Evolution of Overkill Part 1

Given the release of their awesome new record - The Wings of War - is their 19th LP, New Jersey thrash veterans Overkill have a long legacy of killer metal albums behind them. With next year set to mark the band’s 4th decade in the rock ‘n’ roll business, I thought it would be fun to explore their studio back catalogue. I personally have plenty of favourite Overkill bangers, yet there’s still half of their records I’ve barely heard - pretty much every album released between Horrorscope and Ironbound. So come along as I dive head first into the gutter and explore Overkill from album to album, discussing how the band have evolved since the ‘80s to the present day. I’m looking forward to sharing my favourite Wrecking Crew tunes and discovering new ones along the way. So let’s not delay, Overkill have been expecting us…

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Feel the Fire (1985)

After the Power in Black demo and their self-titled EP (or Rotten to the Core demo depending on if you got it in ‘84 or ‘85), Overkill dropped their debut LP - Feel the Fire - in late 1985. About half of the album is made up of tracks from the previous two releases albeit with the improved production. Like most early thrash, the pace is punky at the maximum and the sound is rather unique. I can’t think of an album that’s sonically like Feel the Fire - it’s one of those albums that when you hear the first note of any song from it being played, you can tell it’s from the album. D.D. Verni’s awesome prominent bass sound that persists in the Overkill sound today, also stands out on the debut LP. Musically Overkill’s hallmarks have been on display since the beginning. There’s plenty of riffing reminiscent of the punk and NWOBHM bands that inspired them. In addition to the bass, eternally enigmatic frontman Bobby Blitz means business from the first spin. I’ve honestly never heard that insane high-pitched cackle at the beginning of “Rotten to the Core” anywhere else. The riffing is generally simple but effective - it’s hard not to headbang once the drums kick in after the intro to “Raise the Dead”, or throw yourself into the nearest unsuspecting victim to start a pit upon hearing the opening stabs of “Hammerhead”. It may lack the refinement that would come to Overkill a couple of years later, but it’s hard to deny the impact of Feel the Fire. It’s got that wee dab of polish to sound better than the demos but still has a real rawness to it. There’s no duds (though I have my favourites) or filler tracks, and there’s a youthful energy that overall makes for a killer thrash debut. It’s easy to see why these songs often appear in live sets. After hearing Feel the Fire, the blood and iron of thrashers everywhere is certain to turn green and black - and even after 34 years Overkill are more than happy to accept donations. Critical Hits: “Raise the Dead”, “Rotten to the Core”, “Hammerhead”, “Feel the Fire”, “Blood and Iron”, and “Overkill”

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Taking Over (1987)

Taking Over saw Overkill bring a more powerful sound, with punchier drums, booming bass and fuzzy guitars. There’s plenty more awesome riffs and mosh pit-filling thrashers like “Powersurge” and “Electro-Violence”, as well as NWOBHM-style speed metal epics in “Deny the Cross” and the melodic “Fear His Name”. Bobby Blitz’ vocals are on fire on Taking Over with plenty of throat shredding screams and an almost theatrical delivery, like in the aforementioned number and the insanely catchy “Fatal If Swallowed”. It can sound cheesy at times but that’s part of the album’s charm, and the band’s enthusiastic performance sounds like they had a blast making the album. Overkill anthems “Wrecking Crew” and crowd chant-along “In Union We Stand” are present, as well as the sequel tune to the band’s namesake - “Overkill II (The Nightmare Continues)”. The aforementioned closer introducing ominous sounding ideas in the effects laden intro arepeggios, before charging into melodic variation of the original’s verse riff. The varying dynamics and and epic lyrics make for an awesome closer to another album full of classics. Overkill showed growth in both songwriting and production while still retaining the raw, youthful energy of the debut. Taking Over is full of attitude and makes for an awesome headbanging second release. Critical Hits: “Deny the Cross”, “Wrecking Crew”, “Fatal If Swallowed”, “Powersurge”, “Electro-Violence”, “Overkill II (The Nightmare Continues)”

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Under the Influence (1988)

