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This programme contains very strong language. | 0:00:05 | 0:00:09 | |
RUMBLING | 0:00:09 | 0:00:11 | |
'The door is under attack. They're everywhere.' | 0:00:13 | 0:00:16 | |
INDISTINCT COMPUTER GAME DIALOGUE | 0:00:16 | 0:00:20 | |
Damn! | 0:00:20 | 0:00:21 | |
SHOOTING AND EXPLOSIONS | 0:00:24 | 0:00:28 | |
EXPLOSIONS | 0:00:32 | 0:00:33 | |
GAME SOUND EFFECTS CONTINUE | 0:00:37 | 0:00:39 | |
-RADIO: -'Loveline is meant for an adult audience. | 0:00:56 | 0:00:59 | |
'Loveline may contain sexually oriented content. | 0:00:59 | 0:01:03 | |
'Listener discretion is advised.' | 0:01:03 | 0:01:05 | |
-'It starts now.' -'And it is Loveline. | 0:01:05 | 0:01:08 | |
'That number is 1-800-LOVE-191. | 0:01:08 | 0:01:12 | |
'Very exciting evening today. Why don't you introduce our guest?' | 0:01:12 | 0:01:15 | |
'Oh, I don't know. | 0:01:15 | 0:01:17 | |
'A little guy who started off his career in space rock band Hawkwind | 0:01:17 | 0:01:20 | |
'many years ago. But you probably know him best for | 0:01:20 | 0:01:23 | |
'the close to 35 years as the only static member of a band called Motorhead.' | 0:01:23 | 0:01:27 | |
The image of him holding that Rickenbacker bass is enough to put shivers up my spine. | 0:01:27 | 0:01:32 | |
I am, of course, talking about the man sitting right next to me, musical icon, Lemmy. | 0:01:32 | 0:01:36 | |
You romantic fool! | 0:01:36 | 0:01:38 | |
HEAVY GUITAR RIFF | 0:01:38 | 0:01:40 | |
The man is the modern Jesus. | 0:01:46 | 0:01:49 | |
To be honest, he is fucking Jesus Christ. | 0:01:49 | 0:01:52 | |
Motorhead is my life. | 0:01:52 | 0:01:54 | |
Without Lemmy, there would be no Metallica, no Megadeth, no Slayer. | 0:01:54 | 0:01:57 | |
There wouldn't be any of today's heavy metal. | 0:01:57 | 0:02:00 | |
Rock'n'roll IS Lemmy, Lemmy IS rock'n'roll. | 0:02:00 | 0:02:02 | |
Rock'n'roll! | 0:02:02 | 0:02:04 | |
# Hey, baby, don't act so scared | 0:02:04 | 0:02:06 | |
# All I want is your special care. # | 0:02:06 | 0:02:08 | |
If I hear Motorhead, I will bang for the whole time. | 0:02:08 | 0:02:12 | |
Lemmy is God. | 0:02:15 | 0:02:16 | |
If they drop a nuclear bomb on this planet, | 0:02:16 | 0:02:19 | |
Lemmy and cockroaches is all that is going to survive. | 0:02:19 | 0:02:23 | |
# Move over for a damaged case. # | 0:02:23 | 0:02:26 | |
# Hey, babe, wait a minute stop. # | 0:02:32 | 0:02:35 | |
Everybody, it's Loveline. Lemmy from Motorhead in the house. | 0:02:37 | 0:02:41 | |
-Mike Catherwood, paying homage. -You know it. | 0:02:41 | 0:02:43 | |
The current CD is called Motoriser, the 24th CD from Motorhead. | 0:02:43 | 0:02:48 | |
-Amazing. -Yes, it amazed me all right. | 0:02:48 | 0:02:50 | |
35 years ago, when you were getting the band started, did you think you would be 25 albums in? | 0:02:50 | 0:02:55 | |
You don't think like that. You think, two years. | 0:02:55 | 0:02:57 | |
You just want to play with a couple of guys, that is all it is. | 0:02:57 | 0:03:01 | |
-And then it goes on, and on. -And on! | 0:03:01 | 0:03:04 | |
-Is it true that over 2,000 women you've bedded? -No, the magazine printed that. I said a thousand. | 0:03:04 | 0:03:10 | |
-Yeah. That's still pretty impressive. -Not really, I've never been married and I'm 63. | 0:03:10 | 0:03:15 | |
Work it out, it's not many a year. | 0:03:15 | 0:03:17 | |
-Wow. -I like how he thinks. | 0:03:17 | 0:03:19 | |
Let's go to calls. Jason is calling from Canada. | 0:03:19 | 0:03:22 | |
'Lemmy, it is an honour to be talking to you. A true legend. | 0:03:22 | 0:03:26 | |
'Two quick questions for you. | 0:03:26 | 0:03:28 | |
'Basically, I would like to know what are your musical influences today? | 0:03:28 | 0:03:32 | |
'And your favourite place to play a gig.' | 0:03:32 | 0:03:35 | |
I don't really mind where we play, as long as they go "Hooray". | 0:03:35 | 0:03:38 | |
-'I think it's cool you're still rocking today. Keep up the good work.' -I will. | 0:03:38 | 0:03:43 | |
Don't forget, I'm not qualified to do anything else! | 0:03:43 | 0:03:47 | |
-'The other question was, what are your musical...' -Influences, yes. | 0:03:47 | 0:03:51 | |
He anticipates that one! | 0:03:51 | 0:03:52 | |
Your influences are the same when you're my age as when you were 20. | 0:03:52 | 0:03:56 | |
The first things you hear that really knock you out stick with you. | 0:03:56 | 0:04:00 | |
You're never going to hear any music better than that. | 0:04:00 | 0:04:03 | |
So it was Little Richard, the Beatles, Elvis, you know. | 0:04:03 | 0:04:06 | |
I like good old stuff, you know. | 0:04:06 | 0:04:08 | |
Where were you when you heard that stuff? | 0:04:08 | 0:04:10 | |
The first time I saw the Beatles, they hadn't made a record yet. | 0:04:10 | 0:04:13 | |
-You saw them? -Yes, at the Cavern in Liverpool. -What was that like? | 0:04:13 | 0:04:17 | |
It was magic. They WERE magic, you know. | 0:04:17 | 0:04:19 | |
-Did you think, "This is going to be the greatest rock band of all time"? -Yes. Kind of, I did. | 0:04:19 | 0:04:25 | |
We used to get these girls would come down... | 0:04:25 | 0:04:28 | |
I lived in a holiday resort place in North Wales. | 0:04:28 | 0:04:31 | |
These girls from Liverpool would come down. | 0:04:31 | 0:04:33 | |
And every year, there was this singer called Billy Fury, they were crazy about him. | 0:04:33 | 0:04:37 | |
And then one year, it had all changed. | 0:04:37 | 0:04:40 | |
It was this Beatles thing, you know. | 0:04:40 | 0:04:41 | |
So we would hitch-hike up to Liverpool, see what they were like. | 0:04:41 | 0:04:45 | |
They were monstrous, like, perfect, you know. | 0:04:45 | 0:04:47 | |
People think the Stones were the hard men and the Beatles the sissies, and it's the opposite. | 0:04:47 | 0:04:52 | |
The Beatles were from Liverpool and the Stones were from the London suburbs, you know. | 0:04:52 | 0:04:56 | |
Going to art school and shit. It wasn't that way at all. | 0:04:56 | 0:05:00 | |
The Beatles, I always thought, were the best band in the world. | 0:05:00 | 0:05:03 | |
-No, we don't. -I knew you were going to say that! | 0:05:08 | 0:05:10 | |
SHOP TANNOY ANNOUNCEMENT | 0:05:13 | 0:05:15 | |
MUSIC ON TANNOY | 0:05:22 | 0:05:24 | |
TANNOY: 'Landor, call on line one.' | 0:05:27 | 0:05:29 | |
'Landor, line one is for you.' | 0:05:29 | 0:05:31 | |
The owner gave you hers. | 0:05:40 | 0:05:42 | |
Want to go over? | 0:05:42 | 0:05:45 | |
-44.67. We don't take American Express. -Oh, you don't? Take Visa? | 0:05:50 | 0:05:55 | |
Yes. | 0:05:55 | 0:05:56 | |
-Where's the lady who gave me her copy? -I'll bring her over. | 0:05:58 | 0:06:01 | |
I was like, all right, I've got to give it to him, in the name of rock and roll. | 0:06:05 | 0:06:09 | |
And it sounds great. I think you'll really like it. | 0:06:09 | 0:06:11 | |
Yes, the original... | 0:06:13 | 0:06:14 | |
A couple of them are like, I mean... Sgt Pepper sounds amazing. | 0:06:16 | 0:06:19 | |
-I think you'll really like it. -Thanks very much. | 0:06:19 | 0:06:22 | |
# Dance | 0:06:27 | 0:06:28 | |
# Girl you gotta move your feet | 0:06:28 | 0:06:29 | |
# Dance don't stop | 0:06:32 | 0:06:33 | |
# Dance till you drop | 0:06:33 | 0:06:34 | |
# Dance to the American beat. # | 0:06:34 | 0:06:36 | |
The Sunset Strip has seen a whole lot of different movements and genres | 0:06:37 | 0:06:41 | |
and musical versions of the same thing, basically. | 0:06:41 | 0:06:44 | |
We had a bunch of different musical movements and, first of all, | 0:06:44 | 0:06:48 | |
Motorhead is one of those bands that transcends movements. | 0:06:48 | 0:06:51 | |
It doesn't matter what's happening in the community, in the rock culture, | 0:06:51 | 0:06:56 | |
Motorhead is still hailed as being, like, king. | 0:06:56 | 0:07:00 | |
When he moved to LA, became part of the scene, he was already embraced. | 0:07:00 | 0:07:05 | |
Basically, his throne was waiting for him. | 0:07:05 | 0:07:07 | |
Two cameras, A mark. | 0:07:07 | 0:07:10 | |
And mark. | 0:07:12 | 0:07:13 | |
Action. | 0:07:13 | 0:07:15 | |
Lem, there's somebody I want you to meet. Hank, the writer. | 0:07:15 | 0:07:18 | |
Obviously, he's not from LA, but it is really interesting to see | 0:07:18 | 0:07:22 | |
how much of a staple Lemmy has become, especially in Hollywood. | 0:07:22 | 0:07:25 | |
He has become a Los Angeles icon, you know. | 0:07:25 | 0:07:28 | |
-Cut. -I don't know if he does fit in in LA. | 0:07:28 | 0:07:31 | |
LA is so fucked up, | 0:07:31 | 0:07:33 | |
he doesn't really fit. | 0:07:33 | 0:07:35 | |
I think Hollywood has to fit him. | 0:07:35 | 0:07:37 | |
All we have to do now is do that another 147 times and we're there. | 0:07:37 | 0:07:41 | |
A lot of people are LA bashers. | 0:07:41 | 0:07:43 | |
Especially people from up north in San Francisco, that kind of thing. | 0:07:43 | 0:07:47 | |
That is LA, La-La Land, or whatever they call it. | 0:07:47 | 0:07:50 | |
You know, it is just a land of pretentious people, | 0:07:50 | 0:07:54 | |
all that kind of thing. | 0:07:54 | 0:07:55 | |
There is a real weight to this town, there is a real history to it. | 0:07:55 | 0:07:58 | |
I think it has got a lot more balls than a lot of big cities, frankly. | 0:07:58 | 0:08:02 | |
'Lemmy looks like an LA rocker to me. | 0:08:02 | 0:08:06 | |
'He has got that thing about him. | 0:08:06 | 0:08:09 | |
'He is combination biker, musician,' | 0:08:09 | 0:08:13 | |
or guy that works at the car wash. | 0:08:13 | 0:08:16 | |
He's got that old school LA look. | 0:08:16 | 0:08:19 | |
'He doesn't change it and I don't think' | 0:08:19 | 0:08:21 | |
it was created. | 0:08:21 | 0:08:23 | |
And that is what the good part of LA is, it is | 0:08:23 | 0:08:26 | |
the people who don't try to be. | 0:08:26 | 0:08:27 | |
I was in bands when I was a little kid. I came to California to do that. | 0:08:27 | 0:08:32 | |
I got out here and this guy I knew wanted me to go for an acting part. | 0:08:32 | 0:08:36 | |
I got that and the next thing you know, | 0:08:36 | 0:08:38 | |
I was in some theatre group and I didn't know anything about it. | 0:08:38 | 0:08:41 | |
I realised I was making a little bit of money doing this acting. | 0:08:41 | 0:08:44 | |
I do, too. | 0:08:47 | 0:08:49 | |
I doubt we'll get it in this day and time. | 0:08:55 | 0:08:58 | |
I always figured, my music is very popular, I must be doing something wrong! | 0:08:58 | 0:09:02 | |
Yes, me too. I grew up with that. | 0:09:07 | 0:09:09 | |
Oh, it's great. | 0:09:13 | 0:09:14 | |
Oh, I'm telling you. | 0:09:17 | 0:09:18 | |
Oh, yeah. | 0:09:21 | 0:09:22 | |
I worked with him one time on a TV show, he was there. | 0:09:30 | 0:09:33 | |
And he pulls up in an old Cadillac | 0:09:33 | 0:09:35 | |
and all of these guys get out in suits and everything. | 0:09:35 | 0:09:38 | |
He met my son. | 0:09:40 | 0:09:42 | |
My son at the time was only like three or four. | 0:09:42 | 0:09:46 | |
Little Richard goes, "Hey, baby!" | 0:09:46 | 0:09:48 | |
I go to my kid, I say, "Hey, Willie, it's OK to talk to this cat, | 0:09:48 | 0:09:53 | |
"but don't sit on his lap." | 0:09:53 | 0:09:55 | |
'Lemmy is like' | 0:09:56 | 0:09:57 | |
a fucking radioactive cowboy. | 0:09:57 | 0:09:59 | |
-A hard rock Johnny Cash. -A biker. | 0:09:59 | 0:10:02 | |
World War Two chic. | 0:10:02 | 0:10:04 | |
-He's Black Bart meets Mad Max. -He's Captain Hook. | 0:10:04 | 0:10:07 | |
A little bit of cowboy, a little bit of metal. | 0:10:07 | 0:10:09 | |
Little bit of rock'n'roll. | 0:10:09 | 0:10:11 | |
He'd be the perfect description of my dream dude, for sure. | 0:10:11 | 0:10:14 | |
Lemmy's look is something that is probably a little bit | 0:10:14 | 0:10:17 | |
cultivated from back in the fifties. | 0:10:17 | 0:10:19 | |
And then added to that, | 0:10:19 | 0:10:21 | |
some of the shit that he picked up | 0:10:21 | 0:10:22 | |
along the way... bikers, punk rock, whatever. | 0:10:22 | 0:10:26 | |
Although he has been around for a long time, | 0:10:26 | 0:10:28 | |
so maybe some of the punk stuff, they got it from him. | 0:10:28 | 0:10:31 | |
Describing Lemmy's style is not that easy, | 0:10:45 | 0:10:48 | |
because from boot to boot, it always changes substantially. | 0:10:48 | 0:10:53 | |
# Let me tell you, babe | 0:10:53 | 0:10:56 | |
# What I say is right... # | 0:10:56 | 0:10:59 | |
He's got a very distinctive and good aesthetic sense. | 0:10:59 | 0:11:02 | |
He actually will bring me drawings of what he wants. | 0:11:02 | 0:11:05 | |
# You've got me crazy... # | 0:11:05 | 0:11:08 | |
If I was to really give it a specific name, | 0:11:08 | 0:11:11 | |
I would probably say it is like a Western jackboot. | 0:11:11 | 0:11:14 | |
He likes these boots with a squared-off nose, | 0:11:14 | 0:11:17 | |
almost military looking. | 0:11:17 | 0:11:19 | |
Almost like a cavalry kind of boot | 0:11:19 | 0:11:21 | |
with Motorhead flair to it, of course. | 0:11:21 | 0:11:25 | |
# What I say is true... # | 0:11:25 | 0:11:26 | |
We were at a rehearsal place in the Valleys back in the mid-nineties | 0:11:26 | 0:11:30 | |
and Motorhead was right next to us, rehearsing for a tour. | 0:11:30 | 0:11:33 | |
Every day, we would see Lemmy out at this video game in the lobby area. | 0:11:33 | 0:11:37 | |
It was summertime, it was really hot in the Valley, | 0:11:37 | 0:11:39 | |
and Lemmy was wearing shorts. | 0:11:39 | 0:11:42 | |
Now if I tell you, he's wearing Daisy Dukes. | 0:11:42 | 0:11:44 | |
It was like a thong, dude. | 0:11:44 | 0:11:46 | |
You would walk out of our door | 0:11:46 | 0:11:47 | |
and the first thing you would see when you walked out of our room | 0:11:47 | 0:11:50 | |
was Lemmy bent over this machine. | 0:11:50 | 0:11:53 | |
So it's basically Lemmy bending over with his ass in your face. | 0:11:53 | 0:11:57 | |
That's a weird scene. | 0:11:58 | 0:12:00 | |
And we're all wearing shorts, but our shorts are board shorts. | 0:12:00 | 0:12:03 | |
Finally, you know, I got the balls to walk up to him. | 0:12:03 | 0:12:06 | |
