Psychological operations

The Lamb Lies Down On Broadway Genesis Side one: 00:00 The Lamb Lies Down On Broadway 04:54 Fly On A Windshield 07:37 Broadway Melody Of 1974 09:48 Cuckoo Cocoon 12:01 In The Cage 20:14 The Grand Parade Of Lifeless Packaging Side two: 23:02 Back In N.Y.C. 28:36 Hairless Heart 30:55 Counting Out Time 34:36 Carpet Crawlers 39:50 The Chamber Of 32 Doors Side three: 45:38 Lilywhite Lilith 48:25 The Waiting Room 53:41 Anyway 56:50 Here Comes The Supernatural Anaesthetist 59:47 The Lamia 1:06:49 Silent Sorrow In Empty Boats Side four: 1:09:47 The Colony Of Slippermen 1:18:00 Ravine 1:20:04 The Light Dies Down On Broadway 1:23:36 Riding The Scree 1:27:44 In The Rapids 1:30:06 It The Lamb Lies Down on Broadway is the sixth studio album by Genesis. It was released as a double album on 22 November 1974 by Charisma Records and is their last to feature original frontman Peter Gabriel. It peaked at No. 10 on the UK Albums Chart and No. 41 on the Billboard 200 in the US. It is their longest album to date. While the band worked on new material at Headley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City The Bronx. As "The Lamb," who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. The album was marked by increased tensions within the band as Gabriel, who insisted on writing all of the lyrics, temporarily left to work with filmmaker William Friedkin and needed time to be with his family. Most of the songs were developed by the rest of the band through jam sessions and were put down at Glaspant Manor in Wales using a mobile studio. Peter Gabriel explained to The Daily Telegraph September 30, 2014 that the album "was intended to be an intense story of a young rebellious Puerto Rican in New York who would face challenges with family, authority, sex, love and self-sacrifice to learn a little more about himself. I wanted to mix his dreams with his reality, in a kind of urban rebel Pilgrim's Progress." The full story is in the liner notes of the album. This was the basis for an elaborate stage production Genesis performed at concerts. It was on this tour that Peter Gabriel decided to leave the band. There are references to classic songs throughout the album, and this track recalls "On Broadway," which was a hit for The Drifters in 1963. Genesis keyboard player Tony Banks used a cross-handed technique to create the jaunty rhythm. He described it in a Songfacts interview: "the two hands are playing almost percussively, alternatively. So, you appear to be playing faster than you are. I really like the effect. It's very rhythmic. I just find it's an exciting way to play." On their 1974 tour, Genesis played the album from start to finish. Gabriel wore several costumes throughout the show, including a grotesque mask during "The Colony Of Slippermen." This was the first song and title track to the double album which was the last Peter Gabriel contribution to Genesis. The Lamb Lies Down On Broadway was a song-cycle whose hero Rael shared a name with "Rael (1 and 2)," a track on The Who's 1967 album, The Who Sell Out. Mojo April 2010 asked Peter Gabriel if it was a conscious tribute to The Who's Pete Townshend. He replied: "It was a subconscious tribute because I certainly wasn't aware of it at the time. I spent a long time thinking of that name, like Ra the Sun God. But I was a big Who fan, so it may have got in there. Obviously Townshend created much of the musical environment and delivered the angst with an intelligence and passion and extraordinary musicality. But to this day, as a drummer, I think Keith Moon was the unacknowledged genius. He was like Jimi Hendrix: when he was on - and he wasn't always - it flowed out of him in a free way that was inspiring, driving, magnificent." Peter Gabriel's insistence on writing the story and all the lyrics himself for The Lamb Lies Down On Broadway created friction amongst his bandmates. Tony Banks recalled in Uncut magazine October 2008: "Having done 'Supper's Ready' (the 23-minute song on Foxtrot)) we decided we wanted to go for a concept album, and make a double album. We agreed the concept, which Peter came up with. Then he said that he really wanted to write all the lyrics, which was difficult for us because we'd always split all the lyrics among us all." During the writing sessions at Headley Grange, Gabriel found himself separated from the rest of the band, which caused some friction. He insisted that having devised the concept he should write the lyrics, leaving the majority of the music in the charge of his bandmates. This was a departure from the band's usual method of songwriting, as lyrical contributions on previous albums had always involved the other members. This situation left Gabriel often secluded in one room writing the lyrics, and the remaining four rehearsing in another. In one instance Gabriel was unable to meet a scheduled deadline to have the lyrics finished, leaving Rutherford and Banks to write words for "The Light Dies Down on Broadway". At other times, Banks and Hackett suggested lyrics they thought would fit "The Lamia" and "Here Comes the Supernatural Anaesthetist" respectively, which Gabriel rebuffed. Further disagreements arose during the writing period when Gabriel left the group for a short period having accepted an invitation from film producer William Friedkin to collaborate on a screenplay, after he took a liking to Gabriel's surreal story printed on the sleeve of Genesis Live (1973). In Gabriel's absence Collins suggested having the new studio album be purely instrumental, thinking it would favour the other members as Gabriel had made some of their earlier songs too lyrically dense, but the idea was rejected by the rest of the group. Friedkin, however, was not prepared to split the band over a mere idea and Gabriel resumed work on the album. Matters were complicated further when Gabriel spent additional time in London when his first wife Jill underwent a risky and difficult birth of their first child in July 1974, leaving Gabriel often travelling back and forth. Rutherford later admitted that he and Banks were "horribly unsupportive" of Gabriel during this time, and Gabriel saw this as the beginning of his eventual departure from Genesis The album received a mixed critical reaction at first, but it gained acclaim in subsequent years and has a cult following. The songs "Counting Out Time" and "The Carpet Crawlers" were released as singles in the UK in 1974 and 1975, respectively; both failed to chart. A single of "The Lamb Lies Down on Broadway" was released in the US. Genesis promoted the album with their 1974–75 tour across North America and Europe, playing the album in its entirety. The album reached Gold certification in the UK and the US. The album was remastered in 1994 and 2007.

Magic Bus Eminence Front The Who Magic Bus is a staple of Who concerts and has been sung in many different versions. A version nearly 8 minutes long can be found on the Live At Leeds album. It was written by their guitarist Pete Townshend during the time that their debut album My Generation was being recorded in 1965. However, it was not recorded until 1968, when it was released as a single on 27 July 1968 in the United States and Canada, followed by its release in the United Kingdom on 11 October 1968. It has become one of the band's most popular songs and has been a concert staple, although when released, the record only reached number 26 in the UK and number 25 in the United States. The song was included on their 1968 album Magic Bus: The Who on Tour. The arrangement for "Magic Bus" uses a Latin percussion instrument known as claves, which are pairs of small wooden sticks that make a distinctive high pitched clicking noise when struck together. The Who had previously used this same instrument on the song "Disguises", which was recorded in 1966. The song makes use of the Bo Diddley beat. The song was not recorded by the Who at the time it was written, but the band's management and music publisher circulated a Townshend demo recording of the song in 1966. A version was released as a single in the UK in April 1967 by an obscure band called the Pudding, in the UK on Decca and in the US on London's Press label. It was not a hit. Cash Box said that it has "a rhythmic reminiscence of 'Bo Diddley.'" Record World described it as an "intriguing ditty" with a "hypnotic lyric and melody." The song is usually performed as a duet, where the "Rider", usually singer Roger Daltrey when live, is riding on the bus every day to see his girl. In the song he asks the "Driver", usually Townshend, if he can buy the bus from him, with the driver's initial answer being no. After haggling for a while, the driver finally lets him have it and he vows to drive it to his girlfriend's house every day. Backing vocals were provided by The Who's sound engineer Bob Pridden and Jess Roden from The Alan Bown Set, whom Townshend credits with "that Steve Winwood-type voice". The original LP and cassette of the Meaty Beaty Big and Bouncy compilation album featured a 4:28 longer alternate vocal take of "Magic Bus" in fake stereo which was not included on the original compact disc version because the true stereo or mono source could not be found for the long version of the song. However, on 25 July 2007, Universal Japan re-released the album in a mini-LP sleeve that includes the long alternate version of "Magic Bus" in fake stereo, as on the original album. This longer mix features an alternate vocal track, an extended middle section, and does not fade out at the end. (The original single length version did appear in true stereo only on the US "Magic Bus" LP.) The song appeared in the band's 1979 film The Kids Are Alright taken from the 1968 single performance. It was subsequently released on The Kids Are Alright film soundtrack. That version is the mono single version, but slowed down, resulting in the song being a semi-tone lower in pitch and slightly longer at 3:21. The Polydor CD Remaster of The Kids Are Alright, issued in 2000, mistakenly states "Remixed stereo version", and should state "Remixed mono version". The 2014 compilation The Who Hits 50! features the alternate vocal long version at 4:34 in mono. "Magic Bus" was first performed during the Who's 1968 tour and was part of the regular set from 1971 to 1976 (it was performed frequently in early-mid 1969 and less often in 1970). It has been played less frequently since Keith Moon's death in 1978, but it was frequently used as the closing song on the 2015-2016 The Who Hits 50! tour. When played live, the song typically featured a lengthy instrumental jam, with some performances lasting over 15 minutes. A notable performance can be heard on the album Live at Leeds. This version stretches out to nearly eight minutes, with Roger Daltrey joining the jam playing harmonica. This recording was used during the musical montage sequence in the final act of Martin Scorsese's film Goodfellas as well as the opening sequence of Cameron Crowe's Jerry Maguire. Another notable performance of the song took place at The Vegas Job concert in 1999. The rhythm and beat of the song was significantly altered to a slower groove, and Townshend and Daltrey ad libbed a few verses. The harmonica jam returned again, and the song stretched out to nearly ten minutes. Another notable performance (recorded on 27 November 2000) appears on Live at the Royal Albert Hall, which morphs into a cover of "Country Line Special." On the Thirty Years of Maximum R&B Live DVD, John Entwistle cited "Magic Bus" as his least favorite song to play, due to his bass part consisting almost entirely of the same note played repeatedly. Conversely, on the same release, Pete Townshend cited "Magic Bus" as his favorite song to play, "because of the rhythm." The band claimed on several occasions during their 2009 tour of Australia and Japan that they were unable to play the song, with Townshend stating, "We can't play Magic Bus right now.... But if you shout loud enough... We definitely won't play it." In 1985, Alvin and the Chipmunks covered the song for their TV series episode "The Prize Isn't Right". Jazz musician Billy Iuso covered "Magic Bus" on his 2011 album Trippin'. Eminence Front "Eminence" is high power or fame, so an "Eminence Front" is the illusion of such, as Pete Townshend indicates with the line, "It's a put-on." He said the song is about "the absurdity of drug-fueled grandiosity," possibly related to the Ativan detox program he went through shortly before writing the song. "Whether I was pointing the finger at myself or at the cocaine dealers of Miami Beach is hard to recall." Townshend created the distinctive keyboard sound using a Yamaha E70 organ with the Auto Arpeggio setting turned on. He used the same effect on "You Better You Bet." Pete Townshend sang lead on this track. When they performed it live, Roger Daltrey played rhythm guitar. This is the best-known song off of It's Hard, the second album The Who released after the death of Keith Moon. Even though the album went to #11 on the charts in the UK and #8 in the US, it was poorly received by the critics. Roger Daltrey claimed he "hated" It's Hard and considered this the only song worthy of release. The song has a very long intro. Running 5:39 on the album, the vocal doesn't come in until 1:57. This was used in a 2015 commercial for the GMC Acadia Denali. Movies to use this song include: The Infiltrator (2016) Entourage (2015) Goon (2011) Law Abiding Citizen (2009) It has also appeared in these TV series: Person of Interest ("Prisoner's Dilemma" - 2013) Entourage ("Entourage" - 2004) Miami Vice ("Killshot" - 1986) The hip-hop group 3rd Bass sampled this on their 1991 track "Pop Goes the Weasel."

