Uncategorized « Death Is Victory

Like a struggling, helpless orphan–I’ve come writhing back to make your dreams come true. I hope you can all handle this overload of great new music and deeply hidden gems that have finally seen the light of day. Since I’ve last posted the world is anew with the hope that only a middle aged black lawyer can deliver us and I couldn’t be more confused. So in the meantime allow me to be the soundtrack to your journey to the center of our pending apocalypse.

U2-No Line On The Horizon

The boys from Dublin are back with a new record, their first in 4 or 5 years. Be warned this isn’t as commercial or radio friendly as previous efforts. In fact this is their most unique and esoteric effort since Achtung Baby. This is a great release and overall a literal vein of direct influence from ones environment.

Key tracks are: Magnificent, No Line On The Horizon, FEZ-Being Born.

No Line

Check it out here: http://www.mediafire.com/?jimi1otuimy

And finally I want you too take heed on this next post, as its an amazing story that you may or may not have heard about…

DEATH

Most of us never had the chance to hear Death in the first place. Their one and only single was released back in 1975, probably in the amount of a couple hundred copies max — and those were sold mostly at Death’s shows, which didn’t even happen in clubs! These fiery young kids played out of their mother’s garage and sold the 7” to whoever showed up. Today, we’ve got those two songs and five more under the heading …For the Whole World to See. And the whole world is opening up to this record! If you haven’t heard it already, (or even and especially if you have), this music is so exciting that one listen will make you a fan for life — or a fan wondering where in your life you’ve heard this before, as it feels so very right.

death promo

Detroit proto-punk/garage rock three-some’s entire collection of recorded material, finally seeing the light of day 34 years after being recorded. An excellent (if all too short) glimpse into a future that never was from a band that burned brightly and then faded into memory, but for a few very rare 7″ singles the band self-released in ’75.

The group’s music has been almost completely unheard since the band stopped performing more than three decades ago. But after all the years of silence, Death’s moment has finally arrived. It comes, however, nearly a decade too late for its founder and leader, David Hackney, who died of lung cancer in 2000. “David was convinced more than any of us that we were doing something totally revolutionary,” said Bobby Sr., 52.

Forgotten except by the most fervent punk rock record collectors — the band’s self-released 1976 single recently traded hands for the equivalent of $800 — Death would likely have remained lost in obscurity if not for the discovery last year of a 1974 demo tape in Bobby Sr.’s attic. Released last month by Drag City Records as “… For the Whole World to See,” Death’s newly unearthed recordings reveal a remarkable missing link between the high-energy hard rock of Detroit bands like the Stooges and MC5 from the late 1960s and early ’70s and the high-velocity assault of punk from its breakthrough years of 1976 and ’77. Death’s songs “Politicians in My Eyes,” “Keep On Knocking” and “Freakin Out” are scorching blasts of feral ur-punk, making the brothers unwitting artistic kin to their punk-pioneer contemporaries the Ramones, in New York; Rocket From the Tombs, in Cleveland; and the Saints, in Brisbane, Australia. They also preceded Bad Brains, the most celebrated African-American punk band, by almost five years.

Jack White of the White Stripes, who was raised in Detroit, said in an e-mail message: “The first time the stereo played ‘Politicians in My Eyes,’ I couldn’t believe what I was hearing. When I was told the history of the band and what year they recorded this music, it just didn’t make sense. Ahead of punk, and ahead of their time.”

The teenage Hackney brothers started playing R&B in their parents’ garage in the early ’70s but switched to hard rock in 1973, after seeing an Alice Cooper show. Dannis played drums, Bobby played bass and sang, and David wrote the songs and contributed propulsive guitar work, derived from studying Pete Townshend’s power-chord wrist technique. Their musicianship tightened when their mother allowed them to replace their bedroom furniture with mikes and amps as long as they practiced for three hours every afternoon. “From 3 to 6,” said Dannis, 54, “we just blew up the neighborhood.”

Death began playing at cabarets and garage parties on Detroit’s predominantly African-American east side, but were met with reactions ranging from confusion to derision. “We were ridiculed because at the time everybody in our community was listening to the Philadelphia sound, Earth, Wind & Fire, the Isley Brothers,” Bobby said. “People thought we were doing some weird stuff. We were pretty aggressive about playing rock ’n’ roll because there were so many voices around us trying to get us to abandon it.”

When the band was ready to record, David chose a studio by pinning the Yellow Pages listings to the wall and throwing a dart; it landed on Groovesville Productions, a company owned by Don Davis, a successful producer for Stax Records. Groovesville signed the band, and in 1974 it began work at United Sound Recording Studios in Detroit, where it shared space with Funkadelic, the Dramatics and Gladys Knight. At the time David was 21, Dannis was 19 and Bobby, still a student at Southeastern High School, was 17.

“They were just so impressive, and the sound was just so big for three guys,” said Brian Spears, who was director of publishing at Groovesville and oversaw their sessions. “I knew those kids were great, but trying to break a black group into rock ’n’ roll was just tough during that time.”

The apparent nihilism of the name Death was also out of step with the times. “Nobody could get past the name,” Mr. Spears said. “It seemed to be a real detriment. When you said the name of the group to anybody, it was like, ‘Man, why you calling the group Death?’ ”

The Hackneys said Mr. Davis brought a tape of Death to a meeting in New York with the record executive Clive Davis. Afterward Don Davis told the brothers that Clive Davis had liked the recordings but not the band’s name; there could be no deal unless they changed it. “That’s when my brother David got a little angry,” Dannis said. “He told Don Davis to tell Clive Davis, ‘Hell no!’ ”

Check it out here: http://www.mediafire.com/?2froot2ruax

Regards,

Deathisvictory

Nebraska is the sixth album by Bruce Springsteen, released in 1982. The album was a critical success in spite of a lukewarm public reception.

Initially, Springsteen recorded demos for the album at his home with 4-track cassette recorder. The demos were sparse, using only acoustic guitar, electric guitar (on “Open All Night”), harmonica, and Springsteen’s voice.

Springsteen then recorded the album in a studio with the E Street Band. However, he and the producers and engineers working with him felt that a raw, haunted folk essence present on the home tapes was lacking in the band treatments, and so they ultimately decided to release the demo version as the final album. Complications with mastering of the tapes ensued because of low recording volume. But the problem was overcome with sophisticated noise reduction techniques.

Springsteen fans have long speculated whether Springsteen’s full-band recording of the album, nicknamed Electric Nebraska, will ever surface (in a 2006 interview, manager Jon Landau said it was unlikely and that “the right version of Nebraska came out”).Somewhat different band arrangements of most of these songs were heard on the 1984-1985 Born in the U.S.A. Tour and have been played in various guises ever since.