After releasing their very first release/12" I'm Faling/ Cold Life on Wax Trax! Records in 1981, Ministry was picked up by Arista and a number of singles were issued to promote the upcoming debut album With Sympathy. One of those singles is 'I Wanted To Tell Her', and it was released as the second and preliminary single. The song features guest vocals from American singer Shay Jones. "I Wanted to Tell Her" became one of the most popular songs from With Sympathy, charting on both the US Dance and New Zealand charts.
It was released 41 years ago, in July 1983 as both 7" and 12"
7" Vinyl (US)
"I Wanted to Tell Her" (edit) – 3:55
"A Walk In the Park" – 4:58
7" Vinyl (US promo)
"I Wanted to Tell Her" (edit) – 3:55
"I Wanted to Tell Her" (mono) – 3:55
12" Maxi-single (US)
"I Wanted to Tell Her" (remix) – 6:57
"I Wanted to Tell Her" (dub) – 4:45
"Effigy" – 3:51
"Revenge" – 3:48
7" Vinyl (UK)
"I Wanted to Tell Her" (remix edit) – 3:57
"I Wanted to Tell Her" (Tongue-Tied remix) – 4:45
12" Vinyl (EU)
"I Wanted to Tell Her" (remix) – 6:57
"I Wanted to Tell Her" (Tongue-Tied remix) – 4:45
12" Maxi-single (EU)
"I Wanted to Tell Her" (remix) – 6:57
"I Wanted to Tell Her" (Tongue-Tied remix) – 4:45
"A Walk In the Park" – 4:58
Although not listed as such on the sleeves, all 12" versions (as well as the UK 7") use an alternate performance of the song that differs from the one on With Sympathy. The Tongue-Tied Mix and Dub version are the same.
I Wanted To Tell Her - Lyrics
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her
I needed to tell her
Just like the wind you blew away your happy lover's touch
You bring the blues into my heart just like a rush
I cannot bear the way my heart has helped to keep you close
Of you my babe I cannot get enough you touch me baby
I loved you to the lines of lies you told when I asked her name
I knew the perfume in your hair just wasn't mine
Did you ever think to notice me when you wasn't home?
I noticed every time
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
Thought you noticed every time but you didn't notice a thing
I'd have to cover up my calls when the telephone would ring
I'm tired of you and the things you do and all the things you say
No more babysitting for neurotic girls today
I'm thinking that the pain I'm going through just to keep you babe
Is something that I should bear
Did you ever stop to notice me when you had nothing?
And I never cared?
Just like the wind you blew away your happy lover's touch
You bring the blues into my life just like a rush
I cannot bear the way my heart has helped to keep you close
Of you my babe I cannot get enough
You touch me baby, don't be mean to me!
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her
I needed to tell her
Songwriters: Al Jourgensen / Shay Jones
During this month, 42 years ago, "Bleed for Me", the seminal single by the American punk rock band Dead Kennedys, was released (July 1982). It was their sixth single and reached the 3rd position in the UK chartsKnown for their politically charged lyrics and aggressive sound. It was also preliminary single for their second and upcoming album Plastic Surgery Disasters which was released in November that same year.
Dead Kennedys were fronted by the acerbic Jello Biafra, with East Bay Ray on guitar, Klaus Flouride on bass, and D.H. Peligro on drums. This track, recorded during the sessions for their second studio album, Plastic Surgery Disasters, stands out for its intense critique of American foreign policy and government corruption.
The song "Bleed for Me" delivers a powerful message wrapped in the band's trademark hardcore punk style. Biafra's snarling vocal delivery is matched by Ray's sharp, piercing guitar riffs and a relentless rhythm section. The lyrics vividly portray scenes of brutality and oppression, both domestically and internationally, addressing themes such as state violence, manipulation, and the consequences of blind patriotism.
"Bleed for Me" was not just a musical release but a political statement. It exemplified the Dead Kennedys' commitment to using their music as a vehicle for social commentary. The single's B-side, "Life Sentence," further amplifies the band's critique of societal norms and the pressures to conform.