This song took inspiration from a fire in the Casino at Montreux, Switzerland on December 4, 1971. The band was going to start recording their Machine Head album there right after a Frank Zappa concert, but someone fired a flare gun at the ceiling during Zappa's show, which set the place on fire. Deep Purple was in the audience for the show, and lead singer Ian Gillan recalls two flares being shot by someone sitting behind him that landed in the top corner of the building and quickly set it ablaze. Zappa stopped the show and helped ensure an orderly exit. Deep Purple watched the blaze from a nearby restaurant, and when the fire died down, a layer of smoke had covered Lake Geneva, which the casino overlooked. This image gave bass player Roger Glover the idea for a song title: "Smoke On The Water," and Gillan wrote the lyric about their saga recording the Machine Head album. The band was relocated to the Grand Hotel in Montreux, where they recorded the album using the Rolling Stones' mobile studio. They needed one more song, so they put together "Smoke On The Water" using Gillan's lyric and the riff guitarist Ritchie Blackmore came up with. The result was a song telling the story of these strange events just days after they happened - the recording sessions took place from December 6-21. In an interview with Gillan, he explained: "We set the gear up in the hallways and the corridors of the hotel, and the Rolling Stones' mobile truck was out back with very long cables coming up through the windows. We tried to re-create an atmosphere in a technical sense the best we could. And when we went to write the lyrics, because we were short on material, we thought it was an 'add-on track.' It was just a last-minute panic. So, the riff and backing track had been recorded on the first day as a kind of soundcheck. There were no lyrics. The engineer told us on the last day, 'Man, we're several minutes short for an album.' So, we dug it out, and Roger and I wrote a biographical account of the making of the record: 'We all came out to Montreux...'" The session where they put down the backing track took place at a dance club in Montreux called the Pavilion, where they tried to record after the casino burned down. The "Smoke On The Water" track was all they accomplished there because locals complained about the noise and police shut them down. The rest of the album, and the "Smoke On The Water" vocal, was recorded at the Grand Hotel. Frank Zappa, who is mentioned in the lyrics, lost all his equipment in the fire. He then broke his leg a few days later when a fan pulled him into the crowd at a show in England. This prompted Ian Gillan to say "Break a leg, Frank," into the microphone after recording this for a BBC special in 1972. Deep Purple bass player Roger Glover had some doubts about the title: he knew it was great but was reluctant to use it because it sounded like a drug song. Ritchie Blackmore has an affinity for renaissance music, which he writes and performs in his duo Blackmore's Night. He says that he first took an interest in the form in 1971 when he saw a BBC program called Wives of Henry VIII, and that there is indeed a trace of Renaissance in "Smoke On The Water." "The riff is done in fourths and fifths - a medieval modal scale," he explained on MySpace Music. "It makes it appear more dark and foreboding. Not like today's pop music thirds." The band did not think this would be a hit and rarely played it live. When they did, though, it got a huge reaction. They included a live version from a show in Osaka on their 1972 live album Made In Japan, which was a huge seller. The album was released in America in April 1973, over a year after Machine Head was released there. This earned the song a lot more exposure and convinced Deep Purple's people to release it as a single in America in May. The song didn't peak at #4 in the US until July 28, 1973; by this time, Deep Purple had another album out (Who Do We Think We Are) and the Mark II lineup that recorded the song had broken apart, with Ian Gillan and Roger Glover leaving the band. "Funky Claude," as in the lyrics "Funky Claude was running in and out pulling kids out the ground," is Claude Nobs, a man who helped rescue some people in the fire and found another hotel for the band to stay. He is the co-founder of the prestigious Montreux Jazz Festival. Nobs explained to Gibson.com how this song arose out of the ashes: "Deep Purple were watching the whole fire from their hotel window, and they said, 'Oh my God, look what happened. Poor Claude and there's no casino anymore!' They were supposed to do a live gig [at the casino] and record the new album there. Finally I found a place in a little abandoned hotel next to my house and we made a temporary studio for them. One day they were coming up for dinner at my house and they said, 'Claude we did a little surprise for you, but it's not going to be on the album. It's a tune called "Smoke On The Water.'" So I listened to it. I said, 'You're crazy. It's going to be a huge thing.' Now there's no guitar player in the world who doesn't know [he hums the riff]. They said, 'Oh if you believe so we'll put it on the album.' It's actually the very precise description of the fire in the casino, of Frank Zappa getting the kids out of the casino, and every detail in the song is true. It's what really happened. In the middle of the song, it says 'Funky Claude was getting people out of the building,' and actually when I meet a lot of rock musicians, they still say, 'Oh here comes Funky Claude.'" The B-side of the single was another version of the song, recorded live in Japan. In 1989, former members Ritchie Blackmore and Ian Gillan released a new version of this with Robert Plant, Brian May, and Bruce Dickinson. They called the project "Rock Aid Armenia," with proceeds going to victims of the Armenian earthquake. Fender.com asked Ritchie Blackmore how he came up with the song's famous riff. He replied: "Ian Paice (Deep Purple drummer) and I often used to jam, just the two of us. It was a natural riff to play at the time. It was the first thing that came into my head during that jam." Deep Purple went through a number of lineup changes, but "Smoke On The Water" stayed in their setlist because it was too popular not to play. After lead singer Ian Gillan left in 1973, David Coverdale got to sing it. Tommy Bolin was tasked with playing it on guitar when he took over for Blackmore in 1975. Blackmore was back in Deep Purple from 1984-1993; in 1994, Steve Morse became their new guitarist. When Songfacts spoke with Steve Morse about performing this song live, he said: "On a tune that I didn't write like 'Smoke On The Water,' I try to tread a line between homage and respect and originality. So, say, on the solo, I take it a out a little bit and do it my way for a little bit, and then bring it back to more like the original, and wrap it up with a lick that everybody would recognize. That's about as much as I can suggest somebody do because there's ingrained memories of the song in peoples' minds." The famous guitar riff is performed in the 2003 Jack Black film School Of Rock. On June 3, 2007 in Kansas City, Kansas, 1,721 guitarists gathered to play this song together and break the record for most guitarists playing at one time. The entire song was played, though only the one lead guitar played the solo. Guitarists from as far as Scotland came out for the event. The event was organized by radio station KYYS, whose DJ, Chris, gave us this account: "It was so exhilarating that I got chills when every guitarist played the final riff, lifted their guitars into the air, and defined rock in Kansas City." It's hard to compete with outsourcing, however, and the record was beaten on October 26, 2007 when 1,730 guitarists gathered in Shillong, India, to perform "Knocking On Heaven's Door." This was used in commercials for Dodge trucks. The song plays on a jukebox that a guy is eyeing in an antique store. His wife gets her way and they take home a piece of furniture instead - the point being the large payload capacity of the truck. According to an interview with Ian Gillian on VH1's Classic Albums: Machine Head, the band did not have much money when recording this album and were renting a recording studio. They stayed past when they were supposed to get out. As they were recording this song, the police were knocking on the door of the studio to kick them out. In a 2008 survey of students from music schools across London, this topped a poll to find the best ever guitar riff. Nirvana's "Smells Like Teen Spirit" came second and Aerosmith's "Walk This Way" third. According to the London Times newspaper, Ritchie Blackmore was embarrassed to present this song to his fellow members of Deep Purple because it was such a Neanderthal tune for a guitarist of his caliber to come up with. The lyrics, "Swiss time was running out" meant that their visas were going to expire soon. They wrote the songs and recorded them in a matter of weeks. Many beginners try to play this when they pick up a guitar, and they usually play it wrong. Here's how: Use the open G and D strings as the starting point and you pluck the strings with a finger each, not a pick. Lots of people play this from the 5th fret of the A and D string, which is wrong. In the 2002 "Weekend at Burnsie's" episode of The Simpsons, Homer is heard crooning to this song after he uses medicinal marijuana. In Stephen King's Dreamcatcher (2001), a character recalls losing his virginity to this song at a fraternity party. Pat Boone covered this on In a Metal Mood in 1997. On the album, he performed heavy metal songs with string instruments and pianos, but in this case kept the famous guitar riff and even allowed a solo. Otherwise, it's a very jazzy cover. In a Songfacts interview with Boone, he said: "Ritchie Blackmore played some guitar on my recording - of his song. He had to do it to a track we sent him in Germany where he was recording in some castle. He played part of the guitar licks on 'Smoke on the Water,' but the other part is Dweezil Zappa, on a Hendrix Stratocaster. It was very authentic. I was very serious about treating these songs as good music - with big band jazz arrangements." Talking about the song's merits as live material, Roger Glover said in Metal Hammer, "I think 'Smoke On The Water' is the biggest song that Purple will ever have and there's always a pressure to play it, and it's not the greatest live song, it's a good song but you sorta plod through it. The excitement comes from the audience. And there's always the apprehension that Ritchie (Blackmore) isn't gonna want to do it, 'cause he's probably fed up with doing it."

