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Jungle Album: Out of the Blue (1977) by The Electric Light Orchestra (ELO) The Electric Light Orchestra (ELO) are a band formed in Birmingham England in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of pop and classical arrangements with futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan, and keyboardist Richard Tandy were the group's only consistent members. Out of the Blue is the seventh studio album, released on 28 October 1977. Written and produced by ELO frontman Jeff Lynne, the double album is among the most commercially successful records in the group's history, selling about 10 million copies worldwide by 2007. " Jungle " is a song written by Jeff Lynne which first appeared as an album track from the 1977 album Out of the Blue. According to the band members' opinions, recording Jungle was a lot of fun owing to the various types of sound effects, the upbeat tune, and the jungle animal noises provided by Lynne, Bev Bevan, and Kelly Groucutt. The album had 4 million pre-ordered copies and quickly went multi-Platinum upon release. Out of the Blue spawned five hit singles in different countries, and was ELO's most commercially successful studio album. It was also the first double album in the history of the UK music charts to generate four top twenty hit singles. Lynne considers A New World Record and Out of the Blue to be the group's crowning achievements, and both sold extremely well, reaching multi-platinum according to RIAA Certification. Capital Radio and The Daily Mirror Rock and Pop Awards (forerunner to The Brit Awards) named it "Album of the Year" in 1978. Lynne received his first Ivor Novello award for Outstanding Contributions to British Music the same year. The US release of Out of the Blue was originally distributed by United Artists. This changed after United Artists Records was sold by Transamerica Corporation to an EMI Records-backed partnership, which triggered Jet Records' change of control clause in its distribution contract, and Jet shifted to CBS Records as its new distributor. American cut-out copies of Out of the Blue soon became widely available at discounted prices in record shops in the US and Canada shortly after the album's release, affecting the album's sales and triggering lawsuits by CBS and Jet. The suits were ultimately unsuccessful in stopping the discounted sales. Jungle Electric Light Orchestra Written by: Jeff Lynne Album: Out of the Blue Released: 1977 I was standin' in the jungle, I was feeling alright I was wanderin' in the darkness in the middle of the night The moon began to shine, I saw a clearing ahead But what's that goin' on? I think I'm out of my head (Chooka-chooka, hoo la ley) (Looka-looka, koo la ley) A hundred animals were gathered 'round this night And they were singin' out a lovely song under the pale moonlight I stood and stared for quite a while Then a lion sang to me and smiled "Come join us if you so desire" They sang (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) And then turned away (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) I said, "Now, please, explain the meaning of this song you sing" ("Wondrous is our great Blue Ship That sails around the mighty Sun And joy to everyone that rides along") Oh, they sang (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) Oh, that's nice And they danced Pretty soon I knew the tune And we sat and sang under the moon And the jungle rang in joyful harmony They sang (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) And then turned away (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) Wondrous is our great Blue Ship That sails around the mighty Sun Joy to everyone that rides along

Those Shoes Album: The Long Run (1979) by Eagles Cruel Shoes is a collection of essays and short stories by Steve Martin and is also the title of one of the essays included, a satirical short-short story about a woman in a shoe store. Cruel Shoes was Martin’s first book, released in 1977 as a handmade limited edition of 750 signed and numbered books published by Press of the Pegacycle Lady (Victoria Dailey). The cover is just pale paper over pressboard. It only contained 48 pages and many of the stories that appeared in the trade version were not included. Table of contents The works included in the 1979 trade edition of the book are: "My Uncle's Metaphysics" "Demolition of Cathedral at Chart "Annareddy Akshayareddy and her struggle" "The Boring Leading the Bored" "Cruel Shoes" "The Bohemians" "Serious Dogs" "The Diarrhea Gardens of El Camino Real" "Turds" "The Undertakers" "The Day the Dopes Came Over" "The Smokers" "She Had The Jugs" "Sex Crazed Love Goddesses" "Women Without Bones" "The Children Called Him Big Nose" "Wrong Number" "Morse and the Naughty Magnets" "Dynamite King" "The Gift of the Magi Indian Giver" "Poodles... Great Eating" "Shuckin' the Jive" "How To Fold Soup" "The Vengeful Curtain Rod" "Cows In Trouble" "The Complete Works of Alfredo Francesi" "Society In Aspen" "The Day the Buffalo Danced" "Things Not To Be" "No Man's Land" "Oh Mercy, The Prose-Poem Triptych!" "Comedy Events You Can Do" "Dr. Fitzkee's Lucky Astrology Diet" "The Morning I Got Out of Bed" "What to Say When the Ducks Show Up" "The Year Winter Lasted Nine Minutes" "The Almaden Summer" "The Nervous Father" "Dogs In My Nose" "Awards" "Rivers of the Dead" "When Men Shop" "The Last Thing On My Mind" Limited 1977 edition "Confessions" "Smokers" "Jugs" "Women" "Poodles" "Alfredo" "Cows" "Self-review" "Serious" "S.M. Collection of Am. Art" "Day" "Sex Crazed" "Wrong #" "Morse" "Gift" "Fold Soup" "Dr. Fitzkees" "Morning" "Year" "Last Thing" "Other Books" "My Uncle's" "The Day" "Children" The Long Run is the sixth studio album by the Eagles. It was released in 1979, on Asylum in the United States and the United Kingdom. This was the first Eagles album to feature Timothy B. Schmit, who had replaced founding member Randy Meisner, and the last full studio album to feature Don Felder before his termination from the band in 2001. This was the band's final studio album for Asylum Records. It also turned out to be their last studio album as the Eagles disbanded in 1980 until 2007's Long Road Out of Eden after the band had reformed in 1994. The album was originally intended to be a double album. The band could not come up with enough songs and the idea was therefore scrapped. The recording was protracted; they started recording in 1978, and the album took 18 months to record in five different studios, with the album finally released in September 1979. According to Don Henley, the band members were "completely burned out" and "physically, emotionally, spiritually and creatively exhausted" from a long tour when they started recording the album, and they had few songs. However, they managed to put together ten songs for the album, with contribution from their friends J. D. Souther and Bob Seger who co-wrote with Frey and Henley on "Heartache Tonight". (Souther also got songwriting credit on "Teenage Jail" and "The Sad Cafe".) According to Henley, the title track was in part a response to press articles that said they were "passé" as disco was then dominant and punk emerging, which inspired lines such as "Who is gonna make it/ We'll find out in the long run". He said that the inspiration for the lyrics was also "irony", as they wrote about longevity and posterity while the group "was breaking apart, imploding under the pressure of trying to deliver a worthy follow-up to Hotel California". Randy Meisner decided to leave the Eagles after an argument in Knoxville, Tennessee, during the Hotel California Tour in June 1977. He was replaced by Timothy B. Schmit. The song is not to be taken altogether seriously. In a statement before The Long Run was released, Don Henley said the album was "tongue-in-cheek cynical," and that "most of the humor is so dry nobody will think its funny." Don Felder and Joe Walsh did a double talk-box guitar solo at the end, which is very unusual. Joe Walsh was an early practitioner of the device, which he used on his solo hit "Rocky Mountain Way." In a 1981 interview with the BBC, Walsh talked about the device: "There's a Country singer from Nashville named Dottie West who's a longtime friend of mine, and her husband is a pedal steel guitar player named Bill West, who actually came up with the concept of the talkbox, but never really got the credit for it. There was a record which I think was called 'Forever' by Pete Drake in the late '50s, and they used it on that and various people used it. I met Bill and Dottie in Nashville, and Bill showed me this talkbox and gave me a prototype that he had, which I used for 'Rocky Mountain Way', and Don Felder and I pursued that in the Eagles and worked out some double guitar parts, and it turned into a song, which was 'Those Shoes,' and that's actually both of us playing through talkboxes, which hadn't really been done. It's an old idea, but that was a new innovation." Don Felder, Don Henley and Glenn Frey wrote this song. Henley sang lead and Joe Walsh played the guitar solo. The Eagles were not on the best of terms when recording The Long Run, which was their last album before they re-formed in 1994. They frustrated their record company as it took them 3 years to follow up their very successful Hotel California album, which was released in 1976. Ironically, sessions for The Long Run took place at Love 'n' Comfort Studios in Los Angeles.

In 2002, a former music journalist named Michael Skidmore came into control of California's estate, and 2014 he began proceedings against Led Zeppelin. In 2016, Jimmy Page testified in the case and said that the first time he heard of the controversy when a few years earlier when his son-in-law told him that a debate had been brewing online. Page insisted he had never heard "Taurus" before, and that it was "totally alien" to him. The jury didn't buy the argument that Page never heard "Taurus," but still ruled in favor of Led Zeppelin, deciding that the chord progression in "Taurus" was common to many other songs dating back decades, and therefore, in the public domain. In 2018, the case was sent back to trial on appeal, but the ruling was upheld two years later. Here's a timeline of the case. Pat Boone released an unlikely cover on his album In a In a Metal Mood. Boone wanted to see how it would turn out as a jazz waltz, and opened and closed the song with soft flute playing. In a subtle reference to his Christian faith, Boone changed the line "All in one is all and all" to "Three in one is all and all" - a reference to the Christian Trinity (the Father, Son, Holy Spirit). Before recording the song, he scanned it for devilish references. "I kept looking for allusions to witchcraft or drugs," he said in a Songfacts interview. "And even though there were strange images, like 'in the hedgerows' and all these things, there were no specific mentions of Jimmy Page's involvement in witchcraft or anything like that." Another notable cover was by an Australian performer called Rolf Harris, who used a wobbleboard (piece of quite floppy wood, held at both sides, arched slightly and wobbled so the arch would continually invert) and changed the line "And it makes me wonder" to "Does it make you wonder." In the '90s, Australian TV host Andrew Denton had a show on which various artists were asked to perform their version of this song. Their versions were released on an album called The Money or the Gun: Stairways to Heaven. Artists performing it included Australian Doors Show, The Beatnix, Kate Ceberano and the Ministry of Fun, Robyne Dunn, Etcetera Theatre Company, The Fargone Beauties, Sandra Hahn and Michael Turkic, Rolf Harris, Pardon Me Boys, Neil Pepper, The Rock Lobsters, Leonard Teale, Toys Went Berserk, Vegimite Reggae, The Whipper Snappers, and John Paul Young. In reply to Rolf Harris' version, Page and Plant performed his song "Sun Arise" at the end of another Denton TV show. In January 1990, this song was added to the Muzak playlist in a solo harp version. Unlike the original, the Muzak version, arranged and recorded to provide an "uplifting, productive atmosphere" and "counteract the worker-fatigue curve in the office environment," did not do so well, as even this sanitized version drew a lot of attention to the song, thus undermining the intention of the Muzak programming. The band performed this at the Atlantic Records 40th anniversary concert in 1988 with Jason Bonham sitting in on drums for his late father. Plant did not want to play it, but was convinced at the last minute. It was sloppy and Plant forgot some of the words. This was not the case when Jason joined them again in 2007 for a benefit show to raise money for the Ahmet Ertegun education fund. They performed this song and 15 others, earning rave reviews from fans and critics. Zeppelin's longest ever performance of this song was their last gig in Berlin in 1980. It clocked in around 15 minutes long. Gordon Roy of Wishaw, Scotland, had all of the lyrics to this song tattooed on his back. He did it as a tribute to a friend who died in a car accident. In the late '90s, the radio trade magazine Monday Morning Replay reported that "Stairway" was still played 4,203 times a year by the 67 largest AOR (album-oriented rock) radio stations in the US. ASCAP, the American Society of Composers, Authors and Publishers, refuses to release exact figures on how many times it has been played since its release, but figure that on each AOR station in America, the song was played five times a day during its first three months of existence; twice a day for the next nine months; once a day for the next four years; and two to three times a week for the next 15 years. There are roughly 600 AOR and Classic Rock stations in the US, which means that "Stairway" has been broadcast a minimum of 2,874 times. At 8 minutes per spin, roughly 23 million minutes - almost 44 years - have been devoted to the song. So far. On January 23, 1991, under the direction of owner and general manager John Sebastian, the radio station KLSK (104.1 FM) in Albuquerque, New Mexico played this song over and over for 24 hours, confounding listeners who weren't used to hearing Led Zeppelin on the station. The song played over 200 times, with many listeners tuning in to find out when it would end. It turned out to be publicity stunt, as the station was switching to a Classic Rock format. Explaining his guitar setup for the solo, Jimmy Page told Guitar Player magazine in 1977: "I was using the Supro amp for the first album, and I still use it. The 'Stairway to Heaven' solo was done when I pulled out the Telecaster, which I hadn't used for a long time, plugged it into the Supro, and away it went again. That's a different sound entirely from the rest of the first album. It was a good, versatile setup." The Foo Fighters did a mock cover of this song, and their version was to say that nobody should try to cover the song because they will screw it up. Dave Grohl intentionally carried the intro on way too long, asked his drummer and audience for lyrics, and when it came time for the guitar solo, he sang Jimmy Page's part. This was done purely as a joke, and to tell people not to cover the song, as Grohl is a huge Zeppelin fan, and lists Zeppelin's John Bonham as a major influence. Rolling Stone magazine asked Jimmy Page how much of the guitar solo was composed before he recorded it. He replied: "It wasn't structured at all [laughs]. I had a start. I knew where and how I was going to begin. And I just did it. There was an amplifier [in the studio] that I was trying out. It sounded good, so I thought, "OK, take a deep breath, and play." I did three takes and chose one of them. They were all different. The solo sounds constructed - and it is, sort of, but purely of the moment. For me, a solo is something where you just fly, but within the context of the song." Mary J. Blige recorded this in 2010 backed by Travis Barker, Randy Jackson, Steve Vai and Orianthi. Blige told MTV: "Once you get lost in the rock-and-roll moment of it, all you can do is scream to the top of your lungs or go as low as you need to go. It's not a head thing - it's a spirit thing." She added: "I am a Led Zeppelin fan. I've listened to their music since I was a child, and it's always moved me, especially 'Stairway To Heaven.' I make songs my own by going deep inside myself and translating them to 'what would Mary do.'" The song is included as a bonus track on the UK re-issue of her album Stronger With Each Tear and made available for download. Blige performed the song on the April 21, 2010 episode of American Idol. In solo work or with other groups, Jimmy Page would not let anyone but Robert Plant sing this, but he did play it as an instrumental on occasion. The ending of this song is distinctive in that is closes out with just Robert Plant's voice. According to Jimmy Page, he wrote a guitar part to end the song, but decided to leave it off since the vocal at the end had such an impact. Jimmy Page often called "In The Light" from Physical Graffiti a follow-up to this song. Regarding the composition of the track, Jimmy Page told Rolling Stone: "I was trying things at home, shunting this piece up with that piece. I had the idea of the verses, the link into the solo and the last part. It was this idea of something that would keep building and building." Andy Johns, sound engineer on Led Zeppelin IV, told Guitare & Claviers magazine (January 1994) about the recording session for "Stairway To Heaven": "This song arrived completed. The arrangements had been done before the band entered the studio. We recorded the main tracks upstairs, in Island, with Jimmy on acoustic guitar, John Paul on a Hohner electric upright piano, and Bonham behind his kit. I tried to have a left hand sound coming out of the Hohner piano, in order to have something to re-record afterwards. As soon as we added the bass parts and Page started recording the overdubs, we could already tell it would be awesome. I knew it was a really special track and I was proud to take part in it. I didn't have the least idea, however, that it would become a f--king hymn for three generations of kids!" During an interview with Rolling Stone in 1975, Page told journalist Cameron Crowe that the one artist who might be capable of achieving the artistic excellence of "Stairway To Heaven" was Joni Mitchell. He specifically mentioned Mitchell's song "Both Sides Now." There have been two other completely different songs called "Stairway To Heaven" to chart in America. First in 1960 by Neil Sedaka (#9), and then in 1996 by Pure Soul with The O'Jays (#79). "Stairway" was entered into the United States National Recording Registry in 2023, recognizing it as a historically significant work worthy of preservation. The essay to accompany the entry notes, "Early in his career as a studio musician Page had learned that one of the cardinal rules of studio work was to keep an even tempo, and resist the urge to speed up at all costs. Ironically, 'Stairway to Heaven' violates this rule to masterful effect, as it gradually increases speed, while adding instruments one at a time." The man on the Led Zeppelin 4 album cover wasn't identified until 2023, 52 years after it was released. His name was Lot Long, and he lived in rural Wiltshire, England, making thatched roofs, which explains the bundle he's carrying on his back. The photograph, from 1892, was discovered by a researcher named Brian Edwards who happened to be a Zeppelin fan. Edwards found it in a photo album that had been put up for auction. The original photo used on the cover, which was lost long ago, was discovered in an antique shop. "Bonzo's Montreux" is a drum solo by Led Zeppelin drummer John Bonham. It was recorded in September 1976 at Mountain Studios in Montreux, Switzerland, with electronic effects added by Jimmy Page. Page used the then-new Eventide Harmonizer to create a steel drum sound, which Bonham apparently liked; the final "gliss-phrases" were developed during mixing with the Harmonizer's keyboard controller. The track was released on the 1982 compilation album, Coda. "Bonzo's Montreux" was never performed live at Led Zeppelin concerts, however, Bonham performed parts of the composition during "Moby Dick" in 1977.

