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It's pretty much the general opinion that Motorhead has wrote the same song since their debut. A good song done well, but nothing worth listening too once you heard it a million times. However, that's only what the uninitiated surface fan whose only listened to "Ace of Spades" and the beginning to "Overkill" would say. Throughout their vast career, Lemmy and his gaggle of drunk musicians have explored many different genres within the world of rock while retaining their style since the beginning. For example, their debut would be punk rock if the band had absolutely no talent. Or how about their experimental album known as "Another Perfect Day". Can't forget about their thrash-laden bullet train, "Bastards". Or perhaps the most baffling of all, their foray into blues on "Inferno". Point is, Motorhead is more diverse than any of these half-baked jerk-offs are giving them credit for. However, you can only see this observation over the span of their entire discography. Suffice to say, individual albums can be summed up by a couple of songs off them. By no means is that a bad thing. If anything, that's called consistency and that's what this album is, a consistently great hell-ride.
The most notable track off this album is...well, do I even have to say it? Everyone fucking knows "Ace of Spades". The song by itself is trumpeted for setting the foundation of speed and thrash metal. This is the first Motorhead song that anyone has ever heard. You all know the lyrics and the main riff off the top of your heads. There's nothing more I can say about this song except for one thing: Lemmy never remembers the lyrics to the bridge when performing live. I swear, I hear it every time when Lemmy is supposed to say, "That's the way I like it baby, I don't want to live forever, and don't forget the joker!" I guess a man whose known for his intake of booze and amphetamines would be little forgetful. Just look at Ozzy.
Even though that's the most memorable and popular track of the album, I wouldn't list it as the best. No, that title goes to a tie between "Fast and Loose" and "Jailbait". Picking between them is like choosing your favorite whorehouse prostitute: it comes down to personal kinks. On one hand, you have "Fast and Loose" which details Lemmy's sexual exploits in the late night. Apparently, this chick likes it fast and loose which also serves as an accurate description of this album, come to think of it. It has this old timey rock and roll swing to it which is present in basically every Motorhead song, but is more discernible here. It really displays how artists from that early era of rock influenced Lemmy. The downside to this awesome song is the lackluster solo courtesy of "Fast" Eddie Clarke. Looks like Eddie is more suited for...you know, fast material as opposed to this slightly down tempo piece. On the other hand, you have "Jailbait" which details Lemmy's sexual exploits...okay, y'all might be on to something for saying that he has a bit of a one-track mind. However, there's a twist, this song is about Lemmy's fixation for underage girls...Oh. God damn it, I'm trying to defend you here, Lemmy. Anyway, this song is catchy as all hell. Not only is that accredited to Lemmy and Eddie's riff crafting, but also Phil Taylor's drumming. Christ, what a fucking animal.
Looking back on this record, I noticed some flaws. For one, there's 12 fucking tracks. That's way too many for an album that's the equivalent of a speeding bullet through a desert hell. Despite the fact that there's 12 tracks, it's only 36 minutes long. I think the only reason why there's so many tracks is due to making the time length quota. You know, the Anal Cunt dilemma. However, I don't think some of y'all will see that as a problem. I mean, what's the matter with more Motorhead? To me, that just adds to much filler to this legendary album. It makes a complete listen through just slightly more tedious. Shave the album down to 8 songs by cutting out songs like "Fire Fire", "Dance", "Bite the Bullet", and "The Chase Is Better Than the Catch" and this record would be perfect.
Of course, I strongly recommend this album. Looking back with fresh eyes, the album displays some minor faults that personally irritate me. However, it's a classic for a reason. This album showed the world that Motorhead is a force to be reckoned with. It's incredibly fast and unforgiving with its blend of heavy metal and hard rock elements. While technically overrated, I don't mind the praise that it deserves. This album paved the way for thrash, speed, and almost in a way, the entire extreme metal genre as we know it. I'd tell you to pick it up, but chances are that you probably already own this classic.
Bonus: This version of the album comes with a second disk that contains 11 alternate versions, 3 live versions, and one actual bonus track. I'm not going to talk about the live and alternate versions since that'll just be treading the same territory. No, I'll be covering astoundingly awesome "Dirty Love". Technically, this is the B-side to the "Ace of Spades" single, but I can't think of anywhere else where I can cover it. This song takes off with Eddie shredding away with an all to catchy rhythm section behind him. The solos to this song is impressive to say the least. This is Eddie in his Prime and there's no restraining him. This song serves as a platform to why Eddie Clark is a great guitarist and why the classic lineup is Motorhead's best lineup. Not much else to say, but instead ask why? Why was this a b-side and not on the actually album? I'd be a lot less harsh on those filler tracks if this track was there to hold me back. Anyway, I'd recommend the Sanctuary Records 2005 2CD deluxe edition under one condition: if you don't already own the "Ace of Spades" single. Otherwise, it'll be a waste of $31 for some soiled versions of already great songs. Seriously, you can get about 31 chicken sandwiches at McDonalds with that money.
('That's the way I like it baby, I don't wanna live forever...')
When listening to a Motörhead album, one should come in with these expectations: Simple songwriting, simple riffs, gruff vocals, lyrics about sex, alcohol and gambling, and just a general sense of pure fucking testosterone driven Grade-A vintage coolness. Rarely will you hear something that better represents the absolute rebellious rock attitude that was espoused by the best acts of the genre than this. Take any song, at any given moment, and it is about as awesome and driven as it comes.
From start to finish, this is just about the finest hard rock you will ever come across. Literally 99% of all rock albums you are thinking of right now that you believe to be better than this? You are wrong. None of those albums display the carefree, laid back and yet booze fueled drive that this has. Lemmy's lyricism and vocals on this is a really good summation of why this album is the epitome of coolness. Lemmy's vocals sound like a man who has done several hundred women and downed at least... oh I don't know, 500 bottles of whiskey? And I mean that in the best possible way, though his voice can be considered technically awful, it just works so well. He has a very gruff and yet powerful singing voice, one that goes with the gruff and powerful guitars singing about living fast.
And those riffs... oh my word. Admittedly, there aren't too many of them, and they are kind of similar. However, who gives a flying FUCK?! Every last riff on here is driven, aggressive, dirty and once again, fuckin' cool! They are some of the finest hard rock riffs you will ever hear, perhaps with a slight punkish bounce to them too. They are meaty and powerful in their sound, going full speed ahead into the night. Lemmy's bass lines are loud and follow the riffs closely, further reinforcing the riffs and giving them that extra bit of grunt, not that they needed them in the first place. The drums are pretty good too, throwing in loads of little fills and rolls along with the simple straight beats. The solos are bluesy, pedal driven, and melodic, serving as an interesting counterpoint to the rough as hell vocal performance.
One criticism that I need to address is the lack of variety. The riffs sound similar, the vocal style is constant, all the solos are cut from a similar cloth, all the songs sound the same, etc.. To this my response is: WHO FUCKING CARES?! Really, when every last song features consistently aggressive, driving and memorable riffs backed up by a consistently loud and ugly bass, when every song has Lemmy's cool lyrics and terrible-yet-awesome vocals, why the fuck is that a reason to complain? Motörhead are one of the most consistent bands ever, and the fact that you can select practically any song of theirs and always get awesome... everything, is a testament to just how driven and passionate their music is. The fact that Lemmy can mix up the same formula for 23 albums and never ever produce something even remotely bad (even if it bordered on average at times) just shows how creative and beautifully simple Motörhead's music is.
It isn't like the songs ever overstay their welcome, either. Nothing here is longer than 5 minutes, or even 4 and a half. They never really stagnate due to the immense amount of energy and drive put into the performances, and even if they do start to drag a tiny bit (to you that is, I have no issues with this) you will be headbanging too much to even care. The guitars play their punkish heavy metal/hard rock riffs with the utmost urgency and carefree nature, the drums are simple and yet highly energetic with double bass and fills all around, what isn't there to like? This album is the very embodiment of what heavy metal is. Pushing things to extremes. This was, for its time, highly driven and aggressive, about as rough and heavy as it came. Later bands built upon it, taking one individual element of this album and pushing it to the absolute maximum. These guys play on '11' for the whole fucking album, never once stopping to think.
