![]() Izzy (Stradlin)was the first one to start playing behind it, and once that happened Axl started making up words, and it took off that way. ![]() It was an interesting pattern and it was really melodic, but I don't think I would have presented it to the band and said, 'Hey, I've got this idea!' because I just happened to come up with it while we were all hanging around together. So it was a real riff it wasn't a warm-up exercise." He added: "Initially it was just a cool, neat little riff that I'd come up with. You're like, 'This is cool,' and then you put the third note and find a melody like that. It was just me messing around and putting notes together like any riff you do. Estate Of Keith Morris/Redferns/Getty Images. Dispelling the widespread belief that the riff was born from a practise exercise, Slash told Eddie Trunk in 2022: "I was sitting around the house where Guns used to live at one point, in '86 I guess it was, and I just came up with this riff. Motorheads 1979 box set beautifully collects their Overkill and Bomber albums and shows why they became punk-metal gods. Guns N' Roses' monumental song 'Sweet Child O' Mine' opens with one of Slash's standout riffs. As far as I’m concerned, this is their magnum opus as well as a damn near perfect album.2) Guns N’ Roses - ‘Sweet Child O' Mine’ (1987) While the band may not have intended to be anything more ambitious than simple rock ‘n roll, the musicianship puts forth some serious power and the songwriting has more variety than they are even given credit for. Having already debuted with a personality-defining mission statement, this is where everything truly comes together. The closing “Limb From Limb” also serves as an example of the shifts in sound, as it opens on a sleazy blues crawl and climaxes on another burst of speed.Īce of Spades may be the most famous Motörhead album, but Overkill is arguably their most important. “Capricorn” and “Metropolis” feel like the last hurrah for Lemmy’s Hawkwind-isms, the former being a personal favorite as it pairs a spacey stop-start pattern with echoing vocals calling out autobiographical reflections. Of course, there’s also a lingering sense of seventies-inspired dynamics that help set Overkill apart from the classic lineup’s subsequent outings. 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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