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List of punk movies Feb. 22nd, 2006 @ 01:43 pm
00euphoria00
*List of punk movies, i.e., films about, or culturally related to, the punk rock movement.

• The Velvet Underground and Nico (1966) Andy Warhol
• A Clockwork Orange (1971) Stanley Kubrick
• The Blank Generation (1976) Amos Poe
• Jubilee (1977) Derek Jarman
• Crash and Burn (1977) Ross McLaren
• The Foreigner (1978) Amos Poe, No Wave Cinema
• The Punk Rock Movie (1978) Don Letts (also known as The Punk Rock Movie from England)
• Blank Generation (1979)
• Over The Edge (1979)
• Rock 'n' Roll High School (1979) Roger Corman
• Breaking Glass (1980)
• Rude Boy (1980)
• The Great Rock 'n' Roll Swindle (1980)
• Times Square (1980)
• D.O.A. (1981)
• Downtown 81 (1981)
• Ladies and Gentlemen, The Fabulous Stains (1981)
• The Decline of Western Civilization (1981) Penelope Spheeris
• Urgh! A Music War (1981)
• Liquid Sky (1982)
• Ebba the Movie (1982)
• Cop Killer (1983)
• Valley Girl (1983)
• Another State of Mind (1984)
• Dudes (1984) Penelope Spheeris
• Suburbia (1984) Penelope Spheeris
• Repo Man (1984) Alex Cox
• Return of the Living Dead (1985)
• Sid and Nancy (1986) Alex Cox
• Thrashin' (1986)
• X: The Unheard Music (1986)
• Dogs In Space (1987) John Lurie
• Straight to Hell (1987) Joe Strummer
• Eat The Rich (1987)
• Tapeheads (1988)
• Terminal City Ricochet (1990)
• 1991: The Year Punk Broke (1992)
• The Yo-Yo Gang (1992) G.B. Jones
• Frank's Wild Years (1994) Jesse Richards
• Youngblood (1995) Harris Smith
• Hard Core Logo (1996)
• Queercore: A Punk-U-Mentary (1996) Scott Treleaven
• Trainspotting (movie) (1996)
• She's Real, Worse Than Queer (1997) Lucy Thane
• Outsider (1998) Andrej Košak
• Vennaskond. Millennium (1998) Tõnu Trubetsky
• SLC Punk (1999)
• The Filth and the Fury (2000)
• The Clash: Westway To The World (2000)
• 24 Hour Party People (2002) Michael Winterbottom
• Punk Rock Holocaust (2003)
• Shooting at the Moon (2003) Jesse Richards
• End of the Century: The Story of the Ramones (2004)
• Vennaskond. Sügis Ida-Euroopas (2004) Tõnu Trubetsky
• Beyond The Screams: A U.S. Latino Hardcore Punk Documentary (2004) Martin Sorrondeguy
• Punk's Not Dead (2006) Susan Dynner
• Loren Cass (date unknown)
• The Story of the Clash (date unknown)
• UK Subs: Punk Can Take It (date unknown)

http://en.wikipedia.org/wiki/List_of_punk_movies

what is PuNk RoCk... Feb. 22nd, 2006 @ 01:39 pm
00euphoria00
*Punk rock is an anti-establishment music movement that began about 1974-1975 (although transitional forms can be found several years earlier), exemplified by The Ramones, the Sex Pistols, The Damned, and The Clash. The term is also used to describe subsequent music scenes that share key characteristics with those first-generation "punks," and it is often applied loosely to mean any band with "attitude" or "youthful aggression." The term is sometimes also applied to the fashions or the irreverent "DIY" ("do it yourself") attitude associated with this musical movement.
*"Anti-establishment" defines a certain view or belief that goes against the conventional social, political and economic principles being used in society. Many historical figures based great innovations to society by standing by this ideology. (i.e., Dr. Martin Luther King Jr., Malcolm X, Abraham Lincoln, Galileo, Socrates, Jesus, Moses, etc...) Individuals who are anti-establishment often speak of "fighting the man" and "tearing down the establishment."

*The Damned are a punk rock group originally from Corydon, England, a suburb of London, formed in 1976. They are notable for being the first of the British punk bands to release a single, put out an album, and tour the United States.
The Damned have dissolved and reformed many times and have incorporated many styles in their music, most notably garage rock, psychedelic music, the British theatrical rock of Screaming Lord Sutch and The Sensational Alex Harvey Band, and New Romantic. The Damned are also generally regarded as one of the founders of gothic rock. In the phase of their career from roughly 1979 to 1984, they were also (uniquely among original British punk bands) foundational to the young bands who created hardcore punk.
*The Clash was one of the most successful British punk rock groups that existed from 1976 to 1986. They incorporated punk, reggae, rockabilly, and eventually many other music styles into their repertoire, and displayed a political and lyrical sophistication that distinguished them from most of their colleagues in the punk genre. They were also legendary for uncommonly intense stage performances.
From their earliest days as a band, The Clash stood apart from their peers with their musicianship, as well as their lyrics; the passionate, righteous political idealism in the lyrics by front men Joe Strummer and Mick Jones was a definite contrast to the nihilism of the Sex Pistols and the simplicity of The Ramones.
The Clash has influenced pop punk, alternative rock and Britpop bands, through both their musical style and their lyrical content. Their incorporation of many musical styles has also led them to influence reggae, ska, hip hop and electronic artists.

*DIY is making and promoting music without major record label backing, and without any great level of perceived "selling out". A popular slogan of the DIY movement is "DIY not EMI," an explicit rejection of the major record company of that name.
Many DIY artists argue that a DIY-style career is not only an alternative to mainstream success; it is preferable. DIY artists share much more in common with and are thus more able to reach out to their audience than "arena rockers". A general feeling shared by most participants in DIY punk is that the practice blurs or eliminates distinctions between audience members and band members, thus fostering a sense of community.
There have been independently owned record labels nearly as long as there has been a music industry, but since the advent of punk in the 1970s, many bands have embraced the DIY ethic, promoting self-organized gigs in small halls and setting up small independent record labels and distribution networks such as Bloomington, Indiana's Plan-It-X Records, California's SST Records, Geykido Comet Records, and Bomp Records, Dischord Records (a renowned D.C. DIY label), Flat Earth Records (based in Leeds, UK), Sudden Death Records (started by the Vancouver band D.O.A.), Slampt (influential and now defunct punk label from Newcastle, UK), and Profane Existence [1] (a fanzine, record label and anarchist collective based in Minneapolis, USA).
In England from the late 1970s to the early 1980s labels such as Falling A Records expanded the DIY idea into a movement that used the cassette tape medium as a cheaper and more easily accessible alternative to vinyl (although vinyl was still used by them at times), a trend referred to as the DIY cassette movement or cassette culture.
Such labels and collectives tend to have relatively small outputs and sales, although there are groups who have been able to achieve levels of mainstream success while maintaining a fiercely independent and uncompromising stance. Notable examples include the UK band Crass and US singer/songwriter Ani DiFranco. Dischord's Fugazi rarely charged more than $5-$10 admission to their live (all-ages) shows, and have kept their album prices at about $10, as with other bands on the label. Bassist/singer Mike Watt has practiced a DIY ethic for decades, describing his practice as "jamming econo," or, living frugally.