He's playing the game. I was like, "Hey, man." | 0:12:06 | 0:12:09 | |
He's like, "Hey, Scott, how are you?" | 0:12:09 | 0:12:11 | |
I'm like, "We've all been wondering." "What's that?" | 0:12:11 | 0:12:14 | |
I said, "What's the deal with the shorts? Like, seriously?" | 0:12:14 | 0:12:19 | |
And I'm thinking, I'm afraid is he going to punch me, what's going to happen? | 0:12:19 | 0:12:23 | |
He's like, "What? What do you mean?" | 0:12:23 | 0:12:25 | |
And I said, "They're really short. | 0:12:25 | 0:12:28 | |
"We see your ass every day, it's kind of weird." | 0:12:28 | 0:12:31 | |
He goes, "What? It's hot out. These are shorts." | 0:12:31 | 0:12:33 | |
And he kind of steps back and looks at me and goes, | 0:12:33 | 0:12:36 | |
"Those aren't shorts. Those are pants. These are shorts. I'm cool." | 0:12:36 | 0:12:39 | |
And he kind of goes like this, like... | 0:12:39 | 0:12:42 | |
Like it made absolute sense. | 0:12:42 | 0:12:44 | |
# So bad baby I don't care. # | 0:12:44 | 0:12:47 | |
What anyone thinks, what anyone cares, it doesn't matter. | 0:12:53 | 0:12:56 | |
He's just Lemmy, you either take him or you fucking don't. | 0:12:56 | 0:12:59 | |
He doesn't give a flying shit whether you do or not. | 0:12:59 | 0:13:02 | |
There are no words. | 0:13:02 | 0:13:04 | |
He's Lemmy. It's almost... | 0:13:04 | 0:13:07 | |
It should be a verb. | 0:13:07 | 0:13:08 | |
Nobody told him to do | 0:13:11 | 0:13:13 | |
anything that he wasn't completely natural and comfortable doing. | 0:13:13 | 0:13:16 | |
And that's rare. | 0:13:16 | 0:13:17 | |
And that's why I think we respond with respect. | 0:13:17 | 0:13:21 | |
Because we want to be like that. | 0:13:21 | 0:13:24 | |
I think he is a renegade. | 0:13:24 | 0:13:25 | |
There's not that many of them any more. Everybody assimilates. | 0:13:25 | 0:13:28 | |
You know, go along to get along. To get what they need to get. | 0:13:28 | 0:13:34 | |
And I don't see Lemmy as that kind of guy. | 0:13:34 | 0:13:38 | |
I see Lemmy as doing things his way to get where he wants to go. | 0:13:38 | 0:13:42 | |
And that's attractive, because people don't do that any more. | 0:13:42 | 0:13:46 | |
# When you move in right up close to me | 0:13:56 | 0:13:59 | |
# That's when I get the shakes all over me. # | 0:14:03 | 0:14:07 | |
The thing I remember about Lemmy, which has nothing to do with music, | 0:14:10 | 0:14:16 | |
is that he was obsessed, and I think he still is, with one-armed bandits. | 0:14:16 | 0:14:19 | |
You know, the... | 0:14:19 | 0:14:22 | |
And I can remember | 0:14:22 | 0:14:23 | |
Dingwalls, the little club in London, very popular, by the canal. | 0:14:23 | 0:14:28 | |
I think that's probably the first time I ever met him. | 0:14:28 | 0:14:31 | |
You walked into Dingwalls and just inside was the one-armed bandit | 0:14:31 | 0:14:35 | |
and, without fail, he would be on that. | 0:14:35 | 0:14:38 | |
Sometimes all night. | 0:14:38 | 0:14:40 | |
I don't know if he ever won, but he would play it for hours. | 0:14:40 | 0:14:43 | |
I've never seen anybody love those things so much. | 0:14:44 | 0:14:47 | |
They should bring out a Motorhead one-armed bandit. | 0:14:47 | 0:14:50 | |
And if you get three Lemmies, you win the jackpot. | 0:14:50 | 0:14:53 | |
# Shaking all over... # | 0:14:53 | 0:14:55 | |
When it comes to rock'n'roll, you need something to believe in, | 0:15:05 | 0:15:10 | |
you know? | 0:15:10 | 0:15:11 | |
Integrity means everything. | 0:15:11 | 0:15:14 | |
Musically, of course, when you go and see a band | 0:15:14 | 0:15:17 | |
and you know it's coming from the heart, it touches you even more | 0:15:17 | 0:15:20 | |
because there's some sort of human connection. | 0:15:20 | 0:15:22 | |
If you go up and see some robots moving around the stage, | 0:15:22 | 0:15:25 | |
you might as well go home and play video games. | 0:15:25 | 0:15:28 | |
But when someone is doing... when someone's playing rock and roll from the heart | 0:15:28 | 0:15:35 | |
and they really walk it like they talk it, you pay more attention, | 0:15:35 | 0:15:40 | |
because it makes you feel like a human being, in a way. | 0:15:40 | 0:15:44 | |
Like, to connect to someone doing something really honest or really true, | 0:15:44 | 0:15:51 | |
it's important. | 0:15:51 | 0:15:54 | |
And so, to me, more than any other rock musician... | 0:15:54 | 0:15:58 | |
I consider Lemmy a legend, you know, | 0:15:58 | 0:16:01 | |
but to me, more than any other rock musician, | 0:16:01 | 0:16:05 | |
he is the baddest motherfucker in the world. | 0:16:05 | 0:16:09 | |
HE PLAYS BASS DRUM | 0:16:13 | 0:16:15 | |
DRUM RIFF STARTS | 0:16:17 | 0:16:18 | |
You know what would be cool? | 0:16:26 | 0:16:28 | |
If I could get one of those lyric sheets? | 0:16:28 | 0:16:30 | |
When it gets to the instrumentals, there's two 12 bars in a row, OK? | 0:16:30 | 0:16:33 | |
Let's just check the levels here | 0:16:35 | 0:16:37 | |
with Lemmy, make sure he can hear himself. | 0:16:37 | 0:16:40 | |
BASS GUITAR | 0:16:40 | 0:16:42 | |
HE PLAYS A RIFF | 0:16:42 | 0:16:43 | |
BASS DROWNS VOICES IN BACKGROUND | 0:16:43 | 0:16:46 | |
That one little spot where it's on the double chorus... | 0:17:36 | 0:17:39 | |
-Yeah, it's a double chorus, you know? Fuck! -For Christ's sake. | 0:17:39 | 0:17:43 | |
What was Chuck Berry thinking? | 0:17:43 | 0:17:45 | |
I remember a show in England that I did with Meat Loaf, where the whole show | 0:17:45 | 0:17:48 | |
was held up because Chuck Berry thought he hadn't been paid when his agent had been paid, | 0:17:48 | 0:17:53 | |
and wouldn't go on until he had a wad of money. | 0:17:53 | 0:17:56 | |
He had been fucked so many times, you know? | 0:17:56 | 0:17:58 | |
In the '50s, there were no rules at all. | 0:17:58 | 0:18:00 | |
A guy could pull a gun and say, "I'm not paying you, what you going to do?" | 0:18:00 | 0:18:04 | |
Even in the '60s and late '60s, | 0:18:04 | 0:18:07 | |
Hendrix got burned fucking blind, you know. | 0:18:07 | 0:18:09 | |
He never saw any of the money. | 0:18:09 | 0:18:12 | |
I was outside LAX once, getting ready to get on a plane. | 0:18:12 | 0:18:15 | |
And this young black guy comes up to me and says, "Hey, I read in an interview that the only person | 0:18:15 | 0:18:20 | |
"you ever want to meet is Little Richard". | 0:18:20 | 0:18:23 | |
And I'd always said that. | 0:18:23 | 0:18:24 | |
I didn't give a fuck about anyone else, it's Little Richard. | 0:18:24 | 0:18:28 | |
And he goes, "Yeah, he's my dad." I said, "Shut the fuck, really? | 0:18:28 | 0:18:32 | |
He goes, "Yeah, come here." | 0:18:32 | 0:18:34 | |
And there's this limo parked up front, and he goes... | 0:18:34 | 0:18:38 | |
And the window comes down like... | 0:18:38 | 0:18:39 | |
And fucking Little Richard is sitting right there! | 0:18:39 | 0:18:42 | |
I'm like, "Oh, my God." And he goes, "Hey, Dad, this guy..." | 0:18:42 | 0:18:47 | |
And he was like, "What?" He said, "This guy's a musician". | 0:18:47 | 0:18:50 | |
And he goes, "Oh." | 0:18:50 | 0:18:51 | |
And the window comes down and he goes, "God bless you!" | 0:18:51 | 0:18:55 | |
How weird must it have been to be gay and black in Macon, Georgia | 0:18:55 | 0:18:59 | |
in the '50s? | 0:18:59 | 0:19:00 | |
-And an amazing singer. -The best rock'n'roll singer ever. | 0:19:00 | 0:19:03 | |
I don't know who people consider the originator of rock'n'roll. | 0:19:03 | 0:19:07 | |
That's who I think it is, Little Richard. He was crazy. | 0:19:07 | 0:19:10 | |
Him, Elvis and Jerry Lee Lewis. Those three. | 0:19:10 | 0:19:14 | |
You can't tell who did the first whatever, but between them, | 0:19:14 | 0:19:18 | |
they started rock'n'roll. | 0:19:18 | 0:19:19 | |
When you meet the originals, you realise, like, | 0:19:29 | 0:19:32 | |
of course they're troubadours and renegades. | 0:19:32 | 0:19:35 | |
They're fucking freaks. | 0:19:35 | 0:19:37 | |
That's where you got all of the music that was different than anything else, like Little Richard, | 0:19:41 | 0:19:47 | |
a gay black dude in Macon, Georgia in the '50s. | 0:19:47 | 0:19:50 | |
What was he gonna do? There was nothing he could do but | 0:19:50 | 0:19:53 | |
-play rock'n'roll. -Not going to be a boxer, is he? -Probably not! | 0:19:53 | 0:19:56 | |
People said, "Don't you like Prince?", back in the '70s and '80s. | 0:20:00 | 0:20:03 | |
I said, "No, I've seen Jimi Hendrix". | 0:20:03 | 0:20:06 | |
He comes on with scarves all over him with a Stratocaster. | 0:20:06 | 0:20:10 | |
Are you kidding? | 0:20:10 | 0:20:11 | |
I used to score for Mitch, I used to score dope for him. | 0:20:11 | 0:20:14 | |
And I used to score acid for Hendrix. | 0:20:16 | 0:20:18 | |
He was a very fair man. | 0:20:18 | 0:20:19 | |
I would give him ten trips, and he would give me three and take seven. | 0:20:19 | 0:20:23 | |
-Very generous. -But you had to take them then, on the spot. | 0:20:23 | 0:20:26 | |
Yeah. | 0:20:28 | 0:20:30 | |
The thing is with acid, they say it doesn't work two days in a row. | 0:20:30 | 0:20:34 | |
But we found that if you double the dose, it does! | 0:20:34 | 0:20:37 | |
Gutsy ending. | 0:20:58 | 0:20:59 | |
Lemmy. | 0:20:59 | 0:21:01 | |
FINAL CHORD | 0:21:13 | 0:21:14 | |
-Yeah! -Yeah. | 0:21:16 | 0:21:18 | |
-See you, buddy. When are you back? Are you here for good now? -I'm not away for a while. | 0:21:18 | 0:21:23 | |
I'll call you when I get back. Let's grab a drink. I haven't been to the Rainbow in ages. | 0:21:23 | 0:21:27 | |
I had a fight going on with the fucking Darkness, this band, right? | 0:21:27 | 0:21:31 | |
That's why I called you, because I was sitting there. We went to the show and the show was fun. | 0:21:31 | 0:21:36 | |
So we went to the Rainbow and we were sitting there, and I'm sitting at a table talking to the singer, | 0:21:36 | 0:21:41 | |
and he says, "Hey, you recorded a song with Lemmy, right?" I said, "Yeah". | 0:21:41 | 0:21:45 | |
He said, "We kind of have a little feud going with him right now." I was like, "Why?" | 0:21:45 | 0:21:49 | |
And he said, "He reviewed our record and he said it was fucking shit." | 0:21:49 | 0:21:53 | |
And I'm like, "Have you ever met him?" He said no. | 0:21:53 | 0:21:56 | |
I don't think you had met him before. | 0:21:56 | 0:21:58 | |
I'm like, "Dude, he's the fucking greatest guy". He's like, "Yeah, well, | 0:21:58 | 0:22:02 | |
"so I called him a fucking cunt or something in the press." | 0:22:02 | 0:22:05 | |
I'm like, "Honestly, he's a good dude. You'd like him". | 0:22:05 | 0:22:09 | |
And I said, "I'm going to take a piss." | 0:22:09 | 0:22:11 | |
And I fucking got my cellphone and I'm like, "Lem, what are you doing? | 0:22:11 | 0:22:14 | |
-"Come on up for a drink!" -So I got the whole of Darkness there. | 0:22:14 | 0:22:18 | |
When he sees you coming, it was just like, "Oh, fuck me, no!" | 0:22:18 | 0:22:22 | |
And Lemmy sat down. At first I'm like, "Hey, what's going on?" | 0:22:22 | 0:22:26 | |
He's like, "You know, I wanted to go to the Darkness gig, | 0:22:26 | 0:22:28 | |
"but they banned me from the show". | 0:22:28 | 0:22:30 | |
-And I said, "Have you met Justin, the singer?" -I talked to him for about half an hour that night. | 0:22:30 | 0:22:35 | |
-Yeah. -And you didn't change my opinion one bit! | 0:22:35 | 0:22:39 | |
LAUGHTER | 0:22:39 | 0:22:40 | |
MOTORBIKE ENGINE ROARS | 0:22:40 | 0:22:42 | |
# Riots in the burning street | 0:22:48 | 0:22:50 | |
# Crystal night outside | 0:22:50 | 0:22:51 | |
# Brutal music in the night | 0:22:51 | 0:22:53 | |
# Enough to make you cry | 0:22:53 | 0:22:54 | |
# Nobody knows how it is | 0:22:54 | 0:22:56 | |
# To sleep and drown the world | 0:22:56 | 0:22:58 | |
# I am the midnight snake to bite your little girls | 0:22:58 | 0:23:01 | |
# Outside in the distance the city in the fire... # | 0:23:01 | 0:23:03 | |
The Rainbow Bar and Grill is the most famous restaurant bar | 0:23:04 | 0:23:10 | |
where musicians and hanger-oners and groupies... | 0:23:10 | 0:23:14 | |
It's sort of like the place | 0:23:14 | 0:23:16 | |
to go hunt and the place to die at the same time. | 0:23:16 | 0:23:20 | |
It's a rocker place. | 0:23:20 | 0:23:21 | |
If you're a rock'n'roller, you come to the Rainbow. | 0:23:21 | 0:23:24 | |
If you're not, don't come here. | 0:23:24 | 0:23:26 | |
# Well lawdy lawdy lawdy Miss Clawdy | 0:23:32 | 0:23:36 | |
# Girl, you sure look good to me | 0:23:36 | 0:23:40 | |
# Please don't excite me, baby... # | 0:23:42 | 0:23:44 | |
In the '90s, for me anyway, Lemmy became synonymous with the Rainbow, because any time | 0:23:44 | 0:23:49 | |
you'd go there, there he is playing the trivia machine. | 0:23:49 | 0:23:52 | |
It literally became a joke. Like, "Let's go to the Rainbow | 0:23:52 | 0:23:55 | |
"and have a drink and say hi to Lemmy," like jokingly, and then Lemmy's there. | 0:23:55 | 0:23:59 | |
So many tourists come in, especially in summer. | 0:23:59 | 0:24:02 | |
"Is Lemmy here? Is Lemmy here?" | 0:24:02 | 0:24:04 | |
He's not here, he's on tour. | 0:24:04 | 0:24:06 | |
He's got to be one of two places, the Rainbow or on tour. | 0:24:06 | 0:24:09 | |
Just give Lemmy that game, a Jack and Coke and a cigarette, then he's there forever. | 0:24:09 | 0:24:13 | |
When people come in here and they go on the game | 0:24:13 | 0:24:16 | |
and they go, "It says Lemmy up there." "Yeah, Lemmy from Motorhead." | 0:24:16 | 0:24:19 | |
"No! It can't be." This is the middle of the afternoon. | 0:24:19 | 0:24:23 | |
Then all of a sudden, here's Lemmy sitting at the bar. | 0:24:23 | 0:24:26 | |
I've seen everything from chicks welling up | 0:24:26 | 0:24:29 | |
to the frat guy go, "Oh, my God!" | 0:24:29 | 0:24:31 | |
It's best when they start crying. It's so cute. | 0:24:31 | 0:24:34 | |
Anyone that wants a picture, he'll take one. | 0:24:34 | 0:24:36 | |
Anybody that wants to talk to him, he'll talk to them. | 0:24:36 | 0:24:39 | |
But you got to let him play his Megatouch first. | 0:24:39 | 0:24:42 | |