These songs are not necessarily technically amazing, and may even come across as dumb, but Motörhead have always been a band that is more entertaining as a complete package. Everything about their music fits together to form one massive rocking whole. The individual instruments are OK on their own, but come together (along with the rough as hell production) to produce aggressive, heavy and driving music. The songs fit together to make 40 minute odes to booze and women. And these odes fit together to make Motörhead's complete run, their enormous bastion of riffage, their legacy. You can't necessarily pick out a single stand out from this pack, but it all comes together.
This my friends, is the very embodiment of what we stand for. Rebellion, not giving a damn, turning it up to 11 all day every day, living fast and dying old. Maybe this isn't the most technically accomplished album ever, but really. This shit is fucking awesome, one of the most aggressive, focused, driven and cool albums of its day. And it still holds up over 35 years later.
Perhaps this review comes across as a bit haphazard and rushed. The reason for that is because I have written this review largely to sing my praises of one of the greatest rock and metal musicians of all time, Lemmy Kilmister. It is with a heavy heart that I found of his passing on the 28th December 2015. He had turned 70 just 4 days prior, and died due to an extremely aggressive cancer. His legacy is inimitable, being a catalyst for some of the finest music in the '80s that the world had ever seen. Entire subgenres at least partially owe their existence to this venerable founding father of the genre and his amazing work. Let us not dwell upon his passing, but celebrate the life and times of Lemmy! Blast your Motörhead albums as loud as possible, crack open the beers, and live fast people. Its what Lemmy would have wanted.
R.I.P. Lemmy (24th December 1945 - 28th December 2015)
Motörhead already achieved a considerable populairity among the British underground movement by the time this record was released, but this was their definitive work that became one of the most essential hard rock classics of the whole decade. In a time of splendour for the genre in the UK, Lemmy and co. managed to make a difference from every other primising act around, becoming the most respected and influential. They did good stuff before but it was in 1980 when they became big, legendary, proving they were more than just a 5 minute wonder like most of their compatriots in that period. These are 12 songs of total Motörhead rock & roll that reflect pure talent.
Action starts from the very first seconds with the band attacking hard on the epic title-track, an unforgettable display of outrageous rock & roll plenty of aggression ,power and that certain class of Lemmy's truly inspired words. An excellent exhibition of how making a great cut in less than 3 minutes, whose pattern is used again on other tunes here, like the completely frantic "The Hammer", "Fire, Fire", even that scandalously 1,5 minute short intro "Bite The Bullet". Everything is hanging on a straight main sharp riff that leads the pack and introduces with its few variations some alternative structures and dynamic breaks. As usual, no impressive music configuration, development or progression, though attitude, velocity and energy are definitely splendid. They were one of those 80's British groups who managed to make something out of simple music bases and non-advanced instrumental arrangements, reaching an unique level with no spectacular technique or sophistication. You got the proof in tunes like "Love Me Like A Reptile" or "Shoot You In The Back", which offer no difficulty or big pretention at all, only brilliant inspiration and an exquisite instrumental execution. Other cuts like "Dance" or "Fast & Loose" for instance are even more casual and cheerful, stripped-down from any metallic riffing or violence, rather catchy, accessible and ideal to sing along with those insistent lyrics. Vocals by Lemmy in state of grace make this music even more enjoyable, not talking nonsense, not empty, listen to "Jailbait" or "Live To Win" and admire that cool singular poetry. Which other band around had such cool lyrics? Maybe Gillan and Whitesnake only. And "The Chase Is Better Than The Catch" is undoubtedly the culmination of both instrumental and lyrical Motörhead brilliance, a classic treasure.
We got here a magnificent variety of diverse styles that share one identity, one attitude and nature, on other hand. After all, this stuff is a reflection of these guys personality, music that came from their hearts and souls, inspired by no pompous ambition or intended to make cash. Similar honesty punk bands offered in contrast with the clumsy 70's rock dinosaurs. Motörhead prefered to see themselves reflected on punk rather than on previous decade old-fashioned heroes. The direct fierce performance in these compositions is the materialization of that punkish attitude, which escapes from refinement, melody and complexity, justifying the kinda basic difficulty of Motörhead's material. However, all of that is combined with the influence of old rock & roll Lemmy adores, making a stravagant mixture that works out surprisingly good in some cuts. That inspiration from opposite styles contributed to make their music richer and more versatile, although these guys included own characteristics and elements no one ever conceived before, obviously. For instance, those loose rhythms were unique, so energetic and hyperactive, increasing intensity and aggression. They don't sound like the rather chaotic speed of punk, either like the weighty tempos of Little Richard's most rapid rock & roll. Although the speed metal tag might not fit Lemmy and the boys completely because velocity is not their main goal, it isn't omnipresent. They alternate fast songs with other midpaced ones that have more traditional rhythms. So they didn't follow a particular music pattern, their intentions were concentrated on making good stuff simply, not trying to be the heaviest or most brutal. You can notice this came naturally from them, kinda spontaneous so that's what made this record so honest and genuine.
Maybe the best Motörhead work in their huge discography catalog, maybe not but one thing is clear: the band was at its best when they recorded this, you can feel the grace, inspiration and admirable talent in every number. No fillers, no incompetence, this is pure hard rock that made history, that influenced hundreds and hundreds of other groups and still does. Metalheads, punks or simply good music lovers admire the art of Motörhead together, united, no matter which subculture they belong to, a connection only Lemmy and co. could create. This is not exactly or entirely heavy metal, of course, but it definitely had a big impact on most of the following movements of the genre, so you must listen to it to know the true roots of what came later.
This album lacks in variety. This album may lack in depth, but 'Ace of Spades' is just a relentless heavy metal machine. It's all about riding motorcycles, drinking alcohol, and laughing in the devil's face while dying. It's dirty, it's hard, and it's fast. It is simply rock 'n' roll. Songs like the almighty 'Ace of Spades' itself, the rocky 'Shoot You in the Back', and the groovy '(We Are) The Road Crew' are flawless pieces of manhood, motor oil, and blood transformed into music. It would be ridiculous if it wasn't Lemmy, the incarnate rock star, who is so cliché that he is actually epic.
Indeed, not every song is a killer. In fact, there are many fillers, such as 'Fire Fire', 'Dance', and so on. Fortunately, Motörhead don't write long enduring epics, but short songs, so you won't get bored. Also, 'Ace of Spades' may be too consistent. There is always a first verse, a rocky refrain, a second verse, a small solo, and so on. I'm not of the kind that would deny the little piece of rust on the motör of the 'Ace of Spades'. However, the many highlights of this album compensate its short fillers.
Don't expect the best album by Motörhead and you'll get catchy rock 'n' roll with classic guitars, equally awesome and unusual E-bass, and Lemmy's far beyond technically-perfect, but fully fitting voice. Just imagine a showdown between two members of a biker gang in the desert of Mexico (that's how I'd understand the cover photo). That's how the album sounds. They're not even trying to appear as a sophisticated project of professors of music. They're Motörhead and they play rock 'n' roll.
This album is fucking awesome. If there is any album that would explain Motörhead's surprisingly large popularity, it would be "Ace of Spades". Before this, Motörhead was just playing good music and having fun, but it was with this album where people realized that they were fucking serious. For some people, this is probably their first Motörhead record (I know it was mine), it's definitely their most successful, it has a Classic Albums documentary about it, it is featured in the book "The 1001 Albums You Must Listen to Before You Die", and Motörhead still play songs from this album in live shows to this day. It's simple enough to be successful, but heavy enough to have scared the living shit out of music listeners at the time and influence many bands like Sodom, Slayer and Venom.
The best way I can describe the feel and flow of this album is this way: You're driving your car down the highway, and it just so happens that not a single car cuts you off, there's not a single red light in sight, and the speed limit is fucking 100. So you just race down the highway not giving a fuck and just enjoying life at it's fullest. Unfortunately that will probably only happen in wet-dream-ville so it's best not to play this while driving, because otherwise your obituary will end up in the paper the next day. But I digress.
