REVIEWS:
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(reviewed by John Schlegel)
HIGH POINTS: Wrecking Crew, Powersurge, Fear His Name. LOW POINTS: Use Your Head, Fatal If Swallowed.
On their second album, this derivative, New Jersey thrash quartet begins to write some recognizable songs, although the band is still stuck in its primitive stages. Much of the record is still pretty generic, the production is muddy, and vocalist Bobby "Blitz" Ellesworth hasn't found his unique style yet - when he's not growling like a dog, he often wails away in a tenor or falsetto that sounds like a dreadful Rob Halford. Also, there's still a bit of embarrassing, satanic/antisocial posturing, as in the solidly written, but stupid, "Deny The Cross" ("I'll steal your life and rip out your heart . . .") and the excruciating "Fatal If Swallowed" ("Open up wide, I'm cummin' inside" - eww). Musically, "Use Your Head" is completely faceless, offering only a backdrop for Blitz to warn stuffed shirts to get their heads out of their asses.
Still, the band start to show their potential on here. While the album is generic overall, some of these songs do sound more inspired than the ones on the debut, and they're even somewhat enjoyable. Okay, okay - "Wrecking Crew" is a classic speed-romper, I'll go as far as to say that. The way Blitz howls "We are the wrecking crew!" mixes just the right amount of cheese with the band's focused energy, and the song is great fun. "We'll wreck your neck," indeed. "Powersurge" is the other fan favorite on the album, a mid-tempo smasher with a catchy, ascending, double-bass driven chorus. I also like "Fear His Name," a sort of waltzing, Maiden-style anthem that "grooves" more than anything else on here. Apart from those, you have stuff like "In Union We Stand," which is okay, but an obvious rewrite of Judas Priest's "United We Stand," and "Overkill II (The Nightmare Continues)," the second in a trilogy of band theme songs. The latter is catchy, but I never remember it after it's over. So, the band's sound is still underdeveloped on here - and, keep in mind, this is a band that never did anything original - but their sheer conviction at playing thrash is beginning to be recognizable. It's bandwagon-following, it's dated, but it's still decent, and it seems to go by rather quickly, so it's okay for fans.
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(reviewed by John Schlegel)
HIGH POINTS: Hello From The Gutter, Shred, Overkill III (Under The Influence). LOW POINTS: Brainfade, Mad Gone World, Drunken Wisdom.
Well, now, on Under The Influence, Overkill do begin to establish their signature sound. The album still has problems, but more on that later. Anyway, when I proclaim this to be the first true Overkill album, what I mean is that Overkill are better suited as an Exodus clone band than a Metallica clone band (Taking Over sounds similar to Kill 'Em All - I forgot to mention that). Yes, the true '80s Overkill sound is in place here, and this is a good thing. I say this for two key reasons. First, the guitars are less bassey, a lot more trebly, and they "grind" and "scratch" more. I suppose they could sound grating, but they're grating in a fun, juvenile way. Thrash metal guitars are supposed to be trebly; that's the way I've always heard the genre. In concert with the cooler sounding guitars, the drums are recorded better than before, and the snare and kick drums really snap, crackle and pop. I should mention also that D.D. Verni's bass has come up in the mix, and his playing is very sharp and recognizable, a unique trait for a speed metal band. I guess the production on here still isn't great, but I love the jarring way the record sounds. The second important change taking place here is that Bobby "Blitz" Ellesworth is starting to sound like, you know, himself. Okay, his vocals are definitely an acquired taste (like all the high-end on the instruments), but it's my review, so it's my opinion that matters, and not yours. What an awesome style he has - screeching, frantic, like what Bon Scott would've sounded like if he'd been kicked in the nuts.
So, the album has that jagged, high-pitched sound to it that I love about Overkill's '80s output. Unfortunately, though, it still wasn't much of an improvement over the previous record, for the band still had some growing to do as a songwriting unit. This release is just terribly inconsistent - around half the songs, resting at the beginning and the end, are really good, but the other half, in the middle, are extremely uneven. One major problem is that the band is now trying to take on "epics," and the most ambitious of these falls flat. "Drunken Wisdom" has its moments, but it really just sounds like a collection of random parts that don't fit together all that well. Similarly, "Mad Gone World" is a poorly structured anthem, and very awkward listening. "Brainfade" is utterly useless, nondescript thrash; "End Of The Line" is somewhat melodic, I suppose, but also not that memorable.
