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- Duration: 4:34
- Updated: 28 May 2013
- published: 12 Nov 2012
- views: 6528459
- author: DopeReleases
(Coverdale/Vandenberg)
Instrumental.
There’s a little cloud
Forming in the dawn
Forming in my mind
I better lie down
Seaweed in my teeth
In my bleeding gums
Oh the winter sun
It makes my brain numb
They say when you die
There’s a purple hum
And you feel real calm
And everything’s one
But until that day
We have bleeding gums
And the winter sun
We better lie down
Oi chu seh yo
Oi cho-a heh yo
Dhal chu seh yo
Its not my idea
But I can see your fear
Better off while you’re still worth a damn
Is your conscious clear
Bear in mind my dear
Stay in line its all they ever say
And you’ve done nothing wrong
So far so good till its gone
And you’ve done nothing wrong
So far so good till its gone and its
So raise your fist real high
Its time for us to rise
No more background lying, infernal watching
So make your voices heard
Its time we took control
No more pissing around our days
So piss off pretty pity boy
Ain’t self loathing a bitch
So piss off pretty pity boy
Ain’t self loathing a bitch and its
The exit signs mark our escape
A true conclusion another chance to make
Oi who's that boy Lethal B
Oi who's that boy Lethal B
Oi who's that boy Lethal B
The one who rides bikes
And just don't give a D
We're like uh oh, there's that boy Lethal B
Uh oh, there's that boy Lethal B
Uh oh, there's that boy Lethal B
Draw bare girls draw bare beanie
Hey boy, what's the case I can tell by your face
When you're in the wrong place
When you're in the wrong game
And your rhymes are lame
And you sound all the same
All I want to do is make money and claim
Girls wanna go on like a little hotshot
Your man's a top-shotter
And so what nowadays no-one really cares
What man you got it's the year 2/1
Anyone can get pop I'm off the hook this year
Gettin mad money off the lyrics this year
When I enter the room bare man dem will stare
Look at that boy he thinks he's a top br'er
Nowadays you know they don't really care
When I go rave I don't go br'er
I draw bare girls draw bare number
Hey what did you say
Be careful yeah, bare thugs in here
Oi who's that O to the Z
Oi who's that O to the Z
Oi who's that O to the Z
Another bad man inside the party
Like uh oh, who's that O to the Zs
Uh oh, who's that O to the Zs
Uh oh, who's that O to the Zs
My lyrics so chilly they leave a cool breeze
Hold the mic and I'll flex
I'm a lyrical architect, O to Z on
Set step on the mic nuff thugs get vex
When I girls I use the Durex
What next I rock the Club Rex like Aztecs
What venues next bop straight through with my Avirex
Girls wanna breed and go on like skets to More Fire
Crew
Punker send threats
Burn them with lighter when they chat wet
Lyrics them crunch like a cornet
Watch us rip up the set I bet
O to the Z to the Z, I to the E, Ozzie B
Step 'pon the mic to get them lively
Rip up the vibe with the MC
Oi who's that N double E
Oi who's that N double E
Oi who's that N double E
The one with the thugged out mentality
Like uh oh, there's that N double E
Uh oh, there's that N double E
Uh oh, there's that N double E
Born in the ghetto and I don't give a D
Understand check out the dangarganany
Man this any man in my gang get banged in the jaw
Forehand backhand, lyrics them are flowin
As if they were quicksand
Rockin wannabies like the Wu-Tang Clan man
Them wanna playa - hate us 'cos we're nang
Monitor our lyrics and runnin bare scam
See man on road and you wanna get prang
Don't question if I've got a 9 milli
Forget the zoots and blaze on a philly
If you really wanna see a nigga get silly
You can hold a big one straight to your belly
Everybody wanna know what be the dilly
How come More Fire flex so jiggy
Don't ever take us for no hillbilly
Us man are hot while the rest are chilly (are chilly
are chilly chilly chiily)
They really think we don't know what they're sayin
You know
Man they're sayin we're not worth anything
Man them sayin were not worth 50 pounds
The tables will turn man the tables will turn
Players man
1-1 2-2 fuzzy don't screw rat tat tat tat
My tap bust and bless you
1-2 1-2 Neeko ah pass through
Cardiac arrest will send
A boy 'pon a curfew
3-3 4-4 5-5 6-6 how you gonna catch me
When I'm on my R-66
Ridin through the rain and the snow cold
Blitz blitz 'bout to go link a girl
And suck off her tits tits
Oi who's that More Fire Crew
Oi who's that More Fire Crew
Oi who's that More Fire Crew
Say what you wanna say
Do what you do now
Like uh oh we're that More Fire Crew
Uh oh we're that More Fire Crew
Uh oh we're that More Fire Crew
With lyrics round you
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2007) |
Oi! | |
---|---|
Stylistic origins | Punk rock, glam rock, pub rock, drinking songs, football chants, folk music, ska |
Cultural origins | Late 1970s United Kingdom (particularly the east end of London). |
Typical instruments | Vocals - Drums - Electric guitar - Bass guitar |
Mainstream popularity | underground following among punks, skinheads, Herberts and casuals |
Derivative forms | Street punk |
Subgenres | |
Punk pathetique | |
Other topics | |
Garry Bushell - Sounds magazine - working class - punk ideologies - football hooliganism - UK 82 - Street punk - mod revival |
Oi! is a working class subgenre of punk rock that originated in the United Kingdom in the late 1970s.[1] The music and its associated subculture had the goal of bringing together punks, skinheads and other working-class youths (sometimes called herberts).
