Phil Campbell’s guitar tone is at its most dominant thanks to the bright production job though the rhythm section still holds its own throughout. It consists of an ingenious riff, uncouth yet smooth verses and a chorus that jumps into your brain like a parasite that will never leave you again. 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!

Lemmys bass work is pretty standard "play along with the guitar" stuff, which is for the best since Motörhead plays as a three piece. 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.It was their eighth with the Steamhammer label, and second under Sanctuary Records and its subsidiary Metal-Is in North America and certain territories. About Joe Petagno – interview section with Joe Petagno, bonus DVD with Inferno 30th Anniversary edition SPV69748.

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). 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. 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”). 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. The first of many of the band’s albums to be produced by Cameron Webb, Inferno became Motörhead 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 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. Contrary to popular belief, Motorhead didn’t always release the same album every time they recorded something. These guys are tight, they're veterans, and if you don't know what to expect by now, what kind of metalhead are you?

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? They're not QUITE the one-two-three punch of the opening trilogy (which may be the best opening trilogy of any Motorhead studio album!To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. The songs themselves also seem to be more up tempo than usual as the pummeling “Terminal Show” and “Fight! And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff.