lightning-fast guitar solos.
Chris Elliott: My teens coincided with the golden run between Overkill and No Sleep... (I went to the gig), so nothing's going to compare in retrospect. Iron Fist was disappointing - this too - it's not a bad album, but it's not their best. My tastes were expanding by 1983, and it just didn't grab me at the time.
Andrew Bramah: Divisive is correct. However, as a standalone album, it is really strong. Robertson's playing brings a more melodic and accessible sound. Tony Platt's excellent production gives it a very live feel, which I like. Out of all the Motörhead albums, I play this the most. It polarises fans' opinions for certain, but isn't that what great music is supposed to do?
Neil Wilson: Great album. In my top three favourite Motörhead albums!
Greg Schwepe: I admit I am a pedestrian Motörhead fan at best. Oh, I know of the “Lore and Legend of Lemmy,” but I am by no means an expert on the band. That said, for this first listening of Another Perfect Day, the swapping out of “Fast” Eddie Clark for Brian Robertson makes no difference to me. It’s loud, it’s fast, it’s Motörhead. While huge in the U.K., they were not big at all in my neck of the woods here in the U.S.
But for those diehard Motörhead fans, I can totally see how this change could have brought about a serious rift among fans. I mean, hey, that’s the same reason I never bought Aerosmith’s Rock In A Hard Place album when it came out. “Well, if there’s no Joe or Brad, I have no reason to buy this!” Only to buy it years later and find out the replacement guitarist’s styles and tone matched Joe and Brad for the most part. And if Neil and Geddy decided to replace Alex Lifeson with someone else, there would’ve been hell to pay!
So while the classic Motörhead lineup was very much a sum of its parts, for me an album with a former Thin Lizzy guitarist fits the bill. But while each brought something to the table, face it, it’s Lemmy who you come for.
And on Another Perfect Day, you have that trademark Lemmy snarl and growl, and yes, there’s some pretty screaming guitar. After multiple listens, the song One Track Mind, finds Robertson shredding on his (probably!) Les Paul and really going to town. And then I find more of the same on the title track, which follows it.
So, from the viewpoint of a “neutral,” I find this album totally listenable and a good way to dip my toes into more of Motörhead’s catalogue. 8 out of 10 on this one for me. Way to wail, Robbo!
John Davidson: By 1981 Motörhead had released five studio albums ( including the career-defining Overkill and Ace of Spades) and a well-received live album that summed up the band's progress.
But rock music in the late 70s and early 80s was a fickle business, and by 1982 Motörhead seemed out of ideas. When guitarist Eddie Clark split mid-tour, leaving Phil and Lemmy in the lurch, they called on ex-Thin Lizzy guitarist Brian Robertson to fill the gap.
It's safe to say that Robertson wasn't a natural fit for Motörhead. He lacked the heads down, scuzzy biker charm of the original three, but my God, could he play guitar.
After the tour, Robertson stuck around to play on the next album Another Perfect Day. An album the fan base largely rejected while other rock fans largely ignored it.
Despite the controversy at the time, the album is unmistakably Motörhead.
Lemmy's bass acts as a deep-throated rhythm guitar while Phil hammers at the drums, and of course Lemmy sings about his favourite subjects - outlaw life, mental health, being in a rock band and generally having a swipe at authority of any kind.
Robbo, meanwhile, plays guitar with a speed and fluidity that fits the music while elevating it with bluesy licks and solos that are as good as anything he played for Lizzy.
This is the album that should have taken Motörhead to the next level, but sadly, temperaments got in the way and Robbo left (or was fired). While Lemmy learned to love the record, I don't think he and Robertson ever reconciled.
This is a forgotten gem of early 80s heavy rock, the core is still Motörhead, but it's been wall-to-wall carpet-bombed with standout guitar playing that sets the album ablaze in a way they never fully recaptured. 9/10.
Final score: 8.03 (64 votes cast, total score 514)
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