{"id":39,"date":"2011-12-26T01:03:34","date_gmt":"2011-12-26T09:03:34","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=39"},"modified":"2011-12-26T01:06:43","modified_gmt":"2011-12-26T09:06:43","slug":"overkill","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/39\/overkill\/","title":{"rendered":"Overkill"},"content":{"rendered":"\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F39%2Foverkill%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n<table>\n<tbody>\n<tr>\n<td width=\"100%\">Concert Review: Overkill, The Regency Ballroom, San Francisco, CA 04-18-10 (Sunday)<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table>\n<tbody>\n<tr>\n<td valign=\"top\">\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Overkill put on a no?frills, full throttle thrash show that was an assault on the auditory and visual senses.\u00a0 [The sheer energy the band displayed at a high volume and frenetic pace was soothing yet brutal.\u00a0 It is akin to lightly moisturizing one\u2019s facial skin with coconut oil and then taking an industrial steel grater and vigorously rubbing it against one\u2019s face.]\u00a0 Overkill played a 17?song, 90-minute set from 11:00 to 12:30.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. The Green and Black (Ironbound record, 2010).\u00a0 The first 55 seconds of The Green and Black featured a pre?recorded tape track of D.D. Verni (\u201cDV\u201d) strumming high bass notes and Dave Linsk (\u201cDL\u201d) and Derek \u201cThe Skull\u201d Tailer (\u201cDT\u201d) playing melodic guitar notes.\u00a0 This occurred with the stage amidst darkness accentuated by two mobile strobe lights positioned atop metal stands approximately (approximations presumed throughout) 15 feet in height flanking Ron Lipnicki\u2019s (\u201cRL\u2019s\u201d) drum kit flashing Overkill\u2019s trademark fluorescent green color across the stage.\u00a0 At the 0:55 mark the stage lights came on escalating the crowd\u2019s roar in response to seeing DV, DL, DT, and RL on stage.\u00a0 From the 0:55 to 1:35 marks DL, DT, and DV pummeled the crowd with crushing chords on their axes while RL beat the hell out of his drums.\u00a0 [It felt somewhat like being repeatedly and violently struck in the squishy part of the back of my head and neck by a two by four piece of pine wood that ironically created a pleasurable sensation.]\u00a0 RL\u2019s drumming was augmented and syncopated with flashing white stage lights positioned beneath the metal grill serving as RL\u2019s drum riser two feet in height.\u00a0 At the 2:00 mark Bobby \u201cBlitz\u201d Ellsworth (\u201cBE\u201d) rushed on stage and immediately came stage front and struck his signature pose, firmly grasping his microphone (\u201cmike\u201d) stand with his right hand and resting his right foot on the stage monitor positioned three feet from the photo pit.\u00a0 BE wore very tight black jean pants, black tank top, and black leather half boots with velcro straps and side buckles.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/the_green_and_black.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Green and Black is, for the most part, an up tempo thrasher.\u00a0 Following the second verse, at the 4:25 mark, the song slowed down allowing the frenetic crowd to catch their breath.\u00a0 But DL, DT, and DV\u2019s heavy chord progressions hypnotized the crowd into bobbing their heads and engage in old school moshing replete with flailing arms.\u00a0 [The Green and Black undeniably passes the Headbang Test.\u00a0 The Headbang Test is easy to apply, simply whether the rhythmic beat of a song subconsciously and uncontrollably compels the crowd to headbang.\u00a0 Certain songs have this effect, Iron Maiden\u2019s Hallowed be Thy Name (1982), Metallica\u2019s For Whom the Bell Tolls (1984), Slayer\u2019s Raining Blood (1986) and, more recently, Overkill\u2019s The Green and Black.]\u00a0 The mid tempo continued until the 5:50 mark during which DV and RL provided solid backbeats for (1)\u00a0DL and DT to continue providing groove-laden riffs and (2)\u00a0BE to deliver his vocal lines with the recognizable evil ominous tone.\u00a0 At the 5:50 mark DV kicked the song back to an up tempo mode and DL launched into his guitar solo.\u00a0 I admire Overkill for starting the show with a new song and one over eight minutes in length, which they counterbalanced by shifting straight to a short song 3:20 in length from Overkill\u2019s first record.