Lemmy Kilmister, the godfather of heavy metal, wasn’t your typical frontman. Sure, Motörhead cultivated a tough-guy, outsider image with their “Us Against The World” motto. But Lemmy himself? He was full of surprises.
While Motörhead churned out riff-heavy anthems, Lemmy readily lent his gravelly vocals and bass stylings to whoever asked. His guest spots defied expectations, ranging from hard-rock royalty like Slash and Dave Grohl to… well, you’ll just have to keep reading to see the truly bizarre.
Let’s just say Lemmy wasn’t afraid to throw a curveball, and these collaborations are a testament to that.
Hawkwind – “Silver Machine” (1972)
Lemmy’s tenure with Hawkwind, from 1972 to 1975, wasn’t exactly a collaboration, but it’s a story worth mentioning. Though his official departure involved “taking the wrong kind of drugs” (according to the band) or a smuggling attempt gone wrong (according to authorities), his fate might have been sealed the moment “Silver Machine” became a hit.
Recorded live at the Camden Roundhouse, Lemmy’s overindulgence in narcotics left him needing assistance on stage. Despite this, it was the singer, Robert Calvert, who faltered during the performance. Ironically, Lemmy’s overdubbed vocals ended up propelling the track into an unexpected smash hit.
Probot – “Shake Your Blood” (2004)
Dave Grohl’s admiration for Lemmy Kilmister is well-documented. Grohl once described meeting Lemmy as a turning point, a moment where he encountered a true rock and roll legend. This mutual respect fueled the creation of Probot, a Dave Grohl project featuring guest appearances from his favorite metal vocalists. Lemmy, naturally, was on board.
True to his no-nonsense rockstar persona, Lemmy penned the lyrics to his track, “Shake Your Blood”, in a mere ten minutes. “It’s rock & roll,” he explained, emphasizing the song’s straightforward, energetic nature. The track exemplified the spirit of Probot: a celebration of heavy metal by some of its biggest icons.
Wendy O. Williams – “Stand By Your Man” (1982)
An unlikely collaboration emerged in 1982 when Lemmy, impressed by Wendy O. Williams’ wild stage antics (chainsawing guitars, anyone?), invited The Plasmatics’ firebrand vocalist to record with Motörhead. While Lemmy loved her rebellious spirit, the rest of the band wasn’t as enthusiastic.
The recording session, which included a punk take on “Stand By Your Man” alongside Motörhead and Plasmatics classics, proved to be a turning point. Wendy’s off-key vocals clashed with guitarist Eddie Clarke’s sensibilities so much that he quit the band on the spot. This marked the end of Motörhead’s “classic lineup”, but ironically, it also paved the way for the band’s future success with a revolving cast of guitarists.
The Head Cat – “Not Fade Away” (2008)
Lemmy always saw Motörhead as pure rock and roll, not just another metal or punk band. This was never clearer than with The Head Cat, a side project formed in 2008. This stripped-down trio featured Lemmy on vocals, guitar, and harmonica, alongside Slim Jim Phantom (The Stray Cats) on drums and Danny B. Harvey (The Rockats) on stand-up bass, keyboards, and lead guitar.
Together, they tackled classic rockabilly tracks like Eddie Cochran’s “Something Else”, Johnny Cash’s “Big River”, and Buddy Holly’s “Not Fade Away”, paying homage to the music that first inspired Lemmy’s rock and roll dreams. It all came full circle from a childhood memory: “There was Eddie Cochran and Gene Vincent and Cliff Richard,” he once recalled, “And they were surrounded by screaming women. And I thought: that’s the job for me.”
Royal Philharmonic Orchestra/Mike Batt – “Eve Of Destruction” (1998)
Mike Batt, a talented songwriter and arranger, often finds himself remembered for less serious endeavors. Ask someone about Batt, and they might mention his work with The Wombles or the lawsuit over his “cover” of John Cage’s silent piece “4’33”. His 1998 album Philharmonia added to the unusual: featuring The Royal Philharmonic Orchestra backed by various pop and rock singers reimagined through Batt’s arrangements.
