Feature Photo: courtesy of Merrit James Gant!
Entering the Overkill fold in the wake of Bobby Gustafson’s departure couldn’t have been easy for Merrit James Gant.
Nevertheless, the shredding six-stringer made his presence known immediately as Horrorscope (1991) proved to be yet another bone-crushing affair for the New Jersey-based thrash titans. Paired up with fellow guitar-toating beast of unladen fury, Rob Cannavino, Gant helped change Overkill’s dynamic, playing one part of a duo in a band previously known to host Gustafson as a lone gunman.
If Horrorscope established Gant as a worthy inductee of the scene, I Hear Black (1993) – despite its wild change in direction – and W.F.O. (1994) deeply etched the Millville native’s stylings across the hearts of Overkill’s fanbase. But despite his success, after the release of Overkill’s live record, Wrecking Your Neck (1995), Gant departed for personal reasons.
Gant has maintained a low profile in the years since, experimenting with electronics and technology in the studio, building guitars, and continuing to perpetuate the good word of guitar-driven antics through his teaching. Gant harbors no regrets and looks back on his time with Overkill fondly, citing his accomplishments with the thrash legends as some of his finest work.
Taking a moment from his busy schedule, Merritt James Gant plugged in with ClassicRockHistory.com for a rare interview where he recounts his early musings on guitar, his initiation into Overkill, his approach across Horrorscope and I Hear Black, and what his plans are as he moves forward.
What first inspired you to pick up the guitar?
My older brothers. One played bass, the other drums. They played a lot of classic rock stuff like KISS, Nazareth, and UFO. They always had bands in the basement. I was too young to join in at the time, but I always looked up to them.
Can you recall your first guitar?
My first guitar was a full-sized acoustic dreadnought. I’m left-handed, but they didn’t have any, so I learned right-handed. I was 7, and my grandmother paid for the lessons and the rental fee. After about six months of renting, I saved some money and bought a used Fender Musicmaster from a friend. A buddy of mine still has the guitar. It has been modified so many times that it’s not even recognizable anymore.
What was the first riff you learned?
The first riff I remember learning was “Rebel Rebel” by Bowie. One of the guitarists that used to hang out with my brothers taught it to me. I played that riff over and over! I used to torture my guitar teacher with new songs and solos to learn every week. The poor guy would sit and tab out solos for me with a cassette player, manuscript book, and pencil. He would limit me to one cassette per month of lessons. So, for the other three weeks, I had to memorize chords, voicings, scales, and sequences.
Who most influenced your sound, and how is that best illustrated in your style?
I was and still am a Randy Rhoads and Eddie Van Halen fan. I used to listen to vinyl with headphones studying their tone and style. To this day, Van Halen and Ozzy are still at the top of my playlists.
Tell me about any original music you’re working on.
Currently, I have been writing and releasing solo instrumental stuff. The songs aren’t really songs; they’re more like musical doodles. I’ll start with a concept like a triad exercise or something, and then I’ll record real drums and continue to mix at home. From there, I’ll usually send out a couple of MP3s to some friends for feedback. Most of my new stuff gets released to online streaming platforms.
What songs and recordings that you’ve done so far mean the most to you, and why?
I would have to say the solo work I did on the Overkill records mainly because it was the most notable contribution I have made to date. But also because I spent a lot of time working on those solos, layering, harmonizing, etc. It’s crazy how much time you can devote to just 20 seconds of audio.
I wanted to hit on Overkill. How did you first enter the fold?
I heard about the audition while playing in a band called Faith or Fear. The band was breaking up, and management gave me the number to call. I borrowed a hundred bucks from my mom to buy their CDs so that I could learn 20 songs in two weeks. Me and a friend drove my van with my gear to a rehearsal studio in North Jersey.
When we got there, the lobby had a couple of guys auditioning. I never thought it would go anywhere. When they called me into the rehearsal room, I could tell they were tired of hearing guys play their songs. So, I just went nuts trying to play as tight as I could, shredding solos. Then they called me back with a new assignment to write solos for what would become Horrorscope.