"Life Sentence," the B-side this single, critiques societal conformity and the oppressive nature of conventional life paths. Its aggressive sound and biting lyrics emphasize the band's anti-establishment stance.
Upon its release, "Bleed for Me" received critical acclaim for its raw energy and unapologetic message. It became a staple in the Dead Kennedys' live performances and remains one of their most enduring songs. The single's impact extended beyond the punk scene, influencing numerous bands and contributing to the broader discourse on political issues within music.
"Bleed for Me" also plays in the background of the Dead Kennedys' song "Kinky Sex (Makes the World Go 'Round)", in which former US president Reagan arranges World War III on the phone with Margaret Thatcher, who moans erotically at every new atrocity; this track may be a reference to the Thatchergate tape.
The Dead Kennedys, through releases like "Bleed for Me," cemented their legacy as pioneers of politically charged punk rock. Their fearless approach to addressing controversial topics continues to resonate, highlighting the enduring power of music as a tool for activism and change.
The song has also been covered by many bands, most notably Pearl Jam, substituting the more at that time-appropriate lyric "cowboy Georgie (Referring to former president George Bush)“ for "cowboy Ronnie (Reagan)”.
Bleed For Me (7" tracklist - STAT 22/ VIRUS 23)
A. Bleed For Me 3:26
B. Life Sentence 2:38
On July 1st 1991, 33 years ago, "Shadowtime," a notable song by the influential English rock band Siouxsie and the Banshees, marked an important moment in their discography. Written by the band and produced by Stephen Hague, the track was the second single from their 10th studio album, "Superstition." This release followed the lead single, "Kiss Them for Me," and continued to showcase the band's evolving sound and continued relevance in the music scene.
Siouxsie and the Banshees, formed in 1976, were known for their innovative approach to post-punk, goth rock, and new wave music. By the time they released "Superstition," they had established themselves as pioneers in the alternative rock genre, influencing numerous bands and musicians. The band's lineup at this time included Siouxsie Sioux on vocals, Steven Severin on bass, Budgie on drums, and Martin McCarrick on keyboards and cello, with Jon Klein on guitar.
"Shadowtime" is a quintessential track that captures the essence of Siouxsie and the Banshees' sound during the early 1990s. The song features an intricate blend of atmospheric melodies, driving rhythms, and Siouxsie Sioux's distinctive, ethereal vocals. Its production, under the guidance of Stephen Hague, who was known for his work with acts like New Order and Pet Shop Boys, introduced a polished, radio-friendly sheen to the band's darker, more experimental roots.
The single's release was accompanied by a music video that enhanced the song's mystical and enigmatic qualities. Directed with a keen eye for visual storytelling, the video complemented the track's lyrical themes of introspection and temporal disorientation. It received rotation on music television channels, helping to bolster the band's presence in the burgeoning alternative music scene of the early '90s.
"Shadowtime" received positive reviews from critics, who praised its lush production and hauntingly beautiful composition. The song demonstrated the band's ability to evolve and adapt to contemporary musical trends while retaining their unique artistic identity. It showcased their skill in blending catchy hooks with complex, layered soundscapes, a hallmark of their later work.
Commercially, "Shadowtime" enjoyed moderate success. It charted in the UK Singles Chart and garnered airplay on alternative and college radio stations in the United States. While it did not achieve the same level of mainstream success as some of their earlier hits, it solidified Siouxsie and the Banshees' reputation as enduring and influential artists in the alternative rock landscape.
The release of "Shadowtime" and the "Superstition" album marked a significant phase in Siouxsie and the Banshees' career. It was a period of artistic refinement and exploration, balancing mainstream appeal with their avant-garde sensibilities. The song remains a favorite among fans and a testament to the band's lasting impact on the music world.
In summary, "Shadowtime" is a standout track from Siouxsie and the Banshees' 10th studio album, "Superstition." Released in 1991 and produced by Stephen Hague, the song encapsulates the band's ability to blend their post-punk and gothic roots with a polished, contemporary sound. With its intricate melodies, compelling lyrics, and Siouxsie Sioux's captivating vocals, "Shadowtime" remains an enduring piece of the band's rich musical legacy.