\u00a0\u00a0\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. Rotten to the Core (Feel the Fire, 1985) started with BE screaming and RL beating the life out of his tom-tom drums.\u00a0 RL played a black?colored ddrum drum set with double bass drums featuring the band\u2019s mascot, Chaly (i.e.,\u00a0skeletal bat with a skull-like face, bony wings, and green eyes) and the Overkill logo in fluorescent green in each bass drum head.\u00a0 Raised from the ceiling a few feet behind RL\u2019s drum kit was a tarp featuring the Ironbound album cover artwork.\u00a0 Rotten to the Core is a mid tempo song with a punk feel reminiscent of The Ramones and The Sex Pistols.\u00a0 From the 2:10 to 2:25 marks the vocals ceased and the song focused on DL and DT\u2019s catchy riffs that shifted to an up tempo beat for 10\u00a0seconds.\u00a0 From the 3:55 to 4:05 marks the song once again featured RL beating his tom-tom drums prompting the audience to bob their heads and pump their fists.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/wrecking_crew.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. Wrecking Crew (Taking Over, 1987).\u00a0 BE made his first announcement before Wrecking Crew.\u00a0 Sadly, since I was preoccupied taking photographs in the pit, I do not recall what he said.\u00a0 [I take that back.\u00a0 I do remember the words, \u201cSan\u00a0Francisco,\u201d \u201chello,\u201d \u201csong,\u201d and \u201cplay.\u201d \u00a0You can fill in the rest.]\u00a0 Wrecking Crew begins with loose riffs by DL and DT less than 10\u00a0seconds in duration before the rest of the band joined in shifting the song to a straight?ahead thrasher.\u00a0 The song featured a catchy chorus in which DT and DV chanted, \u201cWe\u2019ll wreck your neck!\u00a0 Wreckin&#8217; crew!\u00a0 Get wrecked!\u201d\u00a0 [What else did the crowd do, particularly those up front in the fray, other than to whale their necks front and back as if on industrial?strength hinges.]\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. Battle (The Killing Kind, 1996) begins with DL and DT\u2019s riff reminiscent of Motorhead.\u00a0 At the 0:15 mark DV and RL joined in with heavy bass lines and drum beats laying the foundation for this mid tempo song.\u00a0 Fortunately, Battle did not feature a tape track of the annoying repetitive background vocal chant of \u201cyeah\u201d in a falsetto nasally Axl Rosesque voice present on record.\u00a0 From the 2:35 to 3:40 marks the song slowed to a fairly slow tempo with a chugging riff ripe for headbanging and reminiscent of Master of Puppets (1986) era Metallica.\u00a0 At the 3:40 mark the song resumed a mid tempo.\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. Hello from the Gutter (Under The Influence, 1988).\u00a0 Before Hello from the Gutter BE said, \u201cIt is good to be amongst friends.\u00a0 We now span two to three generations of fans.\u201d\u00a0 [Admittedly, I had trouble hearing what BE was saying, whether singing songs or speaking between song.\u00a0 BE\u2019s vocals were poorly mixed in the sound. \u00a0In between songs BE\u2019s voice echoed and reverberated off the walls of the more than half?empty ballroom with a 1,050\u00a0seat capacity.\u00a0 [Compounding matters was BE\u2019s New Jersey accent.\u00a0 It reminded me of listening to my Jersey cousin\u2019s ramblings as he laid on his back poolside in the humid Summer heat casually twisting and turning his Corona beer bottle on his bloated tummy in a feeble, frustrated attempt to screw it into his oversized navel.] \u00a0Hello from the Gutter is an up tempo song and the single off Under the Influence featuring skittish riffs and chugging bass lines, the latter being the most memorable.\u00a0 At the start of the song BE stood stage front in one of his most recognizable poses, both hands firmly clenching the mike mounted in a stand and head stooped forward at about chest level where he began to headbang. \u00a0BE sang the verses in anthemic version, while DV and DL sang the chorus in like fashion chanting, \u201cHello! \u00a0Hello!\u00a0 Hello from the gutter.\u00a0 Hello! Hello!\u201d \u00a0BE sang the \u201cHello from the gutter\u201d portion of the chorus.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 From the 1:40 to 3:05 marks the song featured an extended jam without vocals, including DL\u2019s 50?second guitar solo.