VWMusic

All images courtesy of Bobby Gustafson

By Andrew Daly
andrew@vinylwriter.com

The recent resurgence in 80s-bred thrash metal – both Bay Area and NYC – has sparked a wave of nostalgia, with bands of all kinds either regrouping or retooling. In the case of west coast legends, Vio-Lence, they’re dabbling in a bit of both.

Just a few short years ago, a Vio-Lence reunion seemed improbable, and the prospect of new music was – to put it mildly – far from anyone’s mind. And then, in 2019, the improbable suddenly became a stark reality, when it was announced that Vio-Lence would not only be reuniting but that new music was also in the works.

With classic members Phil Demmel (guitars), Shawn Killian (vocals), and Perry Strickland (drums) returning, the next order of business was to find a new bassist, which ultimately came in the form of Christian Olde Wolbers, and none other than NYC thrash legend, Bobby Gustafson on second guitar.

For Gustafson, the years since leaving his flagship band Overkill had not been kind. Venomously snakebitten, and devoid of the royalties he was justly due, the flying-v toating guitarist nearly left the music business altogether.

As fate would have it, like Vio-Lence, Gustafson would rise from the ashes to star once again, and as the newly-minted version of Vio-Lence gained traction, the sessions for what would become the band’s first new music in nearly thirty years began, manifesting as 2022’s Let the World Burn.

Combined with the remaining legacy members, Gustafson and Wolbers find themselves at the forefront of a new age for 80s thrash metal. For Vio-Lence, the stage is set for them to unleash their particular brand of forward-thinking musical genius unto the masses. Simply put, the world needs musical heroes, and the boys in Vio-Lence appear eager to answer the call.

Gustafson recently checked in with me from the road, where Vio-Lence is currently navigating the miles in support of its new EP, and plotting its next move.

Andrew:
Bobby, thanks for taking the time. How has the current tour been so far? What’s the audience reception been like?

Bobby:
The tour so far has been great. We’ve traveled mostly by plane which is new for me and kinda cool. But it’s also added stress. Flying is not a lot of fun these days. The crowds have been even better than expected. People are so happy to be out at shows again. 

Andrew:
How have you gone about integrating the new material in with the old? Which new tracks are your favorite to play, and why?

Bobby:
The set consists mostly of the older material. The new songs are “Flesh from Bone,” and Upon Their Cross.” I like both of the new ones a lot because both are super heavy and fun to play.

Andrew:
You’re the second newest member of a rejuvenated Vio-Lence. Take me through your indoctrination? What was the audition process like?

Bobby:
Perry [Strickland] and Sean [Killian] both had me in mind. So it was more of just learning these songs. I went out to California and went through the learning process. Everyone, mostly Phil [Demmel] was so supportive and patient. 

Andrew:
It wasn’t long ago that Vio-Lence was thought dead, and the prospect of new music seemed remote. Walk me through the recording of the band’s newest EP, Let the World Burn. 

Bobby:
Since I live in Florida, I really couldn’t be there for the writing. I was sent updates on the material and worked on my own solos. I’m sure we will be more hands-on later. But it was important for Phil to rage and everyone stepped up. 

Andrew:
Given the state of the world, the themes seem obvious. That said, can you expand on that at all for me?

Bobby:
Sean does the lyrics. He has an amazingly twisted mind. Perfect for lyrics and very aware of what’s going on in the world. So he slammed out some nasty shit. Had the cover idea in mind and it all fit together. 

Andrew:
In what tangible way did you most affect the sessions? How did your prior experience serve Vio-Lence best?

Bobby:
I hope it was the fact that I was a veteran to this. The studio, the road, honestly, not everyone is cut out for it. They knew my role and abilities as a writer, so there will be more done together in the future. 

Andrew:
I wanted to go back a bit and talk some history. At seventeen, you joined Overkill. Walk me through the audition.

Bobby:
I found out from a friend they were looking for a guitar player. So contacts were made, and I learned a few Maiden and Priest songs and just tried out. Two guitar players didn’t seem to work, so I just did it all myself. 

Andrew:
When you joined Overkill, it was mostly a covers band, right? What sort of potential did you see in the band that spurred you on to push the band toward making original music?

Bobby:
They had a big stage show, and they were willing to try anything. I could see the potential, but I knew we would not survive playing covers. So we slowly got rid of them until we had a full set of our own material. We may have done one or two for fun. 

Andrew:
At only twenty years old, you played a key role in the recording of Feel the Fire having handled the guitars and arrangements. Take me through the sessions and your approach.

Bobby:
Well, the first album was a new experience for all of us. I wished it came out better soundwise, but I think we did a good job. We used the early songs even though we had most of the second album done. I think we learned to speak out more on later albums. 

Andrew:
The Years of Decay remains Overkills defining moment and a watershed album for the genre of thrash metal. Which tracks did you personally bring into the studio, and how did those tracks manifest?

