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Mr. Percy Frizelle "king of kings" (uk)

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The New Romantics
The New Romantics
Price: £51.01

4 of 5 people found the following review helpful
4.0 out of 5 stars All lipsick and eyeliner, 1 Feb 2010
This review is from: The New Romantics (Audio CD)
Back in the day the depature from guitars and the narcissist agression of punk was like a breathe of fresh air to the new generation of teenagers.

A new style of music and fashion perfecltly blended togeter to create escapisms in a world of pantomime pop. Drawing inspiration from a conclomerate of genras and mixing them all thogether. The sound was that of European dance mucic and the silver screen / the iconography of bauhaus dinsity / cold eltectronic furturistic landscapesand heroes and villians from a dandy golden age fused with a touch of glam with a disco beat.

It was a exciting time a time when boundaries were explored and gates pushed wide open. The age of decadence was upon us. A time of experimentation, a time of the silcon Cip and a new world of technology.

This CD is a reminder of thoses pioneering days, It brings a smile to my face in rememberance of Lipstick, Eyeliner, ankle boots frilly shirts and floppy fringes, sweety clubs and bad sex. Today the music may have dated and even seem cheesy.

But hey the music represented here is 30 years old That make me (I'd rather not say). Give it go and I bet your be dancing in the kitchen and living room in no time.

Offered by DVD Overstocks
Price: £4.83

1 of 2 people found the following review helpful
3.0 out of 5 stars three for effort, 1 Feb 2010
This review is from: Empire (Audio CD)
After Oasis peaked at Knebworth, Noel Gallagher has talked of his quest to pass on the band's torch and, thus, enormous fan base to a new act. With the release of their second album, Leicester beer monsters Kasabian have snatched their hero's baton and are finding their sea legs and are pseudo-swaggering towards the big time. Like Oasis, Kasabian pride themselves on making what they see as unpretentious pop music by the people for the people. Kasabian manage in their own unique way to connect with the UK's blokey masses but only because there's nothing else or no one else to challenge them. A lot of bands today may be critically acclaimed (Coral / Artic Monkeys) but are often to quirky to capture the publics imagination appealing to bricklayers and bankers alike and write songs that can be embraced by fathers and sons alike. So what's left? KASABIAN.

Empire is the second album by English rock band Kasabian, released in August 2006 it went onto #1 in the UK Albums Chart. The album was recorded over two weeks after touring with Oasis and it shows. It feels rushed made up of leftovers and fillers. The first single from the album and the title track Empire is to the contrary however admittedly a strong one. The supporting video that flirts with peninsular wars imagery as depicted by SHARPE (Sean Bean) films complements the feel of the song. But If you purchase the album on the strength of this song, your in for a rude awaking. Sadly this eagerly anticipated album is an ambitious affair that fails to deliver on so many levels. It assembles a pompous array of tunes that do nothing more than confirm that Kasabian are nothing more than pretenders to the thrown.

Kasabian's sound is now noticeably fuller and more sophisticated, than its adequate baggy esq debut, bolstered by their inspired decision to assimilate their assumed god like status. But don't be fooled, the album is musically all over the place, and relies on amplified swagger to carry it through. The songs and arrangements have some inspirational moments but haven't logically been thought through. There's nothing really groundbreaking here, and the plagiarisation is embarrassing. You'll be glad when the albums over and it doesn't motivate repeat playing. .

Kasabian, need to decide who there really are, and who they want to be, they are not Led Zeppelin or the Stone Roses neither are they the Primal Scream or Oasis. If they do that, and stop believing in their own manufactured hype they just might have a chance.

Happy Birthday: Plus
Happy Birthday: Plus

2 of 4 people found the following review helpful
3.0 out of 5 stars Mixed Bag, 29 Jan 2010
This review is from: Happy Birthday: Plus (Audio CD)
Imagine a cross between Siousixe and the Banshess and early-era The Cure with a helium-headed girlie on speed and regionalised Glaswegian vocals, You now have a pretty good idea on the Altered Images (Great Name) sound.

Funny enough Siouxsie and the Banshees were Altered Images idols and after some persuasion, fan mail and demo tapes they were offered a support slot on the Kaleidoscope tour. Steve Severin, quickly capitalised on this three minutes of fame and the audiences warm reception by taking them in to the studio wearing his producers hat. This gave them enormous credibility on the alternative scene and they emerged from the Banshees substantial shadow to establish themselves in their own right as a lively and entertaining new wave act with personality a-plenty.