*The EMI Group is a major record label, based in Kensington in London, in the United Kingdom. With operations in over 25 other countries, EMI Group is one of the Big Four record labels.

*Punk rock emphasized simple musical structure and short songs (the early UK punk fanzine Sniffin' Glue in 1977 famously included drawings of three chord shapes captioned, "This is a chord, this is another, this is a third. Now form a band"). Punk bands often emulated the approach of sixties garage rock bands: typical instrumentation is drum kit, one or two electric guitars (playing highly distorted power chords à la Link Wray), electric bass, and vocals; songs are rarely over three minutes in length, often as brief as 90 seconds. Punk songs are almost always in 4/4 time and use a verse-chorus structure.
Punk lyrics introduced a confrontational frankness of expression and social and political relevance that had been missing from contemporary music. Songs like The Clash's "Career Opportunities" and "London's Burning" dealt with unemployment, boredom and other grim realities of urban life; some were openly disparaging of governments and monarchies, as in The Sex Pistols’ “God Save the Queen” and “Anarchy in the UK”; and still others were decidedly anti-romantic in depictions of sex and love, such as the Dead Kennedys' "Too Drunk to Fuck" and Richard Hell and the Voidoids' "Love Comes in Spurts." Other themes associated with punk rock include non-conformity, such as in Bad Religion's "Automatic Man."
*The phrase "punk rock" (from "punk", meaning worthless or disrespectful-- often applied to a street hustler or a young person with a negative attitude towards authority; also meaning a beginner or novice) was originally applied to the untutored guitar-and-vocals-based rock and roll of United States bands of the mid-1960s such as The Standells, The Sonics, and The Seeds, bands that now are more often categorized as "garage rock".
The term was coined by rock critic Dave Marsh, who used it to describe the music of ? and the Mysterians in the May 1971 issue of Creem magazine ¹, and it was adopted by many rock music journalists in the early 1970s. For example, in the liner notes of the 1972 anthology album Nuggets, critic and guitarist Lenny Kaye uses the term "punk-rock" to refer to the Sixties "garage rock" groups, as well as some of the darker and more primitive practitioners of 1960s psychedelia. Shortly after the time of those notes, Lenny Kaye formed a band with avant-garde poet Patti Smith. Smith's group, and her first album, Horses, released in 1975, directly inspired many of the mid-1970s punk rockers, so this suggests one path by which the term migrated to the music we now know as punk.
In addition to the inspiration of those "garage bands" of the 1960s, the roots of punk rock draw on the abrasive, dissonant style of The Velvet Underground; the rebellious attitude and free spirit of The Doors; the snotty attitude and aggressive instrumentation of The Who and the early Rolling Stones; the sexuality, political confrontation, and on-stage violence of Detroit bands The Stooges and MC5; the UK pub rock scene and political UK underground bands such as Mick Farren and the Deviants; the New York Dolls; and some British "glam rock" or "art rock" acts of the early 1970s, including David Bowie, Gary Glitter and Roxy Music. Influence from other musical genres, including reggae, funk and rockabilly, can also be detected in early punk rock.
Punk rock was also a reaction against tendencies that had overtaken popular music in the 1970s, including what the punks saw as superficial "disco" music and bombastic forms of heavy metal, progressive rock and "arena rock." Punk also rejected the remnants of the hippie counterculture of the 1960s. Bands such as Jefferson Airplane, which had survived the 1960s, were regarded by most punks as having become fatuous and an embarrassment to their former claims of radicality. Eric Clapton's appearance in television beer ads in the mid-1970s was often cited as an example of how the icons of 1960s rock had literally sold themselves to the system they once opposed.
The cultural critique and strategies for revolutionary action offered by the European Situationist movement of the 1950s and 1960s were an influence on the vanguard of the British punk movement, particularly the Sex Pistols. Pistols manager Malcolm McLaren consciously embraced situationist ideas, which are also reflected in the clothing designed for the band by Vivienne Westwood and the visual artwork of the Situationist-affiliated Jamie Reid, who designed many of the band's graphics.
The British punk movement also found a precedent in the "do-it-yourself" attitude of the Skiffle craze that emerged amid the post-World War II austerity of 1950s Britain. Skiffle music led directly to the tremendous worldwide success of The Beatles (who began as a Skiffle group) and the subsequent British Invasion of the U.S. record charts. Punk rock in Britain coincided with the end of the era of post-war consensus politics that preceeded the rise of Thatcherism, and nearly all British punk bands expressed an attitude of angry social alienation.

*Early emergence
The first ongoing music scene that was assigned the "punk" label appeared in New York in 1974-1976, centered around bands that played regularly at the clubs Max's Kansas City and CBGB, including The Ramones, Television, Blondie, Johnny Thunders (a former New York Doll) and the Heartbreakers, Richard Hell and The Voidoids and the Talking Heads. The "punk" title was applied to these groups by early 1976, when Punk Magazine first appeared, featuring these bands alongside articles on some of the immediate role models for the new groups, such as Lou Reed, who was on the cover of the first issue of Punk, and Patti Smith, cover subject on the second issue.
During this same period, bands that would later be recognized as "punk" were formed independently in other locations, such as The Saints in Brisbane, Australia, and The Stranglers and the Sex Pistols in London. These early bands also operated within small "scenes", often facilitated by enthusiastic impresarios who either operated venues, such as clubs, or organised temporary venues. In other cases, the bands or their managers improvised their own venues, such as a house inhabited by The Saints in an inner suburb of Brisbane. The venues provided a showcase and meeting place for the emerging musicians (the 100 Club in London, CBGB in New York, and The Masque in Hollywood are among the best known early punk clubs).
While the London bands may have played a relatively minor role in determining the early punk sound, the London punk scene would come to define and epitomize the rebellious punk culture. After a brief stint managing the New York Dolls at the end of their career in the US, Englishman Malcolm McLaren returned to London in May 1975. He started a clothing store called SEX that was instrumental in creating the radical punk clothing style. He also began managing The Swankers, who would soon become the Sex Pistols. The Sex Pistols soon created a strong cult following in London, centered on a clique known as the Bromley Contingent (named after the suburb where many of them had grown up), who followed them around the country.
An oft-cited moment in punk rock's history is a July 4, 1976 concert by the Ramones at the Roundhouse in London (The Stranglers were also on the bill). Many of the future leaders of the UK punk rock scene were inspired by this show, and almost immediately after it, the UK punk scene got into full swing. By the end of 1976, many fans of the Sex Pistols had formed their own bands, including The Clash, Siouxsie & the Banshees, The Adverts, Generation X, The Slits and X-Ray Spex. Other UK bands to emerge in this milieu included The Damned (the first to release a single, the classic "New Rose"), The Jam, The Vibrators, Buzzcocks and the appropriately named London.
In December of 1976, the Sex Pistols, The Clash, The Damned and Johnny Thunders & the Heartbreakers united for the Anarchy Tour, a series of gigs throughout the U.K. Many of the gigs were cancelled by venue owners, after tabloid newspapers and other media seized on sensational stories regarding the antics of both the bands and their fans. The notoriety of punk rock in the UK was furthered by a televised incident that was widely publicised in the tabloid press; appearing on a London TV show called Thames Today, guitarist Steve Jones of the Sex Pistols was goaded into a verbal altercation by the host, Bill Grundy, swearing at him on live television in violation of at the time accepted standards of propriety.
One of the first books about punk rock — The Boy Looked at Johnny by Julie Burchill and Tony Parsons (December 1977) — declared the punk moment to be already over: the subtitle was The Obituary of Rock and Roll. The title echoed a lyric from the title track of Patti Smith's 1975 album Horses
During 1977, a second wave of bands emerged, influenced by those mentioned above. Some, such as The Misfits (from New Jersey), Black Flag (from Los Angeles), Stiff Little Fingers (from Northern Ireland) and Crass (from Essex) would go on to influence the subsequent sound and culture of punk rock. In the US, Los Angeles and neighboring Orange County spawned many influential punk groups, some of which are documented in the film The Decline of Western Civilization (1981). Los Angeles bands active in the late 1970s included The Germs, The Weirdos, The Screamers, X, Circle Jerks, The Plugz and Fear. Orange County (O.C.) punk groups included Social Distortion, The Adolescents, and T.S.O.L.
In the UK, punk interacted with the Jamaican reggae and ska subcultures. The reggae influence is evident in the first releases by The Clash, for example. By the end of the 1970s punk had spawned the 2 Tone ska revival movement, including bands such as The Beat (The English Beat in U.S.), The Specials, Madness and The Selecter.
Post-1970s punk

