Larry Wallis, a founding member of British heavy metal band Motörhead, died Thursday.

No cause of death was revealed for the 70-year-old guitarist.

Wallis played on the Motörhead album “On Parole,” which was shelved for four years until the band gained prominence in the late 1970s.

Although recorded in 1975, the LP became the band’s fourth album when it was released in 1979.

Despite leaving the group in 1976, was cited as co-writer on one of the album’s tracks.

Motörhead, which has sold 15 million albums worldwide, was led by singer-bassist Lemmy Kilmister until his death in 2015.

Motörhead guitarist Larry Wallis dead at 70

Happy Birthday to the man, the myth, the legend Robb Flynn of Machine Head!! Sick riffs. Sick lyrics. Sick vocals. Ain’t a thing they can’t do. And if through some unbelievable phenomenon they somehow, someway can’t do it… then gotdammmit, it can’t be done. Haha. Huge fan of this band for life!!🤘🤘


Bryson’s Picks

Some albums (and music in general) transport us to the time we were actively listening to it. Orgasmatron (1986) is one of those albums for me personally. I was drinking a lot, hanging out with my friends and playing dungeons & dragons (with the books and the dice and all the imagination) and watching The Young Ones on MTV every Sunday night with my rowdy friends. Motörhead made an appearance on that show and I went out and bought this ball crushing record. The very first song (Deaf Forever) was the perfect soundtrack to a D&D battle scenario, with a relentless riff and Lemmy’s apocalyptic lyrics. Other highlights were the hilariously descriptive Dr. Rock “Chin up, shoulders back/You’ve got a body like a Marshall stack” (priceless!), and of course, the monstrously heavy title song. I share the same birthday as Lemmy, a fun fact I wear with pride and honor! Buy Orgasmatron in any format you can find, and crank it as loud as you possibly can!

Written By Braddon S. Williams

Influences And Recollections of a Musical Mind

On this date in history, 7/16/1998, I began my 18 year streak of all day metal festivals with my very first Ozzfest, at the fun and fabulous Deer Creek. I would be at every Ozzfest for the next 10 years until that festival stopped traveling, followed by all 8 of the Mayhem tours.

Ozzfest ’98 featured Ozzy Osbourne, Tool, Megadeth, Limp Bizkit, Soulfly, Sevendust, Coal Chamber, Incubus, Motörhead, Snot, Melvins, Monster Voodoo Machine, Life Of Agony, Ultraspank, Kilgore, and System Of A Down.

I was a rookie and I made a huge rookie mistake. I neglected to watch any of the second stage bands on this day, foolishly squandering my first shot at System Of A Down, Melvins, and the legendary Motörhead! I did, however, witness all the bands on the main stage and most of those performances ranged from pretty good to absolutely earth shaking (during Tool’s set, quite literally!).

Incubus started the festivities with a solid set. Brandon Boyd’s vocals were quite excellent and I enjoyed their time on stage.

Coal Chamber were next, kind of Marilyn Manson-light, but Dez Fafara hadn’t gained the power he would later weild so effectively with DevilDriver. Still, a formidable performance by an underrated band.

Sevendust were next, and I thought they were fantastic. Lajon Witherspoon’s vocals were particularly amazing and the band’s sound and energy stood out in a lineup of very solid bands.

Soulfly, the band that Max Cavalera put together following his departure from Sepultura, were probably the heaviest band of the day, and also brought their distinctive blend of Brazilian percussion to mix with their brutal grooves.

Limp Bizkit began their show by emerging from an enormous toilet bowl. Considering that their career eventually was flushed down that proverbial toilet, this was quite poetic and prophetic. The haters can say what they want to say, but back then Fred Durst and Wes Borland had concocted a sound and a stage show that got the crowds bouncing and producing an insane amount of energy. Megadeth brought their meticulous, surgically deadly riffing and Dave Mustaine’s patented sneering vocals along with about an hour of classic Mega-Dave songs in a fierce set that brought the crowd to the brink of the sonic devastation that awaited us.

I had heard the stories about how the crowd had started a “sod war” during Pantera’s headlining set the year before, and had witnessed a similar act of lawn massacre during a Ministry performance in 1992, but nothing prepared me for what was about to happen during Tool’s show stealing set.

As soon as Maynard James Keenan took the stage clad in an evangelist’s suit, accompanied by the hypnotic maelstrom of Tool’s sound, the carnage was instantaneous.

The lawn never had a chance, and the air was literally thick with flying chunks of earth, sod, grass, drink cups and various other items of debris. It was glorious, terrifying, hilarious, and unstoppable. Tool was so intense, it was as if they were so in the zone that they were oblivious to the World War III scenario unfolding up on the lawn.

As all good things must eventually end, Tool finally concluded their portion of the show and the spell was broken.

Ozzy proceeded with a killer set played by a stellar band (Ozzy always has the cream of the crop in his band, though) featuring Joe Holmes on lead guitar. Ozzy’s set was preceded by a wickedly funny filmed segment that put the exhausted crowd in a jolly mood (by metal crowd standards) and the Prince Of Darkness delivered a powerful concert closer that guaranteed I would continue this activity for 18 years running. Still ready to begin a new streak. The time is right for a brand new accomplishment!

Written By Braddon S. Williams AKA The Concert Critic

On this date in history

On this date in history, 7/15/2012, the 5th installment of the Mayhem Festival made its annual visit to Deer Creek, and my friends and I were part of the metal masses in attendance.

This show featured Slipknot, Slayer, Motörhead, As I Lay Dying, Anthrax, The Devil Wears Prada, Asking Alexandria, Whitechapel, Upon A Burning Body, I The Breather, Dirtfedd, Betraying The Martyrs, Hemlock, and our hometown heroes, the mighty Threat Level.