Seeing Things and She Talks To Angels The Black Crowes During VH1's The Black Crowes Storytellers, filmed at The Bottom Line in New York City on August 27, 1996, lead singer Chris Robinson explained that this song is not about one person, but rather a "hot dog" (as he put it) of people that they knew from the Atlanta club scene in their early days. "Not all the best parts" explained Chris, "or the best parts for you." Chris says there was always a girl in the club scene back then with really dark makeup (like Siouxsie And The Banshees), and after thinking about her one day, he scribbled the lyric "she paints her eyes as black as night." He then went on to write an entire biography (completely made up, by the way) about her in the form of the song that then became "She Talks to Angels." Chris Robinson, who wrote this song with his bandmate/brother Rich, he said: "'She Talks to Angels' is a funny song in that so many people resonate with it. The dark details like drugs and things like that would be a part of growing up and being in this world, but when I wrote that song I had no idea - I hadn't done any of those things. I hadn't lived that - everything was in my imagination." The Christian band Third Day has a song about the Black Crowes that references this song and others. It's called "Black Bird" and imitates their style. The song says that Third Day really likes The Black Crowes music but that they essentially need Jesus in their lives. There is a lyric in "Black Bird" that says "You say to talk to angels, well I say it's such a lie." Darius Rucker joined forces with The Black Crowes for a performance of "She Talks To Angels" at the 2023 CMT Music Awards. The Hootie & The Blowfish frontman (and country star) credits the song for inspiring one of the band's biggest hits, "Let Her Cry." Rucker says Chris Robinson influenced the way he plays music, making the opportunity to perform with them even more special. She never mentions the word addiction In certain company Yes, she'll tell you she's an orphan After you meet her family She paints her eyes as black as night now Pulls those shades down tight Yeah, she gives a smile when the pain comes The pain gonna make everything alright Says she talks to angels They call her out by her name Oh yeah, she talks to angels Says they call her out by her name She keeps a lock of hair in her pocket She wears a cross around her neck Yes, the hair is from a little boy And the cross from someone she has not met, well, not yet Says she talks to angels Says they all know her name Oh yeah, she talks to angels Says they call her out by her name She don't know no lover None that I ever seen Yeah, to her that ain't nothing But to me it means, means everything She paints her eyes as black as night now She pulls those shades down tight Oh yeah, there's a smile when the pain comes The pain gonna make everything alright, alright yeah She talks to angels Says they call her out by her name Oh yeah, angels Call her out by her name Oh-oh, angel They call her out by her name Oh, she talks to angels They call her out, yeah, yeah Call her out Don't you know that they call her out by her name Writer/s: Christopher Mark Robinson, Rich S. Robinson Seeing Things Find it hard to shed a tear Brought it on yourself, my dear And wrong, yes, I may be, Don't leave a light on for me 'cause I ain't comin' home It hurts me baby, to be alone Yes, it hurts me baby. One hundred years will never ease There are days I won't believe I saw it with my own two eyes All the pain, I can't hide And this pain, starts in my heart And this love, tears us apart now! Won't find me bent down, on my knees Oh, yeah, Ain't bending over backwards, not to please Oh, no 'Cause I'm seeing things, for the first time I'm seeing things, for the first time I'm seeing things, for the first time In my life In my life, yeah And oh how I used to dream Of better days that never came And sorry ain't nothing to me I'm gone, and that's the way it must be So please, I've done my time Loving you is such a crime You won't find me down, on my knees Oh no no no Won't find me over backwards, just to please Oh, yeah 'Cause I'm seeing things, for the first time I'm seeing things, for the first time I'm seeing things, for the first time In my life In my life, yeah

In the End and Points of Authority by Linkin Park In the End lyrics are based on the struggles lead singer Chester Bennington went through growing up. In March 2001, 15-year-old Charles Andrew Williams shot and killed two of his classmates at his high school in Santee, California. He left a note for his father with the lyrics to this as an attempt to explain his feelings. The key lines were, "I tried so hard and got so far, but in the end, it doesn't really matter." The video was shot in a California desert while the band was between stops on the 2001 Ozzfest tour. Although Hybrid Theory was the best-selling album in America in 2001 with nearly 5 million copies sold (14 million worldwide), the number could have been much higher. Unfortunately, the band's rise to fame coincided with the boom of music piracy on the internet via file-swapping sites like Kazaa and Napster. In April 2002, The Guardian reported that Hybrid Theory was the #1 most-pirated album on the internet, with 5.3 million downloads. Because of this, their next album, Meteora, was shrouded in secrecy. Instead of receiving advanced copies of the album for review, journalists were invited to a listening event and frisked for recording devices upon entry. This was the third single from Linkin Park's first album. Their first two singles were "One Step Closer" and "Crawling." All three songs explore the dark side of growing up. "Hybrid Theory" is the original name of the band. They decided to use it as the album title. This was released as a single about nine months after the album. It took a while for the album to catch on, but it eventually sold very well. On their 2002 album, Reanimation, this was remixed by Kutmasta Kurt with vocals by Motion Man. The title was changed to "Enth E Nd," and it was given a hip-hop sound. At the 2002 MTV Video Music Awards, this won for Best Rock Video. Sammy Hagar and David Lee Roth, who were touring together at the time, presented the award. Before announcing the winner, Roth asked Hagar what his favorite Linkin Park song was, and Hagar said he didn't know any Linkin Park songs. Mike Shinoda: "I remember putting this together in our rehearsal studio on Hollywood and Vine, working overnight in a room with no windows. I had no idea what time of day it was; I just slept when I was tired, and worked on this song until it took shape. The first guy to hear it was Rob, who told me (I'm paraphrasing) that this was 'exactly the kind of song he wanted us to write." This was used on the animated TV series American Dad! in the 2018 episode "Paranoid Frandroid." Shinoda thought this was the most important song for the band to release at the time because it contrasted with the more aggressive tunes in their catalog and introduced their range of skills. "It showcased kind of the breadth of things that we can do: melody and rapping and beats and rock stuff and screaming and whatever," he recalled in a 2020 interview with SiriusXM. "It was kind of the song that brought all of the stuff we did at the time together into one song." Unlike the rest of the band, Bennington wasn't a fan of the song at first and didn't even want it on the album, let alone as a single. When it ended up being a hit, he realized choosing singles wasn't his strong suit. "I basically decided at that point I don't know what the f--k I'm talking about, so I leave that to other people who are actually talented at somehow picking songs that people are going to like the most," he explained in a 2014 interview. "It also gave me a good lesson, as an artist, that I don't necessarily have to only make music, in my band, that I want to listen to. More often than not, something that I like, very few other people like, and something that those people like is something that I kind of like, or don't like at all. And that's cool, it gives me a new appreciation for the songs. But, you know, now I love 'In The End' and I think it's such a great song." Shinoda doesn't feel overly sentimental about the band's classic songs. He told Forbes in 2020: "I don't get a visceral, emotional reaction from Hybrid Theory. It's got its own ubiquitous identity at this point. When you've heard 'In The End' in a Starbucks bathroom it's hard to get emotional about the song anymore." The band spoke out against President Trump using the song in a video for his re-election campaign in 2020 and successfully had the clip taken down from Twitter. Fans also rallied around the band and dug up Chester Bennington's 2017 tweet that warned Trump was "a greater threat to the USA than terrorism." Points of Authority is about a person who tries to control someone through intimidation and aggression. Chester Bennington was molested by acquaintances when he was young, which influenced the song. This appears on Linkin Park's debut album, Hybrid Theory, which established the band as nu-metal stars. It sold 5 million copies in the US (on its way to 12 million by 2020), making it the best-selling album of 2001 in America. But the band weren't fond of the nu-metal tag, which lumped them in with acts like Limp Bizkit and Korn. "We never liked it," Shinoda said in a 2008 Kerrang interview. "People lazily slapped that label on bands like us, but we never shared much in common with most of the bands we were grouped with. We didn't have the same interests, goals, musical influences, or sound. I felt like we weren't from the same scene." Shinoda's vocal scat in the intro was inspired by Black Thought of the hip-hop group The Roots. "I heard him doing that on Illadelph Halflife, and I just thought there was something so cool about that. And I thought it would mix well with the scratching, so we kind of did this back-and-forth with those things," he told Billboard in 2020. The song initially had a different guitar line that Shinoda thought sounded too basic, so he used ProTools to chop it up and move the pieces around to create a different sound. "I treated it like a sample off a record," he explained. Lead guitarist Brad Delson shared his view of the tune with Kerrang in 2020. He said: "The ethos of that song is deconstructing live music. The guitar is chopped up, so you've basically taken live instruments, something organic, and we were really making use of the technology at the time, digital technology, which is stutters and chopping things up. So, it's like taking organic ingredients, putting them in a digital blender, and 'Points Of Authority' is what comes out." Delson also explained that Shinoda's work on the riff was a prime example of the rapper's technical wizardry. "That's one of his superpowers," he said. "Even when he has basic technology, he really learns how to use it and he almost plays some of the recording technology like an instrument. I think you can hear that on this song." A remixed version of the album, Reanimation, was released in 2002 and the new version of this track, titled "Pts.OF.Athrty" was released as a single. It was remixed by Jay Gordon of the industrial-metal band Orgy. Joe Hahn, the band's DJ/programmer, directed a music video for the remixed version of the song. He also came up with the clip's concept, which involved Linkin Park waging a CGI-robot battle against an alien race. "I remember I was referencing Saving Private Ryan, and looking at a lot of anime, and the dynamics of things blowing up," he told Billboard in 2020. "It was so fun, because I had this crazy idea, and everyone was like, 'Okay! Go do it!' And they let me do it!"

In 1972 Jethro Tull released a parody concept album Thick As A Brick. . Concepta albums were all the rage back then and this one features a single track 43 minutes long. Due to the limits of the LP format it is split into two parts. The album opens up to become a 12 page newspaper, later versions left out the fold out newspaper. There are several articles about Gerald "Little Milton" Bostock, a review of the album and articles about some sort non-rabbit and many others of a full feature newspaper. It is a bit like the National Lampoon Sunday Newspaper. Gerald Bostock was an 8 year old child genius who wrote the lyrics for the album and is also a fictional character. Ian Anderson actually wrote the lyrics as usual for a Jethro Tull album. Don't let your kids fill out the connect the dots puzzle. I haven't checked the crossword puzzle yet. May not be rated G. Following the storming success of his band’s 1971 opus, Aqualung, Jethro Tull’s frontman, Ian Anderson, found himself both tickled and bemused by the sheer absurdity of progressive rock. Mindful of the pretentious pitfalls of a genre that could be grandiose, lengthy and indulgent, Anderson was keen to inject more of a sense of humour into proceedings for the group’s next album, Thick As A Brick. Though they were prog-rock bedfellows, Jethro Tull approached their fifth record with a tongue-in-cheek sensibility, framing it as a musically ambitious satire on the British class system, with comedic undertones. “We’re talking about an era when Monty Python was really successful,” Anderson later said, “and we had a similar sense of humour to them.” Coasting away from the Flying Circus in a blimp of their own making, Jethro Tull ensured that Thick As A Brick was a surreal and epic flight that celebrated their fondness for schoolboy japes while leading them to discover their very own holy grail. “WE WERE SPOOFING THE IDEA OF A CONCEPT ALBUM” Combining highfalutin musical ideas while rehearsing in a mobile studio owned by The Rolling Stones, the band put flesh on the bones of a two-part suite of continuous music – each one occupying over 20 minutes on each side of vinyl. Aiming to tell the story of a fictitious 12-year-old schoolboy, Thick As A Brick was full of the dazzling wordplay, riddles and frantic tempos of the best Jethro Tull songs, bolstered by gleeful anti-Establishment swipes at toffee-nosed bores. “We were spoofing the idea of a concept album,” Anderson said, “but in a fun way that didn’t totally mock it.” “I think we all had that sort of schoolboy humour throughout the album,” guitarist Martin Barre recalled. “We were all pranksters, all in a very silly state of adult development.” Musically, however, Jethro Tull were as serious-minded as ever, creating for Thick As A Brick a watertight arrangement to which each band member contributed hugely, resulting in the band’s most innovative undertaking to date. “We worked together on the arrangements and so everyone probably had an equal amount of input,” Anderson said. “THERE’S A DEFINITE STRAIN OF ENGLISH TOMFOOLERY RUNNING THROUGHOUT” Released on 10 March 1972, Thick As A Brick landed with an album cover that spoofed the inanity of local-newspaper reportage. Arguably just as ambitious as the music within, the “newspaper” was named The St Cleve Chronicle & Linwell Advertiser. The band had gone to painstaking lengths to craft a 16-page editorial containing fictional articles, crossword puzzles and daft tabloid tidbits that satirised modern journalism. Through the character of Gerald Bostock, Anderson delivers lyrics exploring the journey from puberty to manhood, with the music’s freewheeling chaos mirroring the rebelliousness of a child running amok in a world of military conscription.