He'll be sitting there playing it. | 0:24:42 | 0:24:44 | |
Some sort of weird heavy-metal meditation, | 0:24:44 | 0:24:49 | |
mixed with Jack and Coke and something else that we won't disclose. | 0:24:49 | 0:24:53 | |
I was a house painter for about three weeks. | 0:25:04 | 0:25:07 | |
Working for this old gay guy called Mr Brownsword. | 0:25:09 | 0:25:11 | |
How's that? It's true, too. | 0:25:13 | 0:25:16 | |
Mr fricking Brownsword. | 0:25:16 | 0:25:17 | |
It doesn't come any better than that. | 0:25:19 | 0:25:21 | |
Monty Python couldn't do better. | 0:25:21 | 0:25:23 | |
Luckily, he fancied my mate and not me, | 0:25:23 | 0:25:25 | |
so I got to paint the upstairs while he was attacking Colin downstairs. | 0:25:25 | 0:25:29 | |
I worked at the riding stables in the summer. I worked on the fair | 0:25:29 | 0:25:32 | |
when the fair came round. What else? I worked in a factory for a while, | 0:25:32 | 0:25:36 | |
but that was terrible. I grew my hair, so they fired me. | 0:25:36 | 0:25:39 | |
We had the beach, the sea, the horses, so it was great. | 0:25:39 | 0:25:43 | |
I had a pretty good childhood. | 0:25:43 | 0:25:45 | |
I ain't complaining. | 0:25:45 | 0:25:47 | |
Until they fucking ruined it and put the school in there. | 0:25:47 | 0:25:50 | |
I had heard before that Lemmy went to school here, | 0:25:50 | 0:25:53 | |
but I had heard a load of rumours about it first. | 0:25:53 | 0:25:56 | |
I checked on the internet and found it was true. | 0:25:56 | 0:25:58 | |
-I heard Lemmy got expelled from this school. -For what reason? | 0:25:58 | 0:26:01 | |
Apparently, he was playing his guitar down the Tannoy, | 0:26:01 | 0:26:04 | |
but I'm not sure if that's true. | 0:26:04 | 0:26:06 | |
I don't know if he wanted to be a rock star. | 0:26:06 | 0:26:09 | |
I think it just came naturally. That is how he seems. | 0:26:09 | 0:26:11 | |
He seems like pure rock. | 0:26:11 | 0:26:13 | |
# If you like to gamble | 0:26:13 | 0:26:15 | |
# I tell you I'm your man. | 0:26:15 | 0:26:17 | |
# You win some lose some | 0:26:17 | 0:26:18 | |
# It's all the same to me | 0:26:18 | 0:26:20 | |
# The ace of spades | 0:26:23 | 0:26:24 | |
# The ace of spades | 0:26:24 | 0:26:26 | |
# The ace of spades | 0:26:26 | 0:26:29 | |
# The ace of spades! # | 0:26:29 | 0:26:30 | |
Hi, Lemmy! | 0:26:30 | 0:26:32 | |
# Dandy Dandy | 0:26:39 | 0:26:42 | |
# Where you going to go now? | 0:26:42 | 0:26:44 | |
# Who you going to run to? | 0:26:44 | 0:26:45 | |
# All your little life | 0:26:47 | 0:26:49 | |
# You're chasing all the girls... # | 0:26:49 | 0:26:51 | |
I saw the Vickers at the Oasis in Manchester, and I thought | 0:26:51 | 0:26:55 | |
they were excellent, so I went and asked for a job with them. | 0:26:55 | 0:26:58 | |
# Chatting up the ladies | 0:26:58 | 0:27:00 | |
# Tickling the fancy | 0:27:00 | 0:27:02 | |
# Hiring out your charms... # | 0:27:03 | 0:27:06 | |
We'd be on with the Kinks, the Who, the Hollies. | 0:27:06 | 0:27:10 | |
We played at South Pier, Blackpool, with the Who. | 0:27:10 | 0:27:12 | |
And all the audience were chanting "we want the Vickers." | 0:27:12 | 0:27:16 | |
Roger Daltrey didn't like that. | 0:27:16 | 0:27:18 | |
They were a damn good band. | 0:27:18 | 0:27:20 | |
And compare very favourably | 0:27:20 | 0:27:23 | |
with any of the bands who were bigger, | 0:27:23 | 0:27:25 | |
like the Who and the Kinks and Manfred Mann and all those people. | 0:27:25 | 0:27:28 | |
At the time, they were as big in the north as the Kinks were in the South. | 0:27:28 | 0:27:32 | |
We just toured around the north of England, really. | 0:27:32 | 0:27:36 | |
We couldn't even get arrested in London. | 0:27:36 | 0:27:39 | |
North of Birmingham, we were big stars. This was 1965/6. | 0:27:39 | 0:27:42 | |
We were on £200 a week each, clear. | 0:27:42 | 0:27:45 | |
That's like £4,000 a week each now. | 0:27:45 | 0:27:47 | |
We all had Jags. We had a speedboat, for Christ's sake. | 0:27:47 | 0:27:50 | |
We used to go water-skiing on Windermere. | 0:27:50 | 0:27:52 | |
It was rock 'n roll with a bit of thump. Very aggressive. | 0:27:52 | 0:27:56 | |
He would go up to his amplifier and feed his guitar back, | 0:27:56 | 0:27:59 | |
and he would make them scream. | 0:27:59 | 0:28:01 | |
When I first joined the Vickers, they were ambitious. | 0:28:03 | 0:28:06 | |
They settled into this routine of doing the same gigs every year. | 0:28:06 | 0:28:11 | |
In the end, they became a cabaret show. | 0:28:12 | 0:28:15 | |
So it wasn't for me. | 0:28:15 | 0:28:17 | |
He wanted to be in the thick of it in London. | 0:28:17 | 0:28:20 | |
And we didn't. | 0:28:20 | 0:28:21 | |
What I really like about the Lemmy mythology is that he used to | 0:28:31 | 0:28:36 | |
be a roadie for Jimi Hendrix, too, | 0:28:36 | 0:28:39 | |
which scores a lot of points in my book, man. | 0:28:39 | 0:28:42 | |
He would rather play an instrument than carry it. | 0:28:42 | 0:28:47 | |
And so that gives you the idea. | 0:28:47 | 0:28:49 | |
Just as a resume piece, defining "what is a rocker?", | 0:28:50 | 0:28:55 | |
he had it to his core, you know. | 0:28:55 | 0:28:59 | |
The kind of guy that says "If I can't be in the band... | 0:28:59 | 0:29:02 | |
"I'll carry their equipment". | 0:29:02 | 0:29:04 | |
He hung out with musicians, | 0:29:04 | 0:29:06 | |
and he did it continually until people let him play. | 0:29:06 | 0:29:10 | |
He's really come up the hard way. | 0:29:10 | 0:29:12 | |
He said one of the most amazing one-liners I've ever | 0:29:15 | 0:29:18 | |
heard in my life, to me. | 0:29:18 | 0:29:20 | |
He said I remember before there was rock'n'roll. | 0:29:20 | 0:29:23 | |
I said "wow, that is a wild thing to say." | 0:29:23 | 0:29:27 | |
I said, "What do you mean?" | 0:29:27 | 0:29:29 | |
I'm not going to try and imitate his voice. | 0:29:29 | 0:29:31 | |
He said "I remember when there were only Rosemary Clooney records. | 0:29:31 | 0:29:34 | |
"I remember before there was rock'n'roll. | 0:29:34 | 0:29:36 | |
"There were just your mum's records." | 0:29:36 | 0:29:39 | |
I think I'm paraphrasing. | 0:29:39 | 0:29:41 | |
He said something like "then we Elvis and never turned back. | 0:29:41 | 0:29:44 | |
"We heard rock'n'roll" and said "that's us." | 0:29:44 | 0:29:47 | |
In the '60s, to get albums and singles, | 0:29:47 | 0:29:51 | |
I had to go down to the electrical appliance shop, | 0:29:51 | 0:29:54 | |
and he would order it for me from whatever company. | 0:29:54 | 0:29:58 | |
He wasn't licensed to do it, it was just a friendly basis. | 0:29:58 | 0:30:02 | |
He would order them for me and three weeks later, they would come back. | 0:30:02 | 0:30:06 | |
The Buddy Holly record called Wishing, | 0:30:06 | 0:30:07 | |
and a Buddy Holly record called Learning The Game. | 0:30:07 | 0:30:11 | |
Eddie Cochran, Three Steps To Heaven, and Something Else. | 0:30:11 | 0:30:14 | |
Kids, without knowing it, when they listen to Motorhead, they're getting | 0:30:14 | 0:30:17 | |
Johnny Cash, Chuck Berry, Eddie Cochran. | 0:30:17 | 0:30:20 | |
It was the same thing with the original punk rock guys. | 0:30:20 | 0:30:23 | |
They were very influenced by that music. A lot of times, the fans don't know that. | 0:30:23 | 0:30:27 | |
But when they are listing to Ace Of Spades, | 0:30:27 | 0:30:30 | |
they are listing to Eddie Cochran. | 0:30:30 | 0:30:32 | |
That's Lem's influence. | 0:30:32 | 0:30:34 | |
# Well, I taught the weeping willow how to cry | 0:30:46 | 0:30:51 | |
# And I showed the clouds how to cover up a clear blue sky... # | 0:30:51 | 0:30:56 | |
It is like what we did when we are were teenagers | 0:30:56 | 0:30:58 | |
and that is why we played music in the first place. | 0:30:58 | 0:31:01 | |
The music was so real, so unpretentious, | 0:31:01 | 0:31:04 | |
that people can't help but like it. | 0:31:04 | 0:31:06 | |
# A bad little kid moved into the neighbourhood... # | 0:31:11 | 0:31:15 | |
The genesis of Headcat was somebody wanted me to do one track for an Elvis tribute record. | 0:31:15 | 0:31:20 | |
I know Lem loves Elvis, as did Jonny Ramone, so I thought, | 0:31:20 | 0:31:23 | |
wouldn't it be cool to get Jon and Lem on the same record. | 0:31:23 | 0:31:26 | |
So we went in and we went and did the song. | 0:31:26 | 0:31:29 | |
Jon went home and we had all the studio time left because we did it so quickly. | 0:31:29 | 0:31:33 | |
We all knew the same songs by heart, so we said we should do an album. | 0:31:33 | 0:31:37 | |
So we did. | 0:31:37 | 0:31:39 | |
# Buys all the rock'n'roll books from the magazine stand. # | 0:31:39 | 0:31:43 | |
This apartment is like a fucking museum. It is a museum. | 0:31:52 | 0:31:56 | |
I have seen museums with less shit in them. | 0:31:56 | 0:31:59 | |
It is one of those things. | 0:31:59 | 0:32:00 | |
This was available and it was near the Rainbow, you know. | 0:32:00 | 0:32:05 | |
Because that is the only reference to LA I have ever had. | 0:32:05 | 0:32:09 | |
All I've ever done is stay at the Park Sunset and come up to the Rainbow. | 0:32:09 | 0:32:13 | |
Which is what we used to do. He's pretty cool, isn't he. | 0:32:13 | 0:32:17 | |
That is the Metal Hammer award. Two of them. | 0:32:19 | 0:32:22 | |
This is a porcelain model of me, | 0:32:22 | 0:32:26 | |
done by somebody and given to me on the road. | 0:32:26 | 0:32:28 | |
It is pretty interesting shit. You get given some great stuff. | 0:32:28 | 0:32:32 | |
The platinum album is from Joan Jett. | 0:32:32 | 0:32:35 | |
The gold one is from Lita Ford, | 0:32:35 | 0:32:38 | |
because I wrote a song on that album. | 0:32:38 | 0:32:40 | |
That's from a festival in Germany. | 0:32:40 | 0:32:43 | |
And this is my Scottish clan - Fraser. | 0:32:43 | 0:32:45 | |
And this is my honorary membership in the Rangers. | 0:32:45 | 0:32:48 | |
There's my action figure. | 0:32:48 | 0:32:50 | |
You've got to keep these in their original boxes. | 0:32:50 | 0:32:53 | |
One day, it might be worth as much as 5. | 0:32:53 | 0:32:57 | |
Silver and gold records for Ace Of Spades. | 0:32:57 | 0:33:00 | |
This is from Hammersmith Odeon. And this is by a German cat. | 0:33:00 | 0:33:06 | |
Pretty good, too, huh. | 0:33:06 | 0:33:09 | |
I wish I hadn't dropped it, you know. | 0:33:13 | 0:33:15 | |
Why not move? | 0:33:16 | 0:33:18 | |
For one thing, I'm never going to get a place for the money | 0:33:18 | 0:33:20 | |
I'm paying here. | 0:33:20 | 0:33:22 | |
I've got a place that is rent controlled, | 0:33:22 | 0:33:24 | |
they can't put it up by more than six percent a year, | 0:33:24 | 0:33:27 | |
so I am still only paying 900 bucks for a block from Sunset. | 0:33:27 | 0:33:30 | |
I am never going to get a deal like that. | 0:33:30 | 0:33:33 | |
And I'd rather live around here because I like it around here. | 0:33:33 | 0:33:37 | |
What's your most cherished possession in here? | 0:33:37 | 0:33:40 | |
My son. | 0:33:41 | 0:33:43 | |
He's the only one I have got. | 0:33:46 | 0:33:48 | |
I mean, I have another one, but I have never seen him, | 0:33:48 | 0:33:50 | |
so he doesn't count, really. | 0:33:50 | 0:33:53 | |
Neither have I, no. | 0:33:53 | 0:33:54 | |
His mother went and found him two years ago, | 0:33:54 | 0:33:58 | |
says he's five foot tall, | 0:33:58 | 0:34:00 | |
just like me, and he is a computer fucking programmer, or something. | 0:34:00 | 0:34:05 | |
She's a social worker, and she's put on a bit of weight, | 0:34:07 | 0:34:11 | |
so she wears these Paisley smocks. | 0:34:11 | 0:34:14 | |
She said he put his head in his hands when she told him | 0:34:14 | 0:34:17 | |
she was his mother, she said she hadn't got a heart to tell him who his father was! | 0:34:17 | 0:34:21 | |
Probably be out in the parking lot with a fucking pistol. | 0:34:21 | 0:34:25 | |
But you can't win them all, can you? Where would you put them? | 0:34:30 | 0:34:33 | |
Yes, but I mean... | 0:34:33 | 0:34:35 | |
I don't know, I just like stuff. I've always liked stuff. | 0:34:35 | 0:34:39 | |
Stuff is what happens, you know. | 0:34:39 | 0:34:40 | |
In your life, you get stuff. | 0:34:42 | 0:34:44 | |
Then you lose some stuff and you keep some stuff, and then at the end, | 0:34:44 | 0:34:47 | |
you leave it for some other poor bastard to be saddled with | 0:34:47 | 0:34:50 | |
it the rest of their lives. | 0:34:50 | 0:34:51 | |
Don't worry, you'll have all of this shit soon enough. | 0:34:54 | 0:34:57 | |
I'm looking forward to that. | 0:34:57 | 0:34:59 | |
I have no doubt, yeah. | 0:34:59 | 0:35:00 | |
-I'd rather have you than all of that stuff. -I know, yeah. | 0:35:02 | 0:35:05 | |
I can never imagine why that is. | 0:35:05 | 0:35:08 | |
Why would people rather have some gobsmacked human | 0:35:08 | 0:35:11 | |
instead of a load of money? I've never understood that. | 0:35:11 | 0:35:14 | |
Money doesn't love you back, does it? | 0:35:14 | 0:35:16 | |
You can spend it, but it doesn't love you back. | 0:35:16 | 0:35:19 | |
You can imagine it does. | 0:35:19 | 0:35:20 | |
I know you met your dad when you were six. | 0:35:20 | 0:35:23 | |
I met him, too. | 0:35:25 | 0:35:27 | |
Yes, we met each other at the same time. | 0:35:27 | 0:35:29 | |
-Funny how that happens. -Like two ships meeting in the cosmos. | 0:35:29 | 0:35:33 | |
It's a memory that is all frayed around the edges, | 0:35:33 | 0:35:35 | |
and all sepia toned. | 0:35:35 | 0:35:38 | |
-I was sepia then, I was almost see-through, in fact. -Yeah. | 0:35:38 | 0:35:42 | |
I just remember tugging at these slim legs in jeans. | 0:35:42 | 0:35:47 | |
That's me, you see. | 0:35:47 | 0:35:48 | |
I was very small, so I just saw the legs. | 0:35:48 | 0:35:52 | |
Then what happened? | 0:35:52 | 0:35:54 | |
-I don't really remember. -There was a dope deal. | 0:35:54 | 0:35:56 | |
I was waiting for some hash to arrive, or something, | 0:35:56 | 0:35:59 | |
and I was in the kitchen making a piece of toast | 0:35:59 | 0:36:02 | |
and the small blonde child came in, "you're my dad, | 0:36:02 | 0:36:07 | |