Oh, but quite thankfully, UTI is not a complete disaster, thanks to those great "peripheral" tracks I mentioned earlier. Best of all, you get "Hello From The Gutter," the exhilarating fist-raiser that was later bashed, rather abrasively, by Beavis and Butthead (on the double live album several years later, Blitz would respond to the boys with a piece of his mind, so read on). "Shred" is a great opener, providing some catchy, mid-tempo thrash. "Overkill III (Under The Influence)" is certainly the best of the theme song trilogy, closing the record with some wonderfully tension-building, melodic metal. This song also has an epic feel about it, and, unlike "Drunken Wisdom," it does work. "Never Say Never" and "Head First" also kick some real ass, to be blunt but honest. What it all boils down to is that if you like Overkill, and you can put up with the dreary midsection, there are some really great moments to enjoy on here. It's hit-and-miss, but UTI is still a decent offering from an average speed metal outfit.
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(reviewed by John Schlegel)
HIGH POINTS: Birth Of Tension, Elimination, I Hate. LOW POINTS: Who Tends The Fire, The Years Of Decay.
The Years Of Decay continues to capitalize on the formula of the last album, except for this time the band enlists the services of famed metal producer Terry Date. As a result, the sound quality on here is even tighter and more audible than before, allowing the band's chops to really shine. This would also be Overkill's first truly good album, boasting a pretty focused set of flashy, power-drenched thrash metal. In fact, many fans go as far as to consider this the band's finest work. I, however, do not see it. Yes, it's an improvement over Under The Influence, with not nearly as much abrupt and forgettable stuff. But the epics are still a problem, with the back-to-back "low points" on side two hampering the album's continuity. "Who Tends The Fire" is just awful - dark, but not in an interesting way, and slow, the song just goes nowhere. Any mild tension created by the verses is lost by the time you reach the even slower chorus. The title track is better, because it actually builds to some kind of climax, eventually. Nevertheless, it's still too slow, not interesting melodically, and it takes entirely way too long to build to its climax. Both songs roll on for eight minutes. Oh, shudder.
However, apart from those two songs, I have no serious complaints. Some of the other songs are rough around the edges, but they have their redeeming qualities. And, as always, a few of these songs are classics. "Birth Of Tension" is so fast and powerful that it's an anomaly for even Overkill - I mean, a death metal band could feel right at home playing this. Just savor the relentless double-kick during the chorus - wow. The minor hit "Elimination" is a rip-roaring, sing-along thrash anthem with a wonderfully agitated vocal from Blitz. The nihilistic, punk-influenced "I Hate" is also fantastic, and the mid-tempo "Nothing To Die For" makes good use of a menacing main riff. Elsewhere, "Time To Kill" gets the album started with one sharp burst of fury - and a really sinister chorus, too, I might add - although the plodding tempo changes later in the song are completely unnecessary (sounds like another okay, but misguided, epic). "Evil Never Dies (E.N.D.)" is downright ferocious in its aggression, and it sounds plenty evil to match its title, even though the chorus is a little awkward. As for the concert favorite "Playing With Spiders/Skullkrusher," it's a good Black Sabbath send-up, I guess, but I'm not head over heels in love with it myself; another one that's just too slow, and goes on for way too long (ten minutes). I do like when the band starts playing those ugly riffs, and boosts up the tempo, though. I apologize to those who consider this the band's pinnacle, but I find the follow-up to be considerably more accomplished and even. That said, TYOD is still quite good overall, and essential listening for any fan of the genre. It would also mark Bobby Gustafson's last album with the band, and both Rob Cannavino and Merritt Gant would take over on guitars.
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(reviewed by John Schlegel)
HIGH POINTS: Coma, Infectious, Thanx For Nothing, Solitude. LOW POINTS: Frankenstein.
