Fight is introduced with Lemmy requesting "put the bass up, will ya?" after which, Lemmy and Philip take the limelight in both instrumentals and vocals. Although, saying that, the drums are played with Great Spirit by Mikkey Dee, and leave you with not only a great song to remember, and with a final "you mother***er" at the end. 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. 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]

Guy Strachan praised Inferno in Terrorizer as "the best album that Motörhead have ever recorded". [9] Terminal Show begins with a great riff, played so furiously that almost any doubts about Motorhead's playing can be put to rest. Lemmy takes it from this point and sings with the same gruff voice, the same form of lyrics, but with Steve Vai playing lead on this one. This is a definite high-point for the album, maybe for even band. I should probably point out that the production on this album is excellent. 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. 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.Terminal Show, Killers, In The Name Of Tragedy, Fight, Keys To The Kingdom and Smiling Like A Killer 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. 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. Well, Lemmy and crew have released their most recent effort, Inferno. And despite what some naysayer may claim this album is just as good, if not better, than their so called classics. Motorhead, like many other bands that have lasted as long, are often accused of becoming stale or washed up. And while this is often true of lesser bands, Motorhead have proven again and again why they deserve to be among the ranks of the metal gods.

But Lemmy has more aces (of spades) up his sleeve. His lyrics have always reflected his special view on the world. He delivers his potpourri of angry, cynical, ironic and laconic (“Life is not a TV dinner”) poetry which makes the musically strong songs even more enjoyable. A few times he also reflects on his own past (“Our badge the ace of spades”, “Eat the rich, life’s a bitch”, “Stay clean, be true”). And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff. This does not mean that each and every song provides an overdose of excitement. But I guess that no Motörhead tune ever did this after “Ace of Spades” – and this is no problem at all, because this band offered other values: permanent reliability, dirty humor, powerful chords. That’s what made them a constant, well-appreciated factor in the metal community. Film Technician [Sound | The Guts And The Glory, About Joe Pentagno] – Alexander Gasteiger, Christian LeyhIf Inferno isn’t the best album that Motorhead ever put out, then it’s a surprisingly powerful addition to their extensive discography at the very least. The songs may be not as iconic as their classic staples but they’re written with a great deal of care and the energy involved is well worth the price of admission. 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. Contrary to popular belief, Motorhead didn’t always release the same album every time they recorded something. While they didn’t stray too far from the template that was laid down by Lemmy’s bass distortion and gargled wheeze, their sound did evolve over time as they discovered variations to their tried and true formula. 2004’s Inferno is one of the finest examples of this phenomenon, giving the band a major burst of energy as they were reaching the latter days of their career.