and yet again another song instantly identifiable as Motorhead, and throw in another simple-but-oh-so-effective thrash riff. This isn't the song that'll make your lawn die, but this is still completely as MOTORHEAD as it gets. These guys are tight, they're veterans, and if you don't know what to expect by now, what kind of metalhead are you? 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. Suicide's a six minute epic slow-burn, and then "Life's a Bitch" starts off with a blues-punk lick before going into - what's this, more fucking speed metal?

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. Then, throw in Keys to the Kingdom, which is a midpaced blues-metal number that somehow reminds me of Saxon. The rest of the album truly moves at breakneck speeds and overshadows many of Motorheads past accomplishments. insure that this album will crush your skull into pulp with every listen and you will come back for more every time. The sound is a little more polished, but other than that it sounds very similar to every other Motorhead album out there.The first of many of the bands albums to be produced by Cameron Webb, Inferno became Motörhead’s heaviest album in years. Lemmys bass work is pretty standard "play along with the guitar" stuff, which is for the best since Motörhead plays as a three piece. And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff.

Although the final song on the album, ‘Whorehouse Blues’ was something of a departure with its country blues style and Lemmy on harmonica.Eventually, both Webb and Lemmy were able to resolve this matter; one of the ways was to turn on the subwoofer after Lemmy had left the studio. Terminal Show” ( with accompanying guitars by Steve Vai) and “In the Name of Tragedy” could easily have become the songs most associated with this band if they were on earlier albums instead of “Ace of Spades”. Right, and it still works and has integrity because of its rootsy feel and downhome sensibility--this is no cheesey acoustic ballad.

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”.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.