A country blues-style song, it was distinguished by acoustic guitar by all three members, with Lemmy adding harmonica towards the end. 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.

We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. The vocals are well done, and there's plenty of subtle harmony to thicken the vocals and bring them out without making them too loud. The first of many of the bands albums to be produced by Cameron Webb, Inferno became Motörhead’s heaviest album in years.

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. This isn't the song that'll make your lawn die, but this is still completely as MOTORHEAD as it gets. There are these soldiers coming in from the sides, which is very much like Iraq or any other hotspots in the world. This CD shows proof positive that he is not growing mellow with age--in fact, he is still spitting venom with fire blazing in his eyes and beating holy hell out of his bass. 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 created an issue during recording and when Webb complained to manager Todd Singerman, he said, "dude, your ears are different.Gang choruses and all, THIS is just about the best Motorhead song since the Sacrifice LP and the underrated "Dog Faced Boy". Needless to say that the number does not only provide solid heaviness, but also the casual touch that has given a lot of Motörhead’s tracks its special flavour. Lemmy is older than my Dad and he is still the High Priest of the Church of Motorhead, Keeper of the Sacred Rickenbacker 4001 Bass of Destruction and the Sanctified Marshall Bass Stacks of DOOM! The production is perfect, also, not as cloudy as it was on "Hammered" ( a great album regardless of popular opinion); the crunching guitar is perfectly balanced against the bass, which sounds like an amped-up Harley motorcycle as always, and Mikkey Dee's drums boom and crack with thunderous power under it all.

Smiling Like a Killer is one final blast of hyperspeed, though more simplistic and punkish than previous speed-burners on the album. if they can crank out the filler material, and even the filler material is pretty fucken good, more power to 'em. 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. 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. Then, throw in Keys to the Kingdom, which is a midpaced blues-metal number that somehow reminds me of Saxon.on a lot of the songs the production is a lot more guitar-oriented than some of the previous Motorhead works. Lee Marlowe of Classic Rock stated in 2013 that "Killers" "is as catchy as anything in the band's vast catalogue: a strident stand-out on one of the strongest albums they've done", while "Whorehouse Blues" "makes perfect sense". Not only was Webb able to find unity in the band in terms of recording but also understand Lemmy's bass sound, which had a lot more gain than low end. It keeps a fast pace (for blues inspired country) and light attitude and has an unmistakably Motorhead feel to the lyrics with a chorus that proudly declares that “You know we aint too good looking/But We are satisfied/No we aint never been good looking/But we are satisfied/We shoulda opened a little whorehouse honey/get a little booty on the side”. Already the voluminous up-tempo opener “Terminal Show” leaves no doubt that the album gives no reason for concern in terms of the mix.

And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff.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. and yet again another song instantly identifiable as Motorhead, and throw in another simple-but-oh-so-effective thrash riff. It’s a shame that the band never reached their level of intensity again but they never stopped finding ways to live up to their unshakeable reputation. But I wanted to take the original three chrome heads I had created two years earlier and show it in the process of being formed at the foundry.