Motörhead’s “Ace of Spades” Played on Church Bells Kicks Way More Ass Than You’d Think

Jonas Rogowski, CC BY-SA 3.0 , via Wikimedia Commons
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When one thinks of church bell music, one usually imagines either “Here Comes The Bride” or, if you’re lucky, the theme from The Exorcist. However, now one guitarist and pianist have come together to perform Motörhead’s timeless banger “Ace of Spades” on church bells, and damn if it ain’t pretty fucking cool!

This ecclesiastical cover comes from guitarist Jitse Zonneveld and keys player Frank Steijns, who performed their rousing cover of “Ace of Spades” on the bells of a cathedral in Weert in the southern Netherlands. As you’ll see, the duo go pretty hard when it comes to banging out the track via church bells, which are rigged up to play sort of like an organ. While we would have liked to see an army of hunchbacks with hammers performing the song live, we can definitely settle for this version instead.

Watch the cover below and wonder why the fuck you had to sing about bread or something at church like a dumbass when you could’ve had hymns like this:

“Ace of Spades” is not only the opening of the album by that same name, it also kicks off Motörhead’s unbeatable live album No Sleep ’til Hammersmith, which turns forty this year, and which, according to The Pit’s own Chris Krovatin, remains the greatest live album of all time.

“The importance of the live arena in metal cannot be overstated, especially after the year we’ve all just lived through,” wrote Chris. “Without the energy and power of the live show, metal just doesn’t quite cut it, which is why metal live albums often feel haphazard or disappointing. But with No Sleep ‘til Hammersmith, three rabid dogs proved that any band could transport a packed house into every fan’s household with the drop of a needle. All they had to do was be as good as Motörhead. Which, hey, good luck with that.

Motörhead’s massive deluxe 40th anniversary box set of No Sleep ’til Hammersmith is out today, and available for purchase.


Words by Chris Krovatin