Agradecimentos de Patrizio (ex Patrick) Mameli, vocalista/guitarrista, a quem ficou pelo caminho de duas formas, uma mais concreta, no encarte de “Hadeon” (2018):
“A special thanks goes out to my buddy Patrick Uterwijk, for the many years of hard work and dedication to Pestilence. This album is for you, man! To my idol, my inspiration and musical teacher, may you be even more genius on the next level, Allan Holdsworth“.
Não está assinado por Dave Mustaine, mas é a vibe dele. Caga-regras desde sempre ou o quê? Final dos agradecimentos em “Peace Sells... But Who’s Buying?” (1986):
“And most importanly: You!! Have A ‘PEACEFUL’ Day!! SAVE YOUR STRENGHT FOR THE DAY WE COME TO YOUR CITY!! BOYCOTT NOISE METAL!!!”
Climas e tons entre hostis e sombrios nos agradecimentos de “Brave” (1994), aliás um dos tantos álbuns – não só do Marillion – q preciso arrumar tempo pra assimilar:
“If we forgot to mention YOU remember it took eight months to write and seven months to record this album and we’re all burnt out so please don’t take it personally.
(…)
Play It Loud with the lights off”.
Sinopse – !?! – apócrifa em “Jailbreak” (1976):
“THE JAILBREAK The Warrior locked himself into his video scanner and gazed throughout the Universe… until he come upon Dimension 5.
DIMENSION 5 was now in the hands of the Overmaster, whose lust for ultimate power had become an obsession. Religion and the media were all under his control and computer files were kept on all known living persons within the city zones.
Many were arrested and jailed.
It was therefore significant that The Jailbreak represented a freedom for so many yet to those involved at the time it was a series of events, the outcome of which no-one could have foreseen. The plan was simple. By knocking out the alarm systems in a riot, they then would cause an explosion which would blow half the cell blocks away. Outside help came from an organisation known as Phono-Graphics, who if the plan was successful would eventually capitalize on the whole project.
The night of The Jailbreak all hell broke loose. A Red Alert was issued by the Overmaster himself. Robot trackers, military police, dogs and all avaiable vehicles were on the hunt. All were caught, except four, who made it to the Rampic Buildings on the south side of the city. It was in these buildings that they broadcast and recorded selected material, some of which still survives today. Through these recordings they built up a following who eventually took to the streets in what was to become the Final War.
The Warrior had become weary and disillusioned with war, but seeing how the people struggled to be free he knew once again he must raise up his sword…
The music sailed out into the night then upward towards the skies, travelling on that thin border between reality and imagination…”
Não entendi nada. Em parte, por parecer Matemática; outro tanto pq não faz muito sentido com o disco, e em parte pq em fonte rosa num fundo azulado brilhante.
Texto contido em “Astro Creep: 2000 – Songs Of Love, Destruction And Other Synthetic Delusions Of the Electric Head” (1995):
CONVOLUTIONS AND FISSURES OF THE OUTER SURFACE OF THE SPHERICAL HEMISPHERE
The point is: we obtain parametric equations by setting one of the coordinates equal to a function of a parameter, substituing this coordinate in the given retangular equation, and solving for the other coordinate in terms of paramether.
Coisa de hippie: parecia um defeito de prensagem do “Woodstock – Music From the Original Soundtrack And More” (1970) LP triplo q ganhei recentemente, mas foi intencional e está transcrito na contracapa.
O quê?
“In this three record set Side One is back with Side Six, Side Two with Side Five and Side Three with Side Four”.
Contracapa de “Demons And Wizards” (1972) falando do making of do disco, mas indiretamente servindo de testemunho de tempos em q bandas frequentemente lançavam 2 discos por ano*:
“Somebody left a space between our last American tour and our European trip and we used literarily every second to put ‘Demons And Wizards‘ together.
Although the titles would suggest it, there is no magic in it – it’s just a collection of our songs which we had a good time recording.
Gary Thain, formely of Keef Hartley, and Lee Kerslake have ‘completed’ Uriah Heep, and we are happy and excited with the kind of re-energisation that’s taking place.
We all want to say a big ‘thank you’ to Gerry [Bron] and to Peter [Gallen] and Ashley [Howe](produtores) who shared our tribulations, and without whose help I would have nothing to write about!!
Hope you enjoy the album, because your pleasure is our best reward and it helps us to ‘keep on truckin’.
Ken Hensley, March 1972″
* a banda lançou 2 em 1971 e este citado foi o primeiro dos 2 lançados em 1972
Release lavrado por Jay Williams (revista Sounds) na contracapa de “Dig That Groove Baby” (1983):
“The first time I ever heard of the Toy Dolls was when they played ‘Everybody Jittetbug’ on the North Eastern ‘Orange Programme’, about 18 months ago. For ages I heard little else about them, but I carried about with me a mental picture of the lead guitarist and singer – in my mental briefcase – a maniac, low budget Buddy Holly with more energy than a classroom full of kids at 3 o’clock and a way of handing Chuck Berry riffs that would have the old master sweat with frustration. He zipped up and down his guitar, fingers quicker than an Aborigine’s feet on hot coals. Cocky, yes. But there was something else. He actually seemed to enjoying himself, which became more apparent as he executed a perfect tongue in cheek Townshend-type jump. Right on, I thought.
And so came ‘Nellie the Elephant’, this year’s single which gave them their biggest indie success to date, and my consequent visit to Sunderland to see Olga, Flip and Happy Bob playing to over 350 very hot people (that’s people, not specifically punks or skins or whatever) in Le Metro, a tiny spot which makes London’s Marquee look like the Houston Superbowl. But atmosphere? Upon my soul, it was splendid. The music came, fast as hell but twice as happy and those lucky enough to have room to stand leapt around as best they could, as though standing still was some kind of rare tropical skin disease.
The sign on Le Metro’s door said ‘No Groovediggers’ (Olga’s idea). Heed the order, wherever you may be. Wear whatever is at hand, prepare to bounce and grin. The music enclosed says everything. After this, laughing with the band could become fashionable all over again”.
Comentário de Gary Fielding, da revista Beat Of the Street, no encarte da versão cd (1989) de meu “Punk’s Not Dead” (1982):
“‘PUNK’S NOT DEAD?’ the cynics laughed, and how they choked on their hysterical false laughter as the new wave of real Punk smashed into their faces. By late 1979/early 1980 the trendy Art students and their ilk were tired of their fashion as they moved from Punk onto the New Romantics craze. For some though punk had always been more than just a fashion and style, it had been a way of life, a way of changing a decrepit music scene, so much for ‘Punk is Dead’… wishful thinking maybe?
The Exploited, more than any other band typified punk of the time, and confirmed and gelled together the strands of punk in the early 80’s, hence why many people view this album as THE punk album and if not, only second to the Sex Pistols ‘Never Mind the Bollocks’. The album sold over 150,000 copies… Punk is Dead… are you sure mate??
On it’s initial release amid the trendy scoffing the album did actually receive a five star review from Sound’s Gary Bushell, and a healthy spell in the indie charts, as well as making No. 20 in the UK album chart. Today this album is still as relevant as it was when it was released, if not more so, and has earned The Exploited a place in rock and punk history, like it or not, but nevertheless true. This album and The Exploited will be more important in ten years than any of their now so called ‘trendy-indie’ peers… take my word on it chum… Punk is Dead?… Only time will tell!!!”
Momento “profissão de fé” no encarte de “Fistful Of Metal” (1984):
“A FINAL SALUTE
To the ‘Bangers’ of the world who are the pulse of this agressive METAL movement that is taking the world by storm. This album is for YOU!!”