the prayers of the priest
পুরোহিত এর নামাজ
die Gebete des Priesters
молитвы священника
de gebeden van de priester
молитве свештеника
las oraciones del sacerdote
在牧师的祈祷
les prières du prêtre
այդ աղոթքները քահանա
de apaizak otoitzak
صلوات الكاهن
bønner præsten
司祭の祈り
oratio sacerdotis
I am the son
and the heir
Of a shyness that is criminally vulgar
I am the son and heir
Of nothing in particular
You shut your mouth
How can you say
I go about things the wrong way
I am Human and I need to be loved
Just like everybody else does
I am the son
And the heir
Of a shyness that is criminally vulgar
I am the son and heir
Of nothing in particular
You shut your mouth
How can you say
I go about things the wrong way
I am Human and I need to be loved
Just like everybody else does
There's a club, if you'd like to go
You could meet somebody who really loves you
So you go, and you stand on your own
And you leave on your own
And you go home
And you cry
And you want to die
When you say it's gonna happen now,
When exactly do you mean?
See I've already waited too long
And all my hope is gone
I know you like that
You wanna try that
It's like a flashback
So shake your *** crack
I got the balls to
Rock the salsa
Funk the blues-a
Any groove to
Make you move cos
Taking you to
Another landscape
It's my mandate
I'm highly animated even though I'm decomposing
So if your feet is frozen I'ma die to see you ropin'
And when the MC rhyme and the DJ spin
I want y'all to just get down
Now when the MC rhymin' and the DJ cuttin'
I want y'all to just get down
And when the MC rhyme and the DJ spin
I want y'all to just get down
Now when the MC rhymin' and the DJ cuttin'
I want y'all to just get down
Tap your toes and clap your hands
(How many people ready to rock the house?)
Come on trace the globe and shake your pants
(How many people ready to rock the house?)
Just twist your hip and do the dip
(How many people ready to rock the house?)
Come on shake and bake do whatever it takes
(How many people ready to rock the house?)
Graviational pull
I have you making a fool
Out of yourself on the dance floor
Doing back spins running man and more
Party down with Vigga and Candor
Coming to the jam
Or look like a landlubber
And do the aqua boogie
Win lots of goodies maybe
Pop a Gucci wallet turntables is talking to me
It's awfully groovy
Seeing all the treasure and the booty
And when the MC rhyme and the DJ spin
I want y'all to just get down
Now when the MC rhymin' and the DJ cuttin'
I want y'all to just get down
And when the MC rhyme and the DJ spin
I want y'all to just get down
Now when the MC rhymin' and the DJ cuttin'
I want y'all to just get down
Tap your toes and clap your hands
(How many people ready to rock the house?)
Come on trace the globe and shake your pants
(How many people ready to rock the house?)
Just twist your hip and do the dip
(How many people ready to rock the house?)
Come on shake and bake do whatever it takes
(How many people ready to rock the house?)
I wanna get down lower than Atlantis
Going toe to toe with an enchantress
Get funkier than funkadelic wearin' Pampers
While you eggheads is on the wall preparin' answers
Sharing transcripts while we over here
Dipping and dancin'
Rhythm romancin'
Wallflowers
Giving no action no
All hours we chillin' and max the flow
Relaxing
Opposites attracting
I'ma toss my hat in
Floss when the track spin
Like I'm on a crack binge
Jigging and wiggling
Freakin' booties speakin' to the cuties so belligerent
No religion just bump the feed on
You'll feel reborn
Negativity we just dead it like decoy
Better lift your feet and just measure the beat on
The pulse when it respawns
Tap your toes and clap your hands
(How many people ready to rock the house?)
Come on trace the globe and shake your pants
(How many people ready to rock the house?)
Just twist your hip and do the dip
(How many people ready to rock the house?)
Come on shake and bake do whatever it takes
(How many people ready to rock the house?)
You are a splendid butterfly
It is your wings that make you beautiful
And I could make you fly away
But I could never make you stay
You said you were in love with me
Both of us know that that's impossible
And I could make you rue the day
But I could never make you stay
Not for all the tea in China
Not if I could sing like a bird
Not for all North Carolina
Not for all my little words
Not if I could write for you
The sweetest song you ever heard
It doesn't matter what I'll do
Not for all my little words
Now that you've made me want to die
You tell me that you're unboyfriendable
And I could make you pay and pay
But I could never make you stay
Qual o melhor albúm de sempre da música pop? sargent peppers lonely hearts club? Se deu esta resposta é porque nunca ouviu 69 Love Song´s o albúm mais inspirado de sempre da canção pop.
