ENCARTE: ANTHRAX [2]
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!!”
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!!”
O disco é ruim, mas parecia óbvio q eles fariam a trilha ou alguma homenagem ao filme. Como seria criminoso q “Primus & The Chocolate Factory with The Fungi Ensemble” (2014) não trouxesse a seguinte dedicatória:
“This project is dedicated to the wondrous talent of Gene Wilder”.
Declaração de fé no finalzinho dos agradecimentos em “Admirável Chip Novo” (2003):
“… aos profetas Asimov, Aldous Huxley e George Orwell; e ao Universo, que geralmente conspira a favor. Heil, Kubrick!!!
Rock é bom e eu gosto.
P.I.T.T.Y.”
Agradecimentos de Max (Cavalera) ao dono da banda no encarte de “Unhealthy Mechanisms” (2023):
“Igor A. (I’m the proudest father in the world, making records with you is the meaning of success to me)”
Bipolaridade heróico-mimizenta em inglês de 6ª série no finzinho do release do encarte de minha versão relançada (em 2011) de “Why? Dirty War” (1989):
“Recorded during July/August 1989 in J.G. Studios in Belo Horizonte this album brings tracks as Choose Live Or Die, Terminator and The Madness And it’s considered nowsdays a Classic Brazilian Thrash Metal album.
With this release they reached some success in Europe they reached some success in Europe play lists. In 1991 Acid Storm released their second album called BIOTRONIC GENESIS. From 1993 to 2000 Acid Storm recorded several demo tapes and a third album which was never released but, due to difficulties to be a thrash metal band in Brazil without any support the band stop your activities”.
Parágrafo apócrifo (seria Deaffy a autora?) e discreto logo abaixo da letra de “Winterdreams” e o crédito de editora e direitos autorais no encarte em “Balls to the Wall” (1983), de minha versão remasterizada:
(provavelmente consta da versão LP original)
“This album is dedicated to all the people in the world, to an unknown majority, who have the same problems, the same dreams and the same rights, like you and me…”
Depoimento dum certo Lars (q até achei q fosse aquele) no encarte repleto de depoimentos anônimos (consta um agradecimento discreto na ficha técnica) de “From Here to Eternity – Live” (1999):
“It was on a hot spring day in Gothenburg, Sweden where I saw The Clash for the first time. I was sixteen years old and it was one of my first concerts ever. It was just magic. There I was in front of the stage pogoing and listening to the lyrics in a positive way affected me for the rest of my life. Ever since that moment I look at The Clash as one of the best bands ever. Thanks!”
Citação de Euclides da Cunha q nunca fica velha e já era retrô quando escrita, contida no encarte de “Canudos” (2017):
“Aquela campanha (de Canudos) lembra um refluxo para o passado. E foi, na significação integral da palavra, um crime. Denunciemo-lo”.
Resenha de “Spiritual Healing” (1990) pelo famoso Borivoj Krgin, contida na minha versão cd de 2000 e q discorre sobre o álbum ter sido recebido com ressalvas à época, embora não por ele:
(primeiros e último parágrafos; pulei um meião)
“As one of DEATH’s earliest fans, I can certainly appreciate the fact that the band cannot continue to chum out basic, sludgey death metal for the rest of their lives; rather, they, like any other group who plan to be around in five years times, must progress and evolve in a fashion which will best allow them the musical freedom that they need as musicians without ignoring those factors which established the band’s sound and style in the first place. On ‘Spiritual Healing’ DEATH are evidently trying to expand on their brutal brand of death metal while retaining their non-commercial, uncompromising identity, and it seems to have worked in their favour on all parts.
(…)
Anyway, ‘Spiritual Healing’ is bound to get DEATH some negative feedback due to its slighty more ‘civilized’ nature, but for my money, it represents a natural and by all means necessary progression that the group should be commented for.
Definitely no wimp out or sell-out here.
ESSENTIAL – 95 points“.
Comentários de Bobby Blitz sobre os Ramones e sobre a versão pra “I’m Against It”, coverizada em “Coverkill” (1999):
“Being from N.Y. you have a special attachment to the Ramones. We think they’re ours, and they are. We didn’t own the original master of this recording, so we transfered it from a 10 years old, shitty console copy… makes no never mind. It was resolved in 88, with the ‘Under the Influence’ lineup. Remember getting ready to take the stage at the Ritz for the first time as a headliner, and we got a special introduction.
This guy walks on stage; ripped jeans, shadles, leather and say in a very low voice: ‘Uh, these guys are called Overkill‘. It was Joey Ramone. The most memorable intro off DD + my career… Hey-Ho, Let’s Go!!!”