SUMMARY
New Jersey-based thrash pioneers, OVERKILL, may not have the same popularity, or get as much publicity, as the “BIG 4” (Metallica, Slayer, Megadeth, Anthrax) but this group has been more productive and consistent over their career than any BIG 4 band. OVERKILL has released 19 studio albums between 1985 and 2019, and every one of those albums ranges from solid thrash, to monumental and groundbreaking metal.
OVERKILL has always been underrated and undervalued when it comes to their impact on the music world and they deserve more attention then they have received. So, we decided to do our part in continuing to promote one of the greatest metal bands of all-time, by ranking all of their albums!
CRITERIA
- Average Professional Review Scores (i.e. Publications)
- Average User Scores (AllMusic.com)
- My Personal Scores
- % of songs on each album I love
- Each Album was graded out of 10 points for each category (40 points total)
- After grading and ranking, I re-listened to every album and took notes before deciding on a final list
#19 ReliXIV (2005)
It’s difficult for me to say this, because Overkill has never released a bad album, but “ReliXIV” is the band’s worst effort to date. The production sounds like a demo-tape – the guitars sound like they were recorded in a trash can – and the album contains the only two Overkill songs I actively dislike (“Love” and “Old School”). “ReliXIV” is a largely uninspired, generic effort and includes no innovation. Most of us don’t even know how to pronounce the album title. Some of these issues are a bit surprising since they are a complete 180 from the groups previous album, “Killbox 13”, which was critically acclaimed and arguably the most well-produced album of Overkill’s career. Even more surprising: both “Killbox 13” and “ReliXIV” were recorded in the same studio and with the same record label.
Just because the album is bad by Overkill standards, however, does not make it a truly bad album. There are still several songs here worth adding to your song playlist; the album just is not going to win over new fans or catch the attention of anyone outside the Overkill fan-base.
Highlights: “Within Your Eyes”, “Bats in the Belfry”, “Keeper”.
#18 Bloodletting (2000)
The turn of the century came with a lot of changes for the band. First, they had moved to a new label, Metal-Is, after 5 years with CMC records. Guitarists Joe Comeau and Sebastian Marino (who both performed on the groups 3 previous albums) were no longer in the band and, with the addition of guitarist Dave Linsk, Overkill became a 4-piece unit for the first time since 1989’s “The Years of Decay”. What came out the other side of these changes was “Bloodletting”, a hastily produced album whose production is, to put it bluntly, a mess. This is unfortunate, because some of the song-writing on this album has a lot of potential. Tracks like “Thunderhead”, “Bleed Me”, and “Death Comes Out to Play” are great Overkill songs, but the sound quality just isn’t there. This is most apparent with the drums, sounding like they were recorded using an electric drum kit in a garage. This is especially disappointing because Tim Mallare was one of the best drummer’s in metal during his tenure with Overkill.
Dave Linsk’s first record with the band is solid but, overall, the band is missing some of the two-guitarist dynamics fans had become accustomed to over the previous decade. The album is still heavy, and is still Overkill, and there are gems to be found. The album just feels like a manifestation of the entire band mindset at the time: distracted.
Highlights: “Thunderhead”, “Bleed Me”, “Death Comes Out to Play”, “I, Hurricane”.
#17 Immortalis (2007)
“Immortalis”, the follow up to “Relixiv”, was Overkill’s second straight disappointing release. Overall, the album is pretty generic-Overkill, straightforward and feels uninspired. Most of the songs are forgettable and I re-listen to this album less than any other by the band. It was also Overkill’s only release on the Bodog Music label and, in hind sight it seems obvious why Overkill did not remain with the label: the sound production is a little off here, with a tone more muffled and muddy than any other Overkill record.
Of course, there are still good songs on this album, including the 5th installment of their ‘Overkill’ song series, and first since 1989’s “The Years of Decay”. An outsider, who knew nothing about Overkill could listen to this album and think “this is pretty good”. But as an Overkill fan, I know they can do better than this.
Highlights: “Devils In The Mist”, “Skull and Bones”, “Overkill V (The Brand)”.
#16 Necroshine (1999)
Overkill’s final album of the 90’s, “Necroshine“, has two things going for it, but also several things working against it. First, the positive. The sound production on this album is more stripped down than other 90’s efforts and has a clean, high quality feel. Each instrument comes through clearly and the bass is mixed into the album perfectly. In addition, four of the first five tracks are hard-hitting and well-crafted, if a bit experimental at times. Personally, I love the title-track “Necroshine” and “Revelation” (whose opening minute is one of the best starts to any Overkill song ever).
Unfortunately, the second half of the album feels much less inspired and the song composition is all over the place. The album is probably one of the groups most inconsistent albums – there is a huge quality gap between the good songs and the not-so-great songs. In addition, Bobby Blitz’s vocals continued the late-90s trend of inconsistency. At any rate, true Overkill fans will really enjoy the first half of this album and may even find a couple of their favorite all-time Overkill tracks.
Highlights: “Necroshine”, “My December”, “Let Us Prey”, “Revelation”.
#15 Feel the Fire (1985)
Overkill’s debut album may not hold up to some of the band’s later records, but “Feel the Fire” turned heads upon it’s debut and got the attention of the heavy metal community. Songs like “Rotten to the Core” and “Feel the Fire” are still in Overkill’s live rotation 30+ years later. The band gives a surprisingly tight and polished performance, despite being their debut. The songs are fast-paced, energetic, blend thrash with a little punk attitude, and showcase the band’s hungry, balls-to-the-wall attitude. That said, the sound production makes it obvious this was recorded in the 80s, the band’s song-writing abilities had not yet matured and Bobby Blitz was still finding his voice, though he commanded a presence even in the early days. Overall, Overkill’s debut album was a strong first effort and built the foundation for the 18 albums to follow.
Highlights: “Raise the Dead”, “Hammerhead”, “Feel the Fire”, “Overkill”.
Leave a Reply