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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. In the Name of Tragedy” is a bit darker, but it also profits from a fantastic flow, a memorable chorus and its simple construction that invites you to bang your head. 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.

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. Lemmy, we do not know exactly what you have done during the last six years, but we are happy that you and your comrades gave us such a rich legacy. Already the voluminous up-tempo opener “Terminal Show” leaves no doubt that the album gives no reason for concern in terms of the mix. Albums like 1916 had attempted this sort of thing before but it’s never sounded as natural as it does here. 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.and yet again another song instantly identifiable as Motorhead, and throw in another simple-but-oh-so-effective thrash riff. The rest of the album truly moves at breakneck speeds and overshadows many of Motorheads past accomplishments. A country blues-style song, it was distinguished by acoustic guitar by all three members, with Lemmy adding harmonica towards the end. Webb told Joel McIver of Classic Rock Presents Motörhead in 2010 that he had wanted to make an album with the band for years and met them for dinner at the Sunset Marquis Hotel to discuss the possibility of working together: "I talked about how I wanted to make a really heavy record with them.

Right, and it still works and has integrity because of its rootsy feel and downhome sensibility--this is no cheesey acoustic ballad.

The CD follows the standard Motorhead format by adding a few songs here and there that slow the tempo and break the atmosphere created by the constant wailing guitar and raspy vocals but not to the point that the mood of the album departs from riotous and raucous, but just enough to give the listener a pause and anticipate the next full on audio assault. they've been speed fucken metal, and now they're clean-picked acoustic guitar, sounding like a dark country song.

Of course, a blues song is neither great nor necessary, but if there is a band that has the right to perform such a number, than it’s Motörhead. Contrary to popular belief, Motorhead didn’t always release the same album every time they recorded something. Then, throw in Keys to the Kingdom, which is a midpaced blues-metal number that somehow reminds me of Saxon. The album ends with “Whorehouse Blues”, a touching song about life and sex that would sound more fitting on a Johnny Cash CD. 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.

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. Lemmy is approximately 82 years old at this point, and here his testicles have grown large enough to be qualified for statehood as set forth in the United States Constitution. Overall, this album would be purely average were it not for "Terminal Show", "Killers", "In the Name of Tragedy" and "Suicide", which are not only heavy and blisteringly fast, but catchy and well-written. 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.

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