Review Summary: The first step for what would become a reliable institution
Anthrax may be the most recognized of the East Coast thrash bands, but there’s no denying that Overkill was the true face of it. Their 1985 debut certainly has its share of commonalities with the previous year’s Fistful of Metal, similarly rooted in the gritty speed metal of forebears like Riot, Motörhead, and Anvil, even featuring the same producer in Carl Canedy. But while Anthrax’s first full-length was the product of a group awkwardly fumbling about, Feel The Fire already has a much better idea of what it wants to achieve.
While the playing has its share of the rawness and occasional slip-ups present on every other thrash debut, the balance of heavy metal and punk elements shows that they may have a more confident idea of what they were going for even when they aren’t fully capable of achieving it yet. The drums may trip over a couple of the rolls and double bass spots, but Rat Skates generally has the right idea with his frenzied muscular beats. Bobby Gustafson’s role as sole guitarist was a unique move, rare for thrash yet fair for punk, but an emphasis on tight rhythms keeps one from dwelling on his seeming disinterest in showing off. In hindsight, bassist DD Verni’s almost modest presence is weird to see compared to how domineering he would soon become, but he still provides a solid backbone.
Of course, Bobby “Blitz” Ellsworth already proves to be the band’s biggest wild card. I find myself drawing more Anthrax comparisons as he and Neil Turbin both favor a largely melodic approach than most of their peers. But while Turbin was throwing around his held-out falsettos with transparent overcompensation, Blitz is a much more charismatic character who isn’t afraid to introduce some extra mania. He provides plenty of level sing-alongs but is also the type that will turn what would otherwise be a high clean wail into a piercing shriek, not because he can’t do it but rather because *** it, why would he? Add in a hearty mix of howls, snarls, and evil laughs reinforced by gang shouts and you’ve got a fun answer to the old question of what if Paul Baloff had actual vocal ability.
The songwriting is driven by even more of this no-nonsense approach, a volley of straightforward punches that leave no room for superfluous segments but still allowing the tracks to individually stand out. “Rotten To The Core” and “Hammerhead” are undoubtedly the biggest staples with the most potently shouted choruses though “There’s No Tomorrow” puts in its own catchy appeal. It’s also cool to see the title track and “Kill At Command” offer some glimpses into the band’s more melodramatic side while still keeping up the fervor. And as weird as I find it for a band that was so obviously named after Motörhead’s “Overkill” to write their own song with the same title, let alone the entire five-track cycle that we’ll see unfold, the relentless pacing makes it pretty cool.
Feel The Fire doesn’t come up very often in the best thrash debut album conversation, but there’s an argument to be made for it being among the most focused. Nothing feels too out of place on this album, the ingredients for the classic Overkill sound are here even when they aren’t at the familiar blend yet and you won’t find too many awkward performances or lofty ambitions beyond their reach. But at the same time, the tight songwriting and engaging musicianship keeps it from feeling too one-note. There’s enough forward thinking to keep from feeling like Overkill was playing it safe, but Feel The Free was the first step for what would soon become a reliable institution.
