“ happened while he was tuning up,” wrote Lemmy. The textural solo on the latter was actually an accident. Motörhead worked on the album at Roundhouse studio with producer Jimmy Miller and Lemmy described the experience as “pure joy.” The frontman wrote most of the lyrics, but “Damage Case” was co-written with his friend Mick Farren, a British journalist and singer for the proto-punk band The Deviants.īefore Motörhead even started recording they had already been playing “Damage Case” live as well as “No Class,” “ I Won’t Pay Your Price” and “ Tear Ya Down.” Other songs on Overkill, including “ Metropolis” and “Capricorn” (Lemmy’s birth sign) were born in the studio. “We only had a fortnight (two weeks) to record Overkill,” wrote Lemmy in his autobiography, White Line Fever, “ considering our checkered recording history it was a world of time for us, and besides, being quick in the studio has always been natural for us.” In addition to the iconic title track there’s the sleazy dissonance of “ Stay Clean,” the murky, stealthy psychedelia of “ Capricorn,” the iconic skull bashing throughout “ No Class” and the Chuck Berry-on-speed finesse of “ Damage Case.” But, like most everything they’ve done, Motörhead crafted and tracked Overkill like a pilot flying drunk and blind. From song to song, the mix is heavy, but diverse and bluesy and never stodgy. It might seem like a legendary album such as Overkill was intensely labored over and painstakingly assembled.
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