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The Fish Cheer / I-Feel-Like-I’m-Fixin’-To Die Rag Live Woodstock 1969 Country Joe and the Fish Country Joe McDonald is named after Josef Stalin. McDonald and Melton met as members of the Instant Action Jug Band. The original incarnation of the Fish was a jug band. They were all arrested in Worcester, Massachusetts for inciting a crowd to lewd behavior by leading them in the infamous "FISH" cheer (Gimme an F - Gimme a U - etc.). The band remained together long enough to appear in the 1971 film Zachariah. McDonald has become involved in causes ranging from Vietnam veterans to saving the whales. McDonald has a daughter named Seven. No joke, Seinfeld fans. The Fish briefly reunited in 1977 for a tour and an album, Reunion. In 1992, Melton ran for a city judgeship in Mendocino, California. He lost. Country Joe McDonald performed solo and with The Fish at the 1969 Woodstock Festival. McDonald says he was "scared to death" and had to be pushed onstage for his solo performance. 1965-1970 Country Joe McDonald Vocals, guitar 1965-1970 Barry Melton Guitar 1965-1970 David Cohen Guitar, keyboards 1965-1970 Bruce Barthol Bass 1965-1970 Chicken Hirsch Drums 1965-1970 The Fish Cheer is a satire of US government attitudes toward the Vietnam War. Country Joe McDonald released it at the height of the war after he had been discharged from the US Navy for several years. He wrote it in about 30 minutes after it popped into his head. The song attempts to put blame for the war upon the politicians and leaders of the US military and the industry that makes its money from war, but not upon those who had to fight the war: the soldiers. It expresses the thoughts of a person trapped in the military system and forced to go to war by something called "conscription." Conscription, or the "draft" as it was called, was a system that picked young people and forced them into the military and into the war. The only other choice was jail or an attempt to "dodge the draft" for religious, physical or mental reasons. It was very hard to get out of the draft because so many people were being killed in the war that they would take just about anyone. The Fish Cheer attempts to address the horror of going to war with a dark sarcastic form of humor called "GI humor." GI humor is a way people have of complaining about their situation so it will not get them in trouble and keep them from going insane in an insane environment like war. This was the title song for Country Joe & the Fish's second album. When they performed it at Woodstock, they created one of the more memorable moments of the festival when they led the crowd in the "Fish Cheer": The album version of the Fish Cheer: "Gimme an F... Gimme an I... Gimme an S... Gimme an H..." At Woodstock, the Fish Cheer was uncensored. The first version of this song was an acoustic rendition recorded at Arhoolie Records Studios in El Cerrito, California, in 1965. McDonald released a limited number of copies on his own independent label, Rag Baby, many of which he distributed in October that year at a Berkeley, California, anti-war protest called the Vietnam Day Teach-In. The band started playing an electric version of the song at live shows and earned a following on the West Coast with a psychedelic sound that was coming into vogue. Signed to Vanguard Records, they released an electric version on their second album with the label, I-Feel-Like-I'm-Fixin'-To-Die, in 1967. The "Fish Cheer" came about in August 1968 at a show in New York City's Central Park when McDonald came up with it on the fly. The tune is based on ragtime music, which is why the song is a "rag." The Woodstock performance proved to be the legacy of Country Joe & the Fish, which was a problem. "My most famous song really couldn't get airplay," McDonald told Entertainment Weekly in 2019. "It got me banned from municipal auditoriums for a long time after. So I paid a price. But I'm proud to say that I've carried with me the reality of the Vietnam War. I'm the elephant in the room." One person who did not appreciate this song is Billy Joel, who saw the band perform it at Woodstock when he was 20 years old. Joel told Howard Stern: "This hippie comes on stage and starts going, '1-2-3, what are we fighting for,' and I'm thinking, 'this song sucks. It wasn't even about the lyric, it sucked as a song."

The Ballad Of Curtis Loew Album: Second Helping (1974) Double Trouble Album: Gimme Back My Bullets (1976) Gimme Three Steps Album: Pronounced Leh-nerd Skin-nerd (1973) by Lynyrd Skynyrd The Ballad Of Curtis Loew was written by Lynyrd Skynyrd frontman Ronnie Van Zant and guitarist Allen Collins, who both died young (Van Zant in 1977 at 29, Collins in 1990 at 37). If they spoke about the song, it's been lost to time, but guitarists Gary Rossington and Ed King have both discussed it, and they give conflicting origin stories. According to King, who joined the band in 1972, Curtis Loew is a composite of different people, including Shorty Medlocke, the grandfather of Ricky Medlocke, who played guitar in an early Lynyrd Skynyrd lineup (Ricky later formed the band Blackfoot). Shorty, according to King, could "play anything," and contrary to the song's lyrics, was not black (In a 1997 interview on the Lyve From Steel Town album, the band was quoted as jokingly saying, "We needed to 'color' the song up"). Rossington a founding member of the band who grew up with Collins and Van Zant in Jacksonville, Florida, says there really was a Curtis Loew, although "Loew" wasn't his last name. "It's a true story," he said in a radio interview. "It's about a Black man who grew up in the west side with us. There was a store called Mulberry Market, and there was a Black man who stayed out there. His name was Curtis and he had an old dobro guitar. He kept it in his house right behind the store, but if you gave him some money - 50 cents or even a quarter - he'd play a song for you. He'd rake out his bottle and play the blues. We would collect Coke bottles - which the song says - drive all around the neighborhood getting them, then we'd cash them in, get the money and give it to Curtis Loew. He would go right across the street to the wine store and buy a bottle of wine. We'd give him like a quarter and he'd play for a minute and he'd come out straight and just play a song and say, 'give me the money, boy.' But when we'd all get together, three or four of us would put our money together and we'd give him like a dollar, $1.50. I think a bottle of cheap wine back then was $1.25. Then he'd go across the street and buy a bottle, have two or three nips, then he'd play a little song and half a bottle would be gone. He was into it. He was stomping his foot and he'd take an old Coca-Cola crate, turn it upside down, and that was his beat. He's start playing and he'd drink a little more wine he'd start singing and playing and kicking. That was fun." "The Ballad Of Curtis Loew" wasn't released as a single and the band rarely played it live, but it still found a following among the Skynyrd faithful and is one of the most popular deep cuts in classic rock. It's part of the band's second album, Second Helping, which also includes "Sweet Home Alabama." The band recorded the album at The Record Plant in Los Angeles at the same time the Eagles were making their third album, On The Border, at the same studios. Members of both groups would congregate around the pinball machines in the studios and became friends. A dobro is a resonator guitar with a mechanical amplifier. It was originally released in 1927. Gibson now owns the rights to the dobro guitar. The name "Loew" was probably chosen because it rhymes (sort of) with "dobro." According to Ronnie Van Zant's widow Judy Van Zant Jenness, the unusual spelling was Ed King's idea. When he was writing the liner notes for the Second Helping album, he decided to name the character after Loew's Theater - thus giving an old bluesman a Jewish name. A very sophisticated insult for a bunch of country bumpkins, eh? Ed King played the bottleneck slide guitar on The Ballad Of Curtis Loew. "Double Trouble" is a song written by Ronnie Van Zant and Allen Collins, which was recorded in 1975. It appears on the band's fourth album, Gimme Back My Bullets, and was released as a single in the United States. It peaked at number 80 on the Billboard Hot 100 and at number 86 on the Cash Box Top 100 Singles. According to the book Whiskey Bottles and Brand New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd by Mark Ribowsky, the genesis for the song came from a time when Gary Rossington was in jail with Van Zant and he asked him how many times he'd been arrested, to which Van Zant answered, "11." Rossington replied, "Man, Ronnie, you're just double trouble." Also according to Ribowsky, the band originally recorded under a record label called "Double T Productions" which stood for "Double Trouble." The song also features backup vocals from The Honeycuts. The Single featured artwork where the band was pictured within two cards, perhaps suggesting a game of 21. The two cards are an Ace of Diamonds and an Ace of Spades, being 2 or 22 within the confines of that game. Trouble either way... Gimme Three Steps is based on a true story. As Skynyrd guitarist Gary Rossington tells it, lead singer Ronnie Van Zant, who was about 18 at the time, used a fake ID to get in a bar while his younger bandmates Rossington and Allen Collins waited for him in a truck. Van Zant danced with a girl named Linda, whose boyfriend, who was not too happy about it, came up to Ronnie and reached for something in his boot. Figuring he was going for a gun, Van Zant told him: "If you're going to shoot me it's going to be in the ass or the elbows... just gimme a few steps and I'll be gone." He ran to the truck, and he, Rossington, and Collins wrote this song that night. According to the Freebird Foundation, run by Van Zant's widow Judy Van Zant Jenness, the events of Gimme Three Steps took place at a bar called The Little Brown Jug, located on Edison Avenue in Jacksonville, Florida, where the band is from. This explains the lyrics, "I was cuttin' the rug, down at a place called The Jug," which is where Ronnie ran into an angry local man with a gun. The pace of the chorus is fast, to signify Van Zant running away from the guy he thought was going to shoot him. This made the cut for Skynyrd's first album. Their producer, Al Kooper, had them play all their original songs, and out of the 14 they had, picked nine to record for the album. Gimme Three Steps was one of the few songs Skynyrd released as a single. It was their first major-label release, and it didn't chart. The band's name was a mocking tribute to Leonard Skinner, a physical-education teacher at Robert E. Lee High School, who was notorious for strictly enforcing the school's policy against boys having long hair. Despite their high school acrimony, the band developed a friendlier relationship with Skinner in later years, and invited him to introduce them at a concert in the Jacksonville Memorial Coliseum. Interviewed by the Florida Times Union in January 2009, Skinner said he was just following the rules about hair length. It bothered him that the legend had grown that he was particularly tough on the band members. In fact, he didn't even remember them when they were in high school. He said, "It was against the school rules. I don't particularly like long hair on men, but again, it wasn't my rule." Though he hasn't been shy of the attention he received because of his name, Skinner never really warmed up to the group's music. "No," he said when asked if he liked their tunes. "I don't. I don't like rock 'n' roll music." On September 20, 2010, Skinner died at a nursing home in Jacksonville, at age 77 after suffering from Alzheimer's disease for several years.