"I am your son and my mum's in the other room." | 0:36:07 | 0:36:09 | |
I looked around and there was Tracey, | 0:36:09 | 0:36:12 | |
babbling like an idiot as usual. | 0:36:12 | 0:36:14 | |
I don't even know how have he got there, she wasn't in on | 0:36:14 | 0:36:19 | |
the dope deal because she didn't do drugs, so why was she there? | 0:36:19 | 0:36:24 | |
-How did she get in there? -She went looking for you, I know that. | 0:36:24 | 0:36:28 | |
That's because when I was about four, I was in kindergarten, right. | 0:36:28 | 0:36:36 | |
Right. | 0:36:36 | 0:36:37 | |
And there was this other kid that came up to me | 0:36:37 | 0:36:40 | |
and he said, "I've got a daddy and mummy." | 0:36:40 | 0:36:43 | |
I said, "I've only got a mummy." | 0:36:43 | 0:36:46 | |
He said, "you must have a daddy | 0:36:46 | 0:36:47 | |
"because everybody has a daddy and mummy." | 0:36:47 | 0:36:50 | |
-So I went home and said... -Where is my daddy? You bitch?! | 0:36:50 | 0:36:54 | |
And I got this look like... | 0:36:54 | 0:36:56 | |
We don't talk about him in this house! | 0:36:56 | 0:36:58 | |
Then I think, after that, | 0:37:00 | 0:37:02 | |
endeavours were made to introduce us to each other. | 0:37:02 | 0:37:06 | |
I didn't want to live with his mother, you see. | 0:37:06 | 0:37:10 | |
It was only casual sex, really. | 0:37:10 | 0:37:12 | |
I mean, I like Tracey, she is great and she did a really good job | 0:37:12 | 0:37:17 | |
bringing him up, up to a point, and he has turned out to be | 0:37:17 | 0:37:22 | |
a really clever kid, and he is a great musician. | 0:37:22 | 0:37:24 | |
You have no idea how good he is. | 0:37:24 | 0:37:26 | |
My mum knew the Beatles, right? | 0:37:26 | 0:37:29 | |
Yes, she used to go out with John Lennon, didn't she? | 0:37:29 | 0:37:32 | |
Obviously trying to get to Paul McCartney through him. | 0:37:32 | 0:37:35 | |
No, she lost her virginity to John Lennon. | 0:37:35 | 0:37:37 | |
The story I was told by my mum is that George liked her | 0:37:37 | 0:37:42 | |
and he would shyly, coyly look at her | 0:37:42 | 0:37:44 | |
when he walked past a bus stop. | 0:37:44 | 0:37:46 | |
George was standing there, she wasn't interested in George. | 0:37:46 | 0:37:50 | |
And then, um... | 0:37:50 | 0:37:52 | |
But I don't know, maybe if she had been interested, | 0:37:52 | 0:37:55 | |
it would have lasted longer than with John. | 0:37:55 | 0:37:58 | |
-It didn't last long with John, did it? -No, it didn't. | 0:37:58 | 0:38:02 | |
But she always talked about it, she was very smitten. | 0:38:02 | 0:38:05 | |
But she called you after Paul, not John. | 0:38:05 | 0:38:09 | |
Yes, that is a strange one. | 0:38:09 | 0:38:11 | |
She must have been thinking about Paul when she was with John. | 0:38:11 | 0:38:14 | |
Perhaps she called him Paul and that is why it didn't last. | 0:38:14 | 0:38:18 | |
-I love you, Paul! -Yeah! | 0:38:18 | 0:38:20 | |
We swapped girlfriends twice, didn't we? | 0:38:22 | 0:38:26 | |
At The Limelight and at Stringfellows. | 0:38:26 | 0:38:29 | |
We swapped girlfriends one night | 0:38:29 | 0:38:31 | |
and then did it again two months later. | 0:38:31 | 0:38:34 | |
A lot of chicks like that, the old man and the son. | 0:38:36 | 0:38:39 | |
It's like screwing the daughter and the mother at the same time. | 0:38:41 | 0:38:45 | |
-That kind of thing. -Yeah. | 0:38:45 | 0:38:47 | |
Does it ever feel too cluttered for you? | 0:38:51 | 0:38:54 | |
Yeah. All the time. What do you think? | 0:38:54 | 0:38:57 | |
Are you shooting the trash can? Fuck off, man. | 0:38:57 | 0:39:00 | |
You better not put that in... | 0:39:00 | 0:39:02 | |
-Where is the trash can? -There. | 0:39:02 | 0:39:04 | |
I didn't see that, I was looking at that, whatever that is. | 0:39:06 | 0:39:11 | |
That's a fucking Domino's bargain list. | 0:39:11 | 0:39:14 | |
'One of my favourite memories of my dad was' | 0:39:14 | 0:39:17 | |
when I was six years old, | 0:39:17 | 0:39:19 | |
and I was just learning to play three or four chords. | 0:39:19 | 0:39:24 | |
He came to visit and as he was leaving, he picked up | 0:39:24 | 0:39:27 | |
one of the other guitars and started | 0:39:27 | 0:39:29 | |
playing by the front door, like E major, | 0:39:29 | 0:39:32 | |
and we just a jammed on that one chord for about 20 minutes. | 0:39:32 | 0:39:38 | |
And he was just looking right into my face, right into my eyes. | 0:39:38 | 0:39:43 | |
Just egging me on. | 0:39:43 | 0:39:45 | |
This is the rhythm, this is the feel, this is how you do it. | 0:39:45 | 0:39:48 | |
Probably the third time I had ever seen him, something like that. | 0:39:53 | 0:39:57 | |
So that was a major event in my life. | 0:39:57 | 0:40:00 | |
The nicest thing he ever said to me was very recently, | 0:40:00 | 0:40:03 | |
was when you asked him what was the most precious thing in the room, | 0:40:03 | 0:40:06 | |
and he said, "my son." | 0:40:06 | 0:40:10 | |
I was kind of blown away by that, I wasn't expecting that response. | 0:40:11 | 0:40:16 | |
I wasn't thinking he would say that. That was amazing. | 0:40:16 | 0:40:20 | |
It was wonderful. | 0:40:20 | 0:40:21 | |
Thank you. This is my son, Paul. | 0:40:21 | 0:40:24 | |
Not bad for an only child. | 0:40:27 | 0:40:29 | |
# I'm so lazy... # | 0:40:31 | 0:40:34 | |
-Go and take it to him. -That is some size. That's cool. | 0:40:40 | 0:40:44 | |
I present this tank... LAUGHS | 0:40:47 | 0:40:50 | |
-Isn't that bad? -Yeah, it is. | 0:40:53 | 0:40:55 | |
I served several years in the US Army | 0:40:55 | 0:40:57 | |
as a special operations soldier, | 0:40:57 | 0:41:00 | |
both in the Ranger Regiment and special forces | 0:41:00 | 0:41:03 | |
and have served in Iraq and Afghanistan. | 0:41:03 | 0:41:06 | |
I know Lemmy is a big military history buff. | 0:41:06 | 0:41:08 | |
That is my kind of rock and roll connective tissue to the military. | 0:41:08 | 0:41:15 | |
It was probably Motorhead. | 0:41:15 | 0:41:17 | |
I would wear Motorhead t-shirts over there, | 0:41:19 | 0:41:23 | |
in a way stating my own individuality. | 0:41:23 | 0:41:25 | |
Not to glorify war or to say, war is really cool, or whatever, | 0:41:27 | 0:41:31 | |
it is what it is. | 0:41:31 | 0:41:32 | |
It is a function of the human condition. | 0:41:32 | 0:41:35 | |
Motorhead is good go to war music. | 0:41:35 | 0:41:39 | |
Most people would know he is a World Wars One and Two historian. | 0:41:39 | 0:41:42 | |
1916, their first Grammy nomination record, | 0:41:42 | 0:41:46 | |
that was about World War One. | 0:41:46 | 0:41:48 | |
He's a collector, in, I would say, war memorabilia in general. | 0:41:48 | 0:41:53 | |
I remember watching a BBC documentary with him, | 0:41:53 | 0:41:57 | |
he was showing me an aeroplane, a Messerschmitt or something, | 0:41:57 | 0:42:00 | |
I'm trying to remember what it was, and he was saying that's wrong. | 0:42:00 | 0:42:03 | |
I said it was a documentary, they must have researched this shit, | 0:42:03 | 0:42:06 | |
he brings out three books showing that it wasn't even built then. | 0:42:06 | 0:42:11 | |
Everybody collects something, right? | 0:42:36 | 0:42:38 | |
General Malband used to collect elephants. | 0:42:38 | 0:42:42 | |
Elephants all over his fucking apartment. | 0:42:42 | 0:42:44 | |
I think my collection is more interesting. | 0:42:46 | 0:42:50 | |
Luftwaffe Damascus sword. | 0:42:54 | 0:42:56 | |
See the blade? | 0:42:56 | 0:42:58 | |
That's Damascus steel. | 0:42:59 | 0:43:01 | |
That's a Luftwaffe middle dagger. | 0:43:01 | 0:43:04 | |
That is quite pretty, I think. | 0:43:07 | 0:43:09 | |
Purely decorational. These are Masonic daggers. | 0:43:12 | 0:43:17 | |
Look at that. | 0:43:18 | 0:43:20 | |
That is a nice piece, too. This is from Toledo. | 0:43:26 | 0:43:30 | |
Not Ohio. | 0:43:30 | 0:43:31 | |
Look at this fucking thing. | 0:43:35 | 0:43:37 | |
-What is that? -British. | 0:43:39 | 0:43:41 | |
That is British, I think it is from the First World War. | 0:43:44 | 0:43:48 | |
And this is a German bayonet. | 0:43:48 | 0:43:51 | |
That's seen action. I always liked the workmanship and the designs. | 0:43:54 | 0:43:58 | |
They were the last great knife makers, | 0:43:58 | 0:44:01 | |
the last great sword makers. | 0:44:01 | 0:44:03 | |
It is a craft in Germany that has largely disappeared. | 0:44:03 | 0:44:07 | |
Even the American swords were made in Germany. | 0:44:09 | 0:44:12 | |
In the civil war in America, a lot of German swords were | 0:44:12 | 0:44:14 | |
used in that war, and up until the First World War. | 0:44:14 | 0:44:19 | |
I've got Argentinian stuff, Yugoslav, Croat, Slovakian. | 0:44:19 | 0:44:24 | |
How long has it taken you to amass this collection? Years and years? | 0:44:24 | 0:44:29 | |
19 years, yeah. | 0:44:29 | 0:44:31 | |
When I came over to the States, I had nothing. | 0:44:31 | 0:44:34 | |
So there we are. Come on. | 0:44:38 | 0:44:40 | |
ENGINE ROARS | 0:44:40 | 0:44:44 | |
-Thought I'd dress up. -Yeah, you look good! | 0:45:04 | 0:45:08 | |
-Good to meet you. -Scott, nice to meet you. Check it out. | 0:45:08 | 0:45:14 | |
MP40s, G43, K98. | 0:45:14 | 0:45:17 | |
That's a nice gun, that. | 0:45:17 | 0:45:18 | |
-That's a chassis of a 222, isn't it? -That is a 251. -251. | 0:45:18 | 0:45:22 | |
-What was the chassis? -A 38T. | 0:45:22 | 0:45:26 | |
-Skoda? -Right. -So did you have to restore it? | 0:45:29 | 0:45:32 | |
Yeah. It's got an original engine in it. | 0:45:32 | 0:45:36 | |
ENGINE STARTS | 0:45:44 | 0:45:46 | |
This was actually the smallest tank that the Germans made. | 0:45:55 | 0:45:59 | |
It was made in Czechoslovakia, | 0:45:59 | 0:46:01 | |
based on the Skoda design from before the war. | 0:46:01 | 0:46:04 | |
This was called a Hetzer, a 38T chassis, it was a tank killer. | 0:46:04 | 0:46:09 | |
This is a big gun for a tank this size. | 0:46:09 | 0:46:11 | |
It is a 75 millimetre, armour piercing gun, you know. | 0:46:11 | 0:46:14 | |
This would stop anything, more or less. | 0:46:14 | 0:46:17 | |
They buried this tank in the ground, right, | 0:46:21 | 0:46:24 | |
so that all that would be visible would be this, | 0:46:24 | 0:46:27 | |
just the gun and the top of the tank. | 0:46:27 | 0:46:30 | |
So they would sit there and wait for you to come along and just kill you. | 0:46:30 | 0:46:35 | |
Wars are the most interesting times. | 0:46:37 | 0:46:39 | |
It shows the best and the worst in people. | 0:46:39 | 0:46:42 | |
You get to find out who your real friends are. | 0:46:42 | 0:46:45 | |
Ask any of those boys coming back from Iraq, you know. | 0:46:45 | 0:46:49 | |
Anybody who's watching this film and thinks that you're Nazi, | 0:46:49 | 0:46:52 | |
what do you want to say to them? | 0:46:52 | 0:46:54 | |
Well, I've had six black girlfriends, so far. | 0:46:54 | 0:46:56 | |
So, I'm one of the worst Nazis you ever met, right? | 0:46:56 | 0:47:00 | |
Imagine going to Nuremberg | 0:47:00 | 0:47:02 | |
and introducing my girlfriend to the Fuhrer? I don't think so. | 0:47:02 | 0:47:05 | |
I just dress how I like to dress. | 0:47:05 | 0:47:08 | |
I don't ask anybody else to do it. | 0:47:09 | 0:47:12 | |
It's a free country, supposedly. | 0:47:12 | 0:47:15 | |
I've often said if the Israeli Army had the best uniforms, | 0:47:16 | 0:47:20 | |
I would collect those. | 0:47:20 | 0:47:21 | |
But they don't, you know? So there you go. | 0:47:21 | 0:47:25 | |
It's ridiculous to think that I could be a Nazi. | 0:47:25 | 0:47:29 | |
I'm about as far from it as you can get. | 0:47:29 | 0:47:31 | |
Fire! | 0:47:33 | 0:47:35 | |
-How was that, Lemmy? -That was great. | 0:47:41 | 0:47:44 | |
MUSIC: "Silver Machine" by Hawkwind | 0:47:56 | 0:47:59 | |
I think Hawkwind were really ahead of their time. | 0:48:04 | 0:48:07 | |
I worship Hawkwind. That is some genius music. | 0:48:07 | 0:48:10 | |
They were kind of like a prog rock group | 0:48:14 | 0:48:17 | |
that punks were allowed to like. | 0:48:17 | 0:48:20 | |
# I, I just took a ride | 0:48:20 | 0:48:24 | |
# In a silver machine | 0:48:26 | 0:48:29 | |
# And I'm still feeling mean... # | 0:48:29 | 0:48:32 | |
It was dangerous rock and roll. It's not choreographed. | 0:48:32 | 0:48:35 | |
It's not safe, it's not cliched. | 0:48:35 | 0:48:38 | |
You never know what you are going to see. | 0:48:38 | 0:48:41 | |
That has got to be good. | 0:48:41 | 0:48:43 | |
We're a space rock band, so a lot of the music we played | 0:48:46 | 0:48:49 | |
was around science fiction stories, which we would interpret into music. | 0:48:49 | 0:48:53 | |
So we were a pretty heavy rock band with nice, flowing electronics. | 0:48:53 | 0:48:57 | |
People thought we were some sort of hippy, fucking, flower people, and it wasn't true. | 0:48:57 | 0:49:01 | |
We were a black nightmare. | 0:49:01 | 0:49:03 | |
We used to lock the doors so people couldn't get out. | 0:49:03 | 0:49:06 | |
It was a psychedelic experience, and no-one was doing that sort of thing. | 0:49:06 | 0:49:11 | |
We just used to have this trancey beat going. | 0:49:11 | 0:49:14 | |
This trancey rhythm, and a strobe going. | 0:49:14 | 0:49:17 | |
It didn't drive you insane, it's just put you into a trance. | 0:49:17 | 0:49:21 | |
# I got a silver machine | 0:49:21 | 0:49:23 | |
# I got a silver machine | 0:49:23 | 0:49:27 | |
# I got a silver machine... # | 0:49:27 | 0:49:29 | |
For New Order, the driving sound that Hawkwind had, | 0:49:29 | 0:49:34 | |
the very pulsing, percussive keyboard sounds, | 0:49:34 | 0:49:36 | |
we would actually listen to that | 0:49:36 | 0:49:39 | |
and to try and emulate it in songs like Temptation | 0:49:39 | 0:49:42 | |
and Everything's Gone Green. We did try and rip off Hawkwind. | 0:49:42 | 0:49:46 | |
They represented the first counter-culture. | 0:49:46 | 0:49:48 | |
Alternative. That was all coming up. | 0:49:48 | 0:49:52 | |
It was a wonderful time to be a kid. | 0:49:52 | 0:49:54 | |
But mostly, I remember standing at the front, | 0:49:54 | 0:49:57 | |
