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Girlschool Demolition mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Demolition Country: Australia Released: 2005 Style: Hard Rock, Heavy Metal MP3 version RAR size: 1598 mb FLAC version RAR size: 1705 mb WMA version RAR size: 1604 mb Rating: 4.7 Votes: 832 Other Formats: AIFF RA AU MIDI XM AUD ADX Tracklist Hide Credits Demolition Boys 1 Written-By – Johnson*, McAuliffe* Not For Sale 2 Written-By – Girlschool Race With The Devil 3 Written-By – A Gurvitz* Take It All Away 4 Written-By – McAuliffe* Nothing To Lose 5 Written-By – Johnson*, McAuliffe* Breakdown 6 Written-By – Johnson*, McAuliffe* Midnight Ride 7 Written-By – Williams*, Johnson*, McAuliffe* Emergency 8 Written-By – Girlschool Baby Doll 9 Written-By – Girlschool Deadline 10 Written-By – Johnson*, McAuliffe* 11 Take It All Away - Single Version (Bonus Track) 12 It Could Be Better - Single Version (Bonus Track) 13 Nothing To Lose - Demo (Bonus Track) 14 Not For Sale - Demo (Bonus Track) 15 Furniture Fire - B-side Of Emergency (Bonus Track) 16 Take It All Away - BBC Friday Rock Show 1980 (Bonus Track) 17 Breakdown - BBC Friday Rock Show 1980 (Bonus Track) 18 Demolition Boys - BBC Friday Rock Show 1980 (Bonus Track) 19 Nothing To Lose - BBC Friday Rock Show 1980 (Bonus Track) Credits Bass Guitar, Vocals – Enid Williams Drums – Denise Dufort Lead Guitar, Vocals – Kelly Johnson Producer – Vic Maile Rhythm Guitar, Vocals – Kim McAuliffe Notes Recorded April / May 1980. Barcode and Other Identifiers Barcode: 9396318105029 Other versions Category Artist Title (Format) Label Category Country Year Demolition (CD, Album, 93878 Girlschool Bronze 93878 UK 2005 Unofficial) Demolition (CD, Album, RE, Sanctuary UICY-93878 Girlschool UICY-93878 Russia 2009 Unofficial) Records Related Music albums to Demolition by Girlschool Motörhead / Girlschool - St Valentines' Day Massacre Leon McAuliffe - That's What I Shoulda Said Girlschool - Believe Girlschool - Emergency Girlschool - 1-2-3-4 Rock And Roll Leon McAuliffe & His Western Swing Band - Somebody Else Is A-Beatin' My Time / No One For Me Girlschool - Play Dirty Girlschool - Nothing To Lose.

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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
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Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
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Disco/Dance '82 the Camaros, Girlschool, Bananarama, the Flirts, Catholic Presented
o traditional way. And Ozzy Osbourne put some humor, in w hat- Overview 1982 ever taste, into the creaking heavy metal scene. H But if you heard much about the old guard over the ye r, it Continued from page TIA -8 was about splits and suits. Rod Stewart, Meat Loaf, Air Sup- Stones, Chicago, Rush, Loverboy, Kenny Loggins, etc., had ply, Kiss, Barry Manilow, Styx and AC /DC all split from t heir managers, their share of hits and, in fact, dominated the airways and amicably or not, while the Eagles and the Do(Do charts. But they had to make room for some newcomers, Brothers just split up. some playing new, and some playing not so new music. Also calling it quits, sort of, was the Who, whose "fir"fi Notable among the groundbreakers were the technicians series of concerts was this year's megatour, rivaling the Roll- and the women. In 1982, the English technopop bands finally ing Stones, who took their own show to Europe. It was also the broke most commercial -as in advertisement. Sponsored by Sc hlitz through, notably the Human League, A Flock Of Sea - Beer, the tour has resulted in guls and Soft Cell. Playing (mostly) diluted r &b through their product identification betw een banks of synthesizers and computers, these bands managed group and product just short of actual endorsement. That no doubt, is the next step. to be commercial enough for the radio and to keep a beat steady enough for the clubs, thus offending no one. In other rock news: The US Festival attracted about a qiuar- Their success has not been overlooked by record com- of a million fans.
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Lemmy Kilmister: Dogged Insolence in the Face of Mounting Opposition to the Contrary
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Girlschool Interview Girlschool: »Es ist Zeit für die Revolution« Wir sprachen mit Sängerin/Gitarristin Kim McAuliffe Düsseldorf. (IT). Bereits 1981 veröffentlichten sie ihr Durchbruchsalbum »Hit And Run«. Und obwohl die Mädels von Girlschool die magische 50 auf der Altersskala mittlerweile schon etwas länger hinter sich gelassen haben, werden sie wohl für alle Zeiten als »Motörheads kleine Schwestern« gehandelt werden. Das weiß auch Sängerin/Gitarristin Kim McAuliffe, die wir kurz vor dem Start einer Tour zum Gespräch bitten, die für viele Rock- und Metal-Fans der Inbegriff der Erfüllung sein dürfte: Motörhead, Saxon und eben Girlschool (17. November – Düsseldorf, Mitsubishi-Electric-Halle). Gut, dass Girlschools neues Album »Guilty As Sin« eine Großtat geworden ist, die viele nicht mehr für möglich gehalten hätten. Dementsprechend blendend aufgelegt ist die gute Kim auch im WochenPost-Interview. Hey Kim, ihr seid kurz davor, wieder mit Euren langjährigen Kumpels von Motörhead und Saxon auf Tour zu gehen. Was kommt dir zuerst in den Sinn, wenn du an dieses berüchtigte Package denkst? Wir fühlen uns wirklich sehr geehrt, auf dieser Tour zu Motörheads 40. Geburtstag spielen zu dürfen. Vor allem, weil wir sie schon auf ihrer allerersten England-Tour supportet haben. Das war 1979, nachdem Lemmy und Co. „Overkill" herausgebracht hatten, stell‘ dir das mal vor. Na ja, und dass die Jungs von Saxon dabei sind, macht das Ganze noch spezieller. Würde ich nicht zufällig mitspielen – ich wäre hingegangen, haha. Einige der Fans, die zu den Shows kommen werden, waren sicherlich schon vor dreieinhalb Jahrzehnten dabei. Seitdem hat sich im Musikgeschäft viel geändert. Denkst du, dass die drei legendären Bands den Spirit von früher einfangen und transportieren können? Auf jeden Fall, denn ich denke, das Line Up ist immer noch der Hammer.
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Robert Walser Published Titles My Music by Susan D
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Lemmy Kilmister Was Born in Stoke-On-Trent
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