The production/mixing on this album is as fucking relentless as the music itself. The bass booms like an engine, the guitar rips through the sound like lion claws and the drums pound bruises into your stomach. Not to mention the (always) awesome vocal performance by Lemmy (who always knows how to sing with an equal amount of aggression as well as carrying a tune at the same time, funny that I can't say the same for a lot of modern vocalists). Either way, this album sounds like a motorcycle engine except that that certain engine also contains some hard-rockin' songs that never get old. Best engine ever!
Now, let's talk about the songwriting, mostly this album dashes through at a fast pace with the exception of the mid-paced rocker "The Chase is Better Than the Catch". The riff-work on "Ace of Spades" is almost formulaic in a way (which doesn't bring the album down in the slightest), yet it never stops my head from banging the shit out of itself. The fastest songs on here are "Ace of Spades", "Fire, Fire", "Dance", "Bite the Bullet" and "The Hammer". All follow the same formula but are still awesome and bucket loads of fun. "Love Me Like a Reptile", "Shoot You in the Back", "Fast and Loose", "Live to Win", "(We are) The Road Crew" and "Jailbait" take it a little slower but the effect is still loud and strong (and bucket-loads of fun). Each song on here plays loud and proud and it keeps the pace of the album going until it stops and gets the listener excited for seeing Motörhead on tour (which I have yet to do).
A lot of people criticize this album for being too repetitive or for not being varied enough, understandable, but I don't see how that is a bad thing. Motörhead is one of my favorite bands of all time and I wouldn't change their sound for the life of me. I say, if your good at what you do, keep doing it. Of course, I have nothing against bands/artists wanting to try new things and exploring shit, but sometimes those people can get a little pretentious with all the experimental shit that they put out. Besides, Motörhead loves what they do and they didn't even let record companies change their sound, so that alone is enough of a reason why I love their music so much. All I can say is, if you have passion, it doesn't matter if your varied or not. If you're a Motörhead fan and still don't own this record (although, I don't think that's even possible) or if your trying to get into Motörhead, buy this album, it will surely get you into them, I know for sure that this album got me into them. It's not perfect, but it's damn close.
Whenever anyone needs a reminder that the words primitive and bad are not synonymous terms when describing a metal band, Motorhead's well known 1980 lawn killer of an album "Ace Of Spades" is the place to send them. It's the sort of album that hearkens back to those days where the lines between hard rock, punk and metal were pretty well blurred, and there was a place for bands to play primitive pentatonic riffs and Chuck Berry inspired guitar solos yet do it in such away that rekindles the shock factor of both after about 25 years after they were introduced to a wider audience. It represents a band that is quite apt at testing the manhood of its listeners, while still keeping that non-conformist 70s punk element at the fore.
While definitely not being the most consonant sounding band, this is the sort of sharp edged, cigarette steeped goodness that can be sung along to. Lemmy's vocals are about as gritty and gravely as they come, yet there is still a discernable melody in his minimal range. But the real winner here is the wicked combination of chunky, distorted bass work with crunchy rock guitar riffs that create an aggressive feel that is nasty enough for hardcore, yet precise enough to be mistaken for the emerging NWOBHM. A few of the band's signature live songs can be found on here, along with a tiny side order of older rock influenced numbers that could be qualified as filler, yet are still solid and fun.
Perhaps the biggest flaw at play here, which is typical to most Motorhead albums, is generally a lack of variety. The songs tend to be either up tempo, or really up tempo, and consisting in a very simple yet highly energetic mixture of simplistic 70s riffs played a little too fast and dirty, and drums that get a little too happy on the double bass at times. The shorter and faster things tend to be, the better, as is the case with most 70s punk albums. Most are familiar with the wickedly gritty title song that kicks things off, though perhaps not so much with the equally energetic yet somewhat cleaner cut closer "The Hammer", but both are classic examples of the solid speedy goodness Lemmy and company have been delivering since "Overkill". Other quintessential highlights include the flashy rocker "Fire, Fire" and the sloppy little ditty "Bite The Bullet".
Pretty much everyone can have a genuine appreciation for this band, although being able to fully appreciate an entire album of their's is a different matter as they have a fair share of songs in their repertoire that rarely see the stage, and "Ace Of Spades" isn't really an exception to the rule. There's still a lot of old school rock present in the mix here, and most people who go for heavy metal might not go for the pre-NWOBHM tendencies at work here, anymore than they might some of the lesser known early Judas Priest and Black Sabbath songs. But this is the sort of album that can be appreciated by most fans of straight up heavy metal at high tempos, and should definitely be looked into.
"Ace of Spades" is not your usual approach to creating heavy metal music. What Lemmy does here is crank up a bunch of modestly composed Little Richard songs to full gear. He gives them distorted guitars, wailing solos, gruff vocals, and a biker attitude that couple with some of the most sexually promiscuous and boozing lyrics you can imagine.
When the title track opens the album, you are immediately sucked into the galloping speed metal riffs. This song is dirty but catchy, and it's no wonder that it's remembered today as a rock classic. Motorhead got lucky with the breakthrough success of this song, and it's no surprise that the others stayed only within the grasp of real metalheads (and punks). Songs like "Jailbait" are sleazy and in bad taste, but Motorhead are intended to be an advanced case of halitosis; that's their purpose. They are the filthy scoundrels of hard rock and roll, and downright proud of it.
The faults of this album are rather apparent, though. There is little variety; there are no ballads, no instrumentals, or any sort of variation in songwriting. They are verse-chorus numbers that are not as aggressive as they could be. It seems that bands like Venom needed to kick Motorhead up a notch, because Lemmy and the guys are at their best during the real speed metallers like "The Hammer." If every song were like this, or even like "We are the Road Crew," this album would be a masterpiece. Unfortunately, while punkish speed metal may be my favorite style of music, it's one of the most difficult to compose in because things get monotonous fast. There are very few classic full-lengths to be found in this niche style, and Ace of Spades isn't quite a classic either. Well, the song is, just not the album.
If you don't know what Motorhead sound like, get out from under your rock and listen to Ace of Spades. Or, if you're curious about what Lemmy's voice sounds like, you can just record a running chainsaw and put it down in a pitch shifter. Seriously though, he has quite the gravely voice and it comes to him all too naturally.
My conclusion is that this is a bit too light for my tastes in speed metal, but when it's at its speediest it is indeed something to bang your head for.
You don't have to be ground-breaking, sophisticated, or even sober to record a classic heavy metal album. All you need to do is rock really fucking hard and have the balls to back it up. Such is the case with Motorhead, one of the grimiest, energetic, most badass bands to ever kick some ass and play some tunes. Ace of Spades isn't necessarily the best thing they've ever cranked out, but it's certainly their most well known and easily one of their most memorable.
This is not an album you'll have to relisten to several times to catch all the subtleties. This is as straightforward and accessible as they come. Whether Motorhead is ripping through some intense speed metal ("Ace of Spades," "The Hammer") or laying down a dose of laid-back, bluesy rock and roll ("Fast and Loose," "The Chase is Better Than the Catch"), Lemmy and the boys keep it heavy and they keep it catchy. Great riffing, tight rhythm section, lots of lead, and lyrics you can't help but sing-along to. The ever rough and gruff Lemmy Kilmister delivers some great lines on this one, hitting up all the band's usually subject matter. Songs about drinking, songs about gambling, songs about fornication, songs about writing songs about said topics, it's all here, delivered with a great sense of songwriting and tons of attitude. Motorhead fans pretty much need to own this one.
If there's one thing that holds this release back, it's that it suffers from the same problem as most of Motorhead's discography, that being repetitiveness. About half-way into this album, you'll start to wonder if you're hearing the same riffs, leads, and vocal melodies from earlier songs. This isn't exactly the case, but there isn't a lot of variety on here (an effect that's furthered by the inclusion of the bonus tracks). Ace of Spades is just straightforward, ballbusting heavy metal. The repetitive nature of their albums does hinder some of their later releases, but here it's still quite fresh and easy to listen to whether you're new to the band or if you own all their albums. Recommended if you want to have a good time.
