Ranking The Albums: Motörhead

Written: August 2026

Motörhead occupy a somewhat unique position in my music collection. While I would never claim that every album is of the same standard, I also believe the band never released a truly poor studio album. Some connect with me more strongly than others. However, even those releases towards the foot of this ranking contain plenty to enjoy.

My own journey with Motörhead began in 1988 at the age of sixteen. Having discovered Iron Maiden through Seventh Son of a Seventh Son, I soon found myself exploring the wider world of heavy metal. Black Sabbath followed via Headless Cross and, alongside them, Motörhead. Orgasmatron became the first Motörhead album I owned and remains a particularly important record for me. Rock ‘n’ Roll followed and then much of the back catalogue.

As with many of my other ranking pieces, my introduction to each album and my personal connection with them has played a part in their placement, shaped by nearly four decades of following one of the most important bands heavy rock and heavy metal has ever produced.

 22: March ör Die (1992)

Despite Motörhead’s extraordinary consistency, something has to come at the bottom of this ranking - an album notable for the firing of Phil Taylor and the arrival of Mikkey Dee, with Tommy Aldridge playing the drums on all but two of the songs. Although I have listened to it many times since its release, it has never resonated with me in quite the same way as much of their catalogue. However, there is still much of merit to be found here including some genuinely great deep cuts such as Too Good To Be True.

Three favourite tracks: Hellraiser, Too Good To Be True, March ör Die

21: Hammered (2002)

Like March ör Die, Hammered is a solid album that never threatens to become spectacular. A less aggressive album than its predecessor We Are Motörhead, it was written incredibly quickly and that comes across in an album that feels more uneven than many Motörhead releases. Even so, Brave New World and the thundering Red Raw demonstrate that the band were still more than capable of producing some excellent songs.  

Three favourite tracks: Brave New World, Voices From The War, Red Raw

20: Snake Bite Love (1998)

Snake Bite Love arrived after Bastards, Sacrifice and Overnight Sensation, three excellent albums that had only increased my affection for Motörhead after several years of following the band. Expectations were therefore understandably high. While I would not describe Snake Bite Love as a total disappointment, it was the first release in some time that left me feeling the band had fallen short of the standards they had set themselves. It lacks the spark that elevates a good Motörhead album into a great one.

Three favourite tracks: Love For Sale, Dogs of War, Dead and Gone

19: We Are Motörhead (2000)

We Are Motörhead felt like a statement of intent. Twenty-five years into their career, while many of their contemporaries were slowing down or looking backwards, Motörhead responded with perhaps their fastest and most direct album. The title track in particular sounds like a mission statement for the band at the dawn of a new century. It may not possess quite as many standout moments as the albums above it but it is delivered with a gleeful malevolence.

Three favourite tracks: Stay Out Of Jail ,One More Fucking Time, We Are Motörhead

18. The Wörld Is Yours (2010)

Even at position eighteen, we are firmly into the territory of albums that I regard as genuinely good records rather than merely respectable additions to the catalogue. What I love most about The Wörld Is Yours is that it sounds like a band with absolutely nothing left to prove and Lemmy is on amazing form once again. By 2010, Motörhead had already secured their place in rock history, yet the opening run of songs is played with the same hunger that had characterised the band for decades. The album perhaps loses a little momentum during its middle section but there is enough here to demonstrate why the Cameron Webb years are regarded so highly. Dedicated to the memory of Ronnie James Dio, most bands would have been delighted to produce an album of this standard thirty-five years into their career.

Three favourite tracks: Born To Lose, I Know How To Die, Brotherhood of Man

17: Motörizer (2008)

Motörizer’s position here perhaps does not fully reflect my affection for the album but points to the quality of the albums above it. Like much of the band's later output, it benefits from the chemistry and experience of the Lemmy, Phil Campbell and Mikkey Dee line-up. The playing throughout has an easy confidence about it, the trio sounding completely comfortable in one another's company. Campbell's guitar work is particularly impressive and there is a looseness to the performances that gives the album considerable character.

Three favourite tracks: Teach You How To Sing The Blues, Heroes, The Thousand Names of God

16: Rock ‘n’ Roll (1987)

Rock 'n' Roll has always felt slightly overlooked within the Motörhead catalogue. Sitting between Orgasmatron and 1916, two albums I rate very highly, it is easy to see why it is sometimes overshadowed. Nevertheless, I have always had a soft spot for it. The inclusion of Michael Palin's wonderfully eccentric spoken-word blessing provides a genuinely unexpected moment in the band's catalogue. One of the best tracks from these sessions is the B’-Side Just ‘Cos You Got The Power and it should have found a place on the album. Rock ‘n’ Roll may never rank amongst Motörhead's finest achievements but I have always felt it deserves more attention than it usually receives.