Big Red Rocket Of Love Album: Martini Time (1996) Galaxy 500 Album: Lucky 7 (2002) Five-O Ford Album: Liquor in the front (1994) by Reverend Horton Heat 1985- Reverend Horton Heat (Jim Heath) Guitar, lead vocals "Swingin'" Jack Barton Bass 1985-1989 Jimbo Wallace Bass, backing vocals 1989- Patrick "Taz" Bentley Drums 1989-1994 Scott Churilla Drums 1994-2006 Paul Simmons Drums 2006-2012 Formed in 1985, this Texas trio has recorded ten studio albums and one live album from 1990 through 2009. The group has sold about one million albums. Originally signed by the indie label Sub Pop, they later moved to Victory Records. The band can be described as some combination of Rockabilly, Psychobilly, Swing, Punk, Blues, Jazz, and even traditional Country. In a Reverend Horton interview Jim was asked if he was content with the Psychobilly label. "Not really, no. We're really not psychobilly," he replied. He added: "Artists don't want to be pigeonholed, but I would rather be pigeonholed into Rockabilly, because that was really my thing, just being a band that tried to be an ultimate '50's type of thing, which currently is what Psychobilly is." Reverend Horton Heat has a passion for 1950s greaser memorabilia and nostalgia, including Flame-drenched hot rods and muscle cars, pinups, even button beanies. Think Jughead and Goober Pyle. He writes about his button beanies passion in his "Rant Update" on his website: "I have been obsessed with something for a while (20 years or more). As a fifties enthusiast, I'm always interested in things from that era. Something missing from the new retro explosion is the button beanie. To me, it's a cool retro look." Heat sports one with a RHH patch. The name, or title if you will, Reverend Horton Heat, was placed on Jim Heath by a club owner. Heat had developed a style of "preaching" while on stage. Over time "The Rev" felt that might be compromising the band's real talent, diminishing their credibility. The preaching has been toned down, but, he has received requests to officiate weddings. All of which he declines. Reverend Horton Heat has worked with Gretsch Guitars in the development of his signature guitar, the Gretsch 6120RHH hollow body electric guitar. In a video demonstration Heat made with Premier Guitars he explains he wanted a guitar with more stability and one that would allow for easier changing of strings. "The Rev" made another change in his gear, parting ways with his beloved 1978 Fender Super Reverb amplifier to a Gretsch Executive Combo. Not a move taken lightly for any accomplished musician. The Gretsch Executive Amps offered him more clarity in the higher notes. Heat explained to Guitar Player magazine: "It doesn't matter what guitar you play, it's how you play it. It's what comes out of the heart." Big Red Rocket Of Love I got a red car with blue tail lights Shiny red seats with piping in white Leopard skin dash with a louvered hood She goes ba-ba-ba-ba-ba-ba when she's runnin' good Lets go Ride into the mountains above It's low My big red rocket of love My big red rocket of love I got a little honey you just got to know Drivin' this bomb as fast it will go Drive the red rocket past the local dive She goes ba-ba-ba-ba-ba-ba-ba in overdrive Lets go Ride into the mountains above It's low My big red rocket of love My big red rocket of love Horny little baby in my back seat Pull my velveteen curtain with pleats Pick a little spot were no one will be Ma-ma-ma-ma-ma-ma-make love to me Galaxy 500 You take the dog I'll take the Galaxie 500 You get the cat I get the couch you don't want anymore You take the fish I'll take the bowl You take the dishes While you're at it take my soul But things ain't so bad 'Cause I've got a Galaxie 500 You get the house I get a cheap motel room You get a friend But that should not matter to me anymore You have a thing and he's just a friend I can't believe that this is the end But things ain't so bad 'Cause I got a Galaxie 500 Galaxie 500, in a Galaxie 500 Galaxie 500 I'm in my own Galaxie 1973 In my own Galaxie You probably would have wanted this too But it's not air-conditioned No, it's not air-conditioned No, it's not air-conditioned No, it's not air-conditioned It's not air-conditioned Five-O Ford Let me tell you the tale of a hot rod race That happened out in a secluded place Where no one lives 'cept cows and a few raccoons I was drivin' around in my shoebox car My baby and me underneath the stars My engine was knockin' But i knew it'd clear real soon I was cruisin' along 'bout 95 I looked in my mirror and man alive Some guy was gaining on me As his engine roared So i gave that Holly carb some gas My baby cried out don't let him pass I guess it's just that bitch got bored I had to race my fucked up Ford I made the turn at 108 And he was up on my back gate And I knew he had something bad Underneath that hood So I pushed it up to 110 That flathead motor was about to give in I crossed my fingers and prayed to the lord Don't let me down you fucked up Ford

Stop Been Caught Stealing Album: Ritual De Lo Habitual (1990) by Jane's Addiction "Stop" spent two weeks on top of the Modern Rock chart. The Ritual De Lo Habitual album was a huge hit on college radio. Dave Navarro takes the lead on Stop in a wah-driven guitar solo, taking the #20 spot on Guitar World's 2015 list of greatest wah solos of all time. Been Caught Stealing is about the rush you get when stealing items from a store just for fun. Jane's Addiction lead singer Perry Farrell has a history of encouraging his listeners to do things that are unlawful or unhealthy: he once told a crowd not to let the threat of AIDS get in the way of their sexual freedom, and he admitted to not just using heroin, but enjoying it. At a time when rappers and dance divas were taking over popular music, Jane's Addiction was a voice of rock rebellion. Farrell points out that he in no way encourages people to follow his advice or example. He explained to BAM magazine in 1990: "I didn't get into this to make sermons or set up structures for others to live by. My intent has nothing to do with teaching. It's to amuse myself on this completely boring planet." The barking in this song is Farrell's dog, Annie, trying to get into the vocal booth. The album Ritual de lo Habitual was released with two different covers: one that contained both male and female nudity and the other, and another called "the clean cover" that showed only the band name, album name, and the text of the First Amendment. The video for Been Caught Stealing was directed by Casey Niccoli, Perry Farrell's girlfriend and creative partner. She appears in the Jane's Addiction short film, Gift, and in the video for "Classic Girl." The "Been Caught Stealing" video is shot mostly from the perspective of security cameras in a grocery store, as we see shoplifters eluding a hapless security guard. Been Caught Stealing won for Best Alternative Video at the 1991 MTV Video Music Awards. Perry Farrell didn't show up, so director Casey Niccoli accepted the award with a rambling speech. She claimed that Farrell took off with another girl the day before, so she was not of sound mind. Matt Pinfield, who hosted MTV's alternative music showcase 120 Minutes, said about the transgressive nature of the Been Caught Stealing video and the band in general. "Jane's Addiction changed the LA music scene - things before that were very different," he said. "They were very polarizing when they came out. People who were more into the jangly R.E.M. sound didn't really get them at first, or the hair metal stuff that was going on at the time." "The thing about the 'Been Caught Stealing' video is it shows the sense of humor and playfulness and the complete lack of fear that the band had," he added. "Like, 'Let's have a good time, let's do something that's crazy.' It's a classic video from that period of time. There wasn't much like it - although a lot of people definitely have tried to use some of those ideas." The Lollapalooza festival was created by Perry Farrell and music executive Marc Geiger. It showcased many notable artists in its first year including Nine Inch Nails, The Butthole Surfers, Rollins Band and The Violent Femmes. Jane's Addiction led the first Lollapalooza tour in 1991 as their farewell before their first breakup. Since that time, the yearly Lollapalooza festival has become an alternative rock staple. The group was named Jane's Addiction after lead singer Perry Farrell's roommate at the time of the band's formation, Jane Bainter, who was addicted to heroin. Most bands named after regular people come from guys; Jane is a rare female representative in this group. From its initial formation in 1985 the band has gone through three different guitarist. In 1986 Dave Navarro joined the band as guitarist and made a lasting impression. After the release of their second album in 1989, the band toured for 13 months. Lead singer Perry Farrell says, "that 13-month tour was half the reason we wound up unable to stand one another." In 1991, guitarist Dave Navarro left the band and later joined Red Hot Chili Peppers. From the dissolution of Jane's Addiction, Porno for Pyros was created with Perry Farrell and drummer Steven Perkins spearheading the project. They released two somewhat successful albums. Guitarist Dave Navarro's mother Constance Navarro was murdered by boyfriend John Riccardi in March 1983. Dave was only 15 years old at the time of his mom's death. Riccardi was arrested in 1991, thanks to a viewer tip after Navarro appeared on the television series America's Most Wanted. Dave Navarro first started playing the guitar when he was seven years old, inspired by his singer-songwriter cousin, Dan Navarro. He told Ernie Ball in a "String Theory" episode: "I expressed an interest in learning guitar, and he showed me some chords. And that was probably one of the most profound gifts I've ever received from anyone. Just learning three simple chords led me on a journey that forever changed my life." 1986- Perry Farrell Vocals Dave Navarro Guitar Stephen Perkins Drums Eric Avery Bass 1986-2010, 2022- Chris Chaney Bass 2002-2022

Lookin Out My Back Door Album: Cosmo's Factory (1970) Run Through The Jungle Album: Cosmo's Factory (1970) The Midnight Special Album: Willy and the Poor Boys (1969) by Creedence Clearwater Revival Lookin Out My Back Door was partly written for John Fogerty's son Josh, who at the time was three years old. Fogerty said: "I knew he would love it if he heard me on the radio singing - doot doot doo, lookin' out my back door." In the song lyrics there is a reference to a parade passing by which John says was inspired by a Dr. Seuss book that he read as a kid titled To Think (That) I Saw It On Mulberry Street. Much like The Beatles "Lucy In The Sky With Diamonds," many people thought Lookin Out My Back Door was about drugs when it was really an innocent song inspired by a child. According to the drug theory, the "Flying Spoon" was a cocaine spoon, and the crazy animal images were an acid trip. This was even less plausible than the Beatles misinterpretation, since Creedence Clearwater Revival was never into psychedelic drugs. This is played in the film The Big Lebowski. The album cover shows Creedence Clearwater Revival's rehearsal space, which is not their original digs: they started rehearsing in a shed in the backyard of their drummer Doug Clifford's house. Clifford once said it was "better than working in a factory," so their rehearsal rooms became known as "The Factory." Clifford's nickname was Cosmo, so this space was known as "Cosmo's Factory." John Fogerty played a bit of dobro on Lookin Out My Back Door. He's seen holding the instrument on the cover of the 1969 album Green River, but "Lookin' Out My Back Door" is the only time he played it on a Creedence song. In 1993, he bought a dobro at a vintage guitar show and set out to master the instrument, playing it for hours on end and using it on his 1997 solo album Blue Moon Swamp. He got some help along the way from Jerry Douglas, a preeminent dobro player who was part of Alison Krauss' band Union Station. This is often believed to be about the Vietnam War, as it referred to a "jungle" and was released in 1970. The fact that previous CCR songs such as "Who'll Stop the Rain?" and "Fortunate Son" were protests of the Vietnam War added to this theory. In response, John Fogerty said: "I think a lot of people thought that because of the times, but I was talking about America and the proliferation of guns, registered and otherwise. I'm a hunter and I'm not antigun, but I just thought that people were so gun-happy - and there were so many guns uncontrolled that it really was dangerous, and it's even worse now. It's interesting that it has taken 20-odd years to get a movement on that position." This position is best demonstrated in this lyric: 200 million guns are loaded Satan cries, "Take aim!" "Run Through The Jungle" opens with jungle sound effects created by, according to Stu Cook, "lots of backwards recorded guitar and piano." Speaking about the musical influence on this song, John Fogerty said: "There were so many more people I'd never heard of - like Charlie Patton (an early Delta bluesman). I'm ashamed to admit that, but he wasn't commercially accessible, I guess. I read about him, and about a month or two later, I realized there were recordings of his music. To me, that was like if Moses had left behind a DAT with the Dead Sea Scrolls or something! 'You mean you can hear him?! Oh my God!' And then when I did hear Patton, he sounded like Howlin' Wolf, who was a big influence on me. When I did 'Run Through the Jungle,' I was being Howlin' Wolf, and Howlin' Wolf knew Charlie Patton!" The line, "Devil's on the loose" ("They told me, 'Don't go walking slow 'cause Devil's on the loose'") was taken from music journalist Phil Elwood, who misinterpreted the line "doubles on kazoo" from the song "Down on the Corner" ("Willy goes into a dance and doubles on kazoo"). Fogerty saw this misquoted lyric in the newspaper and loved it, so he thanked Phil and used it for "Run through the Jungle." Former CCR executive Saul Zaentz claimed that the song "The Old Man Down The Road," which Fogerty released as a solo artist, was too similar to this song, and even took him to court. It was perhaps the first time an artist was sued for plagiarizing himself. Fogerty won that case, but Zaentz also sued him for his song "Zanz Kant Danz," professing that it was an attack on him. Zaentz won that case and Fogerty not only had to pay a fine, but also had to change the song's name to "Vanz Kant Danz." Run Through The Jungle was released as the B-side to the single for "Up Around the Bend," which was issued in April and quickly went gold. Most artists didn't use songs that could be standalone singles as B-sides, but if you bought a CCR single, you often got two hit songs - another example is "Travelin' Band" and "Who'll Stop The Rain?," which were paired on the same single. John Fogerty played the harmonica part on Run Through The Jungle. Like the vocals on "Down on the Corner," he recorded it after recording the actual song and dubbed it in, because it went from harmonica to vocals so quickly and he couldn't remove the harmonica from his mouth fast enough. John also played harmonica on his solo effort The Wall (not to be confused with the Pink Floyd album). Fogerty told Guitar World in 1997 that when he sang "Run Through the Jungle," he was "being Howlin' Wolf," an artist he cites as a major influence on him. The Gun Club covered this for their album Miami, although with different lyrics because vocalist and band leader Jerry Pierce couldn't understand what John Fogerty was singing. He took some lyrics from black slavery songs, a Willie Brown song and personal experience (a heroin overdose is mentioned). They first performed it at a friend's birthday party before they were persuaded to include it on the album. Besides Gun Club, this has been covered by Bruce Springsteen, Georgia Satellites, 8 Eyed Spy, Los Lobos and Killdozer. Tom Fogerty called this song, "My all-time favorite Creedence tune." He added, "It's like a little movie in itself with all the sound effects. It never changes key, but it holds your interest the whole time. It's like a musician's dream. It never changes key, yet you get the illusion it does." >> This song has appeared in the following movies: Air America (1990) My Girl (1991) Rudy (1993) The Big Lebowski (1998) Radiofreccia (1998) Radio Arrow (1998) Tropic Thunder (2008) Drift (2013) And these TV series: Entourage (The Scene - 2004) Supernatural ("Sin City" - 2007, "Out of the Darkness, Into the Fire" - 2015) Hawaii Five-0 ("Kahu" - 2012) According to folk music historian Alan Lomax as documented in the book Folk Song USA, the Midnight Special was a real train: the Southern Pacific Golden Gate Limited. A traditional folk song, Leadbelly popularized it upon his release from Sugar Land prison in Texas, where he could hear the Midnight Special come through. In the song, the light of the train gives the inmates hope: if it shines on them they take it as a sign they will soon go free. Many blues artists have recorded this song, but it was also covered by musicians of many styles like ABBA, Van Morrison, and Johnny Rivers, who charted with the song at #20 in 1965. One of the most popular covers is by Creedence Clearwater Revival, but the biggest chart hit was by Paul Evans in 1960, who took it to #16 when he was touring as a teen idol promoting "Seven Little Girls (Sitting In The Back Seat)." Evans told said: "Real, real folk singers always did that song. I cut it 'cause I loved it, that's it. [John Fogerty] told an interviewer why he eventually cut the song. 'I once heard a record made by a Paul Evans, and I liked it a lot. And I did it his way, except we just rocked it up a little more.' You know, these are little joys you get as you travel through life, to have a star of that magnitude say that on that song he heard my record and liked it enough to want to record it himself." The train that provided the title got its name because it departed Jackson, Mississippi at 12:05 a.m. on Sunday mornings, arriving at Parchman Prison, 130 miles to the north, at dawn. The prison, also known as Parchman Farm (or more formally, Mississippi State Prison), was on thousands of acres of land, where the inmates did hard labor. While they worked, they would sometimes sing about the Midnight Special, which brought visits from friends and family, so for conjugal visits, the first of their kind. This was used as the theme to a popular TV show in the late 1970s called The Midnight Special. It was hosted by Robert Westin Smith, also known as the famous American DJ Wolfman Jack. The 1962 recording of "Midnight Special" by the Jamaican-American singer Harry Belafonte is notable for containing the very first official recording of Bob Dylan, who played harmonica. Belafonte told Mojo magazine July 2010 how it came about. He recalled: "It was supposed to be Sonny Terry, but he got grounded by a thunderstorm in Memphis and couldn't make the date. My guitarist Millard Thomas said, "Well, there's this kid I see all the time down the village and he does that whole Sonny thing… he sleeps and dreams it.' So I said, 'We don't have a choice, I guess. Go find him.' And this skinny kid appeared, and he had a paper sack with him full of harmonicas in different keys. I played the song for him and he pulled one out of the bag, dipped it in water and played it through a single take, and it was great. I loved it. I asked him if he wanted to try another take and he said, 'No.' He just headed for the door, and threw the harmonica into the trash can on his way out. I remember thinking, Does he have that much disdain for what I'm doing? But I found out later that he bought his harps at the Woolworth drugstore. They were cheap ones, and once he'd gotten them wet and really played through them as hard as he did, they were finished. It wasn't until decades later, when he wrote his book (Chronicles), that I read what he really felt about me, and I tell you, I got very, very choked up. I had admired him all along, and no matter what he did or said, I was just a stone, stone fan."