Motorhead basically invented thrash metal, and, this record, which originally came out in 1980, played a large part in that. This rerelease, which comes with 3 bonus tracks, clocks in at just over 46 minutes, which, for 15 tracks, averages out to a little over 3 minutes per track.
While the title track is probably Motorhead's most well known song, it actually doesn't stand out too much here, as all of these songs are equally good really. Of course, they aren't radically different, either, but that's not really a bad thing.
In fact, the standout track for me on this one was bonus track Please Don't Touch, a Johnny Kidd and the Pirates cover done in collaboration with then labelmates Girlschool. While I'm not too familiar with the original, which came out in 1959, after all, the cover version is excellent, and perhaps the catchiest song on the whole album. Makes the CD version worth buying even if you own it on vinyl, unless, of course, you own the St. Valentine's Day Massacre EP as well...
The one thing that strikes me about this record is the amount of energy the music has. You really get the impression that the band is giving it all they got, and the energy given off is infectious. Ace Of Spades wouldn't be a good album to put you asleep, although it would provide an adequate soundtrack for a high speed car chase!
The production on this record is far from pristine, although all the instruments can be quite clearly heard, providing that you can tell Lemmy's bass from a guitar, which, with his playing style, isn't always too easy. These guys might not be virtuosos, but they're perhaps the greatest three piece band ever (at least until they became a four piece, anyways). Motorhead has done for thrash what Black Sabbath did for stoner rock/doom metal, and this is essential listening for all speed metal heads.
What we have here is the 6th offering from Motörhead. Following the extreme success of two milestones of the Motörsound (Overkill, Bomber) we are kicked in the face with Ace Of Spades, full of adrenaline album that delivers the goods exactly to what the fans wanted after the previous bombs.
Really we'll have to say that ALL motörmusic is the same, if we are going to prejudge the album by further stablishing and popularizing too (since it's THE best selling Motörhead album) then we are missing exactly what this album is.
This album sank the knife deeper into our souls of what Motörhead is supposed to be and to sound like.
This is why I say the album is heavily underated, the songs in here are ripping drunkfests for Motörbangers. Every single one. Maybe you'll find a filler or two, I give you that for Fire, Fire and Dance. But what band has not done that?
I'll have to disect this album into a song-by-song description so I can proove my point that you can't mistake Ace Of Spades with Fast And Loose or The Chase is Better Than The Catch...
Ace Of Spades - This is the wild as fuck intro to a great album, particulary, the title track. We are given an bass line by Lemmy "God" Kilmister that lasts aproximately 6 seconds before Fast Eddie kicks us in our nuts with the unmistakable riff, flowing nicely from drunk bass lines to wild riffs, this song doesn't let us breath for a second. Of course who can forget the wild, out of this world solo? This is a straight forward, no wankery solo to keep the pace of the song. And it sure works.
Love Me Like A Reptile - Keeping the line with the "don't let us breathe please" Motörhead philosophy, we are quickly introduced to Love Me Like A Reptile. Another fast paced, straight forward song with funny lyrics. This song is more based on the guitars and haves more of a Rock (or old school Metal if you will) feeling to it, unlike the previous song which's riff was (to me) a bit influenced by a Bluesy feel , especialy in the last notes of the main riff.
Anyway, concerning the album in general, we can feel a variation of guitar distortions and the bass being mudder or cleaner in each song. In what respects to the present song (LMLaR), the bass works more in the back, though we have to acnlowledge that this is a band that normaly concentrates into writtiing music for the stand out of the Bass guitar.
Shoot You In The Back - The guitar riffing beggining to this song is what the bass line beggining is to Ace Of Spades. Fast Eddy Clark lays an impecable main riff line so the song can explode into what it will be the whole performance of the band. It also lasts about 6 seconds to do that.
Lemmy sings as always, I don't need to mention that.
The riffing combined with the choruses, unlike the previous songs, features a groovieness feel that makes it particulary catchy, with a clean guitar sound.
Live To Win - This song again makes it's way with a bass intro.. similar formula that utilized Ace Of Spades? Yes. The same? No... This song is kind of a mixture in between Ace Of Spades for the speed and the ominous presence of the bass, and Shoot You In The Back, for the clean guitars, which delivers a cleaner solo, equaly wild but less drunkier than AoS, and the catchy choruses. This song actualy gives us 2 solos to bang at, the second being my favourite since it's longer and gives me a feeling that it's more complete than the previous one, but not diminishing the other in any sense.
Fast And Loose - Live to Win fades to present us with the bluesy directed riff of Fast And Loose. This song, without ever moving away from the classic Motörhead sound, vibes as a Blues influentied song as a whole, not only the guitar. But it is easier to note this on the guitar than on the other instruments.
This song is as catchy as the previous, and the bass is again working behind the guitar. (If you don't remember that was featured in Love Me Like A Reptile but not in the other two).
(We Are) The Road Crew - This is a tribute song to the Motörhead Road Crew though the lyrics are not particulary invasive to the particular lives of the actual "Motörcrew" and can be taked as an anthem for any Road Crew in the world. Which is a good thing, since this is a fun song and can be played with indefinetely.
This song, musicaly, is very variated. We have a bigger presence of the bass which slowly drags itself into the back but never quite like in the second song and it haves a muddier sound. The guitar is also wilder and drunker and features a rock/punk crossover melody which gives this song the wilderness it should have.
Fire, Fire - It can be considered a filler song since it had not reach the popularity as ALL the 6 songs that precede it. But nonetheless this is a great song (quality over quantity). This song works with the bass hand to hand with the guitar, but the guitar is cleaner and the bass is dirtier and more in the front. We have a particular riff in here that sounds similar to Ace Of Spades, same? Nope, not at all. Anyway, as I was saying, the bass gains much more notoriety in the song because the guitar is not layed over it, but Lemmy gives the right place to Fast Eddie so he can deliver us the great, very clean soloing. I feel this equaly as a more fun song for the band.
Jailbait - This song follows pretty much the same formula than Fire, Fire and it's not ALL THAT memorable. But it sure haves the Motörhead landmark on it's front. The difference with this song and the previous is that the bass is less dirtier and less in the front of the mix.
I can't say much about this, the guitar riffing and "kerrangs" are those of classic Motörhead. Particulary, the solo for this song is the first presented in the album to lay the same note played 5 or 6 times and then continues down the notes to the rest of the soloing (much like Morbid Angel or Sodom) (the first one) the second one is more on the classic vein of Motörhead, though Fast Eddie Clark also plays the same note a couple of times in a row.
Dance - I don't need to say that this is another fast paced song from the UK Motörbangers. The main riff to this song is played faster than the previous, and we can also hear the bass in the front, though with a perfectly clean sound. So is the guitar, this song is much like Fire, Fire, in the sense that bass and guitars work almost hand to hand.. almost, because the bass is wilder here than the guitar. Not as it was featured before.
The solos are also perfectly delivered and the bass goes into it's right place so it doesn't disturbs the quality of the soloing.
Bite The Bullet - This is the shortest song in the album; again a song written by Lemmy that features funny lyrics. About the music of the song, the intro is delivered by the drums and the guitars (no bass) and then it kicks right into our face with the inclusion of the bass which completely dominates this song and it's alway in front of the mix. Punk influented by Lemmy's singing pace, this song doesn't give us a rest for it's shortness, and I repeat, the bass is right there in the front row slaming your head even during the duration of the solo.
The Chase Is Better Than The Catch - The previous song doesn't get to an end for it is interrupted (while slowing down, of course, no production error..) by the classic epic TCIBTTC. This is a very "Dance" song, because as this previous song, this one haves the sound that Motörhead would define forever in the next releases. The bass guitar variates it's domination of the song, but for the majority of it, you can clearly hear the bass right infront of the mix and the guitar in the back, more distorted than the bass, to give it a more present feeling so the bass doesn't get to opaque the rest of the musicians' performance.
The solo is quite mudded and still the bass guitar is present during it.
This song is a classic epique which I prefer live because of it's rawness and it's obvious existance ment to be played in front of an audience, as the majority of Motörhead songs.