Thick as a Brick Part 1 Jethro Tull This is the only song on the album. Side 1 is "part 1," running 22:31, and Side 2 was "part 2," clocking in at 21:05. Each side is over 20 minutes long. A radio edit, running just 3:01, was sent to radio stations and is the version used on most compilation albums. Speaking with Songfacts in 2013, Ian Anderson explained: "Back in 1972, you had to be aware of what was then called AOR radio - it was a delicate beast. It could only in most cases manage to play music that was in bite size portions. So we had to think about giving the option to American radio playing little edited sections of 'Thick As A Brick,' so they didn't have to delicately drop the needle into the middle of a long track or lift it off after the three and a half minutes. So we did that specially for American radio. It was never released publicly in that form, but in limited editions which were sent out to radio stations in the US, which is the only place where the record got played, anyway. It never got played in the UK or anywhere in Europe, it was just not that kind of music." "Thick as a brick" is a phrase meaning stubbornly dumb, as one's head is so thick that no new thoughts can enter it. The song starts with Ian Anderson expressing his low expectations for his target ("I may make you feel but I can't make you think") before singing about class structures, conformity, and the rigid moralistic beliefs of the establishment that perpetuates it. The song follows a young boy who sees two career paths: soldier and artist. He chooses the life of a soldier, just like his father. We see him assimilate into the society he once rebelled against, becoming just like his dad. With minimal meddling, the album took only two weeks to record, and was written in less than a month. The packaging was designed to look like a small-town newspaper called the St. Cleve Chronicle and Linwell Advertiser. When opened, the album revealed 12 pages of newspaper stories, making innovative use of the square foot of sleeve space with a fold-out so the Chronicle measured 12"x16". Under the headline "Thick As A Brick," we learn that an 8-year-old boy genius named Gerald Bostock wrote the lyrics for a poetry competition, but was disqualified on moral grounds by the governing body, The Society for Literary Advancement and Gestation (SLAG). According to the story, Ian Anderson of the "Major Beat Group" Jethro Tull read the poem and wrote 45 minutes of "pop music" to accompany it. The newspaper also contained ads, recipes, TV listings, a crossword puzzle, and a review of the album. Jethro Tull wasn't the first to use the newspaper theme for album art: The Four Seasons 1969 album Genuine Imitation Life Gazette was made to look like a newspaper with lyrics to the songs appearing as stories. It even had a comics-section insert. In 2012, Ian Anderson released a sequel called Thick As A Brick 2 - Whatever Happened To Gerald Bostock? The album presents various outcomes for the now 48-year-old Bostock, including banker, preacher, soldier, and shop owner. Anderson says the album examines how "our own lives develop, change direction and ultimately conclude through chance encounters and interventions, however tiny and insignificant they might seem at the time." Anderson had never performed the original Thick As A Brick in its entirety, but later in 2012, he began a tour where he played the entire album and its sequel. This continued an experimental phase for Jethro Tull. Their previous album, Aqualung, was considered a "concept" album, with characters and themes continuing from one song to the next. This was considered "progressive" rock, with very obtuse lyrics and a great deal of production. This song seems to be a commentary on modern society and the human condition. In 2001, this was used in a Hyundai commercial. Group leader Ian Anderson recorded a new version for the spot to avoid having other musicians butcher his song, as is often the case in commercials. He improvised an outro which he felt was the best part, but it was edited out. Anderson does not drive a Hyundai. He calls himself a "professional passenger." This appears in an episode of The Simpsons where Lisa goes to the "Boy's School." In the digital age, an album containing just one song doesn't fit the download model. When the 40th Anniversary Special Edition was released in 2012, Ian Anderson divided the album into eight different pieces that could be sold individually on iTunes and Amazon as $1.29 songs with titles like "The Poet and the Painter" and "See There a Man Is Born/Clear White Circles." "Some artists choose not to do that - famously Pink Floyd - and don't want to have their music unbundled to offer it in song length pieces," Anderson told us. "But I accept that that's the musical appetite of most folks these days. They don't really have the time or the concentration to listen to a whole album in one go. They want it in manageable pieces." Thick As a Brick was born out of Ian Anderson's annoyance at critics referring to Jethro Tull's previous longplayer, Aqualung, as a "concept album." Anderson maintained it was simply a collection of songs, so in response he came up with this 43:46-long single piece of music. Split over two sides of an LP record, it was designed to spoof the concept album genre. Really don't mind if you sit this one out My words but a whisper your deafness a shout I may make you feel but I can't make you think Your sperm's in the gutter, your love's in the sink So you ride yourselves over the fields and You make all your animal deals and Your wise men don't know how it feels To be thick as a brick And the sand-castle virtues are all swept away in The tidal destruction, the moral melee The elastic retreat rings the close of play As the last wave uncovers the newfangled way But your new shoes are worn at the heels and Your suntan does rapidly peel and Your wise men don't know how it feels To be thick as a brick And the love that I feel, is so far away I'm a bad dream that I just had today and you Shake your head and Say it's a shame Spin me back down the years And the days of my youth Draw the lace and black curtains And shut out the whole truth Spin me down the long ages, let them sing the song

“Industrial Disease”, from the album “Love Over Gold” (1982). The title of what later became an AC/DC song is mentioned in the lyrics: "Thunderstruck." The reference to "brewers droop" as a medical condition is an in-joke, referring both to the effect of alcohol on libido and to the band of the same name that Mark Knopfler played in prior to Dire Straits. "Industrial Disease" is a song by British band Dire Straits, written by Mark Knopfler. It appeared on the band's 1982 album Love over Gold. The song was released as a single in the United States and as a rare B-side to "Private Investigations" on cassette tape in the United Kingdom. The song's title is a British term for work-related illness or disease, a frequent subject in British news media at the time. The significance of the phrase was obscure to listeners in the United States, where the term occupational disease is used instead. "The Purge" is the ninth episode of the third season of Æon Flux. It examines questions of morality and free will. Aeon goes undercover at the Breen food distribution center where Bambara eats. She takes the booth next to Bambara, tranquilizes him, and removes the custodian. She struggles with custodian as it tries to reimplant itself in her, while Bambara resumes his rampage. The struggle catches the attention of a Breen agent who takes down Aeon with a tranquilizer gun. A bomb that Bambara placed earlier on the train explodes, killing the counter-insurgent leader. Aeon awakens in Trevor's presence. There is a custodian implantation mark on her navel but she does not feel different. In front of a theater audience, with two young "hostesses" using levers to move props around, Trevor challenges her to determine whether she acts with her own will. Now warning lights are flashing down at quality control Somebody threw a spanner and they threw him in the hole There's rumors in the loading bay and anger in the town Somebody blew the whistle and the walls came down There's a meeting in the boardroom they're trying to trace the smell There's leaking in the washroom there's a sneak in personnel Somewhere in the corridors someone was heard to sneeze Goodness me could this be industrial disease? The caretaker was crucified for sleeping at his post Refusing to be pacified it's him they blame the most Watchdog got rabies the foreman's got fleas Everyone's concerned about industrial disease There's panic on the switchboard tongues in knots Some come out for sympathy, some come out in spots Some blame the management some the employees Everybody knows it's the industrial disease Yeah and the work force is disgusted downs tools and walks Innocence is injured, experience just talks Everyone seeks damages and everyone agrees That these are 'classic symptoms of a monetary squeeze' On ITV and BBC they talk about the curse Philosophy is useless theology is worse History boils over there's an economics freeze Sociologists invent words that mean 'industrial disease' Doctor Parkinson declared 'I'm not surprised to see you here You've got smokers cough from smoking, brewer's droop from drinking beer I don't know how you came to get the Betty Davis knees But worst of all young man you've got industrial disease' He wrote me a prescription he said 'you are depressed But I'm glad you came to see me to get this off your chest Come back and see me later - next patient please Send in another victim of industrial disease haha' Ah, splendid I go down to speaker's corner I'm thunderstruck They got free speech, tourists, police in trucks Two men say they're Jesus, one of them must be wrong There's a protest singer, he's singing a protest song - he says 'They want to have a war to keep their factories They want to have a war to keep us on our knees They want to have a war to stop us buying Japanese They want to have a war to stop industrial disease They're pointing out the enemy to keep you deaf and blind They want to sap your energy incarcerate your mind Give ya Rule Brittania, gassy beer, page three Two weeks in Espana and Sunday striptease' Meanwhile the first Jesus says 'I'd cure it soon Abolish Monday mornings and Friday afternoons' The other one's out on a hunger strike he's dying by degrees How come Jesus gets industrial disease

