The “substandard” 1982 album Lemmy wanted to go back in time to fix: “Those fucking assholes”
Lemmy Kilmister said he would go back and finish Motörhead’s 1982 album *Iron Fist*, which he felt had been released before the band could complete it. His criticism matters because it followed the success of the live album *No Sleep ’til Hammersmith*, and Lemmy believed the rushed follow-up damaged the band’s commercial momentum.
In a 2006 interview with *Mojo*, Lemmy blamed the record label, Bronze, for releasing the album while it was still being made and said cost pressures drove the decision. He later described *Iron Fist* as “garbage” and “substandard”, though many fans regard it as a solid continuation of Motörhead’s sound. He also acknowledged that dwelling on the past was no use.
- Lemmy wanted to finish Motörhead’s *Iron Fist*.
- He blamed Bronze for releasing it unfinished.
- He felt the album hurt the band’s commercial momentum.
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Lemmy Kilmister, the late frontman of rock band Motörhead, expressed regret over the 1982 album *Iron Fist*, saying he would have gone back in time to complete it properly. He felt the record had been released before the band finished working on it, leaving him dissatisfied with the final result.
The album came out shortly after the commercial success of Motörhead's live album *No Sleep 'til Hammersmith*, and Lemmy believed the rushed release of *Iron Fist* damaged the band's momentum. He blamed the record label Bronze for pushing the album out early due to cost pressures, later describing it as "garbage" and "substandard".
Whilst Lemmy was critical of the record, many fans and critics have since regarded *Iron Fist* as a solid continuation of Motörhead's established sound. Despite his frustrations, Lemmy acknowledged in later interviews that dwelling on past disappointments served little purpose.
Both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Lemmy was justified in criticising the label's decision to rush Iron Fist to market to capitalise on momentum whilst cutting costs. Premature release compromised the band's artistic vision at a crucial moment when a properly finished follow-up to No Sleep 'til Hammersmith could have solidified their commercial position. Record labels bear responsibility for giving artists adequate time to complete their work properly, and financial pressures should not override artistic integrity and creative development.
The case against
Whilst Lemmy's desire for more time was understandable, the album performed respectably and many listeners still regard it as a solid Motörhead record, suggesting the label's decision did not result in a genuine artistic or commercial failure. Record labels must navigate real financial constraints; unlimited time and resources are unrealistic expectations. Lemmy's own later acknowledgment that dwelling on the past was unproductive suggests his fierce retrospective criticism, though emotionally valid, may overstate the actual damage caused by the rushed release.