Little "cutesy" Claire was a unique and quirky vocalist. But you really gotta be in the mood for it, too much is irritating if not tedious (you might even say it's an acquired taste). However they were championed by the late great John Peel who included them as one his all time greats. This had a great influence on their initial success with record deals and BBC sessions shortly following. The release of their first single "Dead Pop Stars", caused controversy because of the recent death of John Lennon, although in all fairness it was recorded prior to it. Together with Aztec Camera, Orange Juice, the Associates and the Bluebells there was definite indigenous music scene developing north of Hadrian's Wall with a quirky yet charming sound packing an affectionate punch.

This generated more interest in the band and gave the band some indie notoriety and appeal. In keeping with the alternative sound of the time the sound was often dark and desolate and void of any real character, but there was enough to keep your attention in anticipation of more. The title track "Happy Birthday" however introduced Martin Rushent into the equation, whose credits included the Human League's Dare. Not surprisingly, the result of this paring veered more towards the charts by introducing synthetic orientated melody and catchy hooks, appearances on Top Of the Pops quickly cemented their rapidly growing fan base. Partly due to Claire's girl next door image who just might say yes if you asked nicely.

The relative success of "Happy Birthday"(Single) was backed-up with their first UK tour to support this album of the same name. The sound was now becoming bright and optimistic and Claire and her gang seemed over enthusiastic and joyous, energetically skipping and bouncing all over the stage frilly dresses and bows. Like a little children let loose in Willy Wonker's Choclate Factory it was amusing at first, but became boring, like "biting into a cream egg and finding no yummy centre at all". The album doesn't flow well and in places is confused with no direction. The obvious singles stand out from the angular and linear compositions of their companions.

Songs like "I could be Happy" followed hot on the heels of Happy Birthday but seem lazy and lack luster and does not quite capture its full potential. However the end of that year saw the Images voted best in the 'new group/most promising' artist category in the prestigious NME poll and John Peel offered them another session. Claire even made a guest appearance on the video "Young At Heart" for The Bluebells. By this time, media attention was firmly focused on Clare Grogan, whose undeniable but unorthodox good looks and bubbly personality made her the natural star and the rest of the band were now mere extras. This in effect was Altered Images un-doing, Claire never suited the limelight she often seem lost and out her depth (She was only 18 years old after all) although she obviously enjoyed the media attention and adapted well over the course of time. The music represented here is nostalgic but forgettable. Like so much that has gone before it's a product of its day. A day when girls were girls, boys were boys, girls were boys and boys were girls. A day of wide eyed infectious gratuitous ambition served up with a dollop of cheese.

This CD like so many others brought on a whim clutters up my shelving after only receiving one play. It's a shame but good music always stands the test of time.

Saint Julian
Saint Julian
Offered by RAREWAVES
Price: £12.79

7 of 9 people found the following review helpful
5.0 out of 5 stars Fame Fame Fame and Infamy, They All Have it in for Me, 28 Jan 2010
This review is from: Saint Julian (Audio CD)
After the poptastic but patchy The Teardrop Explodes, his drug-fried Syd Barrett-esque early albums (World Shut Your Mouth and Fried) and getting his head together enough to play a string of unexpectedly brilliant live dates and signing to a major label, Julian Cope finally seemed to have made the right moves to become one of the great pop-rock acts of the 80s. This album was Cope's calculated attempt at solo superstardom and, to some degree, it worked. 'World Shut Your Mouth' was a bona fide hit and 'Trampolene' charted quite respectably as well.

Leather Clad Julian had a band in the real sense of the word for perhaps his fist and last time. Cleaver promotion by Island meant he even had prime time TV slots (Wogan Chat Show) where he introduced the world to his Stand Up revolving Mike Stand. This might have been a novelty and slightly tongue in cheek but the but the public did not know quite to make of a man peering menacingly over his mic. Hense the trick never really quite caught on. The peculiar thing about Cope is you never know when to take him serious, you never know what persona he is going to adopt and what Cope you are talking to or witnessing. Something tells me he doesn't really know himself..