drooling at Stacia. The girl with her breasts out, | 0:49:57 | 0:50:01 | |
which was incredible for a 12 or 13-year-old. | 0:50:01 | 0:50:04 | |
It was like OUR education. | 0:50:04 | 0:50:06 | |
We were a bunch of misfits. | 0:50:08 | 0:50:11 | |
It was like a family, you know. It was like a family. | 0:50:11 | 0:50:13 | |
We had a huge following, because we would do any gig. | 0:50:13 | 0:50:17 | |
We would do a gig in London and it would be like a drug dealers' convention. | 0:50:17 | 0:50:21 | |
Dik Mik and Lemmy was always into a lot of speed. | 0:50:21 | 0:50:25 | |
Dick was grumpy, because they had been up for a few days, | 0:50:25 | 0:50:27 | |
and we would get picked up in a van and he would be all grumpy. | 0:50:27 | 0:50:30 | |
Lemmy would be all surly, and would slam the door and sit down. | 0:50:30 | 0:50:33 | |
We were in the States touring, and we were in Niles, Michigan, | 0:50:33 | 0:50:37 | |
on the way to Detroit. | 0:50:37 | 0:50:39 | |
Niles is on the other side of Michigan from where Detroit is. | 0:50:39 | 0:50:43 | |
We pulled over at a roadhouse to eat, and I was not hungry, | 0:50:43 | 0:50:47 | |
being a speed-freak. | 0:50:47 | 0:50:49 | |
I just got this new camera. | 0:50:49 | 0:50:51 | |
So, I went prowling around looking for things to film, | 0:50:51 | 0:50:53 | |
you know, new camera. | 0:50:53 | 0:50:56 | |
And I conked over the head in this abandoned housing project. | 0:50:56 | 0:51:00 | |
When I came round, without my camera, without any money, | 0:51:00 | 0:51:04 | |
and I got back to the road house, and they'd gone. | 0:51:04 | 0:51:07 | |
They'd dumped me there. What kind of shit is that? | 0:51:07 | 0:51:11 | |
If one of your band members is missing after you have a meal, | 0:51:11 | 0:51:14 | |
you just drive off? That's not the way I work. | 0:51:14 | 0:51:18 | |
So now I'm stuck, so I have to hitch-hike across Michigan. | 0:51:18 | 0:51:22 | |
I got to my room, crash out for about two hours, | 0:51:22 | 0:51:24 | |
do the sound check, do the show, | 0:51:24 | 0:51:26 | |
and then the next day I got busted for speed. | 0:51:26 | 0:51:31 | |
In jail for two days in Canada, handcuffed to a fucking iron bar. | 0:51:31 | 0:51:37 | |
Then I get the news that I am going in to Essex County jail. | 0:51:37 | 0:51:41 | |
With my overalls on, going in to the delousing section. | 0:51:41 | 0:51:45 | |
Then this guy says, "you are bailed." Thank you. | 0:51:45 | 0:51:50 | |
Flown to Toronto immediately, do the show, | 0:51:50 | 0:51:53 | |
four o'clock in the morning, fired. | 0:51:53 | 0:51:55 | |
Apparently, they only got me out of jail | 0:51:55 | 0:51:57 | |
because my replacement couldn't make it in time. | 0:51:57 | 0:51:59 | |
I found Lemmy, in certain ways, quite hard to work with. | 0:51:59 | 0:52:03 | |
We were in a band where everybody was taking different drugs. | 0:52:03 | 0:52:06 | |
So you had this disparity between people | 0:52:06 | 0:52:09 | |
of where they were, and what sort of wavelength they were on. | 0:52:09 | 0:52:12 | |
I was into psychedelics, pot, and mushrooms, peyote, | 0:52:12 | 0:52:16 | |
that sort of thing. Pretty calm stuff, you know? | 0:52:16 | 0:52:20 | |
And Lemmy was more into amphetamines. | 0:52:20 | 0:52:23 | |
He used to hang the band up because he was never on time to leave in the morning. | 0:52:23 | 0:52:27 | |
We would have to get up, and catch a flight somewhere, | 0:52:27 | 0:52:29 | |
and we'd all be downstairs and be waiting to go. | 0:52:29 | 0:52:32 | |
"Christ, where is he?" And he'd still be in bed. | 0:52:32 | 0:52:35 | |
"Come on Lemmy, for Christ's sake." | 0:52:35 | 0:52:37 | |
It did cause a lot of stress within the band. | 0:52:37 | 0:52:40 | |
All of us got pissed off. | 0:52:40 | 0:52:41 | |
It wasn't just one or two, we did get pissed off. | 0:52:41 | 0:52:44 | |
Then he got busted at the border, sort of thing. | 0:52:44 | 0:52:47 | |
When you're on tour, it's like the last straw. | 0:52:47 | 0:52:53 | |
It was decided, the majority, the band said, no, enough's enough. That was it. | 0:52:53 | 0:52:58 | |
When I arrived at the gig and said, "where the fuck's Lemmy?" | 0:52:58 | 0:53:03 | |
They said, this other guy, Paul Rudolph, was taking his place. | 0:53:03 | 0:53:09 | |
They'd sacked Lemmy. I mean, I was devastated. | 0:53:09 | 0:53:14 | |
But I'm the type of person... I keep a lot inside. So... | 0:53:14 | 0:53:20 | |
I think I just carried on. But I was devastated. | 0:53:26 | 0:53:29 | |
It was a sad thing, actually. | 0:53:29 | 0:53:32 | |
Very sad. He was very upset over it. | 0:53:32 | 0:53:35 | |
And, er... We all were, really. | 0:53:35 | 0:53:39 | |
It was coming for a long time. It was '70s drugs snobbery. | 0:53:39 | 0:53:44 | |
They were just doing organic drugs, man, | 0:53:44 | 0:53:47 | |
and I was doing speed and organic drugs. They didn't like that. | 0:53:47 | 0:53:50 | |
He hated us for it all. You would, wouldn't you? | 0:53:50 | 0:53:54 | |
He described me as a sanctimonious, self-righteous asshole. | 0:53:54 | 0:53:59 | |
I thought, that's all right, that's what he thinks of me. | 0:53:59 | 0:54:03 | |
I went and screwed three of their old ladies. | 0:54:03 | 0:54:06 | |
Vengeance is sweet, sayeth the Lord. | 0:54:09 | 0:54:11 | |
I must admit, I was banging one of them already. | 0:54:11 | 0:54:14 | |
Before I left. | 0:54:14 | 0:54:16 | |
But it was a great time. | 0:54:16 | 0:54:18 | |
I wouldn't have traded it for any other band, ever. | 0:54:18 | 0:54:21 | |
I would probably have been in that now if they hadn't fired me. | 0:54:21 | 0:54:24 | |
But there you are. | 0:54:24 | 0:54:25 | |
It was quite good for him because look where he is now. | 0:54:25 | 0:54:29 | |
How long have I been on the road? 19 years. | 0:54:29 | 0:54:32 | |
-19 years? -Give or take a year. -Isn't it boring after a while? | 0:54:32 | 0:54:38 | |
-No. -Why is there so much violence on the road? | 0:54:38 | 0:54:41 | |
-Why do you break things? -What violence? | 0:54:41 | 0:54:43 | |
I mean, the violence. | 0:54:43 | 0:54:44 | |
When you start... When you start doing things... | 0:54:44 | 0:54:47 | |
What fucking violence? | 0:54:47 | 0:54:49 | |
I don't know what you mean about violence. | 0:54:51 | 0:54:55 | |
You want to see some violence, baby? | 0:54:55 | 0:54:57 | |
No, not me! | 0:55:02 | 0:55:04 | |
Want to do an interview? | 0:55:06 | 0:55:07 | |
Lemmy was at the beginning of heavy-metal, | 0:55:20 | 0:55:24 | |
maybe even pre Black Sabbath. | 0:55:24 | 0:55:25 | |
If they'd said to me, who was the original metal man?, | 0:55:25 | 0:55:30 | |
it is a toss between Lemmy and Black Sabbath. | 0:55:30 | 0:55:33 | |
But I would say Lem, and Motorhead. | 0:55:33 | 0:55:35 | |
It took elements of what existed as heavy metal, mixed it with punk | 0:55:38 | 0:55:43 | |
and created this frantic, intense, powerful music form | 0:55:43 | 0:55:46 | |
that went on to define heavy metal as we know it. | 0:55:46 | 0:55:50 | |
It was brash, in your face, | 0:55:50 | 0:55:52 | |
it was like getting socked by an overhand right, | 0:55:52 | 0:55:55 | |
like Mike Tyson in his prime. | 0:55:55 | 0:55:56 | |
You'd turn the radio on and it was really rancid disco, | 0:55:56 | 0:56:01 | |
bad boy band pop-music, you know? | 0:56:01 | 0:56:03 | |
The Osmonds, stuff like that. | 0:56:03 | 0:56:05 | |
You'd go and see a Motorhead show and it was completely different. | 0:56:05 | 0:56:08 | |
# The silver-tongued devil, demon lynch | 0:56:08 | 0:56:13 | |
# I know just what I'm doing | 0:56:13 | 0:56:16 | |
# I like a little innocent bitch... # | 0:56:16 | 0:56:20 | |
I could not believe that this, there was a guy singing like that | 0:56:20 | 0:56:24 | |
on a record, and people were digging it. Whoa! | 0:56:24 | 0:56:28 | |
We had headlines like the worst band in the world, | 0:56:28 | 0:56:31 | |
but it was in big letters. Well, I mean, fucking great. | 0:56:31 | 0:56:35 | |
Cause I didn't give a, well, you kind of care up to a point, | 0:56:35 | 0:56:39 | |
but the kids were turning up. | 0:56:39 | 0:56:41 | |
"I want to see the worst band in the world." They must be great. | 0:56:41 | 0:56:45 | |
'Motorhead was speed music, with three people on speed. | 0:56:48 | 0:56:51 | |
'Consistency of energy could be contributed to that' | 0:56:51 | 0:56:54 | |
And our slim figures. | 0:56:54 | 0:56:56 | |
LAUGHS | 0:56:56 | 0:56:58 | |
'Everybody tried to be that heavy after that. Nobody's achieved it.' | 0:57:00 | 0:57:04 | |
We fancied ourselves, Guns N' Roses did, | 0:57:04 | 0:57:07 | |
but if we could be even close to as heavy as Motorhead, | 0:57:07 | 0:57:10 | |
we'd be successful. | 0:57:10 | 0:57:12 | |
'Back when I was young, 19, | 0:57:12 | 0:57:15 | |
late '70s, early '80s, we were very punk rock. | 0:57:15 | 0:57:18 | |
I had my little shelf of my old rock records I bought as a kid, | 0:57:18 | 0:57:23 | |
Steve Miller, Aerosmith, Led Zeppelin, all these bands I used to go see. | 0:57:23 | 0:57:27 | |
Then punk-rock happened and I saw the Clash and the Ramones | 0:57:27 | 0:57:30 | |
and my life was changing, all of a sudden, that's the old, in with the new. | 0:57:30 | 0:57:34 | |
And you'd see someone with long hair, well, he's a hippie. | 0:57:34 | 0:57:37 | |
I can't listen to that music, Johnny Rotten says... | 0:57:37 | 0:57:40 | |
And then someone would pull out the Ace Of Spades record. | 0:57:40 | 0:57:44 | |
Oh, oh, wait a minute. | 0:57:44 | 0:57:47 | |
This kind of goes against the gospel of the punk rock, | 0:57:47 | 0:57:51 | |
because they have long hair and it's metal, | 0:57:51 | 0:57:53 | |
but you put the record on and go, "Damn, man. I'm a Motorhead fan." | 0:57:53 | 0:57:59 | |
#..playing hide and seek cos I'm a speed freak...# | 0:57:59 | 0:58:02 | |
'It was their look, it was their attitude, their music.' | 0:58:02 | 0:58:05 | |
You felt by listening to their records that they didn't fit in. | 0:58:05 | 0:58:08 | |
You felt that. And when you didn't fit in yourself, | 0:58:08 | 0:58:11 | |
there was that instant lightning bolt connection. | 0:58:11 | 0:58:14 | |
"Oh, Shit. They're one of us. They're us." | 0:58:14 | 0:58:17 | |
INSTRUMENTAL | 0:58:17 | 0:58:20 | |
I think personally, this tour is the antidote to Simon Cowell | 0:58:25 | 0:58:30 | |
and all the evil, shit music that he's purveying! | 0:58:30 | 0:58:32 | |
CROWD CHEERS | 0:58:32 | 0:58:35 | |
And if there's one man on this tour that embodies | 0:58:35 | 0:58:37 | |
the spirit of rock and roll more than Lemmy, show him to me. | 0:58:37 | 0:58:41 | |
Ladies and gentlemen, the great man himself, Lemmy! | 0:58:41 | 0:58:44 | |
GUITAR INTRO | 0:58:44 | 0:58:47 | |
INAUDIBLE | 0:58:58 | 0:59:00 | |
'The Damned split up | 0:59:03 | 0:59:06 | |
'and Brian James went off and did other stuff. | 0:59:06 | 0:59:08 | |
'And we thought, could we possibly have a Damned without Brian?' | 0:59:08 | 0:59:13 | |
"We need someone who can play base." | 0:59:13 | 0:59:15 | |
So we asked Lemmy, and he instantly said yes. He would do some gigs with us. | 0:59:15 | 0:59:20 | |
As a laugh, me and Scabby we said, | 0:59:20 | 0:59:22 | |
"Let's see if he'll play SOS by Abba." | 0:59:22 | 0:59:25 | |
We thought there was no way in the world, we did it as a joke | 0:59:25 | 0:59:29 | |
and he said, "Yeah, I'll give that a go." And he played it! | 0:59:29 | 0:59:32 | |
He played a whole bunch of Damned songs | 0:59:32 | 0:59:34 | |
and we did one of his, one Motorhead song, we fucking ruined it. | 0:59:34 | 0:59:38 | |
Yeah, he wasn't pleased about that. | 0:59:38 | 0:59:40 | |
He said, "I learned all your fucking shitty songs, and you ruined my one." | 0:59:40 | 0:59:44 | |
One fucking song! You bunch of cunts. | 0:59:44 | 0:59:46 | |
The great man himself! | 0:59:50 | 0:59:51 | |
-Killed By Death. -Metropolis. -Overkill. -I Don't Believe A Word. | 0:59:55 | 0:59:58 | |
Some people might be like, "Killed By Death? That's stupid." I'm like, "No, you're stupid." | 0:59:58 | 1:00:03 | |
Lemmy is an amazing lyricist, powerful lyricist, smart, sharp. | 1:00:03 | 1:00:06 | |
'The first lyrics are just so twisted, straight in your face.' | 1:00:06 | 1:00:10 | |
"Don't talk to me, I don't believe a word." | 1:00:10 | 1:00:13 | |
"But that's the way I like it, baby, I don't want to live for ever." | 1:00:13 | 1:00:16 | |
I mean, who can say it better, you know? I mean, that is one of the most prolific lines. | 1:00:16 | 1:00:20 | |
"You win some, you lose some, It's all the same to me." | 1:00:20 | 1:00:24 | |
I kind of live by that. | 1:00:24 | 1:00:25 | |
Fuck Keith Richards. | 1:00:25 | 1:00:27 | |
Fuck all those dudes that fucking, you know... | 1:00:28 | 1:00:32 | |
That "survived" the Sixties | 1:00:32 | 1:00:35 | |
and are fucking flying around on Learjets and, you know, | 1:00:35 | 1:00:39 | |
living up their gunslinger reputation as they fuck supermodels | 1:00:39 | 1:00:44 | |
in the most expensive hotel in Paris. | 1:00:44 | 1:00:46 | |
It's like, "You know what Lemmy's doing?" | 1:00:46 | 1:00:48 | |
Lemmy's probably drinking Jack and cokes and writing another record. | 1:00:48 | 1:00:53 | |
Two, three, four. | 1:00:53 | 1:00:54 | |
'One of the lyrics that Lemmy wrote for me was,' | 1:01:01 | 1:01:03 | |
"Mama, I'm coming home". | 1:01:03 | 1:01:05 | |
It's really a haunting feeling because I give someone that doesn't know | 1:01:06 | 1:01:10 | |
what the situation with my wife and I really is... | 1:01:10 | 1:01:13 | |
'It's kind of spooky when somebody writes a lyric, when you sing that lyric,' | 1:01:13 | 1:01:18 | |
and you go, "Fucking hell, it's so close to home, you know?" | 1:01:18 | 1:01:21 | |
Every time I played it on stage, it's like I get a chill up my spine. | 1:01:21 | 1:01:25 | |
# Just a clown in a one-horse town | 1:01:27 | 1:01:29 | |
# In broke-down second-hand car | 1:01:29 | 1:01:32 | |
# Can you still get it up? | 1:01:32 | 1:01:34 | |
# Or are we pushing too hard? | 1:01:34 | 1:01:36 | |
# I think if you ever had a beautiful girl | 1:01:37 | 1:01:40 | |
# You had to use your MasterCard. # | 1:01:40 | 1:01:42 | |
Nah, let's go again. | 1:01:44 | 1:01:45 | |
# Can you still get it up? | 1:01:48 | 1:01:50 | |
# Or are we pushing too hard? | 1:01:50 | 1:01:52 | |
# If you wanna get your hands on a beautiful girl | 1:01:52 | 1:01:55 | |
# You gotta use a MasterCard. # | 1:01:55 | 1:01:57 | |
-Let's listen to what we have, OK? -Yeah. | 1:01:57 | 1:02:00 | |
They're pills. Oooh! | 1:02:04 | 1:02:06 | |
HE LAUGHS | 1:02:06 | 1:02:07 | |
-What kind of pills are they? Vitamins? -No. | 1:02:10 | 1:02:13 | |
Diabetes. And umm... | 1:02:16 | 1:02:18 | |
One for... | 1:02:20 | 1:02:22 | |
blood pressure, I think. | 1:02:22 | 1:02:23 | |
I mean, I told him, "My blood pressure's just fine. | 1:02:26 | 1:02:28 | |
"Every time I cut myself, it comes right out." | 1:02:28 | 1:02:31 | |
OK, lets hear it. | 1:02:31 | 1:02:33 | |
# Or are we pushing too hard? | 1:02:33 | 1:02:36 | |
# If you wanna get your hands On a beautiful girl | 1:02:36 | 1:02:39 | |
# You gotta use a MasterCard | 1:02:39 | 1:02:40 | |
# There's no excuse for bullshit | 1:02:42 | 1:02:45 | |
# So don't try to feed me none | 1:02:45 | 1:02:47 | |
# You better shake some action | 1:02:48 | 1:02:51 | |
# Bring it on, bring it on... # | 1:02:51 | 1:02:53 | |
We were sitting around talking, and he asked me about a quad injury. | 1:02:53 | 1:02:56 | |
I had torn my quad like maybe a year before that. | 1:02:56 | 1:02:59 | |
He just, out of nowhere, said, "You know when you tore your quad, did you think that was it? | 1:02:59 | 1:03:03 | |
"Did you think your career was over? Were you finished?" | 1:03:03 | 1:03:06 | |
And I said, "You know, it went through my head a few times, but I just kept going with it." | 1:03:06 | 1:03:11 | |
He said, "When they told me I was diabetic and I was really sick with it," | 1:03:11 | 1:03:15 | |
which was actually right before he did my song, | 1:03:15 | 1:03:17 | |
he said, "At first, I thought, 'I'm done. It's all over.' " | 1:03:17 | 1:03:22 | |
Then he said, "I started thinking about it, and what the fuck am I going to do? | 1:03:23 | 1:03:29 | |
"I've lived my whole life this way, I've done everything I've done up until now to get to where I'm at. | 1:03:29 | 1:03:34 | |
"I'm not going to change." | 1:03:34 | 1:03:35 | |
And the quote that always sticks with me, he said, | 1:03:35 | 1:03:38 | |
"I do all the stuff that I do drug-wise and drinking-wise and all that stuff, | 1:03:38 | 1:03:42 | |
"and at the end of the day, I'm too old to find God now." | 1:03:42 | 1:03:45 | |
I'm touring, man. | 1:03:47 | 1:03:49 | |
'He wanted us to do a couple of songs with him in the studio. | 1:03:58 | 1:04:01 | |
'He came in there with a bottle of' | 1:04:01 | 1:04:04 | |
Maker's Mark Whiskey. | 1:04:04 | 1:04:07 | |
And I started drinking with him. | 1:04:07 | 1:04:10 | |
'And we didn't really get much done because we were just drinking. | 1:04:10 | 1:04:13 | |
And he was like playing guitar and showing me stuff | 1:04:13 | 1:04:16 | |
and then we'd start drink, drink, drink, drink, drink. | 1:04:16 | 1:04:20 | |
And... | 1:04:20 | 1:04:21 | |
the next day, I had to go to a hospital. | 1:04:21 | 1:04:24 | |
Lemmy gave me alcohol poisoning, | 1:04:24 | 1:04:26 | |
basically! | 1:04:26 | 1:04:27 | |
'There's Marlboro Reds,' | 1:04:27 | 1:04:29 | |
Jack Daniels, speed, strippers and gambling. | 1:04:29 | 1:04:32 | |
That's what he likes. | 1:04:32 | 1:04:34 | |
'I remember me sitting down with Zakk | 1:04:34 | 1:04:36 | |
'and he's showing us Beatle footage and stuff and... | 1:04:36 | 1:04:40 | |
'he says,' | 1:04:40 | 1:04:41 | |
"Do you want a Jack Daniels?" Me and Zakk, "Oh, far out." | 1:04:41 | 1:04:44 | |
So, I remember this, he takes out a fifth of Jack Daniels | 1:04:44 | 1:04:47 | |
and cracks the seal and then hands it to me, | 1:04:47 | 1:04:50 | |
so I take a swig off it and hand it to Zakk. | 1:04:50 | 1:04:53 | |
Zakk takes a swig of it, then he goes to hand it back to Lemmy, | 1:04:53 | 1:04:56 | |
and Lemmy is opening another fifth for me and another for him. | 1:04:56 | 1:04:59 | |
It was like having a beer with the guy! | 1:04:59 | 1:05:01 | |
He wanted us to drink the whole fifth like we're drinking a beer. We're like, "Holy shit! No, no, no!" | 1:05:01 | 1:05:06 | |
'First time I ever met the guy, he says, "Hello" ' | 1:05:06 | 1:05:10 | |
and proceeds to offer me crystal meth. This is a fucking hard-core dude! | 1:05:10 | 1:05:14 | |
'I will say this.' | 1:05:20 | 1:05:22 | |
I've never ever ever seen Lemmy incapacitated by booze or anything. | 1:05:22 | 1:05:26 | |
I have not seen him fall off the stage, | 1:05:26 | 1:05:29 | |
I haven't seen him say stupid things, | 1:05:29 | 1:05:31 | |
I haven't seen his life crumble because of it. | 1:05:31 | 1:05:34 | |
It would be pretty scary, Lemmy completely sober, | 1:05:34 | 1:05:39 | |
and on you, man! | 1:05:39 | 1:05:41 | |
By the law of average, he should have been dead. | 1:05:41 | 1:05:44 | |
I used to hit it really hard, but he's just... I don't know. | 1:05:44 | 1:05:48 | |
He's made of fucking iron. | 1:05:48 | 1:05:51 | |
I don't really want to advertise all that. | 1:05:53 | 1:05:56 | |
I don't want kids to take any drugs cos of me. | 1:05:56 | 1:05:58 | |
I don't want them to stay off drugs cos of me, either, | 1:06:00 | 1:06:02 | |
but I don't want to advertise a lifestyle that killed a lot of my friends. | 1:06:02 | 1:06:06 | |
OK? | 1:06:07 | 1:06:08 | |
Here's another question for Lemmy. Jose. | 1:06:09 | 1:06:12 | |
-'Yeah. Lemmy?' -Yeah. | 1:06:12 | 1:06:13 | |
'What do you credit to your longevity? | 1:06:13 | 1:06:15 | |
'You drink, smoke, party a lot. I want to know what you credit to it.' | 1:06:15 | 1:06:19 | |
Not dying! That's the secret. | 1:06:19 | 1:06:22 | |
That's the secret of survival, not dying! | 1:06:22 | 1:06:25 | |
I don't know, you know. | 1:06:25 | 1:06:26 | |
-I was lucky cos a lot of my friends didn't make it, you know? -Yeah. | 1:06:26 | 1:06:30 | |
And I did. I never did heroin, you see. That was the one. | 1:06:30 | 1:06:35 | |
I never saw anybody die on anything else. | 1:06:35 | 1:06:37 | |
When I was about 17-years-old... | 1:06:37 | 1:06:39 | |
..he said to me, | 1:06:41 | 1:06:43 | |
"Son, promise me that when you grow up, | 1:06:43 | 1:06:45 | |
"you know, don't do coke. | 1:06:47 | 1:06:50 | |
"Please, just don't do coke." | 1:06:50 | 1:06:52 | |
And I was like, "OK, yeah". | 1:06:52 | 1:06:54 | |
And he says, "Just do speed. It's much better for you!" | 1:06:54 | 1:06:57 | |
When you think back in it, Motorhead was the original thrash band. | 1:07:02 | 1:07:06 | |
Everything about them. | 1:07:06 | 1:07:08 | |
They played fast, it was gnarly, it was a little loose, | 1:07:08 | 1:07:11 | |
it had some punk rock, it had metal, | 1:07:11 | 1:07:13 | |
it had all the elements that we then later perfected and refined | 1:07:13 | 1:07:17 | |
and then we became part of the Big Four of thrash metal. | 1:07:17 | 1:07:22 | |
You could definitely say, without Motorhead, there's no Metallica, | 1:07:26 | 1:07:29 | |
there's no Anthrax, there's no Megadeath, probably no Slayer. | 1:07:29 | 1:07:32 | |
There could have been those bands, like Anthrax lite or something. | 1:07:32 | 1:07:36 | |
Man, influenced me big time, as a bass player. Big, big, bit time | 1:07:46 | 1:07:50 | |
because of the levels of distortion. | 1:07:50 | 1:07:53 | |
The speed of it all, like, the power of it all | 1:07:53 | 1:07:56 | |
and the relentlessness of it. | 1:07:56 | 1:07:58 | |
I can't even begin to say how much of an influence | 1:07:58 | 1:08:01 | |
Motorhead have been on us, | 1:08:01 | 1:08:03 | |
on a bunch of different levels. | 1:08:03 | 1:08:07 | |
I'll give you a list of things that were lifted from Lemmy. | 1:08:07 | 1:08:10 | |
-Musical level. -Singing style. | 1:08:10 | 1:08:13 | |
You know, lyric phrasing, the simplicity, the rhyming. The scheme of it all. | 1:08:13 | 1:08:18 | |
Attitude. | 1:08:18 | 1:08:19 | |
Trying to be as cool as Lemmy. | 1:08:19 | 1:08:21 | |
Motivation and perseverance. Er... The look. | 1:08:21 | 1:08:25 | |
I mean, his facial hair, in the early days for me, | 1:08:25 | 1:08:28 | |
was certainly all about that. | 1:08:28 | 1:08:29 | |
The bullet belt, come on! | 1:08:29 | 1:08:31 | |
Lemmy, to me, is not just an inspiration, | 1:08:31 | 1:08:34 | |
but I think he's kind of like the OK sign. You know? | 1:08:34 | 1:08:39 | |
It's OK to go this far, it's OK to do this. | 1:08:39 | 1:08:42 | |
It's like he's kicked the door open for a lot of bands | 1:08:42 | 1:08:46 | |
that were feeling like they wanted more. | 1:08:46 | 1:08:48 | |
HE PLAYS RIFF FROM ACE OF SPADES | 1:08:51 | 1:08:54 | |
ATTEMPTS HIGHPITCHED VOCALS | 1:08:54 | 1:08:56 | |
-COUGHS -I can't sing that bit. | 1:08:56 | 1:08:59 | |
I'm like the opposite. | 1:08:59 | 1:09:01 | |
I have to sing down here. | 1:09:02 | 1:09:04 | |
You like it lower? | 1:09:04 | 1:09:05 | |
Yeah. | 1:09:05 | 1:09:06 | |
-SCOTTISH ACCENT: -# You take the high mic and I'll take the low mic... # | 1:09:08 | 1:09:12 | |
-What's up, motherfuckers? -Hello, sir. Good to see you, brother. | 1:09:37 | 1:09:41 | |
Good to see you too. | 1:09:41 | 1:09:43 | |
-Hey, man. What's happening? -Hey, Lemmy. How you doing, bro? | 1:09:43 | 1:09:46 | |
Good. | 1:09:46 | 1:09:48 | |
What do you want to do? I'll do the first one and you do the second one? | 1:09:50 | 1:09:54 | |
-Yeah. -Do the third one together or something? -Sure. -Or one each? | 1:09:54 | 1:09:57 | |
You do the high harmony? | 1:09:57 | 1:09:59 | |
No. Not any more, no! | 1:09:59 | 1:10:03 | |
I'll grab your balls and you go, "Ahhhh!" | 1:10:03 | 1:10:06 | |
That's the theory, yeah! | 1:10:06 | 1:10:08 | |
What ending do you have for Damage Case? | 1:10:08 | 1:10:11 | |
He stops and I stop and then... | 1:10:11 | 1:10:14 | |
-And then you're the last.... -How? | 1:10:14 | 1:10:17 | |
Don't be under any illusion that we know what we're doing. | 1:10:17 | 1:10:22 | |
Let's see what happens, let's have fun with it. | 1:10:22 | 1:10:24 | |
It's a freak-out! It goes, one, two, three... | 1:10:24 | 1:10:27 | |
Is it time to go home yet? | 1:10:48 | 1:10:50 | |
AUDIENCE: No! | 1:10:50 | 1:10:52 | |
I didn't think so. | 1:10:52 | 1:10:53 | |
You can see there's an extra amp up on stage here. | 1:10:56 | 1:11:02 | |
We have the distinct pleasure | 1:11:02 | 1:11:05 | |
of inviting on stage with us | 1:11:05 | 1:11:08 | |
one of our all-time idols. | 1:11:08 | 1:11:11 | |
And I know the reason | 1:11:11 | 1:11:14 | |
that Lars is so into music...right? | 1:11:14 | 1:11:18 | |
He followed him around, pestered him forever, | 1:11:18 | 1:11:22 | |
I think he even threw up on him, | 1:11:22 | 1:11:24 | |
something like that. | 1:11:24 | 1:11:26 | |
Lars is the biggest Motorhead fan on the planet. | 1:11:28 | 1:11:31 | |
And here's the godfather of heavy metal. | 1:11:34 | 1:11:38 | |
From Motorhead, the one and only Lemmy Kilmister! | 1:11:38 | 1:11:43 | |
CHEERING | 1:11:43 | 1:11:45 | |
Lemmy, Lemmy, Lemmy, Lemmy! | 1:11:53 | 1:11:57 | |
CROWD: Lemmy! Lemmy! Lemmy! Lemmy! | 1:11:57 | 1:12:00 | |
All right. | 1:12:00 | 1:12:03 | |
# Hey, babe, don't act so scared | 1:12:20 | 1:12:23 | |
# All I want is some special care | 1:12:23 | 1:12:26 | |
# On the run from some institution | 1:12:26 | 1:12:29 | |
# All I need's a little consolation | 1:12:29 | 1:12:31 | |
# And I can tell by his face | 1:12:31 | 1:12:34 | |
# I'm all over the place | 1:12:34 | 1:12:37 | |
# Put me inside this place | 1:12:37 | 1:12:40 | |
# Move over for a damaged case | 1:12:40 | 1:12:42 | |
# Hey, baby, don't act so scared | 1:12:48 | 1:12:51 | |
# All I want is some special care | 1:12:51 | 1:12:53 | |
# I ain't lookin' to victimise you | 1:12:53 | 1:12:56 | |
# All I want to do is tantalise you | 1:12:56 | 1:12:59 | |
# And I can tell by your face | 1:12:59 | 1:13:01 | |
# That I'm all over the place | 1:13:01 | 1:13:04 | |
# I'm a total disgrace | 1:13:04 | 1:13:07 | |
# Move over for a damaged case | 1:13:07 | 1:13:09 | |
# Move over! | 1:13:14 | 1:13:15 | |
# Hey, babe, don't turn away | 1:13:52 | 1:13:55 | |
# I'm here tomorrow, gone today | 1:13:55 | 1:13:57 | |
# I ain't lookin' to victimise you | 1:13:57 | 1:14:00 | |
# All I want to do is tantalise you | 1:14:00 | 1:14:03 | |
# I can tell by your face | 1:14:03 | 1:14:06 | |
# I'm all over the place | 1:14:06 | 1:14:09 | |
# I'm all over the place | 1:14:09 | 1:14:11 | |
# Move over for a damaged case | 1:14:11 | 1:14:14 | |
# Damaged case! # | 1:15:07 | 1:15:08 | |
CHEERING AND APPLAUSE | 1:15:09 | 1:15:13 | |
Good job, man. | 1:15:16 | 1:15:18 | |
Thanks. Good job, good job. | 1:15:20 | 1:15:24 | |
Yeah! | 1:15:24 | 1:15:26 | |
Lemmy! Lemmy! Lemmy! | 1:15:30 | 1:15:33 | |
AUDIENCE: Lemmy! Lemmy! Lemmy! | 1:15:33 | 1:15:36 | |
TV: 'Oh, Stacey, you dropped your pom-pom in the water. | 1:15:38 | 1:15:42 | |
-'I'll get it for you.' -'I'll come with you'. -'Me too'. | 1:15:42 | 1:15:45 | |
'Wait a minute, we don't want to get our sweaters all wet. | 1:15:45 | 1:15:48 | |
'Better take 'em off. Splash fight!' | 1:15:48 | 1:15:51 | |
At one point, I hadn't seen Lemmy or the boys for a decade or whatever, | 1:16:16 | 1:16:20 | |
and I wanted to do a show with them. And surprise, surprise, | 1:16:20 | 1:16:24 | |
the same dudes are on the crew as when I toured with them in the '80s. | 1:16:24 | 1:16:28 | |
And here it's the '90s and they go "Hey, how are you doing?" | 1:16:28 | 1:16:31 | |
I'm like "holy crap". But this is Lemmy. | 1:16:31 | 1:16:33 | |
It was just like a big family thing, without getting too cliched. | 1:16:35 | 1:16:38 | |
We love each other, we hate each other, | 1:16:38 | 1:16:41 | |
we love to hate each other. | 1:16:41 | 1:16:43 | |
We've done a tour, gone home, come back. | 1:16:43 | 1:16:45 | |