I've Seen All Good People Album: The Yes Album (1971) Roundabout Album: Fragile (1971) by Yes I've Seen All Good People is an anti-war song. The line, "Don't surround yourself with yourself" refers to self-righteous behavior; "Move on back two squares" is a chess term meaning to retreat and rethink your position. The lyrics also refer to the queen, which is the most versatile and powerful chess piece. It talks about how news is captured for use by the queen, which uses forces to take control and manipulate troops against the enemy. War is like a game of chess. In an interview with Yes frontman Jon Anderson explained: "The song is about initiation of yourself into the idea that there is more to life than war and fighting within religions and things like that. So when we were singing 'see all good people,' it's like, 'we can see you all in the audience because you're good people no matter what, and when you're with music you're enlightened, you're good, you're happy, you're excited.' And music is the kingpin of it all. It's not just Yes, it's music that brings people together like no other energy on such a level." The song is divided into two sections, which are listed on the album as: a. Your Move (running 3:35) b. All Good People (running 3:21) "Your Move" was written by lead singer Jon Anderson, "All Good People" by bassist Chris Squire. In America, a single version of I've Seen All Good People was released as "Your Move (I've Seen All Good People)," which reached #40 in December 1971. This version credits lead singer Jon Anderson as the sole composer, and was the first chart hit for Yes. When we asked Anderson what he thought of the cut-down release, he replied, "A bit disjointed." Radio stations typically play the full 6:56 version of the song. Lead singer/lyricist Jon Anderson says that on the "Your Move" portion of this song, he was using the game of chess in this song as a metaphor for life's spiritual challenges. "Life is a game of strategically placed situations presented to you, and you have to learn to live with them and work with them," he said. "Doors are open and sometimes they're closed. It's the idea that we are surrounded by a spirit or god or energy is in time with our understanding of who we are. With the line, "Send an instant comment to me, initial it with loving care," this song references "Instant Karma," which was a song recorded by John Lennon a year earlier. Lennon was a huge influence on Yes, who covered The Beatles song "Every Little Thing" on their first album. The line, "Just remember that the gold is for us to capture all we want, anywhere, Yea, yea, yea," refers to the rich and powerful victimizing the weak and poor. The US was taken off the Gold standard by Richard Nixon August 15, 1971 the same year I've Seen All Good People was released. "Roundabout" was Yes' breakthrough hit and one of their most well-known songs, but the band wasn't looking for a hit at the time. The album version runs 8:29, but it was edited to 3:27 for release as a single, which climbed to #13 on the US Hot 100, giving the band their biggest hit until they eclipsed it with "Owner Of A Lonely Heart" in 1983. In an interview with Jon Anderson, he explained: "When we first heard the 'Roundabout' single, it was on the radio. We didn't know it was released. We were busy being a band on the road, and then we heard the edit and we thought, 'Wow, that must have been a big pair of scissors to edit that song.' I mean, it was just totally wrong musically. It actually worked and all of a sudden we became famous, we had a hit record and more people came to see us, which was great, because then they would see the progression of music we'd been doing and they'd see us more as a band and not just wait for 'Roundabout.' Because we didn't do that 'Roundabout' in those days. We did the 8-minute version." Yes lead singer Jon Anderson and guitarist Steve Howe wrote this song near the end of a tour when they were traveling in Scotland. They were in the back of a van going from Aberdeen to Glasgow when the song came together. Awed by the scenery, Anderson came up with lyrics like "Mountains come out of the sky and they stand there," as the mountains would disappear into the clouds. The band had been touring for about a month, and Anderson was looking forward to his imminent return to London, where he could once again see his wife at the time, Jennifer. The lyrics, "Twenty four before my love you'll see I'll be there with you" indicate that he is just 24 hours away from being with her again. He says "Roundabout" is a "happy song" and describes it as a "Scottish jig." The lyrics of Roundabout describe a psychedelic-country life, with allusions to driving. A roundabout is a kind of traffic circle that substitutes for a stoplight and confounds tourists who are unfamiliar with them. Traffic patterns don't always make the most poetic lyrics, but the word "Roundabout" sings very well and fits with the theme of the song, as when Jon Anderson came to a roundabout in Scotland, he knew that he was almost home. Glen Burtnik, who wrote several Styx songs when he was with the band and also co-wrote the songs "Sometimes Love Just Ain't Enough" and "Spirit of a Boy, Wisdom of a Man," tells us that "Roundabout" is a great example of a songwriting technique called "deceptive cadence," which means putting a note or chord where it is not expected. Says Glen: "Even though all the indications lead you to expecting a certain outcome, the writer/arranger intentionally surprises you by going someplace else musically." Another example of this technique is "A Day In The Life" by The Beatles. The lake mentioned in this song ("In and around the lake...") is Loch Ness, which Jon Anderson saw when he was riding through Scotland. This lake is supposedly inhabited by a rarely seen creature known as the Loch Ness Monster. Roundabout is known as a showcase for the musicianship of Yes, notably the keyboard work of Rick Wakeman and the acoustic guitar intro played by Howe. Fragile was Wakeman's first album with the band. The odd sound at the beginning of Roundabout is a piano played back backwards. Their engineer, Eddy Offord, spent a lot of time stringing up tape the wrong way and picking out just the right notes to make it work. Yes was split into two groups in the 2010s, with Chris Squire, Steve Howe and Alan White leading one faction, and Jon Anderson and Rick Wakeman leading another. Both permutations of the group made "Roundabout" a focal point of their sets, and when Yes reunited for their Rock and Roll Hall of Fame induction in 2017, it was one of two songs they performed. The other, "Owner Of A Lonely Heart," is a song associated with guitarist Trevor Rabin, who was part of the Anderson/Wakeman lineup.

Life's Been Good Album: But Seriously, Folks... (1978) Rocky Mountain Way Album: The Smoker You Drink, The Player You Get (1973) by Joe Walsh "Life's Been Good" is a humorous look at the spoils of fame and fortune associated with being a rock star. Walsh pokes fun at the lifestyle of wealth and fame, and the spoiled mentality - how it's not him who has changed, but everyone else. In a 1981 interview with the BBC, Walsh explained of Life's Been Good: "I wanted to make a statement involving satire and humor, kind of poking fun at the incredibly silly lifestyle that someone in my position is faced with – in other words, I do have a really nice house, but I'm on the road so much that when I come home from a tour, it's really hard to feel that I even live here. It's not necessarily me, I think it paraphrases anyone in my position, and I think that's why a lot of people related to it, but basically, that's the story of any rock star – I say that humbly – anyone in my position. I thought that was a valid statement, because it is a strange lifestyle – I've been around the world in concerts, and people say 'What was Japan like?', but I don't know. It's got a nice airport, you know... so it was kind of an overall statement." Walsh lived up to Life's Been Good, indulging in the hedonism he sang about long after it was released. "I started believing I was who everybody thought I was, which was a crazy rock star," he told Rolling Stone in 2017. "It took me away from my craft. Me and a lot of the guys I ran with, we were party monsters. It was a real challenge just to stay alive." Life's Been Good is the last song on the But Seriously, Folks... album. On the original album version, the music fades away into silence, then about 30 seconds later there is a really funny secret message from Joe Walsh, who says, "Wha-oh... here comes a flock of wanh-wanhs!", followed by a chorale of "wannh," "wanh," "wahn" (collectively sounding like a bunch of ducks or sheep). The cover of the But Seriously Folks album shows Walsh eating a meal... under water. In the same BBC interview, he said: "I had to do that a couple of times, but I did go down to the bottom of the pool, and almost drowned... but it was fun. Not at the time, but it was fun to do. We weighted everything down, but it was very involved and it took a long time, and I was real proud of it. As long as you have access to art, or visually presenting something with your record, I would like to use that, pursue it and try to make it an integral part of the music. It was hard to do, but when I look at it, I can't believe it either, I can't believe I was stupid enough to do that, but I was proud of it. I won't be repeating it, I can assure you!" In 1979, Walsh announced his campaign for President of the United States, promising "Free gas for everyone" if he won (he didn't). Don't blame me. I was thirteen years old, so I couldn't vote. A famous line in this song, "My Maserati does 185," was used as the title to a 2005 episode of the TV series Entourage. After leaving his group the James Gang at the end of 1971, Joe Walsh moved from Cleveland to Boulder, Colorado, where he wrote Rocky Mountain Way, which celebrates the scenery and lifestyle of Colorado. In some ways, the song is a rocked-up version of John Denver's "Rocky Mountain High," which was released the previous year. Both songs use the famous Rocky Mountains as a focal point for the virtues of Colorado. Joe Walsh left the James Gang just as they were building momentum, having scored minor hits with "Walk Away" and "Funk #49." Splintering the band as they were on the verge of stardom didn't go over well with Walsh's bandmates or their record company, but Joe felt creatively limited in the 3-piece band and wanted out. Colorado put him near James Gang producer Bill Szymczyk, who continued to work with Walsh and produced this album. "Rocky Mountain Way" reflects Walsh's range of emotions after making the big move. He explained in the book The Guitar Greats: "I got kind of fed up with feeling sorry for myself, and I wanted to justify and feel good about leaving the James Gang, relocating, going for it on a survival basis. I wanted to say 'Hey, whatever this is, I'm positive and I'm proud', and the words just kind of came out of feeling that way, rather than writing a song out of remorse. It was special then, and the words were special to me, because the words were like, 'I'm goin' for it, the heck with feeling sorry for this and that', and it did turn out to be a special song for a lot of people. I think the attitude and the statement of that have a lot to do with it – it's a positive song, and it's basic rock'n'roll, which is what I really do." When Walsh moved to Colorado, he formed a band called Barnstorm, whose first, self-titled album came out in 1972. Their next album was The Smoker You Drink, The Player You Get, which contained this track. The song was co-written by the group: Rocke Grace (keyboards), Kenny Passarelli (bass), Joe Vitale (drums), and Walsh. The music was written before Walsh added the lyrics. As for Barnstorm, they played up to their name and did over 300 gigs in 1973. The band broke up after the two albums, which have since been more commonly credited as Joe Walsh solo works. Rocky Mountain Way was one of the first songs to feature a talkbox, which allows a guitarist to make distorted vocalizations with his mouth. Peter Frampton is probably the most famous talkbox practitioner, and his use of the device is prominent on his famous 1976 album Frampton Comes Alive. Walsh is a big baseball fan, and this song has become associated with the game because of the lyrics "Casey's at bat," which is a reference to a famous baseball poem. When the Colorado Rockies baseball team formed in 1993, "Rocky Mountain Way" became a popular song at their stadium, Coors Field, where the song is played after a Rockies win. Joe Walsh described writing the lyrics to this song during an interview with Howard Stern. Walsh explained he had the track recorded but had no ideas for lyrics. He had been living in Colorado after leaving the James Gang over creative differences with the direction of the music. He was mowing his lawn and looking at the Rocky Mountains and the lyrics came to him. He ran inside to write the lyrics but forgot to shut off the lawn mower. The mower ran into his neighbor's yard and ruined the neighbor's garden. "It was a very expensive song to write," Walsh said, implying he had to pay to repair the damage to the neighbor's yard. He said the lyrics describe his anxiety about leaving the James Gang and his excitement about a solo career.

