Is there an issue? Send a MessageReason:
None
Changed line(s) 89 (click to see context) from:
** "Can U Dig It?" is basically just one entire ShoutOut to things the band likes, from Music/{{ACDC}} to ''{{V For Vendetta}}''.
to:
** "Can U Dig It?" is basically just one entire ShoutOut to things the band likes, from Music/{{ACDC}} to ''{{V ''ComicBook/{{V For Vendetta}}''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 79 (click to see context) from:
** "I Was a Teenage Grandad" samples "On the Rocks" by {{INXS}}.
to:
** "I Was a Teenage Grandad" samples "On the Rocks" by {{INXS}}.Music/{{INXS}}.
Is there an issue? Send a MessageReason:
None
Changed line(s) 86 (click to see context) from:
** "Everything's Cool", besides its percussion sample from the ''Film/{{Akira}}'' soundtrack, also uses samples from Music/{{Ministry}}'s "Thieves", a remix of Music/SiouxsieAndTheBanshees' "Kiss Them for Me" and Annie Lennox's "Little Bird".
to:
** "Everything's Cool", besides its percussion sample from the ''Film/{{Akira}}'' ''Manga/{{Akira}}'' soundtrack, also uses samples from Music/{{Ministry}}'s "Thieves", a remix of Music/SiouxsieAndTheBanshees' "Kiss Them for Me" and Annie Lennox's "Little Bird".
Is there an issue? Send a MessageReason:
None
Changed line(s) 80 (click to see context) from:
** "Token Drug Song", "Karmadrome", "I've Always Been A Coward Baby" and "Everything's Cool" feature samples from the ''Film/{{Akira}}'' soundtrack.
to:
** "Token Drug Song", "Karmadrome", "I've Always Been A Coward Baby" and "Everything's Cool" feature samples from the ''Film/{{Akira}}'' ''Manga/{{Akira}}'' soundtrack.
Is there an issue? Send a MessageReason:
None
Changed line(s) 90 (click to see context) from:
** "Def. Con. One"'s chorus includes the lyric "{{Watchmen}}, we love you all!"
to:
** "Def. Con. One"'s chorus includes the lyric "{{Watchmen}}, "ComicBook/{{Watchmen}}, we love you all!"
Is there an issue? Send a MessageReason:
fix ambiguous link
Changed line(s) 5,6 (click to see context) from:
With Clint Mansell on guitars and vocals, Adam Mole on guitars and keyboards, Richard March on bass and Graham Crabb on drums, PWEI initially recorded a series of short, hooky PopPunk singles (which were later collected on the compilation ''Now for a Feast!''), which saw little success despite "Poppies Say Grrr!" being declared "Single of the Week" by ''NME''. Their debut album ''Box Frenzy'' saw them move away from their purely PopPunk sound (while keeping their humorous lyrics), and begin to incorporate drum machines, {{Sampling}} and influences from genres like NewWave, HipHop, and {{House}}. One of the singles from this album, "There's No Love Between Us Anymore", marked their first appearance on the UK singles chart, at #66.
to:
With Clint Mansell on guitars and vocals, Adam Mole on guitars and keyboards, Richard March on bass and Graham Crabb on drums, PWEI initially recorded a series of short, hooky PopPunk singles (which were later collected on the compilation ''Now for a Feast!''), which saw little success despite "Poppies Say Grrr!" being declared "Single of the Week" by ''NME''. Their debut album ''Box Frenzy'' saw them move away from their purely PopPunk sound (while keeping their humorous lyrics), and begin to incorporate drum machines, {{Sampling}} and influences from genres like NewWave, NewWaveMusic, HipHop, and {{House}}. One of the singles from this album, "There's No Love Between Us Anymore", marked their first appearance on the UK singles chart, at #66.
Is there an issue? Send a MessageReason:
Blade Runner is a disambig page
Changed line(s) 60 (click to see context) from:
** "Wake Up! Time to Die..." samples ''BladeRunner'', and the drum machine and vocal melody of Renegade Soundwave's "Kray Twins".
to:
** "Wake Up! Time to Die..." samples ''BladeRunner'', ''Film/BladeRunner'', and the drum machine and vocal melody of Renegade Soundwave's "Kray Twins".
Changed line(s) 70 (click to see context) from:
** "Lived in Splendour: Died in Chaos" begins with a sample of the ''BladeRunner'' opening theme.
to:
** "Lived in Splendour: Died in Chaos" begins with a sample of the ''BladeRunner'' ''Film/BladeRunner'' opening theme.
Is there an issue? Send a MessageReason:
None
Changed line(s) 51,52 (click to see context) from:
** "Can U Dig It?" samples ''TheTwilightZone'''s theme song, incidental dialogue from ''TheWarriors'', Music/FaithNoMore's "We Care a Lot" (the rapid guitar stabs), and "Black Is Black" by Belle Epoque (the "We like the music, we like the disco sound, hey!" chant).
** "Def. Con. One" samples ''TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by the Music/BeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).
** "Def. Con. One" samples ''TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by the Music/BeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).
to:
** "Can U Dig It?" samples ''TheTwilightZone'''s ''Series/TheTwilightZone'''s theme song, incidental dialogue from ''TheWarriors'', ''Film/TheWarriors'', Music/FaithNoMore's "We Care a Lot" (the rapid guitar stabs), and "Black Is Black" by Belle Epoque (the "We like the music, we like the disco sound, hey!" chant).
** "Def. Con. One" samples''TheTwilightZone'''s ''Series/TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by the Music/BeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).
** "Def. Con. One" samples
Is there an issue? Send a MessageReason:
None
Changed line(s) 92 (click to see context) from:
** "Nightmare at 20,000ft" is named after an episode of TheTwilightZone.
to:
** "Nightmare at 20,000ft" is named after an episode of TheTwilightZone.''TheTwilightZone''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 91 (click to see context) from:
** "Touched by the Hand of Cicciolina" combines a reference to NewOrder's "Touched by the Hand of God" (itself a reference to Maradona's "Hand of God" goal in 1986) and Ilona "Cicciolina" Staller, an Italian porn actress who had won election to Parliament in 1987. (She lost her 1991 re-election bid.)
to:
** "Touched by the Hand of Cicciolina" combines a reference to NewOrder's "Touched by the Hand of God" (itself a reference to Maradona's "Hand of God" goal in 1986) the 1986 World Cup) and Ilona "Cicciolina" Staller, an Italian porn actress who had won election to Parliament in 1987. (She lost her 1991 re-election bid.)