The Magnetic Fields (named after the André Breton novel, Les Champs Magnétiques[1]) is an American indie pop group founded and led by Stephin Merritt. He is the group's primary songwriter, producer and vocalist, as well as frequent multi-instrumentalist. The Magnetic Fields is essentially a vehicle for Merritt's songwriting, along with various side-projects, such as The 6ths, Future Bible Heroes and The Gothic Archies. While the particular musical style of the band is usually as malleable as Merritt's songwriting, they are commonly attributed to pop genres and subgenres: synthpop, indie pop, and noise pop. The band is often also cited as being recognizable by Merrit's lyrics, often about love and often with irregular or neutral gender roles, that are by turns ironic, tongue-in-cheek, bitter, and humorous.
The band released their debut and best known single "100,000 Fireflies" in 1991, which was typical of the band's earlier career characterized by synthesized instrumentation by Merritt with lead vocals provided by Susan Anway (and then by Stephin Merrit himself from The Charm of the Highway Strip onwards). A more traditional band later materialized, currently composed of Merritt, Claudia Gonson, Sam Davol, and John Woo, with occasional guest vocals by Shirley Simms. Their best-known work is the 1999 three-volume concept album 69 Love Songs. It was followed in the succeeding years by a "no-synth" trilogy: i (2004), Distortion (2008),[2] and Realism (2010).
Aus dem Dresden-Septett ging 1973 die Gruppe Lift hervor. Ihr erstes Konzert gab die Gruppe am 28. Januar 1973. Sie spielte zunächst Blues, Soul und Gospel mit Bläserbesetzung. Gründungsmitglieder waren Gerhard Zachar, Konrad Burkert, Jürgen Heinrich, Till Patzer, Manfred Nytsch, Wolfgang Scheffler, Karl-Matthias Pflugbeil, Bernd Schlund sowie die Sängerin Christiane Ufholz.[1]
1973 kam der Sänger Stephan Trepte dazu; die Bläser verließen die Band. Keyboarder Franz Bartzsch, der ebenfalls 1973 zu Lift gekommen war, ging 1974 zur Veronika Fischer Band. Er wurde durch Michael Heubach ersetzt. Schlagzeuger Werther Lohse kam 1974 für Konrad Burkert zur Band und ist heute das einzige verbliebene Lift-Mitglied aus dieser Zeit. 1976 kehrte Keyboarder Wolfgang Scheffler nach seiner Zeit bei der NVA zusammen mit dem neuen Sänger und MundharmonikaspielerHenry Pacholski zu Lift zurück, Trepte wechselte zur neu gegründeten Band Reform. 1977 wurde die erste Amiga-LP der Band, Lift, veröffentlicht. 1978 wurde die LP Meeresfahrt mit den Hits Nach Süden und Tagesreise aufgenommen. Sie erschien 1979. Während vorher die meisten Texte von hauptamtlich tätigen Textern wie Kurt Demmler und Ingeburg Branoner verfasst worden waren, hatte bei diesem Album Henry Pacholski fünf der sechs Liedtexte geschrieben.
Am 15. November 1978 starben Pacholski und Gerhard Zachar während einer Tournee bei einem Verkehrsunfall bei Kalisz in Polen, Michael Heubach wurde schwer verletzt. Das Ereignis verarbeitete die Band einige Monate später im Titel Am Abend mancher Tage, dessen Text von Joachim Krause stammt, der ebenfalls zahlreiche Texte für Lift verfasste.[2] Nach dem Tod der beiden Musiker und dem vorübergehenden Ausscheiden Heubachs kehrte Lohse nach einem Jahr von der Stern-Combo Meißen als Leadsänger zurück. Als Bassist kam Michael Schiemann zur Band. Auch für die beiden folgenden LPs wurden deutliche Umbesetzungen vorgenommen,[1] so dass die musikalische Qualität recht unterschiedlich ausfiel. So wurde Schiemann 1980 durch Michael Ledig ersetzt, der seinerseits zwei Jahre später Jochen Kittan wich.[3]
Der Erfolg der Band ließ Anfang der 1980er Jahre nach. 1984 kehrte Michael Heubach zu Lift zurück. Auch der Violinist Hans Wintoch wurde damals Mitglied von Lift, während Scheffler und danach Patzer die Band verließen. Wintoch und Heubach verließen die Band jedoch nach kurzer Zeit wieder. Die vierte Amiga-LP, Nach Hause, gilt als Rarität.