In Your Eyes Album: So (1986) Games Without Frontiers Album: Peter Gabriel (third) (1980) by Peter Gabriel According to Gabriel, the lyrics of In Your Eyes could refer to either the love between a man and woman or the relationship between a person and God. The West African musician Youssou N'Dour sang backup on this track, giving it a distinctive vocal texture. Gabriel learned about him in 1984 when N'Dour was performing in England. They became friends and collaborators, with a mutual respect for each others' music. N'Dour joined Gabriel on the So tour and was very well received - he was part of an extended version of "In Your Eyes" and also sang on "Biko." In 1991 Gabriel performed the song in N'Dour's native country of Senegal before a crowd of 70,000. This was featured in the 1989 movie Say Anything in a scene where John Cusack plays this from a Boom Box he holds over his head to win the heart of Ione Skye. Cameron Crowe, who directed the film, was going to use Billy Idol's "Got To Be A Lover," but it didn't work with the scene. Crowe got the idea to use this when he played a tape from his wedding which had the song on it. Because it was a deeply personal song, Gabriel did not want to let him use it, but when Crowe called and sent him a tape of the movie, Gabriel loved it and gave his approval. The producers of Say Anything (see a still) were charged about $200,000 to use the song, but it was worth the price as it became one of the most famous scenes in movie history. The scene became a cultural touchstone, which was a little strange for Gabriel. He told Rolling Stone in 2012: "I've talked to John Cusack about that. We're sort of trapped together in a minuscule moment of contemporary culture." Gabriel combined various real and electronic instruments to create the song. He worked the Fairlight CMI synthesizer and the Linn drum machine, and also played piano. Other musicians on the track, along with N'Dour, were: David Rhodes - guitar, backing vocals Jerry Marotta - drums Richard Tee - piano Larry Klein, Tony Levin - bass Manu Katche - drums, talking drum, percussion Ronnie Bright - bass vocals Jim Kerr (from Simple Minds), Michael Been - backing vocals A special 7:14 mix of this song was released to radio stations by Geffen Records. It features extended singing by Youssou N'Dour. This promotional copy also included a 6:15 version of the song, and an 8:36 of Gabriel's "Biko." Peter Gabriel produced the So album with Daniel Lanois, who had worked on U2's 1984 album The Unforgettable Fire and after finishing up with Gabriel, started work on The Joshua Tree. Lanois will develop an understanding of a song on an emotional level and craft the production accordingly, which lyricists like Bono and Gabriel appreciate. In a Songfacts interview, he explained what this song means to him: "'In Your Eyes,' Peter had this idea that by looking into someone's eyes, you would see, quite specifically in the lyric, the doorway to a thousand churches. I think it's as simple as that - the power of commitment and care and love will be stronger." This is one of the few slow songs that gets consistent airplay on rock radio. It was not very popular when it came out, but continues to get constant airplay on a variety of formats, as listeners never seem to tire of it. Peter Gabriel's elaborate concerts are highly choreographed, but with "In Your Eyes," he made sure there was lots of room for improvisation. His keyboard player on the So tour, David Sancious, told how it came together. "We were rehearsing the song and Peter said he wanted to extend the ending," said Sancious. "There was going to be a break where I'd just play something, make up something for like eight bars. It's just a drumbeat and piano. Manu Katché is playing the drums and would give me a signal to come back in. So that was different every night and he very much enjoyed it when I would come up with different things. It was a gospel-y kind of break and then it went back to the chorus of 'In Your Eyes.' And there were other points where I got to do little different things that weren't the same every night, and he enjoyed that." In 1994, Gabriel did a version of "In Your Eyes" live, which appears on Disc 2 of the double CD set of Secret World Live, and lasts 11:34. On this version, he improvises a lot in the song with the backup singers. According to Daniel Lanois, the drums on In Your Eyes add a lot of flavor and power the song along. "Everything on that record was cut to a beatbox initially, as was the case with 'In Your Eyes,'" he said. "Manu Katche from Paris - a great drummer - played that beautiful drum part. So that 'down push,' it's an old carnival beat - it keeps it motoring along. Even though it's quite a contemplative song, it has a little bit of carnival in its engine that keeps the zip in the step going and keeps you interested in the lyrics." When Guitar Player magazine questioned whether David Rhodes was upset over his 12-string being buried beneath synthesizers, the guitarist replied: "I think that's fine. Often, I prefer that. I think sometimes it can be unnecessary to have a lot of definition between instruments. All the instruments should blend to make the song work, to build the atmosphere. The fact that you can't hear your part, a particular sound, shouldn't worry you at all. A lot of guitarists enjoy playing very loud and doing big solos. I'm not into that." He added: "The idea of making things work appeals to me a lot more. I approach things texturally and build them up, giving the music space to develop. With Peter, we use a lot of effects, so that it sounds as little like a guitar as possible." Peter Gabriel wanted to use "In Your Eyes" as So's final track, but its prominent bassline meant it had to be placed earlier on the vinyl edition to give the phonograph stylus more room to vibrate. This restriction was no longer an issue for later CD releases, so the track was placed at the end. In addition to Say Anything, this was also used in these TV shows: The Righteous Gemstones ("Better Is The End Of A Thing Than Its Beginning" - 2019) It's Always Sunny In Philadelphia ("The Gang Gets Romantic" - 2019) The Last Man On Earth ("Not Appropriate For Miners" - 2017) The Flash ("Gorilla Warfare" - 2015) Lilyhammer ("Out Of Africa" - 2013) The Goldbergs ("The Ring" - 2013) Glee ("Girls (And Boys) On Film" - 2013) Cold Case ("Family" - 2005) American Dad! ("It's Good To Be The Queen" - 2006) Felicity ("Pilot" - 1998) And in these movies: Yes, God, Yes (2019) Deadpool 2 (2018) The Rocker (2008) Co-producer Daniel Lanois explained to Sound On Sound how a small musical toolbox created a dynamic album. "It's a mysterious album," he said. "What's interesting about that record, is that if you listen closely there aren't that many unusual instruments on it but it sounds sonically innovative. In Your Eyes was created with a fairly limited supply of tools, if you like. Most of the keyboards are acoustic piano, Yamaha electric piano and Prophet 5 - an old Prophet 5 polysynth, one of the very first ones to come out. Also an old Fairlight Series II with some good sampled sounds. Yet So has a variety of sounds and you don't get the feeling that it's the same things over and over again. It's another lesson in the theory of the small toolbox and learning to love your tools. Learning the difference between that setting and this setting and not necessarily using wildly different instruments or components to come up with variety but using a concentrated small area and drawing a lot from them." The singer/guitarist Jeffrey Gaines recorded a popular version of In Your Eyes that got a lot of airplay on Adult Contemporary radio and appears on his 2001 album Always Be. Gaines writes most of his own material, but his cover of "In Your Eyes" has become his best-known work. When we asked him about performing a song written by someone else, he replied: "The conviction I have within that material is my joy of singing." The rock band SR-71 did a cover of In Your Eyes that appears on their 2004 album Here We Go Again. They performed it live at the Gravity Games that year. The lyric of Games Without Frontiers repeated at the beginning and end is "jeux sans frontieres," which is French for "games without frontiers." It is frequently misheard as "she's so popular." Games Without Frontiers is about the childish antics of adults, which are especially prevalent when their countries are competing in the Olympics. Gabriel wrote this before the US boycotted the Moscow Olympics in 1980, an event that reinforced the theme of adults acting like children over silly games. Kate Bush sang backup - that's her singing "jeux sans fronteires." Bush was a last-minute addition to the song. "We had someone else sing the 'Jeux Sans Fronteires' line, and we realized the accent wasn't so great," recalled co-producer Steve Lillywhite, who wouldn't identify the original vocalist to Uncut. "So Peter decided to ask Kate down. It was easy, and great fun. No more than half an hour." Gabriel got the idea for Games Without Frontiers from a 1970s European game show of the same name where contestants dressed up in strange costumes to compete for prizes. A version of the show came out in England called "It's a knockout," giving him that lyric. This was Peter Gabriel's first UK Top 10 as a solo artist. It had an interesting impact on his American distribution: Gabriel's first two solo albums were distributed in America by Atlantic Records, but they rejected his third album (which contained this track), telling Gabriel he was committing "commercial suicide." Atlantic dropped him but tried to buy the album back when "Games Without Frontiers" took off in the UK and started getting airplay in the States. At this point, Gabriel wanted nothing to do with Atlantic and let Mercury Records distribute the album in America. The whistling is Gabriel along with producers Steve Lillywhite and Hugh Padgham. In 1991, Gabriel's performance of Games Without Frontiers from Holland was beamed to Wembley Stadium in England as part of "The Simple Truth" concert for Kurdish refugees. The video includes film clips of Olympic events and scenes from the 1950 educational film Duck and Cover, which used a cartoon turtle to instruct school kids on what to do in case of nuclear attack. Part of the lyric goes: Andre has a red flag Chiang Ching's is blue They all have hills to fly them on except for Lin Tai Yu Andre could refer to Andre Malraux (1901-1976) the French statesman and author of the book Man's Fate, about the 1920s communist regime in Shanghai. Red flag may refer to Malraux's leftist politics. Chiang Ching could refer to Chiang Kai-shek (1887-1975) Chinese leader of the Kuomintang who opposed the Communists - hence, the rightwing Blue Flag. Chiang's forces lost the civil war in 1949 and fled to Taiwan, where they set up a government in exile. Lin Tai Yu may be Nguyen Thieu (1923-2001), South Vietnamese president during the height of the Vietnam War. After the Communist victory of 1975, Thieu fled to Taiwan, England, and later to the United States where he died in exile. The lyric could refer to the fact that while leftist politicians like Andre Malraux had a secure position in France, and rightist leaders like Chiang Kai Shek had a secure country in Taiwan, those caught in the middle like Nguyen Thieu were pawns in the Cold war and had no secure country. This could also be a reproach to either Thieu or his United States backers, saying that he was now a nobody. A remix by Lord Jamar was used for the theme for the 2009 Winter X Games. The new version was dubbed "X Games Without Frontiers." Gabriel recorded a German-language version of the album titled Ein deutsches Album. Hearing Gabriel singing about Adolf building the bonfire in German makes the song sound a lot more sinister. The song plays at the end of the season 1 finale of The Americans, which is set during the Cold War. Another Peter Gabriel tune, "Lay Your Hands On Me," was used in a season 5 episode.

"I.G.Y. (What a Beautiful World)" Album: The Nightfly (1982) by Donald Fagen "I.G.Y. (What a Beautiful World)" is a song written and performed by American Donald Fagen. It was the first track on his platinum-certified debut solo album The Nightfly, and was released in September 1982 as its first single. It charted within the top 30 on the Billboard Hot 100, Mainstream Rock, R&B Singles and Adult Contemporary charts. Fagen, along with musician Walter Becker, led the rock band Steely Dan during the 1970s. Between 1972 and 1981, Steely Dan had ten Top-40 singles, including the top-ten hits "Do It Again" (1972), "Rikki Don't Lose That Number" (1974) and "Hey Nineteen" (1980). In 1981 Becker and Fagen parted ways. Fagen's first album as a solo artist, The Nightfly, was released the next year. The "I.G.Y." of the title refers to the "International Geophysical Year", an event that ran from July 1957 to December 1958.: 217  The I.G.Y. was an international scientific project promoting collaboration among the world's scientists. Fagen's lyric discusses the widespread optimistic vision of the future at that time, including futuristic concepts such as solar-powered cities, a transatlantic tunnel, permanent space stations, and spandex jackets. The song references the vision of postwar optimism in America and the Western world. The "76" referred to in the song is 1976, the U.S. Bicentennial year. "I.G.Y." has been covered by British singer and musician Howard Jones, who included a version on his 1993 greatest hits album The Best of Howard Jones. The gospel a cappella group Take 6 covered "I.G.Y." as the title track on their 2002 release Beautiful World. The lyric of Fagen's original song was modified to recast the song with a gospel message. In 2004 Marcia Hines recorded a version for her album Hinesight. The song was also used in a scene from the Simpsons sixteenth-season episode "Future Drama" when Homer and Bart are flying around in the 'imperfect Hovercar'. French DJ Producer Alan Braxe sampled this song for the remix on Benjamin Diamond's "In Your Arms (We Gonna Make It)" Donald Fagen – vocals, synthesizer, synth-harmonica Greg Phillinganes – electric piano Rob Mounsey – synthesizer, horn arrangement Anthony Jackson – bass Hugh McCracken – guitar James Gadson – drums Jeff Porcaro – additional drums Roger Nichols – drum/percussion programming Starz Vanderlocket – percussion Randy Brecker – trumpet Dave Tofani – alto saxophone Michael Brecker – tenor saxophone Ronnie Cuber – baritone saxophone Dave Bargeron – trombone Valerie Simpson, Zack Sanders, Frank Floyd, Gordon Grody – backing vocals "I.G.Y." Standing tough under stars and stripes, we can tell This dream's in sight You've got to admit it At this point in time that it's clear The future looks bright On that train, all graphite and glitter Undersea by rail Ninety minutes from New York to Paris Well, by '76 we'll be A-OK What a beautiful world this will be What a glorious time to be free What a beautiful world this will be What a glorious time to be free Get your ticket to that wheel in space while there's time The fix is in You'll be a witness to that game of chance in the sky You know we've got to win Here at home we'll play in the city Powered by the sun Perfect weather for a streamlined world There'll be spandex jackets, one for everyone What a beautiful world this will be What a glorious time to be free What a beautiful world this will be What a glorious time to be free On that train, all graphite and glitter Undersea by rail Ninety minutes from New York to Paris (More leisure for artists everywhere) A just machine to make big decisions Programmed by fellas with compassion and vision We'll be clean when their work is done We'll be eternally free, yes, and eternally young What a beautiful world this will be What a glorious time to be free What a beautiful world this will be What a glorious time to be free What a beautiful world this will be What a glorious time to be free What a beautiful world this will be What a glorious time to be free

Federal Funding is the first song on Cake’s 2011 album Showroom of Compassion. The song features a slow, moderately-funky beat, a low single-string guitar riff, whining analog synthesizers, group vocals, and trumpets. Lyrically, it discusses both the positives and negatives of government. Lead singer John McCrea is quoted as saying “There are certain things only government can do, and I think it would be selfish and shortsighted to indiscriminately shut everything down, privatize it all, etc. Although it might be emotionally satisfying for many people, it is probably not the adult thing to do.” Cake’s website also featured “The Federal Funding March” in which high school and college marching bands could submit videos with the winner being featured in a future Cake music video. Unknown to most of their fans, the band Cake is named after the verb, not the noun. Rather than referring to desert, the band says the name refers to the point "when something insidiously becomes part of your life. We mean it more as something that cakes onto your shoe and is just sort of there until you get rid of it." Cake's 2001 album Comfort Eagle was a huge success but the band was forced to cancel a number of live dates in light of the September 11 attacks. The band was planning on doing a second tour of Europe at the time but instead decided that it might not be a good idea to travel overseas. They played their planned US gigs and also streamed a show from the Yahoo! office in California online. Cake singer John McCrea is a big fan of the forgotten '70s band Bread. McCrea expresses his love for the band by saying "I think Bread was one of those bands that got overlooked at the time by people that were into music. But the songs are beautiful and you can't argue the geometry of the music." Cake says the key to their unique sound is, ironically, cheap guitars. Guitarist Xan McCurdy elaborates: "McCrea's guitar is a s--tty old starter guitar from the '60s. They probably made a million of them off an assembly line. We never get the exact same tone twice." Pete McNeal, who drummed for Cake from 2001 to 2004, was sentenced to 15 years to life in California state prison for child molestation on December 2, 2014. The incident occurred during a Thanksgiving party McNeal attended, where he allegedly molested a 3-year-old girl. 1991- John McCrea Lead vocals, guitar, piano, vibraslap Vince DiFiore Trumpet, keyboards, melodica, guiro, vocals Greg Brown Guitar 1991-1997 Gabe Nelson Bass guitar, vocals 1991, 1997- Paulo Baldi Drums, cowbell, tambourine, vocals 2004- Xan McCurdy Guitar, vocals 1997- Pete McNeal Drums 2001-2004 Federal Funding Cake Written by: Mc Crea John M, Mccurdy Xan Dieudonne, Nelson Christopher Gabriel Album: Showroom Of Compassion Released: 2011 You'll receive the federal funding, you can add another wing You'll receive the federal funding, you can add another wing Take your colleagues out to dinner, pay your brother to come and sing Take your colleagues out to dinner, pay your brother to come and sing Sing, sing, sing You'll receive the federal funding, you can have a hefty grant You'll receive the federal funding, you can have a hefty grant Strategize for the presentation, make them see that you're the man Strategize this presentation, make them see that you're the man-a-a-an Man, man, man-a-a-an-a-a-an, ma-ma-ma-a-an You'll receive the federal funding, you can pass the simple test You'll receive the federal funding, you can pass the simple test You can access information, make them see that you're the best You can access information, make them see that you're the be-e-est Best, best, be-e-est, be-e-e-e-est Yow One, two, one, two, three, four Man, man, man-a-a-an-a-a-an, ma-ma-ma-a-an Man, man, man-a-a-an-a-a-an, ma-ma-ma-a-an