The Hammer - What a way to close a fast paced rock/metal album than this song. This song is quite unique, because of it's uber fast pace. This one is one of the fastest songs in this album. The riffing is unstopable and the guitar is mixed at the same level than the bass guitar, being the first again muddier and more distorted than the last. So you can hear both present in almost a fight to be the loudest on the mix. Drums aren't left behind in the whole album, always getting the pace of the two main instruments and delivering it's quote of excitement and precious speed to each song. This doesn't fails us in The Hammer, the drums are wild, exciting and keeps in pace with the wilderness of the whole song.
Well, there you have it; I think I have proved myself stating that this album features quite a variation of songs and styles, but close attention must be payed, and of course, truthful enjoyment.
Well, my tape version (manufactured circa 1994 at the latest, since that's when I got it) has 12 tracks on it, but I downloaded some mp3s that comprise a total of fifteen tracks. I'm not sure what the origin is of that release, but the first 12 are the Ace of Spades LP and the last three are apparently the collaboration with Girlschool that came out around the same time. I distinctly hear the female vox on "Please Don't Touch", and I have no idea about the nature of the other two - is that Lemmy, poorly mixed, or some other dude? It sounds like a dude - backup vox?
Anyway... it's good stuff, though it lacks the awesome bite that the live album No Sleep 'til Hammersmith has. I'm not sure quite what it is. Maybe it's the production, maybe the songwriting, maybe the fact that I heard the live album first, so I'm thinking that songs like Road Crew, the Hammer, and Ace of Spades, are meant to be played live, with that particular blend of slightly sloppy, slightly drunk, and completely fucking insane sounds that live Motorhead are known for.
And yes, there does remain the question of if there really are fifteen distinct songs on here... Motorhead is kinda like AC/DC in that they put out basically the same songs over and over again. They're very entertaining for the most part, but of the hundreds of Motorhead songs I've heard, I'd be hard-pressed to identify more than about thirty without the vocals. The riffs are very similar, and the songs run together. At times, this leads to a very pleasing effect - the fast, under-two-minute Bite the Bullet immediately leads into the slower, more groovy The Chase is Better than the Catch, and the whole thing sounds like a perfectly executed thrash break. I get the distinct feeling that Sodom came to this conclusion too, and exploited it to good use!
Highlights... the opener is legendary, a hyperspeed blast of punkish metal... self-destructive in lyrical approach, throwing in a chaotic solo, and of course that whackjob riffage coming on both guitar and bass at the same. On the live album, it is ridiculously godly - here it is quite good as well. Other higlights include the original closing track, The Hammer, which forms an excellent bookend to Ace of Spades, given the riff similarity. Then, Please Don't Touch is a very old-school rock 'n roll number (by old school I mean OLD school, like the early Beatles or even before that), and it's executed very well by the combination of Motorhead and Girlschool. Usually bonus tracks are worthless, but this is a highlight.
Worth getting? Certainly. It is a bit overrated as an album (especially compared to the very underrated followup: No Sleep 'til Hammersmith) but still quite decent. Just don't expect a whole fuckload of variety!
Motörhead is a damn cool band. Their music is also cool. But I have one problem with them. Many of their songs sound so alike. Which is why I can't give "Ace of Spades" a higher score.
The album opens with the title track, which is simply blinding! It's my favourite song of theirs, and I'm sure many others feel the same way. The riffs and the lyrics are just insanely cool. Love Me Like a Reptile is also a good song, with a nice riff. Nothing compared to the title track, though. Shoot You in the Back follows the same style as the previous two, only slightly more laidback. And this is where you begin to realize that Motörhead isn't exactly the most varied band out there. Still, it's a good song. Live to Win and Fast and Loose are next, and although they certainly don't stink, the fact that they come after the previous songs makes them a bit tiring. But then, track number six arrives. (We Are) The Road Crew is an excellent song, with an awesome riff and some seriously badass lyrics. Suddenly there is hope for this album! That is, until Fire Fire is played, and the album goes back into a-good-song-but-why-bother mode.
Jailbait stands out a little, luckily, but by now you understand that you're not gonna be surprised by the tracks that comes after. And you don't. Dance is average, Bite the Bullet is more than long enough, despite clocking in at only 1:38, and The Chase is Better Than the Catch is just boring. The album ends with The Hammer, which is only a variation of what has gone before. Good, but unneccesary. The three bonus tracks, Dirty Love, Please Don't Touch and Emergency, give me nothing, and are therefore useless filler material.
I should also mention that the production is very raw, which suits the music, but doesn't add anything special. For all the coolness this band radiates, it can't hide the fact that they write the same songs again and again and again. They almost make AC/DC seem varied. Only almost, though, since that's impossible, haha. As this is by very many considered Motörhead's finest album, I should probably not buy anything else by them. At least I tried.


text:
Bryan C. Jobe 1970 - 2011 Eudora
Funeral services for Bryan C. Jobe, 41, Eudora, will be at 11 a.m. Saturday at Eudora Baptist Church, with the Rev. Kevin Wood officiating. A committal service will follow at Eudora City Cemetery.
Mr. Jobe died Sunday, Aug. 21, 2011, at the Kansas University Hospital in Kansas City, Kan.
He was born June 16, 1970, in Orlando, Fla., the son of Jerry and Dottie Jobe. He graduated from Olathe North High School in 1988, and later attended Emporia State University.
Mr. Jobe worked as an information technology consultant and also worked for the family's construction business. He was a member of Eudora Baptist Church and the National Rifle Association. He enjoyed playing cards and video games.
He married Bobbi Bonebrake on Nov. 8, 1997, in Overland Park. She survives of the home.
Other survivors include two sons, Dakota Jobe and Oliver Yale Jobe, of the home; a daughter, Anika Jobe, of the home; his parents, Summerfield, Fla.; a sister, Dyna Fitzmaurice and husband Jamie, Lee's Summit, Mo.; and a brother, Yale Rendleman, Detroit.
The family will receive friends from 6:30 p.m. to 8:30 p.m. Friday at Eudora Baptist Church.
The family suggests memorial contributions to the Jobe Children's Education Fund, in care of Rumsey-Yost Funeral Home, 601 Ind., Lawrence, KS, 66044.
Online condolences may be sent atrumsey-yost.com.
Jack Ellena Honda 785-843-0550
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With the departure of last year's starting safeties Yeremiah Bell and LaRon Landry the Jets will certainly be in the market for a veteran replacement. Thus far general manager John Idzik has taken a slow and steady approach to building the team with free agents. Idzik inherited a poor salary situation and has a limited [...]
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Home > News > Fujitsu finds copper-bottomed solution to chip problem
March 1st, 2005
Fujitsu finds copper-bottomed solution to chip problem
Fujitsu claims to have answered a major technological problem of the future for chip makers by using carbon nanotubes to replace copper wires in circuits.
Chips to be made around 2010 will have connecting wires made of copper that will be so thin that electrons will tend to migrate and leak out of the wires, said Yuji Awano, a research fellow at Fujitsu Laboratories' Nanotechnology Research Center.
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Electrical Design Manchester,
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text:
Mr. Routhers, I certainly do not remember posting about anyone's dead mother; I do remember soneone saying something about my mother and I did tell them that she was dead.<quoted text>
If you really had friends, why not call them up instead of slam people anonymously.
I wouldn't want my children playing ball near someone like you. You either are so absent minded you don't even know where you life, or you're a baldface liar.
You say you've only talked about two people on here, but I've seen you talk about more people than that, including people's dead mother.
I know you won't put your REAL name on here, because it's a lot easier for you to hide in the shadows and beat people down.
But if you were honest, you wouldn't have to hide behind a fake name.
Also, get a life. You post too much and I promise that nothing you've put on here has ever made anyone's life better or taught anyone anything.
J.C. Routhers,
Dyer Tennessee
Who Is Fair Play?
