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Motorhead - Overkill CD Cover Art
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Motorhead Overkill CD

 Motorhead Discography of CDs
5 stars (1 Customer Review)

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OVERKILL stands as one of Motorhead's greatest albums, an all-time heavy metal classic. After creating a buzz amongst British headbangers with their 1977 self-titled album, Motorhead began seriously assaulting the U.K. charts with this breakout sophomore hit, which was produced by the Rolling Stones' former knob-twiddler Jimmy Miller.

The songwriting and musical direction had become stronger and more focused, as evidenced by such raucous Motorhead classics as the title track, "Stay Clean," "Capricorn," "No Class," and the epic "Metropolis." OVERKILL began a string of hit European albums for the band, which would include such future metal gems as BOMBER, ACE OF SPADES, and NO SLEEP 'TIL HAMMERSMITH.

Includes liner notes by Steffan Chirazi.

Additional Tracks; Deluxe Edition

Motörhead: Lemmy Kilmister (vocals, bass guitar); "Fast" Eddie Clarke (guitar); Phil "Philthy Animal" Taylor (drums).Q (7/01, p.88) - Included in Q's "50 Heaviest Albums of All Time".
Q (10/96, p.187) - 3 Stars - Good - "OVERKILL pretty much set the tone for the next 10 years of Motorhead's career-Clarke's guitars doing their best to expand on Lemmy's extraordinarily terse bass lines...Taylor's drums splashing around like hippos, and Lemmy's...hoarse angry...voice shouting out basic and succinct songs..."
Blender (Magazine) - 5 stars out of 5 -- "No band ever quite matched the lager-and-amphetamine thrill of late-'70s Motorhead as they forged the missing link between punk and heavy metal."
Overkill Music


Detailed Overkill Music Information



List Price $19.95 (You save $1.26)
Category Rock/Pop Albums, Rock CDs, Heavy Metal, Hard Rock
Label Sanctuary
Orig Year 1979
All Time Sales Rank   40577  
CD Universe Part number 6989684
Catalog number 86407
Discs 2
Release Date Nov 15, 2005
Studio/Live Studio
Mono/Stereo Stereo
Producer Jimmy Miller
Additional Info Bonus CD; Anniversary Edition; Remastered; Deluxe Edition
Motorhead Overkill Songs


Motorhead Overkill Album Track Listing



Overkill CD DISC 1:
1.Overkill$0.99
2.Stay Clean  $0.99
3.Pay Your Price (I Won't)
4.I'll Be Your Sister$0.99
5.Capricorn$0.99
6.No Class$0.99
7.Damage Case$0.99
8.Tear Ya Down  $0.99
9.Metropolis  $0.99
10.Limb by Limb$0.99
Overkill Songs DISC 2:
1.Louie, Louie - (alternate take)
2.Tear Ya Down  $0.99
3.Too Late, Too Late  
4.Like a Nightmare$0.99
5.Louie, Louie - (alternate version)
6.Tear Ya Down - (instrumental)  
7.Tear Ya Down - (alternate version)  
8.Like a Nightmare - (alternate version)
9.Louie Louie$0.99
10.I'll Be Your Sister$0.99
11.Tear Ya Down  $0.99
12.Stay Clean  $0.99
13.No Class$0.99
14.I'll Be Your Sister$0.99
15.Too Late, Too Late  
16.Pay Your Price
17.Capricorn$0.99
18.Limb From Limb$0.99
Overkill Music


Overkill Other Versions



Motorhead
Overkill  (1979) Bonus Tracks; Remastered5 stars Audio Samples Definitive Album
CD$9.99
Motorhead
Overkill  (1979) Remastered; Deluxe Edition; Digipak; Special EditionAudio Samples
CD$19.59
Motorhead
Overkill  (1979) 
DVD Audio$16.09
Motorhead
Overkill  Bonus Tracks
CD$11.99
Motorhead
Overkill  Bonus Track; Japan; Mini LP Sleeve
CD$35.49
Motorhead
Overkill  (1979) Limited Edition
Vinyl Record$21.69
Overkill Music Review


Customer Overkill Reviews 




Average Rating: (5 out of 5 stars) 5 stars

5 stars Ottimo
Anche a quasi 30 anni dall'uscita, rimane un ottimo album.
Submitted by c.fieni (Lugano, TI, Switzerland) Verified Buyer
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Bomber
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Motorhead Bomber CDs  (1979) Bonus CD; Bonus Tracks; Remastered; Deluxe Edition