What were some of the challenges in replacing Bobby Gustafson for Horrorscope?
I felt like Bobby and D.D. [Verni] were getting a lot of pressure from Johnny and Marsha Z to use two guitar players. They already had Rob [Cannavino], who had worked for Bobby G and knew the stuff. He was totally capable, but they needed to satisfy the label. D.D. already had most of the songs written, and they had a demo of a couple of the tunes. So, the big challenge for me was walking in late and trying to prove myself to an already-established brotherhood. To prove my worth, I just learned the stuff to the best of my ability and focused on writing killer solos.
I Hear Black represented a major sonic shift for Overkill. D.D. told me he regretted it and that the change in sound was overwrought. Would you agree?
I Hear Black was an odd record for us because the approach was different. D.D. had some of the songs written, and he was leaning towards more of a groove-oriented Black Sabbath-type thing. With the success of Horrorscope, we felt as though we could take liberties with the sound of the band and explore other directions.
So, we all had an opportunity to write songs on that record. It sounds like a great idea with all this new talent, but it was a huge mistake. Overkill has a very distinct sound: D.D.’s riffs and Bobby’s vocals. We messed up a tried and true formula. I Hear Black was a dark time for everyone personally, too. Everyone was going through something. I don’t think any of us would look back upon that studio session or record fondly.
Photo: courtesy of Merrit James Gant!
What led you to move on from Overkill?
I did Horrorscope, I Hear Black, WFO, and Wrecking Your Neck Live. I had to leave the band after about five years for my own well-being and financial reasons. Touring wasn’t fun anymore. Budgets were getting trimmed, and I just wasn’t willing to sacrifice my livelihood for the band anymore.
Tell me about Blood Audio, which formed after your time in Overkill.
Blood Audio was an experimental project I did when computer audio became available to the masses in the mid-90s. The editing, loops, and effects fascinated me. Most of that stuff was just me learning the technology and trying out new toys.
How do you balance the want to craft quality songs with the desire to shred?
I try to write things that will make other guitar players smile. I like quirky ear candy. Songwriting is an art all in itself, and composition fascinates me. For me, the shred stuff is just something I’ll throw in to prove my ability and keep my chops sharp.
What guitars, gear, pedals, amps, and effects are you using these days?
Lately, I have been having fun building my own guitars. I get unfinished bodies and necks. I’ll level and contour the neck and fret with stainless steel. I like experimenting with different finishes but usually prefer lacquer or hand-rubbed oils. I’m also a passive pickup guy. Actives feel sterile to me.
I used EMGs in Overkill because that was the tone. Dimarzio or Seymour Duncan’s are in most of my guitars now. I also prefer medium-output pickups. For amps, I usually use a Marshall tube head with a miked cab for my online lessons and recording. For heavy stuff, I’ll use a Tube Screamer in front of the amp. I like to stack boost pedals, too, for other textures.
What are your most immediate goals, and how do you plan to make them a reality?
My main goal is to continue to evolve as a teacher. Instructing others is a thrill for me. Teaching keeps me sharp and fresh. I continue to become a better musician in return for helping others. I’ll definitely be releasing more solo instrumentals and building more guitars. I hope to keep learning new things and sharing them with my students.
Photo: courtesy of Merrit James Gant!