The Revenge of Vera Gemini Blue Öyster Cult The female voice in this song is that of pop star Patti Smith, who wrote the lyrics. She was dating Allen Lanier of BÖC at the time. “The Revenge of Vera Gemini” was produced by David Lucas, Sandy Pearlman & Murray Krugman. At its core, the song tells the story of a vengeful spirit named Vera Gemini. According to popular belief, Vera was a witch who was burned at the stake during the Salem witch trials. Before her death, she cursed her lover, causing him to suffer for eternity. The lyrics of the song reflect the desire for revenge and the pain of lost love, with lines like “Revenge, revenge, revenge, the bitter end” and “You crossed the sea of my dreams.” Blue Öyster Cult’s lead vocalist, Albert Bouchard, and lyricist, Patti Smith, crafted the lyrics with an air of mystique. The band wanted to create a sense of intrigue and ambiguity, allowing the listener to interpret the story in their own way. This approach adds to the song’s allure, making it a topic of discussion and analysis among fans and music enthusiasts. The line "24th of May" in the song, "The Revenge Of Vera Gemini" refers to both Albert Bouchard's and Bob Dylan's birthday. On the occasion of his 25th birthday, Patti Smith gave Albert the lyrics to this song, which she presumably wrote about a true incident involving her and Bob Dylan. The Marvel Comics Agents of Fortune and Vera Gemini was after the album. Marvel Comics at the time must have been big BOC fans. There are all kinds of references to BOC songs and albums in the old comics. Harvester of Eyes was in one of the comics too. Written by: Patti Smith, Albert Bouchard Album: Agents Of Fortune Released: 1976 You're boned like a saint With the conciousness of a snake You're the kind of girl (kind of girl) I'd like to find Face like an angel (in my mirror) But you're boned like the devil Your eyes have shifted from me (have shift) Everyone saw what you did (your eyes) You have slipped from beneath me (from me) Like a false and nervous squid Oh, no more horses, horses We're going to swim like a fish (we're gonna swim like a fish) Into the hole in which you planned to ditch me My lovely Vera Marie (I was soaring) Planned to leave me cold (a sound) But you'll never get your wish (feeling appeal) On the twenty-fourth of May (your birthday) I gather up your reins You filled me with a vengeance (filled me) And you touched me with your breath (vengeance) I'm gonna pull you from this dance (this dance) You're gonna ride so easily Oh, no more horses, horses We're going to swim like a fish (we're gonna swim like a fish) Into the hole in which you planned to ditch me My lovely Vera Marie Hey! Come on Vera! (Each night I dance) Oh, no more horses, horses We're going to swim like a fish (we're gonna swim like a fish) Into the hole in which you planned to ditch me My lovely Vera Marie I was your victim (victim) I was well deceived (deceived) Hell's built on regret (regret) But I love your naked neck And evil lies that you told me (your lies) Made me believe you're two-faced (it's true) But there's two faces have you And they're both gonna go Oh, no more horses, horses We're going to swim like a fish (gonna swim like a fish) Into the hole in which you planned to ditch me (ditch me) My lovely Vera Gemini

you never go full sushi

Though this song first saw the light of day on Transformer, it dates back to Reed's band The Velvet Underground, and a version of the song recorded by The Velvet Underground surfaced on the Peel Slowly And See box set. That version is a much harder rocker than the version on Transformer, with a faster tempo, and without the piano line that dominates the later version. The lyrics are also different; "I've been told that you've been bold with Harry, Mark and John," Reed sings in the bridge. In the Velvets' take, the three cads came from a 19th century children's poem: Wynken, Blynken and Nod. "Best left forgotten," Reed explained of the original lyric in 1994. "I probably wanted to make sure I wasn't using a name that really meant something to me. I mean the song is about the worst kind of jealousy." David Bowie, who used lots of space imagery in his own work, produced this track and sang backup vocals. Regular Bowie sideman Mick Ronson played both piano and recorder on this track. In the 1987 Def Leppard hit "Rocket," the line in the chorus, "Satellite of love," is a reference to this song. An updated version titled "Satellite of Love '04" was released in the United Kingdom in 2004, making it to #10 on the singles Chart. Morrissey released a cover of the song following Lou Reed's death on October 27, 2013. The former Smiths frontman's version was recorded at the Chelsea Ballroom at the Cosmopolitan in Las Vegas in 2011. "He has been there all of my life," wrote Morrissey of the late Velvet Underground vocalist. "He will always be pressed to my heart. Thank God for those, like Lou, who move within their own laws, otherwise imagine how dull the world would be." Beck performed this song at the Rock and Roll Hall of Fame induction ceremony when Lou Reed was inducted in 2015. Satellite's gone up to the skies Things like that drive me out of my mind I watched it for a little while I like to watch things on TV Satellite of love Satellite of love Satellite of love Satellite of Satellite's gone way up to Mars Soon it'll be filled with parkin' cars I watched it for a little while I love to watch things on TV Satellite of love Satellite of love Satellite of love Satellite of I've been told that you've been bold With Harry, Mark and John Monday and Tuesday, Wednesday through Thursday With Harry, Mark and John Satellite's gone up to the skies Things like that drive me out of my mind I watched it for a little while I love to watch things on TV Satellite of love Satellite of love Satellite of love Satellite of Satellite of love Satellite of love Satellite of love Satellite (satellite) of love Satellite (satellite) of love Satellite (satellite) of love Satellite (satellite) of love Satellite (satellite) of love

"Let There Be Rock" was co-written by brothers Angus and Malcolm Young, and lyricist Bon Scott. Who was the only person shown in the back seat of the General Lee? Hint... he's from Timmonsville South Carolina. The title track of and the third track on the band's fourth album, it was released as a single in October 1977 backed by "Problem Child." Running to a shade over 6 minutes, it was produced by Harry Vanda and George Young. In spite of its appearing to be nothing more than a typically mindless rock anthem, this is actually quite a sophisticated track: In the beginning Back in 1955 The white man had the schmaltz The black man had the blues is an allusion to the birth of rock 'n' roll. The genre developed from boogie woogie; the first rock 'n' roll song is generally acknowledged to be "Rocket 88," to which Ike Turner was a very unlikely contributor considering the way his music was to develop, but then the two men who gave rock 'n' roll to the world in the first instance were if anything even more unlikely. There was the white man - who had performed as Yodelling Bill Haley - and the black man, a qualified beautician named Chuck Berry. Both Haley's "Rock Around The Clock" and Berry's "Maybellene" were released in 1955, and as they say, the rest is history. An anthem for the band, AC/DC has played this song at every concert since 1978. They often play it very fast and the solo can be extended all the way to 20 minutes as Angus rises above the stage and does the "spasm." Angus Young said of this song: "I remember the amp literally exploded during the recording session. My brother watched it with crazed eyes, and he told me 'Come on! Keep on playing!' while the stuff was steaming." In the beginning Back in nineteen fifty-five Man didn't know about a rock 'n' roll show And all that jive The white man had the schmaltz The black man had the blues No one knew what they was gonna do But Tchaikovsky had the news He said "Let there be sound," there was sound "Let there be light," there was light "Let there be drums," there was drums "Let there be guitar," there was guitar "Oh, let there be rock" Woo And it came to pass That rock 'n' roll was born And all across the land, every rockin' band Was blowing up a storm And the guitar man got famous The businessman got rich And in every bar there was a superstar With a seven-year itch There were fifteen-million fingers Learning how to play And you could hear the fingers picking And this is what they had to say "Let there be light Sound Drums Guitar Oh, let there be rock" One night in a club called The Shaking Hand There was a forty-two decibel rocking band And the music was good and the music was loud And the singer turned and he said to the crowd "Let there be rock"

Dogs Pink Floyd Around 15:30 into the song, Roger Waters says: "Who was trained not to spit - in a fan." Although it is probably a coincidence, Waters once spit at a fan. Pink Floyd performed at a concert in Montreal, and when a fan tried to climb onto stage, Waters hocked a loogy into the guy's face. This gave Roger the idea for the movie and album The Wall -in an interview he said that the event created a barrier or a "wall" between them and the fans. This was the only song on the album not written solely by Roger Waters. David Gilmour wrote all the chords - the main music part of it. And the two together wrote some other bits at the end. Originally this was titled "You Gotta Be Crazy." The lyrics were then changed a little to suit the "Animals" concept. Gilmour told Guitar World February 1993 about the harmony leads on this song: "Three-part, in some cases; it's two-part in the melody sections. But the last line of the first solo, I believe, is a three-part descending augmented chord. Which is quite nice, and I was very proud of it; I thought it was very clever. Then Roger went and (accidentally) wiped it out and I had to re-create it." Gilmour played on "Dogs" a custom Telecaster guitar coming through some Hiwatt amps and a couple of Tamaha rotating speaker cabinets. Asked in a 2017 Uncut interview what his view on Animals is now, Walters replied: "It's a sketch, a sort of cartoon sketch of how I saw the way society was organized. And obviously it leans heavily on Orwell and Animal Farm and the idea of anthropomorphizing animals to represent aspects of human behavior. That round at the end of 'Dogs' is, I think, very powerful and quite chilling. 'Dragged down by the stone' is the last line of it. 'He was told what to do by the man...' It's a bitter reclamation against authoritarianism and against what I perceived when I was growing up." You gotta be crazy, you gotta have a real need You gotta sleep on your toes, and when you're on the street You gotta be able to pick out the easy meat with your eyes closed And then moving in silently, down wind and out of sight You gotta strike when the moment is right without thinking And after a while, you can work on points for style Like the club tie, and the firm handshake A certain look in the eye and an easy smile You have to be trusted by the people that you lie to So that when they turn their backs on you, You'll get the chance to put the knife in You gotta keep one eye looking over your shoulder You know it's going to get harder, and harder, and harder as you get older And in the end you'll pack up and fly down south Hide your head in the sand, Just another sad old man All alone and dying of cancer And when you loose control, you'll reap the harvest you have sown And as the fear grows, the bad blood slows and turns to stone And it's too late to lose the weight you used to need to throw around So have a good drown, as you go down, all alone Dragged down by the stone (stone, stone, stone, stone, stone) I gotta admit that I'm a little bit confused Sometimes it seems to me as if I'm just being used Gotta stay awake, gotta try and shake off this creeping malaise If I don't stand my own ground, how can I find my way out of this maze? Deaf, dumb, and blind, you just keep on pretending That everyone's expendable and no-one has a real friend And it seems to you the thing to do would be to isolate the winner And everything's done under the sun And you believe at heart, everyone's a killer Who was born in a house full of pain Who was trained not to spit in the fan Who was told what to do by the man Who was broken by trained personnel Who was fitted with collar and chain Who was given a pat on the back Who was breaking away from the pack Who was only a stranger at home Who was ground down in the end Who was found dead on the phone Who was dragged down by the stone Writer/s: DAVID JON GILMOUR, ROGER WATERS

