Terminal Show, Killers, In The Name Of Tragedy, Fight, Keys To The Kingdom and Smiling Like A Killer Fans and newcomers alike who have learned to love that signature Motorhead groove will not be disappointed, with "Terminal Show,""Smiling Like A Killer," and "Fight" all delivering the fix. "Fight" deserves particular attention here as far as quality, and one wonders just how Lemmy, now pushing 60 years old, can still play this fast and this heavy. It goes to show any doubters that Motorhead have not lost any of that drive they've had the whole time. Film Technician [Sound | The Guts And The Glory, About Joe Pentagno] – Alexander Gasteiger, Christian Leyh Whorehouse Blues ends Inferno, and it's quite a strange way to end. It's a blues-style acoustic about everything the band have been through. It even features Lemmy playing harmonica and acoustic. It's odd. It may have been completely improvised, but it makes for a nice way to finish the album with a short discussion of "can we go now?", "yeah". Filming of the video for "Whorehouse Blues" was due to take place in a Stringfellow's club, but Peter Stringfellow objected to the song title and its associations, and withdrew any involvement. With 24 hours left until the shoot, they found a club in Ealing. [4]

There are tinges of the blues here, of punk and of metal", wrote Ian Winwood for Mojo, "played by a band whose sharpness and precision is these days often overlooked." [7]

Notes

Burridge, Alan (March 2007). "Interview with Mikkey Dee by Artyom Golew – became cover story in Sep 2006 issue of Russian Alive magazine". Motörheadbangers. 27 (78): 6–9.

The song that gave Motorhead their name and announced their arrival in no uncertain terms, Motorhead was written by Lemmy whilst still a member of Hawkwind. Released as the B-side to King Of Speed in 1975, the song took on a new life when it was re-recorded by Lemmy's altogether scrappier and greasier new band for their 1977 self-titled debut. Offiziellecharts.de – Motorhead – Inferno" (in German). GfK Entertainment Charts. Retrieved November 8, 2023. However, James Monger of AllMusic chided the band for "churning out the same record over and over again". [6]

The band explained that they made Inferno the same way as all their other albums – at the last minute – by renting a big rehearsal room in Los Angeles and writing songs for about six weeks and, after a week break, recording them while they're still fresh. Guitar riffs are at best catchy as hell and at worst slightly annoying. None of the solos are anything to write home about but they're generally short and don't really get in the way. But when it comes down to it, Inferno stands out thanks to its more ambitious scope. You won’t find any fancy frills on here but moments like the building intro on “Killers” and the lyrical imagery on “In the Year of the Wolf” give things a more noticeable weight than usual. Albums like 1916 had attempted this sort of thing before but it’s never sounded as natural as it does here. The drumming is solid. Nothing you wouldn't expect on a Motörhead album. There's really not much else to say. The bible-bashers can put their complaints to rest, this is an anti-suicide song. Suicide is not as heavy or even as energetic as other numbers on Inferno, but the pulse that it creates and the rhythm that it follows make it a unique moment on this album, probably the best in fact. The chorus, drumming and guitars are all filled in perfectly.

A very bluesy riff takes the beginning of Life's A Bitch -and the album- in a different direction. Through it all, I can say, Motorhead haven't had to change anything in their music that you would have heard about 30 years ago, although the repetition does become tiresome. However, as far as the album goes so far, it's all working out great. If you're an established fan of Motorhead, you should probably add this one to your collection if you haven't already. Otherwise, this wouldn't be a bad start, although you would probably be better off with Overkill. In 2011, Motörhead biographer Joel McIver wrote: " Inferno was a blast from start to finish. Its bottom-heavy, modern sound suited the songs perfectly; it was almost as if, without realizing it, Motörhead had stamped their identity on the album more honestly than on any other album for at least a decade." Fight... "Turn the bass up, will ya?" Another speedy burner... then the last few songs are a bit slower, but still effective. They're not QUITE the one-two-three punch of the opening trilogy (which may be the best opening trilogy of any Motorhead studio album!)... still, they are excellent. Year of the Wolf is melodic speed metal, but still sufficiently aggressive to not be mistaken for Stratovarius. A simple, catchy melody line, accentuated by riffs and vocals. The classic Motorhead formula. Then, throw in Keys to the Kingdom, which is a midpaced blues-metal number that somehow reminds me of Saxon... a triumph of midpaced crunch.

Catalog

Inferno is the 17th album by Motörhead and was originally released on 22nd June 2004. The first of many of the band’s albums to be produced by Cameron Webb, Inferno became Motörhead’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. The album was heralded as their best in a decade. BMG are reissuing this album as a double orange vinyl and digipak. Of course, the sing-along hooks still offer plenty of melody and there are some slower moments that keep things interesting. “Suicide” may be the most accessible song on here thanks to its building guitar work and surprisingly catchy vocal layering and “Keys to the Kingdom” also stands out for its mid-tempo shuffle. 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.

Crew [(They Are) The Road Crew], Tour Manager [Tour Coordination & Production: For In Time Touring, Los Angeles] – Adam Parsons The album's closing song, "Whorehouse Blues", was somewhat of a departure. A country blues-style song, it was distinguished by acoustic guitar by all three members, with Lemmy adding harmonica towards the end. Dee explained his switch from drums: "I've been playing guitar all my life a little bit, because guitars have always been around, so it's nothing spectacular in my eyes." He added: "It's quite fun to walk onstage and do that song. And we definitely surprised the audiences." [3] Lemmys bass work is pretty standard "play along with the guitar" stuff, which is for the best since Motörhead plays as a three piece. The bass just needs to "fill things out". Speaking of fills, Lemmy throws some nice little bass fills in, especially in "Killers". Good touch. Other [Web Team] – Alan Burridge, Bernd Klooss, Chris Hamilton (19), Eric Massicotte, Ernie Sheldon Jr., Paul May*, Harold Taylor (4), Johnny Million, Mario Anfang, Mark Jakeway, Paul Higgins (8), Sarmad Sheikh, Stefano Loi (2), Tayva Martinez, TobiasKuehne*Motorhead have been releasing albums for about 30 years now and Inferno is their 21st studio album. Although even their most die-hard of fans will confess all of their Motorhead albums sound the same, they will proudly declare their exciting stage-act is something that no metal fan can afford to miss. It's now been made clear that Motorhead can write, record and tour for 30 years and still complete the list almost incident free. I suppose it would be rude not to buy this album in a sense.