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As recorded by OVERKILL on MEGAFORCE Records Managemen t: Loud & Proud Management Transcribed by Carl Culpepper Edited by Jeff Jacobson and Jon Chappell Music Engraving by W.R. Music Production Manager: Daniel Rosenbaum Art Direct ion . Ailsa Hill Admin istration : Monica Carton Director of Music: Mark Phillips Photography by Frank White and Jeff 712" Tisman ISBN : 0-89524 -553-1 Copyright © 1990 Cherry Lane Music Company. Inc . International Copyr ight Secured All Rights Reserved

MIIt~ -rH~

7tARr or:- D£~AY INTRODUCTION

"Speed Metal" had become an established musical form by the late 1980's . What had started as a small but potent radical departure from the norm, an alternative to the flood of shallow glam bands, pop-oriented designer rock groups and dinosaur metal revivals, has grown into a movement. It is a movement with a tradition (its roots in the late-70's New Wave of British Heavy Metal and hardcore punk music) and an identifiable, unifying sound. It currently flaunts numerous serious practitioners lnside the genre; we now have many new entries yearly, compared to the tenacious handful of the early 1980's (Metallica, Anthrax, Megadeth, Slayer). There is a method to what some perceive as the madness within the artform. It is about energy and expression. It has a harmonic and melodic language; it has definite rhythmical, arrangemental and orchestral procedures. The lyrics and related symbolic imagery deal overtly, sometimes disturbingly, with relevant social, political and global issues, not with boy-meets-girllove stories nor with bar-crawling machismo. It is rebellious, often painfully self-abnegating, a new voice in the wilderness of social decay and complacency. It demands to be heard . One of the voices demanding to be heard these days is Overkill. On their 1989 release, The Years of Decay, they get right down to the business of living up to their name. As expected, the characteristic elements of modern speed metal are well represented. Unbelievably crunchy rhythm guitar grooves and riffs are abundant and insist on shaking the walls throughout. The rhythm section promises to level you with unwieldly accents and breaks, sfasmodic meter and feel changes taken at ridiculous breakneck tempos (often in excess 0 J=200). The lead guitar soloing is absolutely blistering---defying accurate transcription with the myriad of fast picked passages, quirky melodic content, exaggerated whammy bar abuse and numerous physical and processor-generated effects as musical events. Harmonically and melodically, it is unmistakable-references to tritone and chro-

2

matic chord harmony lurk throughout the dense arrangements; odd scales and modes take their place along-side time-honored blues, pentatonic and diatonic sounds as viable melodic sources. The guitar orchestration in The Years of Decay is noteworthy. Consider the effective use of acoustic and electric timbres to create a colo rful and dramatic environment in the title track, or the exploration of clean and distorted electric guitar tones in "Who Tends the Fire." The intra to "E.vil N.ever D.ies" is a truly orchestral moment, with the volume-swelled sounds (enhanced by wet reverb and delay processing) of multiple overdubbed guitars creating a quasi string-section impression of violins, violas and cellos. Of course, overdubbed, heavily distorted guitars in unison riffs, ensemble chord figures and various harmonized lines are everywhere in the music, lending an unearthly thickness to the proceedings. Rhythmic complexity is found throughout The Years of Decay. Check out the shifting of meter during the quttar solo of "Evi! N.ever D.ies." There are bars of 4/4, 5/4, 3/4 and 2/4 within the section, which is challengi ng in its tempo alone : ..I =216. Or check out the multiple tempo changes in "The Years of Decay," "Who tends the Fire," "Birth of Tension" and "Elimination." "Nothing To Die For" is distinguished by feel changes as well as tempo and meter changes. Besides the general tempo move from) =200 (intro, verse and chorus) to J=220 (interlude), there is an intriguing fluctuation of triplet feel to straight-eighth feel in the solo (Guitar solo II). Dissonance and unusual melodic and harmonic devices are par for the course in modern speed metal. Overkill's music is no exception. Consider the prevalent use of tritone (flat five) dissonances in riff construction in "W ho Tends the Fire" (Rhy. Figs. 1A and 1B), "Birth of Tension" (Rhy. Fig. 4), "E.vil N.ever D.ies" (Rhy. Fig. 5) or "Skullkrusher (Rhy. Fig. 2). Chromaticism is employed in countless forms, often in conjunction with modal harmony as in "Birth of Tension." Here, the intro uses both conventional E Phrygian mode changes and chromaticism from the harmonic minor scale in A (G#) as well as the E blues scale (A#). Like many of the thrash bands of today, the music has its roots in classic heavy metal of the 70's (Black Sabbath, Judas Priest and Iron Maiden) yet it is fused to distinctly modern elements. The initial lumbering 0=60), dinosaur groove of "Skullkrusher" (intro, verse, chorus) grinds inexorably forward like the most unstoppable Sabbath riff (it's even tuned down two steps for good measure) . This is contrasted sharply by the very contemporary speed-metal attitude in tempo (J=216) and delivery of the bridge (Rhy. Fig. 6) and guitar solo. In the solo, two guitars (Gtrs. II and III) solo against each other in free-form polyphonic improvisation while Gtr . 1 holds down first an E5 power chord pad and then lays out altogether, heightening the effect of the two-guitar texture. Another example is the obvious mutation of the notorious heavy metal"gallop" (In or n..,), associated with Iron Maiden and 70's metal in general, in "Who Tends the Fire" (Rhy. Fig. 2). Like the staple figure from which it sprang , it receives an appropriately thick, palm-muted attack and a very staccato, accented articulation and phrasinq. The dictionary defines "overkill" as "nuclear destructive capacity exceeding the amount needed to destroy an enemy ... excessive killing." That'll do. In the final reckoning, Overkill is equal to the task. With their arsenal of heavy metal forces and the sheer power of their high decibel, high velocity, high energy musical assault, they pack the wallop needed for ultimate annihilation. They are, indeed, equipped for excessive killing-leaving an audience devastated and begging for more. Then, they turn it up.... - Wolf Marshall