Battle of Evermore Led Zeppelin Patlabor 2 Set in 2002, three years after the events of the first movie, Noa Izumi and Asuma Shinohara are now testing new Labors at a facility run by the Metropolitan Police. Isao Ota is a police academy Labor instructor. Mikiyasu Shinshi has since been reassigned as the Tokyo Metropolitan Police's head of General Affairs. Seitaro Sakaki has retired with Shigeo Shiba taking over his position as head of the labor maintenance team with Hiromi Yamazaki, Kiichi Goto and Shinobu Nagumo remaining with the unit as Kanuka Clancy had permanently returned to New York. Most of them had been replaced by fresh labor pilots. Suspicious events begin to materialize with the face of a military takeover of Tokyo by GSDF forces and martial law after the Yokohama Bay Bridge is destroyed by a missile, with belief that the JASDF was the culprit. Protests in various JSDF bases take place as a means of conveying their denial of the bridge attack. Before long, public panic comes as JGSDF-marked gunships attack in several bridges in Tokyo Bay, various communication centers and SV2 headquarters, coupled by the release of a supposed deadly gas after Special Assault Team snipers shoot down an auto-piloted blimp that was responsible for jamming all electronics in the Greater Tokyo Area. This is the only song Zeppelin ever recorded with a guest vocalist. Robert Plant felt he needed another voice to tell the story that plays out in the song, so Sandy Denny from Fairport Convention was brought in. Her vocals represent the people as the town crier, while Plant's voice is the narrator. Fairport Convention was a British folk group Zeppelin shared a bill with in 1970. This collaboration with Sandy Denny marked the first time Robert Plant did a duet with a woman. In later years, he had tremendous success singing with Alison Krauss; their 2007 album Raising Sand won a Grammy award for Album of the Year. Sandy Denny was given a symbol on the album sleeve - three pyramids - to thank her. The four members of Led Zeppelin each designed their own symbols for the album. Denny died in 1978 from a brain hemorrhage resulting from a fall down the stairs. Jimmy Page wrote the music on a mandolin he borrowed from John Paul Jones. He explained to Guitar Player magazine in 1977: "On 'The Battle of Evermore,' a mandolin was lying around. It wasn't mine, it was Jonesey's. I just picked it up, got the chords, and it sort of started happening. I did it more or less straight off. But, you see, that's fingerpicking again, going back to the studio days and developing a certain amount of technique – at least enough to be adapted and used. My fingerpicking is a sort of cross between Pete Seeger, Earl Scruggs, and total incompetence." Led Zeppelin rarely played this live, but when they did, John Paul Jones sang Sandy Denny's part. Many J.R.R. Tolkien fans see the lyrics as a reference to his book Return Of The King, where the lyrics could describe the Battle of Pelennor ("The drums will shake the castle wall, The ring wraiths ride in black"). Plant is a huge Tolkien fan, and referred to his books in "Ramble On" and "Misty Mountain Hop." A lot of this fits the battle of the Pelennor fields: "At last the sun is shining, The clouds of blue roll by" - as Sauron's army and influence advanced the sky darkened and when he lost this battle it became light again. But a lot doesn't fit to that particular battle/book, including the part about the angels of Avalon, as Avalon was not from Tolkien's world but the legends of Merlin and King Arthur. The song is not completely about that battle but there are references to Lord Of The Rings things like Ringwraiths and most of the song can be interpreted to be about it if you choose. The word "Avalon" is Latin for "place with apples," and here is the part of the song Avalon is mentioned - "I'm waiting for the angels of Avalon, waiting for the eastern glow. The apples of the valley hold the seeds of happiness," so it may just mean "I'm waiting for the angels of place with apples." Sound engineer Andy Johns said of the recording: "The band was sitting next to the chimney in Headley, drinking tea, when Jimmy grabbed a mandolin and started playing. I gave him a microphone and stuck a Gibson echo on his mandolin. Jimmy had brought this stuff before and had asked me to take a look at it. Suddenly Robert started singing and this amazing track was born from nowhere." The 1992 Singles soundtrack includes a live cover of "The Battle Of Evermore" by the Lovemongers, a side project of Ann and Nancy Wilson of Heart along with songwriters Sue Ennis and Frank Cox.

Sweet Jane Lou Reed and the Velvet Underground The Velvet Underground leader Lou Reed wrote this song as a surreal look at the life of a rock star. Reed included the song in his live sets; it appeared on his album Live at Max's Kansas City in 1972 and on another live album, Rock n Roll Animal, in 1974. The version on Rock n Roll Animal, which was recorded at a New York show on December 21, 1973, features the twin-guitar work of Steven Hunter and Dick Wagner, who Reed employed to rock out his songs on tour. Released as a single, this live version of the song heralded a new sound for Reed, one he quickly abandoned when he fired Hunter and Wagner at the end of the tour and disavowed the album. Reed released his intentionally awful Metal Machine Music album the following year, while his bygone guitarists joined Alice Cooper on tour, with Wagner becoming Cooper's songwriting partner. In our interview with Dick Wagner, he explained: "He claims that he didn't like the Rock n' Roll Animal album, but at the time he sure loved it. A lot of the songs were from the Velvet Underground days, and I wanted to take them out of that placid performance of the songs and make it more for the concert stage and the stadiums, so I did some majestic arranging with some of the songs - that's what I do. Within the context of the band and how to deliver the songs, it really worked. I guess Lou doesn't really like it that much, but that's kind of a lie." This was Reed's attempt at writing a hit for the Velvet Underground, who were highly influential, but commercially doomed. Loaded was the band's last album, and the title was a reference to the record company mandate that the album be "Loaded with hits." There was a great deal of acrimony during recording of the album, and Reed left before it was finished. In his absence, "Sweet Jane" was edited down, with a wistful coda removed from the song. This angered Reed, who told Rolling Stone magazine that if he knew they were going to press on with the album, "I would have stayed with them and showed them what to do." The full version of the song can be heard on the album Live at Max's Kansas City, recorded in 1969. This song appears on the album 1969: The Velvet Underground Live, which was released in 1974. This is the double album with the famous gatefold revealing a leggy model in sparkling go-go boots and hot pants showing some can, on a vibrant green background; very sought-after by today's VU collectors. There, "Sweet Jane" has a significantly different chord progression and lyrics; it was still a work-in-progress. Captured on the bootleg recording of Lou Reed's last night performing live with The Velvet Underground, which happened through the tail end of the Loaded sessions, is one Jim Carroll. As told in The Velvet Underground: An Illustrated History of a Walk on the Wild Side, Carroll can be heard ordering a Pernod and discussing the drug Tuinal. Carroll would later write The Basketball Diaries. Reed did a parody version on his 1979 album Live - Take No Prisoners. The original lyrics were, "Jane in her corset, Jack is in his vest, and me I'm in a rock n' roll band." Lou changed them to "Jack is in a corset, Jane is in a vest" to portray the wackiness of rock stars. Mott the Hoople covered this on their All the Young Dudes album, which was also produced by David Bowie - Reed fully endorsed this cover and even did a reference vocal to help them out. Another version Reed liked was the one recorded by Brownsville Station on their 1973 album Yeah!. Other notable covers of this song include versions by Cowboy Junkies, 2 Nice Girls, Phish, The Kooks, Gang of Four, and the Red Hot Chili Peppers. Reed himself appeared with Metallica (Metallica!) on October 25, 2009 at Madison Square Garden in New York City to perform "Sweet Jane" at the concert to celebrate the 25th Anniversary of the Rock and Roll Hall of Fame. Q Magazine rated "Sweet Jane" at #18 on its list of 100 Greatest Guitar Tracks, and Guitar World rated it at #81 on its list of the 100 Greatest Guitar Solos, while Rolling Stone ranked it #335 on their list of the 500 Greatest Songs of All Time. Sugar Ray reworked the chord progression for their 1999 hit, "Every Morning." Standing on the corner Suitcase in my hand Jack is in his corset, and Jane is her vest And me, I'm in a rock 'n roll band, ha Ridin' in a Stutz Bearcat, Jim You know, those were different times Oh, all the poets, they studied rules of verse And those ladies, they rolled their eyes Sweet Jane, whoa Sweet Jane, oh-oh Sweet Jane I'll tell you something, Jack, he is a banker And Jane, she is a clerk And both of them save their monies, ha And when, when they come home from work Ooh, sittin' down by the fire, oh The radio does play The classical music there, Jim "The March of the Wooden Soldiers" All you protest kids You can hear Jack say, get ready, ah Sweet Jane, ah, come on, baby Sweet Jane, oh-oh Sweet Jane Some people, they like to go out dancing And other peoples, they have to work, just watch me now And there's even some evil mothers Well, they're gonna tell you that everything is just dirt You know that women never really faint And that villains always blink their eyes, ooh And that, you know, children are the only ones who blush And that life is just to die But everyone who ever had a heart Oh, they wouldn't turn around and break it And anyone who ever played a part Oh, they wouldn't turn around and hate it Sweet Jane, oh-oh Sweet Jane Sweet Jane Heavenly wine and roses Seem to whisper to her when he smiles, ah Heavenly wine and roses Seem to whisper to her, hey, when she smiles La-la-la-la, la-la-la La-la-la-la, la-la-la La-la-la-la, la-la-la La-la-la-la, la-la-la Sweet Jane Sweet Jane Sweet Jane Sweet Jane Sweet Jane Sweet Jane

Evil Woman Don't Bring Me Down Electric Light Orchestra Evil Woman was recorded at Musicland Studios in Munich, Germany some time in early to mid 1975. Jeff Lynne wrote the song on a piano in the studio on the last days of recording, writing it very quickly. The band's recording for all of the other songs for the Face The Music album had been completed when Jeff needed another song. One morning, while the rest of the band was out, he sat at the piano and played the opening piano riff, which became the basis of the song. Later that same day, the rest of the band came in and recorded the backing track. The lyrics were written and recorded the next day at Musicland. The string and female choir parts were recorded (and possibly written) later at De Lane Lea Studios in Wembley, U.K. During the instrumental break in the song, when the synthesizer plays, right before the chorus starts up the second time, if you play it backwards, you can actually hear the synthesizer sound that plays in another song by the Electric Light Orchestra: "Nightrider." The line "There's a hole in my head where the rain comes in," was inspired by the Beatles song, "Fixing a Hole." "Don't Bring Me Down" is the highest charting ELO hit in both the UK and US, although ELO's "Xanadu" collaboration with Olivia Newton-John did hit #1 UK. This was the first ELO song that did not use strings. After recording it, they fired their string section, leaving four members in the band. ELO leader Jeff Lynne wrote this song late in the sessions for the Discovery album. He came up with the track by looping the drums from a song he recorded earlier in the session, then coming up with more music on the piano. The words came last, as Lynne put together some lyrics about a girl who thinks she's too good for the guy she's with. As a little joke, Lynne put a count-in at the beginning of the song, even though there was nobody he was counting in. This turned out to be a good theme song for astronauts enjoying their time in space. The song was played to astronauts on the Space Shuttle Columbia as their wake up call on July 6, 1996 - they were in flight longer than expected because of bad weather on the ground. ELO's record company also tried to tie in the song with the Skylab space station, which crashed to Earth on July 11, 1979 after six years in space. They placed ads in trade magazines promoting the new single "Don't Bring Me Down" by dedicating it to Skylab. Wondering why Jeff Lynne repeatedly sings the word "groose" after the song's title line? Apparently it was a made-up place-keeper word to fill a gap in the vocals when he was improvising the lyrics. When the German engineer Reinhold Mack heard the ELO frontman's demo, he asked Lynne how he knew "gruss" means "greetings" in his country's language. Upon learning the German meaning, Lynne decided to leave it in. Many fans misinterpreted "groose" as "Bruce." In fact, so many people misheard the lyric that Lynne actually began to sing the word as "Bruce" for fun at live shows. This appears in the 2006 Doctor Who episode "Love & Monsters," and in the 2012 Family Guy episode "Jesus, Mary and Joseph!" It has also been used in these films: I Can Only Imagine (2018) Super 8 (2011) College Road Trip (2008) The In-Laws (2003) Donnie Brasco (1997) In 2020, this was used in a Peloton commercial where a dad tries to stay motivated using the fitness bike. It was also used in the trailer for the 2017 film The Emoji Movie. In one of his earliest gigs, Brad Garrett, star of long-running TV comedy Everybody Loves Raymond, can be seen in Arabian garb on the inner sleeve of the Discovery album.

