“Bomber” is Motörhead’s third studio album, it belongs to the best stage of the group, it was recorded by the most classic line-up and remembered between two masterpieces such as “Overkill” and “Ace of Spades”, and it preserves all the aura of the glory days of Lemmy’s hosts, spanning the period 1977-1982.
The Bomber album was released in 1979, just a few months after “Overkill” saw the light. The band wanted to take advantage of the great moment of popularity, the state of creative grace in which they lived, and “Bomber” was not as round as its predecessor, nor is it at the height of what was to arrive a year later.
In any case, it is an album that bears the signatures of Kilmister, Clarke, and Taylor, and given that information, one cannot do anything other than discovering oneself. Its different idiosyncrasy, certain details that we will now comment on, give it the status of special within the trio’s career, a series of nuances that contradict those who insist on affirming that Motörhead has been recording the same album all their lives as if we were talking paving roads.
For now, he shows better than any other the roots of that bully and quarrelsome Lemmy that we like so much, that quarrel that many years later proudly remembered that, when the members of Hawkwind expelled him from the band, he got himself a slab of bourbon and he fucked his women.
This album has the elements that made Motörhead a myth, the theme, the cavernous sound, apparently poorly produced, loaded with attitude, Lemmy’s black and witty humor, and an extraordinary scent of spaghetti western that anticipates the aesthetics of outlaws who will choose. for the cover of the Ace of Spades.
“Bomber” has been reissued, revised, remastered, and rescued in countless new versions, with tasty extras, sound improvements, and all kinds of facilities, so there is no excuse not to get it. What has not been exceeded by many, and what I have already said is not that it is the best Motörhead album.