In the 1980s a second wave of anti-establishment and "DIY" bands came into their own in the UK and the United States, a genre known as Hardcore punk. The period from approximately 1980 to 1986 is considered the peak of hardcore punk. Early hardcore bands include Dead Kennedys, No Means No, Black Flag, Bad Brains, The Descendents and The Germs and the movement developed via Minor Threat, Flipper, The Big Boys, The Dicks, Minutemen and Hüsker Dü, among others. In New York, there was a large hardcore punk movement led by bands such as Agnostic Front, The Cro-Mags, Murphy's Law, Sick of it All, and Gorilla Biscuits. The '80s also saw the rise of crossover thrash. Bands such as Discharge, Amebix, Dirty Rotten Imbeciles, and Corrosion of Conformity characterised for this sound.
In the UK, meanwhile, post-punk bands as diverse as Joy Division, Throbbing Gristle, The Fall, Magazine, Public Image Ltd and Gang of Four, each with their own distinctive sound, contributed to a musically adventurous era, although their influence on later punk rock is debatable.
During this era, were bands that started off with a very staunch punk identity, but would later shed their sound. Bands such as The Jam, The Replacements and even Hüsker Dü started off emitting a highly energetic brand of punk, but gradually matured into a sound that would later be dubbed as alternative rock or to many indie rock.
In 1991, Nirvana achieved huge commercial success with their album, Nevermind. Nirvana cited punk as a key influence on their music, though they never referred to their own work as punk; their music was equally akin to other forms of garage- or indie-rock that had existed for decades. Nirvana's success kick-started the alternative-rock boom that had been underway since the early 1980s, and helped define that segment of the 1990s popular music milieu. The subsequent shift in taste among listeners of rock music was chronicled in a film entitled 1991: The Year Punk Broke, which featured Nirvana, Dinosaur Jr., and Sonic Youth; Nirvana also featured in the film Hype!
The punk rock of the early and mid-1990s was characterized by the scene at 924 Gilman Street, a venue in Berkeley, California, which featured bands such as Operation Ivy, Green Day, Rancid and later bands including AFI, (though clearly not simultaneously, as Rancid included members of the defunct Operation Ivy). This scene emphasized a return to punk's melodic roots with a strong adherence to punk principles in its lyrical messages. Epitaph Records, an independent record label started by Brett Gurewitz of Bad Religion, would become the home of the "skate punk" sound, characterized by bands like The Offspring, Pennywise, NOFX, and The Suicide Machines. In the mid-1990s, many bands arose claiming the mantle of the ever-diverse punk genre -- some playing a more accessible, pop style and achieving commercial success. The late 1990s also saw another ska punk revival. This revival continues into the 2000s with bands like Streetlight Manifesto, Reel Big Fish, Less Than Jake and The Blivits.
There is still a thriving punk scene in North America, Japan and Europe. The widespread availability of the Internet and file sharing programs enables bands who would otherwise not be heard outside of their local scene to garner larger followings, and is in keeping with the DIY ethic championed by some earlier punk bands. Many punk bands retain the political streak of their forebears. The political ascendency of George W. Bush and Tony Blair have inspired both songs and political action, such as the Rock Against Bush movement, that can be compared to the original rage at Reagan and Thatcher.

In punk's original heyday, punks faced harassment and even violent attacks, particularly in the UK, where brawls with Teddy Boys or fans of rockabilly were often reported. Nowadays it is relatively socially acceptable to present oneself as a fan of punk and to play punk rock music, and it is often merely a fashion statement among youth. Thus some maintain that the punk scene has lost the very heart of its former nature as one of explosive creativity, rebellion, anger and individualism, and that it has become a mere caricature of what once was. Others suggest that little has changed except the popularity of the genre. Disillusioned ex-punks argue that punk is out dated and obsolescent, especially as mass acceptance means that punk is now even influencing boy bands (albeit in a sanitized form).
By the late '90s, punk was so ingrained in Western culture that it was often used to sell commercial bands as "rebels", amid complaints from some punk fans that, by being signed to major labels and appearing on MTV, these bands were buying into the system that punk was created to rebel against, and as a result, could not be considered true punk (though clearly, punk's earliest pioneers also released work via the major labels). This debate continues among young punk acolytes (who, as do most new generations, seek a sense of originality or authenticity) amid the popularity of modern punk and post-punk in the early 2000s, including the emo trend of recent times, and the Grammy success and superstar status in 2005 of pop-punk band Green Day.