After the disappointing cult success of Fried and WSYM, Cope seemed to aim for the mainstream with these over produced set of pop rock songs. Perhaps under pressure from his Major label and after spending a year in self exile and detox. The rawness and intimacy of this offering was however lost in the mix and although I'm pretty sure this sold well on his ability to produce catchy lines and hooks ultimately this was totally dispensible. Too much "A" radio play listing had the opposite effect and insured that the world would quickly bore of these anthem like songs that stood their own ground against the likes of U2 and Simple Minds

Never the less Saint Julian was and is Cope's most commercial moment, with a cover showing the singer decked out in head-to-toe black leather, walking through a post-apocalyptic wasteland, blessing all those around him. The real fun of this album comes from the character of Cope. (Cope is a complicated multifaceted man at the best of times). Throughout the album, Cope delivers his wacky lyrics and neat, efficient pop hooks in a clear tenor that sometimes switches to a godlike, Jimmy Morrison baritone. This neat trick underscores the split personality of the album: half art, half cheesy pop. In Fact, the line "did my hard leave a taste in your mouth "(Eve Volcano) was censored by the BBC The production is clean and crisp for the 80's so all in all it's a fairly easy listen.
Fantastic title track aside, World Shut Your Mouth gathers everything great about Cope effervescent blend of pop smarts, riffs and Christ-like poses. Okay, so maybe it wasn't the commercial success it deserved to be and its relative failure pushed Cope into weirder and more artistically fulfilling territories, but as a stand alone album Saint Julian is Cope's most commercial release and one of the great forgotten albums of the late 80s by one of the true mavericks of the musical landscape of any decade. Cope today has an audience far removed musically politically and social from the hedonistic days. Who knows what creative influence this man could have imposed on the world if he had forged a better relationship with his record label, mentors and friends. Cope has a bad habit of disposing with relative ease anything and anyone who does not complement his blinked vision and distorted ambitions.

The music here is not just the only reason to enjoy this release, as it also signaled the start Cope's ongoing attacks against U2, which is a fine example of Cope's David and Goliath attitude against the music industry, which is as much a reason to appreciate him as his musical output. While at times the band often sounds session player'ish. Cope is interesting enough both vocally and lyrically to maintain attention levels. While he keeps much of his 60's psychedelic obsessions and excesses away from these songs, there's still enough of a veneer of 60's pop to make many of these songs irresistably catchy and unfortunately, occasionally lightweight.

I used to love Julian Cope. Not just all the bizarreness surrounding his chemical days either. As a pop-smith, he's rather under appreciated. Saint Julian is as good an album at showing off Cope's gifts at writing catchy, energetic pop songs as any other album of his that I have heard. Along with enthusiastic songs, my favourite part about Cope is his unapologetic stance regarding himself. Julian Cope finds Julian Cope very interesting. He has always had a gift to talk/sing/write about himself. Look at that pose on the cover, this is a man who does not suffer from a lack of confidence. Besides anointing himself sainthood, Cope still has enough confidence to spare within himself to tell the world to shut its mouth, on top of being able to write songs about love, death and the cosmos. Curiously enough though, Saint Julian's best song, (Some Say Stolen from Ian McCulloch) is "Spacehopper" is about Cope's dick. McCulloch

Cope likes to distance him self these days from his more commercial releases and is content to hide in the shadows. He also has a dedicated if not obsessive fan base who pander to his ever word. Like Cope his legions of disciples who like to refer to them selves as black sheep heed their master voice and disassociate themselves from the glory days of St Julian As such St Julian is not easily available on CD or Download.

High Land, Hard Rain
High Land, Hard Rain

0 of 1 people found the following review helpful
5.0 out of 5 stars And all before he was 20, 28 Jan 2010
This review is from: High Land, Hard Rain (Audio CD)
High Land, Hard Rain, the debut album by Aztec Camera, released in 1983 is a well-crafted, multi-layered pop the kind of pop record you were afraid they didn't make anymore. Fear not automatic-pilot drum machines and humorlessly percolating synthesizers, lipstick and gloss. Young singer-songwriter-guitarist Roddy Frame's anxious boyish tenor and shy romantic melodies are instead stirred by the wind-chine strumming of acoustic guitars, gently draped over simple rhythm and keyboard touches., High Land, Hard Rain is radical not only in its musical restraint but in its arrogant rejection of fashion and attitude of the time. Nearly thirty years on it's a nice reminder of how innocent music can be made. But we must remember this boy was on 19 years old at the time of its release and were derived from his schoolboy scribbles on the back of his exercise books.