Tracks like Kim Wilde’s operatic take on “Because The Night” could be jarring. Yet, there’s a strange brilliance to Lemmy’s collaboration. His gruff vocals paired with lush orchestration breathe new life into Barry McGuire’s anti-war ballad, “Eve Of Destruction”, making it a surprisingly thoughtful reinterpretation.
Ramones – “R.A.M.O.N.E.S.” (1997)
The Ramones and Motörhead were kindred spirits. Both bands were pioneers of a fast-paced, aggressive style of rock and roll that resonated with the burgeoning punk scene. It’s no surprise then, that their paths crossed musically.
In 1985, Lemmy co-produced a Ramones track, “Go Home Ann”, and in 1991, he wrote a song for them called “R.A.M.O.N.E.S.”. Joey Ramone called it “the ultimate honor”, comparing it to having John Lennon write a song for them. The Ramones and Lemmy even collaborated on a live version of the song, which appeared on their 1997 farewell album, We’re Outta Here.
Slash – “I Ain’t No Nice Guy” (1992), “Dr. Alibi” (2010)
Consider Slash the American Lemmy Kilmister. Both guitarists embodied the rock and roll lifestyle with an almost superhuman tolerance, indulging in the excesses without succumbing to self-destruction. This shared spirit led to musical collaborations. In 1992, Slash joined Motörhead on “I Ain’t No Nice Guy” from their album March or Die, which also featured Ozzy Osbourne on vocals.
The partnership came full circle nearly two decades later when Lemmy returned the favor, lending his vocals to Slash’s self-titled solo album. He shines on the punk-infused rocker “Dr. Alibi”, sharing the stage with a star-studded cast including Ian Astbury, Duff McKagan, Dave Grohl, Chris Cornell, and a who’s-who of heavy rock.
The Damned – Ballroom Blitz (1979)
The Damned, pioneers of UK punk, always leaned more towards the rock and roll spirit of the genre than the political rage. This made them a natural fit for Motörhead. In fact, when The Damned briefly disbanded in 1978, three members (Dave Vanian, Captain Sensible, and Rat Scabies) formed a short-lived side project called Les Punks with Lemmy on bass. Their only performance took place at the Camden Electric Ballroom.
Reunited, The Damned and Lemmy later collaborated on a blistering cover of The Sweet’s “Ballroom Blitz” for the B-side of The Damned’s 1979 single “I Just Can’t Be Happy Today”. The raw, unpolished energy of the recording is undeniable. Interestingly, Lemmy throws down a surprisingly complex bass line, bordering on “incongruously jazzy” for a punk track.
Samantha Fox – “Beauty and the Beast” (Unreleased)
Forced into a recording hiatus between 1984 and 1986, Lemmy found himself with unexpected free time. This led to some unlikely collaborations, one of which being with his favorite glamor model, Samantha Fox. The pair, who met judging a spaghetti-eating contest, became unlikely friends.
In 2005, Fox revealed that Lemmy had suggested a heavy metal cover of Nazareth’s “Love Hurts”, picturing them as a metal version of Dolly Parton and Kenny Rogers. They even co-wrote an original song, “Beauty and the Beast”, inspired by a listening session to ABBA. Sadly, none of this music ever saw the light of day, but the friendship endured. Fox even requested Lemmy walk her down the aisle at her Siberian wedding.
The Young & Moody Band with The Nolans and Cozy Powell – “Don’t Do That” (1981)
Lemmy might have outdone himself with this collaboration. The Young & Moody Band, featuring Bob Young (Status Quo) and Micky Moody (Whitesnake), already stood out with their unremarkable careers overshadowed by a Levi’s commercial and this bizarre musical venture. Adding drummer Cozy Powell seemed promising, but the real head-scratcher was the inclusion of the squeaky-clean Nolan sisters.
Ever the contrarian, Lemmy claimed the Nolans were far less innocent than their pop image suggested. He recounted a story of Motörhead’s manager, Doug, being shocked when Linda quipped, “While you’re down there…” after he bent down to pick something up. This anecdote, true or not, perfectly captures the bizarre dissonance of this one-off collaboration.