What more could you possibly ask for? Still doesn't sound anything like Dizzy Gillespie, though. "I'll Be Your Sister" -I laughed just at the title! In a way.."[4], The first release from those sessions was the single release of the title track backed with "Too Late, Too Late" in 7" and 12" pressings. It is considered by many to be a vast improvement over the band's debut and the album where they laid the foundation for their classic sound. Certainly one of the band’s defining moments, Overkill marks when Lemmy Kilminster stepped out of the shadow of the good ship Hawkwind into a rock ’n’ roll legend of his own.

"Overkill" is a song by English hard rock band Motörhead. Like the vocals, the bass has gotten harsher, in terms of distortion.

Same track list as 3 LP. In the Classic Albums documentary on the making of Ace of Spades, Gerry Bron of Bronze Records admits: "..The first time I heard Motörhead was when I listened to a single that I put out without hearing, which is "Louie Louie," and when I heard it I was absolutely horrified. Normally, a guitarist would limit their playing to only rhythm guitar during a main riff or verse riff. AllMusic: Motörhead's landmark second album, Overkill, marked a major leap forward for the band, and it remains one of their all-time best, without question.

Like any album that functions in a transitional way, there is a general inconsistency that develops, and a few songs seem unwilling to conform themselves to the new approach and come off as filler. The opening track, "Overkill" is a a rather fun speed metal track, complete with double bass drumming from Phil "Philthy Animal" Taylor. It is filled with awesome, insanely heavy riffs provided by Lemmy, as well as excellent drumming from Philthy Animal. "No Class" -Unlike "Stay Clean," I like this studio version more than the Hammersmith one. But influence means nothing if the product doesn’t stand up after all these years (early Kiss was influential, but still sucks).

Matrix / Runout (Matrix side A): S 200 436 A His distorted bass grinds in the background like an extremely heavy rhythm guitar. Bearing in mind that this was before the grand days of Joey Demaio and Cliff Burton really exploring the bass as a solo instrument, historically the contributions at work on these songs are of particular note, especially given that they occur in songs that are compact and easy to sing along to, rather than jam out epics typical to Sabbath’s earlier material. I remember a time when little Tanuki was sitting in an elementary school music class, with unfocused eyes drifting around the room, probably thinking about Monster Rancher, while my teacher tried desperately to get a class full of morons to give a shit about Dizzy Gillespie.
Metallica and Overkill, who went as far as to take their name from the album, were both extremely inspired by Motörhead's Overkill.

very happy to get this 'collection replacement' copy for a fair price. We’d probably just be better off in saying this shares more common ground with Damned Damned Damned and Blood Brothers than it does Stained Class and leave it at that.

Expect lots of quick, sleazy rock ‘n’ roll, outfitted with lots of lead guitar, double bass, distorted bass guitar solos, a nasty swagger and a pocket full of attitude. I guess I’d have to with the amount of gigs I’ve played that end in a 15 minute ‘Louie Louie’/ ‘Wild Thing’ medley. This is where Motorhead truly shines, as this album is just as rad as it was back in the day, despite the fact that Lemmy and Co. have been doing pretty much the same thing ever since. How about we start with the not-so-great examples first; it's a much shorter list. On this album he reaches his peak, vocals-wise, his raw voice fitting the atmosphere of the record very well.

It’s no wonder everyone has such a difficult time trying to pigeonhole Motörhead. R.I.P Lemmy. This version sounds heavier and the guitar isn't half as sloppy as it is live. I would have expected the deluxe edition to include the 7" single version of "Overkill" at 3:15.

But yes, there’s certainly something cool here we’re talking Italian American jumps shark levels of cool here: the way Lemmy ends almost every line by inhaling very audibly, the simple dynamic alteration between wah pedal on and wah pedal off, and the song’s absolute climax in which the searing bass overtakes Eddie’s guitar and burns so bright with that simple melodic solo that’s effortlessly memorable. [3] With a view to increasing the sales, the single was released in three different covers, one each of Lemmy, Clarke and Taylor. Among others, the highly insane drumming, the fierce bass notes played by Lemmy that even sounded like a rhythm guitar, and the noisy punkish guitar riffs that characterized the band from the beginning. Nevertheless, there some other signs of progression out of the prototypical 70s sound, manifesting primarily in how Lemmy’s bass sound has evolved.

Matrix / Runout (Matrix Side B): S 200 436 B, Bass, Vocals, Guitars (lead) (second lead, track 10). As the years progressed, so did my wondrous voyage through Motörhead's discography. Listen to early Metallica and try to deny the influence. Out of all the "Eddie albums," this one is my favorite. "Metropolis" -This song just doesn't give me the same sense of enjoyment as the others. The songs would finally be played again during the 2009 World Magnetic Tour. All of the above? That's why everything here is a highlight, and there is no single filler material here. It was supposed to have a feeling that there was more to it, there were going to be more bits and pieces. Over the past 45 years, Motörhead fans across the globe have shown their devotion to the band in prolific ways. In his autobiography White Line Fever, Lemmy claims that he wrote the words to "Metropolis" "in five minutes" after seeing the movie of the same name at the Electric Cinema in Portebello Road, and also claims that he always wanted Tina Turner to record "I'll Be Your Sister," insisting: "..I like writing songs for women. Lemmy's signature bass playing is also excellent. Great issue of this classic. Lemmy's harsh voice has gotten even harsher than it was on the debut.

The single reached No. "If it wasn't for the blues," one said, "there'd be no rock n' roll, hip hop, pop, EDM, or heavy metal." Although it is not so dissimilar from the debut, the formula here is more forceful than in the debut, and instead of using the punk-oriented sound from the latter, the band goes far beyond and takes the sound of heavy metal into another dimension. I hear touches of Eric Clapton’s playing in Eddie’s style here; it’s got a lot of that old slow-hand feel, and unlike your Blackmores, Roths, Downings and Tiptons he’s got absolutely no classical influence to his playing. In fact, I've written songs with women. Then it’s back to band staples like “No Class” and “Damage Case” for the duration of the album, with another psychedelic diversion in “Metropolis.” Most of these tracks are among the band’s finest tunes and are likely to be heard live even today. When other people listen to them they have the habit of getting it wrong and you have to go “You’re doing it wrong!” whilst screwing your face up like a small child who’s just fell off his bike.

It is backed with B-side "Too Late Too Late" which appears on the CD re-issues of the Overkill album. 1: Everywhere Further Than Everyplace Else, The Wörld Is Ours - Vol. And at the time, I remember thinking "Wow, what a stupid poster. ‘Stay Clean’ is not an anti-drug hymn, it’s not about finding salvation through Jesus and abstinence, in fact it’s about how the humble rock ’n’ roller – every WI mother’s worst nightmare – occupies a higher moral ground than the politician and the preacher.

"Tear Ya Down" -For some reason, this is one of those songs you want to listen to while on the road at night. But it was always a disappointment for me, personally. Well, I don’t have the answers, do I?

The drumming is pretty decent too, but nothing more.
And gradually that poster made a lot more sense.


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