Posted in the Dyer Forum
Since: Feb 12
Fort Huachuca, AZ
#21 Aug 10, 2012
#22 Aug 10, 2012
Interestingly enough he says he has a wife in this post yet I can find numerous posts where he's trying to get some female to email him or meet up or what have you. I wonder if his wife knows how much time he spends on here trying to get a piece of strange. IF he's even married which I dont believe he is nor do I believe that he lives in Dyersburg.
heres one in Kenton
Oh look here IN Oakfield, hes leading up the email question..
Here he is in Henderson..trying to get a black girl..good grief man. Look how fast this guy throws his email address out there. Thats straight up pathetic creepo stalker style.
Keep up the hard work buddy. Maybe someone out there is in to guys like you. I mean..other than your wife and all.
United States
#23 Aug 10, 2012
What a coward. It would only be "fairplay" to post yout name on here since you talk about other people by their name.
#24 Aug 10, 2012
Got awfully quiet in here. Fairplay u hiding out now or what or do we need to get a girl in here to entice u in lol
United States
#25 Aug 10, 2012
This fairplay guy must have a really sorry life. He slams all kinds of people on here but he won't post his name. Sounds like our stone thrower doesnt want us to see his glass house. If he can't put his name up on here he should stay off.
#26 Aug 11, 2012
Ohhh Fairplay.... Where are you? Come out and play with us Fairplay. We have nudie pics and candy bars. Please post your email Fairplay so we can send you pics of women lol
#27 Aug 12, 2012
Boy he sure gets quiet when someone calls him out lol
#28 Aug 13, 2012
Q: Why are gays happy that they have nut sacks?
A: Because they use them as mudflaps.
Fairplay is gay.
United States
#30 Aug 14, 2012
You can make little faces on everyones post but that doesnt change the fact youre a creepy stalker with no life that cant do anything but gossip about other people. He provably wont post his name because hes a registered sex offender. A lot of them use the internet to stalk women.
#31 Aug 15, 2012
Man this guy just vanished from the Dyer forums huh
Since: Feb 12
Fort Huachuca, AZ
#32 Aug 15, 2012
I am just living to my word that I would not post on this thread again so have a very nice day.
Bash me all you wish.
#33 Aug 15, 2012
So when did you say you wouldnt post in here again?? Seems like you got busted and called out now you want to act like a punk and plead the 5th. Figures. Sure hope your wife doesnt find out about all the booty youve been trying to get on here lol. Loser
Since: Feb 12
Fort Huachuca, AZ
#34 Aug 15, 2012
My apologies, wheresheat, I postd that on the other thread about Aldermen and Mayoral election. I sincerely ask for your divine forgiveness.
Now, I am posting it in this thread as well.
I will only read and not comment.
I did go into the "Help" page and asked about changing my Username; so far I have no response from Topix on that matter.
#35 Aug 15, 2012
why change ur username? so u can stalk people with a different name?
#36 Aug 15, 2012
lol yep
#37 Aug 17, 2012
This guy always shows his true colors, when he gets called out as an internet stalker, he changes his screen name so he can stalk out other women.
I'd encourage any woman who gets unwanted attention from this scumbag to call the police.
#38 Aug 19, 2012
Who is Fair Play? He is Fair Play the Man.
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NCAAF Pointspread Preview: Louisville Cardinals vs. South Florida Bulls
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Submitted by Otto Sports
South Florida
(Friday, 8 am PT - ESPN2)
CRIS Opener:
South Florida -3 O/U 43.5
CRIS Current:
South Florida -3 (-115) O.U 43.5
Rob Veno Power Rating:
South Florida -6
We have two teams here that have been heading in opposite directions for the better part of two months now. USF has been a train wreck since late September, losers of five of its last six games overall. They've covered just one spread in their last seven contests and were favored in each game. Louisville meanwhile has morphed into a solid bunch under head coach Charlie Strong with wins in four of its last five games and ATS victories in six of seven.
The Bulls can attribute this lack of production to a number of issues including, but not limited to, injuries to various key offensive personnel. The receiving corps in particular has been hit hard with the loss of leading wideout Sterling Griffin and expected contributors AJ Love and Terrence Mitchell along the way. That has left Victor Marc as the leading producer with 27 receptions. The next receiving options are both freshmen who have been spotty at best. The offense has really struggled during this losing stretch, held to just 17 points or less in losses to Pitt, UConn, Rutgers and Miami. Two outbursts came in between against Cincinnati and Syracuse but the star performer in each of those two games, quarterback BJ Daniels, is questionable this week with a sprained throwing shoulder. In addition to his solid play from a pass perspective in those two games, Daniels was also the leading rusher for the Bulls. His absence would leave Bobby Eveld under center. Eveld is not the threat Daniels is running the football and like many young signal callers short on experience he struggles with his consistency in completing passes and with turnovers (six INTs vs. just two TDs in his career).
Louisville isn't exactly the type of defense you want to be facing with your backup quarterback. The Cardinals are flying to the ball right now averaging over 7.5 tackles for loss and nearly three sacks per game. They have allowed just 18.7 ppg this season, good for second in the conference. Strong passing offenses can give this defense some problems but that doesn't seem likely to be the case this week so I expect another strong showing from this stop unit.
The Cardinals own offense has been a bit of a sore spot though, not overly proficient on the ground or through the air. They managed to score just a shade over 20 ppg this season and even though they've put up over 28 ppg the last three weeks it's been on just 310 yards per game. No wonder then we've seen their totals go under in eight of 11 games this season. They aren't likely to break out here for a 30-spot unless they get major contributions on the scoreboard from the defense and special teams as USF's stop unit has been very good this season. The Bulls have really clamped down on the run and outside of the spread attacks of Pitt and Cincinnati, have held every opponent to 24 or less.
I'd expect another low scoring affair this week and if Daniels does indeed miss out due to injury I'd be looking to play Louisville and the under.
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ER 10* MLB Rangers vs. Yankees Report
Big showdown in the American League East between Texas and New York and Erin Rynning has the winning ticket. Get on board with this 10* report for $20. It must cash or Wednesday's top play is on the house.
Veno 10* MLB Tuesday Top Play
Rob is on an extended ROLL in MLB since early May going 72-48 60% collecting +29.6 units! Today he's focused in on a play that he's released as his 10* MLB Top Play. You can join him for just $20 and this play must win or you will receive his next MLB 10* selection free of charge.
T.Covers 10* MLB High Scoring Slugfest
[EPIC: 80% MLB Totals Since April]
Even after a brutal half run loser in MLB action last night, Teddy is still hitting 79% in MLB action over the past two weeks, making big $$ for himself and his clients. His 80% Hot Streak on MLB Totals since April is approaching epic status, primed to cash another high scoring Slugfest Winner on $20 Tuesday. If you like wild, high scoring games, you will LOVE this winner. This play must cash or his next report is free
Alatex 10* MLB Slugfest Total of the Day
[+43.47 MLB 2013-present]
Brent Crow has been one of Sportsmemo's top MLB handicappers with nearly +44 units since 2013. For Tuesday he comes in strong with a Slugfest totals report. Lock in this winner for only $20. It must cash or Wednesday's top play is on the house.
T.Covers 10* MLB West Coast Wipeout Winner
[79% MLB Hot Streak L2 Weeks]
Teddy and his clients have been cashing in all month betting June baseball; riding a scorching 79% hot streak over the last two weeks. Do NOT miss another right side cash on $20 Tuesday, supporting a short favorite primed to dominate from start to finish in West Coast action tonight. Ride the hot hand! This play must win or his next report is free!
ICC 10* MLB Play Of The Day
[63% All Sports Streak]
Ian Cameron is ready to deliver winning baseball action on the diamond tonight isolating a single rock solid 10* MLB Play Of The Day. You can get it complete with detailed written analysis for just $20 and it is guaranteed to cash or his next MLB play is free.
DMartin 10* MLB Play of the Day
[HEATING UP HITTING 70% L 3 Plus Weeks]
Drew Martin is in with a 10* Play of the Day on today's MLB card. He has isolated one play on the MLB card as he is catching fire of late on the bases. You can jump on board for only $20, guaranteed to cash or you will receive Drew's next selection on the house.
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Friday, 24 June 2016
Last updated 1 hour ago
Sep 24 2013 | 10:30am ET
Horizons ETFs Management has tapped former BlackRock director Michael Fardy as executive vice president and head of sales for Horizons USA.