Glitter & Gold Barns Courtney Barnaby George "Barns" Courtney (born 17 November 1990) is an English musician. This was released by former SleeperCell and Dive Bella Dive frontman Barns Courtney as his first solo release. He penned the lyrics about his experience of being dropped by a record label, after working on an album for years. Courtney told Radio.com: "After I lost my first deal I was woefully unprepared for the real world. I had no qualifications whatsoever. And I got a job in this computer store directly across from the five star hotel that I used to stay in with my old management. So I'd come out on my lunch break and look at this huge monolith to all of my past failings, and I'd hear my manager's new band on the radio, literally, while eating my sandwich, and thinking, 'This sandwich actually equates to about an hour of my time.' And I wasn't sure if I'd ever make music again. Not because I didn't want to, but because I had no contacts or anything, and I had no way to make new music. So, I think it's just about trying to hold on to that passion that you have in your youth and realizing that you're trying to follow in the footsteps of people who have done all these great things. Yeah, and just like defiance of the situation that you're in." Barns Courtney recorded the song in a decommissioned old folks home in Tottenham North London. He recalled: "I wanted it to sound gritty and we didn't have drums, so we made all the percussion hitting disused filing cabinets, old film cans and stacking scissor snips."

“Limelight” by Rush Lines Most Inspired by Shakespeare: “All the world’s indeed a stage and we are merely players.” The Inspiration: Rush may no longer be filling stadiums, but in its heyday of 1981 the band wrote a song about battling with success. “Limelight,” opens up with a paraphrase of a speech in Shakespeare’s As You Like It. The lyrics, which were written by the quiet-but-undeniably-smart drummer Neil Peart, came after the band’s success with albums like 2112 and Permanent Waves. Before that, the line was used for one of the band’s live albums, 1976’s All the World’s a Stage. The phrase "In the limelight" means the center of attention. In the early days of theater, a limelight was a device used to brightly illuminate the front of a stage, which put the main performer in a spotlight. The light was made by focusing a flame at a cylinder filled with lime that was projected through a lens - lighting technicians had to be creative before electricity. Invented by the Scottish engineer Drummond in 1816, he used a core of limestone (calcium) that was heated to a glow by burning a mixture of oxygen and hydrogen which created a brilliant light that could be focused. The Limelight was first used in the theatre in 1855 and then became widely used by the 1860s. The advantage of limelight was its realistic light production, but the limestone had to be turned as it burned and the gases adjusted to keep the light constant. Lead singer and bass player Geddy Lee: "Limelight was probably more of Neil's song than a lot of the songs on that album in the sense that his feelings about being in the limelight and his difficulty with coming to grips with fame and autograph seekers and a sudden lack of privacy and sudden demands on his time... he was having a very difficult time dealing with. I mean we all were, but I think he was having the most difficulty of the three of us adjusting; in the sense that I think he's more sensitive to more things than Alex and I are, it's harder for him to deal with those interruptions on his personal space and his desire to be alone. Being very much a person who needs that solitude, to have someone coming up to you constantly and asking for your autograph is a major interruption in your own little world. I guess in the one sense that we're a little bit like misfits in the fact that we've chosen this profession that has all this extreme hype and this sort of self-hyping world that we've chosen to live in, and we don't feel comfortable really in that kind of role." Lifeson has said in interviews that the song's solo is one of his favorites to play live. He explained why to Musicradar.com: "I've always enjoyed the elasticity of that solo, particularly the way it sounds on the record. It has a certain tonality I just love. I do like playing the solo live, but I think I prefer listening to it on the album. On record, it has a magical quality to it - it really conveys the pathos of the song and the lyrics. I've never been able to re-create that live. I get pretty close, but it's never exactly the way it is on record. I'll keep trying, though." Rush appeared in the 2009 movie I Love You Man playing this song. Geddy Lee told Entertainment Weekly the shoot was a blast: "For us it was easy. We just played the same song over and over again 150 times. So we're playing and we got the pleasure of watching these comic actors do take after take. We were being entertained the whole time. I loved it. They're so nice, those guys: Paul Rudd and Jason Segel and Rashida Jones. And it came at a tough time, because we were on tour. It was right between a couple of gigs. That was our day off. So it was nice that it was such a fun experience, because we were pretty beat." Giddy Lee told The Plain Dealer newspaper how the song's use in the movie has led to a more animated reaction when they play this at gigs: "The characters are going nuts while we're playing that song. Now I see kids in the audience imitating them and climbing on each other's shoulders. It's given them license to go completely crazy during the song. It's pretty funny from our point of view."

Go to six twenty four or wait for six minutes twenty four seconds... both are free fun fact. Doc Thurston of Thurston Trucking sold planes to the CIA. Can you spot one of Thurston's classic Air America planes in the movie? My dad was a Marine Pilot... he trained Navy pilots at Pensacola Naval Air Station. I reckon he could fly anything.

Rocky Raccoon The Beatles Written by: Paul Mccartney, John Lennon Album: The Beatles (The White Album) Released: 1968 The main character was originally called Rocky Sassoon but McCartney changed it to Raccoon, as he thought the name was more cowboyish. Paul McCartney wrote this song. He got the idea for it when he was playing guitar with John Lennon and Donovan Leitch at the Maharishi's camp in India. The Beatles went there in 1968 to study transcendental meditation. Beatles producer George Martin played the piano in an old-west saloon style. Several Beatles songs feature piano parts, which were usually played by either Martin, Lennon, Nicky Hopkins or Billy Preston. Most Bibles found in hotel rooms came from a group called Gideons International, and are thus known as "Gideon's Bibles." In this song, Rocky checks into a room before the showdown, where he finds one. At the end of the song, he returns to the room and encounters the Bible again. He figures it was some kind of sign: a guy named Gideon must have left it for him to aid in his recovery. Rocky isn't the sharpest tool in the shed. In the Jethro Tull song "Locomotive Breath," there is also a mention of these Bibles: "He picks up Gideons Bible Open at page one I think God, He stole the handle and The train won't stop going" There is both a harmonica and accordion on this track. The harmonica, likely played by John Lennon, comes in at the "in the next room at the hoedown" line. The accordion, possibly played by McCartney, can be heard starting with the line, "The doctor came in, stinking of gin." Richie Havens released this as the B-side to his "Stop Pulling and Pushing Me" single in 1969. Now somewhere in the Black Mountain Hills of Dakota There lived a young boy named Rocky Raccoon And one day his woman ran off with another guy Hit young Rocky in the eye Rocky didn't like that He said, "I'm gonna get that boy" So one day he walked into town Booked himself a room in the local saloon Rocky Raccoon Checked into his room Only to find Gideon's Bible Rocky had come equipped with a gun To shoot off the legs of his rival His rival, it seems Had broken his dreams By stealing the girl of his fancy Her name was Magill And she called herself Lil But everyone knew her as Nancy Now she and her man Who called himself Dan Were in the next room at the hoedown Rocky burst in and grinning a grin He said, "Danny boy, this is a showdown" But Daniel was hot He drew first and shot And Rocky collapsed in the corner Now, the doctor came in stinking of gin And proceeded to lie on the table He said, "Rocky, you met your match" And Rocky said, "Doc, it's only a scratch And I'll be better, I'll be better, Doc, as soon as I am able" Now Rocky Raccoon He fell back in his room Only to find Gideon's Bible Gideon checked out And he left it no doubt To help with good Rocky's revival, oh, ooh, yeah, yeah Come on Rocky boy, do the do-do-do Come on Rocky boy, do the do-do-do Do-do-do, yeah, I saw you rockin' at the top

Diamonds & Rust by Joan Baez and covered by Judas Priest Baez revealed to The Huffington Post that she wrote this song after Bob Dylan called her from a phone booth and sang her the lyrics to his song "Lily, Rosemary and the Jack of Hearts." Baez said that this gave her inspiration to write "Diamonds & Rust," and that she lied to Dylan, telling him it was about David Harris, to whom she was married from 1968-1973. Bob Dylan rarely reveals much about his songs, but his track "Queen Jane Approximately" is most likely his take on his relationship with Baez. In addition to singing on this, Baez played the Moog and Arp Synthesizers. The British metal band Judas Priest covered this song in 1977. They pick up the tempo and electrify the song, but their version is sincere. They recorded it at the urging of their record company, which sent a copy of the Joan Baez original to the studio when they were recording their second album, Sad Wings Of Destiny, in 1976. At first, they dismissed it, but changed their tune when they gave it a good listen. "We sat down, listened to it closely, and realized it was a brilliant, sensitive song," lead singer Rob Halford wrote in his memoir, Confess. "'OK,' we decided. 'Let's show them what we can do with this.'" The song didn't make the album, but they held onto it and included it on their next one, Sin After Sin. It became one of their most popular songs, included on their compilations The Best of Judas Priest and Hero Hero, and on the live album Unleashed in the East. It remains a staple of their concert performances. In the 2000s, Priest performed a mostly acoustic version of the song more similar to the original than the "rocked up" recorded version. On Bob Dylan's album John Wesley Harding, there's a song called "The Ballad Of Frankie Lee And Judas Priest," which may have supplied the band name. Judas Priest took their name from a disbanded group that had been using it, so it's provenance isn't clear. Defenders of the Faith is the ninth studio album by English heavy metal band Judas Priest, released on 13 January 1984 by Columbia Records. The album was certified platinum by the RIAA Defenders of the Faith was recorded at Ibiza Sound Studios, Ibiza, Spain, and mixed from September to November 1983 at DB Recording Studios and Bayshore Recording Studios in Coconut Grove, Miami, Florida. The LP and cassette tape were released on 4 January 1984, and the album appeared on CD in July. A remastered CD was released in May 2001. Simultaneously with the album's release, the band kicked off their tour in Europe, with the bulk of concerts taking place in North America during the spring and summer. Judas Priest Rob Halford – vocals K. K. Downing – guitars Glenn Tipton – guitars Ian Hill – bass Dave Holland – drums Track 9 Heavy Duty I know you like it hot Love to writhe and sweat You think that this feels good You ain't felt nothin' yet Red-hot licks in the palm of my hand Feel your body quake As we hit the promised land I'm heavy duty We'll rise inside ya 'til the power Splits your head We're gonna rock ya 'til your metal hunger's fed Let's all join forces Rule with iron hand And prove to all the world Metal rules the land We're heavy duty So come on let's tell the world

Speaking of Israel and Dreamland... The Big Red One is a 1980 American epic war film written and directed by Samuel Fuller, and starring Lee Marvin alongside an ensemble supporting cast, including Mark Hamill, Robert Carradine, Siegfried Rauch, Bobby Di Cicco, and Kelly Ward. Based on Fuller's own experiences, it was produced independently on a low budget, and shot on location in Israel. and shot on location in Israel. and shot on location in Israel. Fuller was a World War II veteran and served with the 1st Infantry Division, which is nicknamed "The Big Red One" for the red numeral "1" on the division's shoulder patch. He received the Silver Star, Bronze Star, and Purple Heart during his service. He was supposedly present at the liberation/creation of the Falkenau concentration camp Hocus Pocus. Thus... movie filmed in IS RA EL Samuel Michael Fuller was born in Worcester, Massachusetts, of Jewish parents, Rebecca (née Baum) and Benjamin Fuller.

