I also love the swing on ”No Class,” self-admitted ZZ Top ripoff riff and all, as well as the interweaving bass and vocal lines of “Tear Ya Down.” “Stay Clean” and “(I Won’t) Pay Your Price” keep the momentum going nicely, the former pairing a driving rhythm with washed out guitars and vocals while the latter has a more straightforward click-clack heft. The album’s other songs may not reach the same levels of intensity, but they still offer plenty of grit and attitude. Throw in Lemmy’s rock ’n roll declarations, relentless instrumental breaks, and two false endings and you’ve got an anthem that is simultaneously exhilarating and exhausting. Plenty of hard rock and metal bands had utilized double bass drumming by this point but you’d be hard pressed to find patterns with this degree of filth, especially when reinforced by these grimy bass lines and flailing solos. ![]() While Motörhead set a standard for high velocity openers with their self-titled song, they never had one with such a strong statement of intent as Overkill’s title track. There’s a real sense in pushing forward throughout, both as a band and throwing down a gauntlet of extremity for groups from Venom and Metallica to follow through the following decade. Having shed the baggage of early members and lingering material, this album sees the trio consolidate their tropes with boosted musicianship matched by focused songwriting. Motörhead may have established a strong identity with their self-titled album, but 1979’s Overkill could be seen as their true debut. Review Summary: Only way to feel the noise is when it’s good and loud
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