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.

And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff. The rest of the album truly moves at breakneck speeds and overshadows many of Motorheads past accomplishments. 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). 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.The album ends with “Whorehouse Blues”, a touching song about life and sex that would sound more fitting on a Johnny Cash CD. 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. The songs themselves also seem to be more up tempo than usual as the pummeling “Terminal Show” and “Fight!

This created an issue during recording and when Webb complained to manager Todd Singerman, he said, "dude, your ears are different.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. on a lot of the songs the production is a lot more guitar-oriented than some of the previous Motorhead works. 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". Motorhead, like many other bands that have lasted as long, are often accused of becoming stale or washed up. 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”.

and yet again another song instantly identifiable as Motorhead, and throw in another simple-but-oh-so-effective thrash riff. Lemmy adds, "That was a great thing, 'cause Mickey can be really intimidating and so can I, and Phil can be really violent. Then, throw in Keys to the Kingdom, which is a midpaced blues-metal number that somehow reminds me of Saxon. Overkill and Ace of Spades are more influential and were ungodly vicious for their time, but Inferno just might be the heaviest album Motorhead ever put out. Year of the Wolf is melodic speed metal, but still sufficiently aggressive to not be mistaken for Stratovarius.

I know, it’s no new finding that Lemmy was always an expert in reducing music to its essentials and this song shows once again that conventional song patterns are no indication for a stale overall picture. 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 riff of Terminal Show kicks in immediately, and the album just does not fucking let up with the thrash/speed madness through the extended solo, and then the song Killers, and then.