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One of a trifecta of classic Motorhead albums featuring the group's penultimate lineup of Lemmy (bass/vocals), Phil "Philthy Animal" Taylor (drums), and "Fast" Eddie Clarke (guitar), BOMBER (the other two being OVERKILL and ACE OF SPADES) is as loud, fast, raw, and heavy as music gets. The title track and the opener, "Dead Men Tell No Tales," remain two of the group's all-time definitive tracks, both showcasing Lemmy's patented hoarse growl and distorted bass riffing to spine-tingling and head-banging effect. Recorded in late summer 1979 and released by the end of the year, Bomber quickly followed up Overkill, Motörhead's landmark breakthrough album from earlier in the year. Bomber bears a lot in common with its fan-favorite predecessor. For starters, it features the classic Motörhead lineup: Lemmy (bass and vocals), "Fast" Eddie Clarke (guitar), and "Philthy Animal" Taylor (drums). Also like Overkill, Bomber features the production grace of Jimmy Miller, the man responsible for the Rolling Stones' late-'60s/early-'70s albums, including such masterpieces as Beggars Banquet, Sticky Fingers, and Exile on Main St. And the music here on Bomber explodes on song after song, thanks to the crazed performances of the aforementioned bandmembers as well as the well-overdriven, ear-rattling production perfection of Miller. Actually, there's only one marked difference between Overkill and Bomber that's worth noting: the songs. There are a couple killers here, namely "Dead Men Tell No Tales," "Stone Dead Forever," and "Bomber," but overall, the songs of Bomber aren't as strong as those of Overkill were. Granted, ...
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Feted by bikers, respected by punks, Motorhead exemplified rock's outlaw chic. On Ace Of Spades their speed-metal attack exploded with unparalleled fury. Thrashing guitars and primitive drums underpinned vocalist/bassist Lemmy, whose blooded-throat roar enhances the trio's aggression. Mind-numbingly basic and deafeningly loud, they savage rock's pomp and circumstance, rivalling ...
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Motorhead were riding high in the early-'80s, courtesy of such big U.K. hit albums as ACE OF SPADES and NO SLEEP 'TIL HAMMERSMITH, so there was no reason to worry about an imminent, career-threatening turmoil. Or so fans thought. Problems were brewing behind the scenes--longtime guitarist "Fast" Eddie Clarke would be exiting the band after only one more studio album, 1982's IRON FIST. Produced by Clarke himself, though it didn't achieve the instant classic status of the previous two, FIST kept Motorhead in the heavy metal spotlight. The title track remains a rapid fire Motorhead classic, while such oft-overlooked rockers as "Got To Hell" and "Sex and Outrage" proved to be highlights. By 1983, Motorhead announced the addition of a new (albeit short lived) line-up, featuring ex-Thin Lizzy ...
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When it became known that "Fast" Eddie Clarke had split from Motorhead, heavy metal fans feared the end of this hard-living trio. But when it was announced that ex-Thin Lizzy guitarist Brian Robertson was joining drummer Phil Taylor and bassist/lead growler Lemmy, another typically styled Motorhead release could have understandably been anticipated. However, while 1983's ANOTHER PERFECT DAY was still unmistakably a Motorhead album, Robertson brought in with him some musical elements that caused quite a bit of controversy amongst longtime fans--most notably the subtle use of synthesizers. Still, such furious tracks as "Shine" and "Dancing on Your Grave" showed that this new line-up held promise. But ANOTHER PERFECT DAY would be the ...
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After the exit of two founding members--guitarist "Fast" Eddie Clarke and drummer Phil Taylor--many metalheads left the once-mighty Motorhead for dead. The band's fortunes had dwindled due to a few less-than-enthusiastically received albums. But bassist/frontman Lemmy refused to let the band roll over and die, assembling a whole new line-up, changing record labels, and issuing their first new album in three years--1986's ORGASMATRON, titled after a device from the early-'70s Woody Allen movie "Sleeper." It's a splendid return to form. As the cover artwork suggests, Motorhead had come roaring back--a new dual guitar set-up, featuring newcomers Wurzel and Phil Campbell, adds spark to such meaty cuts as the title track, "Ridin' with the Driver," and "Built for Speed." On the surface, Motörhead appear to be trying something new with Orgasmatron, bringing in producer Bill Laswell to put a slightly different slant on their signature sound. Laswell does beef up the mix with added sonic detail, which works to particularly good effect on the title track -- the densely layered production helps transform the song and its simple riff into a chugging psychedelic noise-fest. Elsewhere, the production sometimes has the effect of muting the band's energy, sounding oddly processed and lacking the raw bite of past work (which foreshadows their decline over the next few years). It doesn't help that the songwriting is somewhat inconsistent, with "Deaf Forever" and "Built for Speed" standing out among a batch of tunes that sometimes sound as though Motörhead were trying a little too self-consciously ...