Nach der Wende besann sich die Band unter Führung von Lohse auf ihre erfolgreiche Zeit. Von 1992 bis 2000 war Henning Protzmann Bassist bei Lift. Mit den artverwandten Bands electra und Stern-Combo Meißen gibt die Band seither als Sachsendreier, ursprünglich eine bekannte Briefmarke, Konzerte. 2011 besteht Lift aus Werther Lohse (Gesang, Schlagzeug, Perkussion), Bodo Kommnick (Gitarre, Gesang), Ivonne Fechner (Violine, Gesang; ursprünglich Yvonne Fechner), Peter Michailow (Schlagzeug) und Jens Brüssow (Bass).[1]
The group was originally founded by guitarist Manuel Göttsching, keyboardist/drummer Klaus Schulze, and bassist Hartmut Enke in 1971. All three founding members had previously played together as part of the short-lived group Eruption founded by Conrad Schnitzler. Prior to that Schnitzler and Schulze had worked together in Tangerine Dream.
A short-lived project Manuel Göttsching had in 1970 was the Steeple Chase Blues Band, which also included Hartmut Enke, Wolfgang Müller, and Volker Zibell.
Ash Ra Tempel released its self-titled debut album in June 1971. This release is considered by critics to be a classic of the genre; Schulze temporarily departed for a solo career shortly after its release. Schwingungen (1972), Seven Up (with Timothy Leary) (1972), and Join Inn (1973) are all considered key works from the band. The pop-oriented 1973 album Starring Rosi was thus named because it featured lead vocals by Rosi Mueller.
Their music is widely characterized as cosmic and atmospheric. The early albums were more psychedelic-oriented and all had one lengthy track per side: one more powerful and dramatic, the other of a more atmospheric nature. Instead of writing English lyrics, since German language was not popular in rock music at the time, Ash Ra Tempel more or less decided not to have lyrics in their songs.[1]
Ash Ra Tempel's last concert performance took place in Cologne in February 1973.[2]
Later, after recording the soundtrack Le Berceau de Cristal (1975; unreleased until 1993) Ash Ra Tempel shortened its name to Ashra, making a more melodic, synthesizer-based music. In 2000 the band was reunited in the line up of Manuel Gottsching and Klaus Schulze. The pair had previously worked together on Schulze's album In Blue.
In Wikipédia
Ash Ra Tempel (ab 1977 nur noch Ashra) ist eine Berliner Band, die im Jahre 1970 von Manuel Göttsching, Hartmut Enke und Klaus Schulze gegründet wurde. Anfang der 70er Jahre galt die Band neben Tangerine Dream, Agitation Free, Guru Guru, Can und anderen als Speerspitze des sogenannten Krautrocks. Sehr früh setzte die Band neben Gitarren auch Synthesizer ein. Stilistisch ist die Band der Berliner Schule zuzurechnen, wenn der Schwerpunkt auch mehr auf den Gitarren als auf den Synthesizern lag.
Das erste Album, „Ash Ra Tempel“, wurde 1971 im Studio des Produzenten Conny Plank eingespielt. Danach verließ Klaus Schulze die Band, um seine Solo-Karriere zu starten. In den Folgejahren wurden weitere Alben in der Kernbesetzung Göttsching und Enke plus wechselnden Musikern produziert. Auch Harald Grosskopf am Schlagzeug und Lüül (Lutz Ulbrich) an Gitarre und Keyboards wirkten an einigen Alben mit.
Ab 1974 nutzte die Band Manuel Göttschings das „Studio Roma“ in Berlin sowie das Panne-Paulsen-Studio in Frankfurt am Main für ihre Aufnahmen. Das von Manuel Göttsching allein eingespielte Album „New Age Of Earth“, ursprünglich 1976 nur in Frankreich publiziert, wurde 1977 unter dem nun verkürzten Bandnamen „Ashra“ herausgebracht. In den Jahren danach folgten viele Touren und Alben. Manuel Göttsching nahm auch Soloalben auf, z. B. das weltweit beachtete Album „E2-E4“, welches in den 90ern in der Clubszene beliebt war und in unterschiedlichen Adaptionen remixt wurde (z. B. unter dem Namen „Sueño Latino“). Ab 1997 verstärkte Ashra der deutsche Musiker Steve Baltes an Samples und Keyboards.