Fardy is an investment industry executive with nearly two decades of experience in business development and strategic relationship management. While at BlackRock, he was responsible for expanding the presence of the iShares exchange-traded funds across the northeastern United States. Prior to that, he was a regional vice president with Dreyfus Mutual Funds and a regional marketing director with Putnam Investments.
In his new role at Horizons USA, Fardy will focus on developing retail sales channels, concentrating on registered investment advisors and national broker-dealer firms.
Horizons launched its first ETF in the U.S. market—the Horizons S&P 500(R) Covered Call ETF—on the NYSE in June of this year.
The Horizons ETFs Group consists of five companies—all subsidiaries of Mirae Asset Global Investments Co—offering regional families of ETFs in Canada, Korea, Hong Kong, Australia, and the United States. The group has approximately $7 billion in assets under management and 180 ETF listings worldwide.
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Brookings-Wharton Papers on Urban Affairs
By: Ashley Langer and Clifford Winston
Highway congestion increases motorists' travel times and contributes to urban sprawl by raising the price of homes that are close to employment centers. We analyze the costs and benefits of congestion pricing accounting for its effects on highway travel conditions and on land use. We do so by estimating a hedonic model of housing prices that is influenced by travel delays and unpriced congestion, and by elements of land use, such as citywide density and the spatial variation in density. Based on a sample of ninety-eight of the largest metropolitan statistical areas (MSAs) in the nation, we find that efficient road pricing would generate $120 billion in annual revenues (2000 dollars) while reducing the value of the annual flow of services from housing by $80 billion, thus generating an annual net benefit of $40 billion. Our estimate of the benefits of congestion pricing is considerably greater than previous estimates that do not account for adjustments in land use, and suggests that the government could retain a sizable amount of toll revenues to finance the nation's road system and use part of the revenues to offset residents' losses. Read the full paper » (PDF)
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The Brookings Institution is a nonprofit organization devoted to independent research and policy solutions. Its mission is to conduct high-quality, independent research and, based on that research, to provide innovative, practical recommendations for policymakers and the public. The conclusions and recommendations of any Brookings publication are solely those of its author(s), and do not reflect the views of the Institution, its management, or its other scholars.
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Tag - Portable speakers
Hands On: EcoPebble Waterproof Bluetooth Speaker
Portable speakers are great, but there's still usually some sort of caveat. They're portable with an asterisk -- generally intended for indoor use, or outdoor use in "optimal conditions." If you lead an outdoorsy lifestyle, however, rarely will you be in "optimal conditions." That's why EcoxGear came up with the EcoPebble, a durable little speaker that can go wherever you do.
Briefly: NudeAudio debut portable speakers, D-Link offers new cameras
Design-focused audio company, Nude Audio, has announced the global release of its debut collection of four portable speakers in the 'Move' line. The speakers' design are intended to compliment popular sports fashion aesthetics, and are named akin to clothing size standards. The 'Move S' is the line's smallest speaker, able to fit into one's pocket, and available in both Bluetooth and wired versions. 'Move M' is able to produce more bass, and 'Move L' offers the ability to fill a room with a full sound. Each speaker is equipped with a bright carrying cord and durable silicone sleeve. Retailing between $30 and $100, the three Bluetooth speakers and one 3.5mm wired speaker are expected to be available in late August 2013.
Long Live Books, Philips introduce new iPad accessories
Long Live Books and Philips have already expanded their range of accessories for the iPad. Philips has introduced several new products, ranging from protective cases to audio devices. A soft reversible sleeve protects the device from bumps and scratches, offering either a red or black exterior depending on which side the user chooses. The second iPad guard is a soft neoprene and leatherette case utilizing a fold-over flap to help keep the iPad in place. The leatherette material also provides extra protection for the glass screen.
Tunebug unveils new Vibe and Shake portable speakers
Tunebug at CES unveiled a new line of mobile speaker products, the Shake and the Vibe. Both products feature are claimed to generate sound waves that pass through different surfaces. Shake is a portable sound generator that is said to replicate surround sound within many bike and skateboard helmets. Users can connect the device to iPods, MP3 players, mobile phones, as well as any other portable music device that utilizes Bluetooth technology or audio cables. It features a rechargeable battery with up to 5 hours of playback, while recharging requires a USB cable.
Gear4 intros StreetParty III speaker system
Following up its DUO iPod dock released earlier this month, UK-based Gear4 has now released the StreetParty III, a portable speaker system that charges and plays Apple's docking iPods (including the iPod touch) and all other digital audio devices via a 3.5mm audio jack. The StreetParty III can be folded flat for easy portability, and relies on four AA batteries for music on the go.
Now AAPL Stock: 93.4 ( -2.7 )
WhatsApp now handles over 100M calls daily
WhatsApp is celebrating that it is being used for over 100 million calls every day. In a brief notice, the Facebook-owned messaging platform advises the voice-calling feature it rolled out to its users last year now deals with an average of over 1,100 calls initiated per second. Earlier this year, it increased the security of its calls and other messages, by introducing end-to-end encryption on all platforms. http://bit.ly/292HqCX
Adele's '25' album now streaming
Recording artist Adele has "pulled a Kanye" after saying that her current album "25" would not be available for streaming. The seven-month-old record, which has yielded a number of hit singles, is now available for streaming on all the major streaming services, such as Apple Music and Spotify, as of today in most major markets, with worldwide distribution to come. Reportedly, the singer had demanded streaming be limited to paid subscribers -- a condition that has hurt some streamers with artists, who aren't paid royalties for free or trial listens . Apple pays performers its normal royalty rates during its free trial, avoiding the issue -- and having repeated success in both signing up exclusives and placing those exclusives into the top of the charts. http://ti.me/28U7NOu
SanDisk iXpand case has battery, storage
A new iPhone 6 and iPhone 6s case from SanDisk appears to be the "holy grail" of accessories: a stylish and protective case that offers both extra storage as well as the option of extra battery power as well. The iXpand Memory case offers either 32GB, 64GB, or 128GB of additional storage incorporated into the case, and an optional add-on battery pack (sold separately) adds up to an extra day or more of charge. Through the associated iXpand app, camera photos and videos can be automatically stored on the extra storage, optionally password-protected, The cost for the case is (in order of storage capacity) $60, $100, and $130. The battery pack's release data has not yet been announced, but the add-on should retail for an additional $30. http://bit.ly/291epHu
Fifth Hong Kong store to open June 30
The 46th official Apple store in what the company calls the "Greater China" region will open at 10AM local time in Hong Kong's New Town Plaza in the Sha Tin district on Thursday, June 30, according to a new page on Apple's retail website. Despite slowing growth due to economic turmoil in China, the country is still Apple's fastest-growing market. The new story will be the fifth for Hong Kong, a lucrative market for Apple thanks to the high concentration of wealth there and a thriving "gray" market. Normal store hours for the new store will be 10AM to 10PM every day. http://apple.co/291diaT
Apple Music bug bites very short songs
There appears to be a reproducible bug in the current version of iTunes -- version 12.4.1, running on OS X 10.11.5, both the current non-beta versions of the respective software -- that causes a streamed song to become "stuck" in endless buffering if the streamed item just before this happened was 60 seconds or less in length. The problem appears to stem from code in iTunes that signals the next track to start downloading one minute before the currently-playing track is done, and thus songs shorter than one minute don't trigger the download. Locally-stored music is unaffected by the bug, and the problem does not appear to exist in either the macOS Sierra developer beta or versions of iTunes earlier than 12.4, and does not affect the iOS Music app at all. http://bit.ly/291cN0l
Walmart Pay expands to 15 states
Walmart, one of the key progenitors of the failed CurrentC mobile payment system that was distinguished from Apple Pay by its ability to collect and share customer financial and buying data among its participants, has expanded the soft rollout of its alternative solution "Walmart Pay" to an additional 15 US states following a pilot program in Arkansas and Texas last month. Walmart continues to resist adding Apple Pay. The system, built into the Walmart app for iOS and Android, works with a complicated system of the camera scanning a purchase code at the register, then generating a QR code which is then scanned by the register. The system is available now in Alabama, Georgia, Indiana, Iowa, Kentucky, Louisiana, Michigan, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, South Carolina, South Dakota, Tennessee, Virginia, and Washington, DC. http://apple.co/28SqZfu
Amazon refreshes entry-level Kindle
Amazon has added a new Kindle to its ebook reader range, one that is thinner and lighter than the previous entry-level model. Offering a six-inch 167-dpi touchscreen display, a doubled 4GB of storage, and an option for a white casing, the new model also adds in the ability to export highlights and notes to an email account as a PDF. Two versions of the all-new Kindle are available, priced at $80 including "Special Offers" and $100 without. http://amzn.to/28Q4c3R


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Director of photography Danna Kinsky may use large cameras and heavier support equipment when shooting feature films like the upcoming "Untold," but she wants the same kind of support performance when she shoots with smaller cameras, like her Canon 7D. She recently tried out the new Ace system by Sachtler (www.sachtler.com).