*The punk phenomenon expressed a rejection of prevailing values in ways that extended beyond music. British punk fashion deliberately outraged propriety with the highly theatrical use of cosmetics and hairstyles: hair made to stand in spikes, cut into a "Mohawk" or another dramatic shape, and colored with vibrant unnatural hues. Punk clothing (thanks to Malcolm McLaren's shop SEX, which largely developed punk style) typically adapted existing objects for aesthetic effect: previously ripped clothes were held together by safety pins or wrapped with tape, written on with marker or defaced with paint; safety pins and razor blades were used as jewelry (including using safety pins for piercings); a black bin liner bag (garbage bag) might become a dress, shirt or skirt. Leather, rubber and vinyl clothing was also common, possibly due to its implied connection with transgressive sexual practices, such as bondage and S&M. Taboo symbols such as the Nazi swastika or Iron Cross were also occasionally flaunted by punks. Other types of punk clothing were tight "drain pipe" jeans (as opposed to "bell bottom" or "flared" jeans popular in the 1970s), "brothel creepers" shoes, t-shirts with risque images, and possibly a leather motorcycle jacket (á la The Ramones). They may also wear eyeliner (boys and girls).
Punk created a furore in the United Kingdom press, some of it caused by the behavior of punk fans at shows, which often appeared to the uninitiated to be more of a small-scale riot than a music concert. Fans spat and threw beer bottles at the band and each other, while stage diving, pogoing and slam dancing (the precursor to the mosh pit). Fights both inside and outside the venue were common, as was damage to sound equipment or the hall itself. But for its admirers, the music, dress and lifestyle included elements of ironic humor and pointed criticism of mainstream culture and values. Many bands, The Clash being a prime example, openly espoused a left-wing or progressive social and political philosophy. Other bands, such as Crass (an anarchist/pacifist group), actively participated in political protests and projects to alter local or national communities.

The DIY aesthetic of punk created a thriving underground press; you could not only start a band, you could also be a music journalist and critic. Mark Perry produced the first photocopied issue of Sniffin' Glue in London immediately after that Ramones concert in 1976. In the US, such titles as Punk, Search & Destroy (later REsearch), Flipside and Slash chronicled and helped to define the emerging culture. (Such amateur magazines took inspiration from the rock fanzines of the early 70s, which themselves had roots in the science fiction fan community; probably the most influential of the fanzines to cross over from SF fandom to rock and, later, punk rock and "new wave." was Greg Shaw's Who Put the Bomp, published since 1970.)

The politically-charged Maximum RocknRoll and the anarchist Profane Existence were among the most important fanzines in the 1980s and onward. By that time, every local "scene" had at least one, often primitively- or casually-published magazine with news, gossip, and interviews with local or touring bands. The magazine Factsheet Five chronicled thousands of underground publications and "zines" in the 1980s and 1990s.
Style of Punk Music

Punk is characterized by simplistic music, as it was originally the reactionary movement to Rock's increasingly complex and pretentious style in the 70s. Punk songs are typically short, about 1-3 minutes, and follow a verse-chorus structure. Songs on average have fast tempoes.
Punk guitar is typically very simple. Rhythm guitar usually involves a simple chord progression, almost always utilizing power chords, with the verses palm-muted and choruses open. Simple riffs are common, and solos are rare. When solos are used, they are typically simple. There are of course notable exceptions, such as NOFX who do incorporate more complex guitar parts.

The bass in punk is usually even more simplistic than the guitar. Bassists typically just play the root notes of the chord progressions. Exceptions do exist where the Bass takes a more proactive role, especially in Ska-Punk.
Vocals are often the main focus in punk songs. They can be sung, screamed, and sometimes even spoken, but often follow common themes such as political and social activism, and staying true to yourself (not selling out, conforming, or changing yourself to fit in). Other topics involving relationships and humor are also common, although more prevalent in Pop-punk.

*For much of its history, punk music has been focused on energetic live shows and local music scenes, due to the non-marketability of most punk music and to the anti-corporate politics of many punk bands. As such, certain cities throughout the world have been important centers of the development of punk. The most significant are London and New York City, the birthplaces of the genre, though other scenes have brought regional variations to the core sound
Current Mood: apatheticapathetic
Current Music: Sex Pistols

ALKALINE TRIO Feb. 5th, 2006 @ 05:30 pm
00euphoria00
Alkaline Trio is a punk rock band from Chicago consisting of Matt Skiba on guitar/vocals, Dan Andriano on bass/vocals, and Derek Grant on drums. Their music is characterized by morbid lyrics, catchy hooks, fast tempos and recurring themes of alcoholism, heartbreak, boredom and death.

more info: http://en.wikipedia.org/wiki/Alkaline_Trio

Alkaline Trio Radio Lyrics
http://www.lyricsdir.com/search/?q=alkaline+trio&b=Lyrics+search

Shaking like a dog shittin' razorblades,
waking up next to nothing after dreaming of you and me
I'm waking up all alone, waking up so relieved
while you're taking your time with apologies,
I'm making my plans for revenge.
Red eyes on orange horizons
If Columbus was wrong I'd drive straight off the edge.
I'd drive straight off the edge.

Taking your own life with boredom,
I'm taking my own life with wine -
it helps you to rule out the sorrow,
it helps me to empty my mind.
Making the most of a bad time
I'm smoking the brains from my head
Leaving the coal calling the kettle black and orange and red
This kettle is seeing red.

I've got a big fat fuckin' bone to pick with you my darling.
In case you haven't heard I'm sick and tired of trying.
I wish you would take my radio to bathe with you,
plugged in and ready to fall.

Shaking like a dog shittin' razorblades,
waking up next to nothing after dreaming of you and me
waking up all alone, waking up so relieved
while you're taking your time with apologies,
I'm planning out my revenge.
Red eyes on orange horizons
If Columbus was wrong I'd drive straight off the edge.
I'm seeing red.

I've got a big fat fuckin' bone to pick with you my darling.
In case you haven't heard I'm sick and tired of trying.
I wish you would take my radio to bathe with you,
plugged in and ready to fall.

Plugged in and ready to fall.
Plugged in and ready to fall.

Plugged in and ready to fall.

DEATH CAB FOR CUTIE Feb. 5th, 2006 @ 03:24 pm
00euphoria00
For the 1967 song of the same name, see Death Cab for Cutie (song)
Death Cab for Cutie

Death Cab for Cutie is an American rock band formed in Bellingham, Washington in 1997. The band takes its name from a satirical song performed by the Bonzo Dog Doo-Dah Band on their 1967 album Gorilla. The song was also performed in a striptease act in The Beatles's movie Magical Mystery Tour.

Death Cab for Cutie began as a solo project of Ben Gibbard while he was the guitarist for the band Pinwheel (he has also recorded solo as All-Time Quarterback). As Death Cab for Cutie, Gibbard released a cassette, titled You Can Play These Songs with Chords; the release was surprisingly successful, and Gibbard decided to expand the band into a complete project. He recruited Christopher Walla, who also recorded "Songs with Chords", as an electric guitarist, Nicholas Harmer on bass, and Nathan Good to play drums; this configuration released the LP Something About Airplanes in the summer of 1998. The album got favorable reviews from the independent music scene, and in 2000, the follow-up was released: We Have the Facts and We're Voting Yes. Nathan Good left the band at some point during the recording of We Have the Facts. His playing on "The Employment Pages" and "Company Calls Epilogue" were kept, but Gibbard played drums on all other songs. New drummer Michael Schorr would first appear on The Forbidden Love E.P., released in fall of 2000. The following year, another LP was released, entitled The Photo Album. Limited editions of this album contained three bonus tracks, which were later released separately as The Stability E.P..

