Overlord
Ssssh! The Children Sleep

LA RECENSIONE

Because we too experienced the Blasters right behind our house, without feeling the need to dream of either California or Los Angeles.

We are the ones who, in the late '80s, gravitated around Rome and its surroundings and had already decided which side of the barricade to stand on.

There are these two brothers, Marco and Massimo, who, like Phil and Dave, are eager for the most uncompromising rockabilly, the kind of figures that, if Elvis is the delinquent of rock'n'roll, they are Hannibal the Cannibal or close to it.

Marco and Massimo decide to form a band and recruit Elena.

Elena is a knockout and has already cut her teeth; she played bass in Kim Squad & Dinah Shore Zeekapers; and if in the musical Rome of those times you mention Kim Squad, it’s as if you’re reciting the act of faith, meaning that Kim Squad built the Roman scene.

So Marco sings and plays guitar, Elena is on bass, and Massimo on drums.

They are the Overlord, those we lived as if they were the Blasters right behind our house.

Same exact rockabilly passion, tempered by the urgency to play hard and fast.

Quick warm-up inside and outside basements adapted as venues, where you meet and listen to the music of people who otherwise wouldn’t even have the present, and no one dares to ask for a slow song.

Then, immediately, the album «Ssssh! The Children Sleep», hush so that the kids don’t wake up, as intimated by granny Agnese at the door, index finger to the lips.

Nonsense.

Marco, Elena, and Massimo don’t pay any heed.

«Let the children come to me, granny Agnese» starts preaching Marco, invaded by his namesake and illustrious evangelist predecessor (10, 13-16).

«Let the children dance, granny Agnese» echo the other two, possessed by Bo Diddley.

«No, look, Bo says boys, not children» retorts granny Agnese who knows a lot and keeps all the singles from Chess and Sun tucked away in the mattress.

«Time and tide wait for no man».

And with this, the three conclude the conversation and granny Agnese doesn’t know what to reply.

Also because Marco and Elena, in the meantime, have already plugged in the instruments to the amps and Massimo has taken his place behind the drums.

One-two-three-four and they start playing.

Nine songs, eight originals plus the supersonic remake of that sappy sluggish «Love Me Do» and at this point, you imagine the Macca with a slick rebellious quiff worse than Marlon Brando in wild style, forget the bob and the jacket and tie with which he bought a nobility like a con artist.

First eight pieces tight as ever, a cascade of punk-a-billy and punk'n'roll that speaks of a bunch of lunatics playing much more furiously and heavily than the Blasters.

Finally, they pull out a massive ballad to remember by heart, like little suburban Springsteens — I’d say Del Fuegos, or better certain things by Del Fuegos, but then I’d have to waste time talking about the Zanes brothers, incidentally another brother story — foreshadowing the turn towards blues in a few months.

Lyrics of simple philosophy that by comparison make those of the Ramones objects of worship at the academy of la crusca; like, I have two brains and feel bad, I throw one away and with what remains I go for a healthy drink; sweetness, I love you, darling, we have a date and I don't want to be late; I’m a total mess, I’d like to have no problems but it's not possible; and so on.

And if the record makes you sweat, live the atmosphere becomes torrid.

And so I quickly close this little page by resurrecting some memories from below the stage.

Like in the summer of 1990, they came to play in Bracciano at an event as the main act, starting around 11:40 PM and shortly after midnight the organizers cut everything because the police arrived saying it's late and someone is complaining about the noise; they get pissed and insist on playing one last piece, two minutes and out; allowed; they blast an extremely frenzied «Alternative Ulster» that even blows away the ancient ivy on the castle walls; they cut everything again; they take a Who-style exit, smashing the instruments on stage and rolling down the drums.

And who had ever seen something like that, certainly not me.

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This is (almost) all that can be found about the Overlord on the internet, at least for those interested in getting an idea, can’t even find the album cover and I had to take the photo myself, so live and let live, long ball and run:

• Overlord in Rome 28-09-1990

• Overlord in Rome 28-09-1990

• Overlord in Rome 28-09-1990

• Overlord in Rome 28-09-1990