Three favourite tracks: Rock  ‘n’ Roll, Eat The Rich, Traitor

15: Iron Fist (1982)

Iron Fist was the final studio album recorded by the classic trio and also marked the end of a period in which the band had released five albums in little more than four years. Tensions had begun to emerge and Clarke would depart shortly afterwards, bringing the group's most celebrated line-up to a close. As a result, Iron Fist often finds itself compared unfavourably with Overkill, Bomber and Ace of Spades. While I would not place it alongside those albums, there is still much to admire here. The title track can be listed among Motörhead's defining songs and the album captures the raw energy that helped establish the band's reputation.

Three favourite tracks: Iron Fist, I’m The Doctor, (Don’t Need) Religion

14: Sacrifice (1995)

Following the excellence of Bastards was never going to be easy but Sacrifice comes remarkably close. Aggressive even by Motörhead standards, it contains some of the heaviest material the band ever recorded. Mikkey Dee's drumming is particularly impressive, driving the songs forward with tremendous force, while the twin-guitar combination gives the album a weight that often borders on thrash metal. It would prove to be the final album recorded by Motörhead as a four-piece before Würzel's departure.

Three favourite tracks: Sacrifice, Sex & Death, Make ‘Em Blind

13: Aftershock (2013)

One particular joy of following Motörhead for so many years was watching them continue to produce quality music long after many bands would have settled for simply revisiting former glories. Aftershock is a perfect example. Mikkey Dee is particularly impressive throughout, the trio sounding as energised as they had at any point in their career. More than anything, Aftershock forms part of the remarkable run of albums from Inferno through to Bad Magic, a sequence that underlined just how consistently Motörhead continued to perform during the final phase of their career.

Three favourite tracks: Coup de Grace, End of Time, Dust and Glass

12:  Motörhead (1977)

Viewed purely as a historical document, the band's debut is fascinating. It captures Lemmy, Fast Eddie Clarke and Phil “Philthy Animal” Taylor before the trio's blueprint was fully established and provides plenty of clues as to what would follow. However, it also reveals a band still searching for its direction, combining punk energy, hard rock riffs and more than a touch of bluesy bar-room swagger. Its importance cannot be overstated, but it would take Overkill for Motörhead to become fully recognisable as the band we know today.

Three favourite tracks: Motörhead, Iron Horse / Born to Lose, The Watcher

11: Overnight Sensation (1996)

Overnight Sensation marked the beginning of Motörhead's longest-serving line-up and return to a three-piece. As a result, the album possesses a noticeably different character to its immediate predecessors. The dense, heavy attack of Bastards and Sacrifice is replaced by a leaner sound, with plenty of room for Lemmy's bass and Phil Campbell's guitar work to breathe. I can understand why some fans prefer the heavier approach of the albums that came before but I have always appreciated the confidence and songwriting on display here.

Three favourite tracks: Civil War, Overnight Sensation, Shake The World

10: Bad Magic (2015)

It is difficult to believe that more than a decade has passed since the release of Bad Magic. At the time, there was no reason to think it would be Motörhead's final studio album and that makes it all the more remarkable. There is no sense of a band running out of ideas or relying solely on past achievements. Instead, they sound every bit as committed as they had throughout the preceding decade. Looking back now, it feels entirely appropriate that they should conclude their recording career with an album of this standard.

Three favourite tracks: Victory or Die, Teach Them How To Bleed, Tell Me Who To Kill

9: Kiss of Death (2006)

I suspect this is higher than many Motörhead fans would place it but Kiss of Death has occupied a high placement in my collection for many years. By this stage, Lemmy, Phil Campbell and Mikkey Dee had become an exceptionally tight unit. As with many Motörhead records, Lemmy's lyrics are often overlooked and Sword of Glory serves as a reminder that his writing could be thoughtful and reflective when the subject matter demanded it. The album also contains God Was Never On Your Side, one of the finest slower songs in the band's catalogue, its powerful subject matter perfectly complemented by a memorable guitar solo played by CC DeVille of Poison.

Three favourite tracks: Devil I Know, God Was Never On Your Side, Sword Of Glory 

8: Inferno (2004)

The arrival of producer Cameron Webb proved to be a significant moment in Motörhead's career and Inferno marked the beginning of a remarkable run of form. More than three decades after the band's formation, they sounded reinvigorated and inspired. Rather than simply relying on reputation, the combination of brute force and memorable songwriting meant that Inferno stands side by side with the band’s most famous material.