There is a proud refreshing and confessional glow the songs contained on this album that that amplifies Aztec Camera's folkie charm. Frame can be corny in his adolescent sexual earnestness, awkwardly naive in his poetic ambitions. But the combination of his acoustic daring and exposed lyrical nerves can set off emotional waves amid galloping acoustic guitars and subtle waterfall piano trickles. You can't help but smile when listening to this album the sound is not particularly adventurous, just wide-eyed songs of love and other important things that would plague a young mans mind. The songs are optimistic and offer hope a different steer from the glum rock that was to soon dominate the charts with acts like the smiths.

Pure Cult (Best Of The Cult)
Pure Cult (Best Of The Cult)
Price: £7.99

8 of 10 people found the following review helpful
5.0 out of 5 stars This band should not be overlooked, 27 Jan 2010
The Cult are an English rock band, formed in 1983. They gained a dedicated following in Britain in the mid 1980s as a post-punk and gothic rock band The band manages to fuses a kind of "heavy metal " sound with the "pseudo-mysticism of The Doors, the guitar-riffs of Led Zeppelin, and the three-chord crunch of Punk, glossed in a style Siouxsie Sioux would be proud of AC/DC,. Say what you want about the Cult, they are a band who will certainly go down as one of the most schizophrenic in rock history. Singer Ian Astbury and guitarist Billy Duffy could sure write a great tune. Just glance at a few titles included on this collection Pure Cult: The Singles 1984-1995: is evidence enough.

Spread haphazardly across the disc (rather than in chronological order), each track's uniqueness is even more evident, further showcasing the Cult's fearless creativity. Astbury's lyrics are a cause of a great deal of criticism. A confessed mystic with a lifelong interest in Native Americans and Native American culture, his lyrics unashamedly attempt to convey his concerns. Astbury is not the most poetic writer in rock, but he is usually clear in his intentions and guilty of being straightforward and sincere. Seemingly in conflict with Astbury's lyrical bent is Duffy's fat rock guitar sound and flashy solos.

The origins of the band can be traced back to 1981, in Bradford, Yorkshire, where vocalist and songwriter Ian Astbury formed a band called Southern Death Cult.[3] The name was chosen with a double meaning, and was derived from the 14th century Native American religion, it was also a stab at what the band viewed was the centralisation of power in Southern England. In March 1985, The Cult recorded their fourth single, "She Sells Sanctuary", which charted at #15 in the UK charts. This is the point in which the world ears suddenly priced up and the Cult were noticed.

What struck many about the Cult in the '80s was how their fan base seemed to shift some from record to record. Listening to these singles one is struck by apparent differences between them but with each successive pose the band grew in popularity. The collection Pure Cult helps one appreciate the significance of The Cult and like many other bands, The Cult's singles do not give a complete portrait of their musical range.

In 1991, director Oliver Stone offered Astbury the role of Jim Morrison in Stone's film The Doors. He declined the role because he was not happy with the way Morrison was represented in the film. Ironically in the late 2000's the Door reformed and Ian became there new Lead singer

Pacific Street
Pacific Street
Price: £7.99

1 of 2 people found the following review helpful
4.0 out of 5 stars Could Have Done Better, 27 Jan 2010
This review is from: Pacific Street (Audio CD)
A leading proponent of the "quiet pop" movement of the early 1980s, the Pale Fountains formed in Liverpool, England in 1981. They generated such a posititve buzz that they were immediately signed by Virgin for the then-staggering sum of £150,000 pounds. (£480,000 by today's standards 2010)

In 1982 , their label debut single , the lavish "Thank You," failed to crack the U.K. Top 40, despite a heavy promotional push. After an intense year in the studio, the Pale Fountains first LP, Pacific Street, sprinkled a slice of infectious bossa nova rhythm finally appeared in 1984; after such a relatively long absence from the limelight, the group had lost its status as media darlings.

Pacific Street' is a beautiful album, bursting with great pop tunes with a Bacharach chic flavour, a departure from the pantomime pop and disco/ glam of the new romantics that had invaded the airwaves. Not unlike Haircut 100 in places the Pale Fountains were lumped in with acoustic compatriots Aztec Camera, the Icicle Works, Prefab Sprout and Lotus Eaters, who for a moment stole their thunder. However the ever critical public never took this musical vein to their heart and they were all sidelined only occasionally gracing the charts with flashes of brilliance.

