Inferno

Product Information

The first of many of the bands albums to be produced by Cameron Webb, Inferno became Motörhead’s heaviest album in years. and yet again another song instantly identifiable as Motorhead, and throw in another simple-but-oh-so-effective thrash riff. However, James Monger of AllMusic chided the band for "churning out the same record over and over again". Albums like 1916 had attempted this sort of thing before but it’s never sounded as natural as it does here. About Joe Petagno – interview section with Joe Petagno, bonus DVD with Inferno 30th Anniversary edition SPV69748.

One also can’t forget about the closing “Whorehouse Blues” as Mikkey Dee trades his drums in for another guitar and Lemmy breaks out the harmonica for a rousing acoustic jam that makes you wonder how many of these the band had left in them. And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff. if they can crank out the filler material, and even the filler material is pretty fucken good, more power to 'em.

Already the voluminous up-tempo opener “Terminal Show” leaves no doubt that the album gives no reason for concern in terms of the mix. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Ten songs like this would make a competent Motorhead album, but the thing with Motorhead is that despite the fact that all their songs are instantly recognisable as Motorhead, they don't pull an AC/DC and sound all the same - this one sounds more like something off Sacrifice or Burner, and that is the contribution to the album. The songs themselves also seem to be more up tempo than usual as the pummeling “Terminal Show” and “Fight! The first of many of the band’s albums to be produced by Cameron Webb, Inferno became Motorhead’s heaviest album in years, although the final song on the album, Whorehouse Blues was something of a departure with its country blues style and Lemmy on harmonica.

Even the somewhat lethargic “Keys to the Kingdom” spreads a certain charm, although its neighbor “Smiling Like a Killer” sounds much better: simple, direct, old school, simply Motörhead.

Lemmy is approximately 82 years old at this point, and here his testicles have grown large enough to be qualified for statehood as set forth in the United States Constitution. this is Motorhead, and Motorhead are fucking eternal, and they can play whatever the fuck that they want, and they'll always be fucken Motorhead. Lemmy sings like he has always sung and – only the best is good enough – he delivers the second voice as well.