IMIGHT Most Requested), Was the Judgment Night Monious Vocals and Sweeping Lyrical Passages

Total Page:16

File Type:pdf, Size:1020Kb

IMIGHT Most Requested), Was the Judgment Night Monious Vocals and Sweeping Lyrical Passages rrior Soul, "Shock Um Down", DGC/Geffen There's been a lot of uncertainty and speculation surrounding Warrior Soul's sta- tus with Geffen of late but, as you can see and hear, the band are on the verge of releasing their fourth album, ("Chill Pill")for the label. As it is, the band has been going through some changes internally, resulting in a new line-up, which boasts two new guitarists (replacing long time member John Ricco) and Mark Evans returning to the drum rostrum (Pete McClanahan continues his role as bassist). Anyone remotely familiar with Warrior Soul's psychedelic/punk rock latitudes can surely envision how totally kicking their material will sound WARRIOR S with two guitars blasting through now. Realize, however, that the album was recorded with the former line-up intact, and so we'll have to wait k until the band hits the road to check out the new, yet to be named. front line. As for Warrior Soul's newly shorn, (yes gals,rock's best locks have given way to a very cool & wild new doo) guiding spirit, Kory Clarke... he's handed down a record that is much less politically motivatedand noticeably more introspective (the title kind of says it all).It is a decidedly different record than the belligerent "Salutations", the radical "Drugs, God..." or the social rally- ing of "Last Decade...".You'll understand exactly what I mean when you hear it - it's quite cool (and very upbeat) and songs like "High Road" are rather unexpected. Back to the present The album is preceded by the punk fueled "Shock Um Down".It provides a great link between the full -on grind of past singles like "Wasteland" or "Blown" and Soul's new stance on life. Extremely aggressive and punchy, it holds to tradition, but imprints a new stage in their career. Check itout and watch for the wild new LP - arriving in a few weeks. leven, "Crash Today", Third Rail/Hollywood Eleven are an interesting proposition for metal radio, because the trio's music isn't necessarily ruled by grungy guitars, distortion, sampling, or anything specifically "metal".They are something altogether more intrigu- ing than one might first suspect. The most familiar name in Eleven, of course, belongs to former Chili Pepper drummer Jack Irons. He is very ably supported by guitarist Alain Johannes, who also shares vocal duties with Natasha Shneider (they sing together and separately on the album). She, by the way, is amazing to watch live since she also maintains bass (left handed yet) and organ duties.Together, the three make a music that threatens heaviness, but rides a more upbeat feel than you may be accustomed to.The first track lifted from the forthcoming self -titled release (their first LP, "Awake In A Dream" was released on Morgan Creek and spent time on the UK Pop charts and 120Minutes) is the melodious, rumble of "Crash Today". Momentarily grinding, the record has almost a dual personality, as it drops into a rather mainstream/poppy sounding chorus (which is actually given a bit more density by the combined vocals).They've toured with the likes of Pearl Jam, Soundgarden and Mary's Danish so, as you can tell, they straddle the alterna/metal/AOR fences fairly well. Duff, "Believe In Me', DGC/Geffen Now that "Punk Rock Song" has had enough time to make the rounds in the metal world, here comes the full "Believe In Me" album from the tall lanky blonde Gunner. If perhaps the quick punk slap of the lead single was notexact- ly your cup of tea, we can practically guarantee that you will find something on the full album to get you stoked. The title track,in partic- ular, rips open the album in hard rocking fashion, sliced through by a guest solo from Slash. A great deal of the album was recordedrather spon- taneously, so you can count on a very real, very raw edge to a majority of the songs.I still marvel that Duff played almost all the instruments on the record, and I'm sure you will too, when you get a good earful of some of these songs. He's quite a talented pup. Ofcourse, as I mentioned when I wrote up the single, Mr. McKagan has a lot of very cool cameo appearances on the album from the likes of Lenny Kravitz,Sebastian Bach, Bobbie Brown -Lane (backing vocals on "I Love You"), Jeff Beck, Rob Affuso, Snake and various members of GNR among others.You'll find a good chunk of the material on "Believe In Me" very hard hitting and a great kick in the shorts or playlists (whatever the case maybe), so do