WARNING. THE CONTENTS CONTAINED WITHIN ARE QUITE SHOCKING. DO NOT WATCH THIS UNLESS YOU ARE WILLING TO GO THROUGH A TRANSFORMATIVE EXPERIENCE. [TOC] times after Part I are incorrect but give you an order of things. Feel free to cut and paste the right sections with the right posts and put in the comments. I'm loading in reverse order. THIS IS OVER 9.5 HOURS OF VIDEO IN NINE PARTS. Uploading in reverse order so it's gonna take a minute if you wait for Part 1. Original full length and OP's YT channel here https://youtu.be/uREbbAEvAXw?si=xTea7BmBy7zPwGvr Odysee Channel here, but it has upload limits so this video on their channel will NOT be there... someone needs to cut it into nine pieces and re-up. https://odysee.com/@MindUnveiled:e 0:02:55 Intro 0:04:42 Ancient References To Medicine 0:08:49 Redi Debunks Spontaneous Generation 0:12:24 Secret Societies Intro 0:15:00 Common Homunculus Themes 0:16:25 Medieval References Intro 0:16:50 John Dee 0:18:35 Hermes Hermeticism 0:21:13 Mandrake 0:22:57 Golem 0:25:46 Albertus Magnus 0:29:02 Egyptian Alchemy 0:31:51 Paracelsus Intro 0:34:07 Paracelsus De Natura Rerum 0:49:58 Influential Medieval Authors 0:52:27 Robert Fludd 0:53:49 Martin Ruland The Elder 0:54:26 Giambattista della Porta 0:57:51 Oswald Croll 0:59:03 Johann Hartmann 1:01:12 Michael Maier 1:03:51 Against The Law To Make Alchemy 1:04:06 Theatrum Chemicum 1:05:24 Johann Ambrosius Seibmacher 1:06:30 Spontaneous Generation Debate 1:08:51 Robert Boyle 1:10:42 History of Optics 1:15:18 Malpighi 1:19:26 The Debate Continues 1:23:56 Andrew Crosse 1:29:35 Modern Studies 1:30:06 Ancient Sources 1:30:31 Book Of The Cow 1:36:36 Cow Contents 1:47:34 Bugonia 1:56:47 Final Contents of Liber Vaccae 2:00:14 Arabic Sources 2:16:40 Arabic Spontaneous Generation 2:18:33 Human Homunculus Arabic 2:24:25 Occult Secrets Eye 2:38:15 Rosicrucians Intro 2:41:02 Rosicrucians and Freemasons 2:42:19 Templar Intro 2:54:04 Templar Artifacts 3:10:32 Break Down of Artifacts 3:19:14 Templars Wealth 3:29:35 Templars Cannabis 3:38:51 Templars and The history Of England 3:48:54 Editing the Bible 3:51:36 Francis Bacon Son Of Queen Elizabeth 3:54:11 The Elizabethan Era and the Tudors 3:56:16 Rosicrucians and the Tudors 3:57:50 Alchemical Shakespeare 4:01:50 Secret Rosicrucian History 4:10:12 Templars Black Death 4:11:59 Roger Bacon 4:32:49 Alchemical Secrets in the Bible 4:51:36 Abraham 4:55:12 Alchemy Bible 5:16:04 Jesus Time 5:20:52 Jesus Homunculus 5:24:15 Medieval Art Start 5:40:29 Jesus Giving Birth 5:43:01 Mary Magdalene 5:52:41 Isis Prophet 5:55:47 Red Eggs 6:05:54 Three Marys 6:11:35 Three Wise Men 6:18:14 Rome Ancient Paintings 6:24:20 Fra Angelico 6:43:38 Heironymous 6:44:52 Juice Paintings 6:47:18 Jesus Resurrection 6:48:53 Jesus The Homunculus 6:50:43 Holy Lance 6:52:32 Orphic Egg Reincarnation 6:56:19 Mithras the Homunculus 7:03:07 Mithraism Secret Societies 7:13:11 The Ultimate Secret 7:14:55 ASTRALBODY 7:15:18 Homunculus and Repopulation 7:15:31 The Witches 7:25:38 Hans Baldung Grien 7:33:57 BirthFromAno 7:46:16 Hell Mouth and The Apocalypse 7:47:36 The Last Judgement 7:52:08 Coronation of the Virgin 7:54:18 The Mystery of Azoth 7:56:23 Red Angels 8:00:36 Fountain of Youth and Jesus 8:02:35 Geirynomous Secret 8:16:37 Pieter Brueghel Elder 8:17:40 Alchemical Secrets 8:25:13 Voynich 8:38:16 Peacock Stage 8:39:56 Ampitheatrum 8:47:19 Strange Alchemica 8:48:10 Petro Bonus 8:50:27 Pretiosissimum 8:51:37 Rosarium Philosophorum 8:52:40 Count Johann 8:56:10 Hybrids 8:57:59 The Occult Double Or Body of Light 9:00:40 Astralbody1 9:05:57 Liber Vaccae 9:46:24 Final Thoughts

WARNING. THE CONTENTS CONTAINED WITHIN ARE QUITE SHOCKING. DO NOT WATCH THIS UNLESS YOU ARE WILLING TO GO THROUGH A TRANSFORMATIVE EXPERIENCE. [TOC] times after Part I are incorrect but give you an order of things. Feel free to cut and paste the right sections with the right posts and put in the comments. I'm loading in reverse order. THIS IS OVER 9.5 HOURS OF VIDEO IN NINE PARTS. Uploading in reverse order so it's gonna take a minute if you wait for Part 1. Original full length and OP's YT channel here https://youtu.be/uREbbAEvAXw?si=xTea7BmBy7zPwGvr Odysee Channel here, but it has upload limits so this video on their channel will NOT be there... someone needs to cut it into nine pieces and re-up. https://odysee.com/@MindUnveiled:e 0:02:55 Intro 0:04:42 Ancient References To Medicine 0:08:49 Redi Debunks Spontaneous Generation 0:12:24 Secret Societies Intro 0:15:00 Common Homunculus Themes 0:16:25 Medieval References Intro 0:16:50 John Dee 0:18:35 Hermes Hermeticism 0:21:13 Mandrake 0:22:57 Golem 0:25:46 Albertus Magnus 0:29:02 Egyptian Alchemy 0:31:51 Paracelsus Intro 0:34:07 Paracelsus De Natura Rerum 0:49:58 Influential Medieval Authors 0:52:27 Robert Fludd 0:53:49 Martin Ruland The Elder 0:54:26 Giambattista della Porta 0:57:51 Oswald Croll 0:59:03 Johann Hartmann 1:01:12 Michael Maier 1:03:51 Against The Law To Make Alchemy 1:04:06 Theatrum Chemicum 1:05:24 Johann Ambrosius Seibmacher 1:06:30 Spontaneous Generation Debate 1:08:51 Robert Boyle 1:10:42 History of Optics 1:15:18 Malpighi 1:19:26 The Debate Continues 1:23:56 Andrew Crosse 1:29:35 Modern Studies 1:30:06 Ancient Sources 1:30:31 Book Of The Cow 1:36:36 Cow Contents 1:47:34 Bugonia 1:56:47 Final Contents of Liber Vaccae 2:00:14 Arabic Sources 2:16:40 Arabic Spontaneous Generation 2:18:33 Human Homunculus Arabic 2:24:25 Occult Secrets Eye 2:38:15 Rosicrucians Intro 2:41:02 Rosicrucians and Freemasons 2:42:19 Templar Intro 2:54:04 Templar Artifacts 3:10:32 Break Down of Artifacts 3:19:14 Templars Wealth 3:29:35 Templars Cannabis 3:38:51 Templars and The history Of England 3:48:54 Editing the Bible 3:51:36 Francis Bacon Son Of Queen Elizabeth 3:54:11 The Elizabethan Era and the Tudors 3:56:16 Rosicrucians and the Tudors 3:57:50 Alchemical Shakespeare 4:01:50 Secret Rosicrucian History 4:10:12 Templars Black Death 4:11:59 Roger Bacon 4:32:49 Alchemical Secrets in the Bible 4:51:36 Abraham 4:55:12 Alchemy Bible 5:16:04 Jesus Time 5:20:52 Jesus Homunculus 5:24:15 Medieval Art Start 5:40:29 Jesus Giving Birth 5:43:01 Mary Magdalene 5:52:41 Isis Prophet 5:55:47 Red Eggs 6:05:54 Three Marys 6:11:35 Three Wise Men 6:18:14 Rome Ancient Paintings 6:24:20 Fra Angelico 6:43:38 Heironymous 6:44:52 Juice Paintings 6:47:18 Jesus Resurrection 6:48:53 Jesus The Homunculus 6:50:43 Holy Lance 6:52:32 Orphic Egg Reincarnation 6:56:19 Mithras the Homunculus 7:03:07 Mithraism Secret Societies 7:13:11 The Ultimate Secret 7:14:55 ASTRALBODY 7:15:18 Homunculus and Repopulation 7:15:31 The Witches 7:25:38 Hans Baldung Grien 7:33:57 BirthFromAno 7:46:16 Hell Mouth and The Apocalypse 7:47:36 The Last Judgement 7:52:08 Coronation of the Virgin 7:54:18 The Mystery of Azoth 7:56:23 Red Angels 8:00:36 Fountain of Youth and Jesus 8:02:35 Geirynomous Secret 8:16:37 Pieter Brueghel Elder 8:17:40 Alchemical Secrets 8:25:13 Voynich 8:38:16 Peacock Stage 8:39:56 Ampitheatrum 8:47:19 Strange Alchemica 8:48:10 Petro Bonus 8:50:27 Pretiosissimum 8:51:37 Rosarium Philosophorum 8:52:40 Count Johann 8:56:10 Hybrids 8:57:59 The Occult Double Or Body of Light 9:00:40 Astralbody1 9:05:57 Liber Vaccae 9:46:24 Final Thoughts