\u00a0 DL wore cut?off black jean pants that extended slightly below his knees, black t?shirt bearing the name of his other band, \u201cSpeed\\Kill\/Hate East Coast Thrash\u201d in white letters on his chest, black combat boots, and black sweatbands covering his entire right forearm.\u00a0 DL played a black Gibson Epiphone guitar and used Randall amplifiers.\u00a0 BE left the stage during the guitar solo, the norm on most songs.\u00a0 What BE would do is scurry off stage immediately before DL\u2019s guitar solo, wait stage side out of the audience\u2019s view, and then hurriedly run back on stage and grab his mike stand a split second the first line of the post?solo verse.\u00a0 BE at times ran on stage so quickly he nearly ran into and over the stage monitor behind his mike stand.\u00a0 [BE would benefit from a hands-free mouthpiece mike but is likely vehemently opposed to using one because it is not metal enough and would make BE look like Garth Brooks (country and western singer\/guitarist).] \u00a0At the end of the song BE shouted, \u201cWelcome to the gutter!\u00a0 We\u2019ve been expecting you!\u201d and ended with his trademark laugh.\u00a0 [BE\u2019s statement was prophetic because the Regency Ballroom (\u201cRB\u201d) ballroom is located within two miles of San\u00a0Francisco\u2019s skid row district.\u00a0 All one needs is a skillet or paper cup to be well-equipped to earn extra dough panhandling in the hood.]\u00a0 The band took a short (i.e.,\u00a015\u00a0second) break after Hello from the Gutter.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. Feel the Fire (Feel the Fire, 1985) began with rollicking drum beats and bass lines reminiscent of early Iron Maiden amidst a sea of red stage lights.\u00a0 The song is slightly up tempo with catchy chord progressions during the verses taking the listener through auditory peaks and valleys.\u00a0 At the 2:20 mark BE gave a chant that marked the start of the mid?section jam and was reminiscent of early Slayer a la Tormentor off the Show No Mercy record (1983) complete with RL\u2019s mini drum solo.\u00a0 From the 4:05 to 5:10 marks the song featured DL\u2019s fluid extended guitar solo.\u00a0 The most memorable part of Feel the Fire was BE\u2019s vocal delivery following DL\u2019s guitar solo, which BE sang on his knees complete with his signature laugh.\u00a0 [BE\u2019s vocal style reminded me of Mel\u00a0Gibson in the epic film Braveheart (1995) as the Scottish warrior leading his troops in the First War of Scottish Independence against the British or, alternatively, a crazed zealous British soccer fan leading diehards in a stadium chant supporting the home team in the World Cup.]\u00a0 Feel the Fire, along with Coma and !!!F**k You!!!, received the strongest audience reaction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. Ironbound (Ironbound, 2010).\u00a0 Before Ironbound BE said, \u201cMy heart beats faster for the new sh*t as well.\u201d\u00a0 Rightfully so as Ironbound is one of the heaviest Overkill songs [making it an instant holiday favorite for me to subject my unsuspecting elderly mom to.]\u00a0 Ironbound begins with DL, DT, and DV\u2019s pummeling riffs and RL\u2019s heavy drum beats.\u00a0 This is a straight?ahead mid tempo thrasher with a particularly strong chorus during which the song\u2019s tempo reached dizzying heights and the band chanted, \u201cMake it.\u00a0 Take it.\u00a0 Never let go.\u00a0 Tell all you know.\u00a0 This is what you make it, pound the ground.\u00a0 Make it.\u00a0 Take it.\u00a0 Never let go.\u00a0 Tell all you know.\u00a0 How far can you take it as you go\u00a0&#8230; Ironbound!\u201d\u00a0 The chorus featured RL\u2019s excellent frenetic drumming.\u00a0 From the 3:05 to 4:30 marks the song significantly slowed down and featured DL and DT\u2019s melodic guitar playing and RL\u2019s light?handed drumming.\u00a0 [The shift from the brutality of the pre-solo chorus section to the slow tempo portion is almost incomprehensible.\u00a0 It is akin to going from butchering, maiming, and beheading a poseur to passionately embracing his listless, headless body while gracefully engaging in a waltz.\u00a0 Who does that!\u00a0 Overkill and with conviction.]\u00a0 DL began his guitar solo during the slow tempo portion and featured emotional melodic notes that, at the 4:30 mark, transitioned to mid tempo and featured harmonies and DT\u2019s melodic rhythm playing reminiscent of 1980\u2019s era Iron Maiden.\u00a0 BE\u2019s rush back on stage after DL\u2019s guitar solo was immediately preceded by DT and DV\u2019s chant of \u201cHey.\u201d\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DT performed this song shirtless, having recently tucked it in his back pocket.\u00a0 DT wore black jean pants, black Overkill Ironbound t-shirt (before removal), and black combat boots.\u00a0 DT played a black Explorer?shaped Dean guitar, used Randall amplifiers, and positioned his mike high in the air pointed downward like Lemmy Kilmister (Motorhead vocalist\/bassist). \u00a0[Given DT\u2019s lanky frame reminiscent of Scott Travis (Judas Priest drummer), his technician should have hung DT\u2019s mike from the ballroom\u2019s ceiling like a mistletoe.]<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8. Coma (Horrorscope, 1991).\u00a0 Before Coma BE said, \u201cI see some good f**kin\u2019 friends out there.\u201d\u00a0 Coma began with DT and DL\u2019s melodic guitar notes and RL\u2019s light-handed drumming.\u00a0 At the 1:15 mark the song shifted and meandered between mid and up tempos with groovy and chugging riffs reminiscent of Kirk Hammett and James Hetfield\u2019s (Metallica guitarists) riff work on Metallica\u2019s Kill \u2018Em All record (1983).\u00a0 When BE returned on stage following DL\u2019s guitar solo he once again firmly clenched his mike in the stand and stooped his head forward.\u00a0 Coma arguably received the strongest crowd reaction, a song recently added to the set list replacing Hammerhead (Feel the Fire, 1985).<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9. Bare Bones (Horrorscope, 1991) began with a tape track featuring eerie keyboards. [The melody is reminiscent of the theme song for William Friedkin\u2019s classic horror film, \u201cThe Exorcist\u201d (1973).]\u00a0 The tape track was played while the band was off stage and the stage amidst darkness accentuated only by the two mobile strobe lights flashing vibrant purple colors.\u00a0 DV augmented the chilling atmosphere by picking simple bass notes.\u00a0 At the 0:20 mark DL and DT joined in striking powerful power chords galore at which point the strobe lights switched to displaying alternating red and white colors. \u00a0At the 1:30 mark the song shifted from mid to fast tempo.\u00a0 The song featured muted DL and DT guitar chords and RL\u2019s prominent drumming in the forefront.\u00a0 During the third verse, BE chanted, \u201cI\u2019ve been to hell.\u00a0 Now I\u2019m here and I\u2019m taking all I need.\u201d\u00a0 [I had also been in hell earlier in the night, the restroom urinal overfilled with sweat?drenched drunkards.]\u00a0 The chorus is reminiscent of Metallica\u2019s Fight Fire with Fire from the Ride the Lightning record (1984).\u00a0 During his guitar solo DL placed his left foot on the stage monitor, rested the base of his guitar on his thigh and screamed while hitting a high note.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10. Gasoline Dream (W.F.O., 1994).\u00a0 Before Gasoline Dream BE said, \u201cYou never give up do you?\u00a0 Bunch of savages out there.\u00a0 San\u00a0Francisco join us in a gasoline dream.\u201d\u00a0 BE had taken his tank top off, revealing his taut frame.\u00a0 At 50\u00a0years old BE has an excellent physique, better than most men half his age.\u00a0 [BE\u2019s abdomen was so well?chiseled the female fans, who were underrepresented, were likely inclined to take off their sweaty shirts and dab them in detergent to scrub on BE\u2019s abdomen.]\u00a0 Gasoline Dream is a mid tempo thrasher that began with DL and DT\u2019s heavy duty power chords.\u00a0 From the 0:36 to 0:53 marks DV\u2019s bass lines were reminiscent of Steve Harris (Iron Maiden bassist).\u00a0 Gasoline Dream, along with The Green and Black and Old School, exemplified DV\u2019s skills as a Herculean bassist, a musician with finesse, proficiency, and originality.\u00a0 DV wore black jean pants (with multiple chains extending from his belt loop to his back left pocket), sleeveless button-down black cotton shirt, sleeveless black denim Levi\u2019s jacket with a New York (\u201cNY\u201d) Giants (American football team) logo patch on the left chest and \u201cVerni\u201d and \u201cBass\u201d patches on his right chest, black Dr. Martens combat boots, and black sweatbands covering his entire forearms.