The Oi! movement was partly a response to the perception that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, “trendy university people using long words, trying to be artistic...and losing touch”.[2] André Schlesinger, singer of The Press, said, “Oi shares many similarities with folk music, besides its often simple musical structure; quaint in some respects and crude in others, not to mention brutally honest, it usually tells a story based in truth.”[3]
Contents |
Oi! became a recognized genre in the latter part of the 1970s, emerging after the perceived commercialization of punk rock, and before the soon-to-dominate hardcore punk sound. It fused the sounds of early punk bands such as the Sex Pistols, the Ramones, The Clash, and The Jam with influences from 1960s British rock bands such as The Rolling Stones, the Small Faces, and The Who; football chants; pub rock bands such as Dr. Feelgood, Eddie and the Hot Rods, and The 101ers; and glam rock bands such as Slade and Sweet. Direct precursors to the first Oi! bands included Sham 69, Cock Sparrer, and Menace, who were around for years before the word Oi! was used retrospectively to describe their style of music.
In 1980, writing in Sounds magazine, rock journalist Garry Bushell labelled the movement Oi!, taking the name from the garbled "Oi!" that Stinky Turner of Cockney Rejects used to introduce the band's songs.[4] The word is an old Cockney expression, meaning hey or hello. In addition to Cockney Rejects, other bands to be explicitly labeled Oi! in the early days of the genre included Angelic Upstarts, The 4-Skins, The Business, Blitz, The Blood, and Combat 84.[5]
The prevalent ideology of the original Oi! movement was a rough brand of working-class rebellion. Lyrical topics included unemployment, workers' rights, harassment by police and other authorities, and oppression by the government.[2] Oi! songs also covered less-political topics such as street violence, football, sex, and alcohol. Although Oi! has come to be considered mainly a skinhead-oriented genre, the first Oi! bands were composed mostly of punk rockers and people who fit neither the skinhead nor punk label.
After the Oi! movement lost momentum in the United Kingdom, Oi! scenes formed in continental Europe, North America, and Asias. Soon, especially in the United States, the Oi! phenomenon mirrored the hardcore punk scene of the early 1980s, with Oi!-influenced bands such as Agnostic Front, Iron Cross, and Anti Heros. Later American punk bands such as Rancid and Dropkick Murphys have credited Oi! as a source of inspiration.[6] In the mid-1990s, there was a revival of interest in Oi! music in the UK, leading to older Oi! bands receiving more recognition. In the 2000s, many of the original UK Oi! bands reunited to perform and/or record.
The song T.N.T. by hard rock band AC/DC features the interjection at the start and in various parts throughout the song.
Some fans of Oi! were involved in white nationalist organisations such as the National Front (NF) and the British Movement (BM), leading some critics to identify the Oi! scene in general as racist.[2] However, none of the bands associated with the original Oi! scene promoted racism in their lyrics. Some Oi! bands, such as the Angelic Upstarts, The Burial, and The Oppressed were associated with left wing politics and anti-racism.[7] The white power skinhead movement had developed its own music genre called Rock Against Communism, which had musical similarities to Oi!, but was not connected to the Oi! scene. Timothy S. Brown identifies a deeper connection: Oi!, he writes "played an important symbolic role in the politicization of the skinhead subculture. By providing, for the first time, a musical focus for skinhead identity that was 'white'—that is, that had nothing to do with the West Indian immigrant presence and little obvious connection with black musical roots—Oi! provided a musical focus for new visions of skinhead identity [and] a point of entry for a new brand of right-wing rock music."[8]
The mainstream media especially associated Oi! with far right politics following a concert by The Business, The 4-Skins, and The Last Resort on 4 July 1981 at the Hambrough Tavern in Southall. Local Asian youths threw Molotov cocktails and other objects, mistakenly believing that the concert was a neo-Nazi event, partly because some audience members had written National Front slogans around the area.[2][9] Although some of the skinheads were NF or BM supporters, among the 500 or so concert-goers were also left-wing skinheads, black skinheads, punk rockers, rockabillies, and non-affiliated youths.[10] Five hours of rioting left 120 people injured—including 60 police officers—and the tavern burnt down.[9][11] In the aftermath, many Oi! bands condemned racism and fascism.
These denials, however, were met with cynicism from some quarters because of the Strength Thru Oi! compilation album, released in May 1981. Not only was its title a play on a Nazi slogan—"Strength Through Joy"—but the cover featured Nicky Crane, a skinhead BM activist who was serving a four-year sentence for racist violence. Critic Garry Bushell, who was responsible for compiling the album, insists its title was a pun on The Skids' album Strength Through Joy, and that he had been unaware of the Nazi connotations.[7] He also denied knowing the identity of the skinhead on the album's cover until it was exposed by the Daily Mail two months later.[7] Bushell, a socialist at the time, noted the irony of being branded a far right activist by a newspaper that "had once supported Oswald Mosley's Blackshirts, Mussolini's invasion of Abyssinia, and appeasement with Hitler right up to the outbreak of World War Two."[7]
Another subsequent source for the popular association between Oi! and a racist or far-right creed was the band Skrewdriver, a first wave punk act that had broken up in 1979. Lead singer Ian Stuart Donaldson was recruited by the National Front—which had failed to enlist any actual Oi! bands—and reconstituted Skrewdriver as a white power skinhead act. While the band shared visual and musical attributes with Oi!, Bushell asserts, "It was totally distinct from us. We had no overlap other than a mutual dislike for each other."[6] Donaldson and Crane would later go on to found a magazine, Blood and Honour, and a street-orientated 'skinhead' club of the same name that arranged concerts for Skrewdriver and other racist bands such as No Remorse. Demonstrating the ongoing conflation of Oi! with the white power skinhead movement by some obervers, the Encyclopedia of British and Irish Political Organizations refers to these groups as "'white noise' and 'oi' racist bands".[12]
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