Okay - now this is it, the band's definite peak, and a high point in late '80s/early '90s thrash in general. There's a reason why Horrorscope was all the rage in speed metal circles during the time of its release (even if it has become obscured today). This is simply Overkill at their most determined. It's not original, it's not terribly ambitious, it's merely an excellent, carefully made thrash record - nothing more, but absolutely nothing less. If there's just one thing that placed Overkill (now a five-piece) above so many of their "mediocre" peers, it was just their pure conviction. This band doesn't do anything innovative with speed metal, they just take the basic speed metal format and make it as best as they possibly can. And when you listen to this record, and every song is catchy, well performed and well recorded, this conviction I speak of is very apparent. I'm sure the band worked hard, but also had fun, making this record. By consequence, it's very fun to listen to.
I mean, the songs - wow. Every Overkill album has a carefully selected opening track, and "Coma" just might be the best of these ever. Just follow that clean, melodic guitar intro into the sudden attack of the rugged main riff, into the double-bass-led thrash part, into the main body of the song. And what a song - gotta love those guitar chords they layered over the pounding middle eight. Many sections, but perfectly organized. And that's just the first song! From the very start, the "chugga-chugga" thrash of "Infectious" will maul the living crap out of you. The song is totally convincing, and that's even considering that Blitz sings the cheesy lyrics, "I'm a wartime killer, I'm a man/I'm a peacetime killer, doin' the best I can." The punkish "Thanx For Nothing," kicking off with a mean double-bass attack, is also catchy as hell. The slowly-building power ballad "Solitude" is a dark and beautiful closer, with a fine performance from Blitz.
Those are the best songs, but the fun doesn't stop there! "Bare Bones" starts out with a creepy piano intro, then bursts into violently speedy thrash. "Blood Money" is fast and aggressive, but also manages to "bounce" a little; "New Machine" is slower, but has some exciting guitar runs; "Live Young Die Free" is also filled to the brim with great riffery. "Nice Day . . . For A Funeral" is another darker and slower number, but not too slow, and the aggression isn't compromised a bit. I guess I have to admit that I could do without the brooding title track, personally, even though it's not a bad song by any means (actually, it's one of the most popular songs on the album). The cover of Edgar Winter's "Frankenstein" is pointless, not to mention a lot flatter and more sterile than the original. Don't get me wrong - Sid Falck is a fine speed metal drummer, but his "solo" bits on this song are very unimaginative. This is a song that was meant to be performed with finesse, and your average thrash hitters don't really have any place covering it. Still, Horrorscope is a very consistent product, one that the band would never quite be able to top. If you're a metalhead reading this today, chances are you don't have this. So check it out, you may have missed something. Stylistically, it's kind of dated - but if you can get past that, no major problems here.
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(reviewed by John Schlegel)
HIGH POINTS: The Wait/New High In Lows, Under One, Where It Hurts. LOW POINTS: None.
Overkill's second, and last, album for Atlantic Records is a bit of a return to form after the dreary, commercial metal-minded I Hear Black the year before. Now, I do admit that the raw sound of this album has changed a little from before - it's definitely more gravely and "bassey" than it was on Under The Influence, The Years Of Decay and Horrorscope. But despite the engineering, not to mention the year of its release, there's really nothing "grungy" about this - W.F.O. is an album that doesn't care at all about sounding dated, and the music here is very much in the vein of old school, '80s style, technical thrash metal. And when I say the band is returning to form, what I am referring to is that the songs on here are similar to the ones on Horrorscope, with a big emphasis on hooks, and catchy, sing-along, punkish refrains. As you could probably guess, the band are starting to sound a little tired of milking the same formula this time around, and the record sounds somewhat monotonous. Nevertheless, all the songs on here are still catchy and high-energy (if not spectacular), and W.F.O. is still one of the band's most consistent offerings.