In 2010 wurde die Band mit dem Schallwelle Ehrenpreis für ihr Lebenswerk ausgezeichnet.
have you found your way around the down and out?
I know it must seem long so long
I'm still trying to keep this time from running out
head down
always moving on and on and on
I never heard this warning
another early morning
takes me
wakes me into
if you could manage me
I'll try to manage you
but lately it's all I ever do
I felt like this on my way home
I'm not scared
I pass the boats in the kingdome
I'm not scared
I'll never tell you the secret I'm holding
I know these things must bore you
but I can't find another way
I'll never tell you the secrets I'm holding
I love this leash that holds me
when I try to run away
The band started their career as a blues group under the name of The Edgar Broughton Blues Band, playing to a dedicated but limited following in the region around their hometown of Warwick. However, when the band began to lean towards the emerging psychedelic movement, dropping the 'Blues' from their name as well as their music, Victor Unitt left.
In 1968, the Broughtons moved to Notting Hill Gate, London, seeking a recording contract and a wider audience, and were picked up by Blackhill Enterprises. Blackhill landed them their first record deal, on EMI's progressive rocklabelHarvest Records, in December 1968. Their first single was "Evil"/"Death of an Electric Citizen", released in June 1969, which was also the first single released by Harvest.
The first single was followed by the Broughtons' first album, Wasa Wasa. Wasa Wasa retained a heavily blues influenced sound that was hard-driven and propelled by Edgar Broughton's gritty vocal style, which was similar to that of Captain Beefheart and Howlin' Wolf.[1] After a series of free concerts, many performed on the back of trucks and in the face of police harassment, the Broughtons entered into an attempt to capture their ferocious live sound on record by organising a performance at Abbey Road on 9 December 1969. Only one track was released at the time: a rendition of "Out, Demons Out!", an adaptation of The Fugs' song "Exorcising The Demons Out Of The Pentagon", which had become the band's set-closer and anthem. The rest of the recording was lost until its rediscovery and release in a remixed form in 2004 as Keep Them Freaks a Rollin': Live at Abbey Road 1969.
The Edgar Broughton Band kept recording, releasing the live performance of "Out Demons, Out!" as a single (b/w "Momma's Reward (Keep Those Freaks a Rollin')") and following it, in June 1970, with the album Sing Brother Sing. This was accompanied by the single "Up Yours!" (b/w "Officer Dan"), a polemic on the 1970 General Election declaring their intention to drop out. The song featured a stringarrangement by David Bedford.
Their next single, "Apache Dropout", combined The Shadows' "Apache" with Captain Beefheart's "Drop Out Boogie". It was played (to astonished and puzzled reactions) on the David Jacobs' hosted BBC Television's Juke Box Jury. Jerry Lordan, the composer of "Apache", insisted that the title be "Apache Dropout" instead of the original "Dropout Apache". The single reached #33 on the UK Singles Chart, stalling partly due to the then-current postal strike.[citation needed]
In 1971, the band decided that existence as a power trio was limiting, and asked Victor Unitt, who had been playing meanwhile in The Pretty Things, to rejoin the band. In May, with the new lineup, they released possibly their finest work: their eponymous third album, which contained the classic "Evening Over Rooftops" (again with strings by David Bedford which Edgar Broughton called "stunning"). Edgar Broughton Band contained heavy blues and even country influences. Mike Oldfield also featured, on "Thinking Of You". This album has been said to mark the highest point in the Broughtons' career because of its sense of wholeness and completeness (while not straying into concept album territory).
The album was followed by the release of the double A-side "Hotel Room"/"Call Me A Liar". This was played by Tony Blackburn as his 'record of the week' upon its release: Edgar Broughton recalled him saying that "he hated everything that we stood for, but that the single was the best thing he had heard that year". The single failed to chart, but the album sold well throughout Europe, especially in Germany.
With the success of their third album, the Broughtons relocated to Devon to begin recording for their next album, Inside Out, after which Unitt departed.
In 1975 the band signed to NEMS. In the same year, John Thomas joined the band on guitar for the Broughtons' sixth album, Bandages. This featured a softer sound than previous releases. Shortly after the release of Bandages, John Thomas left and was replaced by Terry Cottam. In 1976, having recorded the live album Live Hits Harder (which was not released until 1979), the Edgar Broughton Band dissolved.
However, Edgar and Steve Broughton together with Grant regrouped as The Broughtons to release Parlez-Vous English? in 1979, with Tom Nordon and Pete Tolsen playing guitar and Richard DeBastion on keyboards. These supplementary musicians were not retained after the release of the album, but Tom Norden was used again, along with keyboardist Dennis Haines, for Superchip, released in 1982.
