Psychological operations

Apeman Album: Lola vs. Powerman And The Moneygoround, Part 1 (1970) You Really Got Me Album: The Kinks (1964) All Day And All Of The Night Album: The Kink Kronicles (1964) by The Kinks On "Apeman" Ray Davies had to re-dub the line "the air pollution is a-fogging up my eyes" for the radio, and for their November 1970 performance on Top Of The Pops, because it sounded too much like "the air pollution is 'a f---ing' up my eyes." The Kinks had the same situation with their previous single, "Lola" where Ray had to replace the line "Where you drink champagne and it tastes just Coca-Cola" with "Cherry cola" for airplay. John Gosling (aka "The Baptist") wore a gorilla outfit while sitting behind his keyboards during the Kinks' Top of the Pops performance of this song. The Kinks were able to perform this song in America because a year earlier, the musicians' union ban they incurred in 1965 had been lifted. They drew the ire of the union on their first American tour that year by clashing with technicians and cutting sets short. The ban kept The Kinks out of sight in the US until 1969. The song was covered by former Marillion singer Fish for his 1993 album Songs from the Mirror. This appeared in the 1986 Robin Williams movie Club Paradise. Ray Davies wrote the lyric to "You Really Got Me" after watching girls dancing in a club. It's not the most articulate lyric, but that's the point: The guy in the song is so infatuated, all he can do is mutter at the girl how she's really got him. In 2015, he told Rolling Stone: "I just remembered this one girl dancing. Sometimes you're so overwhelmed by the presence of another person and you can't put two words together." Davies expanded on the song's inspiration during a 2016 interview with Q magazine: "I was playing a gig at a club in Piccadilly and there was a young girl in the audience who I really liked. She had beautiful lips. Thin, but not skinny. A bit similar to Françoise Hardy. Not long hair, but down to about there (points to shoulders). Long enough to put your hands through... (drifts off, wistfully)... long enough to hold. I wrote 'You Really Got Me' for her, even though I never met her." Dave Davies got the dirty guitar sound by slashing the speaker cone on his amplifier with a razor blade. The vibration of the fabric produced an effect known as "fuzz," which became common as various electronic devices were invented to distort the sound. At the time, none of these devices existed, so Davies would mistreat his amp to get the desired sound, often kicking it. According to Dave, the amp slashing happened in his bedroom in North London when he was irate - he had gotten his girlfriend, Sue Sheehan, pregnant, and their parents wanted to keep them from getting married. Instead of doing self harm, he used the blade on the amp to channel his rage. The amp was a cheap unit called an Elpico that had been giving him problems - he decided to teach it a lesson! In the studio, the wounded Elpico was hooked into a another amp, which Dave recalls as a Vox AC30 and producer Shel Talmy remembers as a Vox AC10. The sound they got changed the course of rock history, becoming the first big hit to use distortion. Davies and Sheehan stayed apart, but she had the baby, a girl named Tracey who finally met her father until 1993. "You Really Got Me" is the first hit for The Kinks. Before releasing it, they put out two singles that flopped: a cover of "Long Tall Sally" and a Ray Davis composition called "You Still Want Me." If "You Really Got Me" didn't sell, there was a good chance their record label would have dropped them, but the song gave them the hit they were looking for. Soon they were making TV appearances, gracing magazine covers, and playing on bills with The Beatles as an opening act. They didn't have an album out when the song took off, so they rushed one out to capitalize on the demand. This first, self-titled album has just five originals, with the rest being R&B covers - standard practice at the time for British Invasion bands. The Kinks recorded a slower version with a blues feel on their first attempt, but hated the results. Ray Davies thought it came out clean and sterile, when he wanted it to capture the energy of their live shows. Dave Davies' girlfriend backed them up, saying it didn't make her want to "drop her knickers." The Kinks' record company had no interest in letting them re-record the song, but due to a technicality in their contract, they were able to withhold the song until they could do it again. At the second session, Dave Davies used his slashed amp and Talmy produced it to get the desired live sound. This is the version that was released. Talmy liked the original: He claimed it would also have been a hit if it was released. Ray Davies came up with famous riff on the piano at the family home. He played it for Dave, who transposed it to guitar. Their first version was 6-minutes long, but the final single release came in at just 2:20. The first line was originally "you, you really got me going." Ray Davies changed it to "girl, you really got me going" at the suggestion of one of their advisers. The idea was to appeal to the teenage girls in their audience. The final version of the song was recorded in July 1964, with Ray Davies on lead vocals, Dave Davies on guitar, and Pete Quaife on bass. The Kinks didn't have a drummer when they first recorded the song a month earlier, so producer Shel Talmy brought in a session musician named Bobby Graham to play. When they recorded it the second time in July, Mick Avory had joined the band as their drummer, but Talmy didn't trust him and made him play tambourine while Graham played drums. A session musician named Arthur Greenslade played piano, and Jon Lord, years before he became a member of Deep Purple, claimed he played keyboards. Lord recalled with a laugh to The Leicester Mercury in 2000: "All I did was plink, plink, plink. It wasn't hard." Released in the UK on August 4, 1964, "You Really Got Me" climbed to #1 on September 16, where it stayed for two weeks. In America, it was released in September and reached a peak of #7 in November. Ray Davies is the only songwriter credited on this track, even though his brother Dave came up with the signature guitar sound. This was one of many friction points for the brothers, who are near the top of any list of the most combative siblings in rock. When they recorded the song, Ray was 22 and Dave was 17. Ray Davies wrote this with the intention of making it big crowd-pleaser for their live shows. He was trying to write something similar to "Louie Louie," which was a big hit for The Kingsmen. Shel Talmy, who produced this track, came to England from California and brought many American recording techniques with him. To get the loud guitar sound on "You Really Got Me," he recorded the guitar on two channels, one with distortion, the other without. When combined in the mix, the result was a loud, gritty sound that popped when it came on the radio. "I was using some techniques I worked out on how to get a raunchier sound with distortion," Talmy said in a Songfacts interview. "It wasn't that difficult because I had done it before in America." Talmy added: "It helped that Dave was as good as he was, and that he was quite happy to listen." Talmy later produced the first album for The Who, My Generation. It was rumored that Jimmy Page, who was a session musician at the time, played guitar on this track, which the band stridently denied. According to producer Shel Talmy, Page didn't play on this song but did play rhythm guitar on some album tracks because Ray Davies didn't want to sing and play guitar at the same time. Ray Davies took pains to make sure we could understand the words. "I made a conscious effort to make my voice sound pure and I sang the words as clearly as the music would allow," he said. A 1978 cover of this song was the first single for Van Halen, who played lots of Kinks songs in their early years doing club shows. Eddie Van Halen spent the next several years developing new guitar riffs, and like Davies, was known to manipulate his equipment to get just the right sound. The powerful rhythm guitar riff was very influential on other British groups. The Rolling Stones recorded "Satisfaction," which was driven by the rhythm guitar, a year later. According to Ray Davies, there was a great deal of jealousy among their peers when The Kinks came up with this song. He said in a 1981 interview with Creem: "There were a lot of groups going around at the time – the Yardbirds, the Kinks, the Rolling Stones – and nobody had really cracked with a sort of R&B #1 record. The songs were always sort of like The Beatles. When we first wanted to do a record, we couldn't get a recording gig. We were turned down by Decca, Parlophone, EMI and even Brian Epstein came to see us play and turned us down. So I started writing songs like 'You Really Got Me,' and I think there was a sheer jealousy that we did it first. Because we weren't a great group – untidy – and we were considered maybe a bit of a joke. But for some reason, I'd just had dinner, shepherd's pie, at my sister's house, and I sat down at the piano and played da, da, da, da, da. The funny thing is it was influenced by Mose Allison more than anybody else. And I think there was a lot of bad feeling. I remember we went to clubs like the Marquee, and those bands wouldn't talk to us because we did it first." The Kinks' next single was "All Day And All Of The Night," which was basically a re-write of this song, but was also a hit. This has been used in these TV shows: The Simpsons ("The Canine Mutiny" - 1997) Mad Men ("The Other Woman" - 2012) Shameless ("Hurricane Monica" - 2012) Blue Bloods ("Model Behavior" - 2011) Daria ("Legends of the Mall" - 2000) WKRP in Cincinnati ("Frog Story" - 1981) And in these movies: Minions (2015) Alvin and the Chipmunks: The Squeakquel (2009) Catch Me If You Can (2002) The New Guy (2002) Hilary and Jackie (1998) Private Parts (1997) A Bronx Tale (1993) She's Out of Control (1989) Night Shift (1982) Over the Edge (1979) It also appears in the video game Guitar Hero II (2006). Ray Davies recalled in an interview with NME how his brother Dave created the distortion effect on this song. Said Ray: "We stuck knitting needles in the speakers, or in Dave's case, he slit the speakers with a razor blade. In those days we played records on a radiogram so loudly that they all sounded fuzzy. We thought, 'That's a great sound,' without realizing the speakers were buggered. Everyone else was using really clean guitar sounds, so for 'You Really Got Me' we hooked a little speaker up to a clean amp and came up with thunderous, unaffected, pure power." In a Rolling Stone interview, Ray said that they "evolved" the sound by putting knitting needles in the speakers when recording this song. That statement prompted a rebuttal from his brother Dave, who wrote in to explain: "I alone created the guitar sound for the song with my Elpico amp that I bought. I slashed the speaker with a razor blade, which resulted in the 'You Really Got Me' tone. There were no knitting needles used in making my guitar sound." One of the many things the Davies brothers disagree on is the Van Halen cover. Ray loves it. He told NME it is his favorite Kinks cover. "It was a big hit for them and put them on a career of excess and sent them on the road. So I enjoyed that one." Dave Davies is not a fan. He told Rolling Stone: "Our song was working-class people trying to fight back. Their version sounds too easy." The Who played this at many of their early concerts. Their first single was "I Can't Explain," also produced by Shel Talmy with a sound clearly borrowed from "You Really Got Me," as Pete Townshend played a dirty guitar riff similar to what Dave Davies' did. The Kinks based All Day And All Of The Night on their first hit, "You Really Got Me." In their early years, The Kinks' record company pressured them to follow up hits very quickly, which created what lead singer Ray Davies described as an "assembly line" of songs. In this case, the tactic worked well, with the sound-a-like tune scoring them another hit. Kinks frontman Ray Davies wrote this lusty rocker where the guy can't stand to be away from his girl even for a minute. He called it, "A neurotic song - youthful, obsessive and sexually possessive." This was produced by group's manager, Shel Talmy, who helped The Kinks get a loud, dynamic sound. Talmy, an American who came to England when he smelled opportunity, also produced the first album for The Who. The Kinks recycled the basic riff in the song "Destroyer," the style of which bares a resemblance to that of many Talking Heads songs, from that group's 1981 album Give The People What They Want. "Destroyer"'s lyrics contain references to other Kinks songs, including "Lola." During a July 12, 2006 concert at the Mountain Winery in Saratoga, Ray Davies explained how the song was originally rejected by his record company because it was "too blue-collar, too working-class" and because the record execs thought the guitar sounded like a dog's bark. You might notice some similarities between this song and the 1968 Doors song "Hello, I Love You." According to Ray Davies, his publisher wanted to sue the Doors over it, but Ray refused to take legal action. There was a persistent rumor that Jimmy Page played guitar on some early Kinks songs, including this one. When Ray Davies was asked about this in a 1981 interview with Creem, he replied: "I remember Page coming to one of our sessions when we were recording 'All Day And All Of The Night.' We had to record that song at 10 o'clock in the morning because we had a gig that night. It was done in three hours. Page was doing a session in the other studio, and he came in to hear Dave's solo, and he laughed and he snickered. And now he says that he played it! So I think he's an asshole, and he can put all the curses he wants on me because I know I'm right and he's wrong."

