on 10 September 2006
This album stands alone in the Motorhead catalogue. It's almost commercial. The stand out track is "Jack the Ripper", a song that sounds like it was written back in the early 80s when the Head was churning out classics for fun. "Hellraiser" was written with Ozzy Ozbourne and it sounds a lot more like an Ozzy song than a Motorhead one.
"March or Die" isn't a bad album but it's not a very exciting one either. Thankfully the band would get back to doing what they do best on follow up "Bastards".
on 10 April 2005
As a hardened Motorhead fan as i have been for many years I will have to be honest..after listening to this record I thought 'Inferno' was good I should have got 'March or Die' first as I been trying to find it for many a long time, all I can say is that this is just a truelly great album a standing testament to just why Lemmy and Co are the legends that they are and leaves one wondering why they have not recieved praise that are really owed to them. I don't know abour March or Die you should March and Buy.
on 29 December 2003
Still tasting American ( Lemmy having moved there in 1990), the production is cleaner than of recent.Ozzy and Slash appear on 'I aint no nice guy', several tracks have a truly kicking bass, and all finished with a typical Lemmy-lyrical number about humans ruining the planet. Not such a well-known album, but worth owning.
on 14 May 2014
I’m a latecomer to this 1992 album. I grew up in the Overkill era, drifting away from metal in young adulthood, only to return in my 40s when Kiss of Death re-ignited a dormant love affair with the warpig. But first, the anorak stuff. This album saw the departure of Phil Taylor and the arrival of Mikki Dee as drummer (great hair!). It also has a cover that divides opinion; some fans love it, others find it formulaic, a Motörhead-by-numbers cover that, much like the music, somewhat lacks cohesion.
But how does March ör Die rate muscially? It’s an important album, and a very good one too. But it is not a classic. To my ears, it sounds like they were pitching for the American market with Slash and Ozzy guest spots, a great Ted Nugent cover (Cat Scratch Fever), a pulsing FM-friendly Hellraiser, and the power ballad I Aint No Nice Guy (more of which later). Elsewhere there are high points aplenty in a more traditional vein. Bad Religion and Jack the Ripper cover familiar ground, with wonderful riffs and great Lemmy lyrics. The eery atmospheric title track growls and stomps along like the soundtrack to a Viking funeral cortège. And then there’s Too Good To Be True, with Lemmy pining for a lost love over a thumping backing track. ‘Cold and lonely without you. Don’t know if I can make it through.’ What’s this? Lemmy admitting to frailty?
Actually, yes. And there’s more. This album contains the forgotten masterpiece I Aint No Nice Guy, a beautiful penitent duet with Ozzy Osbourne and featuring a soaring Slash solo. This song captures that moment of realization, of painful honesty, when we look in the mirror and know the truth about ourselves. A farewell to youthful arrogance. I can’t listen to this without getting a lump in my throat. Perhaps it’s my age. In this reviewer’s opinion, I Aint No Nice Guy is reason enough to buy this album.
In conclusion, this is a pleasingly varied album. Some tracks are arguably more commercial than usual and may not appeal to diehard Motörhead fans. And few would rank March ör Die alongside more recent classics such Inferno or Aftershock, but it does contain some truly excellent music. Bung it in your cart.
Incidentally, I strongly urge you to spend the extra few quid on the 2014 remastered version. I was a skinflint and bought the cheaper original CD release. My mistake. The sound quality was awful, muddier than a rain-drenched rugby match in a turnip field.
I basically group Motorhead releases into 3 categories. The best ones are must-haves, and ones that you will continue to listen to once you have them (Overkill, Ace of Spades, Inferno etc). Then there are the good ones, which you play at first, but find you do not play them very often (e.g. Bomber, Motorizer). Then there are the ones you will probably play when you first get them, and rarely play again (e.g. Iron Fist, We are Motorhead). March or Die Falls into this category for me. It is not a bad CD, but it is one I have hardly ever played over the years, and whenever I consider putting it on, I tend to go for one of their other ones instead.
This one came after 1916, which was there best relase for years, and for some time to come. That one had strayed from their usual format, and worked brilliantly. This one strays too, but takes a completely misjudged direction by trying to be commercial. Rather than stick with their own sound, it is as thought they are trying to imitate the style of some of the other big bands at the time, and they do it badly. It also contains a dreadful cover of Ted Nugent's Cat Scratch Fever, which alone is enough to put me off it. Actually, for me that song sums up this cd as an example of one of the greatest rock bands ever trying to do what they are not very good at. Buy 1916 and Bastards, the ones before and after. Leave this one to the collectors. I think 3 stars was probably a bit generous, but I do not seem to be able to change that now.
on 1 September 2008
I am a Motorhead fan of course, have all their albums. This one is not their best but I can't let it remain with the previous review and one single star. Come on ! It is not as fast and rock'n'roll as the usual, but in my view it displays some facets no apparent in their previous work. These guys are not just basic instrument stompers, they are musicians, they can play good - even melodious - stuff, so what's wrong with that ? A good one to have for the collection at least.
on 23 November 2010
Some say this is their commercial album, I'll just say it's one of their most accesible. And it's a very good one, more melodic, more rock'n roll, less trash. This album has by the way some nice solo's by Campbell and Würzel. And there's the guest performance by Slash and Ozzy on I ain't no nice guy. Not groundbreaking, but essential to your Motörhead collection.
on 15 September 2008
With the benefit of hindsight, no, this is not one of Motorhead's best. But much like 'Iron Fist' following 'No Sleep 'til Hammersmith,' right from the outset, 'March Or Die' had the difficult job of following the unquestionably brilliant and Grammy Nominated '1916' album, anyway. It was as if the band put every ounce of their being into '1916,' and when the recording of this one came along, they had run out of puff. However, we know Motorhead do not run out of anything for very long, as virtually every album following this one was pretty much right on the nail.
An interview with Wurzel once recounted how they "rehearsed (for this album) in the rainy and dismal UK weather, which refelected the mood of the album." But it is a page in Motorhead's history of how they were at this point in time, and ardent fans will need it in their collection, and despite not firing on all cylinders, would put a lot of other albums from the same era to shame, nevertheless.
For me, the title track is perhaps the brother to the 'Orgasmatron' song, with Lemmy's superb lyrical message to everyone walking this fated planet of ours to "March" and do something about saving it, "or Die" if we don't bother, which we are not. Doom and gloom indeed, and with the dirge riffing behind him and the monotonous beat like that of a slaveship drum keeping time for the oarsman, it is a poignant page in Motorhead's history and the absolute highlight of the whole album.
Well worth adding to the collection, it's Motorhead, and if you enjoy their music then you'll enjoy this, too.
on 19 April 2015
I always 'got' Perfect Day but this for me is the ultimate true Motorhead album ; man put clearly , its got what it takes and it takes no prisoners .Nuff said .Maximus Metalicus . ok ive been heavily pushed - better than 1916 , better than Barstards ,ok.
on 28 October 2013
I love Motorhead and this was the only disk that I neaded to have the full colection. It is great, there is nothing more to say