Is there an issue? Send a MessageReason:
None
Changed line(s) 9,10 (click to see context) from:
For their next album, PWEI brought in drummer Robert "Fuzz" Townshend to complement their drum machine rhythms and loops, and moved into a slightly more DarkerAndEdgier style with more noticeable {{Grunge}} and IndustrialMetal influences. ''The Looks or the Lifestyle?'' saw the band do even better commercially than before, spawning their highest-charting single "Get the Girl! Kill the Baddies!", but the band ran into trouble with ExecutiveMeddling, as their greatest supporters in RCA had left the company and the remaining executives didn't understand them or their style. As a result, they were dropped from the label before "Get the Girl! Kill the Baddies!" was released in 1993. They then moved to Infectious Records, a label started by Korda Marshell, their friend who had signed them to RCA but had since left the label. Their next album ''Dos Dedos Mis Amigos'' was even more IndustrialMetal than before, with its lead single "Ich Bin Ein Auslander" being a politicised ProtestSong against attitudes towards immigration in the UK with a SurrealMusicVideo where March and Mole played comically oversized guitars. ''Amigos'' was the band's best-selling album in the UK at the time (peaking at #11 on the charts), and a joint tour with Music/NineInchNails increased their popularity and led them to sign a contract with Nothing Records for US distribution. Around the time of the remix album ''Two Fingers My Friends!'' was released, Crabb left the band, leaving Mansell as sole vocalist, and was replaced with Kerry "The Buzzard" Hammond. The band began recording a new album with Trent Reznor as the producer and collaborated with Music/TheProdigy for "Their Law", but disbanded before they could finish recording. Crabb then pursued his ambient side project Golden Claw Musics, March and Townshend formed the big beat band Bentley Rhythm Ace, and Mansell moved onto his new career of scoring every single DarrenAronofsky film ever made.
to:
For their next album, PWEI brought in drummer Robert "Fuzz" Townshend to complement their drum machine rhythms and loops, and moved into a slightly more DarkerAndEdgier style with more noticeable {{Grunge}} and IndustrialMetal influences. ''The Looks or the Lifestyle?'' saw the band do even better commercially than before, spawning their highest-charting single "Get the Girl! Kill the Baddies!", but the band ran into trouble with ExecutiveMeddling, as their greatest supporters in RCA had left the company and the remaining executives didn't understand them or their style. As a result, they were dropped from the label before "Get the Girl! Kill the Baddies!" was released in 1993. They then moved to Infectious Records, a label started by Korda Marshell, their friend who had signed them to RCA but had since left the label. Their next album ''Dos Dedos Mis Amigos'' was even more IndustrialMetal than before, with its lead single "Ich Bin Ein Auslander" being a politicised ProtestSong against attitudes towards immigration and the popularity of the far-right in the UK UK, with a SurrealMusicVideo parodying the industrial scene where March and Mole played comically oversized guitars. ''Amigos'' was the band's best-selling album in the UK at the time (peaking at #11 on the charts), and a joint tour with Music/NineInchNails increased their popularity and led them to sign a contract with Nothing Records for US distribution. Around the time of the remix album ''Two Fingers My Friends!'' was released, Crabb left the band, leaving Mansell as sole vocalist, and was replaced with Kerry "The Buzzard" Hammond. The band began recording a new album with Trent Reznor as the producer and collaborated with Music/TheProdigy for "Their Law", but disbanded before they could finish recording. Crabb then pursued his ambient side project Golden Claw Musics, March and Townshend formed the big beat band Bentley Rhythm Ace, and Mansell moved onto his new career of scoring every single DarrenAronofsky film ever made.
* AffectionateParody: The video for "Ich Bin Ein Auslander" is a pretty spot-on joke at the expense of the IndustrialMetal scene.
Changed line(s) 104 (click to see context) from:
** "Ich Bin Ein Auslander" is a slam against anti-immigration attitudes in the UK.
to:
** "Ich Bin Ein Auslander" is a slam against anti-immigration attitudes and the rise of the far-right in the UK.
Is there an issue? Send a MessageReason:
None
Changed line(s) 7,8 (click to see context) from:
Three important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of vocals and other instruments, being replaced with a drum machine nicknamed "Dr. Nightmare", the band signed a record contract with RCA Records, and they hooked up with AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their amusingly silly lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock sound as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt). Next year's follow-up album, ''Cure for Sanity'', largely continued in the same style and with Flood behind the mixing boards again, and was similarly well-received.
to:
Three important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of vocals and other instruments, being replaced with a drum machine nicknamed "Dr. Nightmare", the band signed a record contract with RCA Records, and they hooked up with AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their amusingly silly lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock sound as the Poppies (their (Jesus Jones, Carter the Unstoppable Sex Machine, their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt). Next year's follow-up album, ''Cure for Sanity'', largely continued in the same style and with Flood behind the mixing boards again, and was similarly well-received.
Is there an issue? Send a MessageReason:
None
Changed line(s) 85 (click to see context) from:
** "Everything's Cool", besides its percussion sample from the ''Film/{{Akira}}'' soundtrack, also uses samples from Music/Ministry's "Thieves", a remix of Music/SiouxsieAndTheBanshees' "Kiss Them for Me" and Annie Lennox's "Little Bird".
to:
** "Everything's Cool", besides its percussion sample from the ''Film/{{Akira}}'' soundtrack, also uses samples from Music/Ministry's Music/{{Ministry}}'s "Thieves", a remix of Music/SiouxsieAndTheBanshees' "Kiss Them for Me" and Annie Lennox's "Little Bird".