Hear My Train A Comin' Album: Blues (1969) Fire Album: Are You Experienced? (1967) Castles Made Of Sand Album: Axis: Bold As Love (1967) by Jimi Hendrix Hear My Train A Comin' is also known as "Getting My Heart Back Together Again," Hendrix often played this song live, but never released the song on an album. Hendrix first played it in studio on December 19, 1967. During a photo shoot session, he was given a guitar and asked to play something for the camera. The original tape was re-discovered in 1993 only and remastered by Eddie Kramer. You can hear it on the Blues compilation, released in 1994. On this album, you can also hear a live version played by Hendrix on May 30, 1970 in Berkeley. The only Jimi Hendrix Experience studio recording of Hear My Train A Comin' crops up on the 2010 Valleys of Neptune album. Hendrix producer/engineer Eddie Kramer commented to Toronto's The Globe and Mail: "It shows a complete at-oneness with his instrument. Jimi had a thought in his mind, and in a nanosecond it gets through his body, through his heart, through his arms, through the fingers, onto the guitar." The Hear My Train A Comin' version on Hendrix's posthumous album, People, Hell & Angels, was drawn from Jimi's first ever recording session with his old army pal, Billy Cox, and drummer Buddy Miles. He would later record the groundbreaking album Band Of Gypsys with the powerhouse rhythm duo. Co-producer John McDermott commented to Digital Spy: "Billy and Buddy understood how to set the tempo. If you listen to this recording, they play it the same way as they did on the Live At The Fillmore East album. They knew intuitively that the song should have a great, menacing groove; it shouldn't be old-school, old-tempo, four-bar stuff. They wanted it to have a totally different feel, and that's what makes it exciting." The main lyrics in Fire ("let me stand next to your fire") came from a time when the band had just finished a gig in the cold around Christmas, 1966. They went to bass player Noel Redding's mother's house in Folkestone, England, and when they got there, Jimi asked Redding's mother Margaret if he could "stand next to her fire" to warm up. The family dog, a German Shepherd, lay by the fire, which inspired the line, "Move over Rover, and let Jimi take over." The lyrical lightning bolt of Fire was a breakthrough for Hendrix, who had just started writing songs at the request of his manager Chas Chandler. Writing riffs was easy for him, and it turned out he had a talent for crafting lyrics as well, as he was able to turn a simple line into a fiery tale of lustful passion. (This story is verified in Mat Snow's Mojo story on Hendrix that ran in the October 2006 issue.) Hendrix is legendary for theatrics like setting his guitar on fire and playing it with his teeth (not at the same time). Fire was the song he was (appropriately) playing when he set it on fire for the first time. It happened at a concert in London in March 1967, two months before the Are You Experienced? album was released. Hendrix was low on the bill (below Engelbert Humperdinck), and looking to garner some media attention. When he ignited his guitar, he created a buzz that grew to a roar as his career took off. Hendrix set fire to his guitar once again at the Monterey Pop Festival in 1967. At that show, he didn't do the bit during "Fire," he did it after playing "Wild Thing." The Red Hot Chili Peppers often covered Fire in their early years. They decided to play it again at Woodstock '99 in Rome, New York, but this was a very different festival than the one where Jimi Hendrix performed the song in 1969. The '99 crowd was violent and unruly; when RHCP launched into this song, they increased their level of mayhem, tearing the place up and setting fires (yes, Rome was burning). Gary Moore covered Fire on his 1999 release A Different Beat. In the movie Wayne's World, Wayne falls in love with the bassist from an all-girl band (Tia Carrere) after seeing them cover Fire at Gasworks. Castles Made Of Sand is one of Hendrix' most autobiographical and personal songs. He hated talking about his past, and avoided it during press conferences and interviews. Hendrix played all of the lead guitar parts backwards, then rewound the recording of the lead guitar parts to the song to get that effect you hear in the beginning and in the middle of Castles Made Of Sand. Hendrix' mother was a Cherokee Indian, and in Castles Made Of Sand he identifies with his heritage as a Native American. Hendrix read the words for Castles Made Of Sand as a poem instead of singing them. The Red Hot Chili Peppers were all big fans of Jimi Hendrix and often perform Castles Made Of Sand live.

