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 text limit

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. txt lmt

"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

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 colleagu

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. txt limit

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 text limit

Psychotronic Mind Control
Psychiatry & Mind Control Part II

Psychotronic Mind Control
Psychiatry & Mind Control Part I

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

I Am The Highway Album: Audioslave (2002)
by Audioslave

On this early Audioslave track, frontman Chris Cornell is claiming his self-worth after being taken for granted in his relationships. "I am not your rolling wheels, I am the highway," he sings. He determines the only person he can rely on is himself, but the road to independence is a long one: "I put millions of miles under my heels, and still too close to you I feel."

Ann Wilson of Heart recorded this for her 2018 album, Immortal. The collection of cover songs paid tribute to musicians who recently died (Cornell committed suicide in 2017). Wilson connects "I Am The Highway" to Cornell's inability to deal with fame. She told Tone Deaf: "The expectations that were put on him being the voice of a generation and a superstar of the 90's and 2000's and stuff was too much for him."

Wilson released a statement explaining why she chose this particular song to honor Cornell: "The song is strong, confident, spiritual. It's about a person who refuses to be tied down to the mundane, who is constantly looking for freedom and independence on a more universal scale, not just ordinary everyday reality. It was the cry of a soul, and it's a beautiful song. Chris and I were friends; we had a lot in common, we were both outsiders in a way. He left us with amazing music."

The song opens with the lyric "Pearls and swine, bereft of me," which is a biblical reference to Jesus' Sermon on the Mount from Matthew 7:6, which states: "Do not throw pearls before swine, lest they trample them under their feet." In other words, don't share anything of value with someone who refuses to appreciate it.

Cornell began playing an acoustic version in the middle of the band's live sets and the positive response gave him the courage to bring the approach to some of his other tunes, which prompted his solo acoustic Songbook tour in 2011. He told Walmart Soundcheck: "That song in particular was the first one I stood up in front of a lot of people and played acoustically in Audioslave shows, and it was a kind of scary thing to do. It was an important thing that the band backed me up doing it."

This peaked at #3 on the Alternative chart (then known as the Modern Rock chart) and #2 on the Mainstream Rock chart.
This was used on the teen drama One Tree Hill in the 2006 episode "Can't Stop This Thing We've Started."

Pearls and swine bereft of me
Long and weary my road has been
I was lost in the cities
Alone in the hills
No sorrow or pity for leaving I feel

I am not your rolling wheels
I am the highway
I am not your carpet ride
I am the sky

Friends and liars don't wait for me
I'll get on all by myself
I put millions of miles
Under my heels
And still too close to you
I feel

I am not your rolling wheels
I am the highway
I am not your carpet ride
I am the sky

I am not your blowing wind
I am the lightning
I am not your autumn moon
I am the night
The night

I am not your rolling wheels
I am the highway
I am not your carpet ride
textli

Evil Ways Album: Santana (1969)
Black Magic Woman Album: Abraxas (1970)
Santana

Evil Ways was originally recorded by Willie Bobo in 1965; it was written by Bobo's guitarist, Sonny Henry. Bobo was Latin Jazz percussionist who was a big influence on Santana and played on some of their tracks in the late '70s. "He was one of the first guys who tried to merge Latin music and blues together on record," Carlos Santana said in The Guitar Greats by John Tobler and Stuart Grundy. "He did it before us, because we were doing it on the street, and he was already doing it on records."

Gregg Rolie, who joined Journey in 1973, sang lead on this. Carlos Santana, whom the band is named after, rarely took lead vocals but got plenty of guitar solos. His solo in Evil Ways is about 90 seconds long.

Santana made a huge impact at the Woodstock festival, where they included "Evil Ways" in their set. They hadn't released their first album yet, but had made a name for themselves playing live shows on the West Coast. Their manager, Bill Graham, got them on the bill, playing the same day as their San Francisco cohorts The Grateful Dead. Their first album, Santana, was released two weeks later amid the raft of positive press from Woodstock. The rhythmic chant track "Jingo" was issued as the first single from the album, reaching #56 in the US. "Evil Ways" was the next single, and it climbed to #9.

"Black Magic Woman" was a hit for Santana, but few people know that it's actually a cover of a 1968 Fleetwood Mac song that hit #37 in the UK. Peter Green, who was a founding member of Fleetwood Mac, wrote the lyrics.

Many also don't know that Santana started out as a blues band, just like Fleetwood Mac. "I used to go to see the original Fleetwood Mac, and they used to kill me, just knock me out," Carlos Santana said in the book The Guitar Greats. "To me, they were the best blues band."

Santana put their own spin on the song, incorporating Latin textures, but they kept the basic sound from the original intact.

The 1:49 instrumental at the end is called "Gypsy Queen," and was written by the Hungarian jazz guitarist Gabor Szabo. It was omitted from Santana's 1974 Greatest Hits album, even though radio stations usually play "Black Magic Woman" and "Gypsy Queen" as one song.

The original version is based on a blues song Peter Green wrote for Fleetwood Mac's first UK album called "I Loved Another Woman." Mick Fleetwood called the original version, "Three minutes of sustain/reverb guitar with two exquisite solos from Peter."

