time. Wallis' interest in the band was rapidly fading and he soon left, and Motörhead were a trio once more. Recording Four of the songs appearing on On Parole were recorded during a single session at Rockfield Studios in Monmouth, Wales in September 1975, while the rest were recorded in December 1975, with various overdubs laid down in January and February 1976. Initially, the band recorded several demos with producer Dave Edmunds at Rockfield, but Edmunds' commitment to the project was questionable. Lemmy later told Geoff Barton of Sounds: The fatigue of recording with an uncommitted producer also had a deleterious effect on Larry Wallis (who left the band soon afterwards): Of the tracks, three ("Motörhead", "The Watcher" and "Lost Johnny") were re-recordings of songs Lemmy had written and recorded with Hawkwind, "City Kids" was a re-recording of a Wallis-penned track previously recorded by The Pink Fairies, and "Leaving Here" was a cover version of a Holland-Dozier-Holland Motown song Lemmy had learned whilst a roadie for The Birds. Perhaps concluding that the Motörhead version would never see the light of day, Wallis re-recorded and released the track "On Parole" as a B-side to his Stiff Records "Police Car" single in 1977 with two members of Eddie and the Hot Rods (bassist Paul Gray and drummer Steve Nicol). In his autobiography White Line Fever, Lemmy mentions being blown away by Taylor's ability to overdub drums during the On Parole sessions, noting that it was "quite a feat, because the drums are what you usually base a song on – it's kind of like going ass-backwards". Conversely, Lemmy also recalled the moment he realized Taylor was not a singer, noting that "he sounded like two cats being stapled together" while trying to sing "City Kids". The lyrics to "Vibrator" and "Fools" were written by Derek "Dez" Brown, a road-crew member from Wallis' pre-Motörhead band The Pink Fairies. Brown would manage the Live Stiffs tour in 1977, which included Nick Lowe's band on the bill featuring both Wallis and Edmunds. Release Upon hearing the finished recordings, United Artists were not convinced of the album's commercial potential and shelved its release. Lemmy recalled his frustrations dealing with the label: After the band's profile had risen with the commercial success of the albums Overkill and Bomber in 1979, United Artists re-appraised the album and gave it a belated release at the end of that year.