The first real lineup change in Overkill happened before their third album with the departure of founding drummer Rat Skates (who would later direct the awesome documentary Born in the Basement). New skinsman Sid Falck fits in well bringing a tight performance alongside DD Verni and Bobby’s Blitz and Gustafson. The band’s famous bat-winged skull mascot Chaly comes to the fore in the video for thrash hit “Hello From the Gutter”. Another insanely catchy anthem, “HFTG” has been a live mainstay since. Overkill’s sound is more refined with crunchier feel to the biting guitars of Taking Over, and less echoing reverb overall. The drums are tighter but lack some of the punch of previous albums. The riffing retains some of Overkill’s original style but overall became more straight-up thrash on Under the Influence. Opener “Shred” sets the tone with its blasting intro. There’s a lot of crunchy mid-paced riffing in between the thrashing making for balanced mix of tracks. The band’s socially-conscious side comes to prominence with fantasy and occult lyrics disappearing in favour of attitude-laden commentary. “Never Say Never” is a tale of perseverance, “HFTG” describes the underbelly of city life, and “Mad Gone World” imagines insanity, all to the soundtrack of Verni and Gustafson’s headbanging riffs. Overkill sound pretty pissed off in “Brainfade” and “Drunken Wisdom” - the former spitting at the arrogant know-it-alls of the world. The latter builds from moody acoustic arpeggios to Overkill’s heaviest riff yet in the crushing verse. The rager then launches into some intense thrashing as Blitz spits bile at those who’ve shit on them in the “Come back here, drink our beer…” refrain. The band have grown up, but the attitude remains. Under the Influence ends on the next chapter of the “Overkill” saga - the title track “Overkill III (Under the Influence)”. A familiar eerie acoustic riff leads into more awesome variation. of the original riffing making for an epic closer. The album has some great songs with plenty of cool riffs but in the overall back catalogue, a few tunes become somewhat forgettable. The songs are generally longer than before with some repeating riffs like in “End of the Line” and “Head First” which are cool to listen to at first, but become skippable for me at times. Under the Influence demonstrates Overkill further growing in musicianship and songcraft but it’s clear they were maturing as a band while looking at the world around them. As always, they thrash with conviction with that endearing Jersey Devil attitude, and it’s still in abundance three albums in. Critical Hits: “Never Say Never”, “Hello From the Gutter”, “Mad Gone World”, “Brainfade” and “Drunken Wisdom”

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The Years of Decay (1989)

Overkill continued to grow on their fourth effort. The songs are quite progressive with more complex structures and varying dynamics. There’s many changes of pace from thrashing speed to crushingly slow. The Years of Decay saw the next music video for the mosh pit classic “Elimination”. The song is unrelenting in pace, high energy and insanely catchy, instantly becoming a fan favourite and live staple. “I Hate” is one of my favourite songs with it’s melodic intro and catchy riffs. Bobby Blitz’ anger at those who put you down are a reminder not to take any bullshit that comes your way. The band’s growth in musicianship really comes to the fore in “Nothing to Die For” with its offbeat rhythms and more complex guitar playing. D.D. Verni’s cheesy slap bass moment before the shredding solo drops is a fun testament to the band’s experimentation on TYoD. The sound is the most polished yet in Overkill’s career with the guitars and bass combining to give the perfect crunch. “Playing with Spiders/Skullkrusher” is the perfect example where after the former’s creepy intro leads into some crushing slow riffs with an almost bluesy flavour. The middle section is burst of pounding mid-paced thrash with awesome shredding solos before returning to those doomy-riffs of the verse. It’s the longest Overkill song so far at over 10 minutes long but it doesn’t feel like it as you headbang along. Progressive songwriting continues with the epic “Who Tends the Fire”. The riffs are simple but put together effectively from the eerie intro to the chugging verse, the bluesy thrash of the middle and end, and the melodic moments in between. The title track marks Overkill’s first ballad with sombre acoustic guitar arpeggios and melodic vocals. The metal isn’t too far away and remains heavy while maintaining the epic ballad feel for Blitz’ feelings about the life the band have chosen in metal. The aptly titled “E.vil N.ever D.ies” is a final thrash frenzy with touches of that newfound experimentation in creepy violin-esque sounds and different arpeggios. The Years of Decay is the most technical and arguably the heaviest album they had released at this point. The band’s performance is tight and they nail the new ideas without it becoming overbearing, which some might find with more complex longer songs. By the end of the ‘80s Overkill were in the top pantheon of thrash bands with a series of awesome thrash record, each with its own vibe while remaining true to the band’s core sound. Each are considered favourites by many fans and it’s not hard to see why. Critical Hits: “Elimination”, “I Hate”, “Nothing to Die For”, “Playing With Spiders/Skullkrusher”, “Who Tends the Fire”, and “E.vil N.ever D.ies”

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So are you a fan of thrash metal legends Overkill? Feel free to comment and discuss your favourite songs from Overkill’s ‘80s albums, each one a classic in its own right.