By 1986, Motörhead had already built a reputation as one of the loudest and fastest bands in Britain. They had smashed through the early 80’s with records like Overkill and Ace of Spades, then hit a weird patch after Another Perfect Day. That album had good songs but the band’s internal chemistry was shaky and the whole thing didn’t quite land commercially. When Orgasmatron arrived a few years later it felt like Motörhead planting their boots back in the ground and reminding everyone who they were.
Quartet
This record also marks a small but important shift in the lineup. For the first time Motörhead were a four-piece instead of the classic power trio. Lemmy still held down bass and vocals but the guitars were split between Phil “Wizzö” Campbell and Michael “Würzel” Burston, while Pete Gill handled the drums. That lineup had been touring together since the mid-80s but this was the first full studio album where the four of them were locked in.
Another strange piece of the puzzle was the producer. The band brought in Bill Laswell, a guy whose résumé included people like Herbie Hancock and Mick Jagger. Not exactly the obvious choice for a dirty British heavy rock band. Orgasmatron was knocked out pretty quickly too. Eleven days in Master Rock Studios in London and the thing was done. Fast recording, loud amps, little time to polish anything. That probably explains why the album has a rough, slightly strange sound compared to other Motörhead records.
Still, when you actually listen to the songs on Orgasmatron, you hear a band that’s firing again. It’s heavier than some earlier records, the guitars are thicker because there are two of them, and Lemmy sounds like he’s chewing gravel and spitting it back through the microphone. The album runs about 35 minutes, nine tracks, no filler, just straight Motörhead attitude.
So let’s go through it track by track.
Track listing
Deaf Forever
Orgasmatron kicks off with a song that wastes absolutely no time. The riff hits straight away and it’s fast even by Motörhead standards. “Deaf Forever” was actually pushed quite hard when the album came out and it even gave its name to one of the band’s compilation releases later on.
The track ended up being played live quite a bit in the late 80s. Lemmy clearly liked it as an opener because it has that immediate punch that grabs a crowd before they’ve even settled in. The two-guitar lineup makes a difference here. One guitar drives the riff while the other slips in little fills and harmonies that earlier Motörhead records didn’t really have.
Nothing Up My Sleeve
This one leans more into the band’s classic rock and roll roots. Motörhead always insisted they were a rock and roll band rather than a metal band, even when the speed and distortion said otherwise.
The groove here has a slightly looser swing compared to the opener. It almost feels like the band jamming around a riff until Lemmy throws his vocal over it. The lyrics are very much in his usual territory, rough life, mistrust, and a bit of dark humour thrown in.
Ain’t My Crime
This track has that slightly sleazy Motörhead swagger that goes all the way back to their late 70s stuff. The rhythm moves at a mid-tempo stomp and it lets the guitars breathe more than some of the faster songs.
What stands out is the way the two guitarists play off each other. One holds down the rhythm while the other throws in quick little leads. That wasn’t really possible when the band was just a trio so this era has a different texture to it.
Claw
“Claw” is one of the nastier sounding songs on the record. The riff feels heavier and darker, almost like it’s trying to push into speed metal territory that bands like Metallica were exploring at the time.
There’s a kind of violent energy in the way the guitars attack the riff. Even the solo feels like it’s tearing through the track rather than floating above it.
Mean Machine
Short, loud and aggressive. That pretty much sums up this one. It barely hangs around for three minutes and it doesn’t need to.
The song basically captures the whole Motörhead philosophy. Loud engines, speed, chaos, and living fast without apologizing for it. The name alone sounds like something Lemmy probably saw written on the side of a biker’s jacket somewhere.
Built for Speed
The title here works on two levels. One obvious meaning is the band’s style of music. Fast riffs, fast drums, fast everything. The other meaning is a bit more personal since Lemmy was famous for his love of amphetamines during that period.
The song itself is longer than most tracks on the album and it stretches out into a heavy groove before building back into the main riff.
Ridin’ With the Driver
This song has a weird bit of history behind it. At one point the album was actually going to be called “Ridin’ With the Driver.” By the time the band changed their minds and renamed the record Orgasmatron, the artwork had already been designed with that train theme. That’s why the cover shows a huge mechanical train monster charging forward.
Musically the song has that classic road-song feel. You can almost picture the band blasting it through a van stereo while heading to the next gig.
Doctor Rock
This one became a fan favourite for a while and even opened some live sets. It’s got a simple hook that sticks in your head immediately.
The idea of Lemmy calling himself “Doctor Rock” fits perfectly with his persona. Half rock star, half outlaw philosopher sitting at a bar somewhere explaining how the world works.
Orgasmatron
The title track is the moment where the album shifts gears. It’s slower and heavier than most of the record. Instead of racing forward like the earlier songs, it marches.
The lyrics are darker too. Lemmy takes shots at power, religion, war and corruption. The whole thing feels like a cynical speech about how the world is run by people who treat humanity like expendable fuel.
Musically it almost sounds like a doom metal track before that style really took off. Big slow riff, thick atmosphere, Lemmy sounding like a prophet shouting from the edge of the apocalypse.
Years later the Brazilian metal band Sepultura covered it and played it live constantly, which introduced the song to a whole new generation of metal fans.
Final Thoughts
Orgasmatron sits in an interesting spot in the Motörhead catalog. It’s not usually the first album people mention when they talk about the band. That honor normally goes to things like Ace of Spades.
But when you actually dig into it, this record is full of strong material. The two-guitar lineup adds muscle, the songs are tight, and Lemmy sounds completely locked into the attitude that made the band famous. The production is a little odd in places and even the band themselves later said the mix didn’t come out quite how they wanted. Still, that rough sound kind of fits Motörhead anyway. Perfect production was never really the point.
What really matters is the feeling of the record. It sounds like a band clawing its way back after a few difficult years. There’s grit in the riffs, stubbornness in the vocals, and a sense that Motörhead were proving they still belonged in the heavy music world.
And honestly, that attitude is what the band always did best.
Rating: 8.5 / 10
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