In Overkill: The Untold Story of Motörhead, Joel McIver quotes frontman Lemmy from that period: "Elektra passed.

[3] In his autobiography White Line Fever, Lemmy states: "As it turned out, Bill was good for getting sounds, but he fucked everything up in the mix.

In the Motörhead documentary The Guts and the Glory, guitarist Phil Campbell laments: "I think the production let us down on Orgasmatron.

Campbell added that Laswell tried to meld "early hip-hop type sounds" with Motörhead's music and it did not come off.

The preliminary sketch had the Orgasmatron train going in the opposite direction, but Petagno "decided to turn it so it was going out of the picture rather than coming into it.

Some of the album's material remained in the band's live set on and off over the years: "Doctor Rock" opened the live sets for a time; "Built for Speed", a reference to Lemmy's drug of choice and the style of music they played, was played for some years; "Deaf Forever", "Nothing Up My Sleeve", "Mean Machine" all had a run as well.

Robert Christgau, who gave it a positive review, stated: "I admire metal's integrity, brutality, and obsessiveness, but I can't stand its delusions of grandeur--the way it apes and misapprehends reactionary notions of nobility.

Add that rarest of metal virtues, a sense of humor, which definitely extends to the music's own conventions, as on the lead cut of his first album in three litigation-packed years: 'Deaf Forever,' a good enough joke right there (especially for Sabbath fans), it turns out to be a battlefield anthem--about a corpse.

And then add Bill Laswell, who was born to make megalomania signify: where most metal production gravitates toward a dull thud that highlights the shriek of the singer and the comforting reverberation of the signature guitar, Laswell's fierce clarity cracks like a whip, inspiring Lemmy, never a slowpoke in this league, to bellow one called 'Built for Speed.'

"[6] The AllMusic review states: "Laswell does beef up the mix with added sonic detail, which works to particularly good effect on the title track, the densely layered production helps transform the song and its simple riff into a chugging psychedelic noise-fest.

Elsewhere, the production sometimes has the effect of muting the band's energy, sounding oddly processed and lacking the raw bite of past work (which foreshadows their decline over the next few years).

He notes that it "in no way caters" to speed metal, as evidenced by record's "explicitly disco-influenced backbeat", the slower songs with 'rapped' vocals that form its centrepiece, the excessive production from Laswell (who typically works with artists like Afrika Bambaataa or Herbie Hancock) and it appearing on "a label that usually works with Run-D.M.C.

[11] Considering it to be simultaneously the most commercial and riskiest music Motörhead ever recorded, Eddy credits Laswell for accentuating the band's attack by placing the bottom end forward and writes: "Each side begins with a gargantuan syncopation-rock 'dance'-tune, breaks down to a couple familiarly rebellious rapid-fire detonations, then climaxes with a claustrophobic nightmare framed in no-wave white noise.