The Scream is the debut album by Siouxsie and the Banshees. It was an almost instant commercial success, peaking at No. 12 on the UK Albums Chart and was recorded in only one week and mixed in three during August 1978. The album was released on 13 November 1978 by Polydor. Before the album's release, the band had developed a strong reputation as a live act, and had achieved a Top 10 UK single with "Hong Kong Garden”, a track which did not appear on the original album, but was added not much later to most others issues of Scream.

Upon release, The Scream was widely acclaimed by critics. It was also a commercial success, peaking at No. 12 in the UK Albums Chart. The album is regarded as a landmark of post-punk.

Late 1977 and early 1978, Siouxsie and the Banshees received major press coverage but failed to secure a recording deal. A fan undertook a graffiti campaign in London, spraying the walls of the major record companies with the words "Sign the Banshees: do it now".[2] Polydor finally signed them in June.

J. G. Ballard and William Burroughs provided the reference points for the lyrics of The Scream.

Since its release, The Scream has received a number of accolades from the music press. NME rated it at No. 57 in their "Writers All Time 100 Albums" list in 1985. Uncut magazine placed it at No. 43 in their list of the 100 greatest debut albums. It was featured in the book 1001 Albums You Must Hear Before You Die.

The Scream placed the group among the pioneers of post-punk, as Robert Smith of the Cure said:

"When The Scream came out, I remember it was much slower than everybody thought. It was like the forerunner of the Joy Division sound. It was just big-sounding."

Joy Division's Peter Hook, who saw the band in concert in Manchester in 1977, said about The Scream: "Siouxsie And The Banshees were one of our big influences, The Banshees first LP was one of my favourite ever records, the way the guitarist and the drummer played was a really unusual way of playing."

The Scream had a strong impact on other musicians. Massive Attack covered and sampled "Metal Postcard (Mittageisen)" on their song "Superpredators (Metal Postcard)" in 1997.

Sceam - Tracklist

DISCOGS

Ethereal alt-rock outfit Evi Vine presents 'Sabbath', a sweet and heavy preview of their long-awaited long-play 'Black Light White Dark', due out in early 2019 on vinyl and CD, as well as digitally. This powerhouse track features Evi Vine's gossamer vocals and precise orchestration, cleverly woven together with bass guitar by Simon Gallup of The Cure and guitar by Peter Yates of Fields of the Nephilim.

Produced by Dave Izumi (Nordic Giants, Ed Harcourt, Magic Numbers) and mixed by Phill Brown (Talk Talk, Jimmy Hendrix, Led Zeppelin, John Martyn, Robert Palmer), this album also features contributions from several other celebrated artists. Apart from SimonGallup (The Cure), this album also involves Martyn Barker (Shriekback, Billy Bragg, Marianne Faithfull, Goldfrapp), Peter Yates (Fields of the Nephilim), and Geraldine Swayne (Faust).

As a group, Evi Vine is joined by Steven Hill, Matt Tye and David 'GB' Smith. Their music explores the dark elemental nature of the human heart, as well as environmental and post-apocalyptic themes. Evi Vine's sound is both sublime and haunting. Creating a unique and uncompromising atmosphere, the effect is reverential, physical music, evoking a rare experience that is beautiful, sparse and deeply intimate.

"I know a lot of people are being shaped by experiences in our lives, ghosts of childhood, self-destructive pain and sorrow, all our personal struggles, doubt and change. I can feel the earth dying and it makes me so sad. We write reflective songs about the circular patterns of man and reflecting beauty and violence in the world," says Evi Vine.

"We recorded live for the first time, which meant we were perhaps able to express the energy in the room together, vibing off one another and experimenting with new sounds, in a new space. Writing in the room was a new experience for us. It's the first time we've gone in with no finished songs. We had a few ideas and riffs but took the time to let them breathe and worked on them until we felt we had captured a special moment. After producing two albums essentially at home, this feels like a re-birth for the band."

