Filming of the video for "Whorehouse Blues" was due to take place in a Stringfellow's club, but Peter Stringfellow objected to the song title and its associations, and withdrew any involvement. With 24 hours left until the shoot, they found a club in Ealing. [4]

Guy Strachan praised Inferno in Terrorizer as "the best album that Motörhead have ever recorded". [9] There are tinges of the blues here, of punk and of metal", wrote Ian Winwood for Mojo, "played by a band whose sharpness and precision is these days often overlooked." [7] 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. Of course, the sing-along hooks still offer plenty of melody and there are some slower moments that keep things interesting. “Suicide” may be the most accessible song on here thanks to its building guitar work and surprisingly catchy vocal layering and “Keys to the Kingdom” also stands out for its mid-tempo shuffle. 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 half of the album is truly perfect, and the second half still is a lovely slab of high-octane Motörhead noise. It may be the most "in-your-face" album, and it's one of their best-produced. There are some subtle hints of loudness war raging, but really, Motörhead's sound is not something that suffers much from that.

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] About Joe Petagno – interview section with Joe Petagno, bonus DVD with Inferno 30th Anniversary edition SPV69748. 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.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. In 2011, Motörhead biographer Joel McIver wrote: " Inferno was a blast from start to finish. 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." Film Technician [Sound | The Guts And The Glory, About Joe Pentagno] – Alexander Gasteiger, Christian Leyh Crew [(They Are) The Road Crew], Tour Manager [Tour Coordination & Production: For In Time Touring, Los Angeles] – Adam Parsons A very bluesy riff takes the beginning of Life's A Bitch -and the album- in a different direction. Through it all, I can say, Motorhead haven't had to change anything in their music that you would have heard about 30 years ago, although the repetition does become tiresome. However, as far as the album goes so far, it's all working out great.

Motorhead first appeared in 1975 when the NWOBHM had first appeared, their rapid high-energy riffs and aggressive vocals had them recognised by both the Punk and Metal community to cause an almost over-night sensation. 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. Produce Like A Pro. "Mixing Motorhead with Cameron Webb - Warren Huart - Produce Like A Pro". YouTube . Retrieved 30 March 2022. However, James Monger of AllMusic chided the band for "churning out the same record over and over again". [6]

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The drumming is solid. Nothing you wouldn't expect on a Motörhead album. There's really not much else to say. Crew [(They Are) The Road Crew], Tour Manager [Tour Coordination & Production: For ..., Los Angeles] – In Time Touring

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. But when it comes down to it, Inferno stands out thanks to its more ambitious scope. 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. Albums like 1916 had attempted this sort of thing before but it’s never sounded as natural as it does here. 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. 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.Motorhead have been releasing albums for about 30 years now and Inferno is their 21st studio album. Although even their most die-hard of fans will confess all of their Motorhead albums sound the same, they will proudly declare their exciting stage-act is something that no metal fan can afford to miss. Goods that are faulty or sent in error must be returned to Crash Records Limited, 35 The Headrow, Leeds, LS1 6PU within 7 working days of the item being received by the customer. Inferno is the 17th album by Motörhead and was originally released on 22nd June 2004. The first of many of the band’s albums to be produced by Cameron Webb, Inferno became Motörhead’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 album was heralded as their best in a decade. BMG are reissuing this album as a double orange vinyl and digipak. It's now been made clear that Motorhead can write, record and tour for 30 years and still complete the list almost incident free. I suppose it would be rude not to buy this album in a sense. The band explained that they made Inferno the same way as all their other albums – at the last minute – by renting a big rehearsal room in Los Angeles and writing songs for about six weeks and, after a week break, recording them while they're still fresh.