Bobby:
All the songs were mine, but as a band, we shared the money, or lack there of. D.D. [Verni] found Terry Date to produce. I wanted Martin Burch, but he may have been too expensive. I wanted to get my sound the way I wanted and then work everything else around it. The songs were darker and I worked it all from the artwork and recording and video. It was almost an eight-song album because “Elimination” wasn’t finished. I’m glad it was done in time, as it continues to be our biggest song money wise. 

Andrew:
As the album’s co-producer, once again you were charged with honing the bands sound. What was your approach? Did the end product ultimately come out as you envisioned?

Bobby:
I had new amps for that CD. I used a rack-mounted pre-amp called ADA. It gave me exactly what I wanted, and Terry was great with guitars. So much so that Dimebag [Darrell] used my tone to get his. 

Andrew:
Given your integral role in the band, what ultimately led to your departure from Overkill?

Bobby”
Some people got greedy, and music wasn’t as important as money. That’s not who I am. 

Andrew:
Once more, given the massive impact you had in the bands 80s era from a musical, compositional, and production standpoint, have you been properly compensated?

Bobby:
I’d say not even close. I’m still getting ripped off to this day. I’m always finding out pieces of information about how money is not going to me that should be. And Megaforce at the time screwed all of us. Jon [Zazula] would never come clean. I will probably never see a dime from all those albums. 

Andrew:
Where there any tracks on Overkills subsequent records that you wrote but were not given proper credit?

Bobby:
No, not that I know of. But they did re-record some of my songs, which I also didn’t get paid for.

Andrew:
I wanted to hit on a couple of additional memorable moments. You notably were asked to join Megadeth around 1987. Take me through the audition. What other notables were you competing against?

Bobby:
It was just an after-show blow-up one night in Philly on tour. Dave [Mustaine] was losing it at the time with the other members. He asked me to join and I said, “I’ll think about it.” Overkill had just released Taking Over, and I thought we had a good shot at making it. I knew I would not last in Megadeth, but I love Dave dearly. He’s a warrior. I thought about it, but I never actually auditioned or was up against anyone else. 

Andrew:
You’ve just alluded to this a bit, but why did you ultimately pass on joining Megadeth? Do you have any regrets there?

Bobby:
They were kinda partying a little to hard for me. Sure, it would have been great to do something, but I don’t regret it because I was at least able to do Under The Influence and The Years of Decay with Overkill. Those are two benchmark albums.

Andrew:
Given your creative nature, which Dave shares too, how do you feel you two would have fared together in a band?

Bobby:
Dave’s a visionary and so was I, so I don’t know if two bulls could work together. I think he liked my heavy sound and my down-picking. We could have done some kinda magic. I’m sure of that. 

Andrew:
There have been conflicting reports about your 1992 audition to fill in for James Hetfield. Can you clear that up for us?

Bobby:
Yeah, James He caught on fire. They asked me to fill in, so I tried to learn all eighteen songs that they gave me in literally two days. Going in, because I didn’t have much time, I really didn’t know any full songs. They should have given me four or five, and let me learn over the two weeks we had off. That I do regret. It could have been cool. 

Andrew:
Even with the time crunch, how close were you to getting the gig?

Bobby:
I guess they assumed I knew the songs. James, Kirk [Hammett], and I were good friends, but I never really was the type to play other people’s material. I was always writing myself. I was the first person they called that night. I feel bad that I let them down.

Andrew:
In the mid-90s, you took a long break from the music business. What prompted the shift, and how did you spend the time? Ultimately, what drew you back in? 

Bobby:
Well, I tried. I joined Cycle Sluts and Screw. I tried to put together a band with [Dave] Lombardo. I moved to Florida and joined Response Negative, but nothing was happening. I found out that Florida is very isolated, so that made it hard too. I’ve always wanted to play, so I did Satans Taint just to release all these songs I had. 

Andrew:
Having been a member of both Overkill and now Vio-Lence, you’ve come full circle in a way. What are your overarching thoughts on the thrash scene past and present?

Bobby:
Well, NY and SF are very different. There is a blood that binds us, but NY was a dirtier, meat and potatoes, power chord kind of playing. And SF was more finesse, harmonies, and arpeggios. We both had an eye on what each coast was doing, but after all these years, we both can play on either coast I’d say. 

Andrew:
Present-day, how would you best describe your guitar style? What’s changed?

Bobby:
Nothing has changed. I’ve only gotten better as a player over the years by jamming with different people. Vio-Lence has brought me back and to a new level. As long as you keep learning new things, you never lose interest. 

Andrew:
Last one. What’s next for you, and Vio-Lence as we move forward?

Bobby:
We are going to Europe in August and playing all these big festivals, which I never had the chance to do. We have a few state-side shows left, and then we’re off to South America, which is another first for me. Then we finish out the year again in Europe on the Headbangers Ball Tour. Somewhere in there, I’m sure we will work on some new material. 

– Andrew Daly (@vwmusicrocks) is the Editor-in-Chief for www.vwmusicrocks.com and may be reached at andrew@vinylwriter.com