Is there an issue? Send a MessageReason:
None
** "Touched by the Hand of Cicciolina" samples Music/DavidBowie's "Sound and Vision".
** "1000x NO!" samples part of the piano from The Dave Brubeck Quartet's "Take Five".
** "92°F (The 3rd Degree)" samples the drums from Music/SimonAndGarfunkel's "Cecilia".
** "Axe of Men" samples the guitar riff from Music/MyBloodyValentine's "Soon".
** "Another Man's Rhubarb" uses some dialogue from the 1989 ''Film/{{Batman}}'' film.
** "Dance of the Mad Bastards" samples Music/JamesBrown's "Funky Drummer", Music/TheWho's "Helpless Dancer", the band's own "Can U Dig It?", and Marina Van-Rooy's "Sly One".
** "City Zen Radio 1990/2000 FM" samples Age of Chance's "We Got Trouble".
** "Dr. Nightmare's Medication Time" samples "Rock Steady" by Music/ArethaFranklin, "Bounce, Rock, Skate, Roll" by Vaughan Mason and Crew, "Ooh, I Love It (Love Break)" by The Salsoul Orchestra, "Hit It Run" by Music/{{RunDMC}}, "Don't Make Me Wait" by Bomb the Bass and "Shake Your Rump" by the Music/BeastieBoys.
** "Nightmare at 20,000ft" samples the eponymous episode of ''TheTwilightZone'' and "Shake Your Rump" by the Music/BeastieBoys.
** "Lived in Splendour: Died in Chaos" begins with a sample of the ''BladeRunner'' opening theme.
** "Psychosexual" samples Erik Satie's "First Gymnopédie" and the beat of Bobby Byrd's "I Know You Got Soul".
** "Very Metal Noise Pollution" recycles two vocal samples from "Preaching to the Perverted".
** "X Y and Zee" samples "For What It's Worth" by Buffalo Springfield, "Slim Jenkins' Place" by Booker T. & the M.G.'s, "The Pusher" by Steppenwolf, "I'm Gonna Love You Just a Little More Baby" by Music/BarryWhite and "Uptown Top Ranking" by Althea & Donna.
** The beat in "The Beat That Refused to Die" is sampled from Music/ThisMortalCoil's cover of [[Music/TalkingHeads "Drugs"]].
** "Mother" samples "Threatened" by Music/TheStranglers.
** "Eat Me, Drink Me, Love Me, Kill Me!" samples "Never Trust a Man (With Egg on His Face)" by Adam and the Ants and "Of Course" by Music/JanesAddiction.
** "Get the Girl! Kill the Baddies!" samples Perry Farrell's scream from "Ocean Size" by Music/JanesAddiction.
** "Harry Dean Stanton" samples "When Love Rules the World" by Simone Angel. It was [[WhatCouldHaveBeen supposed]] to also feature samples of Harry Dean Stanton, but they were removed for copyright reasons.
** "I Was a Teenage Grandad" samples "On the Rocks" by {{INXS}}.
** "Token Drug Song", "Karmadrome", "I've Always Been A Coward Baby" and "Everything's Cool" feature samples from the ''Film/{{Akira}}'' soundtrack.
** "Gimme Shelter" samples "I Need a Roof" by The Mighty Diamonds.
** "Menofearthereaper" samples "Everybody Wants Some!!" by Music/VanHalen.
** "Ich Bin Ein Auslander" samples part of the guitar riff from Music/LedZeppelin's "Kashmir".
** "Familus Horribilus" samples the acoustic part of Music/BlackSabbath's "Symptom of the Universe".
** "Home" samples "Cargo Culte" and "Melody" from Music/SergeGainsbourg's ''Histoire de Melody Nelson''.
** "Everything's Cool", besides its percussion sample from the ''Film/{{Akira}}'' soundtrack, also uses samples from Music/Ministry's "Thieves", a remix of Music/SiouxsieAndTheBanshees' "Kiss Them for Me" and Annie Lennox's "Little Bird".
** "1000x NO!" samples part of the piano from The Dave Brubeck Quartet's "Take Five".
** "92°F (The 3rd Degree)" samples the drums from Music/SimonAndGarfunkel's "Cecilia".
** "Axe of Men" samples the guitar riff from Music/MyBloodyValentine's "Soon".
** "Another Man's Rhubarb" uses some dialogue from the 1989 ''Film/{{Batman}}'' film.
** "Dance of the Mad Bastards" samples Music/JamesBrown's "Funky Drummer", Music/TheWho's "Helpless Dancer", the band's own "Can U Dig It?", and Marina Van-Rooy's "Sly One".
** "City Zen Radio 1990/2000 FM" samples Age of Chance's "We Got Trouble".
** "Dr. Nightmare's Medication Time" samples "Rock Steady" by Music/ArethaFranklin, "Bounce, Rock, Skate, Roll" by Vaughan Mason and Crew, "Ooh, I Love It (Love Break)" by The Salsoul Orchestra, "Hit It Run" by Music/{{RunDMC}}, "Don't Make Me Wait" by Bomb the Bass and "Shake Your Rump" by the Music/BeastieBoys.
** "Nightmare at 20,000ft" samples the eponymous episode of ''TheTwilightZone'' and "Shake Your Rump" by the Music/BeastieBoys.
** "Lived in Splendour: Died in Chaos" begins with a sample of the ''BladeRunner'' opening theme.
** "Psychosexual" samples Erik Satie's "First Gymnopédie" and the beat of Bobby Byrd's "I Know You Got Soul".
** "Very Metal Noise Pollution" recycles two vocal samples from "Preaching to the Perverted".
** "X Y and Zee" samples "For What It's Worth" by Buffalo Springfield, "Slim Jenkins' Place" by Booker T. & the M.G.'s, "The Pusher" by Steppenwolf, "I'm Gonna Love You Just a Little More Baby" by Music/BarryWhite and "Uptown Top Ranking" by Althea & Donna.
** The beat in "The Beat That Refused to Die" is sampled from Music/ThisMortalCoil's cover of [[Music/TalkingHeads "Drugs"]].
** "Mother" samples "Threatened" by Music/TheStranglers.
** "Eat Me, Drink Me, Love Me, Kill Me!" samples "Never Trust a Man (With Egg on His Face)" by Adam and the Ants and "Of Course" by Music/JanesAddiction.
** "Get the Girl! Kill the Baddies!" samples Perry Farrell's scream from "Ocean Size" by Music/JanesAddiction.
** "Harry Dean Stanton" samples "When Love Rules the World" by Simone Angel. It was [[WhatCouldHaveBeen supposed]] to also feature samples of Harry Dean Stanton, but they were removed for copyright reasons.
** "I Was a Teenage Grandad" samples "On the Rocks" by {{INXS}}.
** "Token Drug Song", "Karmadrome", "I've Always Been A Coward Baby" and "Everything's Cool" feature samples from the ''Film/{{Akira}}'' soundtrack.
** "Gimme Shelter" samples "I Need a Roof" by The Mighty Diamonds.
** "Menofearthereaper" samples "Everybody Wants Some!!" by Music/VanHalen.
** "Ich Bin Ein Auslander" samples part of the guitar riff from Music/LedZeppelin's "Kashmir".
** "Familus Horribilus" samples the acoustic part of Music/BlackSabbath's "Symptom of the Universe".
** "Home" samples "Cargo Culte" and "Melody" from Music/SergeGainsbourg's ''Histoire de Melody Nelson''.
** "Everything's Cool", besides its percussion sample from the ''Film/{{Akira}}'' soundtrack, also uses samples from Music/Ministry's "Thieves", a remix of Music/SiouxsieAndTheBanshees' "Kiss Them for Me" and Annie Lennox's "Little Bird".
** The lyrics of "Pretty Pretty" are taken from DennisHopper's dialogue in ''BlueVelvet''.
* SpecialGuest: "92°F (The 3rd Degree)" is sung by reggae musician Sylvia Tella.
** "City Zen Radio 1990/2000 FM" attacks the poll tax that helped drive MargaretThatcher out of office. ("No ID cards, no poll tax!")
Changed line(s) 76 (click to see context) from:
** "Familius Horribilus" mocks the royal family.
to:
** "Familius "Familus Horribilus" mocks the royal family.
Is there an issue? Send a MessageReason:
None
Changed line(s) 51 (click to see context) from:
** "Def. Con. One" samples ''TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by Music/TheBeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).
to:
** "Def. Con. One" samples ''TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by Music/TheBeastieBoys the Music/BeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).song).
** "Inject Me" samples the beat from "Good Old Music" by [[Music/GeorgeClinton Funkadelic]] and a string part from [[Film/{{Casablanca}} "As Time Goes By"]].
** "Poison to the Mind" begins with a sample from a Kellogg's commercial saying "Somewhere in the sprawling metropolis, another job for...".
** "Preaching to the Perverted" samples Prince Buster's "Al Capone", Flavor Flav yelling "Yeah, that's right!" from Music/PublicEnemy's "Terminator X Speaks With His Hands", the band's own "Let's Get Ugly", a guitar part from Music/PublicEnemy's "Countdown to Armageddon", the drums from "Shake Your Thang" by Salt-N-Pepa and E.U., and a lyric from Eric B. and Rakim's "Microphone Fiend".
** "Radio P.W.E.I." samples "I Can't Live Without My Radio" by Music/LLCoolJ, "I Can't Live Without My Radio" by World Domination Enterprises, "It's a Man's Man's Man's World" by Music/JamesBrown, "Fantastic Freaks at the Dixie" by DJ Grand Wizard Theodore and The Fantastic Five, "Two Tribes" by Music/FrankieGoesToHollywood (the main guitar melody), "Shout" by Music/TearsForFears (Roland Orzabal singing "I'm talkin to you!"), "We Get Ill" by Schoolly D, "Bring the Noise" by Music/PublicEnemy, "It Takes Two" by Rob Base & DJ E-Z Rock, "My Philosophy" by Boogie Down Productions (KRS-One yelling "SUCKAS!") and "Get Stupid (Part III)" by Mantronix.
** "Shortwave Transmission on 'Up to the Minuteman Nine'" samples the band's "Radio P.W.E.I." and the drum machine from "Mama" by Music/{{Genesis}}.
** "Sixteen Different Flavours of Hell" recycles vocal samples from "Wise Up! Sucker..." and "She's Surreal".
** "Not Now James, We're Busy..." samples "I Got You (I Feel Good)", "Get Up (I Feel Like Being A) Sex Machine" and "Funky Drummer" by Music/JamesBrown, "Christmas Rappin'" by Kurtis Blow, "World Famous" by Malcolm [=McLaren=], and Otis Redding's "Good To Me".
** "Wake Up! Time to Die..." samples ''BladeRunner'', and the drum machine and vocal melody of Renegade Soundwave's "Kray Twins".
** "Inject Me" samples the beat from "Good Old Music" by [[Music/GeorgeClinton Funkadelic]] and a string part from [[Film/{{Casablanca}} "As Time Goes By"]].
** "Poison to the Mind" begins with a sample from a Kellogg's commercial saying "Somewhere in the sprawling metropolis, another job for...".
** "Preaching to the Perverted" samples Prince Buster's "Al Capone", Flavor Flav yelling "Yeah, that's right!" from Music/PublicEnemy's "Terminator X Speaks With His Hands", the band's own "Let's Get Ugly", a guitar part from Music/PublicEnemy's "Countdown to Armageddon", the drums from "Shake Your Thang" by Salt-N-Pepa and E.U., and a lyric from Eric B. and Rakim's "Microphone Fiend".
** "Radio P.W.E.I." samples "I Can't Live Without My Radio" by Music/LLCoolJ, "I Can't Live Without My Radio" by World Domination Enterprises, "It's a Man's Man's Man's World" by Music/JamesBrown, "Fantastic Freaks at the Dixie" by DJ Grand Wizard Theodore and The Fantastic Five, "Two Tribes" by Music/FrankieGoesToHollywood (the main guitar melody), "Shout" by Music/TearsForFears (Roland Orzabal singing "I'm talkin to you!"), "We Get Ill" by Schoolly D, "Bring the Noise" by Music/PublicEnemy, "It Takes Two" by Rob Base & DJ E-Z Rock, "My Philosophy" by Boogie Down Productions (KRS-One yelling "SUCKAS!") and "Get Stupid (Part III)" by Mantronix.