In 2003, there was another change of drummer, with Jason McGerr of Eureka Farm replacing Schorr. McGerr would play drums on the next release, Transatlanticism, which came out in October of 2003.

Transatlanticism received critical praise and also became the band's top-selling album, with 225,000 copies sold during its first year out. In addition, tracks from the album appeared in the soundtrack of television shows The O.C. and Six Feet Under and the 2005 movie The Wedding Crashers.

In spring of 2004, the band recorded a live album titled The John Byrd E.P., named for their sound engineer. The E.P. was released on Barsuk Records in March of 2005.

In November, 2004 Death Cab for Cutie signed a "long-term worldwide deal" with Atlantic Records, leaving their long-time label Barsuk Records and the rank of indie record labels. Gibbard stated on the official website that nothing would change except that "Next to the picture of Barsuk holding a 7”, there will be the letter “A” on both the spine and back of our upcoming albums."

The first single off the band's Atlantic record release Plans is titled "Soul Meets Body". The full album was released in August of 2005. Plans was well-acclaimed by critics and fans alike, and received a nomination for the Grammy Award for "Best Alternative Album of 2005".

The band also released a touring DVD called Drive Well, Sleep Carefully in 2005.

Gibbard is also a member of The Postal Service, a side project he formed with Dntel's Jimmy Tamborello and Rilo Kiley's Jenny Lewis in 2003.

Death Cab for Cutie Soul Meets Body Lyrics
http://www.lyricsdir.com/search/?q=DEATH+CAB+FOR+CUTIE

I want to live where soul meets body
And let the sun wrap its arms around me
And bathe my skin in water cool and cleansing
And feel what it's like to be new
'Cause in my head there's a Greyhound station
Where I send my thoughts to far-off destinations
So they may have a chance of finding a place where
they're far more suited then here

(ba da ba ba's)

And I cannot guess what we'll discover
When we turn the dirt with our palms cupped like shovels
But I know our filthy hands can wash one another's
And not one speck will remain

And I do believe it's true that there are roads left in both of our shoes But if the silence takes you than I hope it takes me too
So Brown Eyes I'll hold you near 'cause you're the only song I want to hear
A melody softly soaring through my atmosphere

Where soul meets body
Current Music: death cab for cutie

POSTAL SERVICE Feb. 5th, 2006 @ 03:12 pm
00euphoria00
The Postal Service is an indietronic band featuring singer Ben Gibbard of Death Cab for Cutie and producer Robert Spaulding of Dntel, Headset and Figurine. Several songs on their first LP, Give Up, feature guest vocals from Jenny Lewis, the lead singer of Rilo Kiley, a band which was once on the same label as Death Cab (Barsuk Records) and vocals from Jen Wood, an indie rock solo artist. Chris Walla recorded some of the songs and played the piano on "Nothing Better."

The way in which the group combines mechanical backing tracks with poppy hooks is somewhat reminiscent of 1980s new wave music. The group formed after Gibbard contributed vocals for a song on Dntel's album Life is Full of Possibilities called "(This Is) The Dream of Evan and Chan". This song sparked an EP of remixes by other artists, such as Lali Puna, the Flaming Lips, Safety Scissors, Barbara Morgenstern and Superpitcher, and was so well received that the two artists decided that further collaboration was in order.


Ben Gibbard and Robert Spaulding (above) are the two main members of The Postal ServiceTheir name comes from the manner in which their songs were written, due to the fact that the two of them lived too far away to be able to work together in person. Spaulding would create beats and mail them to singer and lyricist Gibbard, who would then edit them and put his melodies over the tracks and mail them back. Gibbard didn't write any of the lyrics until the tracks were completely finished.

Despite the fact that their main bands are still active, The Postal Service has supported their full-length album Give Up with a successful concert tour and has stated intentions to tour more in the future. The album's most notable single was "Such Great Heights" that has been featured in various television commercials and movie trailers. The album also recently became the most successful album for the Sub Pop label since Nirvana's debut album Bleach.

In 2004, the United States Postal Service sent the band a cease and desist letter citing their trademark on the phrase "postal service". After negotiations, the USPS relented, allowing the band use of the trademark in exchange for promotional efforts on behalf of the USPS and a performance at their annual National Executive Conference. Additionally, the USPS website sells the band's CDs.

In 2004, the track "Such Great Heights," as performed by Iron & Wine, was used on the Garden State film soundtrack. In 2005, this version of the song was also licensed for use in a television commercial for the Mars Corporation's M&M's candies. "Such Great Heights" has also been featured on Grey's Anatomy and Veronica Mars as well as commercials for insurance provider Kaiser Permanente.

In late 2005, the instrumental intro of the song "We Will Become Silhouettes" was featured in a commercial introducing the 2006 model year Honda Civic.

A copyright disagreement ensued in January 2006, when directors Josh Melnick and Xander Charity, producers of the "Such Great Heights" music video, created a TV spot for Apple Computer and Intel using almost identical footage. On January 19th, Ben Gibbard stated on the band's website: "It has recently come to our attention that Apple Computers' new television commercial for the Intel chip features a shot-for-shot recreation of our video for 'Such Great Heights' made by the same filmmakers responsible for the original. We did not approve this commercialization and are extremely disappointed with both parties that this was executed without our consultation or consent." The band has not taken any legal action against the filmmakers or the computer giant.

more info: http://en.wikipedia.org/wiki/The_Postal_Service

The Postal Service Such Great Heights Lyrics
http://www.lyricsdir.com/the-postal-service-such-great-heights-lyrics.html

I am thinking it's a sign
that the freckles in our eyes are mirror images
and when we kiss they're perfectly aligned
And I have to speculate
that God himself did make
us into corresponding shapes
like puzzle pieces from the clay

And true, it may seem like a stretch
but its thoughts like this that catch
my troubled head when you're away
when I am missing you to death
when you are out there on the road
for several weeks of shows
and when you scan the radio
I hope this song will guide you home

they will see us waving from such great heights,
"come down now", they'll say
but everything looks perfect from far away,
"come down now", but we'll stay...

