Destroy Rock & Roll is the first and only album by Scottish record producer and DJ Mylo (real name Myles MacInnes), released in 2004. The album samples many 1970s and 1980s soft rock songs that Mylo heard on the radio as a child. The single "In My Arms" combines hits by Kim Carnes and Boy Meets Girl. The title track samples a fundamentalist Christian sermon, while "Drop the Pressure" is based around a vocal recording made by Mylo himself and edited with a vocoder. The album was re-released in 2005, and peaked at number 26 on the UK Albums Chart. The re-released contained a new remix of "Drop the Pressure", called "Doctor Pressure" (vs. Miami Sound Machine), which was also a number 3 single. Background and production Many of the album's tracks come from 1970s and 1980s radio-friendly soft rock. Mylo grew up on the remote Isle of Skye, where in his childhood the only available radio station was Ireland-based Atlantic 252, which played such music. After being exposed to the first time to house music on the radio, and having expanded his musical influences while studying in Los Angeles, he committed himself to music at the age of 22. In 2002, while working as a journalist for the BBC in Glasgow, Mylo heard the Christian fundamentalist sermon that was sampled in his first track, "Destroy Rock & Roll". He also made a song sampling Toto's "Salt Lake", for which the rights were never cleared. He rejected Wall of Sound and Echo to form his own label, Breastfed. The one vocal line on "Drop the Pressure" was recorded by Mylo himself and then put through a vocoder. The line starts off low in pitch before getting higher and higher, until becoming what Mylo called "quite an unsubtle pisstake of vocoder music in a way". "In My Arms" samples "Bette Davis Eyes" by Kim Carnes and "Waiting for a Star to Fall" by Boy Meets Girl. Mylo initially thought that its concept was the same as the 2004 number-one single "Take Me to the Clouds Above" that mashes up popular songs by U2 and Whitney Houston – a song he considered "absolute cack". He considered leaving it off the album until people reacted positively to it. Many copyright owners of the original tracks demanded at least 50% of the rights to the new tracks. For this reason, on several tracks on