An Interview with Merritt James Gant, formerly of Overkill
By Andrew Daly
Merritt James Gant: The ClassicRockHistory.com Interview article published on Classic RockHistory.com© 2023
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![Rob De Luca of Spread Eagle, Sebastian Bach & UFO: 10 Albums That Changed My Life From humble East Coast origins to grandest stages worldwide, veteran bassist Rob De Luca has seen and done it all. De Luca first hit the local Boston rock and metal scene in the late 80s after meeting guitarist Paul DiBartolo, bonding over Van Halen before forming Bang. Regional success came quickly, but eventually, the members of Bang went their separate ways, with De Luca and drummer Tommi Gallo heading to NYC and hooking up with Ray West and, later, DiBartolo to form Spread Eagle. By 1990, Spread Eagle was on the fast track, with a contract through MCA Records and a self-titled debut album poised to crush skulls. But poor timing and MCA's sad indifference left Spead Eagle out in the cold despite being a hard-boiled answer to Guns N' Roses's West Coast sleaze. Spread Eagle's first chapter came to an end in '95. As for Rob De Luca, his nimble fingers and gift for melody and songwriting kept him moving forward. Soon, he found a gig with former Skid Row frontman Sebastian Bach and the legendary outfit UFO. And in 2010, after coupling up with Ray West and his cousin Rik De Luca, Spread Eagle retook flight. During a break from Spread Eagle's increasingly busy touring schedule, Rob De Luca dialed in with ClassicRockHistory.com to run through the ten albums that changed his life. But only after adding, "I made a playlist of these songs, including some I've written or co-written. Do you hear any of these albums' influence on me?" Listen here: https://open.spotify.com/playlist/3LWJuhDrE8JmzhsmTeIDUq 10) Gentlemen by Afghan Whigs (1993) Here's an entry that was so important to me. This may be the darkest break-up album of all time. Greg Dulli has been in many projects, but I feel Gentlemen is his zenith. Somewhat undefinable at times but always profound and honest. Listen to "Gentlemen," "Fountain and Fairfax," and "What Jail Is Like." 9) In on the Kill Taker by Fugazi (1993) By this time, I had been sucked in and spit out by the major-label record industry. Glam came and went; grunge was history, too. I was searching for new sounds. When I heard Fugazi's twin guitar approach, I knew this was what was missing. Fugazi may be considered a less polished sound than the albums above; however, once you "get it," it hits you like a ton of bricks, and there's no going back. From the moment I heard Fugazi, I went to every NYC show after. It's easily some of the best concerts of my life, and possibly my favorite bassist in Joe Lally. And their DIY ethics refused to charge us more than $5 a show! In on the Kill Taker is a powerful album demonstrated in songs such as "Smallpox Champion," "Great Cop," and "Public Witness Program." 8) Appetite for Destruction by Guns N' Roses (1987) I discovered many of these albums (sometimes long) after they were released. However, I was at the right place at the right time for this one. Steve Ostromogilsky had a Berklee College of Music lunch card and used to sneak out sandwiches for me. One day, he invited me to hang out at his place and listen to music. As we got off the train, he put Sony Walkman headphones on my ears and said, "Hey, check out this brand-new group." A song like "It's So Easy" was so different from the popular Sunset Strip sound at that time. Me and about 499 other informed rockers were lucky enough to see them on their first East Coast tour at the sold-out Paradise on Commonwealth Avenue, Boston (the same street Aerosmith started on). I saw Gn'R every tour after until I took a break when Buckethead joined. Gn'R is the band I've been lucky enough to see the most times live, almost 100! Everyone on this album is just stellar. Axl [Rose] had the tones, power, melodic sensibilities, and foresight to do what no other singer did then. Slash's playing was beyond memorable. Duff [McKagan] is one of the most underrated bassists in rock history, and learning his Appetite basslines is a masterclass. Steven [Adler] had the natural swing, and Izzy [Stradlin] was the secret weapon songwriter. Everything that's been heralded about this gem is deserved and true. Check out "It's So Easy," "Out Ta Get Me," and "Mr. Brownstone.' 7) Wish You Were Here by Pink Floyd (1975) Another contender for my favorite album and band of all time. Using The Beatles machine (same recording studio, engineer, record label), Pink Floyd made what I feel is their strongest, most cohesive album (my second favorite of theirs would be Animals). This list mainly consists of bands with an instantly recognizable sound. Floyd is certainly no exception to that! This album included a solid handful of undeniable rock radio classics, bookended by two halves of the mind-blowing song "Shine on You Crazy Diamond.' That song was written about former band member and founder Syd Barrett. It would be hard to live in a world without this album. Check out "Welcome to The Machine," "Shine on You Crazy Diamond (parts 6-9),' or even better yet, listen to the whole thing in one sitting! 