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Electric Café is the ninth studio album by the electronic group Kraftwerk, originally released on 10th November 1986. In 2009 it was re-released under its original working title, Techno Pop.
The initial 1986 Electric Café came in versions sung in English and German, as well as a limited "Edición Española" release, featuring versions of "Techno Pop" and "Sex Object" with only Spanish lyrics.
It was the first Kraftwerk LP to be created using predominantly digital musical instruments, although the finished product was still recorded onto analog master tapes. The album was recorded with the Emu Emulator II sampler (used previously on "Tour De France" and the demo of "Techno Pop" album) and various contemporary devices including Yamaha FM-engines, a Linn drum, and digital effect processors.

The album is somewhat infamous for taking the band almost half a decade to produce. Work is said to have begun as early as 1982 (with the working titles of Technicolor and then Techno Pop) but the project was delayed due to band member Ralf Hütter suffering a cycling accident and then due to concerns within the band that the production quality of the album was not sufficiently cutting-edge, necessitating much re-work. It is the last Kraftwerk album to feature Wolfgang Flür, who subsequently left the group in 1987.

Two singles were released from the album, "Musique Non-Stop" and "The Telephone Call". Both were accompanied by promotional videos. Though both singles went to #1 on the Billboard dance chart in 1987, neither of the singles performed well in the general pop charts. However, "Music Non-Stop" (based on the later version from The Mix) has been the closing piece of Kraftwerk's concerts since 1991. In the early 1990s, a completely different version of "Musique Non-Stop" – slower and more melodic – was used extensively as a jingle on the MTV Europe channel. Earlier, MTV Europe had already included elements from the original song and the video in the title graphics for MTV's Greatest Hits.

The video for "Musique Non-Stop", created in 1984 and released in 1986, is notable in itself for showcasing a computer animated representation of the band. The animation, which was complex for its time, was created by Rebecca Allen, using state-of-the-art facial animation software developed by the Institute of Technology in New York. The slow rate of the album's progress, combined with rapid changes in software animation, meant that Allen had to archive the animation program developed at the Institute of Technology until Hütter and Schneider were ready in 1986 to travel to New York to edit the images to the final version of "Musique Non-Stop".

Electric Café

Business as Usual, the debut album of Australian New-Wave band Men at Work, which was released in in Australia on 9th November 1981. Men at Work formed in 1979 and is best known for their 1981 hit "Down Under". Their founding mainstay was Colin Hay on lead vocals; he formed the group with Jerry Speiser on drums and Ron Strykert on lead guitar. They were joined by Greg Ham on flute, saxophone and keyboards and John Rees on bass guitar.

They are the only Australian artists to reach the Number 1 position in album and singles charts in both the United States and the United Kingdom with Business as Usual and 'Down Under'. The group won the 1983 Grammy Award for Best New Artist and sold over 30 million albums worldwide.

The band released two more studio albums, Cargo (1983) and crumbled apart by the time the third album, Two Hearts (1985), came out.

The band disbanded in 1986 but reformed in 1996 to disband again by 2002.

On 19 April 2012, Greg Ham (flute, saxophone, and keyboards) was found dead at his home from an apparent heart attack at age 58.

Tracklist

1. Who Can It Be Now? 3:20
2. I Can See It In Your Eyes 3:26
3. Down Under 3:39
4. Underground 3:04
5. Helpless Automaton 3:18
6. People Just Love To Play With Words 3:33
7. Be Good Johnny 3:33
8. Touching The Untouchables 3:47
9. Catch A Star 3:28
10. Down By The Sea 6:48

Down Under (Lyrics)

Traveling in a fried-out Kombi
On a hippie trail, head full of zombie
I met a strange lady, she made me nervous
She took me in and gave me breakfast
And she said
Do you come from a land down under?
Where women glow and men plunder?
Can't you hear, can't you hear the thunder?
You better run, you better take cover

Buying bread from a man in Brussels
He was six-foot-four and full of muscles
I said, "do you speak-a my language?"
He just smiled and gave me a vegemite sandwich
And he said
I come from a land down under
Where beer does flow and men chunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover, yeah

Lyin' in a den in Bombay
With a slack jaw, and not much to say
I said to the man, "are you trying to tempt me
Because I come from the land of plenty?"
And he said
Do you come from a land down under? (oh yeah yeah)
Where women glow and men plunder?
Can't you hear, can't you hear the thunder?
You better run, you better take cover
Living in a land down under
Where women glow and men plunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover
Living in a land down under
Where women glow and men plunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover
Living in a land down under
Where women glow and men plunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover
Living in a land down under
Where women glow and men plunder
Can't you hear, can't you hear the thunder?