The royalties generated by Santana's cover of this song helped sustain the song's writer, Peter Green, after he left Fleetwood Mac. Green gave most of his money away when he left the band, and would have found himself destitute later in the '70s if he didn't get checks from his old hits.

After this was released, Peter Green befriended some people who were into black magic. In an interview with Cameron Crowe of Rolling Stone magazine, Christine McVie txtlimt

My My Hey Hey (Out Of The Blue) Album: Rust Never Sleeps (1979)
Hey Hey, My My (Into The Black) Album: Rust Never Sleeps (1979)
Cortez the Killer Album: Zuma (1975)
Cinnamon Girl Album: Everybody Knows This Is Nowhere (1969)
Neil Young & Crazy Horse

Young alludes to three specific artists in the lyrics of My My Hey Hey (Out Of The Blue):

"Rock and roll is here to stay" - This is the title of a 1958 song by Danny & the Juniors, a vocal group best known for their hit "At The Hop." They proclaim, "Rock 'n roll is here to stay, it will never die."

"The king is gone but he's not forgotten" - "The King" is Elvis Presley, who died in 1977, two years before this song was released.

"This is the story of a Johnny Rotten" - Johnny Rotten (real name: John Lydon) was lead singer of punk rock pioneers The Sex Pistols. He often seemed hell-bent on self destruction to ensure he would burn out and not fade away, but ended up having a very long and productive career.

Around 1977 Neil Young formed a band called The Ducks that included Jeff Blackburn. The band played for a $3 cover charge in the hip Santa Cruz club environment. "My My, Hey Hey (Out Of The Blue)" came out of this period and Jeff Blackburn received co-writing credit on the track with Young.

Jeff Blackburn recalled to Uncut magazine: "We were old friends going back to the '60s. I was playing in Santa Cruz with John Craviotto and Bob Mosley (Moby Grape) who were a great rhythm section, when Neil ducked into it. That was a great summer. We played about 30 shows with The Ducks, we played every night. It really was a mighty month.

Neil and I swapped ideas. We both had material, we had ideas and things came together as we were rocking together pretty good. I had a song with the line, 'Ashes to ashes, dust to dust. It's better to burn out than it is to rust.' Neil liked that and the whole rust thing came from that line - rust never sleeps. Not many people share a credit with Neil Young. It's hard to say why I got one, you'd need to ask Neil. But you never know what he's going to do next."

Young released two versions of the song on the album: an acoustic rendition called "My My, Hey Hey (Out Of The Blue)," and an electric version called "Hey Hey, My My (Into The Black)" that he recorded with his band, Crazy Horse. Both versions were included on the single, with "Hey Hey, My My" the A-side, which is what most radio stations play. The electric version has slightly different lyric and omits the famous line, "It's better to burn out than to fade away."

"My My, Hey Hey" is on the first side of the album, which is all acoustic.

My My Hey Hey (Out Of The Blue) was the first track on Rust Never Sleeps. Young released a concert documentary with that title the same day as the album.

Kurt Cobain's suicide note contained a line from My My Hey Hey (Out Of The Blue): "It's better to burn out than to fade away." That line has become one of the most famous song lyrics of all time. When Young was asked text limit

We Got The Beat
Our Lips Are Sealed
Album: Beauty and the Beat (1981)
The Go-Go's

The Go-Go's were an American all-female rock band formed in Los Angeles in 1978. Except for short periods when other musicians joined briefly, the band has had a relatively stable lineup consisting of Charlotte Caffey on lead guitar and keyboards, Belinda Carlisle on lead vocals, Gina Schock on drums, Kathy Valentine on bass, and Jane Wiedlin on rhythm guitar. They are widely considered the most successful all-female rock band of all time.

The quintet emerged from the L.A. punk rock scene of the late 1970s and in 1981 released their debut album Beauty and the Beat. A first for an all-female band writing their material and playing their instruments, the LP topped the Billboard album chart and remains an achievement yet to be matched. Beauty and the Beat is considered one of the "cornerstone albums of US new wave" (AllMusic), having broken barriers and paved the way for a host of other new American acts. It yielded two of the Go-Go's four biggest Hot 100 hits—"Our Lips Are Sealed" (no. 20) and "We Got the Beat" (no. 2)—and, after a long and steady climb, reached number one in the chart dated March 6, 1982. The album stayed at the top for six consecutive weeks, eventually selling over two million copies. The group, credited as simply Go-Go's on all of their US releases, was nominated for the Best New Artist award at the 24th Annual Grammy Awards.

The Go-Go's broke up in 1985, with each member embarking on a solo career and Carlisle being the most successful, having several top-5 singles through the late 1980s. They reconvened several times in the 1990s, releasing a new album in 2001, God Bless the Go-Go's, and touring. They received a star on the Hollywood Walk of Fame in 2011. Though the band's 2016 performances were billed as a farewell tour, the band remained active on an ad hoc basis for several years afterward. Head Over Heels, a musical featuring the songs of the Go-Go's, ran on Broadway at the Hudson Theatre from 2018 to 2019. The group was inducted into the Women Songwriters Hall of Fame and the Rock and Roll Hall of Fame in 2021, and shortly after that announced their disbandment.

