Motor Sister’s Sophomore LP Is One Of This Year’s Top New Rock Albums So Far

Courtesy: Metal Blade Records

Rock super group Motor Sister released its sophomore record (and first of original content) Friday through Metal Blade Records in the form of Get Off.  The 12-song record is a presentation that any rock purist will find enjoyable.  The three singles that the record has already produced – ‘Can’t Get High Enough,’ ‘Right There, Just Like That,’ and ‘Coming For You’ — do well in themselves to make that clear.  They are just a sample of what makes the album successful.  There are plenty of other songs featured throughout the album that make clear why it is engaging and entertaining.  ‘Sooner Or Later,’ which comes early in the album’s run, is another notable addition to the record.  It will be examined shortly.  ‘Lion’s Den,’ which serves as the album’s midpoint, is another notable entry and will be discussed a little later.  The energetic, penultimate entry that is ‘Time’s Up’ is yet another strong addition to Get Off and will also be examined later.  Each song noted is important in its own right to the whole of the album.  When they are considered along with the album’s singles and with the rest of the album’s songs, the whole makes the album overall a strong new offering from Motor Sister that every rock purist will appreciate.

Get Off, the second record from rock super group Motor Sister (and the album’s first full collection of original songs), is an impressive new offering from the band.  Its musical and lyrical content alike make that clear, as has been evidenced through its singles.  They are just some of the songs that make the album engaging and entertaining.  ‘Sooner Or Later,’ which comes early in the album, is another way in which the album shows its strength.  The song stands out because it is so much unlike its counterparts in its musical arrangement.  Where so much of the album’s musical content is high-energy in its approach, this song is more reserved and contemplative.  The simple guitar line used in the verses immediately lends itself to comparison to works from King’s X while the choruses, what with the harmonies presented in the vocals of Jim Wilson and Pearl Aday, are more akin to the rock ballads of the late 1980s.  The two styles are similar, but still different from one another, and the way in which they come together here makes the whole surprisingly engaging and entertaining.  The mood set through the song’s musical arrangement works well to help illustrate the seeming theme in the song’s lyrics.

The seeming lyrical theme featured in ‘Sooner Or Later’ comes across as focusing on accepting one’s mistakes and past, and moving forward.  That is just this critic’s interpretation.  The interpretation comes as Wilson sings in the song’s lead verse and chorus, “It was the first mistake that you ever made/It was the worst mistake that you’ll ever make/Sometimes you can’t believe it could happen to you/But I say/You were the last mistake that I’ll ever make/Sooner or later/Something’s gotta give…Sooner or later/Forget and forgive/Sooner or later/You learn how to live again.”  It is hinted at even more in the second verse as he sings, “It’s a heavy dose of pride that you are gonna have to swallow/When you’re free from the past/The rest is gonna have to follow/Sometimes you don’t believe that the change is ever gonna come/Just like a slap in the face/You don’t know which way it’s gonna come from.”  Again, this seems to hint at learning to accepting what happens and what has happened in life and moving on past what has happened.  As if that is not enough proof, the song’s third and final verse adds even more to the inference, as Wilson sings, “You wake up one morning and you find you’re in a dark place/The memories come crawling again through your headspace/Right outside your window/The wind is blowing far/While you’re alive/It’s hard to survive…”  There is a little bit that is difficult to decipher without lyrics to reference.  That aside, enough is understandable here that once more, the theme here seems to be that of accepting what has happened and not dwelling on it.  Once again, if in fact that is the case, then it certainly serves as an inspiration for plenty of audiences.  Keeping that in mind with the semi-somber mood in the song’s musical arrangement, the whole of this song proves itself to be its own impressive addition to the album in whole, proving just as much as the album’s singles, what makes the album worth hearing.

‘Lion’s Den,’ which serves as the album’s midpoint, is another key addition to the album.  Its musical arrangement is in direct contrast to that of ‘Sooner Or Later.’  In the case of this song, it is a rich, heavy composition that immediately lends itself to comparison to works from Alter Bridge.  That is proven through the song’s instrumentation and vocals alike.  Interestingly enough, that is mainly exhibited in the song’s verses.  The choruses on the other hand, conjure thoughts more of Ozzy Osbourne.  Yes, this makes for its own unique presentation, but that presentation works so well in its own right.  It is just part of what makes the song engaging and entertaining.  The song’s lyrical content makes for its own share of interest.

Wilson, sounding just like Alter Bridge front man Myles Kennedy, sings in the song’s lead verse and chorus, “There’s a clock on the wall/I don’t think I’ll ever dream again…I can’t make no sense of anything/You laughing at me/Watch me bleed/You’re standing around/Watching me suffer…Eventually I have to succumb to it/Crying all alone again/Join me in the requiem/Right back where I’ve always been/Sleeping in the lion’s den.”  Wilson continues in the song’s second verse, “Wait/Right here in the back/She hooked me like crack/Left me weak…from the attack…the system has failed…”There is a lot here that is difficult to decipher sans lyrics to reference.  From what can be deciphered just from a close listen, it would seem that the theme here hints at someone who is going through the same cycle of negativity over and over again, not breaking that cycle.  That person seems to be lashing out at those around who just stand there watching it all happen rather than try to help.  Again, this is all just this critic’s interpretation and could be completely off.  Regardless, the discussions that are certain to happen as a result of the song’s lyrics makes for its own positive.  The seeming theme works well with the fire and energy in the song’s musical arrangement, making all the more important, the song in whole.

‘Time’s Up,’ the album’s penultimate entry, is one more example of what makes Get Off well worth hearing.  That is due in part because of its musical arrangement.  The arrangement here boasts its own powerful identity.  Right off the bat, the arrangement featured in this two minute, 49 second song lends itself to comparison to some of the best works from KISS in terms of its sound and stylistic approach.  It is a fun, energetic composition that is certain to keep listeners engaged and entertained from start to end.  The fire and energy in the original composition works quite well with the song’s lyrical theme, which centers on a woman who is telling a man he’d better make a choice, but not necessarily in a bad sense.  This is a woman who definitely wants the guy, so even here, the KISS comparison is there, as KISS has crafted very similar songs in its catalog.

The clear theme comes right from the song’s lead verse as Wilson sings, “Well it was getting late/But the hand of fate said wait, not yet/Ordered another round/She tracked me down/And said, Hey, where you been?/The clock on the wall all messed up/I couldn’t believe my luck/She said, meet me in the parking lot/Don’t be late or you really suck/She said, Time’s up/You comin’ or are you stayin’?/Time’s up/What’s it gonna be?/I’m waiting for an answer now/You’re comin’ home with me.”  The rest of the song follows in similar fashion.  This is a woman who has completely taken over a man, and it is celebrating that woman, too.  To that end, there is no need to go from there.  That clear message alongside the energy in the song’s musical arrangement makes this song a surefire hit for Motor Sister in its own right.  To that end, this song proves itself yet another unique addition to Get Off.  When it is considered with the other songs examined here and with the album’s and with the rest of its entries, the whole proves the album a complete success.

Get Off, the sophomore record from rock super group Motor Sister, is an impressive new offering from the group.  Its musical and lyrical content alike make that clear.  The musical and lyrical content featured throughout the album is unique from one song to the next, ensuring audiences get something different in each song.  The album’s current singles each do well to make that clear, as do the songs examined here.  When all of that content is considered along with the rest of the album’s entries, the whole of the album becomes just one more of the best new rock albums of the year so far.

Get Off is available through Metal Blade Records. More information on Motor Sister’s new album is available along with all of the band’s latest news at:




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