The Who Album: Face Dances (1981) Face Dances was originally released in the UK on 16 March 1981 (Polydor 2302 106 WHOD 5037) and as a remastered CD in 1997 (Polydor 537 695-2). It was reissued on heavyweight vinyl in 2012 (Polydor 3715712). It was released simultaneously in the US by Warner Bros (WB HS 3516) and as a CD (WB 3516-2), later reissued by MCA (MCAD 25-25987, MFSL 1-115). It is currently available as a remixed and remastered CD (MCA MCAD-11634) issued in 1997. After the death of Keith Moon, The Who re-grouped with Kenney Jones on drums and, initially, concentrated on live work. The new look Who launched themselves in a barrage of publicity, playing their first concert at London’s Rainbow Theatre on 2 May 1979. It wasn’t until over a year later that work began on Face Dances. Aside from the arrival of Kenney Jones, there were other changes in the traditional Who modus operandi: John ‘Rabbit’ Bundrick played keyboards on stage and on some of the newer numbers Roger played guitar on stage for the first time since the days of The Detours in 1962. The album was originally to be titled The Who, but the name Face Dances replaced it just before release. The phrase was inspired by a friend of Pete Townshend's who was rhythmically moving a match between her teeth, an action that Townshend jokingly termed "face dances". This incident is described in the first verse of Townshend's song "Face Dances, Pt. 2". He later realised that he had been inspired by the Face Dancers in Frank Herbert's Dune series: "It was only later that someone pointed out to me that in the Dune trilogy there are a group of characters called 'face dancers,' sort of like chameleons; they can change completely for special purposes. That must have stuck in my head because I really loved the first one." "You Better You Bet" was the first single released from the album; its music video was one of the first music videos aired on MTV in 1981, and was the first to be repeated on the channel. "Don't Let Go the Coat" was the second single to be released from the album, and it also had its own music video. While a video was shot for "Another Tricky Day", the song was not released as a single commercially but it was a US Album Rock Top 10 track. You Better You Bet is a love song written from the perspective of a guy who drinks and smokes too much. He and his girl have a clever rapport: when he tells her he loves her, she says, "You better." Pete Townshend wrote it "over several weeks of clubbing and partying" while the still-married guitarist was dating a younger woman. He said: "I wanted it to be a great song, because the girl I wrote it for is one of the best people on the planet." This was also the first Who single recorded with drummer Kenney Jones, who had replaced Keith Moon after his death three years earlier. Speaking to Uncut magazine in 2001, lead singer Roger Daltrey commented: "A wonderful, wonderful song. The way the vocal bounces, it always reminds me of Elvis. But it was a difficult time, yeah. The Moon carry-on was much harder than carrying on after John, because we're more mature now. I hate going over this but, in retrospect, we did make the wrong choice of drummers. Kenney Jones – don't get me wrong, a fantastic drummer – but he completely threw the chemistry of the band. It just didn't work; the spark plug was missing from the engine." "The first tour Kenney did with us, though, he was absolutely f--king brilliant," Daltrey added. "But after that he settled into what he knew, which was his Faces-type drumming, which doesn't work with The Who. In some ways I'd like to go back and re-record a lot of the songs on Face Dances, but 'You Better, You Bet' is still one of my favorite songs of all." The lyric, "I drunk my self blind to the sound of old T-Rex," refers to the '60s/'70s British glam rock band T-Rex, fronted by Marc Bolan. The lead single from The Who's Face Dances album, this was the last single by the band that reached the Top 20 on the Billboard Hot 100 and the Top 10 in the UK. The keyboard line came from a Yamaha E70 organ Pete Townshend played using the Auto Arpeggio setting. He used the same setup to create the keyboard riff in "Eminence Front."

My mother, who literally has the name of an angel, is an Irish Princess from Pensacola. She did her undergraduate studies at Florida State University. When my father went to the University of South Carolina for his Law Degree, my mother at the same time completed her graduate study courses also at the University of South Carolina which mostly entailed working for the State at and for Dr. William S. Hall on Bull Street. Her career carried her and my father to Florence South Carolina at about exactly the same time Pee Wee Gaskins showed up. I can tell you this, my dear friends gathered on this thin raft, "mental health" is a con. Mental Health = Behavioral Control. Fundamentally, I really do not think most members of the secret societies truly grasp the control mechanism and how it works. Dan Harmon appears to have met my mother, at least philosophically.

Unlike some "local" South Carolina lawyer with all 9's in his phone number who claims to have been a Marine and is currently a lawyer... my daddy has you beat. He done all that in the Marines while training Navy pilots in Pensacola, then during the most famous snow storm in all of South Carolina lore... he flew the Governor and a General around... probably sprayed the sh1t that caused the freak storm in the first place... or knew the guys at Shaw AFB that done it.

Poor Boy Box of Frogs 1984 Three of the members of legendary band The Yardbirds got together in the early 1980s, with the idea of forming a new band “in the Yardbirds tradition”. The trio re-teamed for the first time since the Yardbirds' mid-1968 dissolution to play a 1983 live date at the London Marquee, and the performance proved so successful that they soon founded Box of Frogs with vocalist John Fiddler, formerly of Medicine Head and British Lions. Fellow Yardbirds alum Jeff Beck guested on several tracks on the group's self-titled 1984 LP, with Jimmy Page appearing on the 1986 follow-up Strange Land. Box of Frogs disbanded soon after. The Yardbirds launched the careers of many of the greatest musicians in rock history, including Jimmy Page, Eric Clapton, and Jeff Beck, as well as forming the foundation for perhaps the greatest “classic rock” band in history, Led Zeppelin. As this new Yardbirds-style band was attempting to record, various other Yardbirds members and friends kept “hopping in” to contribute, leading to the name of the band, the Box of Frogs. These extra amphibians included Page, Beck, Steve Hackett of Genesis, Rory Gallager, Graham Gouldman of 10cc, and others too numerous to mention here. The band produced two respectable albums, including a hit with “Back Where I Started”, and a ground-breaking video for “Another Wasted Day” Got a letter just the other day From the man downtown All my checks, they have flown away And now my credit is blown And I'm broke, I lost all my cash I'm in deeper than the Wall Street crash I'm sinking faster than a drowning man Oh, shit, I gotta get my ass out of the can Got the sheriff knocking on my door (Oh, shit) Every single day I don't need him to tell me that I'm poor Why don't he just f-fade away And I'm broke, I lost all my cash I'm in deeper than the Wall Street crash I'm sinking faster than a drowning man Oh, shit, I gotta get my ass out of the can 'Cause I'm broke, I lost all my cash I'm in deeper than the Wall Street crash I'm sinking faster than a drowning man Oh, shit, I gotta get my ass out of the can House is empty, I got nothing to sell Even the devil's took my soul I'm just sitting on an empty box I was rich, now what have I got? Nothing! And I'm broke, I lost all my cash I'm in deeper than the Wall Street crash I'm sinking faster than a drowning man Oh, shit, I gotta get my ass out of the can 'Cause I'm broke, I lost all my cash I'm in deeper than the Wall Street crash I'm sinking faster than a drowning man Oh, shit, I gotta get my ass out of the can

Album: Idlewild South (1970) "Midnight Rider" was Gregg Allman's signature song, describing how he continued on in the face of obstacles. He wrote the song, but shared the songwriting credit with Kim Payne, a roadie for the band who came up with the classic line, "The road goes on forever." After he wrote this song, Gregg Allman wanted to start recording it right away, so with the help of Kim Payne, who was guarding their equipment, he broke into the band's Macon, Georgia recording studio in the middle of the night and went to work, figuring he should get some tracks down before he forgot them. This first appeared on the second Allman Brothers album, Idlewild South, but it wasn't released as a single. The song became a live favorite and one very identifiable with Gregg, so when he recorded his first solo album, Laid Back, in 1973, he recorded a new version of this song and released it as a single. It became his biggest hit as a solo artist, charting at #19 US. This is that recording... with hobbits and whatnot. A 1976 reggae version by the Jamaican singer Paul Davidson reached #10 in the UK. This song can be heard in the movie Unbreakable when Bruce Willis's character is lifting weights. In 2013, this was used by Geico in a commercial for their motorcycle insurance. The spot, titled "Money Man," shows a rider literally made of money cruising while the song plays. The Allman Brothers are certainly popular with the biker crowd, but those familiar with the band found the ad in poor taste, as both Duane Allman and Berry Oakley died in motorcycle accidents. On June 7, 2017, Jason Aldean, Darius Rucker, Derek Trucks and Charles Kelley of Lady Antebellum paid tribute to Gregg Allman, who died on May 27, by opening the CMT Music Awards with a performance of this song. Willie Nelson recorded this for the 1979 movie The Electric Horseman. His version went to #6 on the Country chart in 1980. Midnight Rider Gregg Allman I've got to run to keep from hiding And I'm bound to keep on riding I've got one more silver dollar But I'm not gonna let 'em catch me, no Not gonna let 'em catch the Midnight Rider I don't own the clothes I'm wearing And the road goes on forever I've got one more silver dollar But I'm not gonna let 'em catch me, no Not gonna let 'em catch the Midnight Rider I've gone by the point of caring Some old bed I hope to be sharing And I've just one more silver dollar But I'm not gonna let em catch me, no Not gonna let 'em catch the Midnight Rider No, I'm not gonna let 'em catch me, no Not gonna let 'em catch the Midnight Rider

Forty Six And 2 by Tool A Tool is a term used at West Point Military Academy to describe someone who follows rules and regulations to the letter, simply because they are rules. Tools do not think for themselves and as a result, are often manipulated into doing the dirty work of others. Keenan spent 2 years at West Point. The major underlying principles here relate to chromosomes and Jungian theory. Some of the ideas behind this song are based on the teachings of the spiritual explorer Drunvalo Melchizedek. Here's a snip of an interview with him (Leading Edge, 12/95): "There are three totally different kinds of humans on the Earth, meaning that they perceive the One reality in three different ways, interpreted differently. The first kind of human has a chromosome composition of 42+2. They comprise a unity consciousness that does not see anything outside themselves as being separate from themselves. To them, there is only one energy - one life, one beingness that moves everywhere. Anything happening anywhere is within them, as well. They are like cells in the body. They are all connected to a single consciousness that moves through all of them. These are the aboriginals in Australia. There might be a few African tribes left like this. Then, there is our level, comprising 44+2 chromosomes. We are a disharmonic level of consciousness that is used as a steppingstone from the 42+2 level to the next level, 46+2...These two additional chromosomes change everything." According to Melchizedek, our planet is covered with geometrically constructed "morpho genetic grids" that extend from about 60 feet under the Earth's surface to about 60 miles above the Earth, arranged in geometric patterns (see "Sacred Geometry"). Each species has its own grid that supports life and connects the consciousness of its particular species. Before any species can come into existence or make an evolutionary step, a new grid must be completed. When a species becomes extinct, that particular species' grid dissolves. A new grid was completed in 1989 - the "Christ-consciousness" grid. This grid will allow humans to evolve into our next version. We'll develop two additional chromosomes (which are really "geometrical images" designed to resonate with our specific grid) for a total or 46 + 2. The main change will be a shift to the "unity consciousness." Every cell in your body has its own consciousness and memory. You, the higher being that occupies your body, make the millions of different consciousnesses in your body work together as one being. How does this relate to this grid? Think of yourself as a cell and the grid as the higher being. We will still have individual consciousness, but will be united in the form of a higher being in order to work as one entity." This OP copied and pasted the above directly from songfacts webpage and only grammatically changed an "or" to an "of" in the second to last paragraph... Maynard James Keenan Vocals Adam JonesGuitar Paul D'Amour Bass-1995 Justin Chancellor Bass post-1995 Danny Carey Drums My shadow's shedding skin and I've been picking Scabs again I'm down, digging through my old muscles Looking for a clue I've been crawling on my belly Clearing out what could've been I've been wallowing in my own confused And insecure Delusions For a piece to cross me over Or a word to guide me in I wanna feel the changes coming down I wanna know what I've been hiding In my shadow My shadow Change is coming through my shadow In my shadow Shedding skin I've been picking My scabs again I've been crawling on my belly Clearing out what could've been I've been wallowing in my own chaotic And insecure delusions I wanna feel the change consume me Feel the outside turning in I wanna feel the metamorphosis and Cleansing I've endured within In my shadow My shadow Change is coming, now is my time Listen to my muscle memory Contemplate what I've been clinging to Forty-six and two ahead of me I choose to live and to Grow, take and give and to Move, learn and love and to Cry, kill and die and to Be paranoid and to Lie, hate and fear and to Do what it takes to move through I choose to live and to Lie, kill and give and to Die, learn and love and to Do what it takes to step through See my shadow changing Stretching up and over me Soften this old armor Hoping I can clear the way By stepping through my shadow Coming out the other side Step into the shadow Stretching up and over me