The first time you see them again, it just feels tight. | 1:16:45 | 1:16:48 | |
There's not that band/group thing with this lot, they're just friends. | 1:16:48 | 1:16:53 | |
It's fucking great. What other job can you get paid | 1:16:58 | 1:17:01 | |
for travelling around the world, | 1:17:01 | 1:17:03 | |
meeting great fucking amazing people and seeing Motorhead every night? | 1:17:03 | 1:17:07 | |
# Happy birthday to you | 1:17:27 | 1:17:31 | |
# Happy birthday to you | 1:17:31 | 1:17:35 | |
# Happy birthday, dear Roger | 1:17:35 | 1:17:39 | |
# Happy birthday to you! # | 1:17:39 | 1:17:43 | |
Eat your cake! | 1:17:45 | 1:17:47 | |
A year older now. | 1:17:47 | 1:17:50 | |
What I've seen in rock'n'roll bands that I've been in, | 1:17:51 | 1:17:54 | |
yeah, the money comes into play | 1:17:54 | 1:17:56 | |
and then attitudes change | 1:17:56 | 1:17:57 | |
and they fucking want to act like a rock star. | 1:17:57 | 1:18:00 | |
Motorhead doesn't do that. Motorhead's in it for the music. | 1:18:00 | 1:18:05 | |
Motorhead's in it for the fans. | 1:18:05 | 1:18:07 | |
# Well, we came up from the gutter | 1:18:08 | 1:18:11 | |
# Wrong side of the tracks... # | 1:18:11 | 1:18:14 | |
They still have the goal, you know, | 1:18:16 | 1:18:18 | |
to move this band forward | 1:18:18 | 1:18:20 | |
and to sound the best and be able to, you know, write good records. | 1:18:20 | 1:18:25 | |
There's no faking going on here. | 1:18:25 | 1:18:28 | |
I used to say there's not a fake bone in Lem's body, | 1:18:28 | 1:18:31 | |
and that really is true. | 1:18:31 | 1:18:34 | |
I could say the same for Phil and myself as well. | 1:18:34 | 1:18:37 | |
We're not faking through year after year, you know, pretending, | 1:18:37 | 1:18:43 | |
and I think that is reflecting out, you know. | 1:18:43 | 1:18:48 | |
It's like an aura around us, I suppose. | 1:18:48 | 1:18:51 | |
We've had quite a few people tell us that our music got them | 1:19:00 | 1:19:03 | |
through particularly low times in their lives. | 1:19:03 | 1:19:06 | |
It does something to us when we play. | 1:19:06 | 1:19:08 | |
For some reason, it's great. | 1:19:08 | 1:19:10 | |
I don't know what it is we do, but it gives a good feeling. | 1:19:10 | 1:19:13 | |
I guess it's the same for the fans. | 1:19:13 | 1:19:15 | |
I asked him for his autograph when I was 12. | 1:19:29 | 1:19:31 | |
He came to my home town with Hawkwind, and he was the only one | 1:19:31 | 1:19:34 | |
that came out to sign autographs. | 1:19:34 | 1:19:36 | |
If somebody had said then that I'd be in a band | 1:19:36 | 1:19:38 | |
with this guy for a quarter of a century, a big rock band, | 1:19:38 | 1:19:42 | |
I'd have said, "Come on". | 1:19:42 | 1:19:44 | |
It's a good story to tell, | 1:19:44 | 1:19:46 | |
because it's inspiring. Anything can happen. | 1:19:46 | 1:19:48 | |
MUSIC DROWNS LYRICS | 1:19:48 | 1:19:52 | |
MUSIC STOPS | 1:19:55 | 1:19:57 | |
Fucking microphone. What's the point? | 1:19:57 | 1:19:59 | |
FEEDBACK WHINE | 1:19:59 | 1:20:00 | |
Listen to it. | 1:20:00 | 1:20:01 | |
Didn't you know it was doing that all afternoon? | 1:20:01 | 1:20:04 | |
Has nobody tested it before? | 1:20:04 | 1:20:06 | |
I've done a few gigs with Motorhead | 1:20:06 | 1:20:09 | |
and done a sound check with him. | 1:20:09 | 1:20:10 | |
It's so fucking loud, you really can't do much. | 1:20:10 | 1:20:13 | |
So there's a lot of yelling going on. | 1:20:13 | 1:20:16 | |
One! Two! Three! | 1:20:16 | 1:20:20 | |
-Perfect, just a bit more. -An ear doctor would be amazed | 1:20:20 | 1:20:23 | |
at just how well Lemmy can hear, | 1:20:23 | 1:20:25 | |
considering the abuse he gives his ears. | 1:20:25 | 1:20:28 | |
There's one thing about Lemmy - | 1:20:28 | 1:20:30 | |
he'll always hear you if you offer him a drink. | 1:20:30 | 1:20:33 | |
Even if you walk up behind him. | 1:20:33 | 1:20:35 | |
The loudest band in the world in the Guinness Book of Records. | 1:20:39 | 1:20:42 | |
That's what people want. | 1:20:42 | 1:20:44 | |
They want it loud, they want it fast. They want it...Lemmy. | 1:20:44 | 1:20:47 | |
-Is it loud enough? -CROWD: No! | 1:20:47 | 1:20:50 | |
-You want it louder? -Yes! -Are you sure about this? | 1:20:50 | 1:20:53 | |
This is called Killers. | 1:20:53 | 1:20:57 | |
I remember when we went in to record Power, Corruption And Lies | 1:21:08 | 1:21:12 | |
in Britannia Row in Islington in London. | 1:21:12 | 1:21:14 | |
And the people that had been in before us hadn't - | 1:21:14 | 1:21:19 | |
you're supposed to level the desk when you leave. | 1:21:19 | 1:21:23 | |
You take the strip off, and you level the desk, put it back to how it was. | 1:21:23 | 1:21:27 | |
And they hadn't done it, presumably because it was late | 1:21:27 | 1:21:30 | |
when they finished. | 1:21:30 | 1:21:31 | |
And I said, "Rotten fuckers. Who was it?" | 1:21:31 | 1:21:34 | |
They went, "It was Motorhead". I was like "Oh, fucking great!" | 1:21:34 | 1:21:37 | |
So we put my bass through his channels on the desk, | 1:21:37 | 1:21:41 | |
and it sounded shit. | 1:21:41 | 1:21:43 | |
# Another time, another place Another girl... # | 1:21:50 | 1:21:53 | |
When I think of Motorhead, I don't think subtlety. | 1:21:53 | 1:21:56 | |
It makes me think of a door blown open. | 1:21:56 | 1:21:58 | |
His voice is a rasp. It's like eating fucking nails. | 1:21:58 | 1:22:03 | |
It's kind of more like a wind coming at you. | 1:22:03 | 1:22:06 | |
It's like someone coming up behind me and spanking my ears. | 1:22:06 | 1:22:09 | |
Everything starts going grainy. | 1:22:09 | 1:22:11 | |
It's like being in a sandstorm, basically, that's it. | 1:22:11 | 1:22:15 | |
It's the aural equivalent of being in a sandstorm, I would say. | 1:22:15 | 1:22:18 | |
When the lights go down and that motherfucker hits the stage | 1:22:18 | 1:22:21 | |
and he blows the cigarette out of his mouth, it's game over, man. | 1:22:21 | 1:22:26 | |
You could drag anybody to a Motorhead show, and they're gonna go... | 1:22:26 | 1:22:29 | |
INTRO: "Ace Of Spades" | 1:22:29 | 1:22:32 | |
# If you like to gamble, I'm your man | 1:22:41 | 1:22:44 | |
# Win some, lose some It's all the same to me | 1:22:44 | 1:22:49 | |
# The pleasure is to play Makes no difference what you say | 1:22:55 | 1:22:59 | |
# I don't share your greed, the only card I need is the ace of spades | 1:23:02 | 1:23:07 | |
# The ace of spades | 1:23:07 | 1:23:09 | |
# Going for the higher one Dancing with the devil | 1:23:12 | 1:23:15 | |
# Going with the flow It's all a game to me | 1:23:15 | 1:23:19 | |
# Seven or eleven Snake eyes watching you | 1:23:26 | 1:23:31 | |
# Double up or quit, double stake or split, the ace of spades | 1:23:33 | 1:23:37 | |
# The ace of spades | 1:23:37 | 1:23:39 | |
# You know I'm born to lose and gambling's for fools | 1:23:46 | 1:23:50 | |
# But that's the way I like it, baby, I don't want to live forever | 1:23:50 | 1:23:54 | |
# Pushing up the ante | 1:24:27 | 1:24:29 | |
# I know you want to see me | 1:24:29 | 1:24:30 | |
# Read 'em and weep the dead man's hand again | 1:24:30 | 1:24:34 | |
# I see it in your eyes Take one look and die | 1:24:41 | 1:24:44 | |
# The only thing you see, you know it's gonna be the ace of spades | 1:24:48 | 1:24:52 | |
# The ace of spades. # | 1:24:52 | 1:24:54 | |
CHEERING AND APPLAUSE | 1:25:11 | 1:25:13 | |
Thank you kindly. | 1:25:13 | 1:25:15 | |
TV: '..Next election, I'm gonna run against you, and I'm gonna win.' | 1:26:02 | 1:26:06 | |
'All right, Mrs Griffin. You want to take me on? Fine. | 1:26:06 | 1:26:09 | |
-'But if you plan to beat me, you'll have to...' -'What is it?' | 1:26:09 | 1:26:12 | |
'A bee just flew in through the window. Don't move.' | 1:26:12 | 1:26:15 | |
'Hmm, now look who's mayor. | 1:26:17 | 1:26:19 | |
'First order of business - free honey for everyone! | 1:26:19 | 1:26:22 | |
'Yay, Mayor Bee, Mayor Bee, Mayor Bee - ow! Oh, done stung myself.' | 1:26:22 | 1:26:26 | |
# Lucky there's a family guy | 1:26:34 | 1:26:37 | |
# Lucky there's a man who positively can do | 1:26:37 | 1:26:40 | |
# All the things that make us Laugh and cry | 1:26:40 | 1:26:43 | |
# He's...a...fam...ily...guy! # | 1:26:43 | 1:26:49 | |
Everything about Lemmy's playing sets him apart | 1:27:07 | 1:27:10 | |
from other bass players, or for that matter any other musicians. | 1:27:10 | 1:27:14 | |
The biggest thing is the Rickenbacker and the Marshalls. | 1:27:14 | 1:27:18 | |
That's the sound I've never heard anybody create on bass. | 1:27:19 | 1:27:23 | |
And he plays it a lot like some heavy metal guitar players. | 1:27:23 | 1:27:27 | |
He doesn't play guitar on bass, but it almost sounds like a guitar. | 1:27:27 | 1:27:31 | |
The basic difference is that most bass players sound like this. | 1:27:33 | 1:27:36 | |
Whereas I... | 1:27:41 | 1:27:42 | |
..sound quite different. | 1:27:48 | 1:27:50 | |
AMPLIFIED SOUND | 1:27:50 | 1:27:53 | |
Like that. | 1:28:31 | 1:28:32 | |
I always wanted that sound, but I didn't necessarily know it then. | 1:28:32 | 1:28:37 | |
It evolves, you know. | 1:28:37 | 1:28:39 | |
-What would you say, Tim? -What's that? | 1:28:39 | 1:28:40 | |
How would you say my bass playing encapsulates my personality | 1:28:40 | 1:28:44 | |
and my outlook on life generally, in the modern 21st century? | 1:28:44 | 1:28:49 | |
-The phrase "hammer and tongs" comes to mind. -Really? -Yeah. | 1:28:49 | 1:28:52 | |
-Not a hammer, an anvil. -Anvil and tongs. | 1:28:52 | 1:28:56 | |
And hammer. Stuff like that. | 1:28:56 | 1:28:59 | |
Very hard. | 1:28:59 | 1:29:00 | |
BOTH TALK AT ONCE | 1:29:00 | 1:29:05 | |
Actually, he talks one thing that's in one ear and out the other. | 1:29:05 | 1:29:09 | |
And nobody ever fucking understands a thing he's saying. | 1:29:09 | 1:29:13 | |
Actually, we're two geezers trying to get along backstage. | 1:29:13 | 1:29:16 | |
-And everything like that. -And things like that. -Or something else. | 1:29:16 | 1:29:19 | |
Americans usually have a nervous breakdown around now. | 1:29:19 | 1:29:22 | |
He's dead, isn't he? | 1:29:28 | 1:29:31 | |
How do you sell a deaf guy a frog? | 1:29:31 | 1:29:33 | |
How? | 1:29:33 | 1:29:34 | |
DO YOU WANT TO BUY A FROG? | 1:29:34 | 1:29:36 | |
Is it still as fun as it used to be | 1:29:45 | 1:29:47 | |
to go around the world and play concerts? | 1:29:47 | 1:29:50 | |
Yeah, you know, it's a great job. I recommend it. | 1:29:50 | 1:29:55 | |
It's almost as good as being a TV interviewer. | 1:29:55 | 1:29:59 | |
-Are there a lot of groupies backstage? -Do you see any? | 1:29:59 | 1:30:03 | |
What makes you the proudest in your career? | 1:30:03 | 1:30:06 | |
Survival, I think. | 1:30:08 | 1:30:09 | |
Every year that goes by, I get a bit prouder, | 1:30:09 | 1:30:11 | |
because we've proved that we weren't the trash band | 1:30:11 | 1:30:14 | |
that they said we were originally. | 1:30:14 | 1:30:17 | |
And every year we've survived | 1:30:17 | 1:30:19 | |
proves it a little bit more, you know. | 1:30:19 | 1:30:23 | |
You know, like that. | 1:30:23 | 1:30:25 | |
What keeps you going for 30 years? What keeps you going and going? | 1:30:25 | 1:30:29 | |
You have a dream when you're a kid. | 1:30:29 | 1:30:33 | |
And my dream came true, so why stop it? | 1:30:33 | 1:30:37 | |
Until 2047. Then I might slow down a bit. | 1:30:40 | 1:30:44 | |
It might be 2048, I don't know. | 1:30:44 | 1:30:46 | |
I love everything about Lemmy. The music, fucking everything. | 1:30:49 | 1:30:52 | |
There's nothing not to like about Motorhead. | 1:30:52 | 1:30:55 | |
It's a band that's got it all. | 1:30:55 | 1:30:57 | |
They're hardcore, a proper hardcore band. | 1:30:57 | 1:30:59 | |
They don't like sax and all that shit, they're excellent. | 1:30:59 | 1:31:03 | |
They're full on, they've always been full on. | 1:31:03 | 1:31:06 | |
Motorhead set the standard for all the others to follow. | 1:31:06 | 1:31:08 | |
Every time you see 'em live, they make you deaf. | 1:31:08 | 1:31:11 | |
I don't have to listen to my wife. | 1:31:11 | 1:31:15 | |
For about five days out of every year, my wife is totally ignored. | 1:31:15 | 1:31:20 | |
"Oh, sorry, darling, I can't hear you. I can't hear you. | 1:31:20 | 1:31:23 | |
"Sorry, I just can't hear you". | 1:31:23 | 1:31:25 | |
They've made me stone deaf forever! | 1:31:25 | 1:31:28 | |
# Rock'n'roll will save your soul And I got it | 1:31:38 | 1:31:41 | |
# Give it to me loud and free | 1:31:41 | 1:31:44 | |
# Don't knock it | 1:31:44 | 1:31:46 | |
# Let me hear till the end of time | 1:31:46 | 1:31:49 | |
# It's the only way | 1:31:49 | 1:31:51 | |
# Send shivers up and down your spine | 1:31:51 | 1:31:54 | |
# You can't stop it | 1:31:54 | 1:31:55 | |
# I'm tellin' you one more time | 1:31:55 | 1:31:59 | |
# It ain't no crime Rock it | 1:31:59 | 1:32:03 | |
# It's the only way to fly | 1:32:06 | 1:32:08 | |
# I gotta have it | 1:32:08 | 1:32:10 | |
# Break through, gonna break you too | 1:32:10 | 1:32:13 | |
# You better grab it | 1:32:13 | 1:32:15 | |
# Let me hear it till the end of time | 1:32:15 | 1:32:18 | |
# It's the only way | 1:32:18 | 1:32:19 | |
# It'll stop you on a dime | 1:32:19 | 1:32:23 | |
# You can't stop it I'm telling you one more time | 1:32:23 | 1:32:27 | |
# It ain't no crime | 1:32:27 | 1:32:29 | |
# Rock it | 1:32:29 | 1:32:31 | |
# Rock'n'roll music gonna stop the world | 1:33:19 | 1:33:22 | |
# Can't lose it | 1:33:22 | 1:33:24 | |
# It'll make your toenails curl You can't defuse it | 1:33:24 | 1:33:29 | |
# Let me hear it all the time | 1:33:29 | 1:33:31 | |
# It's the only way | 1:33:31 | 1:33:34 | |
# Gonna make you feel all right | 1:33:34 | 1:33:36 | |
# You can't excuse it | 1:33:36 | 1:33:39 | |
# I'm telling you one more time | 1:33:39 | 1:33:41 | |
# It ain't no crime Rock it | 1:33:41 | 1:33:44 | |
# Rock it Rock it... # | 1:33:46 | 1:33:48 | |
That's all right. | 1:34:11 | 1:34:13 | |
It's the biggest thing that's ever happened to me. | 1:34:13 | 1:34:17 | |
It's huge. I love that guy. | 1:34:17 | 1:34:19 | |