MIND CONTROL 101 Introduction to Psychological Warfare GF33 27 1955 US Army "[US Army] Introduction to Psychological Warfare - GF33-27 (1955)". Time Stamps posted below for all the topics discussed in the video. Declassified files on U.S Army tactics. The military applications of PSY-OPS and effective use of propaganda to control a nation. Lot's of information on how Psy-Ops was used in Korean War as well as Normandy Landings. all audio sources are horrible that I could find. I did the best I could to clean it up. TIME STAMPS: 00:48 - 1:40 (Intro to PSY OPS.) 1:41 - 2:45 (History of propaganda and how it's used to disseminate U.S foreign policy) 2:46 - 5:51 (Military applications of PSY OPS and how to influence the enemy) 5:52 - 8:25 (Different types of PSY OPS tech used in the battlefield) 8:26 - 11:15 (How "area studies" are used to exploit other nations based on religious, political & ethnic differences giving eg: like Korean war and Normandy Landings) 12:41 - 15:09 (Examples of use of propaganda AGAINST the U.S - and how U.S soldiers are trained to resist propaganda)

Pretzel Logic Album: Pretzel Logic (1974) by Steely Dan "Pretzel Logic" reached number 57 in the Billboard charts. Steely Dan FAQ author Anthony Robustelli describes "Pretzel Logic" as a bluesy shuffle about time travel. Fagen has stated that the lyrics, including anachronistic references to Napoleon and minstrel shows, are about time travel. According to Robustelli, the "platform" referred to in the song's bridge is the time travel machine. But Something Else! critic Victor Aaron describes the lines "I stepped out on the platform, the man gave me the news/He said, 'You must be joking son, where did you get those shoes?'” as a memorable putdown line. Steely Dan biographer Brian Sweet hypothesizes that the first verse was inspired by the band's distaste for touring, particularly the tours of the American South on which their record label had sent them the previous year. The Brownsville Herald writer Bobby Alvarez felt the song was about Steely Dan's "quest for stardom" and represented their philosophy about themselves—that whatever they have not done or experienced in the past doesn't matter anymore since the past is gone. Billboard described "Pretzel Logic" as a "bluesy rock hit" and praised the vocals, production, and the "catchy instrumental refrain." CashBox said that "the accent here is on a funkier jazzy melody than 'Rikki.'" Record World called it "a blues construction trimmed with hall-filling harmonies" and said that "The group's ability to meander and yet keep to a hooky home base once again proves their mastery of rock thought processes." Rolling Stone critic Bud Scoppa describes "Pretzel Logic" as one of the album's most conventional songs, calling it a "modified blues." Aaron regards it as Steely Dan's song that remains most faithful to the blues, but acknowledges that a few non-blues chords are incorporated into the refrain. Scoppa particularly praised the electric guitar improvisations for their originality and for pedal steel guitar parts that don't sound like country music. Scoppa credited Jeff Baxter for this, although according to Steely Dan biographer Brian Sweet, Walter Becker played the guitar solo. This is one of the first Steely Dan songs to feature Becker as a lead guitarist. Eduardo Rivadavia cites "Pretzel Logic" as one of several songs on the album on which Steely Dan hones their trademark sound, "as sweetly infectious as it was deceptively intricate, dark and witty." Alvarez rated it one of the best songs on the album. Donald Fagen – lead and backing vocals, Wurlitzer electronic piano Walter Becker – lead guitar Dean Parks – rhythm guitar Plas Johnson – saxophone Ollie Mitchell – trumpet Lew McCreary – trombone Michael Omartian – acoustic piano Wilton Felder – bass guitar Jim Gordon – drums Tim Schmit – backing vocals In 1987, it was covered by Hiram Bullock on his album Give It What You Got. A live version by INXS was performed during the Moontan Double J Concert At Manly Vale Hotel, October 1980 show. A recording is available on the compilation Stay Young 1979–1982. The New York Rock and Soul Revue covered it in 1991, led by Donald Fagen. The song was performed by the Warren Haynes Band, the solo project of The Allman Brothers Band and Gov't Mule leader Warren Haynes, which he started in 2010. A staple of the band's live shows, often running over ten minutes in length and featuring multiple solos from band members, it appears in this form on their 2012 album Live at The Moody Theater. Pretzel Logic is the third studio album by Steely Dan, released by ABC Records on February 20, 1974. It was recorded at the Village Recorder in West Los Angeles, California, with producer Gary Katz. The album was Steely Dan's last to be made and released while the group was still an active touring band, as well as the final album to feature the band's full quintet-lineup of Becker, Fagen, Denny Dias, Jim Hodder, and Jeff "Skunk" Baxter (who subsequently left to join The Doobie Brothers), though it also features significant contributions from many prominent Los Angeles-based studio musicians. A commercial and critical success, the album's hit single, "Rikki Don't Lose That Number", helped restore Steely Dan's radio presence after the disappointing performance of their previous album. Pretzel Logic was reissued on CD in 1987, and remastered in 1999, to retrospective critical acclaim.

Undead Album: Swan Songs (2008) Bullet Album: American Tragedy (2011) by Hollywood Undead Undead was originally released as a song entitled "Out The Way." It not known why this revised version was re-titled. The synthesiser riff was borrowed from Ozzy Osbourne's debut single as a solo artist, "Crazy Train." Undead was featured in commercials for the live action film G.I. Joe: The Rise of Cobra. Undead was produced by Danny Lohner who is best known for his work with Trent Reznor of Nine Inch Nails. Lohner also helped produce "Sell Your Soul." Johnny 3 Tears of Hollywood Undead explained the album title to Artist Direct: "We came up with Swan Songs because there's an irony to it. A swan song is supposed to be the last noise a swan makes before it dies. Even though it's our first record, I thought that it would be cool because of the irony of it. In all honesty, I never know what's going to happen with us, so I thought it was a fitting title. It's very complete, representing the lifespan of something. If we never made another record again, I think we would've done something that most bands haven't done; even though it's only a 14-track record, but it covers a lifetime." "Bullet" is a song by American band Hollywood Undead. It was recorded as the sixth single and eleventh track from their second studio album American Tragedy (2011). The song was produced by Griffin Boice. This song is one of the few songs by Hollywood Undead to feature a member other than Danny or Deuce as the clean vocalist. Charlie Scene performs the chorus of "Bullet," in addition to "Rain" from Notes from the Underground. The song has received positive reviews from critics due to its cheerful tone and uptempo beat that directly contrast its dark lyrics about suicide and self-harm. "Bullet" was written by Lewis Edwards. The song contains verses by Terrell and Ragan, and a b-section and chorus sung by Terrell. The song was produced, recorded, and mixed by Griffin Boice at the Beat Suite in Hollywood, California. The lyrics detail a teenage male's trouble with suicide. The chorus, which the song opens with, implies past attempts at suicide for the protagonist: "My legs are dangling off the edge, the bottom of the bottle is my only friend. I think I'll slit my wrist again, and I'm gone, gone, gone, gone! My legs are dangling off the edge, a stomach full of pills didn't work again. I put a bullet in my head, and I'm gone, gone, gone, gone!" The protagonist continues in the verses to describe the decomposition of his life, stating that his "two best friends" are "a bottle of pills" and "a bottle of Gin". We then learn he is at the top of a twenty story building, and that the polishing of a bottle is "pushing [me]" off and he describes how asphalt has never "looked so soft". The protagonist begins to express concern that his mother found his suicide note and had called the police. He starts realising he needs to move fast, as he hears "sirens and they're off in the distance" and that he's "more scarred than my wrist is". He states that he's going to purchase a suit, because "when you go to meet God ya know you wanna look nice." The pre-chorus states that "So if I survive then I'll see you tomorrow" and the chorus plays again. Johnny 3 Tears takes the second verse from a third-person point of view of another young man who had an abusive family life. The young man's father had apparently abandoned him, which left his mother guilt-struck, and he had gone astray in a way that is not specified. It is, however, stated that he "Climbed to the roof to see if [you] could fly". This ends the verse, and goes into the pre-chorus and chorus. After the chorus, Petra Christensen sings the outro stated by J-Dog in a Hollywood Undead live cast in January promoting the release for the band's latest album. Rick Florino of Artist Direct had a list of ten reasons readers needed American Tragedy, with number three being the track "Bullet". Florino explains that "Hollywood Undead snap from faint acoustic guitar into cinematic rhyming about suicide. It's as infectious as it is intense." He states that the ending refrain featuring a little girl "is utterly powerful." He also stated that "Bullet" is "the kind of song that could save some kid in the crowd," and closed his review stating that the song is "heart-wrenching genius." In his official review, Florino again referenced "Bullet" stating it was one of "two moments that make [American Tragedy] a classic," stating that "After an acoustic intro, the song tells a potent and poignant tale of longing for suicide. However, it's the sunniest and catchiest tune on American Tragedy" and that the band's genius lies "in that dangerous space between unforgettable and unsettling." He compared Johnny 3 Tears' verse to being as soulful as Jonathan Davis of Korn. The album as a whole garnered five out of five stars. Charlie Scene – clean vocals, rapping, guitar, composer, writer Johnny 3 Tears – vocals, composer, writer Petra Christensen – end vocals on Bullet J-Dog – synthesizers, keyboards, composer, writer Danny – composer, writer, background vocals Griffin Boice – production, recording, mixing, guitar, bass guitar, programming, percussion, composer, writer Sean Curiel – drum recording assistant Ken Dudley – additional recording Daren Pfeifer – drums Undead Undead Undead Undead (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway Look up and see that motherfucking writing on the wall When you see J3T thirty deep, he's down to brawl Fuck the haters I see, 'cause I hate that you breathe I see you duck, you little punk, you little fucking disease I got H-U tatted on the front of my arms The boulevard, brass knuckles in the back of the car 'Cause we drunk-drive Cadillacs, we never go far But when you see us, motherfuckers, better know who we are I got one thing to say to punk-asses who hate Motherfuckers don't know, but you better watch what you say From these industry fucks to these faggot-ass punks You don't know what it takes to get this motherfucking drunk I'm already loud, maybe it's a little too late Johnny's taking heads off of all faggots who hate 'Cause I'm a God, motherfucker, there's a price to pay Yeah, I'm a God, motherfucker, and it's Judgment Day (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway I'm getting used to this nuisance of fags who badmouth this music How fucking stupid and foolish of you to think you can do this You cowards can't, you never will, don't even try to pursue it I took the chance, I paid the bill, I nearly died for this music You make me wanna run around pulling my guns out and shit You're tempting me to run my mouth and call you out on this, bitch How ignorant you gotta be to believe any of this? You need to slit your wrists, get pissed, and go jump off a bridge What, you can't see the sarcasm in the verses I spit? What, you think I just got lucky, didn't work for this shit? Bitch, I've been working at this ever since I was a kid I've played a million empty shows to only family and friends What kind of person would diss a band that deserves to get big? I'd hate to be that person when my verse comes out their kid's lips That shit's as worse as it gets, this verse is over, I quit Signed "Charlie Scene" on your girlfriend's tits (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway White boys with tattoos, p-pointing right at you We're breaking everything, r-rowdy like a classroom Pack of wolves 'cause we don't follow the rules And when you're running your mouth, our razorblades come out B-but you always press and you know I never stress With Loki DMS, J-Johnny to my left Got Phantom and the rest who are down to rep the West I grew up on drive-bys and LA gang signs So what the fuck you know about being a gangster? And what the fuck you know about being in danger? You ain't doing this so you know you're just talking shit Mad at all of us 'cause every song is a fucking hit (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway (Undead) You better get up out the way Tomorrow we'll rise, so let's fight today You know I don't give a fuck what you think or say 'Cause we gon' rock this whole place anyway (Undead) motherfucking time to ride, ride (Undead) see you duck when we drive by (Undead) motherfucking time to ride, ride (Undead) won't you punks just die, die, die? (Undead)

Psychiatry & Mind Control Part I Psychiatry, Mind Control, Psychotronic, microwave, voice in head

Wake up meat sacks. One of the major points of this video's aesthetic is that this technology is at minimum 80 years old.

I Am The Highway Album: Audioslave (2002) by Audioslave On this early Audioslave track, frontman Chris Cornell is claiming his self-worth after being taken for granted in his relationships. "I am not your rolling wheels, I am the highway," he sings. He determines the only person he can rely on is himself, but the road to independence is a long one: "I put millions of miles under my heels, and still too close to you I feel." Ann Wilson of Heart recorded this for her 2018 album, Immortal. The collection of cover songs paid tribute to musicians who recently died (Cornell committed suicide in 2017). Wilson connects "I Am The Highway" to Cornell's inability to deal with fame. She told Tone Deaf: "The expectations that were put on him being the voice of a generation and a superstar of the 90's and 2000's and stuff was too much for him." Wilson released a statement explaining why she chose this particular song to honor Cornell: "The song is strong, confident, spiritual. It's about a person who refuses to be tied down to the mundane, who is constantly looking for freedom and independence on a more universal scale, not just ordinary everyday reality. It was the cry of a soul, and it's a beautiful song. Chris and I were friends; we had a lot in common, we were both outsiders in a way. He left us with amazing music." The song opens with the lyric "Pearls and swine, bereft of me," which is a biblical reference to Jesus' Sermon on the Mount from Matthew 7:6, which states: "Do not throw pearls before swine, lest they trample them under their feet." In other words, don't share anything of value with someone who refuses to appreciate it. Cornell began playing an acoustic version in the middle of the band's live sets and the positive response gave him the courage to bring the approach to some of his other tunes, which prompted his solo acoustic Songbook tour in 2011. He told Walmart Soundcheck: "That song in particular was the first one I stood up in front of a lot of people and played acoustically in Audioslave shows, and it was a kind of scary thing to do. It was an important thing that the band backed me up doing it." This peaked at #3 on the Alternative chart (then known as the Modern Rock chart) and #2 on the Mainstream Rock chart. This was used on the teen drama One Tree Hill in the 2006 episode "Can't Stop This Thing We've Started." Pearls and swine bereft of me Long and weary my road has been I was lost in the cities Alone in the hills No sorrow or pity for leaving I feel I am not your rolling wheels I am the highway I am not your carpet ride I am the sky Friends and liars don't wait for me I'll get on all by myself I put millions of miles Under my heels And still too close to you I feel I am not your rolling wheels I am the highway I am not your carpet ride I am the sky I am not your blowing wind I am the lightning I am not your autumn moon I am the night The night I am not your rolling wheels I am the highway I am not your carpet ride I am the sky I am not your blowing wind I am the lightning I am not your autumn moon I am the night The night Yeah, yeah, yeah Yeah, yeah, yeah Yeah, yeah, yeah Yeah, yeah, yeah