\u00a0 DV played a black B.C.\u00a0Rich warlock bass with a flame pattern.\u00a0 [DV\u2019s bass has a ridiculously large volume knob that looked nearly as large as a peanut butter jar cap from afar.]\u00a0 From the 0:53 to 1:02 marks DL and DT played chugging riffs.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 At the 1:02 mark BE began to sing the first verse in a particularly raspy voice, \u201cWishful thinking, eyes are blinking, in the sun the garbage stinking.\u201d\u00a0 [The last line could have been inspired by the rancid stench in the back alley where Overkill\u2019s tour bus was parked.]\u00a0 From the 5:15 mark onward the song\u2019s tempo slowed to an effective mesmerizing pace.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 11. Overkill (Feel the Fire, 1985) is a basic mid tempo song that featured DL and DT\u2019s recurring but effective harmonies and arpeggio guitar notes that, along with BE\u2019s haunting vocal style, set a chilling vibe.\u00a0 [I felt I was amidst a fog?laden cemetery where a maggot?covered corpse had come to life slowly sifting his way through the stench?ridden dirt.]<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 12. Bring Me the Night (Ironbound, 2010).\u00a0 Before Bring Me the Night BE said, \u201cWe played The Stone.\u00a0 I think it was in 1962.\u201d\u00a0 (The Stone is a now defunct San\u00a0Francisco club that hosted metal and punk shows from the mid?1980\u2019s to early 1990\u2019s.\u00a0 Overkill performed at The Stone on June 15, 1987.)\u00a0 \u201cDon\u2019t tell me you need some oxygen.\u00a0 Vicious motherf**kers.\u00a0 This is Bring Me the Night.\u201d\u00a0 This song featured DL and DT\u2019s fast and furious Motorheadesque riffs and a catchy pre?chorus section during which BE sang, \u201cReady to fly, and I\u2019m ready to die.\u00a0 Scare the angel, fly away.\u00a0 Let the devil have his way.\u00a0 Tie your tongue into a knot.\u00a0 Pray to God it never stops.\u00a0 Ready to fly, and I\u2019m ready to die.\u00a0 Fuel me up, let me go.\u00a0 Shut your mouth, going to blow.\u00a0 Hold your ears and shield your eyes.\u00a0 Just a word to the wise.\u201d\u00a0 BE sang the pre?chorus in rapid fashion, except for the line, \u201cReady to fly, and I\u2019m ready to die.\u201d\u00a0 DV and DL contributed to the chorus by chanting, \u201cBring.\u201d\u00a0 BE sang one of the verses using DT\u2019s mike positioned stage right.\u00a0 [The band delivered this song with such ferocity, particularly RL\u2019s drumming and DL and DT\u2019s riff work I felt I was aboard a stealth jet flying straight down at a 90\u00a0degree angle through an atomic bomb mushroom cloud into the depths of hell.\u00a0 No opportunity breathe or look around, just grip whatever is within vicinity as tight as I could on the hellbound ride.]<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 13. Elimination (The Years of Decay, 1989).\u00a0 Before Elimination BE said, \u201cThis is a one?way train to Elimination.\u201d\u00a0 Elimination is the single off the classic The Years of Decay record, a fairly up tempo thrasher featuring DL and DT\u2019s chugging riffs.\u00a0 [DL and DT\u2019s riff prowess on Elimination is analogous to the visual imagery of stones skipping over a pond.]\u00a0 BE sang the chorus with vigor and conviction, \u201cEliminate the right, eliminate the wrong, eliminate the weak, eliminate the strong, eliminate your feelings, eliminate too late, eliminate the hope, eliminate, eliminate.\u201d\u00a0 [The chorus is so mind numbingly simple (and effective) even a person like me with less than 23\u00a0pairs of chromosomes can guess the song title.]\u00a0 DL and DT\u2019s dual guitar solos featured classic harmonies a la Somewhere in Time (1986) and Seventh Son of A Seventh Son (1988) era Iron Maiden.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The band left the stage at 12:11 and returned in one minute to play four additional songs.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 14. Necroshine (Necroshine, 1999).\u00a0 Before the band came back on stage, a tape track played the first 70 seconds of Necroshine during which the white stage lights beneath RL\u2019s drum riser were syncopated with the pulsating drum beats and bass lines.