After this the band returned to a hiatus, recording no more studio material but touring infrequently throughout the 1980s and 1990s. A mini-tour in 1989 included a gig at The Oval in London. Following another lengthy hiatus with occasional gigs, the band returned to live action in 2006 after the re-issue of their back catalogue had stimulated new interest in their work. They had a mini tour of England and Germany then completed a European tour in 2007, including an appearance at the German Burg Herzberg Festival.
The Edgar Broughton Band disbanded in 2010.
Gary Numan, nascido Gary Anthony James Webb (Londres, 8 de março de 1958), é um cantor, compositor e músico do britânico, considerado um dos pioneiros da música eletrônica. Fundador dos Tubeway Army, Numan é conhecido por seus hits de 1979Are 'Friends' Electric? e "Cars", um clássico do new wave, movimento do qual, Numan, é frequentemente citado como uma das figuras mais importantes[1].
Os álbuns de Numan nunca bateram recordes de vendas, no entanto, ele é considerado um pioneiro da música eletrônica comercial[2]. O uso de temas de ficção científica e, principalmente, sua combinação da energia da música punk com os recursos da eletrônica, influenciaram diversos artistas dos anos 1980[3].
Set for US release on July 27th, Tanya Donelly's third solo album, Whiskey Tango Ghosts, is truly a new departure for her. On this gorgeous set of songs the musical arrangements are boldly stripped-down, with the emphasis on her warm, resonant voice. "It was a deliberate decision to turn my vocals up. I used to wince at the sound of my own voice. This time I resisted the impulse to turn it down," says Tanya. "And I've moved away from criss-crossing melody lines. I wanted to keep this album streamlined, the simplest possible." From the solitary swing of “Divine Sweet Divide”, to the mellow Hammond organ of “The Center”, and the percussive “Story High”, Tanya has created a sensual, hypnotic album that is her most assured yet.
Recorded earlier this year near her home in Cambridge, Massachusetts, it features Tanya's husband Dean Fisher (ex-Juliana Hatfield) on guitar, bass and drums, Rich Gilbert (Frank Black and the Catholics) on pedal steel and Nashville guitar, and pianist Elizabeth Steen (Natalie Merchant). Though Tanya had the final veto, there are no production credits. "It was very fluid, everyone had input in that area," she says. Tanya's track record is impressive: a founder member of Throwing Muses with her step-sister Kristin Hersh, she left in 1991 to form the Breeders with Kim Deal. Soon after the Breeders' trailblazing debut, Pod, Tanya moved on to create her own group, Belly, and their 1993 debut album Star sold a million copies worldwide. They released a follow-up album, King, but by the mid-nineties Tanya wanted to leave the band format behind and branch out on her own. Her solo debut, Lovesongs For Underdogs, came out in 1997, to be followed by Beautysleep in 2002.
For Whiskey Tango Ghosts she explores new sounds, drawing on her love for Stephen Sondheim and country music to celebrate the simplicity of song and voice. She cites Lucinda Williams, Gram Parsons and Emmylou Harris as an influence, along with alt-country stars like Neko Case and Wilco. "I'm less afraid of country now. If I had a melodic chorus, I'd always write an ugly verse so it didn't sound too nice. Now I'm letting what comes come." Minimalist and melodic, each song is partly autobiographical, a reflection on where she is now. “Divine Sweet Divide”, for instance, is about "working the space between yourself and somebody else", while the spine-tingling “My Life As A Ghost” is about being a mother and "stepping out of the stream of youth culture", and “Golden Mean”, "finding the state of neither excess nor deficiency. Balance. My history is one of extremes. Too much drinking, no drinking…too much love, no love!" The sweet, languid melodies and sparse arrangements also reflect the atmosphere in which the album was made. "It was a really oppressive winter here; a frozen, quiet, weird winter. A horrible war, a horrible administration, a bleak, mean winter. This isn't the subject of the songs, but it is the tone."
There's also the combative undertow of “Whiskey Tango”, the joy and struggle of lifelong friendship in “Just In Case You Quit Me”, and a personal experience of Chaos theory with “Butterfly Thing”. Each track is self-contained, gently off-kilter and beautifully sung - a statement of love and life that Tanya will take on the road this summer. This is Tanya Donelly as you've never heard her; stepping away from the shield of dissonant rock guitar to calmly and confidently take centre stage.