3

I

CONTENTS ] 'jIJJC To Kill 5 · 12 ·. ... ... .. ... .. .. ... ... ... ... .. ... .. ... .... .. .. ... ... ... .. ... ... .. .. E1UTI/natloll 20 . .. ... .. . ...... ...... ... ... .. .... .. ... ..... ... ... .. ... ..... ... ... ... ... .. I Hate Nothing To Die For 26 33 ·. .... ... ... ... ..... ... ..... ........ ... ........ . Playing with Spiders/Skullkrusher Birth of Tension 44 · 51 . .. ... .. . . . ... ... . . .. . .. ... .. ..... . .... . .. ... .. ... .. .. . .. .... Who Tends tile Fire The Years of Decay 61 · E. vil N. ever D.ies 70 ·

79 ...... ... .. .. .... .. ... .. ... .. ... .. . .. ... ... .... . ... .. ... ... Tablature Explanation

CHE RRY LANE M U SI C

THE PRINT COMPANY

EXECUTIVE : Mich ae l Le ffel1s, President Ka th leen A Mal on ey , Dir ector o f Ad , ertis ing an d Promotion, Len Handler, Cr eative Servrces Man ag er; Mo nica Carton , Comract s Adm i nist rato r; Kar en Care y, D rvrsion Secretary, Donna Friedman . Execul"8 Secretary. MUSIC ' M ark Pbrlhps, o .recror of Mu sic: .Jon Cil app eli. As soc iate Dir ecto r of MUSlC, Jefl Jac obson Mu ,.c Edi tor; Ste ve Goreobe rq . Mu src Editor. ART: A lrSB Hrll, An OlfSCIOr, KersHn Falrbend, Ass istan t Art Dir ector PRODUCTION : D aniel Ro senbaum, Production Man ager, Belt y Chasen , Prooucnon Assistan t

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51

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60

F#S

GS

AS

ES

THE "YEARS OF DECAY Words and Music by Overkill Emadd9

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2.3. See additional lyrics 'During 3rd V erse, Rh y , Figs . 1,2 8< 3 are played by cl ean dec . w/ eharu s.

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Copyright If) 1999 Blood and Iron Mus ic CO.1Za2mar MUSIC Company (8MI) This Arrangemeotlf) 1990 Blood and Iroo Music1ZazmarMusic Company Inlema~ooQl Copyright Secmed AURights Reserved

61

Out

of

to

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live

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dr eam s

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w/Rhy. Fig. 2 E madd9

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Jist . ' uing wfRhy. Fig. 3 (5 times)

to

c,

wha t

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have

say. _

to

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way.

th e

change

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Gm aj7

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To Coda IGm aj7 Emadd9

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To Codal;

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wl.Rhy. Fig. 7 (till fade) w/Gtr. effects D E E

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years

(The

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B5

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n~l

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of years of

IF

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de - cay!_ de - cay.)

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Additional Lyrics 2. Promised the world, as your world Changed before our eyes. And the days became the weeks And the weeks the years. No one remembers that very first day. How it slipped away. Forever [ wait, Pulling in, putting out as the motors whine. To remind me I'm home and I'm here to stay. As we decay. Another day. Decay away.

3. Self-sacrifice every night. And together we payed a price in blood That spilled out through the years. And another day passes away. Look to the black Drawn farther back. Look to each day. See the decay. Times I've had, Good and bad. Win or loose, This is what I choose.

69

E.VIL N .EVER D .1ES Words and Music by

Overkill

FS

E5

•

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