\u00a0 When the stage lights were illuminated DL and DT were positioned on the anvil cases flanking RL\u2019s drum kit.\u00a0 Each anvil case was accessible by four steel steps.\u00a0 Necroshine featured DL, DT, and DV\u2019s recurring riffs until the 1:10 mark at which point the song shifted to mid tempo with DL and DT\u2019s groovy riffs. BE began singing the verse, \u201cYou can take me out of my hell.\u00a0 You can\u2019t take the hell on out of me.\u00a0 Watch me here as I get.\u00a0 But be careful what you see.\u201d\u00a0 BE accentuated each verse by extending his forearm forward and punching the air in upward fashion in beat with RL\u2019s drumming and as if BE was trying to break out of a small cube in which he was imprisoned.\u00a0 BE intentionally sang the final word of the chorus in a particularly nasally manner, \u201cDon\u2019t you ever doubt me as you walk the line.\u00a0 Guided by the light of the necroshine.\u201d\u00a0 DT and DL came down from the anvil cases after the first and second choruses, respectively.\u00a0 Necroshine featured extensive fluorescent green strobe and stage lights.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 15. Old School (Relix XIV, 2005).\u00a0 Before Old School BE recited part of the chorus, \u201cWe drank some beers and broke some heads.\u00a0 We never gave a sh*t. \u00a0San\u00a0Francisco here\u2019s to the Old School.\u201d\u00a0 Old School has a very loose punk vibe in terms of RL\u2019s drum beats and DL, DT, and DV\u2019s chord progression and strumming.\u00a0 The chorus epitomizes the punk mentality, \u201cHere\u2019s to the old school, didn\u2019t matter if you looked cool.\u00a0 We drank some beers and broke some heads.\u00a0 We never gave a sh*t. \u00a0They said that this would never last.\u00a0 We never gave a f**k.\u201d\u00a0 BE displayed the signature Overkill salute (i.e.,\u00a0raised middle finger) when he uttered, \u201cWe never gave a sh*t.\u201d\u00a0 During the chorus, BE, DV, and DT chanted, \u201cEeeh, hew\u00a0&#8230; hay, hay, hay!\u201d<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Old School\u2019s verses pay homage to important figures and venues in Overkill\u2019s career.\u00a0\u00a0 During one verse BE sang, \u201cNow all my friends are heading to L\u2019Amours.\u00a0 Half of them are bounced right out the door.\u201d\u00a0 (L\u2019Amours is a now defunct Brooklyn club that hosted metal and punk shows from 1981 to 2004.)\u00a0 \u201cAnd all my friends are heading to the Ritz.\u00a0 Bobby G., Rat Skates, DD\u00a0&amp; Blitz.\u201d\u00a0 (The Ritz is a now defunct NYC club that hosted metal and punk shows from 1980 to 1993.)<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 During another verse BE sang, \u201cYeah there\u2019s blood all over me.\u00a0 I caught the eye of Johnny Z.\u201d\u00a0 (Jonny Zazula owns Megaforce Records, prominent independent metal record label that signed Overkill to a record contract in 1985 on the strength of the Overkill EP.) \u00a0\u201cBang your head, thrash around the pit.\u00a0 Who the f**k woulda\u2019 thunk.\u00a0 They\u2019re playing us on Eddie Trunk.\u201d\u00a0 (Eddie Trunk is a NY radio and television personality who hosts metal radio shows.)<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 During the chorus following DL\u2019s guitar solo RL\u2019s drum beats and DV\u2019s bass lines were prominently featured and provided a driving up tempo foundation that brought the song to a raucous conclusion.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16. !!!F**k You!!! (The Subhumans cover: !!!F**k You!!!, 1987).\u00a0 Before !!!F**k You!!! BE said, \u201cCan you flash a number one on your way out the door?\u00a0 This is not the time to be a pussy.\u201d\u00a0 [For the less \u201cOverkill enlightened\u201d BE was referring to raising the middle finger, not the index.]\u00a0 The crowd needed no encouragement to raise their middle fingers but received it in the form of white stage lights shining on them.\u00a0 !!!F**k You!!! is a short, up tempo punk?infused song by The Subhumans that began with frenetic guitar riffs, bass lines, and drum beats.\u00a0 The chorus sums up the skin and metal head credo, \u201cWe don\u2019t care what you say\u00a0&#8230; F**k you!