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The first solo album from Fleetwood Mac singer/songwriter Daniel David Kirwan has the future producer for Human League and Buzzcocks, Martin Rushent, utilizing those skills here, as well as engineering. The sound is crystal clear, and a feather in the cap for Rushent as well as Kirwan. It starts off with an uncharacteristic "Ram Jam City," which has more Lindsey Buckingham sounds than one would expect, especially since the two guitarists come from two different musical worlds. "Odds and Ends" is more lighthearted, the kind of music Paul McCartney toyed with on The White Album's "Rocky Raccoon." What Second Chapter immediately sets forth is the importance of Kirwan as a pop artist, and how, despite Fleetwood Mac's success after he left, his sounds could still have been beneficial to that supergroup. "Hot Summers Day" is a fine example of that, a beautiful song that could offset Buckingham's gritty ramblings. It would have made a nice counterpoint as Stevie Nicks complemented Christine McVie's tunes with her adventures, bringing an important change of pace to that popular band's hits. The jacket looks like a dusty old family album-style book holding Kirwan's Second Chapter. And the music reflects that old-world feel in titles like "Skip a Dee Doo" and "Falling in Love with You." Three of the best songs on this excellent outing are "Love Can Always Bring You Happiness," "Second Chapter," and a sleepy and beautiful number called "Silver Streams." Kirwan's tune is haunting as well with its lilting "all you need is love to ...
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System of a Down sees itself as being an integral part of a new musical revolution of heavy music. On the surface, the band's manifesto seems tangential to Rage Against the Machine's; but musically SOAD is a groove-metal machine, with a sound that incorporates a punk ethic, Panteraesque riffs, and a schizophrenic vocal approach reminiscent of Mike Patton. Like a dose of chicken soup for a disconnected moshing youth, SYSTEM OF A DOWN is unrelenting. "Sugar" segues from neo-jazz verses into pounding thrash-core choruses. "Spiders" shows more depth, dynamics, and even poetic, melodic vocals. The production of the album is raw and very close to that of a live album, surely a deliberate stroke by producer Rick Rubin (who has put many metal bands on the map under his guidance). On "Soil," vocalist Serj Tankian questions the ideology of democracy. With possibly more conspiracy theories than an episode of THE X-FILES, System of a Down explores the concept of mass influence through technology in "War?" The essence of SYSTEM OF A DOWN can be found in "P.L.U.C.K"; the song's title says it all, an acronym for "politically lying, unholy, cowardly killers." Principally recorded at Sound City, Van Nuys, California. Personnel: Serj Tankian (vocals, keyboards, sampler); Daron ...
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Principally recorded at Sixteenth Avenue Sound, Nashville, Tennessee and Studio Litho, Seattle, Washington in 1996. originally released on EMI (56141). Includes liner notes by Paul Suter. Queensryche took a drastic turn with 1997's HEAR IN THE NOW FRONTIER. Challenging the loyalty of their fans, the group moved in a less prog-oriented, more accessible direction with their songwriting. Perhaps the most notable change occurring on this set is the stripped-down production--a first from a band known for epic, heavily-polished recordings. Likewise, the Beatles-influenced "All I Want," features guitarist Chris DeGarmo's first and only turn on lead vocals. Ironically, HEAR IN THE NOW FRONTIER would be DeGarmo's final contribution as a full-time member of the band (though he later collaborated on several tracks for 2003's TRIBE). This disc opens with screaming guitars that lead listeners to expect another strong Queensr˙che release. In fact, the opening cut, "Sign of the Times," feels a bit like the fine R˙che rarity "Last Time in Paris," found only on The Adventures of Ford Fairlane soundtrack LP. However, as it carries on, it becomes clear that, like this album as a whole, the song has a tendency to lose its way, and consistency suffers as a result. There are definitely strong points present on Hear in the Now Frontier, but in general it is portions of songs that stand out rather than entire pieces. "Cuckoo's Nest," a hard-rocking piece, is an exception to that rule, though, being one of the most consistent compositions on display here. On the plus side, the album seems a bit harder edged than its predecessor, Promised Land, and that is definitely good for older fans of the band. [This version of the album includes bonus material.] ~ Gary Hill This is part of EMI Records "Queensryche Remastered" series. Replaces Cap 56141 Scott Rockenfield. Producer: ...
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