Ace of Spades (album) - Wikipedia
Ace of Spades is the fourth studio album by the band Motörhead, released 8 November , Genre · Heavy metal, speed metal on Bronze Records, which became their highest charting release to date, peaking at #8. .. " Fast and Loose" was featured in The Walking Dead third-season episode, "This Sorrowful. Perhaps most ambitious is Fast & Loose, presented by Sacred Fools Theater . Jenelle Riley's forgivably formula take on speed dating is wonderfully funny, and . Why women lose the dating game . says Justin Parfitt, the owner of Australia's fastest growing speed-dating organisation, Fast Impressions.
I like Iron Maiden and Saxon out of the new mob, and that's about it, really We were too late for the first metal movement and early for the next one We're not straight heavy metal, because we're a rock 'n' roll band, which no-one knows how to market anymore. In fact, United Artists decided to finally release the band's "lost" first album at this time under the title On Parolewhich had originally been recorded in but shelved because it was deemed commercially unviable.
Next, the Big Beat label, which had taken over Chiswick 's catalogue, released Beer Drinkers and Hell Raisers EPpackaging four extra tracks that the band had laid down for their debut album. Maile, who had worked with the likes of Jimi HendrixLed Zeppelinand the Whohad crossed paths with Lemmy when he was a member of Hawkwind. The bassist recalls in his memoir White Line Fever: He used to own a mobile studio — Hawkwind hired it out to do Space Ritual and he came with it Vic was a great man and a great producer, really brilliant Those were good times; we were winning, we were younger, and we believed it.
Vic Maille at the production helm used an expert ear to translate the monstrous live sound and feel of the band to vinyl. In his autobiography, White Line Fever, Lemmy speaks at length about the tune: I used gambling metaphors, mostly cards and dice — when it comes to that sort of thing, I'm more into the slot machines actually, but you can't really sing about spinning fruit, and the wheels coming down.
Most of the song's just pokerreally - 'I know you've got to see me, read 'em and weep, Dead man's hand again, aces and eights' - that was Wild Bill Hickock 's hand when he got shot. To be honest, although "Ace of Spades" is a good song, I'm sick to death of it now. We've had quite a few good releases since then. But the fans want to hear it so we still play it every night.
For myself, I've had enough of that song. I'm glad we got famous for that rather than for some turkey, but I sang 'The eight of spades' for two years and nobody noticed.10 vs 1: Speed Dating 10 Guys Without Seeing Them
In the Classic Albums documentary on the making of the album, guitarist "Fast" Eddie Clarke declares: I decide to finish The View parody after all. I wake up my rather crabby roommate and ask her to read both scripts and choose.
She gets halfway through the Showgirls one and says it's fine, to just go with that. I question her commitment to my art. I decide my script will be fine if I draw a solid cast. I have seen mediocre scripts saved by great actors. Then again, I've seen great actors completely forget their lines and choke onstage.
Watching them condense the rehearsal process into one day and the ideas they come up with consistently amaze me. I end up drawing one of my favorite directors, Ben Rock. And my cast is the people I had in mind while writing it: As we step outside to do a few read-throughs, I feel a sense of relief. Ben casts Margaret as the mother. Andrea is the best friend; Julie is the put-upon daughter. I tell myself not to worry and head home to sleep.
I start to worry.
- Fast & Loose
- Why women lose the dating game
What if Margaret has trouble remembering lines? Even the most accomplished performers can struggle with the one-day process. It's not easy to learn a page, verbose script in 12 hours. I talk to Ben via phone and ask him how it's going.
I run into Margaret outside the theatre and ask how it's going. She tells me she's incredibly nervous and really worried about remembering all those lines. I start to sweat more than usual.
My play is up last, so I'm left to squirm. I'm amazed at what the other writers have come up with using their elements. Padraic Duffy used the song "War Pig" to write a tour de force about a businessman who dresses up like a pig and expounds on combat. With "Hand of Doom," Paul Plunkett penned a script about bratty kids on a cruise ship, one of whom strangles the other on a sugar high.
And Gerald McClanahan turned "Electric Funeral" into a meditation on four men who find themselves in hell. I hate going last. Much to my relief, Margaret not only remembers all her lines, she improves on most of them.
I make a mental note to take credit for her improvisations later. Andrea and Julie are brilliant, and there are tons of nice little touches I wasn't expecting.
Most important, people laugh--though probably none harder than myself. Even lines I didn't intend as jokes get laughs, thanks to their delivery. I relax for the first time in 24 hours, realizing I'm off the hook. At least for another week. Its members get a bunch of their usual suspects together and make plays under the gun.
Not a real gun. This is an excellent thing. What to expect from this sort of deadline-driven madness? Who knew the secrets unintentionally revealed by men wrestling in shorts? Splash What do you get when you take four writers, four directors and twelve actors and give them just 24 hours to create and produce four totally new one-act plays? The most upbeat and lively late night show on or off, as the case may be Melrose Avenue. Here's how it works: These "variables" are drawn from the hat by the writers and become the basis for the plays they will compose overnight.
SACRED FOOLS | FAST & LOOSE
How they do it, exactly, is anyone's guess. But the result is four completely original theater pieces. Twelve hours, the writers reconvene with their finished scripts and each is given to a different director. Then the four directors "cast" the plays by pulling actors' names from the hat. In the following hours, each team gets all of 45 minutes of actual stage time to rehearse.
The rest of the time, they are rehearsing in their cars, their living room, the parking lot or anywhere else they're not going to get kicked out of. There is no "time to prepare. Because twelve hours later, the curtain goes up and the result, whatever it is, is performed Ladies and gentlemen, it's both opening and closing night!
This process repeats itself every weekend. The result was not only fast and loose, but fun, unpredictable, and impressive. First, you would have to have a lot of confidence and a strong stomach to even undertake such a project. As there is no time for writer's block and certainly no time to relearn forgotten lines, these folks are sharp.
The mere thought of composing a totally original script -- idea, story, characters, and lines having nothing more to go on than two suggestions in one case these were "snow" and "lunch lady" -- is enough to make a less adventurous writer pull the covers over his head, especially when the writer couldn't possibly write for a certain director with one or two certain cast members in mind since he doesn't even know who these folks will be!
Further, for a script never read by the director and then shoved in his hands to produce for performance, is a task most directors would never volunteer for. And then to have it blocked, rehearsed and performance-ready in just half a day is almost masochistic. Finally, consider the actors who were out there in the hotseat with everything riding on them.