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. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. 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.

Every now and then, a song walks the thin line between “okay” and “meaningless”, for example “In the Year of the Wolf”, but after all, there is no reason to skip a song. In an interview for the bonus Inferno DVD, drummer Mikkey Dee states that Webb "pushed us a little more. 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. 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.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. That's right, In the Name of Tragedy is a punk/thrash number with a bit of Laaz power, but with Lemmy and Motorhead doing their thing as only Lemmy and Motorhead can. Songs like “Keys to the Kingdom” emphasize this strengthening of the blues influence more than any others (except for track 12, more on that later). Lemmy adds, "That was a great thing, 'cause Mickey can be really intimidating and so can I, and Phil can be really violent.

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. The sound is a little more polished, but other than that it sounds very similar to every other Motorhead album out there.Liberal injections of punk and speed metal-influenced riffing plus a staggering Steve Vai solo on the opening track ("The Terminal Show", and since when does Vai never play less than brilliantly? Oh yeah, but the lyrics for "In the Name of Tragedy" are a little dumb (but hearing Lemmy rhyme "funky" and "monkey" is kind of funny). This isn't the song that'll make your lawn die, but this is still completely as MOTORHEAD as it gets.

Indeed, the man who seemed to be blessed with the power to live a rockstar life eternally, died exactly six years ago.If you listen closely, you can notice Lemmy drop references to other classic Motorhead tracks, including "Stay Clean", "Eat the Rich" and the immortal "Ace of Spades", and the acoustic "Whorehouse Blues" at the end is very reminiscent of the track "1916".

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. The rest of the album truly moves at breakneck speeds and overshadows many of Motorheads past accomplishments.

The album ends with “Whorehouse Blues”, a touching song about life and sex that would sound more fitting on a Johnny Cash CD. There are these soldiers coming in from the sides, which is very much like Iraq or any other hotspots in the world.