I am unable to comment on each band, but will do my best to spotlight the bands I enjoyed the most and welcome comments from anyone in attendance who may wish to fill in the blanks and give a review on any of their favorites.

The first band to attract my interest was Upon A Burning Body, but as good as they were, they were absolutely obliterated by Whitechapel, who played a singularly vicious set, raising the brutality bar to the highest echelons of intensity.

Anthrax have long been a favorite of mine, and they appeared to be in fine form on this day, but I was only able to catch 2 or 3 songs before I had to make my way to the stage where my friends in Threat Level were set to detonate the crowd gathered for their crushing performance. The band; comprised of Frank Rapacki on vocals, Troy Welch on guitar, Jason Weaver on bass, and Chad Smith (not THAT Chad Smith) on drums, had won a regional battle of the bands to secure their spot on this show and they made the most of it, impressing the large and boisterous assembly awaiting the band’s powerful blend of groove and thrash metal, topped by Rapacki’s roaring voice. Some fierce pit action accompanied favorites from their Leading The Vicious and A World Beyond Devastation albums.

After a much needed break following Threat Level’s set, I was ready for the trinity of terror comprised of Motörhead, Slayer, and Slipknot. Lemmy and company were a band on my bucket list and they were every bit as wonderful as I expected them to be. Mickey Dee drummed like a man possessed, Phil Campbell provided the guitar carnage, and the immortal Lemmy played the superhuman, jet propulsion bass and rasped out his one of a kind and singularly irreplaceable vocals on a set full of thunderous Motörhead majesty, including  “Ace Of Spades”, and “Overkill”, with its 2 false endings and the furious finale with nothing but truth.

Slayer followed with their diabolical majesty, continuing the onslaught that wouldn’t abate until the concert ended. Dave Lombardo was still in the drum throne at this time, and for my money he is the undisputed king of metal drumming. Jeff Hanneman was absent by this time and Gary Holt from the band Exodus did an admirable job of filling some nearly impossible shoes to fill. Kerry King and Tom Araya did what they have always done, with King hammering the riffs with beastly intent and causing sonic disturbances and eardrum lacerations with his punishing leads, and Araya summoning up that VOICE, the mouthpiece for the Slaytanic war ensemble.

A crushing performance it was…and this left the 9, the masked minions of Mayhem, the circus of the damned known as Slipknot to take us to the finish line as only they can. Joey Jordison was the 3rd and final superpowered drummer I had the joy to witness back to back to back in this amazing display of ferocious multi limb dexterity. Corey Taylor added his voice to the hall of fame duo of Lemmy and Araya, and the rest of the Iowa based madmen did what they do, delivering visual thrills and chills and a whole lot of metallic bombast.

This one may not have been the strongest lineup overall, but it definitely was the one with the strongest 1-2-3 punch to end the show of any of the Mayhem Festivals.

Written By Braddon S. Williams AKA The Concert Critic

On This Date in History


There’s a lot of Motorhead branded booze out there between wine, whisky and beer and the trend shows no sign of slowing down! Collaborating with Amplified Ale Works, Motorhead will be issuing two more signature brews: ‘Born to Lose’ IPA and ‘Live to Win’ IPA.

The first to arrive will be the ‘Born to Lose’ IPA, which is a “boldly aggressive West Coast-style IPA” that packs 6.5 percent ABV. Brewed with Cascade, Simcoe and Citra hops for an earthy aroma and notes of fresh citrus. Adding a personal touch, Maris Otter, a British malt, was also used in the brewing process as a tribute to the band’s roots, cutting the beer’s bitterness with a sweet quality.

Seen above is the artwork for the ‘Born to Lose’ IPA can, an original design from the Los Angeles-based artist Jack Gregory. The war-torn dystopian scene features members of Motorhead as well as some other rough ‘n’ tumble characters wielding high-powered guns and bats wrapped in barbed wire.

Fans looking to imbibe the latest Motorhead beer can purchase directly from Amplified Ale Works’ San Diego locations as well as TheBeerConnect website with refrigerated shipping throughout California. If you’re looking to get your hands on the ‘Live to Win IPA,’ you’ll have to wait a little longer as the beer is slated for release at an undisclosed time later this year.

It’s been a strong year for Motorhead’s growing line of alcohol as the brand new Motorhead Road Crew beer recently nabbed the ‘Best Newcomer‘ award at the 2017 Carouser Awards, even beating out Iron Maiden‘s ‘Trooper Red ‘N’ Black’ porter.

Motorhead Partner With Amplified Ale Works to Bring Two New Signature Beers


Despite his no longer being with us, Motörhead‘s very own Lemmy Kilmister’s solo album may see the light this year. According to his collaborator Jim Voxx of Skew Siskin in an interview with Metal Talk, the solo album has been in the works since 2003, and may feature Dave Grohl, Reverend Horton Heat, and The Damned.

“We are also in the very last stages of the Lemmy solo album.”

I still don’t know when it will be released because this is in the hands of the Motörhead management and it took a while now but you know, Lemmy had so many things left, there are so many other recordings and they all had to sort out how to proceed and there is no real time rush to release this album so I can imagine it will be towards the end of this year.”

According to a previous interview in 2013 unearthed by Blabbermouth, Lemmy said he was thinking about calling the album False Teeth For The Deaf, and said the music is “all just great rock and roll, that’s the only way to describe it.”

MOTORHEAD Frontman Lemmy Kilmister’s Long-Rumored Solo Album Might Surface This Year