Come Together Beatles Album: Abbey Road 1969 Aerosmith B-side of "Kings and Queens" single Released 31 July 1978 Timothy Leary was a psychologist who became famous for experimenting with LSD as a way to promote social interaction and raise consciousness. Leary did many experiments on volunteers and himself and felt the drug had many positive qualities if taken correctly. When the government cracked down on LSD, Leary's experiments were stopped and he was arrested on drug charges. In 1969, Leary decided to run for Governor of California, and asked John Lennon to write a song for him. "Come Together, Join The Party" was Leary's campaign slogan (a reference to the drug culture he supported) and was the original title of the song. Leary never had much of a campaign, but the slogan gave Lennon the idea for this song. After Timothy Leary decided against using this song for his political campaign Lennon added some nonsense lyrics and brought it to the Abbey Road sessions. Paul McCartney recalled in Rolling Stone magazine's 500 Greatest Songs: "I said, 'Let's slow it down with a swampy bass-and-drums vibe.' I came up with a bass line, and it all flowed from there." In a 1980 interview with Playboy magazine, John Lennon said: "The thing was created in the studio. It's gobbledygook. 'Come Together' was an expression that Tim Leary had come up with for (perhaps for the governorship of California against Reagan), and he asked me to write a campaign song. I tried and I tried, but I couldn't come up with one. But I came up with this, 'Come Together,' which would've been no good to him - you couldn't have a campaign song like that, right?" John Lennon was sued for stealing the guitar riff and the line "Here comes old flat-top" from Chuck Berry's "You Can't Catch Me." The lawsuit did not come from Berry, but from Morris Levy, one of the music industry's most infamous characters (see our interview with Tommy James for more on Levy). He owned the song along with thousands of other early rock songs that he obtained from many poor, black, and unrepresented artists. Levy sued the Beatles, or more accurately, John Lennon, over the song around the time the Beatles broke up. For years, Lennon delayed the trial while he and the Beatles tried to sort out all the legal and business problems that plagued Apple Records. Finally, in an attempt to avoid the court room as much as he could (Lennon felt like he was appearing in court more often than not), he settled with Levy. Lennon agreed to record his Rock N Roll album, which was just a series of cover songs, including three songs Levy owned (including "You Can't Catch Me") on the tracklist. The deal made sense: Lennon always wanted to make a covers album, and Levy wanted the value of his songs to increase (when a Beatle re-records a song, that is just what happens). To make a long long long story short, Lennon recorded the album over the Lost Weekend, a year-or-two period when he was separated from Yoko Ono and lived in Los Angeles. During that time he was often drunk or high, and was rather sloppy and useless. Levy was getting frustrated with the lack of progress. Phil Spector was the producer, but in a fit of madness (which was not too unusual for Spector) he ran away and stole the recording session tapes. Levy invited Lennon to his upstate New York recording studio, and that is where he finally recorded the album, which ended up with only two Levy songs: "You Can't Catch Me" and "Ya Ya." The whispered lyric that sounds like "shoot" is actually Lennon saying "shoot me" followed by a handclap. The bass line drowns out the "me." The Beatles recorded this on July 21, 1969 and it was the first session John Lennon actively participated in following his and Yoko's car accident 3 weeks earlier. John was so insistent on Yoko being in the studio with him that he had a hospital bed set up in the studio for her right after the accident, since she was more seriously injured than he was. >> The line "Ono sideboard" refers to Yoko. The British Broadcasting Company (The BBC) banned this because of the reference to Coca Cola, which they considered advertising. This has one of the most commonly misheard lyrics in the history of popular music: "Hold you in his -armchair- you can feel his disease." It's actually "Hold you in his arms, yeah, you can feel his disease." All published sheet music had the "armchair" lyric, including the inner sleeve of the 1967-1970 compilation, which contained lots of other errors too, notably on "Strawberry Fields Forever." After John heard that his lyric was incorrect in the sheet music and other folios, he decided he liked "armchair" better and kept it. The Beatles released this as a "double A side" single with "Something." In 1969, this won a Grammy for best engineered recording. When rumors were spreading that Paul McCartney was dead, some fans thought the line "One and one and one is three" meant that only George, John and Ringo were left. The line "Got to be good lookin' cuz he's so hard to see" was supposed to be Paul's spirit. A rotary phone was used to make the sound heard before each verse and after the chorus. The sound was accompanied by the bass Paul played. Kids, ask your parents or grandparents what a rotary phone was. Aerosmith recorded this song with Beatles producer George Martin for the 1978 movie Sgt. Pepper's Lonely Hearts Club Band, which turned out to be one of the worst films ever made. Aerosmith appeared in the film performing this song (as the Future Villain Band), agreeing to the role only because they couldn't resist the chance to record a Beatles song with George Martin. They weren't the only big names in the film - Peter Frampton and The Bee Gees were also in it. The Aerosmith version of "Come Together" made #23 in the US when it was released as a single. When we asked their guitarist Brad Whitford why some folks prefer the Aerosmith version, he replied, "I've actually never heard anybody say that." Whitford added, "But you know, it's funny, I hear our version more on the radio than I do The Beatles' version." In 2001, Beck, Moby, Marc Anthony, and Nelly Furtado were scheduled to put on a tribute concert in Radio City Music Hall called "Come Together: A Night For John Lennon." Due to the terrorist attacks on America, it was postponed and dedicated to the people of New York City, with proceeds benefiting victims of the attacks. Nortel used this in commercials, as did Macy's. On an early demo version of "My Monkey" by Marilyn Manson (whose vocals were sped up to sound like "a demonic toddler"), Manson sang the second verse as an opener. It appeared on Demos in Lunchbox by Manson's former band, The Spooky Kids. Ike & Tina Turner covered "Come Together" in 1970, taking the song to #57 in the US. That and the Aerosmith version are the only covers to chart, but Michael Jackson did a very popular version that he performed at the close of his 1988 concert film Moonwalker. His rendition appeared on his HIStory album in 1995. Others to record the song include Meat Loaf, Guns N' Roses, Soundgarden, Marilyn Manson, Nazareth, and Oasis. Though Ringo is best known for playing on Oyster Black Pearl Ludwig drum kit, he used for this his Ludwig "Hollywood" maple-finish equipment, with a 22" kick. Starr produced his distinctive late '60s drum muffling sound on tracks like this by wrapping tea towels (dishtowels) around his snares and toms. The Arctic Monkeys performed the song during the London 2012 Olympic Games opening ceremony. Their version reached #21 on the UK singles chart in the week after the event. On October 7, 2016, The Rolling Stones covered this song during their headline set at the Desert Trip festival in Indio, California. Before launching into the tune, Mick Jagger told the crowd: "We're gonna do a cover song of a sort of unknown beat group. I think you might remember [them], we're gonna try a cover of one of their tunes." American band Aerosmith recorded one of the most successful cover versions of "Come Together" in 1978. The band performed the song in the 1978 film Sgt. Pepper's Lonely Hearts Club Band; their recording appeared on its accompanying soundtrack album. Released as a single in July 1978, Aerosmith's version was an immediate success, reaching number 23 on the Billboard Hot 100, following on the heels of a string of Top 40 hits for the band in the mid-1970s. However, it would be the last Top 40 hit for the band for nearly a decade. Another recording of the song was released several months later on Aerosmith's live album Live! Bootleg. The song also featured on Aerosmith's Greatest Hits, the band's first singles compilation released in 1980. Their live performance from the 33rd Annual Grammy Awards ceremony was released in a Grammy compilation CD. The song has also surfaced on a number of Aerosmith compilations and live albums since then, as well as on the soundtrack for the film Armageddon.

Amnesia Album: Tubthumper (1998) The Wizard Of Menlo Park Album:Un (2004) Give The Anarchist A Cigarette Album: Anarchy (1994) by Chumbawamba "Amnesia" is the second single from English band Chumbawamba's eighth studio album, Tubthumper (1997). The song's lyrics address the sense of betrayal that English leftists felt during the rise of New Labour. Released on 19 January 1998 by EMI, the song was met with favorable reception from critics, who regarded the song as a highlight from Tubthumper. The song was a top-10 hit in Canada and the United Kingdom, giving the group their final top-20 entries in both countries. The song also reached number one on the Billboard Bubbling Under Hot 100, becoming the group's final US chart entry. An accompanying music video was also released. "Amnesia" lyrically explores the dishonesty of politicians and the ignorance of voters who continue to vote them into office. Chumbawamba's Alice Nutter told MTV that the group "wrote "Amnesia' before the general election in England, and we basically wrote it about Blair's new labor [sic]," adding that the song has a universal message, noting that "people forget that what Bill Clinton says before he gets elected is not what Bill Clinton will do when he's in office, and that's not about Bill Clinton, that's about all politicians." At the end of the album version of the song, there is an interlude that samples a UK public service announcement on mad cow disease. Amnesia was released as a CD single in the UK. A 12-inch single of the song was later released in the US, featuring "Tubthumping" as its B-side. A full-page ad featured in Spin magazine, for the song's parent album mentioned the inclusion of "Amnesia" on the album, was accompanied by partial lyrics. Un is the eleventh studio album by Chumbawamba, released on 8 June 2004 by Koch Records. The album was written and produced by solely by Chumbawamba. A musical departure from predecessor Readymades (2002), the album incorporates elements of folk, electronic, and world music. Thematically, the album acts as a social commentary on a variety of political and social issues, including individualism and anti-consumerism. Un was promoted with two singles: "The Wizard of Menlo Park" (included here) and "On eBay". Anarchy is the sixth studio album by Chumbawamba. Many of the tracks address specific social issues, such as homophobia, strikes or otherisms. Its graphic cover, depicting a baby's head emerging from a vagina, prompted the record to be banned from some shops and stocked in plain sleeves in others. The Spotify and iTunes version of the album replaces the baby picture with a painting of red roses. The album was a commercial success, giving the group their first top-40 album on the UK Albums Chart. The album debuted and peaked at number 29 on the chart dated 7 May 1994; it spent a total of three weeks on the chart before exiting the top 100. Give The Anarchist A Cigarette is the first track.