** "Shortwave Transmission on 'Up to the Minuteman Nine'" samples the band's "Radio P.W.E.I." and the drum machine from "Mama" by Music/{{Genesis}}.
** "Sixteen Different Flavours of Hell" recycles vocal samples from "Wise Up! Sucker..." and "She's Surreal".
** "Not Now James, We're Busy..." samples "I Got You (I Feel Good)", "Get Up (I Feel Like Being A) Sex Machine" and "Funky Drummer" by Music/JamesBrown, "Christmas Rappin'" by Kurtis Blow, "World Famous" by Malcolm [=McLaren=], and Otis Redding's "Good To Me".
** "Wake Up! Time to Die..." samples ''BladeRunner'', and the drum machine and vocal melody of Renegade Soundwave's "Kray Twins".
Is there an issue? Send a MessageReason:
None
Changed line(s) 48 (click to see context) from:
** "There's No Love Between Us Anymore" samples "When I Fall in Love" by Nat King Cole, "You've Lost That Lovin' Feelin' by The Righteous Brothers and "It's Yours" by T La Rock and Jazzy Jay.
to:
** "There's No Love Between Us Anymore" samples "When I Fall in Love" by Nat King Cole, "You've Lost That Lovin' Feelin' Feelin'" by The Righteous Brothers and "It's Yours" by T La Rock and Jazzy Jay.
Added DiffLines:
** "Can U Dig It?" samples ''TheTwilightZone'''s theme song, incidental dialogue from ''TheWarriors'', Music/FaithNoMore's "We Care a Lot" (the rapid guitar stabs), and "Black Is Black" by Belle Epoque (the "We like the music, we like the disco sound, hey!" chant).
** "Def. Con. One" samples ''TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by Music/TheBeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).
** "Def. Con. One" samples ''TheTwilightZone'''s theme song, "Dancing in the Street" by Martha and the Vandellas (the snare roll), "I Wanna Be Your Dog" by Music/TheStooges (the main riff is recognisable in the chorus), "Funky Town" by Lipps Inc. (the famous keyboard riff), "Crazy Horses" by The Osmonds (the horse whinny), "Time to Get Ill" by Music/TheBeastieBoys (MCA yelling "What's the time?"), "Right Now" by The Creatures (Siouxsie singing "right now"), "Raising Hell" by Music/RunDMC (the chants of "to the left, y'all" and "to the right, y'all" in the ending), "Beat Dis" by Bomb the Bass (the main beat), "My Mike Sounds Nice" by Salt-N-Pepa ("Right about now!") and Music/BruceSpringsteen's "Hungry Heart" (the first riff heard in the song).
Is there an issue? Send a MessageReason:
None
Changed line(s) 43 (click to see context) from:
* {{Sampling}}
to:
* {{Sampling}}{{Sampling}}: ''Tons'' of it.
** "Hit the Hi-Tech Groove" samples "Stand and Deliver" by Adam and the Ants, "(Nothing Serious) Just Buggin'" by Whistle, the chorus of "Respectable" by Mel & Kim, and "The Jack That House Built" by Jack 'N' Chill.
** "Intergalactic Love Mission" samples "Wham Rap! (Enjoy What You Do)" by Wham!.
** "Let's Get Ugly" samples "Rock the Bells" by Music/LLCoolJ, the extended version of "Peter Gunn" by The Art of Noise, and "Rockman Rock Parts 2 and 3" by [[Music/TheKLF The JAMs]].
** "Love Missile F1-11" samples "C'Mon Everybody" and "Something Else" by Eddie Cochran, and Music/TheSexPistols' cover of "Something Else" as well.
** "There's No Love Between Us Anymore" samples "When I Fall in Love" by Nat King Cole, "You've Lost That Lovin' Feelin' by The Righteous Brothers and "It's Yours" by T La Rock and Jazzy Jay.
** "Like an Angel" samples "When I Dream" by The Teardrop Explodes.
** "Hit the Hi-Tech Groove" samples "Stand and Deliver" by Adam and the Ants, "(Nothing Serious) Just Buggin'" by Whistle, the chorus of "Respectable" by Mel & Kim, and "The Jack That House Built" by Jack 'N' Chill.
** "Intergalactic Love Mission" samples "Wham Rap! (Enjoy What You Do)" by Wham!.
** "Let's Get Ugly" samples "Rock the Bells" by Music/LLCoolJ, the extended version of "Peter Gunn" by The Art of Noise, and "Rockman Rock Parts 2 and 3" by [[Music/TheKLF The JAMs]].
** "Love Missile F1-11" samples "C'Mon Everybody" and "Something Else" by Eddie Cochran, and Music/TheSexPistols' cover of "Something Else" as well.
** "There's No Love Between Us Anymore" samples "When I Fall in Love" by Nat King Cole, "You've Lost That Lovin' Feelin' by The Righteous Brothers and "It's Yours" by T La Rock and Jazzy Jay.
** "Like an Angel" samples "When I Dream" by The Teardrop Explodes.
Changed line(s) 59 (click to see context) from:
** "Ich Bin Ein Auslander" is a slam against anti-immigration attitudes in the UK.
to:
** "Ich Bin Ein Auslander" is a slam against anti-immigration attitudes in the UK.UK.
** "Familius Horribilus" mocks the royal family.
** "Familius Horribilus" mocks the royal family.
Is there an issue? Send a MessageReason:
None
Changed line(s) 34 (click to see context) from:
* OdeToIntoxication: "Wake Up! Time to Die...".
to:
* OdeToIntoxication: "Wake Up! Time to Die...". The chorus makes it obvious it's not a positive depiction:
Added DiffLines:
-->''Cardboard cutout lying on the floor''
-->''Lame brains, drunk again''
-->''Stupid dumb dumb cold plumb insane''
-->''I've felt worse but I felt better''
-->''A human see-saw to the letter''
-->''It makes me feel so bad''
-->''Lame brains, drunk again''
-->''Stupid dumb dumb cold plumb insane''
-->''I've felt worse but I felt better''
-->''A human see-saw to the letter''
-->''It makes me feel so bad''
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* BoastfulRap: Parodied in "Hit the Hi-Tech Groove", as Mansell is boasting about their lack of musical skills and reliance on stealing from better musicians.