In connection with the Untold project, Kinsky shot a public service announcement about anti-gay bullying in schools using her DSLR and new Sachtler Ace tripod system, designed for camera packages weighing from 0lbs to more than 8lbs. The bottom of that weight range is important to her, because she often uses a lightweight camera package such as her Canon 7D and a small prime lens.
Smaller cameras present more of a challenge to a tripod than larger cameras, because there's so little mass to help smooth the panning and tilting moves, Kinsky said. She has shot before with small tripods that want to inch along the floor when she pans, which means you have to hold the sticks in place with one hand while panning with the other.
These were not problems with the Ace since Sachtler's engineers developed a new (patented) Synchronized Actuated (SA) drag, which guarantees the familiar accuracy and repeatability of Sachtler's larger tripod systems. With three vertical and three horizontal grades of drag (+0), SA drag enables fine adjustment for precise panning and tilting, no matter how small the camera package. Additionally Ace has five different counterbalance settings.
The Ace, Kinsky said, is stable enough that it stays put when you're panning, and the legs are substantial enough that there's no backlash when you start or stop a pan. Ace can be tilted through a range of +90 to -75 degrees.
Scaled-Up Starz a Winner in Lionsgate Marriage
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NAB FOIA's FCC Media Ownership Work Product
HTC Leads $10B Virtual Reality VC
NCTA: Sloganeering Doesn't Make Set-Top Plan Lawful
Comcast Backs Off Planned Upgrade of Legacy Set-Top Guide
NASA arrives on Apple TV
AMC partner with Machinima for SVoD gaming channel
NRK invests in Tedial Evolution
Rob Burnett Makes a Laugh-Out-Loud Dramedy with 'The Fundamentals of Caring'
New Lifetime Docuseries Focuses on Families of Olympic Hopefuls
FAA's New Drone Rule Gets Mixed Responses


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The Problem
The American system of bail is fundamentally incapable of doing the job we expect from it. Those with money—regardless of where they got the money or their danger to the community or victims—can purchase their freedom while poor defendants remain in jail pending ... [more]
The Solution
Below are eight recommendations that will help jurisdictions move from resource-based to risk-based bail decision-making process. These recommendations are designed to allow for more informed decision-making at each phase in the pretrial process, from first contact with ... [more]
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Let Unconvicted Men Be Fathers22 Jun 2016
By Spike Bradford, editor-in-chief
Last Sunday was Father's Day; when children and fathers around the country take time to cherish the special bond that men can have with their kids. But children of incarcerated fathers aren't able to celebrate the way they should—with hugs and ballgames.
It is a tragedy when a father is convicted of a crime and incarcerated, leaving a child or chil…
Guam. Sun, beaches, motorcycles and a firm commitment to pretrial justice08 Jun 2016
By Cherise Fanno Burdeen, executive director, Pretrial Justice Institute
This was a big week in PJI-land. On June 2nd, we announced the first of the 3DaysCount™ sites!
Guam is an unincorporated island territory of the United States, located in the South Pacific with a population of 161,785 (roughly the same as Fort Lauderdale, FL) and average daily temperature of 81.4 degrees. To reach Gua…
More Evidence of the Harms of Money Bail25 May 2016
Three research reports released earlier this month add substantially to what we know about the harms caused by money bail. Research is crucial to building momentum for reform and countering the still-too-common notion that bail reform addresses "a problem we're not sure exists."
Here is that latest research showing—yet again—that there IS a problem, and it is money bail:
The Heavy Co…
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Last login: Wednesday, December 2, 2009
Comment history
13-year-old girl testifies that father came up with plan for children to murder their mother
Wow, I'd call this guy a POS, but I'm afraid that is being unjust to fecal matter.
December 2, 2009 at 6:25 p.m. ( permalink | suggest removal )
A mom responds
I'm sure each of my children have thrown a tantrum in a store once.Once.
February 8, 2009 at 12:55 p.m. ( permalink | suggest removal )
Sad scandals
In this day and age, I have a hard time believing that anyone in their positions, which does require a certain level of common sense and intelligence, thinks they can do these things and get away with them.
It's really too bad. Spitzer and Morrison both had so much they could have offered their posts. Morrison, moreso than Spitzer, in my opinion, didn't remember the golden rule: Hell hath no fury...
What they hell are they thinking? Spitzer would have been better off getting a bj from a $20 crack whore who would have kept it to herself for the fix.
March 13, 2008 at 9:05 a.m. ( permalink | suggest removal )
Students intend to return Potter Lake to past glory
I think this is a great idea. ALTHOUGH I do have to say that it is a shame that KU has the money to build the dumb gateway on 15th & Iowa and can spend thousands on glossy paper, but can't come up with the money to repair the damage to Potter Lake. Last I knew, there were grounds keepers who get paid to keep the grounds on campus, is this not part of the grounds? Kudos to the students who want to do this.
March 13, 2008 at 8:56 a.m. ( permalink | suggest removal )
Helpful officer
Because I know them, the AND in the signature is the creepiest word in this letter.
March 12, 2008 at 8:38 a.m. ( permalink | suggest removal )
Credit crunch
I'm willing to bet I'm much older than you, 778. That must be why you don't get it yet.
I don't think they're evil. Its capitalism, of which I participate whole heartedly. If you pay attention to what's going on, and do some research, one day, you will too learn that, while I'm sure in your world, we all eat rainbows and crap butterflies, it is not so..
March 6, 2008 at 9:31 p.m. ( permalink | suggest removal )
Credit crunch
Our rates have gone down as well, so the whole credit issue isn't really a bad one for me either, but it is what it is and for someone to believe it is a benevolent gesture from corporate America as a reward for responsibility is about as as naive as believing that the FDA is really looking out for Joe Consumer and not big pharma.
March 6, 2008 at 3:51 p.m. ( permalink | suggest removal )
Credit crunch
Think what you want, 778. If a policy's price is raised 300 and someone with perfect credit is given a 300 discount, it is not a reward for them. It's kinda like raising the price of clothing then putting it on sale. They are still charging the same amount for it in the end, only with insurance, they can get even more out of someone with a less than 800 credit score. Using the psychology behind credit scores is a sham. What do people try to do when they want to raise their credit score? They get another credit card or a mortgage or a new car, buy, buy, buy. What's the incentive to raise your credit score? Lower interest rates, insurance rates, etc. How do you get them? Spend money. They are all in bed with each other. You are a fool if you think they are rewarding you for being responsible.
March 6, 2008 at 1:51 p.m. ( permalink | suggest removal )
Credit crunch
Credit scores are the justification a whole lot of industries use to charge people more money.
Yet another perk of living in a capitalist society.
March 6, 2008 at 8:06 a.m. ( permalink | suggest removal )
Snow strategy
No, I got the point. You know it needs to be done, but you work 40+ hours so you can't do it until you get around to it, and why should you go out of your way to do it as soon as you can when the city doesn't even get theirs done? Really, I got it.
March 4, 2008 at 3:40 p.m. ( permalink | suggest removal )
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Segerstrom Center For The Arts
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