Lowrider Album: Stoned Raiders (2001) Insane In The Brain Album: Black Sunday (1993) Rock Superstar Album: Skull & Bones (2000) by Cypress Hill 1988- B-Real Lead rapping DJ Muggs Turntables Sen Dog Rapping Eric Bobo Drums 1994- Cypress Hill started in Cypress Park, California in 1988. The group signed a deal with Columbia Records in 1989 after the label heard their first demo. Black Sunday, Cypress Hill's second album, came out in 1993 and went straight to #1 on Billboard's Top 200 chart. It spent 2 weeks at the top spot, displacing Zooropa by U2 and getting knocked off by the Sleepless in Seattle soundtrack. Cypress Hill was banned from playing Saturday Night Live in 1993 after they smoked marijuana onstage and trashed their instruments after performing the song "I Ain't Goin' Out Like That." In 1995, Cypress Hill appeared on The Simpsons, performing at a fictional festival called Homerpalooza. The episode poked fun at Lollapalooza and Woodstock 1994, two festivals that the Hip-Hop group had recently headlined. Cypress Hill attempted to gain a larger audience in 2000 by releasing a guitar-driven single called "Rock Superstar." The group also joined punk bands MxPx and The Offspring on tour the same year. "Lowrider" is the second single from the album Stoned Raiders. The song is featured in the British TV series Soccer AM. The song was the second part of the double A-Side single it shared with "Trouble" in Europe. "Lowrider" was not released until February elsewhere. On the album, there is a hidden track. The hidden track is rather ominous as it features a slow drum beat and a low pitched organ that only plays five notes. This lasts for around two minutes. "Insane in the Brain" is a song released in June 1993 by Ruffhouse and Columbia as the first single from the group's second album, Black Sunday (1993). The song was written by group members Louis Freese, Lawrence Muggerud and Senen Reyes, and produced by Muggerud (DJ Muggs). In addition to hitting number one on the US rap chart, it also was a mainstream hit, reaching number 19 on the Billboard Hot 100 in 1993. "Insane in the Brain" earned a 3× platinum certification from the Recording Industry Association of America and sold 3,000,000 copies domestically. The accompanying music video was directed by Josh Taft, featuring the group performing at a rave. According to B-Real, the song was actually a diss song aimed at Chubb Rock. The group felt Chubb had ridiculed their style on his 1992 album, I Gotta Get Mine Yo. DJ Muggs credited "Jump Around" by House of Pain, also produced by himself, as a major influence. According to a live interview aired on Double J during a feature of the Black Sunday album, "insane in the membrane" was a localised gang term used at the time by the Crips when doing something crazy. It was then appropriated into this song. A 2019 interview with The Guardian elaborated further that both Bloods and Crips used a similar phrase as an informal insanity plea upon arrest. The Double-J interview also notes that B-Real was a member of the Bloods. The song is built around many samples: A drum break from organist George Semper's cover version of Lee Dorsey's "Get Out of My Life, Woman" A sample of James Brown grunting from the opening of his song "Say It Loud – I'm Black and I'm Proud" A vocal sample of the line "insane in the brain" from Cypress Hill's own song "Hole in the Head" A vocal sample of the line "just another local" from their own song "How I Could Just Kill a Man" during the second and the third chorus A vocal sample at the end of the second chorus from the beginning of the 'Prince Paul Mix' of their own song "Latin Lingo" A sample of the opening keyboard riff from Sly and the Family Stone's "Life" A vocal sample of the line "gunshot me head back" from Buju Banton's "Boom By By" before the start of the third verse A sample of the line "I think I'm going crazy" from the Youngbloods' "All Over the World (La La)" which concludes the track The origin of the most prominent sample, repeated throughout the song, has been a matter of dispute. DJ Muggs initially claimed the sample was a pitched blues guitar,[8] although shortly after, he claimed that the sound is a horn. Many sources claim that it is actually a sample of a horse from Mel and Tim's "Good Guys Only Win in the Movies", but during an interview with Sound on Sound in December 2018 on the production techniques used, DJ Muggs refuted the sample: That's weird, everybody thinks that's a horse, but it isn't. I've seen that a bunch of times on these sample sites. That's a sound I made from a blues guitar pitched. At the time I used to run some sounds through guitar amps. When I heard that horse thing, I was like, 'Oh, that sounds just like it.' Honestly to God, those sample sites get a lot wrong. They have some shit right, but I'll go, 'I never used that.' I don't know where they gather their information. Sometimes, they're spot on, but sometimes, I'm like, 'Yo, you guys are off.' However, less than two months later in an interview with British newspaper The Guardian, Muggs then claimed the sound effect was made by a horn and not a guitar. In another interview with The Wire magazine, when asked: "You're well known for using unusual sample sources not just in terms of the music you sample from – from funk, soul and jazz to krautrock and metal – but also different kinds of sounds, like sirens, elephants, horses", Muggs' response was "Yes, you know I have a visual thought first of all and that excites me and on the conscious side of it, I'm always looking for things that are awkward". This has since caused disbelief that Muggs is telling the truth and that the sample may well be the horse from Mel and Tim's "Good Guys Only Win in the Movies", as Muggs has claimed himself that he has "a foggy memory when it comes to the samples used on 'Insane in the Brain'" due to the fact that at the time of the song's production, "there was a lot of weed smoked" and that he confirmed he was "not musically trained, never went to music school and I don't play instruments". Cypress Hill performed Insane In The Brain live on Saturday Night Live on October 2, 1993. "(Rock) Superstar" is the second single from Cypress Hill's fifth studio album, Skull & Bones. It was originally released as a double A-side with its standard rap counterpart on February 29, 2000 in the UK. An individual release was available starting sometime in April. Sony executive Donnie Ienner suggested adding guitars, which took the song "to a new level." Cypress Hill put Rock Superstar into both the hip-hop and alternative markets, because they had fans in both places. Rock Superstar is featured in the 2001 film Training Day. It was also in the film Little Nicky. Rock Superstar is featured in the 2000 video game MTV Sports: Skateboarding featuring Andy Macdonald, released on PC and various consoles. The instrumental is used as an intro at the beginning of each hour on the nationally syndicated radio and television sports talk show The Dan Patrick Show, and is also used in a small game called Alien Battlecraft Arena. Rock Superstar is featured twice in the American Dad! episode "The Boring Identity". The first is when Steve becomes a paperboy and is introduced to their best worker, Roger. The second time is during a montage of the two "hustling" to earn extra money. Rock Superstar is featured in the intro to the first Twisted Metal episode WLUDRV. It is diegetic, as the protagonist is seen starting the song and singing along, an in-universe soundtrack to a car chase that he seems to be enjoying.

We Used To Know Track 8 on Album: Stand Up (1969) Bourée Album: Track 3 Album: Stand Up (1969) by Jethro Tull Ian Anderson has speculated that the chord progression in "We Used to Know" was picked up subconsciously by the Eagles when they toured together in 1971 or 1972 and used in their song "Hotel California". However Don Felder, who wrote the music for "Hotel California", did not join the Eagles until 1974. In a 2016 interview, Anderson stated that the chord progression had likely been used in earlier songs and also called "Hotel California" a "much better song" than "We Used to Know". He was probably lying... Stand Up, released in 1969, is the second studio album by British band Jethro Tull. It was the first Jethro Tull album to feature guitarist Martin Barre, who would go on to become the band's longtime guitarist until its initial dissolution in 2012. Before recording sessions for the album began, the band's original guitarist Mick Abrahams departed from the band as a result of musical differences with frontman and primary songwriter Ian Anderson; Abrahams wanted to stay with the blues rock sound of their 1968 debut, This Was, while Anderson wished to add other musical influences such as folk rock. The design of the album cover started with a visit to New Haven, Connecticut during a concert tour in late February 1969. Under the direction of producer Terry Ellis, the band met a woodcarver named James Grashow who followed them for a week in order to properly represent them in wood. The resulting gatefold album cover, in a woodcut style designed by Grashow, originally opened up like a children's pop-up book so that a cut-out of the band's personnel stood up, evoking the album's title. Stand Up won New Musical Express's award for best album artwork in 1969. The pop-up was not carried over to the 1973 album reissue, but is now available on the 180g vinyl issue of the Steven Wilson remixed version of the album, released in 2017. Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. The result was an eclectic album with various styles and instrumentation appearing in its songs. The album was released 25th July, and was No. 1 on the UK charts the following week, 3rd August, following up on the success of the non-album single "Living in the Past", which had reached No. 3 in the UK singles chart on the day the album was released. The album was Jethro Tull's first success in the United States, reaching No. 20 on the Billboard 200. Jethro Tull released their debut album "This Was" in October 1968. During the recording of This Was, frontman Ian Anderson began writing new material which differed from the straight blues/jazz fusion style which the band were known for at the time. Anderson estimated that he wrote "50 percent" of Stand Up during the summer of 1968. Anderson wrote the album's songs on an acoustic guitar in his bedsit in Kentish Town, London, and cited Roy Harper, Ornette Coleman, Charlie Parker, Bert Jansch, Pentangle, Blind Faith and Jimi Hendrix as inspirations. The new material's departure from the band's blues-based style caused conflict with guitarist Mick Abrahams, who was a blues purist: Anderson recalled "running some of [the new songs] by Mick Abrahams, and coming to the conclusion that they weren't going up to be up his street at all" while drummer Clive Bunker stated that "when Ian started to write new and different stuff, that's when we realised we were going to have serious problems, because Mick just didn't want to do it." The stylistic clash resulted in Abrahams' departure from the band in December 1968. The band initially began rehearsals for Stand Up with Black Sabbath guitarist Tony Iommi, however Iommi left the band after only a few weeks as he felt he did not fit in well with the group. The job eventually went to Martin Barre, who immediately joined rehearsals for Stand Up before making his live debut with the band on 30 December 1968. The band then embarked on a short Swedish tour to support Jimi Hendrix in January 1969 before embarking on a three-month U.S. tour (the band's first) during which the band recorded the non-album single "Living in the Past" and B-side "Driving Song" at the behest of manager Terry Ellis to "keep the pot boiling" in the UK. Following the end of the tour in April, the band returned to the UK to begin recording sessions for the new album. The band began recording the album on 17 April 1969, recording "A New Day Yesterday" and finished on 21 May 1969, finishing "Look Into the Sun". Recording was briefly paused in early-mid May for the band to embark on a joint headlining tour of the UK and France with Ten Years After. All of the songs were recorded at Studio 2 of Morgan Studios, except for "Bourée" which was recorded at Olympic Studios because Morgan was already booked for the day (although takes of the song were also recorded at Morgan). The general routine was that the band would arrive at the studio at 9:00 am to work on one or two songs which would be finished by 4:00 or 5:00 pm. Anderson cited Morgan Studios' modern 8-track recording facilities as "a big help", saying that "8-track was the beginning of that creative freedom without which it would have been much harder to have made the Stand Up album." The band praised recording engineer Andy Johns, who they found easy to work with. Johns tried some innovative recording techniques on the album; for example on "A New Day Yesterday" he achieved a swirling, stereo-shifting guitar effect by swinging an expensive Neumann U67 microphone on its cable in wide circles around the studio. The majority of the album was recorded live with the entire band, with minimal overdubs, however primarily acoustic songs such as "Look Into the Sun" and "Fat Man" were recorded mostly solo by Anderson. The song "Bourée" proved the most difficult to record, with the band unsatisfied with any of the takes they recorded. The final version of the song was compiled later from several takes, with additional overdubs added by Anderson. A variety of rock artists have cited Stand Up as an all-time favourite album, including Pearl Jam's Eddie Vedder, Aerosmith's Tom Hamilton, Joe Bonamassa, and Joe Satriani. Black Francis of Pixies also spoke glowingly of the album, commenting, "Stand Up is the [Jethro Tull] record that moves me the most. It's only their second album and they're still kind of scruffy. There's a heavy rock influence but they had that English thing going on, you know, university dudes who were really into folk music. It didn't seem like an affectation to me – it still seems real". During an interview with BraveWords in 2015, Anderson selected Stand Up as his favourite Tull album: "I suppose if you were to really twist my arm, I would probably go back to 1969, with the Stand Up album, because that was my first album of first really original music. The instrumental "Bourée" (one of Jethro Tull's popular concert pieces) is a jazzy re-working of "Bourrée in E minor" by Johann Sebastian Bach. Bourée is an instrumental, flute-based song is an adaptation of the piece "Bourrée," written by Johann Sebastian Bach. The Bach version was written for lute, and is his fifth movement of the Suite in E minor for Lute. Also known as "Aufs Lautenwercke" (works for the Lute), Bach wrote the piece in the early 1700s. The music was used for the 2012 Ethno France concert at the Luxembourg park in Paris. In an interview with Ian Anderson he explained why he decided to adapt the Bach composition: "I got to the point where I was playing the flute every night on stage in the early part of '68, and so by the end of the year, I was casting around for an instrumental piece as a successor to the Roland Kirk piece, 'Serenade to a Cuckoo,' which I'd been playing most of 1968. I wanted something that had a syncopated jazzy feel, but a melody that wasn't associated with the jazz world or the blues world. And 'Bourée' was a little bit of music that came to me through the floorboards of my bedsitter in London, because there was a media student in the room below who kept playing over and over again this refrain of the Bach tune "Bourée." He played it on classical guitar, but he only ever got the one bit, he never progressed beyond that basic thing. So I kept hearing that over and over and over and over again, and decided that I would try to use that little tune some way as a starting point for an instrumental piece. And Martin Barre, who literally at that point in January '69 was just kind of auditioning to join the band, said, 'Oh, I know that. I think I've got the sheet music somewhere for Bach's 'Bourée.'' So it was something we could fairly readily embark upon as a variation on a classical piece of music." Released as a single from Stand Up on September 30, 1969, "Bourée" didn't trouble the UK charts but did better on continental Europe. It peaked at #5 in The Netherlands, #20 in Belgium and #37 in Germany. Asked by The Sun in a January 2022 interview what his favorite Jethro Tull album is, Anderson replied: "Stand Up. A brave departure from the bluesy beginning of Tull and the start of the progressive rock and more eclectic period, which has lasted a further 53 years." Bourrée ("Bourrée," written by Johann Sebastian Bach), is a French folk dance with many varieties, characteristically danced with quick, skipping steps. The dancers occasionally wear wooden clogs to emphasize the sounds made by their feet. Notably associated with Auvergne, bourrées are also danced elsewhere in France and in Vizcaya, Spain. Michael Praetorius mentions the bourrée in his musical compendium Syntagma musicum in 1615. Stylized bourrées in 2/4 or 4/4 time (folk bourrées also occur in 3/8 time) have been composed as abstract musical pieces since the mid-16th century. In such 18th-century suites as those of Johann Sebastian Bach and George Frideric Handel, the bourrée often appears as one of the galanteries, or optional movements. The bourrée was among the dances from which ballet derived its early steps. The pas de bourrée (“bourrée step”) has been variously elaborated; it is usually a small, quick step executed in preparation for a larger step. Pas de bourrée couru (“running bourrée”) is a smooth run on the toes, with the feet close together (first or fifth positions). Whenever I get to feel this way Try to find new words to say I think about the bad old days We used to know Nights of winter turn me cold Fears of dying, getting old We ran the race and the race was won By running slowly Could be soon we'll cease to sound Slowly upstairs, faster down Then to revisit stony grounds We used to know Remembering mornings, shillings spent Made no sense to leave the bed The bad old days they came and went Giving way to fruitful years Saving up the birds in hand While in the bush the others land Take what we can before the man Says it's time to go Each to his own way I'll go mine Best of luck in what you find But for your own sake remember times We used to know