give "Just Not There", the title cut, "The Majority" (Lenny K on lead vox), "Swamp Song", "Trouble" (Sebastian singin) or "F"ck You" (even if you can't air it) a spin ormore. Bad Religion, "Recipe For Hate", Atlantic This album he window of opportunity for was originally released in June on the Epitaph label, but since Mother Earth to nab the #1 spot the band were signed to Atlantic recently, it's now being re- was quickly slipping away, with the released to alternative and metal. One of the precursors to the hard- ever imposing figure of Fight gain- core/punk movement that is still growing and thriving today, Bad ing ground like lightning, but never - Religion has been churning out great influential music since 1980. the -less it finally happened for our The band is still centered around three of its original members (Jay Toronto heroes.This week with 11 more Bentley -bass, Greg Graffin-vocals and Brett Gurewitz-guitar), increases slotting into place with near 30 sta- and relative newcomers Greg Hetson (guitar) and Bobby Schayer (drums). Interestingly tions reporting them Top 5 in their lists, I Mother stole 1* away from enough, the band's latest (and this is a great package of tunes folks) explores far greater terrain long -reigning Mercyful Fate (the Mother's were also /3 Most than their background might lead you to expect. The band have stretched their aggressive, gui- Requested).... Continuing to climb as well, and still posing a serious tar oriented style, into more melodic "song" oriented realms (with great vocal harmonies), with- threat were Energy's Souls At Zero (who had 'em moshing like mad at out losing the pace or the intensity. The obvious attention tracks tend to be "American Jesus" the Forum - as usual).This week they replace Cathedral at 3" with and 'Watch It Die", due in large part to Pearl Jam's Eddie Vedder vocal contributions - great 14 increases and 5 moves into rotation, plus new air at WIZN, keeping songs, with potentially explosive crossover possibilities. As for the metallic minded, the label their momentum high. On the requested end, Souls are at 14 And then is directing folks towards "Lookin' In" and "Recipe For Hate". Grinders both, they'll make per- there's Fight. Rob Halford and crew have blasted through in fine style, fect additions for any metal list. Also check out "Kerosene" or for the more mainstream minded especially since the metal masses now have the full album to slice "Struck A Nerve". Already on WFCS, WKNC and WBNY. through - and are finding it loaded with great songs.This week Fight slug their way from 6-4" (#1 Most Requested) with 13 new adds landing, plus 15 moves into rotation and 10 increases. Got the feeling they aren't Green Apple Quick Step, "Wonderful Virus", nearly through with the likes of you? I think you can bet on that Also Medicine/ Giant Aside from a having one of those still in good positioning for a major move some really cool names that you love to say because it falls so 'sap time soon, is Peter Steele's sinister and brood- trippingly off the tongue, this Seattle based (let's just move all the ing, Type 0 Negative. This week they slide record companies out there - it'll make things so much easier) into 6" (15 Most Requested) with 10 increases, band also has a great hard swinging sound bulging with guitars and 8 moves into rotation and new airplay at a tremendous new record.The band has already, understandably, WRCN. And this story's just beginning to made a bit of a splash on the alternative scene, but the label(s) also unfold One that's also exploding right about serviced it to metal, given its penchant for this kind of gritty, trippy stuff. A lot of similar now, however, is Fudge Tunnel. "Grey" got bands have fared quite well amidst our ranks, so why not GAOS. They have an incredibly them on the map, and now the full "Creep Diets" has the band Top Ten appealing sound that rings with energy, attitude and a ton of angular accents. The band fea- within in a wink (14-8" this week) and #9 Most Requested. The stats for tures the combined talents of Ty Willman -vocals, Steve Ross -guitar, Dan Kempthorne- the LP are strong with 13 increases, 6 moves guitar, Mari Anne Braeden-bass/vocals and Bob Martin -drums. Not content to just pre- MIMIC TM: 1.11:711. JUILINGIMIENT and new adds at WAIF and WDCR showing sent the band's potent guitar power, the album (which was beautifully produced by Daniel Rey Slamming into the Top Twenty at 16" (#7 and mixed by Ron St. Germain) also ripples with melody inducing acoustic guitars, soft har- IMIGHT Most Requested), was the Judgment Night monious vocals and sweeping lyrical passages.
Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • Rock Weekend
    Achim Schäffer Rock Weekend Leseprobe Billy Joel: Uptown Girl Meine Kindheitswelt in Waghäusel war klein und übersichtlich. So alle 2-3 Jahre bekam unsere Familie weiteren Zuwachs, ehe wir ab 1977 komplett waren. Vier Geschwister, drei Jungen, ein Mädchen. Ab 1978 leisteten wir uns einen jährlichen Sommerurlaub in Ungarn. Ungarn. Die Heimat meiner Großeltern. Die Vorfahren sind vermutlich um 1785 nach Ungarn ausgewandert. Donauschwaben. Die zwischen Donau und Neckar, auf der Schwäbischen Alb liegenden Dörfer litten damals unter Verheerungen der andauernden Kriegszüge. Auch das Anerbrecht (Ahnenerbe) – welches ein Kind als Alleinerben vorsieht – trug dazu bei, dass für viele Dorfbewohner die Auswanderung als einziger Ausweg übrigblieb. Die verlockenden Angebote des Ansiedlungspatents: Völlige Glaubensfreiheit, Haus, Feld und die dazugehörenden Wirtschaftsgeräte wie Zuchttiere. Für Handwerker 50 Gulden zur Einrichtung ihrer Werkstatt und vor allem die 10- jährige Steuer- und Abgabenfreiheit stimmten die letzten Zweifelnden positiv. Und so siedelten sie sich im Dorf Kirwa (Mariahalom), ca. 40 Kilometer nordöstlich vor Budapest an und arbeiteten. Sie betrieben überwiegend Landwirtschaft und bildeten kleine deutsche Enklaven im Österreich-Ungarischen Reich. Arm, aber nicht unglücklich. Altdeutsche Traditionen und Gewohnheiten überlebten wie die Sprache, wie die Menschen. Im 2. Weltkrieg kämpfte mein Opa für Ungarn in Russland. Sicherlich wichtig! Das kostete ihn ein kugelgroßes Loch im Zeh, aber noch schmerzhafter: Der Krieg kostete ihn seine Heimat. Wer deutsche Wurzeln hatte, sollte den neuen politischen Warschauer Pakt verlassen. Vertreibung. Flucht. Also musste die Familie Schäffer im April 1946 mit ihren bald drei kleinen Kindern – mein Vater ist 1947 geboren – von vorne beginnen. In Deutschland. In einem Land, einer Umgebung, unter Menschen, denen 12 Jahre lang einindoktriniert worden war, dass alles Fremde schlecht ist.
    [Show full text]
  • Razorcake Issue #09
    PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask.
    [Show full text]
  • Spinnerette Ghetto Love Ep Free Download Spinnerette’S Ghetto Love
    spinnerette ghetto love ep free download Spinnerette’s Ghetto Love. Johnny forwarded me an email last week. He wrote, “finally, something decent to cover.” The email came from Spinnerette , and it announced a new EP they were independently releasing, entitled Ghetto Love . We’ve been following Spinnerette on Antiquiet, starting with a retro review of the last Distillers album, through an appearance with Queens Of The Stone Age and Spinnerette’s first shows in October. I share the complaint behind Johnny’s statement- while all the hipsters are finding so much music to love these days, it all sounds like shit to us. We’ve had to resort to pot shots at fucking Fall Out Boy for fuck’s sake. But there’s this little EP, and another one from Cat Power that’s worth checking out. Ghetto Love is only four songs- Ghetto Love, Valium Knights, Distorting A Code, and Bury My Heart , all of which have been heard online and/or live. But the first two tracks are pretty hot. Bury My Heart is alright, while Distorting A Code is our least favorite. Check out the video for Ghetto Love: If you dig that, the complete EP can be heard and/or purchased here from Topspin (why it isn’t on iTunes, we do not know), bundled along with the Ghetto Love video. UPDATE: We forgot to mention- at their last show, Brody promised the full length album would arrive in February ’09. The photo at the top of the page was taken at Spinnerette’s show at Spaceland on October 29th.
    [Show full text]
  • Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
    Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis.
    [Show full text]
  • Never Mind the Bollocks: the Punk Rock Politics of Global Communication
    Review of International Studies (2008), 34, 193–210 Copyright British International Studies Association doi:10.1017/S0260210508007869 Never mind the bollocks: the punk rock politics of global communication KEVIN C. DUNN* Abstract. Largely ignored by scholars of world politics, the global punk rock scene provides a fruitful basis for exploring the multiple circuits of exchange and circulation of goods, people, and messages that moves beyond the limitations of IR. Punk can also offer new ways of thinking about international relations and communication from the lived experiences of people’s daily lives. At its core, this essay has two arguments. First, punk offers the possibility for counter-hegemonic expression within systems of global communication. Punk has simul- taneously worked within and against the hegemony of capitalist telecommunication networks, navigating an increasingly interconnected and mediated world. Second, punk is a subversive message in its own right. Focusing on punk’s Do-It-Yourself (DIY) ethos and the resource it offers for resisting the multiple forms of alienation in modern society, the story I construct here is one of agency and empowerment often overlooked by traditional IR. Introduction I am increasingly concerned about the ways that International Relations (IR) as a discipline seems unable to communicate to everyday citizens about issues of tremendous importance. I am repeatedly struck by our inability to speak to the people whose lives are affected daily by the issues we are supposed to be studying. More importantly, I am struck by how irrelevant we and our work can seem to the world’s population. In 2003, I grappled quite openly and vocally with this alienation.