Ah, yes, the songs. Forget the passé style, forget the band's repeating themselves. If the songwriting and performances are still strong, then leave it to Overkill to make another excellent CD. Similar to "Coma," "The Wait/New High In Lows" is a crushing, heavy riff-laden classic with cool changes, but it doesn't drag on for too long, so none of the aggression is lost. The biting "Where It Hurts," with its trudging ending section, is clearly in the same vein, and the typically great opener you could expect from Overkill by this point. "Under One" utilizes more dark, fiery riffs, along with the most captivating chorus on the album, and it's an instant Overkill classic. On "Fast Junkie" and "Supersonic Hate," the band explores their pushy punk tendencies more than ever, with blinding fast tempos and more great guitar work; relative newcomer Tim Mallere sounds perfectly comfortable in his drumming on these tracks. The atypically pro-life rant "They Eat Their Young," along with "What's Your Problem?," supply more of those sing-along, Ramones-style refrains that Overkill have practically made their own trademark. "Bastard Nation" is probably the most subdued metal anthem on the album, but it's also the most melodic song, and also good. "R.I.P. (Undone)" is a pretty acoustic piece that the band created as a tribute to a recently deceased member of the band Savatage. The mid-tempo rocker "Up To Zero" and the dark, mini-epic "Gasoline Dream" are not quite as compelling as the rest, but they're still perfectly decent songs. Apart from veering deeper into their love of punk rock, Overkill doesn't really do anything new on here, and the monotony of the disc may be irritating to some. But the song selection is still solid enough to justify the purchase by any metalhead.
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(reviewed by John Schlegel)
HIGH POINTS: I'm not even gonna bother. LOW POINTS: None.
Geez, how predictable. At the end of what was arguably the band's peak - that is, the W.F.O. tour - they release an exhaustive, double live CD. The one serious, almost fatal flaw here is just what I said already - this is sooooo predictable. The band signs to CMC International, and what's the first thing they do? Release what is basically a two disc, best of compilation, except with live versions of their classic songs, once recorded for Megaforce and Atlantic. Sounds like slick marketing to me. So there's absolutely nothing that interesting about this set; it's basically just a live collection of all their thrash metal "hits," combined with several album tracks from their two best albums by this time, Horrorscope and W.F.O.
So, the album sucks big, hairy balls, right? Well, not exactly. Okay, if you take this for what it was marketed as, a predictable, double live greatest hits album, then yes, you can find plenty of fault. In principle. However, I find that when you actually listen to this set, if you like the band or genre, then it is very entertaining. After all, this was recorded from just one performance at the Agora Theater in Cleveland, OH, and it shows - the energy generated by the performances and the momentum of the setlist succeed at creating the vibe of an actual concert. Plus, let's face it, all of Overkill's albums before their two best were more or less inconsistent. Therefore, I don't mind at all that the band merely selects their "hit" songs from all their '80s albums (and I Hear Black) and moves on. Sure, I would love to hear "Birth Of Tension" or "Shred," but I'm not complaining too much - it's a relief to hear "Elimination" and "Powersurge," at least. And when they do play album tracks, they draw from their two best sources, like I said earlier. Therefore, it should be no surprise that such classics as "Coma," "Infectious," "The Wait/New High In Lows" and "Under One" are all represented here. Combined with popular favorites like "Thanx For Nothing," "Where It Hurts," "Fast Junkie" and "World Of Hurt" (the latter from IHB), you really can't go wrong here.
Also, you can pick up a few concert-only treats and hard-to-find tracks on these discs. Okay, I'm actually not thrilled about how the band stops playing half way through "Wrecking Crew" and "Hello From The Gutter." But still, this is an easy place to find "Rotten To The Core," a fantastic power metal song from the band's obscured debut album Feel The Fire, or "Fuck You," from the even more obscured Fuck You EP. The latter is a punk-influenced rave that cuts, mid-song, into Black Sabbath's "War Pigs," and it's great fun. Also, Bobby Blitz's stage banter here is not to be overlooked, especially before "Hello From The Gutter," when he admonishes Beavis and Butthead for tearing into that video: "Dedicated to a couple of cartoon fuckin' friends of mine. Suck my motherfuckin' dick! Hello from the gutter!" So, it's not a profoundly innovative live album (which you can't expect from Overkill anyway), but I still sense that this band packs a great deal of punch live, and that energy is presented very well on here. A predictable set, but well presented, and entertaining as hell.
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