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Dark Continent is the debut studio album by the American rock band Wall of Voodoo, released in 1981 by I.R.S. Records. Early live versions of four songs ("Red Light", "Animal Day", "Back in Flesh" and "Call Box (1-2-3)") are featured on the compilation The Index Masters.
Wall of Voodoo was an American rock band from Los Angeles, California. [1] Though largely an underground act for the majority of its existence, the band came to prominence when its 1982 single " Mexican Radio " became a hit on MTV and alternative radio .
A Music War in which Wall Of Voodoo performed a live version of the song "Back In Flesh" from the Dark Continent album, and also later in the video for the hit single "Mexican Radio". Along with Stan Ridgway and Bill Noland , he left the band after their performance at the US Festival in 1983.
Wall of Voodoo's music was a mix of new wave and Ennio Morricone's Spaghetti Western soundtracks of the 1960s. Adding to the music's distinctiveness was percussive and textural experimentation, i.e. mixing drum machines with unconventional instruments such as pots, pans and various kitchen utensils, raw electronics with interlocking melodic ...
The majority of the songs are in the key of A Major and its time signature is 6/8 [citation needed].The arrangement is highly dynamic and dramatic. The first few seconds of the first song ("In the Flesh?") are very quiet, and feature the melody of the song "Outside the Wall", which is the album's closing track.
The album artwork featured the life-masks of the four band members in front of a black wall; the masks were worn by the "surrogate band" [6] during the song "In the Flesh". "Goodbye Blue Sky" and parts of "Run Like Hell" were taken from the 17 June 1981 show, the very last performance by the four-man Pink Floyd until the 2005 Live 8 concert.
The Wall of Sound (also called the Spector Sound) [1] [2] is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as "the Wrecking Crew".
The Wall Live has truly been more than a concert tour, but an anti-war, pro-music, theatrical, cinematic, brilliant, inspiring truly immersive, multi-media experience that complements the history of The Wall and, perhaps, brings it one step farther in its story. [2] Steve Pick of Stltoday.com said: