I’ve been looking at both the substantial three-LP deluxe book edition and the two-CD mediabook. There is plenty to enjoy in the presentation, but the real talking point is Cameron Webb’s new remix, included alongside a remaster of the original mix. Having spent time with both, I’m very pleased we have that choice.
A different chapter for Motörhead
Originally released in 1986 on GWR, Orgasmatron was the first full album by the four-piece line-up of Lemmy, Phil Campbell, Würzel and Pete Gill. Bill Laswell produced the original recording, with Jason Corsaro engineering. [1]
The musicians were:
- Lemmy Kilmister: bass and vocals
- Phil Campbell: guitar
- Würzel: guitar
- Pete Gill: drums
Two guitarists, a different drummer and a sound that stood apart from what had come before: this felt like a new beginning.
Think about the musical landscape in 1986. Thrash was gathering momentum, and elsewhere there was plenty of polish, sheen and big production. Then there was Orgasmatron, sounding raw, aggressive and rather peculiar in its own wonderful way.
Lemmy always described Motörhead as a rock and roll band, and I understand that completely. But to my ears there is a particularly fierce metallic edge to this album. It is heavy, and revisiting it has reminded me just how heavy.
Returning to the original mix
I’ll be honest: I hadn’t played Orgasmatron for quite a while. When I reach for Motörhead, Overkill and Bomber are often where I go. Aftershock gets plenty of attention as well.
So, before listening to the remix, I needed to remind myself what the original actually sounded like.
The drums are huge. I know some people dismiss certain 1980s drum sounds, but I think that decade produced some fantastic ones, including on records outside rock music. Sometimes the drums alone were enough to pull you in.
Here, Lemmy’s bass feels as though you are standing right in front of him. The guitars are present, but it isn’t always easy to separate what they are doing. Everything contributes to this rather chaotic, aggressive sound.
As my ears settled back into it, I remembered the album I knew. It has its own identity. That slightly unruly character is part of the experience.
Cameron Webb’s remix: bringing the guitars into focus
The original production has long divided opinion. The official anniversary announcement acknowledges Lemmy and Phil Campbell’s dissatisfaction with the final mix. Webb approached the project by considering the changes they might have wanted, drawing on his years working with Motörhead. [1]
That perspective matters to me. Reading his account in the book helped explain the thinking behind what I was about to hear.
My first reaction was that I preferred the remix. Lemmy still has the presence I want, but the drums sit back a little, allowing the guitars to come forward. I can hear their definition more clearly without feeling that the band has lost its aggression.
The shouted backing vocals on “Deaf Forever” also feel fuller and more immediate. It is one of those details that draws you straight into the performance.
To my ears, the remix makes it easier to hear a connection with Overkill, Bomber, Ace of Spades and Iron Fist. The original production can feel as though somebody has lifted Motörhead out of their usual surroundings and placed them somewhere else. You have to join the dots yourself. Here, that journey feels more natural.
There is greater coherence, but these songs remain thoroughly impolite. This is still Motörhead.
The remix reveals the guitars more clearly. The original has that strange, chaotic impact that makes you sit back and think, “Whoa, what’s going on here?” I appreciate both experiences.
So I’m not going to declare one the winner. The new mix has renewed my interest in the entire album, including the version I already knew. For me, that is a very good result.
The three-LP deluxe book edition
The vinyl edition is a substantial thing to hold. It is heavy, beautifully presented and gives the photographs, memorabilia and album story room to breathe.
I really enjoyed the essay and the material explaining how the record came together. The handwritten notes, period images and discussion of the remix give you something worth sitting down with while the music plays. Neil Perry wrote the album history included in the anniversary editions. [2]
The records sit in wallets within the book, with the second and third LPs housed together in a larger pocket towards the back. It makes for a compact arrangement considering the size of the package.
My main criticism is the absence of polylined inner sleeves. The supplied sleeves aren’t the particularly harsh, scratchy card type, and the pressings in my set are very good, but I’ll be adding polylined sleeves myself.
There is also a useful little spot inside the book for the hype sticker, which is where mine has ended up.
The two-CD mediabook
I think BMG have done a lovely job with the CD edition too. I really like this mediabook format: you have a proper book to explore, with the two discs housed in pockets at the back.
The main written material is here, including the album history and discussion of the remix. The larger vinyl book naturally gives the images more impact, and I noticed some additional pictures there, but the CD edition is a satisfying package in its own right.
It also sits nicely alongside the earlier Motörhead editions. That consistency matters when you are building a music library and want related releases to sit together on the shelf.
Rehearsals, outtakes and the BBC session
The rehearsal recordings sound like rehearsal recordings. I knew what to expect, and pristine sound quality isn’t the attraction for me here.
You are hearing Lemmy and the band working things out, tinkering with the material and having a laugh. Those glimpses of the people behind the finished record are priceless to me.
The BBC material is fantastic. That section opens with “Killed by Death”, one of my favourite Motörhead tracks, and immediately gets my attention. Alongside the album and remix, it makes a very welcome part of the listening experience.
If you love large-format artwork, photographs and the experience of playing records, the three-LP book is a very appealing package. If you prefer CD, or simply have less shelf space, the mediabook gives you the complete audio content in a much smaller format.
Release details
Motörhead – Orgasmatron: 40th Anniversary Edition
Label: BMG
Release date: 6 November 2026
Reviewed: 3LP deluxe bookpack and 2CD mediabook
New remix: Cameron Webb
Phil Aston | Now Spinning Magazine