In 1991 the single reached the 57th position in the "UK Single Chart" and 13th position in the US "Modern Rock Track" chart.
On this day, 43 years ago Frank Tovey released the album Incontinent as second Fad Gadget album. Incontinent sounds less “industrial” as his debut album Fireside Favorites relying less on drum machines and sampled (industrial) sounds. Most songs are inspired by Frank Tovey’s impression during his first US tour in 1980.
"Blind Eyes”, with lines such as "Send a few pounds to a charity / Now we're feeling so much better" and a chorus intoning "Hear no, see no, speak no evil" is clearly about people trying to easy their consciousness and ignore global problems.
While "Swallow It" is about the feed of news and propaganda our society, our leaders and media are feeding us day after day.
"Saturday Night Special" is inspired by America's 'Second Amendment', one of the ten amendments to the Constitution comprising the Bill of Rights, states: “A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed... "
The title tracks "Incontinent" and "Manual Dexterity", both instrumental, respectively featured Mute Records founder Daniel Miller and Robert Gotobed of the band Wire.
"King of the Flies" was released as a flexi-single on 2 October 1981. "Saturday Night Special" backed with "Swallow It Live" was issued on 5 January 1982. A rerecorded version of "King of the Flies" backed with "Plain Clothes" was released on 6 April 1982. None of these singles made it into the mainstream charts.
The album was recorded and mixed during Summer '81 at Blackwing Studios, All Hallows Church, London and features Frank Tovey
The album's artwork featured a picture of Tovey made up as the puppet Punch and was taken by Anthon Corbijn.
Fad Gadget – Incontinent (STUMM6)
Blind Eyes 4:56
Swallow It 5:35
Saturday Night Special 6:29
Incontinent 3:24
Manual Dexterity 3:31
Innocent Bystander 6:28
King Of The Flies 4:22
Diminished Responsibility 5:55
Plain Clothes 4:40
On June 30th 1978, that's 46 years ago now, The Human league released their debut single "Being Boiled". The track was released through the independent label Fast Product and marked a significant departure from the traditional rock and disco sounds of the late 1970s, embracing a minimalist and futuristic approach to music production.
The song is characterized by its raw, minimalistic electronic sound, featuring dark, brooding synthesizer lines and a steady, hypnotic beat. Oakey's deep, resonant vocals deliver cryptic and socially conscious lyrics, critiquing the silk industry and its impact on silkworms, which adds a unique, avant-garde edge to the track.
The B-side of The Human League's "Being Boiled" single is "Circus of Death." This track complements the A-side with its dark, atmospheric synth work and haunting vocals. It tells a dystopian narrative, featuring eerie melodies and introspective lyrics, further showcasing the band's innovative approach to electronic music and thematic storytelling.
"Being Boiled" received critical acclaim for its innovative sound and is considered a landmark in the development of electronic music. It helped to establish The Human League as a key figure in the genre and paved the way for future synth-pop acts. Despite its modest commercial success at the time, the song has since gained a cult following and is recognized as an influential piece in the evolution of electronic music. Due to its enduring popularity, "Being Boiled" has been reissued multiple times, with notable versions appearing in 1980 and 1982. It has also been remixed and covered by various artists, further cementing its status as a classic in the genre.
Contemporary reviews praised the single for its originality and daring sound. It was described as "disturbing, compelling, and utterly ahead of its time," highlighting The Human League's willingness to push musical boundaries.
"Being Boiled" is not only significant for its musical innovation but also for its thematic content, which brought attention to animal rights issues in an era when such topics were rarely addressed in popular music.
As the debut single from The Human League, "Being Boiled" stands as a testament to the band's pioneering spirit and lasting influence on the electronic music landscape. Its unique sound and thought-provoking lyrics continue to resonate with listeners and inspire new generations of musicians.
Key Personnel:
• Philip Oakey: Vocals
• Martyn Ware: Synthesizers
• Ian Craig Marsh: Synthesizers
DISCOGS