Added DiffLines:
* EpicRocking: "Wake Up! Time to Die...".
Added DiffLines:
* OdeToIntoxication: "Wake Up! Time to Die...".
-->''Glass jaw, alcohol whore''
-->''Glass jaw, alcohol whore''
Added DiffLines:
** "Not Now James, We're Busy..." is a joke at the expense of Music/JamesBrown's legal troubles, recorded after he was arrested and imprisoned for a high-speed car chase along the Georgia-South Carolina border in 1988.
Is there an issue? Send a MessageReason:
None
Changed line(s) 11,12 (click to see context) from:
PWEI briefly reunited to play live concerts in 2005-2006, though attempts to record new material failed due to Mansell and March's previous commitments. The band was finally revived in 2010 with an entirely new lineup in which Crabb was the only original member, with Mary Byker, Tim Muddiman, Davey Bennett and Jason Bowld as the new members. This lineup released a new album, ''New Noise Designed By a Sadist'', in 2011.
to:
PWEI briefly reunited to play live concerts in 2005-2006, though attempts to record new material failed due to Mansell and March's previous commitments. The band was finally revived in 2010 with an entirely new lineup in which Crabb was the only original member, with [[GenderBlenderName Mary Byker, Byker]] (formerly of Gaye Bykers on Acid), Tim Muddiman, Davey Bennett and Jason Bowld as the new members. This lineup released a new album, ''New Noise Designed By a Sadist'', in 2011.
Is there an issue? Send a MessageReason:
None
Changed line(s) 30 (click to see context) from:
* ForeignLanguageTitle: "Ich Bin Ein Auslander", German for "I am a foreigner". (Though it should actually be "ausländer".)
to:
* ForeignLanguageTitle: "Ich Bin Ein Auslander", German for "I am a foreigner". (Though foreigner" (though it should actually be "ausländer".)"ausländer") and ''Dos Dedos Mis Amigos'', Spanish for "Two fingers my friends".
Added DiffLines:
** The "Gonna get the girl, gonna kill the baddies, save the entire planet" chorus of "Get the Girl! Kill the Baddies!" is taken from ''TotalRecall''.
Is there an issue? Send a MessageReason:
None
* ForeignLanguageTitle: "Ich Bin Ein Auslander", German for "I am a foreigner". (Though it should actually be "ausländer".)
Changed line(s) 45 (click to see context) from:
* TakeThat: The lyrics of "Candydiosis" mock Music/TheJesusAndMaryChain's "Some Candy Talking" and Music/HuskerDu's ''Candy Apple Grey'', with a chorus that asks "What's so fucking good, what's so fucking good about candy?".
to:
* TakeThat: The lyrics of "Candydiosis" mock Music/TheJesusAndMaryChain's "Some Candy Talking" and Music/HuskerDu's ''Candy Apple Grey'', with a chorus that asks "What's so fucking good, what's so fucking good about candy?".candy?".
** "Ich Bin Ein Auslander" is a slam against anti-immigration attitudes in the UK.
** "Ich Bin Ein Auslander" is a slam against anti-immigration attitudes in the UK.
Is there an issue? Send a MessageReason:
None
Changed line(s) 30 (click to see context) from:
* MinusculeRocking: All the songs on the ''Now for a Feast!'' compilation are about 1-2 minutes long. The longest is only 2:30, and the shortest 0:53.
to:
* MinusculeRocking: MinisculeRocking: All the songs on the ''Now for a Feast!'' compilation are about 1-2 minutes long. The longest is only 2:30, and the shortest 0:53.
Is there an issue? Send a MessageReason:
None
Changed line(s) 25,26 (click to see context) from:
* TheBandWithoutTheFace: Crabb is the only original member left.
* BreakupBreakout: Mansell, clearly, but arguably also Miles Hunt and Malcolm Treece (as The Wonder Stuff) and Richard March and Robert Townshend (as Bentley Rhythm Ace).
* BreakupBreakout: Mansell, clearly, but arguably also Miles Hunt and Malcolm Treece (as The Wonder Stuff) and Richard March and Robert Townshend (as Bentley Rhythm Ace).
to:
* TheBandWithoutTheFace: TheBandMinusTheFace: Crabb is the only original member left.
* BlackComedy: "Def. Con. One" shows the band regarding impending nuclear destruction as an excuse to buy fast food.
* BreakupBreakout: Mansell, clearly, but arguably also Miles Hunt and Malcolm Treece (as The Wonder Stuff) and Richard March and Robert Townshend (as Bentley RhythmAce).Ace).
* CoverVersion: They covered: "Love Missile F1-11" by Sigue Sigue Sputnik (on ''Box Frenzy'') and "Orgone Accumulator" by Music/{{Hawkwind}} (on ''Now for a Feast!'').
* EarlyInstallmentWeirdness: The PopPunk material on ''Now for a Feast!''.
* MinusculeRocking: All the songs on the ''Now for a Feast!'' compilation are about 1-2 minutes long. The longest is only 2:30, and the shortest 0:53.
* PunnyName: The band credited all their songs to "Vestan Pance" as a joke, thinking it would be more interesting than the usual "All songs by Pop Will Eat Itself".
* {{Sampling}}
* SelfDeprecation: "Hit the Hi-Tech Groove" sees the band mock their own reliance on sampling, with lyrics like "I don't need to study don't need a degree/I've got advanced criminology!", "We sample, we steal, we beg, we borrow/Here today, and gone tomorrow!" and a chorus of "You don't have to have integrity/You don't have to have ability, yeah/So listen kiddies, it's true what they say/You don't need respectability".
* ShoutOut: Frequently present in their lyrics.
** "Can U Dig It?" is basically just one entire ShoutOut to things the band likes, from Music/{{ACDC}} to ''{{V For Vendetta}}''.
** "Def. Con. One"'s chorus includes the lyric "{{Watchmen}}, we love you all!"
** "Touched by the Hand of Cicciolina" combines a reference to NewOrder's "Touched by the Hand of God" (itself a reference to Maradona's "Hand of God" goal in 1986) and Ilona "Cicciolina" Staller, an Italian porn actress who had won election to Parliament in 1987. (She lost her 1991 re-election bid.)