Achilles Last Stand by Led Zeppelin "Achilles Last Stand" is a song by Led Zeppelin released as the opening track on their seventh studio album, Presence in 1976 According to Lore, Achilles was dipped in the river Styx to make him immortal. His mother held him by the heel, however, leaving it vulnerable. Paris killed him in the Trojan War by hitting him in the heel with an arrow. Robert Plant wrote the lyrics about his travels throughout Morocco, Greece, and Spain. The music was inspired by Flamenco and Moroccan traditions. The lyrics were inspired not only by the travels but also by some of the poetry Robert was reading at the time, which includes William Blake. "Albion remains/sleeping now to rise again" is a reference to Blake's engraving The Dance Of Albion. The following is an excerpt from the poem that goes with the song: Albion rose from where he labour'd at the Mill with Slaves Giving himself for the Nations he danc'd the dance of Eternal Death The references to the Atlas mountains, "The mighty arms of Atlas hold the heavens from the Earth," are simply a clever double-meaning to imply the Atlas mountains in a physical sense seeming to hold up the sky, as well as the reference to the titan Atlas and his task to hold the world on his shoulders. Robert Plant and his wife were in a car crash while on holiday in Greece which broke Plant's ankle. Instead of touring the US, Plant and Jimmy Page wrote material for Presence, then recorded it at Musicland Studios in Munich, Germany with Plant in a wheelchair. Plant got so excited while recording this that he fell and re-injured his ankle, similarly to the song's namesake, Achilles. The title was both an acknowledgment of Plant's broken ankle as well as to the mystic location in the Atlas Mountains of Morocco which inspired the lyrics. Jimmy Page overdubbed 6 guitar tracks to create a huge sound. In a 2007 interview with Rolling Stone magazine, Jimmy Page was asked about his memories of how he overdubbed the guitars in the studio: "It was done in one evening, the whole of the arrangement. To be honest with you, the other guys didn't know: 'Has he gone mad? Does he know what he's doing?' But at the end of it, the picture became clear. It was like a little vignette, every time something comes around." Page takes particular pride in this track. He told Guitar Player magazine in 1977: "Presence and my control over all the contributing factors to that LP – the fact that it was done in three weeks, and all the rest of it – is so good for me. It was just good for everything really, even though it was a very anxious point, and the anxiety shows, group-wise – you know, 'Is Robert going to walk again from his auto accident in Greece?' and all this sort of thing. But I guess the solo in 'Achilles' Last Stand' on Presence is in the same tradition as the solo from 'Stairway to Heaven' on the fourth LP. It is on that level to me." Led Zeppelin played this at the remainder of their live shows. This is one of the longest Led Zeppelin songs. It runs 10:26. Robert Plant described "Achilles Last Stand" as "us at our least charming, and most proficient - a Bonzo track where nobody could even believe a human could do it."

Much has been written of Catch-22 The following is from Wikipedia... the reality lies within the video. Dare you come here not as a properly commissioned officer... mind your tow. Although the novel won no awards upon release, it has remained in print and is seen as one of the most significant American novels of the 20th century. Scholar and fellow World War II veteran Hugh Nibley said it was the most accurate book he ever read about the military. The Modern Library ranked Catch-22 as the 7th (by review panel) and 12th (by public) greatest English-language novel of the 20th century. The Radcliffe Publishing Course ranked Catch-22 as number 15 of the 20th century's top 100 novels. The Observer listed Catch-22 as one of the 100 greatest novels of all time. Time puts Catch-22 in the top 100 English-language modern novels (1923 onwards, unranked). The Big Read by the BBC ranked Catch-22 as number 11 on a web poll of the UK's best-loved book. Catch-22 is a "satirical" war novel by American author Joseph Heller. He began writing it in 1953; the novel was first published in 1961. Often cited as one of the most significant novels of the twentieth century, it uses a distinctive non-chronological third-person omniscient narration, describing events from the points of view of different characters. The separate storylines are out of sequence so the timeline develops along with the plot. Catch-22 has landed on the list of the American Library Association's banned and challenged classics. In 1972, the school board in Strongsville, Ohio, removed Catch-22, as well as two books by Kurt Vonnegut, from school libraries and the curriculum. Five families sued the school board. The Sixth Circuit Court of Appeals rejected the claim, stating that school boards had the right to control the curriculum. The decision was overturned on appeal in 1976. The court wrote, "A library is a storehouse of knowledge. Here we are concerned with the right of students to receive information which they and their teachers desire them to have." In 1982, the U.S. Supreme Court employed a similar rationale in its decision in Island Trees School District v. Pico on the removal of library books. Because the book refers to women as "whores", it was challenged at the Dallas, Texas, Independent School District (1974) and Snoqualmie, Washington (1979). The novel is set during World War II, from 1942 to 1944. It mainly follows the life of antihero Captain John Yossarian, a U.S. Army Air Forces B-25 bombardier. Most of the events in the book occur while the fictional 256th US Army Air Squadron is based on the island of Pianosa, in the Mediterranean Sea west of the Italian mainland, although it also includes episodes from basic training at Lowry Field in Colorado and Air Corps training at Santa Ana Army Air Base in California. The novel examines the absurdity of war and military life through the experiences of Yossarian and his cohorts, who attempt to maintain their sanity while fulfilling their service requirements so that they may return home. The book was made into a film adaptation in 1970, directed by Mike Nichols. In 1994, Heller published a sequel to the novel entitled Closing Time.

Ventura Highway Album: Homecoming (1972) You Can Do Magic Album: View from the Ground (1982) Tin Man Album: Holiday (1974) by America America member Dewey Bunnell wrote this song. In an interview with the Los Angeles Times October 1, 2006, he explained: "It was 1963 when I was in seventh grade, we got a flat tire and we're standing on the side of the road and I was staring at this highway sign. It said 'Ventura' on it and it just stuck with me. It was a sunny day and the ocean there, all of it." Bunnell's father was in the Air Force and was stationed at Vandenberg Air Force Base near Santa Barbara. They were on a trip in the Oxnard area of southern California when they got stranded. Regarding the lyrics, "Seasons crying no despair, alligator lizards in the air," Bunnell said: "The clouds. It's my brother and I standing there on the side of the road looking at the shapes of clouds while my dad changed the tire." There's no official "Ventura Highway," but Ventura is a county in California, and Highway 101 runs through it. In Walk on By: The Story of Popular Song, Dewey Bunnell explained: "I remember vividly having this mental picture of the stretch of the coastlines traveling with my family when I was younger. Ventura Highway itself, there is no such beast, what I was really trying to depict was the Pacific Coast Highway, Highway 1, which goes up to the town of Ventura." Songwriting credits on America's songs were typically assigned to whoever came up with the idea, and that person would be the one who sings on the track. The entire band often made some contributions to the compositions, however, and while Dewey Bunnell gets solo songwriting credit on this song, he did get some help. The band's other primary songwriter, Gerry Beckley, told us: "the guitar lick on 'Ventura Highway' is something that Dan [Peek] and I put together that really wasn't a part of the song. The song is of course, super strong on its own. We had a friend back in England, when he heard it with the guitar lick, he said, 'Oh, you've ruined it!'" Long before Prince used it, America incorporated the phrase "Purple Rain" into a lyric, as they sing here: Wishin' on a falling star Waitin' for the early train Sorry boy, but I've been hit by purple rain In this context, the purple rain could be ambition, as the character in the song is ready to move on. Janet Jackson interpolated this on her 2001 hit "Someone To Call My Lover." She had never heard "Ventura Highway," but loved the idea when her producers Jimmy Jam and Terry Lewis played it for her and suggested they use it as the basis for a song. You Can Do Magic is about a skeptic who doesn't believe in love until he meets a girl who shows him it's real. Until Peek's departure, the band always wrote their own songs, composing separately with the writer also taking lead vocals. When they found themselves hitless, Beckley and Bunnell started accepting songs from outside writers, including Russ Ballard, who wrote a track on their 1980 album Alibi called "I Don't Believe in Miracles." For their next album, View from the Ground, Ballard gave them "You Can Do Magic," and with a lead vocal by Gerry Beckley, it returned America to the charts. "It fit right into our body of work," Beckley told us. "It was a huge hit and a turning point for us, because it was a hit for Dewey and I, after Danny departed. It was our first hit as a duo." A key component in this song is the "do do do do do do" vocal break, which Russ Ballard put into the song specifically to suit America, whose two vocalists could create a nice harmony. This part was a nod to the Crosby, Stills & Nash song "Suite: Judy Blue Eyes," which contains a similar section. America was the trio of Dan Peek, Gerry Beckley and Dewey Bunnell until Peek left in 1977, leaving them as a duo. They wrote separately and split lead vocal duties: whoever wrote the song would sing it. "Tin Man" was written by Bunnell, and Beckley would like you to know that its themes extend well beyond the movie. "There are so many other beautiful lyrical twists in that song, so it's not fair to simplify it as just a song about The Wizard of Oz," he said in his Songfacts interview. "To a surrealist, it's like a Dali painting." For their fourth album Holiday, they brought in a ringer: George Martin. The Beatles producer was known for keeping up a faster pace in the studio than America was used to, so the band adjusted accordingly, making sure they were prepared for the sessions. This brought a new focus to the band, and the session were done in 13 days. "Tin Man," released as the lead single, was a solid hit and brought America back to the limelight. Regarding the line, "The tropic of Sir Galahad," Sir Galahad is a knight of legend in King Arthur's court, but what he has to do with a tropic is not clear. Like many of the references in this song, Dewey Bunnell used poetic license to create them, as they kept the song flowing and added intrigue.

Turning Japanese by The Vapors Album: New Clear Days (1980) One of the more misinterpreted songs of all time, word was that "Turning Japanese" refers to the Asian facial features people get at the moment of climax during masturbation. In a VH1 True Spin special, they asked The Vapors about this song, and they explained that it is a love song about someone who lost their girlfriend and was going slowly crazy. Lead singer Dave Fenton said: "Turning Japanese is all the clichés about angst and youth and turning into something you didn't expect to." It was inspired by Fenton's relationship problems. In this regard I sat out to find some of the most misrepresented physics in a chase using rice burners and some everyday SJW girls who are the bestest evar!!! I litrerally think I was trimming Ice-T out toward the beginning of this bit... the suffering I undergo for you guys! For some reason I crave Mountain Dew... That recognizable opening riff repeated a few places in the song is actually called "the oriental riff". It is often used when a Western song wants to invoke the Far East; other popular examples are Carl Douglas' "Kung Fu Fighting" and Siouxsie and the Banshees' "Hong Kong Garden." The Vapors were a British pub-rock group formed by David Fenton (vocals), Edward Bazalgette (guitar), Steve Smith (bass) and Howard Smith (drums). They were discovered and managed by Bruce Foxton of the Jam. Ironically The Vapors enjoyed a bigger hit in America with this song than The Jam would ever have. The Vapors' did not chart again in the US, however they had a couple of other minor hits in the UK. After releasing another album in 1981 they called it quits. After the band disbanded Fenton retired from creating music and went to work in the music industry as a lawyer. Bazalgette became a television producer at the BBC. This song turns up in the weirdest places, like in an episode of Bill Nye: The Science Guy where it was Weird-Al'd into a song about electricity. A Dr. Pepper commercial uses the tune, as does a commercial for KFC restaurants where it's sung on karaoke. The song also featured in the films Romy And Michele's High School Reunion (1997), Beverly Hills Ninja (1997) and Charlie's Angels (2000). This song topped the Australian charts for two weeks. It was also a minor hit in Japan. A commonly misheard lyric is at the end of the bridge, "Everyone avoids me like a psyched lone ranger." It is not "Everyone avoids me like a psycho ranger." Kirsten Dunst recorded this song for a video that was shown at a 2009 exhibition in London called Pop Life: Art In A Material World. The video was directed by McG (Charlie's Angels, Terminator Salvation) and shot in Tokyo, where Dunst performs as a Japanese schoolgirl. Writer: David Fenton I've got your picture Of me and you You wrote "I love you" I wrote "me too" I sit there staring and there's nothing else to do Oh it's in color Your hair is brown Your eyes are hazel And soft as clouds I often kiss you when there's no one else around I've got your picture, I've got your picture I'd like a million of you all 'round my cell I want the doctor to take your picture So I can look at you from inside as well You've got me turning up and turning down, I'm turning in, I'm turning 'round I'm turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so I'm turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so I've got your picture, I've got your picture I'd like a million of them all 'round my cell I want a doctor to take your picture So I can look at you from inside as well You've got me turning up and turning down, I'm turning in, I'm turning 'round I'm turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so I'm turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so No sex, no drugs, no wine, no women No fun, no sin, no you, no wonder it's dark Everyone around me is a total stranger Everyone avoids me like a cyclone ranger Everyone That's why I'm turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so I'm turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so Turning Japanese, I think I'm turning Japanese, I really think so (Think so think, so think so, think so) Turning Japanese, I think I'm turning Japanese, I really think so

Hand of Doom Black Sabbath Sabbath bass player Geezer Butler wrote the lyric about heroin addiction. It was inspired by seeing all the syringes left on the ground by audience members at their shows. Running 7:08, "Hand Of Doom" is part of the second Black Sabbath album, Paranoid, a breakthrough for the band. Iommi joined Jethro Tull for two weeks in 1968. He appeared with Tull on The Rolling Stones Rock And Roll Circus special, miming "A Song for Jeffrey." Iommi didn't like Jethro Tull's organization, in which he was treated more like an employee than a bandmate. However, he did learn by observing Tull's disciplined rehearsal routines, and brought that professional work ethic back to the band with Ozzy, Geezer, and Bill. Shortly after becoming more structured, the band started writing the songs that would later be recorded for Black Sabbath. After working with Jethro Tull, Iommi bought a flute and occasionally played it live. For the most part, it didn't work out. They originally called their jazz-blues band Polka Tulk, later renaming themselves Earth, and they played extensively in Europe. In early 1969, they decided to change their name again when they found that they were being mistaken for another group called Earth. Butler had written a song called "Black Sabbath" that took its title from a novel by occult writer Dennis Wheatley called The Devil Rides Out, in which a Satanic ritual called a Black Sabbath is described. The group adopted it as their new name and often played up the demonic angle, even though it was mostly an act. Ozzy once said: "The only black magic Sabbath ever got into was a box of chocolates." They were one of the first bands to be considered "heavy metal." The phrase was introduced musically by the 1968 Steppenwolf song "Born To Be Wild," but in literature it showed up in the 1961 William Burroughs novel The Soft Machine. Prior to the group truly coming together, Iommi worked in an industrial factory. He eventually decided to quit and become a full-time working guitarist. During the last few hours of his last day on the job, his hand became caught in a piece of equipment, severing the tips of his fingers on his right (fretting) hand. Losing the tips of the fingers on your hand is a debilitating accident for a guitarist, but Iommi found a unique way to soldier on. After battling depression over the accident for quite some time, he was visited by his supervisor from the factory, who brought along some Django Reinhardt records. Reinhardt was a jazz guitarist from the mid-20th century who had a disability - several of his fingers had been fused together in a fire. When Iommi heard Reinhardt play (and after receiving a pep talk from his supervisor) he decided that he could overcome his misfortune. He tried various ways to cover and/or extend his fingertips, to dull the pain he now had when trying to play and to make the tips themselves move more easily over the strings. What he finally came up with was taking a plastic detergent bottle, melting it, shaping it into thimble-like prosthetics, sanding them down, and covering them with leather from several jackets until he found one with the right feel. After taking care to form the new tips to snugly fit his fingers, and experimenting with various bonding agents to secure them, Iommi found that he could play again with minimal pain. The tune is called Hand of Doom...

Iron Man by Black Sabbath from the 1970 Paranoid Album. Sabbath bassist and lyricist Geezer Butler explained in NME that after Ozzy Osbourne put the idea in his head: "I was walking down the street one day and thought... 'what if there were a bloody great bloke made out of metal walking about?'" Fittingly, "Iron Man" is a landmark in the heavy metal genre, with a massive guitar riff and a sci-fi, apocalyptic lyric. Black Sabbath influenced pretty much every metal band that followed, especially British acts like Iron Maiden, Saxon, and Judas Priest. Sabbath guitarist Tony Iommi came up with the guitar riff in the studio when drummer Bill Ward started playing the big, foreboding bass drum beat. Iommi created a wash of sound by bending his string, which is where Ozzy's "I am Iron Man vocal comes in." Then he blasted into the riff. "Most of the riffs I've done I've come up with on the spot, and that was one of them," he said. "It just came up. It went with the drum, what Bill was playing. I just saw this thing in my mind of someone creeping up on you, and it just sounded like the riff. In my head I could hear it as a monster, so I came up with that riff there and then." The first popular Black Sabbath single was "Paranoid," which made #61 in the US in 1970 and climbed to #4 in their native UK the same year. They weren't big fans of that song, which they quickly recorded to round out the album, and they didn't like it when kids came to their shows just to hear it. The band wanted to cater to their core fans and discourage interlopers, so they became stingy with their UK single releases and withheld "Iron Man" even though it was a huge song. In America, it was issued as their second single and went to #52 in 1972 - their highest Hot 100 showing. As Sabbath gained a following in the US, the song became more and more popular. The comic book superhero Iron Man first appeared in 1963 in Marvel Comics, but he has little in common with the character depicted in this song - the comic iron man is a regular person (Tony Stark) who gets his powers from a suit. In the 2008 movie Iron Man, starring Robert Downey Jr., the song plays at the end of the film when Stark tells the press, "I am Iron Man." The movie opens with "Back In Black" by AC/DC. A new version was included on the 2000 Black Sabbath Reunion album. It won the Grammy that year for Best Metal Performance. How the distorted vocals at the beginning that say "I am Iron Man" were created has been a topic of debate. It has been rumored that Osbourne sang through an oscillating metal fan to get the sound, but it's more likely that his voice was run through a processor called a ring modulator, which creates a wobbly electronic effect by mixing the input signal with an oscillator. This is the device used to create the voices of the Daleks on Doctor Who, and it's something Toni Iommi has used - you can hear it on his guitar solo in "Paranoid." Ozzy recorded a new version for the 1994 Black Sabbath tribute album Nativity In Black. Artists to cover "Iron Man" include Marilyn Manson, Alice in Chains, Butthole Surfers, Add N To (X), Busta Rhymes, Therapy, NOFX, Auburn U. Band, Sir Mix-A-Lot, Tim McCarthy, Heavy Voltage, DYS, Tanzwut, EMO, Amoco Renegades, Dead Alewives, Replacements, The Cardigans, The Mats, and Offspring. Ozzy recorded a reworked version called "This Means War" with Busta Rhymes in 1998 for Busta's album Extinction Level Event. This version was included on the 2000 Black Sabbath tribute album Nativity In Black II. On his 2001 song "Gets Me Through," Ozzy referenced this in the line, "I'm not the antichrist or the Iron Man." Bob Rivers did a Christmas parody called "I Am Santa Claus." It was one of his first Twisted Tunes. In the film School Of Rock, "Iron Man" is the first riff Jack Black teaches the guitarist in the band. He also teaches him "Smoke On The Water" by Deep Purple and "Highway to Hell" by AC/DC. "Iron Man" plays in the 2000 Futurama episode "Anthology of Interest I," where a 500-foot tall Bender flies to Earth with the main riff audible in the background. It also appears in these shows: The Simpsons - ("Blood Feud" - 1991, "The President Wore Pearls" - 2003) King of the Hill ("Bills Are Made to Be Broken" - 1999) Gilmore Girls ("The Deer Hunters" - 2000) The original Black Sabbath lineup played this song in 1985 at Live Aid, reuniting for the first time since 1978. They also played "Children Of The Grave" and "Paranoid" in their set. In 2007, Nissan used this in commercials for their pickup trucks. The pro wrestling tag team The Road Warriors used this song as their entrance theme in the early to mid-'80s. This is a playable song in the very first Guitar Hero video game, released in 2005. I am Iron Man Has he lost his mind? Can he see or is he blind? Can he walk at all Or if he moves will he fall? Is he alive or dead? Has he thoughts within his head? We'll just pass him there Why should we even care? He was turned to steel In the great magnetic field When he travelled time For the future of mankind Nobody wants him He just stares at the world Planning his vengeance That he will soon unfurl Now the time is here For Iron Man to spread fear Vengeance from the grave Kills the people he once saved Nobody wants him They just turn their heads Nobody helps him Now he has his revenge Heavy boots of lead Fills his victims full of dread Running as fast as they can Iron Man lives again

Sgt. Pepper's Lonely Hearts Club Band Maxwell's Silver Hammer Steve Martin

"She Caught the Katy (And Left Me a Mule to Ride)" is an upbeat blues written by Taj Mahal and James Rachell. It was first released on Taj Mahal's 1968 album The Natch'l Blues, and is one of Mahal's most famous compositions. Henry Saint Clair Fredericks (born May 17, 1942), who uses the stage name Taj Mahal, is an American Grammy Award winning blues musician. He often incorporates elements of other music into his. A self-taught singer-songwriter and film composer who plays the guitar, banjo and harmonica (among many other instruments), Mahal has done much to reshape the definition and scope of blues music over the course of his almost 50 year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa and the South Pacific. The song has since become a blues standard and has been covered many times. It was used on the soundtrack for the 1980 movie The Blues Brothers (the song plays over the opening credits as Jake Blues leaves prison). According to John Belushi's widow, it was Belushi's favorite blues song. The "Katy" refers to the Missouri–Kansas–Texas Railroad. In a story about former Florida governor and likely presidential contender Jeb Bush's early Texas years, we learned that in college Bush and his roomies listened to jazz and Taj Mahal records on their stereo. "The roommates played poker, set up miniature golf courses in the hallway, and listened to jazz and Taj Mahal records on their stereo." She caught the Katy and left me a mule to ride She caught the Katy and left me a mule to ride Well, my baby caught the Katy, she left me a mule to ride The train pulled out and I swung on behind I'm crazy 'bout her that hard headed woman of mine Man, my baby's long, great gosh almighty, she's tall And you know my baby's long great gosh almighty my baby's tall Well, you know my baby, she's long, my baby she's tall She's sleeps with her head in the kitchen and her feet kicks out in the hall And I'm still crazy 'bout her, that hard headed woman of mine I love my baby, she's so fine, I wish she'd come to see me some time Guess she don't believe in our love, look whatta hole I'm in Guess she don't believe what I'm sayin', look whatta shape I'm in She caught the Katy and left me a mule to ride She caught the Katy and left me a mule to ride Well, my baby caught the Katy, left me a mule to ride The train pulled out and I swung on behind Well, I'm crazy 'bout her, that hard headed woman Hard headed woman of mine

Psycho Killer, Burning Down The House and Take Me To The River by the Talking Heads Rick Sanchez recommends remembering your zip code when going on a trip... Talking Heads '77 Psycho Killer It started when lead singer David Byrne decided to write something in the vein of Alice Cooper, whose shock rock was all the rage. Byrne started with the first verse, which establishes a dangerous paranoia: I can't seem to face up to the facts I'm tense and nervous and I can't relax I can't sleep 'cause my bed's on fire Don't touch me I'm a real live wire The rest of the lyric is even more capricious, with this guy admitting he's a psycho killer and warning us to run. It ended up being far more introspective than most Alice Cooper songs, but just as believable: while Cooper is a completely different guy off stage (Vince Furnier), Byrne really is the socially awkward genius he portrays in performance. He's never killed anyone (that we know of) but can convincingly inhabit the character. This was the first Talking Heads song. It was written in 1973 at the Rhode Island School of Design (RISD), where David Byrne and drummer Chris Frantz had a band called The Artistics. When Byrne presented the song, he explained that he wanted a Japanese section in the bridge, but when he asked a girl who spoke the language to come up with some murderous words, she understandably freaked out. Frantz' girlfriend, Tina Weymouth, spoke French, so they had her write a French part for the bridge instead. She drew inspiration from the Norman Bates character in the 1960 Alfred Hitchcock thriller Psycho, which influenced the next verse: You start a conversation you can't even finish it You're talking a lot, but you're not saying anything When I have nothing to say, my lips are sealed Say something once, why say it again? Byrne incorporated a French line into the chorus: "Qu'est-ce que c'est?" (meaning "What is this?") and followed it with a stuttering warning: Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better Run, run, run, run, run, run, run away The end result is one of the most famous songs about a psychopathic murderer, influenced by two touchstones of the genre: Alice Cooper and the movie Psycho. The French section in the Bridge roughly translates to: What I did that night What she said that night Realizing my hopes I launch myself towards a glorious destiny This reveals that the psycho killer is targeting a woman, just as Norman Bates did in Psycho. Credited to David Byrne, Chris Frantz and Tina Weymouth, this is the only song on the Talking Heads' debut album that isn't listed as a solo Byrne composition. Songwriting credits quickly became a sticking point in the band as Byrne became the focal point and gave the impression that he did all the songwriting himself. Frantz claims that he wrote the second verse to "Psycho Killer," but Byrne has downplayed his contribution to the song, telling Mojo, "Chris and Tina helped me with some of the French stuff." The "fa fa fa" part is redolent of the Otis Redding song "Fa-Fa-Fa-Fa-Fa (Sad Song)." Redding and other soul singers were a big influence on Talking Heads. There really was a psycho killer on the loose in the summer of 1977, months before this song was released. David Berkowitz, the "Son of Sam," terrified New Yorkers before he was caught on August 10 after killing six people. Many suspected the song was about him, but it was written much earlier. Album: Speaking In Tongues (1983) Burning Down The House Talking Heads drummer Chris Frantz and bass player Tina Weymouth, married since 1977, are big fans of funk. When they went to a P-Funk show at Madison Square Garden in New York City, the crowd started chanting, "Burn down the house, burn down the house" (this is before "The Roof Is on Fire"), which gave Frantz the idea for the title. With a lot of help from MTV, who gave the video a lot of play, this song became Talking Heads' biggest hit. It didn't get a great deal of radio play at the time, but has endured as an '80s classic and is often used in movies and TV shows, including Gilmore Girls, 13 Going on 30, Six Feet Under, Revenge of the Nerds and Someone Like You. The French keyboard player Wally Badarou, known for his work with Grace Jones and Level 42, overdubbed the synthesizer parts on this track, a key addition. Percussionist Steve Scales contributed concert toms to the song. Album: More Songs About Buildings and Food (1978) Take Me To The River Written by Al Green with his guitarist, Teenie Hodges, "Take Me To The River" first appeared on Green's 1974 album Al Green Explores Your Mind. It wasn't a hit, but attracted lots of cover versions, including by Syl Johnson in 1975, Foghat in 1976 and Bryan Ferry in 1978. Green and Johnson's versions were well known in R&B circles, but the Talking Heads brought it to the New Wave rock crowd and had the highest charting version of the song, reaching #26 in the US. The song is about a baptism, a topic that jelled with Al Green, who later became an ordained minister. You wouldn't think a New York City-based art-rock band could pull off a gospel-tinged song by a Southern soul singer, but Talking Heads kept the spiritual feel of the song while putting their own spin on it - lead singer David Byrne doesn't sound like a traditional vocalist and could inhabit a character quite believably. His version of preaching on "Take Me To The River" foreshadowed a later Talking Heads hit, "Once In A Lifetime." A track from Talking Heads' second album, More Songs About Buildings And Food, "Take Me To The River" was their biggest hit to this point and the only single from the album. It earned them a spot on American Bandstand, getting them on national TV for the first time. The group didn't strive for hits and didn't rack up huge sales numbers, but they pushed musical boundaries throughout their career to end up with a very impressive discography that landed them in the Rock and Roll Hall of Fame in 2002. The More Songs About Buildings And Food album was one of the first recorded at Compass Point Studios in Nassau, Bahamas. The studio was set up by Island Records owner Chris Blackwell, who cut the Talking Heads a deal because he needed to get some big acts in there to establish it. According to Talking Heads drummer Chris Frantz, Blackwell ringed the perimeter of the grounds with chicken blood to keep evil spirits away. This voodoo worked: The band had a great experience at Compass Point and recorded their next two albums there.

"Big Ten Inch Record", also known as "Big Ten-Inch (Record of the Blues)", is a rhythm and blues song written by Fred Weismantel. It was first recorded in 1952 by Bull Moose Jackson and released by King Records. The song was later covered by Aerosmith and released as part of the 1975 album, Toys in the Attic. It has been rated as one of the best double entendre songs of all time. Versions Bull Moose Jackson The original version of the song was performed by Bull Moose Jackson. It was released in 1952 on King Records as disc 4580. Jackson was backed on the recording by Tiny Bradshaw's Orchestra. The song was not a hit, reportedly due to the fact that it was "too suggestive" and "radio stations wouldn't touch it". Jackson stopped performing in the 1960s and worked as a food service worker in Washington, D.C. In the 1980s, his popularity was revived after a Pennsylvania band, The Flashcats, began playing "Big Ten Inch Record" at their shows and invited Jackson to perform with them. Jackson's version of the song has been re-issued on multiple compilation discs, including "Badman Jackson That's Me" (1991), "Ride, Daddy, Ride and Other Songs of Love" (1991), "Risque Blues: The King Anthology" (2002), "The Very Best of Bull Moose Jackson: Big Ten-Inch Record" (2004), and "The Bull Moose Jackson Collection 1945–55" (2013). Aerosmith The rock band Aerosmith covered the song on its 1975 album, Toys in the Attic. The recording was Aerosmith's second cover of rhythm and blues songs from the early 1950s, having covered "Train Kept A-Rollin'" on its 1974 album, Get Your Wings. They also covered an r&b hit from 1963, "Walking the Dog" by Rufus Thomas on their eponymous debut in 1973. In addition to Aerosmith, the song has also been covered by other artists, including Sugar Blue and Marshall Crenshaw, Al Copley, Blerta, The Roadrunners, Dana Gillespie, and Candye Kane. The first vinyl records, released around 1900, were 10-inch, 78 RPM records. This song is specifically about the Blues recordings found on those records that influenced the band, but also about the sexual connotation that the singer has a 10-inch penis, which is made clear in the line, "Suck on my big 10-inch. "Big Ten Inch Record" was composed by Fred Weismantel and became a big hit on the R&B charts during 1952 for tenor-sax player Bull Moose Jackson. By all accounts Jackson got his nickname because of his facial resemblance to the animal; his given name was Benjamin Joseph. Born in Cleveland Ohio on 22nd April 1919, Jackson's first instrument was violin and his career started as a crooner of pop standards. It was Aerosmith's drug dealer Zunk Buker who introduced them to this song. He heard the Bull Moose Jackson version on the Dr. Demento radio show and sent the band a copy of the song. Steven Tyler was struggling to come up with lyrics for the Toys In The Attic tracks, so adding a cover to the set took some pressure off of him. Aerosmith used a horn section on this song, which included a bass saxophone played by Stan Bronstein. They also brought in Scott Cushnie to play the piano. Cushnie got the gig because he used to play in a band with Aerosmith's producer Jack Douglas. The band planned a more contemporary version of this song when they set out to record it, but that plan changed when they got in the studio. "We were basically just doing it as a two-guitar, rock and roll approach," guitarist Brad Whitford said in his Songfacts interview. "We were up in the studio recording it, and we were listening very heavily to the original version of the song, which was very similar to what we ended up with when we ended up bringing the horn section in. We decided, 'Let's actually make it sound a little more period. Let's have the horns on it and make it sound more like the original version that we heard.' So that was quite a transformation, going from this straight-ahead guitar thing to almost a big band sound. And it really worked." When Steven Tyler released a country album in 2015, he cited this song as an example of the genre's influence on him. He says he was listening to a lot of Dan Hicks around this time. Writer FRED WEISMANTEL Got me the strangest woman Believe me this trick's no cinch But I really get her going When I whip out my big ten inch Record of a band that plays the blues Well a band that plays its blues She just love my big ten inch Record of her favorite blues Last night I tried to tease her I gave my love a little pinch She said now stop that jivin' Now whip out your big ten inch Record of a band that plays those blues Well a band that plays the blues She just loves my big ten inch Record of her favorite blues I, I, I cover her with kisses And when we're in a lover's clinch She gets all excited When she begs for my big ten inch Record of a band that plays those blues Well a band that plays the blues She just love my big ten inch Record of her favorite blues My girl don't go for smokin' And liquor just make her flinch Seems she don't go for nothin' 'Cept for my big ten inch Record of a band that plays the blues Band that play the blues She just love my big ten inch Record of her favorite blues

Billy Squier with his 1981 album release Don't Say No "In the Dark","The Stroke" and "Lonely Is the Night". In a 1982 interview with Sounds magazine, Squier explained that he doesn't write songs when he's on the road, which keeps him away from topics like groupies and parties. Said Squier: "'Lonely Is The Night' for example is nothing to do with the fact that I'm in a rock band, but it does have to do with the fact that you can be by yourself in a room somewhere and not know what to do, be scared to death of having to go out and find something." The Stroke sure seems to be about masturbation: "You put your right hand out give a firm handshake." But, according to Squier in an interview with VH1, the song is actually about the music business. Squier admits a Queen influence in this song, and Queen's guitarist Brian May was at one point slated to produce the album. When May backed out because of scheduling conflicts, Reinhold Mack, who produced Queen's album The Game, stepped in. In a 1982 interview with Sounds magazine, he said: "I've listened to Queen ever since their first album, I've known them for ten years, and I think they're very innovative and done a lot of things that I like – in the same way that Led Zeppelin has. I don't think I'm making surrogate Queen music. I don't think their albums sound like my albums, I don't think the lyrics are the same, I don't think I write the same way. I think there are elements of similarity you could find in it to a certain extent. But I could probably do that with just about any band given enough time." This was Squier's first hit, and it came when he was 31 years old and already a 12-year veteran of the music industry, which helps explain the song's meaning. He was in bands called The Sidewinders and Piper before releasing his first solo album, Tale of the Tape, in 1980. Don't Say No was his most successful album, selling over 3 million copies. Squier released a radically different version of this song on his 1999 acoustic album Happy Blue. According to Squier, the distinctive drum sound was created by recording the snare drum backwards and playing it just ahead of the real drum. In the Dark appeared as the opening track of his Triple Platinum 1981 album Don't Say No, and was released as the second single from that album, following "The Stroke" Record World called it "mass appeal sharp edged rock featuring a blockbuster hook and savage guitar outbursts." The Village Voice magazine ranked the song at #6 on their list 20 Best Arena Rock Songs of All Time. Squier played for two all-but-forgotten bands, the Sidewinders and Piper, during the 1970s before embarking on his much more successful solo career. (Piper's greatest claim to fame was as the opening act for KISS during that band's legendary 1977 tour.) His first solo album, Tale Of The Tape, was a modest success but produced no hit singles. Its most noteworthy track is "The Big Beat," which became - and still remains - a popular choice for sampling by Hip-Hop and Rap artists. Squier brought in Reinhold Mack, who had produced Queen's album The Game, to produce his follow-up album Don't Say No. This turned out to be his breakthrough release, producing US Top 40 hits "The Stroke" (#17) and "In The Dark" (#35), along with lesser hits "My Kinda Lover" and "Lonely Is The Night." All 4 of these still get considerable airplay on Classic Rock radio. Squier's third solo album, Emotions In Motion, produced another US Top 40 hit, "Everybody Wants You" (#32). The title track, which featured Queen frontman Freddie Mercury on backing vocals, was also a minor hit. In 1983 Squier began his first American headline tour to promote the album - only to be upstaged by his opening act, Def Leppard, who had just broken through in the US. His fourth album, 1984's Signs Of Life, produced his biggest - and last - US Top 40 hit single "Rock Me Tonite" (#15). The video for this featured a bizarre, somewhat effeminate performance by Squier, at odds with the hard-rock image he had cultivated over the years. He may have been trying to parody Jennifer Beals' dancing performance from the previous year's movie Flashdance, but his mystified fans didn't get the joke, and as a result this video is widely considered Squier's act of "jumping the shark." His biggest hit since that video debacle was "Don't Say You Love Me," which only managed to reach #58 US in 1989. Squier has performed and recorded sporadically in the years since then, including in 2006 as a member of Ringo Starr & His All-Starr Band.

Third Stone From The Sun and Little Wing Jimi Hendrix On December 15, 1966, finishing touches were made on the four rhythm tracks that were recorded the previous session including Third Stone From The Sun. Although Chandler enjoyed working at CBS and he appreciated the high quality of the recordings they made there, he ended his professional connection with the studio after a disagreement between him and owner Jake Levy over his failure to make payment. Chandler had planned to pay Levy for the sessions after the album was completed, but Levy demanded payment upfront. Chandler viewed this as an unreasonable expectation, and he vowed that he would never again do business with CBS. Third Stone From The Sun's 6:45 largely instrumental piece has a garbled sound all throughout the song. It is actually a conversation Hendrix had with a producer, which was cut up into pieces and slowed down to create the noise. At times, it is difficult to distinguish the slowed-down conversation from Hendrix' loud guitar wails during the speedy final four minutes of the song. In the longer version you can hear Jimi talk to Chas Chandler in the control room. They were fans of Star Trek, and wanted to create something based on the TV show. The slowed down speech is what you hear them talking about amid the laughter and goof ups. The "Third Stone from the Sun" is the Earth. Hendrix seemed to like the word "stone." Other songs he released include "Stone Free" and "Stepping Stone." The Right Said Fred hit "I'm Too Sexy" interpolates the guitar riff on this song. Since the band's frontmen weren't familiar with "Third Stone," they didn't know the riff was lifted until the Hendrix estate threatened legal action. Their guitarist, Rob Manzoli, is the one who put it in. Little Wing was inspired by the 1967 Monterey Pop Festival, a concert held during three days of the "Summer of Love" (1967) featuring The Who, The Byrds, Janis Joplin, and many others. Attended by about 200,000 music fans, it happened two years before Woodstock. Jimi wrote about the atmosphere at the festival as if it was a girl. He described the feeling as "Everybody really flying and in a nice mood." He named it "Little Wing" because he thought it could just fly away. The guitar on the song is played in a very unique style. Jimi frets the roots of chords with his thumb, and then elaborates on them. It often involves shifts of quartile to tertian harmony and vice versa. In theory it is quite similar to the jazz style of chord melody. The song is particularly revered among guitar players. Tom Morello wrote in this 2011 tribute to Hendrix in Rolling Stone: "It's just this gorgeous song that, as a guitar player, you can study your whole life and not get down, never get inside it the way that he does. He seamlessly weaves chords and single-note runs together and uses chord voicings that don't appear in any music books." The percussion instrument that sounds like a xylophone is a glockenspiel, an instrument popular in marching bands containing steel bars that are stuck with hammers to produce notes. Jimi ran his guitar through a Leslie speaker to create an unusual sound. The Leslie speaker was designed for organs and contains a rotating paddle that distorts the sound. In 1963 Jimi recorded a song that may have been a precursor to this. The song "Fox," which was one of his first recordings was played with sax player Lonnie Youngblood and sounded very similar to this. This is one of the songs that had to be remixed just before the album was released when one of the master tapes went missing. No one ever found out what happened to the original tape but its been speculated that Jimi either accidentally left the tape in a taxi or purposely disposed of the tape because he wasn't satisfied with its sound. This song, along with "Spanish Castle Magic," are the only songs Hendrix ever performed in concert from his Axis: Bold as Love album. He played this live only 8 times. Hendrix has described this as being one of the few he likes from this album. He said "Little Wing" is "like one of those beautiful girls that come around sometimes." Hendrix enjoyed writing slow songs because it was easier to put emotion into them. The same day they recorded "Layla," Eric Clapton and Duane Allman recorded this as a tribute to Jimi, who was one of their guitar heroes. Hendrix died 9 days later. He never heard their version of his song, which was released in 1970 on the Derek and the Dominos album, Layla And Other Assorted Love Songs. Irish band The Corrs covered this on their Live Unplugged album. Little Wing Writer Jimi Hendrix Well she's walking through the clouds With a circus mind That's running wild Butterflies and zebras and moonbeams And-a fairly tales That's all she ever thinks about Riding the wind When I'm sad she comes to me With a thousand smiles She gives to me free It's alright, she says It's alright Take anything you want from me (Take anything) Anything Fly on, little wing

The Twisted Hand Of Fate by JT Wright from Rise, released January 27, 2022 Label: Croc Tooth Records F8 = Fate f6 a1 t20 e5 =32 Track 13 - From the album RISE Written by: Tony Wright Hail to the king the king is dead Hail to the king the king is dead Just a killer on the streets or a lover in the night The left hand giveth and takes with the right But you cant have a rich man sitting on the throne While a poor man is begging on the telephone Its got to burn down to the ground Its got to burn down to the ground You can ride the tiger while your fields on fire Stepping stone to the hand of god if it makes you feel that higher A preacher man casts the first deadly stone While the wise man waits to the last stone is throne Its the bloody and twisted hand of fate Hand of fate Hand of fate Hand of fate Hand of fate No more mercy your walls shall fall No more mercy your walls shall fall Flood your eyes with gold and promises and all you can hold Burning trees line the streets as your conscience burns with your soul A greedy man takes and looks the other way While the blind man waits and sees the truth decay away Its the bloody and the twisted hand of fate Hand of fate Hand of fate Hand of fate Hand of fate Cross the bridge to the other side Where the tracks go straight and the grass is green The devil waits with his tempting seed Where beggars scratch and children scream The sun don't shine and the rain don't fall Twisted souls cast shadows on a fallen wall Rivers flow down corridors Where lover men once took there whores And on and on and on it goes Like Dantes divine inferno And on and on and on it goes The bloody twisted hand of fate Its the bloody and twisted hand of fate Hand of fate Its the bloody and twisted hand of fate Hand of fate Its the bloody and twisted hand of fate Hand of fate Its the bloody and twisted hand of fate Hand of fate

19 2000 and Feel Good inc. by the Gorillaz 19 2000 was originally a rather minimalist (and somewhat dull) rap with the gimmick of a cartoon voice (rather than an angry, heavy bass vocal), a club remix became a huge dance hit at the turn of the century and turned Gorillaz into a household name, both because of how catchy the melody and lyric are and because so few people who love the song seem to know its title - and those who do have no idea why it's called "19-2000." Well, here's the answer: Murdoc Nickels, who operates as the leader of the virtual band said: "I wrote this around the end of the last millennium, as the clocks were changing and the 21st century was dawning. A new age was upon us. It would be ridiculous for the occasion to go unmarked by a band as forward thinking and iconic as Gorillaz. I just needed a title that reflected that change. 19/2000 fitted the bill. It was that or 'Millennium' and that's a s--t name for a song." For anyone who doesn't know the song by its title, it's the one that starts with rapping about a monkey in the jungle watching a paper trail, followed by a momma telling her kids they have to make their own shoes, and then ramps up to a chorus of "Get the cool! Get the cool shoeshine!" This samples "Sing a Simple Song" by Sly & the Family Stone. Tina Weymouth of the Talking Heads and Tom Tom Club provided backing vocals on this track. Trugoy the Dove from De La Soul is the rapper on Feel Good inc.. Damon Albarn does the rest of the vocals in character as 2D. At the 2006 Grammy Awards, this won for Best Pop Collaboration With Vocals. The song is a throwback to the days of answering machines when callers would wait for the beep and leave a message on a microcassette. After the line: And all I wanna hear is the message beep My dreams, they got her kissing, 'cause I don't get sleep We hear a beep, followed by the first chorus ("Windmill, windmill for the land..."), which is distorted with tape hiss as if we are listening to the message. That's Trugoy the Dove's De La Soul bandmate PA Pasemaster Mase laughing. He explained to The Guardian that people have always found his guffawing contagious. Mase showcased his laughter on De La Soul's 2000 track "U Don't Wanna BDS," where it worked well. One night, during the performance, Mase giggled and chuckled throughout the entire song, and his De La Soul colleague Posdnuos commented, "He just comes out and laughs and gets a standing ovation." "When we did the Gorillaz record," he added, "Damon whispered the rhyme in my ear and I knew exactly where he wanted me to laugh." Writers: Damon Albarn, Jamie Hewlett 19 2000 The world is spinning too fast I'm buying lead Nike shoes To keep myself tethered To the days I've tried to lose My mama said to slow down You must make your own shoes Stop dancing to the music Of Gorillaz in a happy mood Keeping my groove on They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump Here you go, get the cool Get the cool shoeshine Get the cool Get the cool shoeshine Get the cool Get the cool shoeshine Get the cool Get the cool shoeshine There's a monkey in the jungle Watching a vapor trail Caught up in the conflict Between his brain and his tail And if time's elimination Then we got nothing to lose Please repeat the message It's the music that we choose Keeping my groove on They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump (la-la, la-la) They do the bump Okay, bring it down here We'll come back out Get the cool Get the cool shoeshine Get the cool Get the cool shoeshine Get the cool Get the cool shoeshine Get the cool Get the cool shoeshine They do the bump They do the bump They do the bump They do the bump Feel Good Inc. Writers: Brian Burton, Damon Albarn, David Jolicoeur, Jamie Hewlett Ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good (Change) sha, sha (change) ba-da (change), sha-ba-da-ca, (change) feel good (Change) sha, sha (change) ba-da (change), sha-ba-da-ca, (change) feel good City's breaking down on a camel's back They just have to go 'cause they don't know whack So while you fill the streets, it's appealing to see You won't get undercounted 'cause you're damned and free You got a new horizon, it's ephemeral style A melancholy town where we never smile And all I wanna hear is the message beep My dreams, they got her kissing, 'cause I don't get sleep, no Windmill, windmill for the land Turn forever hand in hand Take it all in on your stride It is ticking, falling down Love forever, love is free Let's turn forever you and me Windmill, windmill for the land Is everybody in? Laughin' gas these hazmats, fast cats Linin' 'em up like ass cracks Play these ponies at the track It's my chocolate attack Shit, I'm steppin' in the heart of this here (yeah) Care Bear rappin' in harder this year (yeah) Watch me as I gravitate, ha-ha-ha-ha-ha! Yo, we gon' ghost town this Motown With yo' sound, you in the blink Gon' bite the dust, can't fight with us With yo' sound, you kill the Inc. So don't stop, get it, get it (get it) Until you're cheddar headed And watch the way I navigate, ha-ha-ha-ha-ha (ha, ha-ha-ha-ha-ha-ha-ha) Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Windmill, windmill for the land Turn forever hand in hand Take it all in on your stride It is ticking, falling down Love forever, love is free Let's turn forever you and me Windmill, windmill for the land Is everybody in? Don't stop, get it, get it Peep how your captain's in it (feel good) Steady, watch me navigate, ha-ha-ha-ha-ha! (Feel good) Don't stop, get it, get it Peep how your captain's in it (feel good) Steady, watch me navigate, ha-ha-ha-ha-ha! (Feel good) Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good Sha, sha-ba-da, sha-ba-da-ca, feel good