Evil Ways Album: Santana (1969) Black Magic Woman Album: Abraxas (1970) Santana Evil Ways was originally recorded by Willie Bobo in 1965; it was written by Bobo's guitarist, Sonny Henry. Bobo was Latin Jazz percussionist who was a big influence on Santana and played on some of their tracks in the late '70s. "He was one of the first guys who tried to merge Latin music and blues together on record," Carlos Santana said in The Guitar Greats by John Tobler and Stuart Grundy. "He did it before us, because we were doing it on the street, and he was already doing it on records." Gregg Rolie, who joined Journey in 1973, sang lead on this. Carlos Santana, whom the band is named after, rarely took lead vocals but got plenty of guitar solos. His solo in Evil Ways is about 90 seconds long. Santana made a huge impact at the Woodstock festival, where they included "Evil Ways" in their set. They hadn't released their first album yet, but had made a name for themselves playing live shows on the West Coast. Their manager, Bill Graham, got them on the bill, playing the same day as their San Francisco cohorts The Grateful Dead. Their first album, Santana, was released two weeks later amid the raft of positive press from Woodstock. The rhythmic chant track "Jingo" was issued as the first single from the album, reaching #56 in the US. "Evil Ways" was the next single, and it climbed to #9. "Black Magic Woman" was a hit for Santana, but few people know that it's actually a cover of a 1968 Fleetwood Mac song that hit #37 in the UK. Peter Green, who was a founding member of Fleetwood Mac, wrote the lyrics. Many also don't know that Santana started out as a blues band, just like Fleetwood Mac. "I used to go to see the original Fleetwood Mac, and they used to kill me, just knock me out," Carlos Santana said in the book The Guitar Greats. "To me, they were the best blues band." Santana put their own spin on the song, incorporating Latin textures, but they kept the basic sound from the original intact. The 1:49 instrumental at the end is called "Gypsy Queen," and was written by the Hungarian jazz guitarist Gabor Szabo. It was omitted from Santana's 1974 Greatest Hits album, even though radio stations usually play "Black Magic Woman" and "Gypsy Queen" as one song. The original version is based on a blues song Peter Green wrote for Fleetwood Mac's first UK album called "I Loved Another Woman." Mick Fleetwood called the original version, "Three minutes of sustain/reverb guitar with two exquisite solos from Peter." The royalties generated by Santana's cover of this song helped sustain the song's writer, Peter Green, after he left Fleetwood Mac. Green gave most of his money away when he left the band, and would have found himself destitute later in the '70s if he didn't get checks from his old hits. After this was released, Peter Green befriended some people who were into black magic. In an interview with Cameron Crowe of Rolling Stone magazine, Christine McVie said these were the people who turned him on to acid, which led to Green leaving Fleetwood Mac. Santana keybord player Gregg Rolie sang lead on this. He joined Journey in 1973. For this song's solo, Santana played across the Latin rhythm on his Gibson Les Paul Special through the amp and rode the volume knob throughout the track to add sustain and distortion as required. "Black Magic Woman" was the first single from Santana's second album, Abraxas, released in September 1970. In August 1969, they delivered one of the most memorable performances at Woodstock and released their debut album just two weeks later. Thrust into stardom, they toured constantly and didn't have much time to write new songs, so they included two covers on Abraxas; their version of Tito Puente's "Oye Como Va" was the second single from the album, and also a hit. Their first three albums all fulfilled the promise of their Woodstock performance and made them one of the biggest bands in America, but in 1972 they started to fracture and went through a number of lineup changes. The band reinvented themselves many times over the years, with guitarist and namesake Carlos Santana the constant. In 1999, at a career nadir, they released one of the best-selling and most-acclaimed albums of that era: Supernatural. 1967- Carlos Santana Guitar, vocals Gregg Rolie Keyboards, vocals David Brown Bass 1967-1971 Michael Shrieve Drums Mike Carabello Percussion Jose Chepito Areas Percussion Neal Schon Guitar 1971- Coke Escovedo Percussion 1971- Tom Rutley Bass 1971- The group formed in the Latin District of San Francisco. They are named after group leader Carlos Santana, and were originally known as the Santana Blues Band. It's one of the few popular groups named after a guitarist in the band (The J. Geils Band and Van Halen are others). They appeared at both the original (1969) and second (1994) Woodstock. When they played the 1969 festival, they hadn't yet released their first album - their manager, Bill Graham, pulled some strings to get them on the bill. They went on sooner than expected, catching Carlos in the middle of a mescaline experience. "I was praying to God to keep me in time and in tune," he said. Their performance was one of the most acclaimed and thrust them to stardom. As Graham predicted, it went to their heads: Carlos embraced an extravagant rock star lifestyle, but soon changed direction and went down a more spiritual path.

My My Hey Hey (Out Of The Blue) Album: Rust Never Sleeps (1979) Hey Hey, My My (Into The Black) Album: Rust Never Sleeps (1979) Cortez the Killer Album: Zuma (1975) Cinnamon Girl Album: Everybody Knows This Is Nowhere (1969) Neil Young & Crazy Horse Young alludes to three specific artists in the lyrics of My My Hey Hey (Out Of The Blue): "Rock and roll is here to stay" - This is the title of a 1958 song by Danny & the Juniors, a vocal group best known for their hit "At The Hop." They proclaim, "Rock 'n roll is here to stay, it will never die." "The king is gone but he's not forgotten" - "The King" is Elvis Presley, who died in 1977, two years before this song was released. "This is the story of a Johnny Rotten" - Johnny Rotten (real name: John Lydon) was lead singer of punk rock pioneers The Sex Pistols. He often seemed hell-bent on self destruction to ensure he would burn out and not fade away, but ended up having a very long and productive career. Around 1977 Neil Young formed a band called The Ducks that included Jeff Blackburn. The band played for a $3 cover charge in the hip Santa Cruz club environment. "My My, Hey Hey (Out Of The Blue)" came out of this period and Jeff Blackburn received co-writing credit on the track with Young. Jeff Blackburn recalled to Uncut magazine: "We were old friends going back to the '60s. I was playing in Santa Cruz with John Craviotto and Bob Mosley (Moby Grape) who were a great rhythm section, when Neil ducked into it. That was a great summer. We played about 30 shows with The Ducks, we played every night. It really was a mighty month. Neil and I swapped ideas. We both had material, we had ideas and things came together as we were rocking together pretty good. I had a song with the line, 'Ashes to ashes, dust to dust. It's better to burn out than it is to rust.' Neil liked that and the whole rust thing came from that line - rust never sleeps. Not many people share a credit with Neil Young. It's hard to say why I got one, you'd need to ask Neil. But you never know what he's going to do next." Young released two versions of the song on the album: an acoustic rendition called "My My, Hey Hey (Out Of The Blue)," and an electric version called "Hey Hey, My My (Into The Black)" that he recorded with his band, Crazy Horse. Both versions were included on the single, with "Hey Hey, My My" the A-side, which is what most radio stations play. The electric version has slightly different lyric and omits the famous line, "It's better to burn out than to fade away." "My My, Hey Hey" is on the first side of the album, which is all acoustic. My My Hey Hey (Out Of The Blue) was the first track on Rust Never Sleeps. Young released a concert documentary with that title the same day as the album. Kurt Cobain's suicide note contained a line from My My Hey Hey (Out Of The Blue): "It's better to burn out than to fade away." That line has become one of the most famous song lyrics of all time. When Young was asked by Time magazine in 2005 about the line and Cobain's death, he said: "The fact that he left the lyrics to my song right there with him when he killed himself left a profound feeling on me, but I don't think he was saying I have to kill myself because I don't want to fade away. I don't think he was interpreting the song in a negative way. It's a song about artistic survival, and I think he had a problem with the fact that he thought he was selling out, and he didn't know how to stop it. He was forced to do tours when he didn't want to, forced into all kinds of stuff. I was trying to get a hold of him - because I had heard some of the things he was doing to himself - just to tell him it's OK not to tour, it's OK not to do these things, just take control of your life and make your music. Or, hey, don't make music. But as soon as you feel like you're out there pretending, you're f--cked. I think he knew that instinctively, but he was young and he didn't have a lot of self-control. And who knows what other personal things in his life were having a negative impression on him at the time?" Def Leppard used the burn out/fade away line at the beginning of their song "Rock of Ages." This was included on Live Rust, a concert album recorded later that year. Young performed these concerts with giant amps and microphones on stage as props. A line from this song, "rust never sleeps," was used as the album title. Young got the line from Mark Mothersbaugh, who is a member of the band Devo. Neil Young performed My My Hey Hey (Out Of The Blue) as a duet with Devo and Booji Boy in his movie Human Highway. The full duet is about twelve minutes, and takes place during a hallucination scene in the movie. The movie itself is only good as a B-grade movie, but the live footage of Devo in costume and Neil Young together is worth the price on the video. In the 1986 movie Highlander, the villain Kurgan quotes this song to people inside a church: "I have something to say! It's better burn out, than to fade away!" By this he means to glorify his ongoing perilous battle for immortality as opposed to living a normal humble life. This is quite an obvious metaphor for being a rock star. The song explicitly deals with the struggles of being a rock musician. As quoted on Hyper Rust, Neil Young said, "The essence of the rock'n'roll spirit to me, is that it's better to burn out really bright than to sort of decay off into infinity. Even though if you look at it in a mature way, you'll think, "well, yes ... you should decay off into infinity, and keep going along." Rock'n'roll doesn't look that far ahead. Rock'n'roll is right now. What's happening right this second" Stephen King quoted the lyric "Out of the blue and into the black" in the epigraph to his 1986 horror novel, It. In the story, an evil entity disguised as a clown emerges from hibernation every 27 years to terrorize the town of Derry, Maine. In the film adaptation's 2019 sequel, It Chapter Two, King makes a cameo appearance as a shopkeeper who wears a Neil Young Harvest Moon T-shirt. Director Andy Muschietti told the Dutch online newspaper NU.nl he was surprised when the author seemed annoyed by the garment. King, who was in the midst of a cocaine addiction when he wrote It, said he wasn't really a Neil Young fan and was probably high when he quoted him in the novel. Hey Hey, My My (Into The Black) is an alternate version of Young's song "My My, Hey Hey (Out Of The Blue)," which also appears on the Rust Never Sleeps album. The lyrics are slightly different, and "Hey Hey, My My" is electric, while "My My, Hey Hey," is acoustic. Young recorded this with the band Crazy Horse. It was the first time Young recorded with them since Zuma in 1975. In the biography of Neil Young, Shakey by Jimmy McDonough, Neil points out that this song came about when he was jamming with the band Devo. The phrase "rust never sleeps" was uttered by Mark Mothersbaugh, and Neil, loving the impromptu line, acquired it. >> The lyrics refer to "The King" and Johnny Rotten as rockers whose legacies live on. The King is Elvis Presley, and Johnny Rotten was the lead singer of The Sex Pistols. In The Complete Guide to the Music of Neil Young, Young explains why the line "rust never sleeps" appealed to him. "It relates to my career; the longer I keep on going the more I have to fight this corrosion. And now that's gotten to be like the World Series for me. The competition's there, whether I will corrode and eventually not be able to move anymore and just repeat myself until further notice or whether I will be able to expand and keep the corrosion down a little." Hey Hey, My My (Into The Black) is the last song on the electric side of Rust Never Sleeps. The first side (first five songs on the CD) are acoustic. The song has become a standby of Young's live performances, being played at nearly every live show throughout his career, often as a closing song. John Lennon expressed his disagreement with the "burn out or fade away" sentiment in a 1980 interview with Playboy: "I hate it. It's better to fade away like an old soldier than to burn out. If he was talking about burning out like Sid Vicious, forget it. I don't appreciate the worship of dead Sid Vicious or of dead James Dean or dead John Wayne. It's the same thing. Making Sid Vicious a hero, Jim Morrison - it's garbage to me. I worship the people who survive." Young responded to the quote, saying that he was describing the paradoxical nature of the rock-and-roll lifestyle, not advocating it. Cortez the Killer is about Hernán Cortez, the Spanish conqueror of the Aztec Empire. The Aztecs lived in what is now considered Mexico, and Cortez had an army of 600 sail from what is now Cuba to the Aztec town of Tobasco (yes, where the hot peppers and the name of the sauce originally came from). The Aztecs thought Cortez was a god and bowed before him. They let his army roam free. Cortez, however, became wary of their good nature and took their leader hostage. He then captured and killed many of their people. He also unwittingly brought new diseases to the Americas, which the natives had no immunities towards. On top of all this, he built what is now Mexico City with slave labor. He returned to Spain a hero. Neil Young's Cortez the Killer brings an interesting alternative viewpoint to the history of Cortez' invasion. While not a complete history of Cortez or the Aztecs, it's title alone gives you a very good idea of how Young viewed the invasion. Young's romantic imagery near end of the track highlight the emotional toll (lost romance, etc.) of the invasion. Peace is a theme of this song. From verse six: "But they built up with their bare hands, what we still can't do today" indicates that even in the most barbarian times there was still peace, and in present day, as sophisticated as it may be, there is anything but peace. The Aztecs were peaceful, representing sort of a utopian nonviolent society. Cortez and the Spanish brigade used trickery to beat the Aztecs, people who had never committed any offensive acts towards the Spanish. The Spanish could represent the status quo society, completely antonymic from the amicable Aztecs. Neil Young's ex-wife Pegi is also a singer/songwriter. When we spoke with Pegi and asked how personal experiences inspired her songs, she told us: "I think there's little kernels of our lives in many of our songs, unless you're writing 'Cortez' or something. It must have been in another life my husband was an Incan warrior." The last verse of Cortez the Killer switches from a third to a first-person perspective, characterizing the faceless, historical figure of Cortez into someone romantically pining for an unnamed somebody: "And I know she's living there, and she loves me to this day. I still can't remember when or how I lost my way." Since the song was written around the time of his split with wife Carrie Snodgress, there's speculation that it's at least partially autobiographical. However, when Jimmy McDoncough, author of the young biography Shakey, questioned the singer about this, Neil simply said: "Its not about information. The song is not meant for them to think about me. The song is meant for people to think about themselves. The specifics about what songs are about are not necessarily constructive or relevant. A lot of stuff I make up because it came to me." Cortez the Killer fades out after around seven and a half minutes. According to Neil's father in the book Neil and Me, this was because an electrical circuit had blown, halting the recording process. This caused a final verse to be lost; Neil, however, opined that he "never liked that verse anyway." While an official recording of the lost verse was never released, the singer added the lines, "Ship is breaking up on the rocks. Sand beach... so close" to the end of the song while on his 2003 Greedale Tour. This song has one of the longest intros in rock: Young's vocals done come in until 3:22. During a show in Manassas, Virginia on August 13, 1996, Young told the audience that he wrote this song after eating too many hamburgers in high school. "One night I stayed up too late when I was goin' to high school. I ate like six hamburgers or something. I felt terrible... very bad... this is before McDonald's. I was studying history, and in the morning I woke up I'd written this song." The song's slow, rambling vibe was partly down to rhythm guitarist Frank Sampedro's drug use. Sampedro recalled to Uncut: "When we recorded 'Cortez,' I had just smoked some angel dust. The whole song I thought the second chord, D, was the first chord. So I emphasized that every time round, while Neil was leaning on the first chord, E minor. I think that helped keep a really slow tune moving along." Young has never said who the Cinnamon Girl is, as he prefers to leave lyric interpretations to the listener. In the liner notes of his Decade compilation, he stated: "Wrote this for a city girl on peeling pavement coming at me thru Phil Ochs eyes playing finger cymbals. It was hard to explain to my wife." Phil Ochs was a folk/protest singer active in the '60s who had issues with his mental stability (although his paranoia about the FBI turned out not to be far off). Young's wife at the time was Susan Acevedo; they were married for just one year at this point. Though Young would not identify his muse, the bit about finger cymbals is a reference to '60s folk singer Jean Ray, who performed with then-husband Jim Glover under the name Jim and Jean. Phil Ochs, a close friend of a couple, penned the title song to their second album, Changes. Brian Ray, Paul McCartney's guitarist and Jean's younger brother, claims Cinnamon Girl is indeed about his sister. Jean, herself, said she inspired another Neil Young song from the Everybody Knows This is Nowhere album: "Cowgirl in the Sand." In the book Shakey, Young copped to having a crush on Ray. When asked if she is the Cinnamon Girl, Young said, "Only part of the song. There's images in there that have to do with Jean and there's images that have to do with other people." Young recorded this with his band Crazy Horse. It was originally released on the Everybody Knows This Is Nowhere album in 1969. Young put out an alternate version as a single in 1970, which did well partly because he was getting exposure as a member of Crosby, Stills, Nash, and Young. In Neil Young: Long May You Run: The Illustrated History, Neil Young talked about poaching the band The Rockets for the formation of Crazy Horse, who he first recorded with on Everybody Knows This Is Nowhere: "The truth is, I probably did steal them away from the pother band, which was a good band. But only because what we did, we went somewhere." He later goes on to say, "That's the hardest part, is the guilt of the trail of destruction that I've left behind me." In the same work, it is also mentioned that "With songs such as 'Cinnamon Girl,' 'Down By The River,' and 'Cowgirl in the Sand,' Crazy Horse clearly gave Neil Young the kind of sympathetic and almost telepathic backing he needed." Neil Young went on to declare Crazy Horse "the American Rolling Stones." The band Type O Negative did a remake on of Cinnamon Girl their 1996 album October Rust. The song was also covered by Smashing Pumpkins on the Reel Sessions bootleg. That's Danny Whitten singing high harmony on this this song with Young. Whitten was a singer/guitarist in Young's backing band Crazy Horse, which released its own album in 1970 featuring a few Whitten compositions, including "I Don't Want To Talk About It," later a #1 UK hit for Rod Stewart. Whitten spent his last years battling a heroin addiction, and in 1972 died after overdosing on alcohol and Valium. The liner notes to Decade reveal that "Down by the River," "Cinnamon Girl," and "Cowgirl in the Sand" all in a single afternoon - while sick with a 103 degree temperature. Also, they were recorded after being together with the band Crazy Horse for only two weeks." Crazy Horse bassist Billy Talbot recalled to Uncut magazine in 2021: "What I remember about 'Cinnamon Girl' is the four of us playing it - me, Ralph (Molina), Danny (Whitten) and Neil and realizing, 'Oh yeah, we can do this.' There's Danny's guitar, there's Neil's voice and guitar, and Ralph and I just need to keep the beat. When you are inside a song like that, it's something beautiful. It sounded good and I liked it, then we got to the bridge and I loved it! We were able to get very psychedelic; we could slow it down and it got bigger and even more beautiful. I don't think we worked on it for long, we really did just play it once or twice before we got the take." When legendary British DJ "Whispering Bob" Harris made his BBC Radio 1 debut on the August 19, 1970 episode of Sounds of the Seventies, "Cinnamon Girl" was the first record he played. In 2020, a video appeared on YouTube showing Young encountering a fan in a public park. Using the fan's guitar, he gives a brief tutorial on how to play "Cinnamon Girl."