** "Nightmare at 20,000ft" is named after an episode of TheTwilightZone.
* SkewedPriorities: "Def. Con. One"
-->''No time to talk, it's DEFCON one!''
-->''So gimme Big Mac, fries to go''
-->''Gimme Big Mac, fries to go''
-->''Gimme Big Mac, fries to go''
-->''Gimme Big Mac, gimme fries to go!''
* TakeThat: The lyrics of "Candydiosis" mock Music/TheJesusAndMaryChain's "Some Candy Talking" and Music/HuskerDu's ''Candy Apple Grey'', with a chorus that asks "What's so fucking good, what's so fucking good about candy?".
* BlackComedy: "Def. Con. One" shows the band regarding impending nuclear destruction as an excuse to buy fast food.
* BreakupBreakout: Mansell, clearly, but arguably also Miles Hunt and Malcolm Treece (as The Wonder Stuff) and Richard March and Robert Townshend (as Bentley Rhythm
* CoverVersion: They covered: "Love Missile F1-11" by Sigue Sigue Sputnik (on ''Box Frenzy'') and "Orgone Accumulator" by Music/{{Hawkwind}} (on ''Now for a Feast!'').
* EarlyInstallmentWeirdness: The PopPunk material on ''Now for a Feast!''.
* MinusculeRocking: All the songs on the ''Now for a Feast!'' compilation are about 1-2 minutes long. The longest is only 2:30, and the shortest 0:53.
* PunnyName: The band credited all their songs to "Vestan Pance" as a joke, thinking it would be more interesting than the usual "All songs by Pop Will Eat Itself".
* {{Sampling}}
* SelfDeprecation: "Hit the Hi-Tech Groove" sees the band mock their own reliance on sampling, with lyrics like "I don't need to study don't need a degree/I've got advanced criminology!", "We sample, we steal, we beg, we borrow/Here today, and gone tomorrow!" and a chorus of "You don't have to have integrity/You don't have to have ability, yeah/So listen kiddies, it's true what they say/You don't need respectability".
* ShoutOut: Frequently present in their lyrics.
** "Can U Dig It?" is basically just one entire ShoutOut to things the band likes, from Music/{{ACDC}} to ''{{V For Vendetta}}''.
** "Def. Con. One"'s chorus includes the lyric "{{Watchmen}}, we love you all!"
** "Touched by the Hand of Cicciolina" combines a reference to NewOrder's "Touched by the Hand of God" (itself a reference to Maradona's "Hand of God" goal in 1986) and Ilona "Cicciolina" Staller, an Italian porn actress who had won election to Parliament in 1987. (She lost her 1991 re-election bid.)
** "Nightmare at 20,000ft" is named after an episode of TheTwilightZone.
* SkewedPriorities: "Def. Con. One"
-->''No time to talk, it's DEFCON one!''
-->''So gimme Big Mac, fries to go''
-->''Gimme Big Mac, fries to go''
-->''Gimme Big Mac, fries to go''
-->''Gimme Big Mac, gimme fries to go!''
* TakeThat: The lyrics of "Candydiosis" mock Music/TheJesusAndMaryChain's "Some Candy Talking" and Music/HuskerDu's ''Candy Apple Grey'', with a chorus that asks "What's so fucking good, what's so fucking good about candy?".
Is there an issue? Send a MessageReason:
None
Changed line(s) 1,2 (click to see context) from:
'''Pop Will Eat Itself''' (PWEI or The Poppies for short) were an AlternativeRock[=/=]Alternative Dance[=/=][[IndustrialMetal Industrial Rock]] band from Stourbridge in the West Midlands, active initially from 1986 to 1996. They're nowadays rather more famous for being the band ClintMansell started his career in than their actual music.
to:
'''Pop Will Eat Itself''' (PWEI or The Poppies for short) were an AlternativeRock[=/=]Alternative Dance[=/=][[IndustrialMetal Industrial Rock]] band from Stourbridge in the West Midlands, active initially from 1986 to 1996. Their sampletastic, hip-hop and electronica-influenced alternative rock style was nicknamed "Grebo" in music magazines like ''NME'' and ''Melody Maker'', largely from their songs "Oh Grebo I Think I Love You" (from ''Now for a Feast!'') and "Grebo Guru" (from ''Box Frenzy''). They're nowadays rather more famous for being the band ClintMansell started his career in than their actual music.
Changed line(s) 7 (click to see context) from:
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their amusingly silly lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock sound as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
to:
For their next album, PWEI brought in drummer Robert "Fuzz" Townshend to complement their drum machine rhythms and loops, and moved into a slightly more DarkerAndEdgier style with more noticeable {{Grunge}} and IndustrialMetal influences. ''The Looks or the Lifestyle?'' saw the band do even better commercially than before, spawning their highest-charting single "Get the Girl! Kill the Baddies!", but the band ran into trouble with ExecutiveMeddling, as their greatest supporters in RCA had left the company and the remaining executives didn't understand them or their style. As a result, they were dropped from the label before "Get the Girl! Kill the Baddies!" was released in 1993. They then moved to Infectious Records, a label started by Korda Marshell, their friend who had signed them to RCA but had since left the label. Their next album ''Dos Dedos Mis Amigos'' was even more IndustrialMetal than before, with its lead single "Ich Bin Ein Auslander" being a politicised ProtestSong against attitudes towards immigration in the UK with a SurrealMusicVideo where March and Mole played comically oversized guitars. ''Amigos'' was the band's best-selling album in the UK at the time (peaking at #11 on the charts), and a joint tour with Music/NineInchNails increased their popularity and led them to sign a contract with Nothing Records for US distribution. Around the time of the remix album ''Two Fingers My Friends!'' was released, Crabb left the band, leaving Mansell as sole vocalist, and was replaced with Kerry "The Buzzard" Hammond. The band began recording a new album with Trent Reznor as the producer and collaborated with Music/TheProdigy for "Their Law", but disbanded before they could finish recording. Crabb then pursued his ambient side project Golden Claw Musics, March and Townshend formed the big beat band Bentley Rhythm Ace, and Mansell moved onto his new career of scoring every single DarrenAronofsky film ever made.
