Instruments of destruction unedited lyrics

INSTRUMENTS OF DESTRUCTION UNEDITED LYRICS FULL
INSTRUMENTS OF DESTRUCTION UNEDITED LYRICS MAC

Agentss was a seminal band that recorded only two singles, did few shows and imploded. A milestone in the history of electro-pop and post-punk music in Brazil. The release comes with an insert featuring unpublished photos and texts telling the story of the band. The track 'Agentes' was included in the NГЈo Wave ( Brazilian Post Punk 1982-1988) compilation released by Man Recordings in 2005. Their members were key figures of the SГЈo Paulo underground, after the band split-up they went to create important bands such as VoluntГЎrios da PГЎtria, Azul 29, Violeta de Outono, and Mumia.

Originally released in '82 and '83, until now these recordings were only available in their original format. John' Rebennack's 'Storm Warning', to 'Magic Bus' by The Who, Diddley's sound has become universal.'ДЄ milestone in the history of electro-pop and post-punk music in Brazil! Finally gathered in a 12' the two 7' of the seminal band Agentss, ground zero of Brazilian post-punk.

INSTRUMENTS OF DESTRUCTION UNEDITED LYRICS MAC

From Buddy Holly's 'Not Fade Away', Dee Clark's 'Hey Little Girl', and Johnny Otis' 'Willie And The Hand Jive' through Freddy Cannon's 'Buzz Buzz A-Diddle-It', Mac 'Dr. The immediately recognizable 'Bo Diddley Beat' was copied by some, but never as well, while many others weaved elements of his style into the rock music mainstream. There was normally a Bo Diddley disc on the American R&B charts in those years (11 in all) and five of them made the pop charts, too. Bo Diddley's music had a unique beat, an individuality, an 'attitude,' and it formed part of the basic fabric of rock and roll during its heyday in the mid-1950s to the early '60s.

INSTRUMENTS OF DESTRUCTION UNEDITED LYRICS FULL

Here is a full CD of truly original, groundbreaking rock and roll, presented as only Bo Diddley could, and as only Bear Family Records can. For that reason, this is one of the most important discs in our Rocks series. You can't judge a book by the cover, according to the song by Bo Diddley - but you sure can tell a record made by Bo Diddley. Reissue coordinated and compiled by Martin Hawkins. Incredible photo gallery including previously unseen shots. Full discography information for each track. Formidable and informative biographical notes by Bill Dahl. Recordings feature several important and original musicians, including: Jerome Green on maracas, Clifton James on drums, Jody Williams on guitar, and Peggy Jones (Lady Bo) on guitar, along with renowned blues players Otis Spann, Lafayette Leake, Frank Kirkland, and Willie Dixon. Also including highly influential tracks such as 'I'm A Man' and 'Diddley Daddy' from 1955, 'Road Runner' from 1960, and 'You Can't Judge A Book By The Cover' from 1962. Including three Top 5 R&B hits: 'Bo Diddley' from 1955, 'Pretty Thing' from 1956, and 'Say Man' from 1959. One of the most important discs in Bear Family Records Rocks series. '28 original Bo Diddley Checker recordings from Chicago. What comes through is a sound that speaks of Lerosa's love for the studio, for the tangible substance of an audio frequency - analog and digital, raw and processed, pure and saturated - and the intangible, indeed bewitching mystery of how these frequencies can transport you to other places. This imbues each track with a spontaneous shifting quality that defines the entire album. He uses looping techniques to build up the density of certain instruments while mixing the layers on-the-fly, using something as unassuming as an iPad. Each track starts from a dynamic studio jam in which Lerosa plays drum machines and synthesizers live and then overdubs them with further modulated layers. This achievement is the result of a dedicated daily studio practice. Hence how, on Catena, the slow and sensual sway of a cavernous bit of dub can sit side-by-side with hands-up trance-like ecstasy, and all still sound like Lerosa. Rather it is driven by Lerosa's ongoing pursuit of the fundamental meaning of dance music: to immerse ourselves in sound to the point where our only desire is to move and feel in the moment. It sees the Dublin-based producer once again draw deeply on his diverse influences - dub, industrial, electro, trance, funk, IDM - and transform them into a sound signature that has always been uniquely his own. Lerosa's fourth full-length, Catena, is also his second for Berlin-via-LA label Acid Test.

Instruments of destruction unedited lyrics