We Got The Beat Our Lips Are Sealed Album: Beauty and the Beat (1981) The Go-Go's The Go-Go's were an American all-female rock band formed in Los Angeles in 1978. Except for short periods when other musicians joined briefly, the band has had a relatively stable lineup consisting of Charlotte Caffey on lead guitar and keyboards, Belinda Carlisle on lead vocals, Gina Schock on drums, Kathy Valentine on bass, and Jane Wiedlin on rhythm guitar. They are widely considered the most successful all-female rock band of all time. The quintet emerged from the L.A. punk rock scene of the late 1970s and in 1981 released their debut album Beauty and the Beat. A first for an all-female band writing their material and playing their instruments, the LP topped the Billboard album chart and remains an achievement yet to be matched. Beauty and the Beat is considered one of the "cornerstone albums of US new wave" (AllMusic), having broken barriers and paved the way for a host of other new American acts. It yielded two of the Go-Go's four biggest Hot 100 hits—"Our Lips Are Sealed" (no. 20) and "We Got the Beat" (no. 2)—and, after a long and steady climb, reached number one in the chart dated March 6, 1982. The album stayed at the top for six consecutive weeks, eventually selling over two million copies. The group, credited as simply Go-Go's on all of their US releases, was nominated for the Best New Artist award at the 24th Annual Grammy Awards. The Go-Go's broke up in 1985, with each member embarking on a solo career and Carlisle being the most successful, having several top-5 singles through the late 1980s. They reconvened several times in the 1990s, releasing a new album in 2001, God Bless the Go-Go's, and touring. They received a star on the Hollywood Walk of Fame in 2011. Though the band's 2016 performances were billed as a farewell tour, the band remained active on an ad hoc basis for several years afterward. Head Over Heels, a musical featuring the songs of the Go-Go's, ran on Broadway at the Hudson Theatre from 2018 to 2019. The group was inducted into the Women Songwriters Hall of Fame and the Rock and Roll Hall of Fame in 2021, and shortly after that announced their disbandment. Formed in Los Angeles in 1978 as the Misfits by Charlotte Caffey, Belinda Carlisle (vocals), Jane Wiedlin (guitar, background vocals), the Go-Go's also included Margot Olavarria on bass and Elissa Bello on drums. They were formed as a punk band and had roots in the L.A. punk community. They shared a rehearsal space with the Motels and Carlisle, under the name "Dottie Danger", had briefly been a member of punk rock band the Germs. After she became temporarily ill, she separated from the Germs before ever playing a gig. The band began playing gigs at punk venues such as The Masque and the Whisky a Go Go in Los Angeles and the Mabuhay Gardens in San Francisco alongside bands such as X, Fear, the Plugz and the Controllers. Charlotte Caffey (lead guitar, keyboards, background vocals) was added later in 1978, and in the summer of 1979, Gina Schock replaced Bello on drums. With these lineup changes, the group began moving towards their more familiar power pop sound. The group frequently met at a Denny's on Sunset Boulevard in Hollywood, and it was there they chose the band's name. In late 1979, the band recorded a five-song demo at Gold Star Studios in Los Angeles, and in 1980, they supported the British ska revival groups Madness and The Specials in both Los Angeles and England. The Go-Go's subsequently spent half of 1980 touring England, earning a sizable following and releasing the demo version of "We Got the Beat" on Stiff Records, which became a minor UK hit. In December 1980, original bassist Olavarria fell ill[17] and was replaced with Kathy Valentine, who had played guitar in bands such as Girlschool and the Textones. Valentine had not previously played bass guitar. Carlisle also related in her autobiography, Lips Unsealed, that according to the band's view, another reason for Olavarria's dismissal from the Go-Go's was that she frequently missed rehearsals, due largely to her dissatisfaction with the band's move away from punk and toward pop. In late 1982, Olavarria sued the remaining band members for wrongful removal. The lawsuit was settled in 1984. Olavarria later joined Martin Atkins' band Brian Brain. The Go-Go's signed to I.R.S. Records in April 1981. The following year, they toured with The Police on the Ghost in the Machine Tour. Their debut album, Beauty and the Beat, was a surprise hit: it topped the U.S. charts for six weeks in 1982 and eventually received a double platinum certification. The album was also successful outside the U.S., charting at No. 2 in Canada, where it received a platinum certification, and No. 27 in Australia. In 2003, the album was ranked No. 413 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. "Our Lips Are Sealed" and a new version of "We Got the Beat" were popular singles in North America in early 1982. During this period, the Go-Go's started building a fanbase. In 1982, the group was nominated for a Grammy Award for Best New Artist. Go-Go's guitarist Jane Wiedlin wrote Our Lips Are Sealed with the British musician Terry Hall, who was lead singer of The Specials. In an interview with Wiedlin, she told the story: "In 1980 we were playing at The Whisky on Sunset Strip, and The Specials were in town from England. They came to see us, and they really liked us and asked us if we would be their opening act on their tour. I met Terry Hall, the singer of The Specials, and ended up having kind of a romance. He sent me the lyrics to 'Our Lips Are Sealed' later in the mail, and it was kind of about our relationship, because he had a girlfriend at home and all this other stuff. So it was all very dramatic. I really liked the lyrics, so I finished the lyrics and wrote the music to it, and the rest is history. And then his band, The Fun Boy Three, ended up recording it, too - they did a really great version of it, also. It was like a lot gloomier than the Go-Go's' version." Speaking about her relationship with Terry Hall, Wiedlin adds: "Like I said, he had a girlfriend in England, and they were talking about getting married and all this stuff. So I don't know how I got in the picture. And, you know, that's something that I did as a teenager, maybe I was 20. That's something I would never do now, knowingly enter into a relationship with someone who was with someone else. I mean, it was completely screwed on my part. Although I think when people do that, you really have to look at the person who's in the relationship, and they have to take the burden of the responsibility as well. Anyways, it was one of those things with the tragic letters, 'I just can't do this.' You know, 'I'm betrothed to another.' All that kind of stuff." Jane Wiedlin sings the "hush, my darling" interlude on this song. She was a stalwart backing vocalist in the group, but was never allowed to sing lead. When she asked to do lead vocals on "Forget That Day," a song she wrote for their third album in 1984, she was rebuffed and left the group before the album was completed. The band didn't last much longer, breaking up in 1985 before releasing another album. "We'd been together about two years when I wrote Our Lips Are Sealed. Some of the songs from the very beginning were songs that ended up part of our repertoire. Others fell by the wayside. I remember when I wrote it, I was really afraid to show it to the band in case they didn't like it and all this stuff. But luckily they did like it." "We Got The Beat" was written by guitarist Charlotte Caffey, who drew inspiration from some Motown beats, specifically one that mentioned the name of her group. Caffey said, "I thought it would be very clever to do 'Going To A Go-Go.' I thought, Well, let's try working this out as a cover song. Which is really funny when I think about it. I was listening to it a lot one day, and later that night, the song came to me within five minutes. I don't even know if it has anything to do with listening to that song, but this whole idea came to me. It was one of those things that just went right through me and came out my hand; I wrote it down, recorded it a little bit, and then brought it into rehearsal a few days later." This plays in the opening scene of the 1982 movie Fast Times at Ridgemont High, where we meet the main characters in their natural habitat: the Ridgemont Mall. The song doesn't appear on the soundtrack but got a lot of attention from the film. Other movies to use the song include: Brimstone & Treacle (1982) Romy and Michele's High School Reunion (1997) Jimmy Neutron: Boy Genius (2001) My Little Pony: The Movie (2017) Poms (2019) The song ties into the album title, Beauty And The Beat, which was Belinda Carlisle's idea. The group's first album, it was recorded in New York City with producer Richard Gottehrer, the man who gave us "I Want Candy." The Go-Go's were based in Los Angeles, so during this time they stayed together in suites at the Wellington Hotel in New York City, causing lots of mischief and having way too much fun. The group brainstormed ideas for the cover and decided to go with a spa theme, showing the girls wrapped in towels with cream on their faces. Their art director, George DuBois, took the photos in the hotel, with shots of each member in the bathtub for use on the back cover. According to Kathy Valentine, their manager, Ginger Canzoneri, got the towels from Macy's and returned them after the shoot. They used Pond's cold cream on their faces. This opens the musical Head Over Heels, based on the music of The Go-Go's, which played on Broadway in 2018. When an oracle, played by Peppermint of RuPaul's Drag Race, foresees a beatless future for the Elizabethan-era townsfolk of Arcadia, they respond with the tune We Got The Beat. Belinda Carlisle – lead vocals, percussion (1978–1985, 1990, 1994, 1999–2022) Jane Wiedlin – rhythm guitar, backing vocals (1978–1985, 1990, 1994, 1999–2022), lead guitar (1978) Charlotte Caffey – lead guitar, keyboards, backing vocals (1978–1985, 1990, 1994, 1999–2022) Margot Olavarria – bass (1978–1980) Elissa Bello – drums (1978–1979)

Should I Stay Or Should I Go Album: Combat Rock (1982) Train In Vain (Stand By Me) Album: London Calling (1979) bonus track... The Clash Should I Stay Or Should I Go is one of the more popular songs by The Clash, this one uses a very unusual technique: Spanish lyrics echoing the English words. Singing the Spanish parts with Joe Strummer was Joe Ely, a Texas singer whose 1978 album Honky Tonk Masquerade got the attention of The Clash when they heard it in England. When Ely and his band performed in London, The Clash went to a show and took them around town after the performance. They became good friends, and when The Clash came to Texas in 1979, they played some shows together. They stayed in touch, and when The Clash returned to America in 1982, they played more shows together and Ely joined them in the studio when they were recording Combat Rock at Electric Ladyland Studio in New York. In a 2012 Songfacts interview with Joe Ely, he explained: "I'm singing all the Spanish verses on that, and I even helped translate them. I translated them into Tex-Mex and Strummer kind of knew Castilian Spanish, because he grew up in Spain in his early life. And a Puerto Rican engineer (Eddie Garcia) kind of added a little flavor to it. So it's taking the verse and then repeating it in Spanish." When we asked Ely whose idea the Spanish part was, he said, "I came in to the studio while they were working out the parts. They'd been working on the song for a few hours already, they had it sketched out pretty good. But I think it was Strummer's idea, because he just immediately, when it came to that part, he immediately went, 'You know Spanish, help me translate these things.' (Laughs) My Spanish was pretty much Tex-Mex, so it was not an accurate translation. But I guess it was meant to be sort of whimsical, because we didn't really translate verbatim." According to Strummer, Eddie Garcia, the sound engineer, called his mother in Brooklyn Heights and got her to translate some of the lyrics over the phone. Eddie's mother is Ecuadorian, so Joe Strummer and Joe Ely ended up singing in Ecuadorian Spanish. About two minutes in, you can hear Mick Jones say, "Split!" While it sounds like it could be some kind of statement related to the song, Joe Ely tells Songfacts it had a much more quotidian meaning. Said Ely: "Me and Joe were yelling this translation back while Mick Jones sang the lead on it, and we were doing the echo part. And there was one time when the song kind of breaks down into just the drums right before a guitar part. And you hear Mick Jones saying, 'Split!' Just really loud, kind of angry. Me and Joe had snuck around in the studio, came up in the back of his booth where he was all partitioned off, and we snuck in and jumped and scared the hell out of him right in the middle of recording the song, and he just looked at us and says, 'Split!' So we ran back to our vocal booth and they never stopped the recording." The line, "If you want me off your back" was originally the sexually charged line "On your front or on your back." In April 1982, the famed '60s producer Glyn Johns was brought in to slash the album down and make it into a mainstream-friendly single-LP. In addition to cutting parts of songs out, he insisted that Mick Jones re-record this line, fearing that US radio stations would not touch a record with such a sexually suggestive line. These sessions as a whole were in bad blood, with Jones furious that his original mixes of his songs were being massacred against his will, and it was this combined with other factors (such as the return of controversial manager Bernie Rhodes) which resulted in the breakdown of the band and Jones' sacking in 1983. For the most part, Mick Jones has refused to assign meaning to the lyrics. He said in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: "'Should I Stay Or Should I Go?' wasn't about anything specific and it wasn't pre-empting my leaving The Clash. It was just a good rocking song, our attempt at writing a classic." But in a 2009 Rolling Stone article on The Clash, the magazine asserts that Jones wrote this song about his girlfriend Ellen Foley, who acted on the TV series Night Court and sang with Meat Loaf on "Paradise By the Dashboard Light." She told Songfacts in 2021: "I really don't know if it's about me. It's a very good song though, whomever it's about." It was also speculated that the song is a comment on Jones' position in the band, pre-empting his sacking in 1983 by over a year and a half. Strummer pondered this in interviews, as did Jones. "Maybe it was pre-empting my leaving" he noted in 1991, although he did conclude that it was more likely about a "personal situation" - presumably his relationship with Foley. Psychobilly is the punk version of rockabilly; it's a fusion genre which also gets a nice sound out of elements of everything from doo-wop to blues, but with that punk edge to it. "Should I Stay or Should I Go?" resembles early punk, almost retro style, and so could be called rockabilly. More than anything, it compares very nicely with The Cramps. "Should I Stay Or Should I Go?" is possibly one of the most covered Clash songs by dint of being one of the most popular. Some of the groups to cover this song include Living Colour, Skin, MxPx, Weezer, and The Ukulele Orchestra of Great Britain. Anti-Flag covered the song at various festival dates in 2012, and more memorable versions exist by Die Toten Hosen and Australian pop star Kyle Minogue. It even shows up in "Weird Al" Yankovic's "Polkas On 45" medley - a takeoff on the "Stars On 45 Medley." As a UK #1 single, what song did it replace as #1 on the UK charts? "Do the Bartman" by The Simpsons. Speaking of charts, while this song was their only #1 in the UK, The Clash got even less respect in the US; their highest chart on the Billboard was #8 for "Rock the Casbah". That's amazing when you consider how much airplay they get on the radio. Introduced into The Clash's live set in Paris in September 1981, "Should I Stay or Should I Go?" sat awkwardly in the set after Jones was fired - it was a hugely popular song so fans expected it to be played, but its author and singer was no longer in the band. For a while in 1984 it was performed with new guitarist Nick Sheppard singing lead vocals, with the song developing into an aggressive Metal thrash with bellowed Punk-style vocals. In the end The Clash Mark II dropped the song altogether, although not before they also added some nasty lyrics about Jones (as was common in the post-Jones Clash, sadly). Two much more representative versions are the version of the song filmed at Shea Stadium in 1982 (supporting The Who) for the music video, and the version from Boston in 1982 that features on the From Here To Eternity live compilation. Ice Cube and Mack 10 did a rap remake of this song for the 1998 Clash tribute album Burning London. This was re-released as a single in February 1991 after it was used in a Levi's jeans television ad. It went to #1 in the UK, but didn't chart in the US. Cheekily, Mick Jones used a vocal sample from this track on one of his post-Clash projects, Big Audio Dynamite. You can hear it on their song "The Globe." This is a key song in the '80s-themed Netflix series Stranger Things. It was first used in the second episode (2016), where the character Jonathan Byers introduces it to his younger brother, Will, to distract him when their parents fight, telling him it will change his life. When Will gets abducted into an alternate universe, the song becomes a way for him to communicate, and a source of comfort. The song is used several times throughout the series. To secure the rights, music supervisor Nora Felder had to explain to the band how it would be used. Through scene descriptions, she convinced them they would honor the song. On December 22, 2007, several prominent musicians, including Flea of Red Hot Chili Peppers, put on a tribute show for Strummer, who died of a heart attack in 2002. It was titled Cast A Long Shadow and held in the Key Club in West Hollywood, California. English band Love And Rockets played "Should I Stay or Should I Go?" twice, calling the audience up to sing along the second time. Despite the title, the words "train in vain" don't appear in this song. The predominant lyric is "stand by me," but that's the title of a famous song by Ben E. King. The title of The Clash song comes from the train rhythm in the song combined with the theme of being lost. It's also a reference to Tammy Wynette's 1975 hit single "Stand By Your Man" ("you say you stand, by your man, tell me something, I don't understand"). On the original vinyl copy of the album, "Train Is Vain" isn't listed on the tracklisting on the sleeve. The story is that the song was recorded for an NME promotional flexi-disc once the London Calling sessions were done, and the flexi-disc idea then fell through, leaving the song with no home. The band hastily tacked the song onto the end of the album just before vinyl pressing, but the sleeve had already been designed and there was no time to add it to the tracklisting. The only clue of it's existence is in the run-out groove on Side 4, where the name is carved into the vinyl. On all subsequent releases (including the CD copy) "Train In Vain" is included on the tracklisting on the sleeve. According to NME magazine (3/16/91), this isn't listed on the sleeve credits for London Calling because it was originally going to be a flexi giveaway with NME magazine. Unfortunately, the idea proved too expensive and the track went on the album instead. Clash guitarist Mick Jones sang lead vocals on this song. The lyrics appear to reference the end of his on-off relationship with Viv Albertine, which he also explored on the London Calling track "I'm Not Down." "Train In Vain" also contains a pointed reference to his flat being burgled in early 1979 and to his feelings of depression ("I need new clothes, I need somewhere to stay"). This was the first US Top 40 hit for The Clash. They had only one more - "Rock The Casbah" in 1982. The album cover was designed as a tribute to Elvis Presley's first album. The words "London" and "Calling" are displayed the same way "Elvis" and "Presley" were on his 1956 debut. Instead of a photo of Elvis, however, the text frames a shot of Clash bass player Paul Simonon smashing his bass during a show at The Palladium in New York. That bass was later displayed in the Rock and Roll Hall of Fame. The song became a firm live favorite for the band, introduced to their live set in December 1979 and played consistently until Mick Jones was fired in 1983. The music video is taken from one of these many live performances, a February 1980 show in Lewisham filmed by Don Letts and featuring an amusing introduction from Joe Strummer: "We'd like to take the soul train from platform one... and if you don't want to come, there's always the toilet!" You'd think a big hit like "Rock the Casbah" or "Should I Stay or Should I Go" would be the most covered Clash song, but it's actually "Train in Vain." Cover versions exist by Third Eye Blind, Ill Rapture, Dr. Haze/DJ X-Cel, The Sabrejets, Dwight Yoakam, Annie Lennox, The Manic Street Preachers, Jones Crusher and Kirsty MacColl. The Pretenders lead singer Chrissie Hynde was on the scene when the band recorded this at Wessex Studios. Mick Jones explained to Daniel Rachel (The Art of Noise: Conversations with Great Songwriters): "It wasn't about Chrissie Hynde but she was upstairs and there was a window from the pool room where she could look in. I was singing it to Chrissie." This R&B-flavored tune introduced The Clash to a new audience. "We couldn't believe how popular it became, especially in America," Jones said. "That broke us in there. They thought it was a regular R&B song, then they found out it was The Clash."