-He's so much nicer than I thought he would be. -Why's that? | 1:34:19 | 1:34:23 | |
Oh, he's really humble. | 1:34:23 | 1:34:25 | |
I thought he would be like, "I don't give a shit". | 1:34:25 | 1:34:27 | |
But when I said "Your music really means something to me," | 1:34:27 | 1:34:32 | |
he looked at me and said, "Thank you." | 1:34:32 | 1:34:34 | |
That really means something to me. | 1:34:34 | 1:34:36 | |
If you look at him, he's probably very intimidating, | 1:34:45 | 1:34:47 | |
but this is one of the nicest guys you could ever meet. | 1:34:47 | 1:34:49 | |
There's so many people that hit him for stuff, | 1:34:49 | 1:34:53 | |
and just look at him. | 1:34:53 | 1:34:54 | |
Most people in his position would not pay attention | 1:34:54 | 1:34:57 | |
to these things. This is a guy who'd go out of his way to help anybody. | 1:34:57 | 1:35:01 | |
You just see it in his heart. | 1:35:01 | 1:35:02 | |
When I was married before and we were all on the road together, | 1:35:02 | 1:35:06 | |
my husband at the time was from Indiana, this redneck kid, | 1:35:06 | 1:35:12 | |
idolised Lemmy. Huge Motorhead fan. | 1:35:12 | 1:35:15 | |
So we were on tour with Motorhead, | 1:35:15 | 1:35:17 | |
and me and Lemmy immediately had this connection, | 1:35:17 | 1:35:21 | |
and my marriage was heavily on the rocks. | 1:35:21 | 1:35:24 | |
Lemmy...my husband wouldn't talk to him or anything, | 1:35:27 | 1:35:30 | |
and Lemmy would just come up | 1:35:30 | 1:35:32 | |
with T-shirts and be like "Hey, Matt", you know? | 1:35:32 | 1:35:34 | |
And when we actually separated, he was telling all these people | 1:35:34 | 1:35:39 | |
in the town we're from, Athens, Georgia, | 1:35:39 | 1:35:41 | |
a very small town, | 1:35:41 | 1:35:42 | |
that me and Lemmy were having this affair, blah, blah, blah. | 1:35:42 | 1:35:46 | |
Eight months later, he died. | 1:35:46 | 1:35:50 | |
But when I was going through | 1:35:50 | 1:35:52 | |
all of his things that his mother gave me, | 1:35:52 | 1:35:55 | |
I found a letter from Lemmy, and he had written him a letter | 1:35:55 | 1:35:59 | |
saying, you know, "I know at one point, you really liked my band, | 1:35:59 | 1:36:05 | |
"and just so that you know for the record, | 1:36:05 | 1:36:08 | |
"Corey and I are really good friends. | 1:36:08 | 1:36:10 | |
"There's mutual love and respect there. | 1:36:10 | 1:36:13 | |
"She did nothing but talk about how much she loved you | 1:36:13 | 1:36:16 | |
"and I would never cross that line, I'm not that type of man." | 1:36:16 | 1:36:21 | |
And it was just so cute, because when you read the letter, | 1:36:21 | 1:36:24 | |
it was like, "I know that at one time, you liked me and my band," | 1:36:24 | 1:36:28 | |
and it's Lemmy and fucking Motorhead. | 1:36:28 | 1:36:30 | |
It's so bizarre, but he wrote this beautiful letter to him, | 1:36:30 | 1:36:35 | |
with the red candle wax and the stamp on the back, | 1:36:35 | 1:36:39 | |
and sent it to him, you know? | 1:36:39 | 1:36:40 | |
That type of shit, man. | 1:36:40 | 1:36:42 | |
It's like, he's a very honourable, | 1:36:42 | 1:36:46 | |
generous, good, good man. | 1:36:46 | 1:36:49 | |
He's very much a complex emotional person, | 1:36:49 | 1:36:52 | |
but there is a kind of distance that he's purposefully put in. | 1:36:52 | 1:36:56 | |
Do you know what I mean? | 1:36:56 | 1:36:58 | |
I think a lot of that, from what he tells me, is from his youth. | 1:36:58 | 1:37:03 | |
He's always had to look out for himself, and he's realised | 1:37:05 | 1:37:10 | |
that 90% of the time, the only person he can depend on is himself. | 1:37:10 | 1:37:14 | |
Tell me about the people who've been most important in your life? | 1:37:14 | 1:37:17 | |
My mother, obviously, because she brought me up on her own. | 1:37:17 | 1:37:21 | |
And my granny, for filling in during the day. They were really important. | 1:37:21 | 1:37:25 | |
They really tainted my outlook on things, | 1:37:26 | 1:37:29 | |
because being brought up by two women is different from having the big, heavy husband in the house. | 1:37:29 | 1:37:36 | |
So I never got the, "Let's go out and kill some small furry animals." | 1:37:36 | 1:37:39 | |
I never had that shit going on. | 1:37:39 | 1:37:42 | |
I just never missed a father | 1:37:42 | 1:37:43 | |
because I never had one, you know, so I didn't care. | 1:37:43 | 1:37:46 | |
He was just a miserable little dickhead with glasses, | 1:37:46 | 1:37:50 | |
and all he ever did for me was walk out on me. | 1:37:50 | 1:37:52 | |
I think I understand women a lot better than some guys do, | 1:37:52 | 1:37:56 | |
because women want the same things as guys do, | 1:37:56 | 1:37:59 | |
they just don't want them for as long. | 1:37:59 | 1:38:01 | |
Guys want the quick fuck in the alley all their lives, | 1:38:01 | 1:38:06 | |
whereas girls get tired of that pretty quick. They want security, | 1:38:06 | 1:38:09 | |
meaning you have to give up everything | 1:38:09 | 1:38:11 | |
that might be a risk to that security, | 1:38:11 | 1:38:13 | |
which is why I'm not married. | 1:38:13 | 1:38:15 | |
My dad once went out with a woman that he really fell in love with | 1:38:15 | 1:38:19 | |
when he was very young. He must have been about 17. | 1:38:19 | 1:38:21 | |
And...this girl died of a heroin overdose. | 1:38:21 | 1:38:28 | |
My dad is anti-heroin. | 1:38:28 | 1:38:31 | |
He will not have anything to do with someone who is on smack. | 1:38:31 | 1:38:35 | |
But I think it's because of this girl, | 1:38:35 | 1:38:38 | |
because he really loved this girl. | 1:38:38 | 1:38:41 | |
And he found her in the bathtub. He found her dead in the tub. | 1:38:41 | 1:38:46 | |
And I think that, as I can recall, | 1:38:46 | 1:38:51 | |
he sat in an armchair for, like, three days. | 1:38:51 | 1:38:55 | |
He hasn't been able to feel the same way about any other woman | 1:38:55 | 1:38:59 | |
since that woman. | 1:38:59 | 1:39:00 | |
And...that might be a part of why he is the way he is. | 1:39:00 | 1:39:07 | |
I don't miss her any more, | 1:39:07 | 1:39:08 | |
it's been a long time. 1973. That's a long enough time. | 1:39:08 | 1:39:12 | |
I can't even...some of the time, you can't even picture her face. | 1:39:12 | 1:39:17 | |
She was all right. But, you know, | 1:39:17 | 1:39:20 | |
she died young and left a beautiful corpse. When they do that, | 1:39:20 | 1:39:25 | |
it's easier to think they were the one. She probably wasn't. | 1:39:25 | 1:39:28 | |
She was a...she was a mouthy little bitch as well. | 1:39:28 | 1:39:33 | |
But she was great at the same time. | 1:39:33 | 1:39:35 | |
For a woman to be really interesting, | 1:39:35 | 1:39:38 | |
she's got to be something of a bitch, surely? | 1:39:38 | 1:39:41 | |
Somebody saying yes all the time, that's no fucking good, is it? | 1:39:41 | 1:39:45 | |
You want somebody who gives you a run for your money. | 1:39:45 | 1:39:48 | |
No relationship can survive a guy or a girl being in a rock band. | 1:39:48 | 1:39:52 | |
Unless the other one is also in a rock band, | 1:39:52 | 1:39:55 | |
and even then it's difficult. | 1:39:55 | 1:39:57 | |
You're away for six or seven months of the year. | 1:39:57 | 1:40:00 | |
Nobody will stand for that. | 1:40:00 | 1:40:01 | |
Either they go with you, which doesn't work, or they sit at home | 1:40:01 | 1:40:04 | |
and have affairs or take care of the kids, which builds up resentment, | 1:40:04 | 1:40:08 | |
because they think you're having a whale of a time on the road. | 1:40:08 | 1:40:12 | |
It can't work. You have to make up your mind between rock and roll | 1:40:12 | 1:40:15 | |
or your beloved one. Sex only lasts for half an hour at the very top. | 1:40:15 | 1:40:19 | |
A rock and roll set lasts for an hour and a half, | 1:40:19 | 1:40:23 | |
so I think we've got that one sorted out. | 1:40:23 | 1:40:26 | |
Do you ever stop filming? | 1:40:28 | 1:40:31 | |
Huh? | 1:40:31 | 1:40:32 | |
It's a pity you haven't got Smell-O-Vision. | 1:40:40 | 1:40:43 | |
# Here's a little song I wrote | 1:40:52 | 1:40:54 | |
# Might want to sing it note for note | 1:40:54 | 1:40:57 | |
# Don't worry | 1:40:57 | 1:40:58 | |
# Be happy # Don't worry, be happy now | 1:41:00 | 1:41:03 | |
# Whoo-oo-oo | 1:41:03 | 1:41:07 | |
# Don't worry | 1:41:07 | 1:41:08 | |
# Whoo-oo-oo | 1:41:08 | 1:41:10 | |
# Be happy | 1:41:10 | 1:41:11 | |
# Whoo-oo-oo | 1:41:11 | 1:41:13 | |
# Don't worry, be happy. # | 1:41:13 | 1:41:15 | |
# Well, if I'm in heaven or if I'm in hell | 1:41:22 | 1:41:27 | |
# Don't matter to me because I'm under your spell | 1:41:27 | 1:41:33 | |
# I'm playing the ace Trying to make you see | 1:41:33 | 1:41:37 | |
# Don't matter to me | 1:41:38 | 1:41:40 | |
# I'm over my head | 1:41:43 | 1:41:46 | |
# And I'm driving for sure Don't matter to me | 1:41:46 | 1:41:51 | |
# Like I told you before | 1:41:51 | 1:41:53 | |
# I'll sink like a stone | 1:41:53 | 1:41:56 | |
# If you leave me be Don't matter to me | 1:41:56 | 1:42:01 | |
# Babe, you know I love you | 1:42:06 | 1:42:09 | |
# But you can break my heart | 1:42:09 | 1:42:12 | |
# I want to be here with you But you're tearing me apart | 1:42:12 | 1:42:17 | |
# I wanted to be your only one | 1:42:17 | 1:42:20 | |
# I want you to be mine | 1:42:20 | 1:42:23 | |
# But if you're going to be this way | 1:42:23 | 1:42:26 | |
# I just don't have the time So now if I stay | 1:42:26 | 1:42:29 | |
# Or if I should go | 1:42:31 | 1:42:33 | |
# Don't matter to me if I can't see you no more | 1:42:33 | 1:42:37 | |
# If you shoot up my lights | 1:42:38 | 1:42:41 | |
# Black night's where I'll be | 1:42:41 | 1:42:44 | |
# It don't matter to me... # | 1:42:44 | 1:42:46 | |
I just can imagine the party, | 1:43:12 | 1:43:14 | |
the party for everybody to celebrate his life some day is going to be... | 1:43:14 | 1:43:18 | |
like a head of state. | 1:43:18 | 1:43:21 | |
I think he'll be sorely missed throughout the world when he goes. | 1:43:21 | 1:43:25 | |
But then, I think the way it'll be and the way he would want it, | 1:43:25 | 1:43:29 | |
there's not going to be many tears shed, | 1:43:29 | 1:43:31 | |
but mainly what fucking great times we had. | 1:43:31 | 1:43:34 | |
Do you know what I mean? It's going to be one of those, | 1:43:34 | 1:43:37 | |
a sad day but also a day where everybody will get together | 1:43:37 | 1:43:41 | |
and talk about the great fucking times they had with that man and his music. | 1:43:41 | 1:43:45 | |
I don't know how old he is and I don't care, | 1:43:45 | 1:43:48 | |
he could be 100 years old. | 1:43:48 | 1:43:49 | |
The fact that he's up there still doing it | 1:43:49 | 1:43:51 | |
is an absolute inspiration for us. | 1:43:51 | 1:43:53 | |
We got nothing to complain about and everything to look forward to. | 1:43:53 | 1:43:58 | |
This is what I am. This is what I do. | 1:44:05 | 1:44:09 | |
This is what I'm supposed to do. Right here. | 1:44:09 | 1:44:13 | |
I'm supposed to be backstage, waiting to go on. | 1:44:13 | 1:44:19 | |
If your life was a movie, how would you want it to end? | 1:44:19 | 1:44:22 | |
It should end with a clap of thunder | 1:44:24 | 1:44:27 | |
and me vanishing off the top of a mountain, | 1:44:27 | 1:44:30 | |
leaving behind a plaque which says "Fooled you, again". Yeah! | 1:44:30 | 1:44:36 | |
Something along those lines. But of course, we can't afford the mountain | 1:44:36 | 1:44:40 | |
and we can't afford the flash powder | 1:44:40 | 1:44:43 | |
and we can't get the cameras up the slope, right, so there you go. | 1:44:43 | 1:44:46 | |
You can't have everything, can you? | 1:44:46 | 1:44:48 | |
Any regrets? | 1:44:50 | 1:44:51 | |
None. Life's too short. | 1:44:51 | 1:44:55 | |
CROWD: Motorhead! | 1:44:59 | 1:45:00 | |
Motorhead! Motorhead! | 1:45:00 | 1:45:03 | |
I would like to say that you're one of the best fucking crowds | 1:45:15 | 1:45:18 | |
we ever played for. | 1:45:18 | 1:45:20 | |
Thank you. | 1:45:20 | 1:45:22 | |
Don't forget us. | 1:45:24 | 1:45:25 | |
We are Motorhead! And we play rock'n'roll! | 1:45:25 | 1:45:30 | |
# The only way to feel the noise is when it's good and loud | 1:45:52 | 1:45:55 | |
# So good, I can't believe it Screaming with the crowd | 1:45:55 | 1:45:58 | |
# Don't sweat it Get it back to you | 1:45:59 | 1:46:03 | |
# Don't sweat it Get it back to you | 1:46:06 | 1:46:10 | |
# Overkill | 1:46:12 | 1:46:14 | |
# Overkill | 1:46:14 | 1:46:16 | |
# Overkill | 1:46:16 | 1:46:18 | |
# On your feet, you feel the beat It goes straight to your spine | 1:46:25 | 1:46:28 | |
# Shake your head, you must be dead If it don't make you fly | 1:46:28 | 1:46:33 | |
# Don't sweat it Get it back to you | 1:46:33 | 1:46:37 | |
# Don't sweat it Get it back to you | 1:46:39 | 1:46:43 | |
# Overkill Overkill | 1:46:47 | 1:46:50 | |
# Overkill | 1:46:50 | 1:46:52 | |
# You know your body's made to move You feel it in your guts | 1:47:13 | 1:47:16 | |
# Rock 'n' roll ain't worth the name If it don't make you strut | 1:47:16 | 1:47:19 | |
# Don't sweat it Get it back to you | 1:47:19 | 1:47:25 | |
# Don't sweat it Get it back to you | 1:47:27 | 1:47:31 | |
# Overkill | 1:47:34 | 1:47:35 | |
# Overkill. # | 1:47:37 | 1:47:38 | |
INAUDIBLE | 1:48:32 | 1:48:36 | |
All for one and all for another fucking year. | 1:50:44 | 1:50:46 | |
Good one this year. Nice one. | 1:50:46 | 1:50:49 | |
Now fuck off back to your dressing room. | 1:50:49 | 1:50:52 | |
It was all right, this show, wasn't it? | 1:50:53 | 1:50:56 | |
Bugger off, Greg. | 1:51:02 | 1:51:03 | |
In the elevator? Give it a break. Oi! | 1:51:03 | 1:51:06 | |
Go away. | 1:51:06 | 1:51:08 | |
Fuck off with your cameras. | 1:51:08 | 1:51:09 | |
Oh, there they are. | 1:51:09 | 1:51:10 | |
What's the matter with you, pal? | 1:51:12 | 1:51:14 | |
You want a mouthful of broken teeth or what? | 1:51:14 | 1:51:16 | |
-Cheers, guys. -Cheers, man. Good to see you again. | 1:51:16 | 1:51:20 | |
Subtitles by Red Bee Media Ltd | 1:51:23 | 1:51:26 |