(Colin James Hay / Ronald Graham Strykert)

Jesus Built My Hotrod was released on November 7th 1991 as the first single from their fifth studio album Psalm 69: The Way to Succeed and the Way to Suck Eggs. It was written by the band's frontman Al Jourgensen, bassist Paul Barker, drummer Bill Rieflin, session keyboardist Michael Balch, and the Butthole Surfers lead singer Gibby Haynes, and was co-produced by Jourgensen and Barker. The industrial metal track features elements of rockabilly and psychobilly, and is influenced by the Trashmen 1963 hit "Surfing' Bird", and Flannery O'Connor novel Wise Blood; the song’s instrumentation is defined by its polyrhythmic structure.

The single reached No. 19 in the Billboard Modern Rock Tracks chart with approximately 128,000 copies sold as of mid-July 1992, preceding the later success of Psalm 69.

Jesus Built My Hotrod 12”

A. Jesus Built My Hotrod (Redline/Whiteline Version) 8:13
B1. Jesus Built My Hotrod (Short, Pusillanimous * So-They-Can-Fit-More-Commercials-On-The-Radio Edit)
B2. TV Song

Lyrics

Soon I discovered that this rock thing was true
Jerry Lee Lewis was the devil
Jesus was an architect previous to his career as a prophet
All of a sudden, I found myself in love with the world
So there was only one thing that I could do
Was ding a ding dang my dang a long ling long
Ding dang a dong bong bing bong
Ticky ticky thought of a gun
Every time I try to do it all now baby
Am I on the run
Why why why why why baby
If it's so evil then?
Give me my time, with all my power
Give it to me all again (wow)

Ding a ding a dang a dong dong ding dong
Every where I go
Every time you tell me baby
When I settle down
Got to get me a trailer park
And hold my world around
Why why why why?
Ding ding dong dong dong ding dong
Dingy dingy son of a gun
Half my time I tell you baby
Never am I all for sure
Why why why why why baby

Sicky sicky from within
Every time I stick my finger on in ya
You're a wild wild little town bitch
Now how 'bout ding a dang dong dong dong ling long
Dingy a dingy dong a down
Every time you tell me baby
When I settle down
Got to get me a trailer park
And hold my world around
Why why why why?

In my dang a ding a ding a ding dong
A sticky sticky son of a gun
Ding a danga danga dong dong ding dong
Why why never know
Why why wack a dong a dang ding dong
Then you take it on the bill
Ding dang dong don't dong
Whoa!
I want to love ya!

Why why why, why why darling
Do you do you tell me to play?
Half the time I talk about it all now baby
You know what I'm talkin' about I said
Why why why it'll
Ticky ticky ticky ticky son of a gun
Ding ding dong a bong bong bing bong
Ticky ticky thought of a gun

Bing bing bang a bang a bang bing bong bing a bing bang a bong
Binga bing a bang a bong bong bing bong bing banga bong
Bing bing bang a bong bong bing bing binga binga banga bong
Bing bing bang a bang bang bing bong
Ding dang a dang bong bing bong

Ticky ticky thought of a gun
Every time I try to do it all now baby
Am I on the run
Why why why

It'll ticky ticky ticky ticky ticky ticky
Dawn of a gun
Bing bing bang a bong a bong bing bang a
Ticky ticky thought of a gun
Bing bip bip a bop bop boom bam
Ticky ticky through the day
If you got a doubt 'bout baby
The memory is on the bed
Why why why why why

Darlin' uh it don't know
When my time is on
Might tell me never do it on his own
If my time was all as is yours
Make me burn a wish
When my time with you is brutish
No I'll never not ever
Why why why why why why baby heavy hell

Alone and it's here it's this thunder
The thunder oh thunder
Oh!
Jesus built my car
It's a love affair
Mainly Jesus and my hot rod
Yeah, fuck it!

(Allen Jourgensen / Paul Barker / William Fredrick Rieflin / Gibson Haynes / Michael Bruce Balch)

DISCOGS