Even the intervention of Ian Broudie could not save the Pale Fountains. The Pale Fountains soldiered on regardless despite suffering an extraordinary number personal tragedies and traumas before finally mutating into cult band Shack who also seemed to be cursed suffering a number of setbacks.

But that's the way it goes. It's a case of right time right place I suppose. The Pale Fountains did release a second album "From across the Kitchen Table" and featured heavily on MTV. This album did contain a couple of outstanding tracks but overall was confused and messy and generally a jamboree of sounds and influences.

Pacific Street is an optimistic record full of promise and is truly one of the under-rated lost classics of the 80's. Today it may sound a little bland but its still worth a listen purely for nostalgia.

Setting Sons
Setting Sons
Price: £7.52

7 of 8 people found the following review helpful
5.0 out of 5 stars If you only own one Jam album buy this one, 27 Jan 2010
This review is from: Setting Sons (Audio CD)
We are told Setting Sons was originally conceived as a concept album about old friends reunited after many years to find they had nothing in common anymore (Sound Familiar). "Setting sons" doesn't quite follow through on the premise of a song cycle but it still makes for a fascinating listen. Weller had incredible foresight and was even cable of switching gender roles as demonstrated on the articulate and hellish nightmare of Private Hell. Its a harder and grittier record than "all mod cons" and the band back him with some brittle white knuckle rock music and muscular tracks boiling over with class hatred and spot on insights into British life. Like Ray Davies and Pete Townsend, Paul Weller is obsessed with England. But we also find Weller and the Jam beginning disassociating themselves from mod before they were buried with it. The cold bleak atmosphere and depression created by this record means the sound remains a product of the late 70's and doesn't quite have a place in today's egocentric self obsessed world of gluttony. History tells us that the Jam had three members, Weller, Weller and Weller, but here we have Weller, Foxton and Bucker perhaps for a last time acting as a cohesive unit and dare I say enjoying themselves.
As on most of his compositions, Weller is pointing his finger at the protagonist whilst accepting that he is merely a pawn in society's game. Factor in "strange town" and "when your young" oh and "going underground" singles from the period and its clear the band were starting to hit their stride. Paul Weller's lyrics concerning all the quirks of school, work and family life have a brutal honesty reflected in Paul's harsh Surry accented vocal. To day we Weller's "Love Child" Alex Turner (Artic Monkeys) picking up the gantlet where the Jam left of.
Me and my radical left wing college mates of the day (1979) we were more interested in the lyrics than the music. Weller gave us an insight into the world around us just at the time when were eligible to make our first visit to the ballot box. Remember this bloke was only 21 years old when he wrote this stuff but his vision and understanding of life was like that of a bitter man in his 40's who had experienced and bore the scars of life's the trials and tribulations. Songs like Burning Sky 30 years on is so dam accurate its scary. The Jam had sophistication and style of there own abiet borrowed from the sixties. Weller was never likely to self-destruct he was far too clever and his legacy is testimony to that. .
Comment Comment (1) | Permalink | Most recent comment: Mar 23, 2013 4:03 PM GMT

The Coral
The Coral
Price: £2.75

1 of 1 people found the following review helpful
4.0 out of 5 stars Believe The Hype, 26 Jan 2010
This review is from: The Coral (Audio CD)
The Coral are an English band formed in 1996 in Hoylake on the Wirral Peninsula in Merseyside. The band's music is a mixture of old-fashioned country, 1960s-style psychedelia and folk with modern rock influences. This self-titled debut album was nominated for the 2002 Mercury Music Prize and later voted the fourth best album of the year by NME Magazine. The Coral had enormous potential but have had their thunder somewhat stolen by fellow Liverpudlians, The Zutons and the Racsals (Little Flames) both of whom sound like a cheap version of The Coral. Noel Gallagher once said that they were his favourite new band and that they were more than just some 60's revivalists, They were even championed by fellow Scouse icon Ian McCulloch who offered them a number of support slots. Only Time will tell.