PWEI briefly reunited to play live concerts in 2005-2006, though attempts to record new material failed due to Mansell and March's previous commitments. The band was finally revived in 2010 with an entirely new lineup in which Crabb was the only original member, with Mary Byker, Tim Muddiman, Davey Bennett and Jason Bowld as the new members. This lineup released a new album, ''New Noise Designed By a Sadist'', in 2011.
Discography:
* ''2000 Light Ales from Home'' (1986) (released under the name "Wild and Wandering")
* ''Box Frenzy'' (1987)
* ''Now for a Feast!'' (1988) (compilation of early singles)
* ''This Is The Day... This Is The Hour... This Is This!'' (1989)
* ''Cure for Sanity'' (1990)
* ''The Looks or the Lifestyle?'' (1992)
* ''Dos Dedos Mis Amigos'' (1994)
* ''Two Fingers My Friends!'' (1995) (remix album)
* ''New Noise Designed By a Sadist'' (2011)
!Tropes demonstrated by Pop Will Eat Itself:
* TheBandWithoutTheFace: Crabb is the only original member left.
* BreakupBreakout: Mansell, clearly, but arguably also Miles Hunt and Malcolm Treece (as The Wonder Stuff) and Richard March and Robert Townshend (as Bentley Rhythm Ace).
Is there an issue? Send a MessageReason:
None
Changed line(s) 7 (click to see context) from:
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their amusingly silly lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
to:
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their amusingly silly lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock sound as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
Is there an issue? Send a MessageReason:
None
Changed line(s) 7 (click to see context) from:
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
to:
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their amusingly silly lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
Is there an issue? Send a MessageReason:
None
Changed line(s) 5 (click to see context) from:
With Clint Mansell on guitars and vocals, Adam Mole on guitars and keyboards, Richard March on bass and Graham Crabb on drums, PWEI initially recorded a series of short, hooky PopPunk singles (which were later collected on the compilation ''Now for a Feast!''), which saw little success despite "Poppies Say Grrr!" being declared "Single of the Week" by ''NME''. Their debut album ''Box Frenzy'' saw them move away from their purely PopPunk sound (while keeping their humorous lyrics), and begin to incorporate drum machines, {{Sampling}} and influences from genres like NewWave, HipHop, and {{House}}. One of the singles from this album, "There's No Love Between Us Anymore", marked their first appearance on the UK singles chart, at #66.
to:
With Clint Mansell on guitars and vocals, Adam Mole on guitars and keyboards, Richard March on bass and Graham Crabb on drums, PWEI initially recorded a series of short, hooky PopPunk singles (which were later collected on the compilation ''Now for a Feast!''), which saw little success despite "Poppies Say Grrr!" being declared "Single of the Week" by ''NME''. Their debut album ''Box Frenzy'' saw them move away from their purely PopPunk sound (while keeping their humorous lyrics), and begin to incorporate drum machines, {{Sampling}} and influences from genres like NewWave, HipHop, and {{House}}. One of the singles from this album, "There's No Love Between Us Anymore", marked their first appearance on the UK singles chart, at #66.#66.
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
Two important things happened in the process of PWEI recording their follow-up album: Graham Crabb abandoned the drums in favour of being the secondary vocalist, being replaced with a drum machine nicknamed "Dr. Nightmare", and the band hooked up with the AlternativeRock RecordProducer Mark "Flood" Ellis. ''This Is The Day... This Is The Hour... This Is This!'', released in 1989, saw the band develop its sound further with increased HipHop influences, kaleidoscopic sampling, metal-flavoured {{Epic Riff}}ing and more electronic elements, all sharpened by Flood's production, over which Mansell and Crabb barked, {{Piss Take Rap}}ped and sang their lyrics like an English Music/BeastieBoys. Being synchronised with a stream of nationally popular bands that either combined rock with dance music (Music/TheStoneRoses and Music/HappyMondays) or bands that had a similar [[NeoclassicalPunkZydecoRockabilly everything-goes]], danceable alt-rock as the Poppies (their Stourbridge comrades The Wonder Stuff, Ned's Atomic Dustbin and Diamond Head), ''This Is The Day...'' was greeted with great reviews, went to #24 on the British charts and spawned three successful singles: "Def. Con. One" (a hit on the US Modern Rock charts), "Can U Dig It?" and "Wise Up! Sucker..." (which featured backing vocals from their former bandmate Miles Hunt).
Is there an issue? Send a MessageReason:
None
Changed line(s) 1 (click to see context) from:
Pop Will Eat Itself were an AlternativeRock[=/=]Alternative Dance[=/=][[IndustrialMetal Industrial Rock]] band from Stourbridge in the West Midlands, active initially from 1986 to 1996.
to:
The band was first formed in 1981 under the name From Eden, with its members being Clint Mansell, Adam Mole, Chris Fradgley, Malcolm Treece and Miles Hunt, the latter two later becoming famous in their own right in The Wonder Stuff. After Fradgley, Treece and Hunt left, Mansell and Mole brought in Graham Crabb and Richard March as their replacements, and changed their name in 1986, at first to "Wild and Wandering", and then finally setting on "Pop Will Eat Itself", a name they cribbed from an ''NME'' article.
With Clint Mansell on guitars and vocals, Adam Mole on guitars and keyboards, Richard March on bass and Graham Crabb on drums, PWEI initially recorded a series of short, hooky PopPunk singles (which were later collected on the compilation ''Now for a Feast!''), which saw little success despite "Poppies Say Grrr!" being declared "Single of the Week" by ''NME''. Their debut album ''Box Frenzy'' saw them move away from their purely PopPunk sound (while keeping their humorous lyrics), and begin to incorporate drum machines, {{Sampling}} and influences from genres like NewWave, HipHop, and {{House}}. One of the singles from this album, "There's No Love Between Us Anymore", marked their first appearance on the UK singles chart, at #66.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
Pop Will Eat Itself were an AlternativeRock[=/=]Alternative Dance[=/=][[IndustrialMetal Industrial Rock]] band from Stourbridge in the West Midlands, active initially from 1986 to 1996.