Papa Was A Rollin Stone Album: Rare Earth by Rare Earth "Papa Was a Rollin' Stone" is a song originally performed by Motown recording act the Undisputed Truth in 1972, though it became much better known after a Grammy-award winning cover by the Temptations was issued later the same year. This latter version of the song became a number-one hit on the Billboard Hot 100. "Papa Was a Rollin' Stone" was written by Norman Whitfield and Barrett Strong in 1971. Whitfield produced the original Undisputed Truth version, which was released as a single in May 1972. This version of the song peaked at number 63 on the Pop Charts and number 24 on the R&B Charts. The song was included on the Undisputed Truth's album Law of the Land (1973). Later in 1972, Whitfield cut a different version of the song, turning it into a 12-minute track for the Temptations. This version was included on their 1972 album All Directions. The edited 7-inch single release of this Temptations track was issued in September 1972, and this version was a number-one hit on the Billboard Hot 100 and won three Grammy Awards in 1973. While the original Undisputed Truth version of the song has been largely forgotten, the Temptations' version of the song has been regarded as an enduring and influential soul classic. The full-length album version was ranked number 169 on Rolling Stone's list of the 500 Greatest Songs of All Time, one of the group's three songs on the list. In retrospect, the Temptations' Otis Williams considers the song to be the last real classic the group recorded (it would be the Temptations' last number one hit and would win them their second and final Grammy Award in a competitive category). It was the third of September That day I'll always remember, yes I will Cause that was the day, that my daddy died I never got a chance to meet him Never heard nothin' but bad things about him Momma I'm depending on you, to tell me the truth Momma just hung her head and said, son Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Hey Momma! Is it true what they say that Papa never worked a day, in his life And Momma, there's some bad talk goin' round town sayin' that Papa had three outside children And another wife, and that ain't right Folks say Papa did some store front preachin' Talked about saving souls and all the time leaching Dealing in debt, and stealing in the name of the law Momma just hung her head and said, son Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone, son, son Where ever he laid his hat was his home and when he died, all he left us was alone Hey Momma, I heard Papa called himself a jack of all trades Tell me is that what sent Papa to an early grave Folks say Papa would beg, borrow, steal To pay his bills Folks say Papa never was much on thinking Spent most of his time chasing women and drinking Momma, I'm depending on you, to tell me the truth Momma just hung her head and said, son... Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone, son, son Where ever he laid his hat was his home and when he died, all he left us was alone Momma just hung her head and said Papa was a rolling stone, son, son Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone It was alone, all he left us was alone Momma said it was alone

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

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

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

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

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

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

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

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

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

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

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

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

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

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