The Coral are simply a breath of fresh air. Sounding like Captain Beefheart isn't exactly the wisest commercial move, but it's a sound that's rarely been as successfully captured as it has been here. The lyrics are growled and shouted out, the track sounds completely exhilaratingly even demented. The diversity and differing styles demonstrated through and on the album is amazing laided with folksy guitars interesting harmonies and harmonica. Not only can we hear echos of little sea shantys with added psychedelic rock guitar assault in their tunes, we have spooky noises and Russian sounding vibes. The vocals complement this arrangement perfectly and are simply astonishing, raw and powerful.

Like a Kebab after a drunken night out all of the elements are strangely familiar but combined together become very unfamiliar, yet still easy to grasp. But then just when you think you've got it everything suddenly switches mid song, this can at times make the continuity and ease of listening difficult. But for a bunch of lads in or barely out of their teens this is impressive stuff.

Despite being critically acclaimed the Coral are sadly destined to become an acclaimed cult group or simply forgotten. The Coral sound genuinely different, although the production lends itself to a Sixties kind of vibe, very raw and unpolished in terms of performance, although certainly not shambolic. The Coral just do their thing. 'Their thing' seems to come naturally to them. This isn't a perfect album by any means or stretch of the imagination, certainly not 'smooth'. It doesn't sound contrived though. There is no masterplan, no arrogance, just a bunch of Scallys making music and finding there feet there way and doing it well. The Corals unusual mixture of sounds, and lyrics although completely charming, which are sung in a strange Liverpudlian manner my be their Achillies Heel and undoing.

Listening to this album, It's easy to see where the Artic Monkeys drew their inspiration from but it bedevils me why some groups achieve recognition in the public eye whilst others remain invisible. But listen a little closer to your TV Screen and you will hear liberal splashings of the Coral, their unique brand of music is used as signature tunes for TV dramas as well as the back drop to sporting highlights.

Today Is A Good Day
Today Is A Good Day
Price: £13.99

2 of 3 people found the following review helpful
5.0 out of 5 stars Worshipping the Devil in the name of God, 25 Jan 2010
This review is from: Today Is A Good Day (Audio CD)
Unconcerned with the pretty boy image and synthetic sound of the early 80's and more mature than the punk bands they preceded this band were at odds with the record co-operative giants, but this only helped seal their sense of solidarity and determination.

There look and attitude is not unlike that of Kirk Coban's Nivarna, abiet some years earlier. Throughout their 30 year journey they have never compromised themselves and stayed true to their ethical views and beliefs (A rare and refreshing accomplishment). These guys were green before green become fashionable.

Both in sound and vision there is a rare sincerity, truth and honesty about this band which is delivered with heart felt edgy passion. Their apocalyptic imagery and cynical view is both radical and thought provoking. Their nightmarish sounds and visions of the future are described with such clarity and pinpoint accuracy that it puts Nostradamus to shame. Athough the primevil and hellish landscape from which there were born and influenced there early recordings has mellowed over the years

It's a tragedy and crime that the general public are unaware of this bands existence. You will never hear this band on the radio; rarely see them on you T.V, they receive little or no press coverage and are overlooked by the pompous festival circuit. Yet they can sell out venues all over the UK and Europe and still mange the occasional top 40 hit (if they so chose) with little or no promotion . Specific lyrical references, coupled with visa problems, unfortunately ensure that they are all but ignored in the U.S.

The music of NMA is a way of life and this comes across in the beauty and compassionate yet aggressive melodies in their compositions. In the meantime

There's a witch hunt coming,screaming out on its rebirth
There's a crusade coming, Hellfires back here on earth
See the light in their eyes shine, listen to their words like swords
The Christian militia is marching now
There's a witch hunt coming, born out of all the American fears
There's a new purge coming, an inquisition for all of us here
Hold onto your sanity as best you can
While some Hitler claims to speak for the Son of Man
The Christian militia is marching now
Hatred makes the adrenaline flow
Stir up the fire watch it grow
Everybody loves a righteous cause
Old lives forgotten in holy wars
Everything forgotten in holy wars
There's a nightmare coming, shut up your doors close your mind
There's a nightmare coming - Born Again, born again blind
The girls show the way, then show us their legs
With American showbiz razzmatazz
With sex in one hand and a gun in the other, Christ returns
The right-wing respectable clampdown clan
Find their figure head in a holy man
Here come the Christians an hysterical mob
Worshipping the Devil in the name of God
Worshipping the Devil in the name of God

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