\u201d\u00a0 The band played !!!F**k You!!! through the second chorus and then went straight into the night\u2019s second consecutive cover song, Motorhead\u2019s Overkill.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 17. Overkill (Mot\u00f6rhead cover: Overkill, 1979).\u00a0 Overkill, along with Ace of Spades and Killed by Death, are arguably the top three Motorhead songs.\u00a0 Overkill did justice to this straight ahead mid tempo rocker.\u00a0 Overkill led straight back to !!!F**k You!!!<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/fuck_you_2.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 18. !!!F**k You!!! (reprise) (The Subhumans cover: !!!F**k You!!!, 1987).\u00a0 Before resuming !!!F**k You!!! BE recited the chorus, \u201cWe don\u2019t care what you say\u00a0&#8230; F**k you!\u201d\u00a0 The white stage lights shined on the crowd and the crowd repeated the chorus.\u00a0 BE said, \u201cThis is a bit of a disappointment.\u201d\u00a0 BE then engaged the crowd to chant the chorus three additional times, each time progressively louder.\u00a0 The band resumed !!!F**k You!!! from the second chorus.\u00a0 During the final seconds of the song BE raised his right hand to thank the crowd and tore the three set lists off the stage monitors and handed them to eager front row fans.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Venue: the building that housed the original RB, known as the Avalon Ballroom, was built in 1911.\u00a0 The Avalon Ballroom operated from 1966 to 1968 and reopened in 2003 under its current name. \u00a0During the ballroom\u2019s original stint in the 1960\u2019s local bands such as Janis Joplin, Quicksilver Messenger Service, the Steve Miller Band, and Big Brother and the Holding Company performed at this venue.<\/p>\n<p>RB is a 1,050\u00ad?seat theater with a rectangular?shaped standing room floor measuring 96 by 69 feet with blonde hardwood floors and a permanent stage measuring 42 by 20\u00a0feet.\u00a0 Positioned 35\u00a0feet above the floor are 22\u00a0teardrop chandeliers circa 1900 secured on a roof adorned with gold medallions.\u00a0 RB has a horseshoe-shaped reserved seating balcony, the interior siding of which visible from the floor is virgin white.\u00a0 Four vertical white columns line the wall atop the stage and another six are present on each of the walls on the second floor.\u00a0 Also lining the side walls on each floor are six square?shaped gold?colored tapestries.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Opening Bands (first to last): Woe of Tyrants, Evile, Warbringer, God Dethroned, and Vader.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/derek_tailer.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>Arash Moussavian, Entertainment Law Attorney<br \/>\n<a href=\"mailto:arashmoussavian@cal.berkeley.edu\">arashmoussavian@cal.berkeley.edu<\/a><br \/>\n<a href=\"http:\/\/www.linkedin.com\/in\/arashmoussavian\">www.linkedin.com\/in\/arashmoussavian<\/a><br \/>\nAll photos taken by Arash Moussavian.\u00a0 This article and all photos are protected by copyright.\u00a0 Please contact me prior to use, or I will make shish kabab of your loins.\u00a0<\/p>\n<p>&nbsp;<\/td>\n<\/tr>\n<tr>\n<td>\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F39%2Foverkill%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n","protected":false},"excerpt":{"rendered":"<p>Concert Review: Overkill, The Regency Ballroom, San Francisco, CA 04-18-10 (Sunday) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Overkill put on a no?frills, full throttle thrash show that was an assault on the auditory and visual senses.\u00a0 [The sheer energy the &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/39\/overkill\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[20],"class_list":["post-39","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-overkill"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/39"}],"collection":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/comments?post=39"}],"version-history":[{"count":3,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/39\/revisions"}],"predecessor-version":[{"id":41,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/39\/revisions\/41"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=39"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=39"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=39"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}