End Of The Line and Wilbury Twist by The Traveling Wilburys sounds like "will bury". Willfully burying... The Traveling Wilburys were a supergroup made up of Jeff Lynne (ELO), Tom Petty, George Harrison, Roy Orbison and Bob Dylan. This song contains the folksy wisdom that comes from their experiences. It has a railroad theme, as the "end of the line" represents the train's last stop. Fittingly, it was the last song on their debut album, Volume One. The song is credited to all five group members, but George Harrison came up with the idea, including the main chord sequence - it certainly bears resemblance to his Beatles and solo output. Harrison takes the first verse, followed by Jeff Lynne and Roy Orbison. Tom Petty gets the lead on the chorus. Nine of the 10 songs on the Volume One album, including "End Of The Line," were recorded in a 10-day span when the group had to write and record almost a song a day. Dave Stewart of Eurythmics let them use his Los Angeles house and attached studio for these sessions, which were extremely productive and a lot of fun. The song they didn't record there is "Handle With Care," which they made about a month earlier at Bob Dylan's home studio for George Harrison to release as a B-side. That song was so good, and the experience so pleasant, that they decided to form a band. "Handle With Care" was the first single, with "End Of The Line" released next. Both songs got a lot of airplay on a variety of formats and helped the album sell over 3 million copies in America. "End Of The Line" became a eulogy of sorts for Roy Orbison, who died on December 6, 1988, just six weeks after the album was released. His work in the Traveling Wilburys brought him back to the fore after many years of obscurity. Orbison was one of the biggest stars of the '60s, but his '70s albums had little impact, and by the '80s he was struggling to fill small theaters. Before his death, he completed a comeback album with his fellow Wilburys called Mystery Girl, which was released on January 31, 1989, just as "End Of The Line" was climbing the charts. The album did very well, selling over a million copies in America and a lot more worldwide. The single "You Got It" landed at #9 in the US in April 1989, giving him his first Top 10 hit since "(Oh) Pretty Woman" in 1964. The music video was directed by Willy Smax, who had previously worked with George Harrison on his "Got My Mind Set On You" video. It takes place, fittingly, on a train where the band is performing in a boxcar. Roy Orbison died before the video was made, so when his verse comes we see his photo and his guitar on a rocking chair. It was kind of amazing that Harrison, Petty, Lynne and Dylan were able to get together for a music video months after the album was released. They were all busy with other projects but really enjoyed each other's company, so when the album exceeded expectations, they made time to make another video. The drummer on the train is Jim Keltner, the stalwart session player they used on the album. He's credited as "Buster Sidebury." ‘Wilbury Twist’ is the final song on Traveling Wilburys Vol. 3. It has been in the family a long time. A great uncle, Chubby Wilbury, used to sing the ‘Wilbury Twist’. Tom Petty BBC Radio 1, 25 October 1990 I think it actually originated with the Saint Vitus dance back in medieval times. It even shows the footsteps. George Harrison BBC Radio 1, 25 October 1990 ‘Wilbury Twist’ was the second single released from Vol. 3, on 25 March 1991. The CD single contained the additional songs ‘New Blue Moon’ (Instrumental) and ‘Cool Dry Place’. The single was a commercial flop. It failed to chart in the UK and USA, and scraped to number 86 on Canada’s singles chart. In Australia it peaked at number 137. The video for ‘Wilbury Twist’ was shot at the Wilshire Ebell Theatre in Los Angeles. It featured cameo appearances from stars including Eric Idle, John Candy, CHeech Marin, Woody Harrelson, Whoopi Goldberg, Jimmy Nail, Fred Savage, Ben Savage, Kala Savage, Thomas Guzman-Sanchez, and Milli Vanilli. End Of The Line The Traveling Wilburys [Chorus 1: George Harrison] Well it's all right, riding around in the breeze Well it's all right, if you live the life you please Well it's all right, doing the best you can Well it's all right, as long as you lend a hand [Verse 1: Tom Petty] You can sit around and wait for the phone to ring Waiting for someone to tell you everything Sit around and wonder what tomorrow will bring Maybe a diamond ring [Chorus 2: Jeff Lynne] Well it's all right, even if they say you're wrong Well it's all right, sometimes you gotta be strong Well it's all right, as long as you got somewhere to lay Well it's all right, everyday is Judgement Day [Verse 2: Tom Petty] Maybe somewhere down the road away You'll think of me, and wonder where I am these days Maybe somewhere down the road when somebody plays Purple haze [Chorus 3: Roy Orbison] Well it's all right, even when push comes to shove Well it's all right, if you got someone to love Well it's all right, everything'll work out fine Well it's all right, we're going to the end of the line [Verse 3: Tom Petty] Don't have to be ashamed of the car I drive I'm just glad to be here, happy to be alive It don't matter if you're by my side I'm satisfied [Chorus 4: George Harrison] Well it's all right, even if you're old and grey Well it's all right, you still got something to say [Jeff Lynne] Well it's all right, remember to live and let live Well it's all right, the best you can do is forgive Well it's all right, riding around in the breeze Well it's all right, if you live the life you please [George Harrison] Well it's all right, even if the sun don't shine Well it's all right, we're going to the end of the line Wilbury Twist The Traveling Wilburys You put your hand on your head (Hand on your head) Put your foot in the air (Foot in the air) Then you hop around the room (Hop around the room) In your underwear (In your underwear) You ain't ever been nothin' quite like this Come on, baby, it's the Wilbury Twist Lift your other foot up (Other foot up) Fall on your ass (Fall on your ass) Get back up (Get back up) Put your teeth in a glass (Teeth in a glass) Ain't ever been nothin' quite like this It's a magical thing called the Wilbury Twist Everybody's trying to do the Wilbury Twist China, Belgium, France, Japan Thailand, Poland, Pakistan Everybody's trying to do the Wilbury Twist Roll up your rug (Roll up your rug) Dust your broom (Dust your broom) Ball the jack (Ball the jack) Howl at the moon (At the moon) Ain't ever been nothin' quite like this Everybody's talking †bout the Wilbury Twist Everybody's trying to do the Wilbury Twist Puerto Rico, USA England, Cameroon, Norway Everybody's trying to do the Wilbury Twist Turn your lights down low (Your lights down low) Put your blindfold on (Your blindfold on) You'll never know (You'll never know) When your friends have gone (When your friends have gone) It could be years before you're missed Everybody's trying to do the Wilbury Twist It's a different dance (It's a different dance) For you all to do (For you all to do) Spin your body (Very versatile) Like a screw (Spin your body like a screw) Better not forget it on your shopping list You can stop and buy one, it's the Wilbury Twist Ain't never been nothing quite like this Better come and get it, it's the Wilbury Twist I guess by now you've got the gist Everybody's crazy about the Wilbury Twist