6) Decade by Neil Young (1977) About this time, I started playing guitar. As a beginner, it was comfortable jamming to this album because the chord changes were simple—a great "first ten years" retrospective of Neil's stunning, unique songwriting. Neil is a treasure who always writes from the heart and stands up for what's right. Check out "Southern Man," "A Man Needs a Maid," "Down by The River," and "After the Goldrush." 5) Highway to Hell by AC/DC (1979) When I heard this album, I was firmly "me." My life would be 100% focused on hard rock music forever. AC/DC are like air; they're ubiquitous. Everyone knows them and their incredible songs. However, as a young teen in Wilmington, Delaware, I only had WMMR 93.3 FM Philadelphia and a few friends to inform me about the world of Rock outside my bedroom. AC/DC had not gone mainstream, and their albums were available primarily in the USA as imports. To put things more in perspective, I only knew two people in the world who had heard of AC/DC. A friend had an import that we played in Steve Buckley's basement, which sounded ripping. When Highway to Hell was released, WMMR started spinning the title track, and I immediately bought the album, listening to it every single day after school. Then WMMR announced AC/DC was coming to the Spectrum in Philly, supporting Ted Nugent! I liked Ted but loved AC/DC, so my good friend Mick Cummins and I bought tickets, and he drove us up to the Spectrum (where we saw most of our concerts). Bon Scott was in fine form, and the band went over great. Although the crowd knew Ted better, Angus [Young] wouldn't let anyone upstage him. I'll never forget it! Unfortunately, Bon would be gone in 6 months. Check out "Walk All Over You," "Touch Too Much," "Shot Down in Flames," and "If You Want Blood (You Got It)." 4) Toys in the Attic by Aerosmith (1975) By the time I heard this, I was now in my teens. I had a childhood friend up the street, Jim Linberg (we're still good buddies). His older sister had a great album collection, including Toys in The Attic. Once I heard that groove, my taste changed. I lost interest in rock music that didn't have some sort of "swing" feel to it. I think Rocks is a slightly better Aerosmith album (and possibly my favorite album of all time), but both are perfect or very close. Check out "Uncle Salty," "Adam's Apple," "No More No More," "Round and Round," and "You See Me Crying." 3) Alive! by Kiss (1975) When I was still a little kid, I asked for Cheech and Chong's Up in Smoke album for Christmas. The entire family came over for an enormous feast, and I dropped the needle. When my mother heard the content, she turned off the album and said I had to exchange it. My mom was cool, but I was young and knew much more about life than she suspected. Anyway, the next day, she drove me back to the store. In the music section, promoted on an "endcap" was a Kiss Alive! display. I had never heard of Kiss, but that cover picture told me I had to have it! My first foray into hard rock. Check out “Strutter.” I went through my Kiss phase very quickly, I believe in a matter of months because I discovered the previous entry, Aerosmith's Toys in the Attic. 2) Honky Chateau by Elton John (1972) When I was a wee lad, my parents bought a used Volkswagen camper van from my uncle Ozzie. My favorite Elton John album is Yellow Brick Road, but Honky Chateau is great and easily one of his best. It sent me down a lifelong rabbit hole of loving everything about the 1970s partnership between Elton and lyricist Bernie Taupin. The simple beauty of voice, the master songwriting, the perfect backing band, the clear, unobtrusive recordings, and always Bernie's incredible lyrics. The day this album was released, Elton became an unstoppable force that conquered the music industry. Check out "Mona Lisas and Mad Hatters" and "Rocket Man." 1) Sergeant Pepper's Lonely Hearts Club Band by The Beatles (1967) Another tape that was included in the VW Camper. The van had a bunch of music tapes, and one was Sgt Pepper. I was too young to understand the sophistication of the music, but that was one of the many skills of The Beatles. They attracted listeners at every level, even little kids. I still feel that immediate connection to Sgt Pepper; now, I hear so much more. It's an album that changed the world and the world of music. Check out "Lucy in The Sky with Diamonds," "A Day In The Life," and "Fixing a Hole."](http://www.classicrockhistory.com/wp-content/uploads/2023/11/Shutterstock_1815495569-1-300x200.jpg)