Truckin' Album: American Beauty (1970) Touch of Grey Album: In The Dark (1987) by Grateful Dead The '60s was a time for traveling and discovering your place in the world. Sometimes what you found was an empty existence that just keeps repeating itself day to day. Having to deal with everyday life when you were always waiting for some kind of revelation to expand your consciousness was often depressing. In Truckin', The Grateful Dead deal with the banality by continuing their search for epiphany. They just keep truckin' on. "Truckin'" is the Grateful Dead's coming-of-age story. In Anthem To Beauty, a documentary covering the making of the American Beauty album, Dead guitarist/vocalist Bob Weir talks about the romance of striking out on the road. He says it was a rite of passage for young people in the 1960s - as it perhaps still is to some degree today, though the internet has robbed much of the mystery of the road. "Truckin'" covers the Dead's navigation through that rite of passage. "We were starting to become real guys," Weir says, "and really enjoying the hell out of it." For the Dead, that rite became a way of life. The band never made a ton of money from record sales, and their unique legacy was made by touring. Also in Anthem, Phil Lesh talks about how the Dead's touring in 1970 preceded the "rock and roll bubble," when groups were isolated from fans and regular folks. The Dead were flying coach, riding busses, and staying in modest hotels. There were no handlers to protect them from the public or from the authorities. That manner of living was exciting in its way, but it could also get downright boring after a while, with long hours spent in hotel rooms and waiting for transportation to the next show. This is why the song has a line going, "Get tired of travelin' and you want to settle down." Even though the song is autobiographical for the Dead, it also means a lot to the lives of many Deadheads and children of the '60s in general. Part of what defined that generation was the thirst for freedom and adventure, which led to lives on the road (and some people staying there too long). Grateful Dead members Jerry Garcia, Phil Lesh and Bob Weir are the credited writers on this track along with their lyricist, Robert Hunter. During recording, Hunter fed Weir one line at a time. The line, "Busted, down on Bourbon Street" refers to an incident on January 31, 1970 when members of the band were arrested in a drug bust that netted 19 people in New Orleans. The group was in town to play two shows at a club called the Warehouse, and the raid happened the morning after their first show at the French Quarter hotel where they were staying. Lesh, Weir and drummer Bill Kreutzmann were all arrested along with crew members and fans of the band who had joined them at the hotel. The story made the front page of the New Orleans Times-Picayune the next day, and drew national attention, with Rolling Stone running an article on the incident. Owsley Stanley, a Dead associate known for his pioneering work with LSD, was also arrested and labeled the "King of Acid" in the Times-Picayune piece. According to the Rolling Stone article, the band paid for bail and legal fees for all 19 arrested. In its original conception, the song was supposed to evolve as the band progressed. Robert Hunter envisioned them adding verses for significant events as time went on, but then came to realize that it simply wasn't going to work that way. The song ended up staying the same, though the band would improvise jams during live performances. In Behind the Hits by Bob Shannon and John Javna, Hunter said he started writing the song in the band's home base of San Francisco, wrote some more in Houston, and then wrapped it up in Florida, which would bring the song all the way from West Coast to East. In the same book, Hunter mentions that the line "sometimes the light's all shining on me" came from the rest of the Dead, not from himself, and that the band tinkered with his melody a bit so the final product sounded less like Chuck Berry than he had originally written. Over at Dead.net, David Dodd reports a rumor that the lyric "arrows of neon and flashing marquees out on Main Street" originally started with "garlands of neon," and that Hunter had chosen the word "garlands" as a prank to tongue-tie Weir. Weir eventually gave it up and went with the more singable "arrows of neon." Despite the emblematic "what a long, strange trip it's been" line, the band had only been together for five years when "Truckin'" was recorded. The band members were also in their 20s or early 30s, hardly the grizzled old veterans that the line implicates. In Skeleton Key: A Dictionary for Deadheads, Hunter says that the "long strange trip" referred also to his decade of performing that preceded his time with the Dead. The line has become almost a cliché today, but it originated in "Truckin'," and it meant a lot not only to the band but to the '60s generation. The hippie counterculture flung its participants through five years of transformation and madness that were very rare. With tens of thousands of young people slinging on backpacks and hitting the road, they lived a lot of life in a short span of time, and came out feeling the road had been longer than mere chronology might suggest. The Dead first played "Truckin'" as the opening song for their August 18, 1970 performance at the Fillmore West in San Francisco. They also debuted American Beauty songs "Operator," "Brokedown Palace," and "Ripple." The final performance was at Maryland Heights Missouri's Riverport Amphitheatre on July 6, 1995. Dead frontman Jerry Garcia died a little over a month later. The Dead released the song as a single, backed with "Ripple." It reached #64, making it the highest-charting single on the album. "Sugar Magnolia" hit #91. Dallas - got a soft machine Beat writer William S. Burroughs wrote a novel titled The Soft Machine in 1961. It's the first part of his Nova Trilogy and is wild and bizarre even by the standards of Burroughs, who was one of American literature's wildest, most bizarre writers. How this book (too winding and strange to even attempt to summarize coherently here) would be used to represent Dallas is truly a mystery, but the connection seems pretty certain. Burroughs and the Beats were the precursors to the hippies, and Hunter was a well-read fellow. Truckin', got my chips cashed in Keep truckin', like the doo-dah man A person cashes chips in at casinos and similar gambling venues. You get money for your chips. People cash in their winnings. In the book Skeleton Key, Hunter states that the "doo-dah man" refers to "Camptown Races" by Stephen Forster, which contains the refrain "doo-dah, doo-dah." Once told me you got to play your hand Sometime - the cards ain't worth a dime These gambling allusions refer back to the opening line about having chips cashed in. Gambling has been used as a metaphor for life so much in popular culture that it's become a trope all its own. The peak was probably in 1978 with Kenny Rogers' "The Gambler." What in the world ever became of sweet Jane? She lost her sparkle, you know she isn't the same Livin' on reds, vitamin C, and cocaine All a friend can say is, "Ain't it a shame?" Mary Jane is a common phrase for marijuana, which has led many to see this as a reference to the drug and possibly to the way that the '60s counterculture went sideways and destroyed itself. The hippies started out using weed, mushrooms, and LSD - "head drugs" seen by the culture's proponents as being harmless or even spiritually and psychological beneficial - but by 1970 many had veered into hard drug territory. Cocaine, speed, and heroin turned the good times bad for many casualties of the era. Robert Hunter said the verse was meant to parody commercials of the 1940s, which frequently used jingles, specifically mentioning a Pepsodent commercial. The Golden Road, a Dead quarterly that ran from 1984 to 1993, mentioned that "truckin'" was a dance step popular in the 1920s and '30s. Others have note that "truckin'" used to be slang for sex. Interesting stuff, but there doesn't seem to be any evidence from the Dead themselves that these things apply to the song. The band members discussed the meaning of "Truckin'" pretty openly and without ambiguity, and none of those hidden meanings were ever hinted at. "Truckin'" is an upbeat song on a generally melancholic album. Phil Lesh was still mourning the loss of his father, and Jerry Garcia's mother was in critical condition following a car accident. That grief is palpable on most of American Beauty, but it doesn't touch "Truckin'" so much. According to Hunter's account in Skeleton Key, American Beauty was also the Dead's attempt to flow with the times. They'd made their name in the psychedelic era (embodying that moment in music history more indelibly than any other act) and had then followed the "back to roots" call of The Band, Dylan, CSN&Y, and The Byrds with Workingman's Dead in June 1970. With American Beauty, they were trying to rise with the tide of "commercially safe" music. "Truckin'" turned out to be the most salable tune of that effort, which is kind of funny considering that it specifically mentions the rather "unsafe" Bourbon Street drug bust. The song is played in the key of E with a 12/8 time signature. On Touch of Grey Robert Hunter wrote the lyrics, as he did with many Dead songs, although Jerry Garcia wrote the line, "Light a candle, curse the glare." This is according to the book Box Of Rain, which was written by Hunter and is a collection of his published songs. In the book, it is "A Touch of Grey" and has an asterisk next to the line Jerry wrote. Robert Hunter started writing the lyrics to Touch of Grey in 1980, and the Dead first performed it on September 15, 1982 at a show in Landover, Maryland. They played it sporadically over the next few years, and finally recorded it for their 1987 album In The Dark. According to David Dodd in The Annotated Grateful Dead Lyrics, the line "Light a Candle, curse the glare" is a play on Adlai Stevenson's 1962 reference to Eleanor Roosevelt's death. He said, "She would rather light a candle than curse the darkness." The line, "The Ables and the Bakers and the Cs" refers to the first two words in an older version of the military communication alphabet, "Able" and "Baker." The modern version starts with "Alpha" and "Bravo." The song is about the band aging gracefully. The phrase "Touch Of Grey" is a reference to getting older, as for most people, their hair starts getting grey as they age. Aging gracefully is a challenge, especially in the music industry. According to Dead drummer Mickey Hart, Robert Hunter wrote the lyric as a pick-me-up. "When he wrote 'Touch Of Grey,' we were struggling," Hart said. "But it became an anthem to us. It perked us up." This was The Grateful Dead's first and only hit song. They never set out to be on the radio, enthralling fans with their mind-bending musical landscapes and confounding critics with their interminable jamming. Their large and loyal following ensured that their albums sold well and their concerts were full. For many of the Dead faithful, it was strange hearing the group on pop radio and seeing them on MTV, but the song fit well with their canon and was clearly not an attempt to chase the '80s trends. The song did change the dynamic of Dead discovery. Most fans were turned on to the band by listening to their classic albums or going to a concert with a seasoned follower, but now there was a new poseur class who came on board for "Touch Of Grey." The line, "I will get by, I will survive," became a mantra of resilience in the Dead community. When Jerry Garcia fell into a diabetic coma in July 1986, it looked like the group could be finished; when he returned to action in December, the group opened with "Touch Of Grey," reassuring fans that they would indeed get by. Following Garcia's death in 1995, various incarnations of the band and associated acts like Ratdog and Phil Lesh & Friends have played the song. A notable performance came on the final night of their Fare Thee Well tour on July 5, 2015 in Chicago when Trey Anastasio and Bruce Hornsby each sang a verse. When the band returned that year as Dead & Company with John Mayer in the fold, the song went back into rotation. The band made a video for this song, which was the first one they made for MTV. Directed by Justin Kreutzmann, they shot it after a concert at Laguna Seca Raceway in California on May 9, 1987, which let them use a real audience. The crowd was re-admitted after the shoot was set up; they saw the band run through the song in human form, and also as skeleton likenesses. This footage was combined to create the clip. The video was included on Dead Ringers: The Making of Touch of Grey, which was sold as a home video. The Dead were known for varying their setlists so that every show was different, and they didn't change this tradition even when this song was on the charts. Instead of catering to newcomers by playing their hit single at every concert, they only played it when they felt like it. The Mighty Diamonds covered this in 1996 on Fire On The Mountain, an album of reggae versions of Grateful Dead songs.