ALL ABOUT BEING LOUD

In an exclusive extract from his Fast Eddie biography Make My Day, long-time Motörhead associate Kris Needs looks back at the making of their game-changing Overkill album and the subsequent killing-it UK tour.

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In late 1978, now signed to Bronze Records, and with the latest tour completed, Motörhead could get down to two weeks of recording at Roundhouse Studios in London. Whereas Motörhead had been hammered out double-quick in a desperate bid to clinch an LP release with Chiswick Records, the album that became Overkill had a bigger budget and meant 'Fast' Eddie Clarke could take his time on his overdubs once the trio had recorded the basic tracks.

Producing was the legendary Jimmy Miller, who'd made his name at Island before helming the Rolling Stones' late-60s and early-70s 'purple patch'.

His dad had run a New Jersey club favoured by the Rat Pack, and brought Elvis to Las Vegas in 1969. Miller had trained in studio engineering as a protégé of Stanley Borden, the owner of US labels RKO, After Hours and Unique Jazz, who was Chris Blackwell's original backer in Island Records.

After Borden suggested bringing Miller over to the UK, he swiftly established himself producing hits for the Spencer Davis Group, including Gimme Some Lovin', and I'm A Man which he co-wrote with Steve Winwood. Miller went on to work on big late-60s albums by Spooky Tooth, Traffic, Blind Faith and Delaney & Bonnie before '68's Beggars Banquet marked the start of his studio relationship with the Stones, which continued with Let It Bleed, Sticky Fingers, Exile On Main St and Goats Head Soup.

Miller could also play percussion, and did the cowbell intro to Honky Tonk Women and played drums on several tracks when Charlie Watts was indisposed or demurred.

His close relationship with the Stones collapsed only after he became addicted to the heroin that was then around in abundance, and he had to be dismissed.