I tried my best to leave
this all on your machine
but the persistent beat it sounded thin
upon listening
and that frankly will not fly
you will hear the shrillest highs
and lowest lows with the windows down
when this is guiding you home

they will see us waving from such great
heights,
"come down now", they'll say
but everything looks perfect from far away
"come down now", but we'll stay...
Current Music: Postal Service
Other entries
» SLIGHTLY STOOPID
Slightly Stoopid is a rock band based in Ocean Beach, California, who describe their music as "a fusion of acoustic rock and blues with reggae, hip-hop, and punk". As of January, 2006 they have released 5 albums, the latest being Closer to the Sun, released in April 2005. The band was originally signed by the late Bradley Nowell from the band Sublime to his label Skunk Records. Back In 1995, while still in high school, Miles and Kyle caught the ear of Sublime vocalist Bradley Nowell, who then signed them to his own Skunk Records label. Staying true to the D.I.Y ethic of punk rock, the band released its first two albums independently on Skunk. With minimal distribution (primarily in Southern California), the Skunk label released the punk-tinged debut Slightly Stoopid (1996), and the heavier-produced reggae leanings of the band's surf inspired Longest Barrel Ride (1998). After a couple of years of hard core gigging, and between recording a legitimate new studio album, Slightly Stoopid delivered a live CD from an hour long live acoustic set from San Diego's Rock 105 which helped them kick off their own Stoopid Records imprint. Titled Acoustic Roots: Live and Direct, it featured both players on acoustic guitars and vocals, and was recorded live, one take with no overdubs. Then in 2003, Slightly Stoopid released Everything You Need, their first legitimately produced studio album since 1998. A departure on some levels, Everything You Need was the culmination of the band reaching a new creative plateau, forging their own brand of music without abandoning the philosophy of where they started. According to co-front man Kyle McDonald, "Miles and I both love music, and we have been friends since we were one and two years old. We are just like brothers, and it's really nice to be able to make music with your family. We've been listening to music together all of our lives, have been playing together since our mid-teens, and are in our 11th year as a band."

The band tour relentlessly, putting on nearly 200 shows every year. Their most dedicated and hardcore fans, known as "Ese locos" (Spanish for "Crazy person") or "Stoopidheads" support them heavily, attending as many gigs as is humanly possible and spreading the word. Slightly Stoopid's touring schedule typically has them locked into two-plus hours of improvisational jamming, five days a week. Along the way, they have supported such acts as The Marley Bros, Sublime, The Roots, G-Love and Special Sauce, Blink 182, Toots and The Maytals, N.E.R.D, Pennywise, and The Warped Tour, to name a few. The group's diversity appeals to a wide demographic of music fans. "Our live shows are fun, and we get every sort of person you can imagine in one room," Kyle reveals. "And a lot of them are crazy. We're all about having fun - we interact with the crowd and get 'em riled up."

Slightly Stoopid remain a group devoted to the pursuit of the perfect mix of lifestyle and sound. With 'Closer to the Sun', Slightly Stoopid has created a soundtrack to compliment their quest for the most crucial mix, and prove that hard work, perseverance and staying true to their roots is their path to creating genre-bending music with integrity.

The band consists of:

Miles Doughty on Guitar, Bass, Vocals
Kyle McDonald on Guitar, Bass, Vocals
Ryan Moran on Drums
Oguer Ocon on Congas, Percussion, Harp, Vocals

Slightly Stoopid Sun Is Shining:
but when the sun is shining
but when the weather is sweet
you’ve got to get up off the floor
and move your dancin’ feet
but when you feel jah music
but when you feel it inside
i’ve the rockin’ an’ the rollin’
and the feelin’ everything just fine

for lyrics: http://www.lyricsdir.com/search/?q=slightly+stoopid
» LYNYRD SKYNYRD
Lynyrd Skynyrd is an American Southern rock band, described by All Music Guide's Stephen Thomas Erlewine as "the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious, Southern image and a hard rock swagger." [1] The band reached prominence during the 1970s, under the leadership of vocalist and primary songwriter Ronnie Van Zant, until his death in 1977

During the 1960s, the band changed names several times (most notably The Noble Five and One Percent) while playing local dances and clubs in Jacksonville. In 1968 they won a local Battle of the Bands contest, using the prize money to record the songs "Need All My Friends" and "Michelle", the former released as their debut single on Jacksonville-based Shade Tree Records. They also won the opening slot on several Southeast shows for California-based psychedelic rock band Strawberry Alarm Clock.

The classic years, 1970-1977:
In 1970, the band began constant rehearsals at the "Hell House", an isolated farm in Green Cove Springs, a small city in Clay County on the outskirts of Jacksonville. Roadie Billy Powell joined as keyboardist around this time. The final band name also came about, inspired as a mocking tribute to Rossington's and Burns' gym coach at Robert E. Lee High, Leonard Skinner. Skinner would strictly enforce the school's dress code, which did not allow boys to have long hair touching the collar or sideburns below the ears. After being punished several times, the bandmates played a show, still as One Percent, but Van Zant jokingly announced from the stage that they were now called Leonard Skinner. The name stuck, soon becoming Lynard Skynard, and finally Lynyrd Skynyrd.

Lynyrd Skynyrd continued to perform throughout the South in the early 1970s, further developing their hard-driving, blues-rock sound and image. In 1972, Leon Wilkeson replaced Larry Junstrom on bass. Wilkeson left just before recording their first alblum. Strawberry Alarm Clock guitarist Ed King was called in to fill the role as bass player. After the album was completed, Van Zant informed King that he was the worst bass player Van Zant had ever heard. He suggested King move to guitar so they could reproduce the studio album's three-guitar sound. Soon the band's triple-guitar attack became a signature sound. Van Zant married girlfriend Judy Seymour in 1972.

Producer Al Kooper was impressed with the band during a performance at an Atlanta club called Funocchio's in 1972, and signed them to MCA Records. He produced their first album, 1973's Pronounced Leh-Nerd Skin-Nerd, which featured the song "Free Bird", a tribute to recently deceased Duane Allman of The Allman Brothers Band. "Free Bird" began to receive national airplay, eventually reaching #19 on the Billboard Hot 100 charts. The song has also become the subject of a Rock and Roll cliché, which is the shouting of a request to hear the song at almost any live concert, regardless of the performer. This practice has become so commonplace at live concerts it has largely evolved into a parody of itself.

Lynyrd Skynyrd's fan base continued to grow rapidly during 1973, due in large part to their opening slot on The Who's Quadrophenia tour in the U.S.. During one of these shows, at the Cow Palace in California, The Who refused to go on after them, because the crowd was still calling for more. Their second album, 1974's Second Helping, was the band's breakthrough hit. It featured their most popular single "Sweet Home Alabama" (#8 on the charts in August 1974), an answer song to Neil Young's "Alabama" and "Southern Man". In a response to their response, Warren Zevon recorded his song "Play it All Night Long" which contains the chorus: "Sweet Home Alabama / Play that dead man's song." However, the belief that Van Zant and Young were rivals is incorrect; they were actually fans of each other's music and talked of collaborations together. Young has covered Lynyrd Skynyrd songs at his own live concerts as a tribute to Van Zant. Second Helping reached #12, eventually going multi-platinum. The band also toured the U.K. in 1975 with Golden Earring and in 1976 with The Rolling Stones.