Favourite tracks: Killers, In The Name of Tragedy, In The Black

7: Orgasmatron (1986)

This ranking was never going to place Orgasmatron anywhere but near the top. It was the first Motörhead album I owned and served as my gateway into the band's catalogue. For that reason alone, complete objectivity is impossible. Fortunately, it is also an excellent album. Darker and more menacing than much of what had come before, it contains a title track that remains central to the band’s legacy and a sense of atmosphere that sets it apart from many other Motörhead releases. Few albums have played a bigger role in shaping my musical tastes. Almost four decades after first hearing it, Orgasmatron still takes me back to the excitement of discovering a band that would become a lifelong favourite.

Three favourite tracks: Deaf Forever, Claw, Orgasmatron 

6. Bomber (1979)

Released only months after Overkill, the excellence of Bomber remains astonishing. Faced with following one of the greatest albums in rock and metal history, Motörhead responded with another superb collection of songs. Tracks such as Stone Dead Forever and the title track remain staples of the catalogue and perfectly capture the band's early energy and attitude. Although it can sometimes be overshadowed by the albums either side of it, Bomber deserves recognition as an essential Motörhead record. I have always had a particular fondness for the album and even have a jigsaw of the iconic cover artwork hanging on my wall.

Three favourite tracks: Dead Men Tell No Tales, Stone Dead Forever, Bomber

5: Another Perfect Day (1983)

No Motörhead album divides opinion quite like Another Perfect Day. For me, it remains the most underrated release in the band's entire catalogue. Brian Robertson brought a completely different flavour to the band and the result is an album unlike any other in their discography. The guitar work is exceptional throughout and gives the record a distinctive personality that has always appealed to me. While some fans continue to view it as an anomaly, I have always considered it a bold creative success and an extremely accomplished album.

Three favourite tracks: Shine, Dancing On Your Grave, Another Perfect Day

4: 1916 (1991)

Few albums on this list carry quite the same personal significance. Because of the four-year gap between Rock 'n' Roll and 1916, this was the first new Motörhead album I experienced as a fan. It also led directly to my first Motörhead concert at Leicester De Montfort Hall during the 1916 tour. The band themselves clearly held the material in high regard, performing seven songs from the album that night. Beyond the memories, it combines power, variety and some of Lemmy's finest songwriting. The title track in particular stands apart, not just within the Motörhead catalogue but music as a whole, ranking among the most heart-breaking and emotionally powerful songs ever written.

Three favourite tracks: The One To Sing The Blues, I’m So Bad (Baby I Don’t Care), 1916

3: Ace of Spades (1980)

What can be said about Ace of Spades that has not already been said? It is the album that introduced countless listeners to Motörhead and remains a defining record in heavy music. By the time I discovered the band through Orgasmatron, its reputation was already firmly established and it did not take long to understand why. The title track has become so iconic that it can sometimes overshadow the rest of the album, yet the quality extends far beyond those three famous words. Overflowing with attitude, it fully deserves its legendary status.

Three favourite tracks: Ace of Spades, Live To Win, The Hammer 

2: Overkill (1979)

If Ace of Spades is the seminal Motörhead album, Overkill is the moment the band truly discovered its identity. Everything that would define Motörhead is present here: speed, attitude, volume and absolute conviction. Emerging like a raw blast from the underground, it embodied a furious, unrelenting energy that would help shape the future of heavy music. Lemmy's bass and vocals drive the album forward with relentless force. Nearly fifty years after its release, Overkill still sounds dangerous, vital and is capable of getting the adrenaline flowing like few albums can.

Three favourite tracks: Overkill, Stay Clean, Damage Case

1: Bastards (1993)

I fully appreciate that fans who were there for the release of Overkill, Bomber and Ace of Spades may be surprised to see Bastards sitting at the top of this ranking. For me, however, the timing was perfect. Following the brilliance of 1916 and the relative disappointment of March ör Die, it felt like Motörhead had rediscovered their direction with tremendous force. The arrival of Mikkey Dee brought a renewed intensity to the band and on Bastards, everything clicked into place. Heavy, consistent and packed with memorable songs, no other Motörhead album has managed to dislodge it from the top of my personal rankings.

Three favourite tracks: Death or Glory, Born To Raise Hell, Liar

Listen to my Motörhead Through the Years playlist featuring my three favourite songs from each album in chronological order.