Piece Of My Heart and Ball and Chain Big Brother and the Holding Company ft. Janis Joplin Big Brother and the Holding Company is an American band that formed in San Francisco in 1965 as part of the same psychedelic music scene that produced the Grateful Dead, Quicksilver Messenger Service, and Jefferson Airplane. After some initial personnel changes, the band became well known with the lineup of vocalist Janis Joplin, guitarists Sam Andrew and James Gurley, bassist Peter Albin, and drummer Dave Getz. Their second album Cheap Thrills, released in 1968, is considered one of the masterpieces of the psychedelic sound of San Francisco; it reached number one on the Billboard charts, and was ranked number 338 in Rolling Stone's the 500 greatest albums of all time. The album is also listed in the book 1001 Albums You Must Hear Before You Die. Cheap Thrills is the second studio album by American rock band Big Brother and the Holding Company, issued by Columbia Records in 1968. Cheap Thrills was the band's final album with lead singer Janis Joplin before she left to begin a solo career. For Cheap Thrills, the band and producer John Simon incorporated recordings of crowd noises to give the impression of a live album, for which it was subsequently mistaken by many listeners. Only "Ball and Chain" was actually recorded in concert at the Winterland Ballroom. Cheap Thrills reached number one on the charts for eight nonconsecutive weeks in 1968. In 2007, Cheap Thrills was inducted into the Grammy Hall of Fame. Big Brother obtained a considerable amount of attention after their 1967 performance at the Monterey Pop Festival and had released their debut album soon after. The followup, Cheap Thrills, was a great success, reaching number one on the charts for eight nonconsecutive weeks in 1968. Columbia Records offered the band a new recording contract, but it took months to get through since they were still signed to Mainstream Records. The album features three cover songs ("Summertime", "Piece of My Heart" and "Ball and Chain"). The album also features Bill Graham, who introduces the band at the beginning of "Combination of the Two". The album's overall raw sound effectively captures the band's energetic and lively concerts. The LP was released in both stereo and mono formats with the original monophonic pressing now a rare collector's item. The album had been considered for quadraphonic format in the early '70s and eventually in 2002, was released as a Multichannel Sony SACD. The original quadraphonic mix remains unreleased. The cover was drawn by underground cartoonist Robert Crumb after the band's original cover idea, a photo of the group naked in bed together, was vetoed by Columbia Records. Crumb had originally intended his art for the LP back cover, with a portrait of Janis Joplin to grace the front. But Joplin—an avid fan of underground comics, especially the work of Crumb—so loved the Cheap Thrills illustration that she demanded Columbia place it on the front cover. It is number nine on Rolling Stone's list of 100 greatest album covers. Crumb later authorized the sale of prints of the cover, some of which he signed before sale. In an interview for the AIGA, Columbia Records art director John Berg told design professor Paul Nini, "[Janis] Joplin commissioned it, and she delivered Cheap Thrills to me personally in the office. There were no changes with R. Crumb. He refused to be paid, saying, 'I don't want Columbia's filthy lucre.'" When Erma Franklin heard Joplin's cover on the radio, she barely recognized the song. She graciously said in a 1973 interview: "Her version is so different from mine that I really don't resent it too much." Big Brother's version, which runs for over four minutes, was cut down to two minutes for radio play. The most devastating cut was Sam Andrew's psychedelic guitar solo... obviously not cut from here... Joplin's rendition shows up in these TV shows: Mad Men ("A Tale Of Two Cities" - 2013) Cold Case ("Free Love" - 2010) Boston Public ("Chapter Seventy-Nine" - 2004) And in these movies: Introducing The Dwights (2007) Romance & Cigarettes (2005) Riding In Cars With Boys (2001) Home For The Holidays (1995) Ball and Chain was written and originally recorded by a blues singer named Willie Mae "Big Mama" Thornton, who recorded the original version of "Hound Dog." The ball and chain is an image associated with prisoners, as a weighted ball attached to a chain would be shackled to an inmate's leg to keep him from escaping. In this song, Thornton relates the image to her man, who is keeping her down. Big Brother & Joplin's interpretation of this song solidified her reputation as an incredibly soulful performer who can handle the gnarliest of the blues. A staple of her live performances, she sang it at the Monterey Pop Festival in 1967 and also at Woodstock. She recorded the song in 1968 with her band Big Brother and the Holding Company, and after her death in 1971, the song appeared on many of her compilation albums. When Joplin performed this song, she would often end it with a free form section singing, "Love is such a pain, love is such a pain," in a kind of rapture. Joplin explained that when she was able to achieve this, she was "transcending" the song - a talent that made her a uniquely gifted singer. Big Brother and the Holding Company Janis Joplin – vocals Sam Andrew – guitar, bass on "Oh, Sweet Mary", vocals James Gurley – guitar Peter Albin – bass, lead guitar on "Oh, Sweet Mary", lead acoustic guitar on "Turtle Blues". Dave Getz – drums Additional personnel John Simon – piano, producer Vic Anesini – mastering, mixing Nicholas Bennett – packaging manager Steven Berkowitz – A&R Fred Catero – engineer John Byrne Cooke – liner notes Robert Crumb – cover artwork David Diller – engineer Piece Of My Heart Writer/s: Bert Berns, Jerry Ragavoy Oh, come on, come on, come on, come on Didn't I make you feel like you were the only man? Yeah And didn't I give you nearly everything that a woman possibly can? Honey, you know I did And each time I tell myself that I, well I think I've had enough But I'm gonna show you, baby, that a woman can be tough I want you to come on, come on, come on, come on and take it Take another little piece of my heart now, baby (whoa, break it) Break another little bit of my heart now, darling, yeah, yeah, yeah (whoa, have a) Have another little piece of my heart now, baby You know you got it if it makes you feel good Oh, yes indeed You're out on the streets looking good And baby, deep down in your heart, I guess you know that it ain't right Never, never, never, never, never, never hear me when I cry at night Babe, and I cry all the time But each time I tell myself that I, well I can't stand the pain But when you hold me in your arms, I'll sing it once again I said come on, come on, come on, come on and take it Take another little piece of my heart now, baby Break another little bit of my heart now, darling, yeah Have another little piece of my heart now, baby Well, you know you got it, child, if it makes you feel good I need you to come on, come on, come on, come on and take it Take another little piece of my heart now, baby (whoa, break it) Break another little bit of my heart, now darling, yeah, c'mon now (whoa, have a) Have another little piece of my heart now, baby You know you got it, whoa Take it Take another little piece of my heart now, baby (whoa, break it) Break another little bit of my heart, now darling, yeah, yeah, yeah, yeah (whoa, have a) Have another little piece of my heart now, baby, hey You know you got it, child, if it makes you feel good Writer: Willie Mae Thornton Ball and Chain Sitting down by my window Honey, looking out at the rain Sitting down by my window, looking out at the rain All around that I felt it All I can see was the rain Something grabbed a hold of me Feel to me, oh, like a ball and chain Hey, you know what I mean that's exactly what it felt like But that's way too heavy for you, you can't hold them all And I say, oh, whoa, whoa, oh, that cannot be Just because I got oh, your love, please Why does every Oh, this can't be just because I got to need you, daddy Please don't you knock it down now, please Here you've gone today What I wanted to love you and I wanted to hold you, yeah, till the day I die Yes, I did, yes, I did, yeah, hey, hey, alright Say, whoa, whoa, whoa, honey This can't be anything I've ever wanted from your daddy tell me now Oh, tell me, baby Oh, say, whoa, whoa, whoa, whoa, honey This can't be, no, no, no, no, no Yeah, yeah I hope there's someone out there who could tell me Tell me why just because I got to want your love Honey, just because I got to need, need, need, need your love I said I understand Honey, what I'm wanna trying to say hi Trying, try, try, try, try, try, try Honey, everybody in the world, also same, baby When everybody in the world what needs, seem lonely What I wanted work for your love, daddy What I wanted trust your love, daddy I din't understand how come you're gone I don't understand why half the world is still crying, man And the other half of the world is still crying too, man I can't get it together I mean if you go to ? Oneday, man I mean, so baby, you want ? Three and sixty five days, right You ain't gonna within sixty five days, you gonna for one day, man I tell you, that one day, man, better be your life, man Because you know, you can stay oh man, you can cry about the other three and sixty four, man I said whoa, whoa, whoa But you gonna lose that one day, man That's all you got, you got to call it love, man That's what it is, man If you got today, you don't worry about tomorrow, man Because you don't need it Because the matter of the fact, as we discovered tat's rain, tomorrow never happens, man It's all the same fucking day, man So you gotta when you want to hold someone You gotta hold them like it's the last minutes of your life You gotta hold, hold, hold and I say, oh, whoa, whoa, now babe, tell me why Hold, baby, 'cause some come on your shoulder, baby It's gonna feel too heavy, it's gonna weigh on you why does every thing, every thing It's gonna feel just like a ball Oh, daddy and a chain

Break on Through (to the Other Side) The Doors This was the first song on The Doors first album, and also their first single. It got some airplay on Los Angeles radio stations after their friends and fans kept requesting it. In 1966, he said: "I like ideas about the breaking away or overthrowing of established order. I am interested in anything about revolt, disorder, chaos, especially activity that seems to have no meaning."... and then I was born. The original line in the chorus was "she gets high," but their producer Paul Rothchild thought that would limit the song's airplay potential, and convinced the group to leave it out. Instead, "high" was edited out, making it sound like, "she get uuggh," but the "high" line can be heard in live versions. You can also hear the song as intended in the 1999 reissue of the album, which was overseen by their original engineer Bruce Botnick. He also replaced Jim Morrison's "f--k"s on "The End." These edits went over about as well as the digital revisions to Star Wars. Jim Morrison got some of the lyrics from John Rechy's 1963 book City of Night. In that book, Rechy writes about "the other side" in reference to Hollywood. There's also a passage where he writes, "place to place, week to week, night to night," which Morrison appropriated in the lyrics: Made the scene Week to week Day to day Hour to hour Robby Krieger's guitar melody was inspired by the Paul Butterfield Blues Band of "Shake Your Money Maker," which was released on the group's debut album in 1965. Krieger was a huge fan of Butterfield, and found himself emulating the riff when they were working on "Break On Through." The Doors didn't have a bass player, so their keyboard player Ray Manzarek created most of the low-end sounds. On this track, he borrowed the bass notes from the Ray Charles song "What'd I Say." In 1967, Jim Morrison did an interview with Hit Parader magazine where he said that he wrote this song while crossing canals in Venice. "I was walking over a bridge," he said. "I guess it's one girl, a girl I knew at the time." John Densmore added the knocking drum sound by hitting his drum stick sideways across the snare. Elektra Records boss Jac Holzman commissioned a promotional film for this song - later known as a music video. The video, directed by Mark Abramson, is fairly basic but with excellent production value, centering on the very photogenic Morrison singing the song. The video was sent to many broadcast outlets in hopes they would air it. The group was an unknown commodity so very few did, but they did get some use out of the clip, playing it at concerts in 1967 and 1968. It was later used in various Doors video compilations and played on networks like MTV. Like The Beatles, The Doors were innovators in the music video medium, creating films of various kinds to accompany some of their songs. The vocals are a mix of two of Morrison's takes. Elektra Records promoted the album with a billboard on Sunset Boulevard in Hollywood with a photo of the band and the headline, "The Doors Break On Through With An Electrifying Album." It was likely the first billboard advertising a rock band ever displayed in that area, and it got lots of attention for the band. This was one of six songs The Doors recorded for a demo on Aura Records while they were trying to get signed in 1965. Robby Krieger was not yet with the group. As John Densmore states in The Doors Box Set, the beat of this song was inspired by Brazilian Bossa Nova like Joao Gilberto and Tom Jobim. In The Doors box set, Ray Manzarek said this was the last song they played live. It was during the Isle of the Wight Festival in the summer of 1970. The festival occurred while Morrison was on trial in Miami faced with charges of indecent exposure, and the band got a special five days of recess to be in England and get back to US. "This was to be the first gig of an European tour just as Miami was to be the first gig of a 20-city US tour. We never got beyond the first date of either one," said Ray. This is one of a few Doors tunes used in Forrest Gump as Forrest becomes adept at ping pong, and the only one included on the two-disc soundtrack. Break On Through The Doors Written by: Jim Morrison You know the day destroys the night Night divides the day Tried to run Tried to hide Break on through to the other side Break on through to the other side Break on through to the other side We chased our pleasures here Dug our treasures there But can you still recall The time we cried? Break on through to the other side Break on through to the other side Everybody loves my baby Everybody loves my baby She gets high, she gets high, she gets high She gets high I found an island in your arms A country in your eyes Arms that chain us Eyes that lied Break on through to the other side Break on through to the other side Break on through oh yeah Made the scene, week to week Day to day, hour to hour The gate is straight Deep and wide Break on through to the other side Break on through to the other side Break on through, break on through Break on through, break on through Yeah, yeah, yeah Yeah, yeah, yeah...

From the Beginning Emerson Lake and Palmer ELP's formula for successful albums seemed to be a concept covering several songs - a beautiful acoustic number by Greg Lake, and one comedy song per album. For Trilogy, "From the Beginning" was Greg Lake's beautiful acoustic number that showed his acoustic guitar skills were right up there with his bass talents. A heartfelt song of devotion, Lake claims that the inspiration for the song has left his memory. Says Lake: "Very often lyrics simply come about simply because of the way one feels at a moment in time. There is no earth moving moment of divine inspiration or grand plan and I'm sure that was the case with this song. Although very young at the time I sometimes had moments of reflection and maybe also perhaps a feeling that I could be a better person, I think this was just one of those." The band is often described as "prog rock," but Carl Palmer feels that's too simplistic. "We were a band that played lots of different genres of music, from jazz to classical adaptations to folk music to rock, and even some blues here and there," he said in his Songfacts interview. "We were quite varied in what we did, so it's really hard to pick out one particular area, because it all made up ELP. There wasn't a blueprint before: We were one of a kind. We were keyboard driven, the singer had a choirboy voice, didn't really use a lot of guitar. We played classical adaptations. There wasn't a lot of jazz in it or blues. A little bit of rock in a sort of symphonic way." There were 63 roadies on their 1977 tour, including a karate instructor for Palmer and their own doctor. It was also rumored they had a "carpet roadie," whose job was to transport and sweep the Persian rug Lake stood on during the concerts. They also used a 70 piece orchestra. Lake was previously in King Crimson, Emerson was in The Nice. They met in 1969 when both bands played a show at The Fillmore West in San Francisco. Before forming Emerson, Lake & Palmer, Keith Emerson and Greg Lake were considering Mitch Mitchell as their drummer, and with the suggestion of Mitchell adding Jimi Hendrix to their lineup. But they later settled on drummer Carl Palmer to form ELP. Shortly afterwards, British tabloids began publishing rumors that Hendrix, Emerson, Lake, and Palmer had formed to become HELP But before the band was able to collaborate with Hendrix, he had passed away. Palmer formed another supergroup in 1981: Asia. This one had four members, but was also very keyboard oriented with Geoff Downes of Yes. There might have been things I missed But don't be unkind It don't mean I'm blind Perhaps there's a thing or two I think of lying in bed I shouldn't have said But there it is You see, it's all clear You were meant to be here From the beginning Maybe I might have changed And not been so cruel Not been such a fool Whatever was done is done I just can't recall It doesn't matter at all You see, it's all clear You were meant to be here From the beginning Writer/s: GREGORY LAKE