You’d think Germans are the biggest fans of Motörhead based on the reactions of the crowd at the band’s 2012 Berlin stop on the “King Of The Road” tour. It’s beautifully captured on the new album Louder Than Noise… Live in Berlin, with 12,000 screaming fans and big hits displayed in all their glory. The record is being released along with a concert film recorded at the Veldrom, Berlin’s indoor cycling track and largest concert venue.

Frontman Lemmy Kilmister’s gravelly voice begins the album with a friendly German greeting “Guten abend,” then screeching guitars begin to play “I Know How To Die” from 2010’s The Wörld Is Yours. “Damage Case” follows, from Motörhead’s first album to break onto the charts, 1979’s Overkill. Lemmy’s romantic side is showcased in lyrics like “And I can tell by your face/ You’re all over this place/ Let me inside your face/ Move over for a damaged case.” “Stay Clean” and “Metropolis” add to the block of hits and hard riffs that are signature to Motörhead and its 1979 record.

“Over The Top” is the early release from Louder Than Noise, which Lemmy lovingly dedicates to guitarist Phil Campbell and himself. However, “Doctor Rock,” from ’86’s Orgasmatron, is also an appropriate devotion to the pair with the lyrics “Chin up, shoulders back/ You’ve got a body like a Marshall stack/ Keep still, take your pill/ Or I’m gonna make you really ill,” which mixes sexual innuendo, physical aggression and humorous metaphors in a way that makes Motörhead really fun to listen to.

“String Theory” is a wicked two-minute guitar solo by Campbell, who noodles the secrets of the universe to an eager crowd. It’s followed by “The Chase Is Better Than The Catch,” where Lemmy continues his musings of bedding women by being honest about his shortcomings. “You know I’m bad, the times I’ve had/ I’ve got a bad reputation/ I don’t care, I get my share/ Don’t feel no deprivation,” he gurgles. Undoubtedly, this strategy works wonders.

“Rock It,” from 1983’s Another Perfect Day, starts out with praise for Lemmy’s one true lord and savior: “Rock ‘n’ Roll, save your soul/ And I got it/ Give it to me, loud and free/ Don’t knock it.” “You Better Run” uses a classic “bad to the bone” guitar riff, another great solo from Campbell and lyrics about running from the law to whiplash the audience.

“The One to Sing the Blues” gives drummer Mikkey Dee the spotlight with a nearly five-minute rolling drum solo. Lemmy introduces “Going to Brazil” by saying “this is a rock and roll song.” While the band has often been classified as metal, Lemmy has always insisted that Motörhead was a straight-up rock band, and “Going to Brazil” reminds us of that. However, “Killed by Death” is laced with heavy metal riffs, and one can see how Motörhead fits the genre.

The album closes with two major hits. Lemmy announces the conclusion of the set, with the caveat that if fans scream hard enough, there will be an encore.

“If you make your noise afterward, we come back, so it works out the same way,” he states, with a blunt honesty that makes women want to hide him in their beds.

“Ace of Spades” blasts straight out of the speakers with its iconic sound of the ’80s. After the audience has made adequate pleas, Motörhead returns for “Overkill.” “Don’t forget us. We are Motörhead, and we play rock and roll!” Lemmy says before the band demands that everyone stand. “Only one way to feel the noise/ Is when it’s good and loud/ So good I can’t believe it/ Screaming with the crowd,” he proclaims.

Rest in peace Lemmy and long live Motörhead.

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