    [Show full text]
  • Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
    Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109
    [Show full text]
  • Through the Iris TH Wasteland SC Because the Night MM PS SC
    10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.
    [Show full text]
  • Queens of the Stone Age Are: Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman
    Queens of the Stone Age are: Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman …Like Clockwork Release date June 4th, 2013 (US) LABEL • …Like Clockwork is the first QOTSA release with new label partner, Matador Records – which is part of the Beggars Group, the largest independent label group in the world. PRODUCTION • …Like Clockwork was recorded at Joshua Homme’s Pink Duck Studios in Burbank, CA • All Songs produced by Joshua Homme and QOTSA except …Like Clockwork, produced by Joshua Homme and James Lavelle • Engineered by Mark Rankin, with additional engineering by Alain Johannes and Justin Smith • All songs mixed by Mark Rankin, except “Fairweather Friends” mixed by Joe Barresi • All lyrics by Joshua Homme • Mastered by Gavin Lurssen of Lurssen Mastering, Los Angeles, CA ADDITIONAL PERFORMERS • DRUMMERS Joey Castillo, Dave Grohl, Jon Theodore o After Joey left the band, Dave came in to play on the remaining songs. § Joey Castillo performs on “Keep Your Eyes Peeled” - “ I Sat by the Ocean” - “The Vampyre of Time and Memory”- “Kalposia” § Dave Grohl performs on “My God Is The Sun” - “If I Had a Tail” - “Smooth Sailing” “Fairweather Friends” - “I Appear Missing” § Jon Theodore is the new touring drummer of QOTSA, and performs on “…Like Clockwork” • Jake Shears (Scissor Sisters) appears on “Keep Your Eyes Peeled” o Homme has previously worked with the front man by appearing as the spokesperson in an infomercial for the Scissor Sisters 2012 release “Magic Hour” http://youtu.be/aw60b-wk9MA • Mark Lanegan, Nick Oliveri and Alex
    [Show full text]
  • Bad Religion New Maps of Hell Mp3, Flac, Wma
    Bad Religion New Maps Of Hell mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: New Maps Of Hell Country: Japan Released: 2007 Style: Punk MP3 version RAR size: 1624 mb FLAC version RAR size: 1787 mb WMA version RAR size: 1896 mb Rating: 4.3 Votes: 467 Other Formats: RA FLAC MP2 APE MP3 ADX AHX Tracklist Hide Credits 1 52 Seconds 0:58 2 Heroes & Martyrs 1:25 3 Germs Of Perfection 1:27 4 New Dark Ages 2:47 Requiem For Dissent 5 2:08 Backing Vocals – Vanna 6 Before You Die 2:34 7 Honest Goodbye 2:51 8 Dearly Beloved 2:19 9 Grains Of Wrath 3:00 10 Murder 1:18 11 Scrutiny 2:36 12 Prodigal Son 3:07 13 The Grand Delusion 2:10 14 Lost Pilgrim 2:28 15 Submission Complete 3:40 16 Fields Of Mars 3:37 17 Sorrow (Acoustic Version) 3:16 18 God Song (Acoustic Version) 2:17 Companies, etc. Manufactured By – Sony Music Japan International Inc. Phonographic Copyright (p) – Epitaph Copyright (c) – Epitaph Credits Art Direction, Design – Nick Pritchard Backing Vocals [Oozin' Aahs] – Brett*, Greg G.*, Jay* Bass – Jay Bentley Co-producer – The Evil Twins Drums – Brooks Wackerman Engineer [Assistant] – Andrew Alekel Guitar – Brett Gurewitz, Brian Baker, Greg Hetson Photography By – Bryan Sheffield Producer, Mixed By, Engineer – Evil Joe Barresi* Technician [Drum Tech] – Mike Fasano Vocals – Greg Graffin Written-By – Brett Gurewitz, Greg Graffin Notes Numbered Promo Sticker on Inlay. Recorded at Grandmaster Records, Ltd. Hollywood, CA. Additional recording done at The Evil Pink Room. Mixed at Bay 7 North Hollywood, CA.
    [Show full text]
  • The Clash and Mass Media Messages from the Only Band That Matters
    THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people.
    [Show full text]
  • American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
    American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.
    [Show full text]