In July 1974 Lynyrd Skynyrd was one of the headline acts at The Ozark Music Festival, at the Missouri State Fairgrounds, in Seladia Missouri. Some estimates have put the crowd count at 350,000 people which would make this one of the largest music events (Rock Festivals) in history (that never seemed to have happened).

In 1975, King and Burns left the band, and Burns was replaced by Artimus Pyle. The new lineup's first album, Nuthin' Fancy, was released, becoming their first Top Ten album. It features the hit song "Saturday Night Special" (#27 on the Billboard Hot 100 chart). Gimme Back My Bullets followed in 1976, but didn't reach the same success as the previous two albums. In December 1975 Leslie Hawkins, Cassie Gaines and JoJo Billingsley were added to the band. Guitarist Steve Gaines, brother of backup singer Cassie Gaines, replaced King in 1976, just in time to record the double-live album One More from the Road, the band's second Top Ten hit.

Lynyrd Skynyrd's sixth album, Street Survivors, was released in October of 1977. It would be the final album released by the original line-up.


Original cover for Street Survivors, 1977
Updated cover after plane crash, 1977
The plane crash, 1977
Lynyrd Skynyrd's legend is grounded in a plane crash that occurred on October 20, 1977, three days after the release of Street Survivors. A chartered airplane carrying the band between shows from Greenville, South Carolina to Louisiana State University in Baton Rouge, Louisiana, was low on fuel and crashed in a swamp in Gillsburg, Mississippi. The crash killed singer/songwriter Ronnie Van Zant, guitarist - vocalist Steve Gaines, vocalist Cassie Gaines, assistant road manager Dean Kilpatrick, pilot Walter McCreary and co-pilot William Gray. Other band members were injured, some very seriously. Allen Collins suffered cracked vertebrae in his neck, both Collins and Leon Wilkeson nearly had arms amputated as a result of crash injuries,Leon had severe internal injuries and a puntured lung. Gary Rossington broke his arm and his heel in the crash.Leslie Hawkins broke her neck in three places and had severe facial lacerations. On the original pressing of the cover of Street Survivors was a photograph of the band engulfed in flames. MCA Records, out of courtesy and good judgment, withdrew the sleeve and replaced it with a cover of the band striking a similar pose against a plain black background.

Street Survivors became the band's second platinum album, and was the #5 top selling album on the U.S. album chart. The single "What's Your Name" reached #13 on the single airplay charts in January of 1978. Lynyrd Skynyrd disbanded after the airplane tragedy.

MORE:
http://en.wikipedia.org/wiki/Lynyrd_Skynyrd

lyrics:
http://www.lyricsdir.com/search/?q=Lynyrd+Skynyrd&b=Lyrics+search

Lynyrd Skynyrd Free Bird:
(Allen Collins - Ronnie VanZant)

If I leave here tomorrow
Would you still remember me?
For I must be traveling on, now,
'Cause there's too many places I've got to see.
But, if I stayed here with you, girl,
Things just couldn't be the same.
'Cause I'm as free as a bird now,
And this bird you cannot change.
Oh…Oh...Oh… Oh…
And this bird you cannot change.
And this bird you cannot change.
Lord Knows I Can’t Change.

Bye, bye, Baby its been a sweet love.
Yea, yea
Though this feeling I can't change.
But please don't take it so badly,
'Cause the Lord knows I'm to blame.
But, if I stayed here with you girl,
Things just couldn't be the same.
Cause I'm as free as a bird now,
And this bird you'll never change.
Oh…Oh...Oh… Oh…Oh….
And this bird you cannot change.
And this bird you cannot change.
Lord knows, I can't change.
Lord help me, I can't change.
Lord I Can't Change,
Won't You Fly High Free Bird Yea.
» THE DEAD MILKMEN
The Dead Milkmen was a satirical punk rock/pop band that formed in 1983 in Philadelphia, Pennsylvania. The band consisted of Joe Jack Talcum (Joe Genaro; guitar, vocals), Dave Blood (Dave Schulthise; bass), Dean Clean (Dean Sabatino; drums), and Rodney Anonymous (Rodney Linderman; vocals, synth).

There are several stories about how they got their name. "The Dead Milkmen" apparently existed as Joe's concept before the band became a reality. The band has claimed the name comes from a character in Toni Morrison's book Song of Solomon ("Milkman Dead"), or from one of Genaro's high school projects. In the United Kingdom and other British Commonwealth nations, there was a persistent rumour that the band's name was derived from the first episode of the sitcom Filthy, Rich and Catflap, in which Rik Mayall's character "accidentally" kills several milkmen - but since that was not made until after the band had existed for several years, it's almost certainly untrue. The most appropriate explanation is that the name, like the band's songs, is satire: a reference to the punk band Dead Kennedys. This joke is manifest because the Milkmen adopted absurd stage names much like the Kennedys' Jello Biafra, Klaus Flouride, etc.

The Dead Milkmen's songs found moderate success on alternative on college radio stations. Videos, notably "Punk Rock Girl", even found their way onto MTV in the late 1980s. Topics for their music include satire on the 1980s music scene, toxic waste, jellyfish afterlifes, UFOs, conspiracy theories, and cover bands.

Irreverent absurdity fueled their initial popularity, particularly among college DJs. However, this genre was somewhat abandoned with the 1992 release of Soul Rotation, a much more subtle album.

After the Dead Milkmen went on indefinite hiatus in 1994, Genaro and Sabatino formed a new band, Butterfly Joe. Sabatino was also in the punk rock bands Narthex, Big Mess Orchestra, and Hunger Artists. Genaro was in a band called Touch Me Zoo. Linderman was in a band called Burn Witch Burn. Schulthise left music in the early 1990s and committed suicide in 2004.

The Dead Milkmen took the stage again for two consecutive nights in November 2004 at the Trocadero Theatre in Philadelphia to play a show in memory of Dave Schulthise. Proceeds were donated to a variety of mental health organizations and to a Serbian monastery that Schulthise supported.

more info:
http://en.wikipedia.org/wiki/Dead_milkmen

Songs:
http://www.lyricsdir.com/search/?q=dead+milkmen


The Dead Milkmen Punk Rock Girl:
One Saturday I took a walk to Zipperhead
I met a girl there
And she almost knocked me dead
Punk rock girl please look at me
Punk rock girl what do you see?
Let's travel round the world
Just you and me punk rock girl

I tapped her on the shoulder
And said do you have a beau?
She looked at me and smiled
And said she did not know
Punk rock girl give me a chance
Punk rock girl let's go slamdance
We'll dress like Minnie Pearl
Just you and me punk rock girl

We went to the Phillie Pizza Company
And ordered some hot tea
The waitress said "Well no
We only have it iced"
So we jumped up on the table
And shouted "anarchy"
And someone played a Beach Boys song
On the jukebox
It was "California Dreamin'"
So we started screamin'
"On such a winter's day"

She took me to her parents
For a Sunday meal
Her father took one look at me
And he began to squeal
Punk rock girl it makes no sense
Punk rock girl your dad is the Vice President
Rich as the Duke of Earl
Yeah you're for me punk rock girl

We went to a shopping mall
And laughed at all the shoppers
And security guards trailed us
To a record shop
We asked for Mojo Nixon
They said "He don't work here"
We said "If you don't got Mojo Nixon
Then your store could use some fixin'"

We got into a car
Away we started rollin'
I said "How much you pay for this?"
She said "Nothing man, it's stolen"
Punk rock girl you look so wild
Punk rock girl let's have a child
We'll name her Minnie Pearl
Just you and me
Eating fudge banana swirl
Just you and me
We'll travel round the world
Just you and me punk rock girl
» OPERATION IVY
US ska/punk cultish legends Operation Ivy were formed in 1987 by Tim "Lint" Armstrong (guitar, vocals), Matt Freeman aka Matt McCall (bass), Dave Mello (drums) and Jesse Michaels (vocals). Inspired equally by Britain's first wave of punk bands and the 2-Tone ska revivalists such as the Specials. Their main American influence was the Uptones, from Berkeley, California. Their debut in Mello's garage was followed quickly by an appearance supporting MDC at Berkeley's Gilman Street club, the prominent local facility that would later breed peers such as Green Day. After making their vinyl debut on a Maximum Rock 'n' Roll compilation, Operation Ivy released the Hectic EP in January 1988 on Lookout Records. A full-length album, Energy, followed in 1989. It added to Operation Ivy's growing popularity, with the band competently matching reggae, ska, pop and punk with vitriolic lyrics. However, it was live that they were at their most impressive, performing a punishing schedule of concerts throughout North America. The pressure finally eroded the group's spirit, and they collapsed in May 1989. Michaels became a Buddhist monk and Mello joined Schlong, but Armstrong and Freeman continued working together. Two ska-inspired bands, the Dance Hall Crashers and Downfall, featured both of them. By April 1990 Matt had joined MDC, and brought Tim on tour as his roadie. He left by the end of the year, however, and Rancid was eventually formed, initially as a trio with Tim, Matt and Brett.


For more Operation Ivy check out: www.operationivy.com

LYRICS:http://www.lyricsdir.com/operation-ivy-someday-lyrics.html

Operation Ivy Sheena Is A Punk Rocker Lyrics
(Sheena is a punk rocker)
Martha is
Martha is a punk rocker yeah
She's beating up skin heads
(a punk rocker)
shes breaking lots of bottles
(a punk rocker)
shes taking lots of drugs like heroin and speed
Martha's our girl she's such an anarchist
she doesnt eat meat
...
she's beating up cops
Martha Martha Martha Martha
Martha is...
» TRANSPLANTS
The Transplants were formed in 1999 when Tim played Rob Aston (friend and roadie) some beats he had made on pro-tools and asked Rob if he would consider being in a band with him and contributing lyrics. Tim played all the instruments himself and the drums were done on machine but they soon realized they’d have to recruit a drummer and decided to call on Travis Barker from Blink 182.

Tim first became inspired to work with loops and samples after being introduced to London's speed/garage scene by Kerrang magazine writer, Morat in the mid-90s.

Rob Aston describes their songs to range from such topics as murder (Quick Death) to the passing of a loved one (Sad But True) to failed friendships (We trusted you). The album was recorded in Tim's basement and also featured Matt Freeman (Rancid), Vic Ruggiero (Slackers), and Brody Dalle (Distillers, ex-wife of Tim). Brody sings on the track Weigh on my mind, which Tim then described as "their song".

The result was the self-titled album released in 2001 on Hellcat Records. The singles, Diamonds and Guns and DJ DJ quickly became MTV favorites and they instantly received commercial success and critical acclaim going on tour with rock bands such as The Foo Fighters. One of the most startling of the Transplants achievements, is that it has attracted corporate dollars to Hellcat with Diamonds and Guns being used on a Loreal Shampoo advertisement!

They are recording their follow-up album in 2004.

Jennifer Lynn

Transplants lyrics:
http://www.lyricsdir.com/search/?q=Transplants&b=Lyrics+search

Transplants Gangsters and Thugs:
Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell
drugs

You stand by me
I stand by you
If there is a fight I'm the one to come to
Good and bad, times we've been through
You got my back and I got yours too
All of my life you are in my crew
I'd do anything for you
Beat someone black and blue
Black and blue and I'd do it for you

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Try to tell 'em leave us alone
Still ridin' with them fellas down that unknown road
There aint no tell 'em, I told 'em before
Wouldn't listenin'
No more bitchin'
Leave 'em all on the floor
I know
You think it's money
Your dead 'till it hurts
Thats why I still got that needle, and I still got that work
Tommorow ain't promised
I'll smoke it today
It's already five
And I'll be on my way

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

It's official, I'm destined to fail
And I ain't tryin' catch no case,
I got no money for bail,
I'm hurtin, Up in the E.R.,
Before New Year's Eve,
Said they're nothing we can do and we suggest that you leave,
30 G's, No insurance, They don't give a damn
Back to breakin out the scale, Break it down into grams,
They say you can't win for losin, I swear it's the truth,
Same shit, different day, Man I swear what's the use


It get's us paid, with good intentions
I got dirty with two prostentions
I make a living ain't got no pension
For transcriptions for my life on tension
The world is mine, no limit I can do it
Every drama in life I've been through it
Even if I had a good and I blew it
Regret nothin' I move on and say fuck it

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs
Transplants Gangsters and Thugs:
Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell
drugs

You stand by me
I stand by you
If there is a fight I'm the one to come to
Good and bad, times we've been through
You got my back and I got yours too
All of my life you are in my crew
I'd do anything for you
Beat someone black and blue
Black and blue and I'd do it for you

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Try to tell 'em leave us alone
Still ridin' with them fellas down that unknown road
There aint no tell 'em, I told 'em before
Wouldn't listenin'
No more bitchin'
Leave 'em all on the floor
I know
You think it's money
Your dead 'till it hurts
Thats why I still got that needle, and I still got that work
Tommorow ain't promised
I'll smoke it today
It's already five
And I'll be on my way

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

It's official, I'm destined to fail
And I ain't tryin' catch no case,
I got no money for bail,
I'm hurtin, Up in the E.R.,
Before New Year's Eve,
Said they're nothing we can do and we suggest that you leave,
30 G's, No insurance, They don't give a damn
Back to breakin out the scale, Break it down into grams,
They say you can't win for losin, I swear it's the truth,
Same shit, different day, Man I swear what's the use


It get's us paid, with good intentions
I got dirty with two prostentions
I make a living ain't got no pension
For transcriptions for my life on tension
The world is mine, no limit I can do it
Every drama in life I've been through it
Even if I had a good and I blew it
Regret nothin' I move on and say fuck it

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs

Gangsters and thugs
Criminals and hoods
Some of my friends sell records, some of my friends sell drugs
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