Formed in Los Angeles in 1978 as the Misfits by Charlotte Caffey, Belinda Carlisle (vocals), Jane Wiedlin (guitar, background vocals), the Go-Go's also included Margot Olavarria on bass and Elissa Bello on drums.

They were formed as a punk band and had roots in the L.A. punk community. They shared a rehearsal space with the Motels and Carlisle, under the name "Dottie Danger", had briefly been a member of punk rock band the Germs. After she became temporarily ill, she separated from the Germs before ever playing a gig.

The band began playing gigs at punk venues such as The Masque and the Whisky a Go Go in Los Angeles and the Mabuhay Gardens in San Francisco alongside bands such as X, Fear, the Plugz and the Controllers. Charlotte Caffey (lead guitar, keyboards, back text limit

Should I Stay Or Should I Go Album: Combat Rock (1982)
Train In Vain (Stand By Me) Album: London Calling (1979)
bonus track...
The Clash

Should I Stay Or Should I Go is one of the more popular songs by The Clash, this one uses a very unusual technique: Spanish lyrics echoing the English words.

Singing the Spanish parts with Joe Strummer was Joe Ely, a Texas singer whose 1978 album Honky Tonk Masquerade got the attention of The Clash when they heard it in England. When Ely and his band performed in London, The Clash went to a show and took them around town after the performance. They became good friends, and when The Clash came to Texas in 1979, they played some shows together. They stayed in touch, and when The Clash returned to America in 1982, they played more shows together and Ely joined them in the studio when they were recording Combat Rock at Electric Ladyland Studio in New York.

In a 2012 Songfacts interview with Joe Ely, he explained: "I'm singing all the Spanish verses on that, and I even helped translate them. I translated them into Tex-Mex and Strummer kind of knew Castilian Spanish, because he grew up in Spain in his early life. And a Puerto Rican engineer (Eddie Garcia) kind of added a little flavor to it. So it's taking the verse and then repeating it in Spanish."

When we asked Ely whose idea the Spanish part was, he said, "I came in to the studio while they were working out the parts. They'd been working on the song for a few hours already, they had it sketched out pretty good. But I think it was Strummer's idea, because he just immediately, when it came to that part, he immediately went, 'You know Spanish, help me translate these things.' (Laughs) My Spanish was pretty much Tex-Mex, so it was not an accurate translation. But I guess it was meant to be sort of whimsical, because we didn't really translate verbatim."

According to Strummer, Eddie Garcia, the sound engineer, called his mother in Brooklyn Heights and got her to translate some of the lyrics over the phone. Eddie's mother is Ecuadorian, so Joe Strummer and Joe Ely ended up singing in Ecuadorian Spanish.
About two minutes in, you can hear Mick Jones say, "Split!" While it sounds like it could be some kind of statement related to the song, Joe Ely tells Songfacts it had a much more quotidian meaning. Said Ely: "Me and Joe were yelling this translation back while Mick Jones sang the lead on it, and we were doing the echo part. And there was one time when the song kind of breaks down into just the drums right before a guitar part. And you hear Mick Jones saying, 'Split!' Just really loud, kind of angry. Me and Joe had snuck around in the studio, came up in the back of his booth where he was all partitioned off, and we snuck in and jumped and scared the hell out of him right in the middle of recording the song, and he just looked at us and says, 'Split!' So we ran back to our vocal booth and they never stopped the recording."

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Truckin' Album: American Beauty (1970)
Touch of Grey Album: In The Dark (1987)
by Grateful Dead

The '60s was a time for traveling and discovering your place in the world. Sometimes what you found was an empty existence that just keeps repeating itself day to day. Having to deal with everyday life when you were always waiting for some kind of revelation to expand your consciousness was often depressing. In Truckin', The Grateful Dead deal with the banality by continuing their search for epiphany. They just keep truckin' on.

"Truckin'" is the Grateful Dead's coming-of-age story.

In Anthem To Beauty, a documentary covering the making of the American Beauty album, Dead guitarist/vocalist Bob Weir talks about the romance of striking out on the road. He says it was a rite of passage for young people in the 1960s - as it perhaps still is to some degree today, though the internet has robbed much of the mystery of the road. "Truckin'" covers the Dead's navigation through that rite of passage.

"We were starting to become real guys," Weir says, "and really enjoying the hell out of it."

For the Dead, that rite became a way of life. The band never made a ton of money from record sales, and their unique legacy was made by touring.

Also in Anthem, Phil Lesh talks about how the Dead's touring in 1970 preceded the "rock and roll bubble," when groups were isolated from fans and regular folks. The Dead were flying coach, riding busses, and staying in modest hotels. There were no handlers to protect them from the public or from the authorities.

That manner of living was exciting in its way, but it could also get downright boring after a while, with long hours spent in hotel rooms and waiting for transportation to the next show. This is why the song has a line going, "Get tired of travelin' and you want to settle down."

Even though the song is autobiographical for the Dead, it also means a lot to the lives of many Deadheads and children of the '60s in general. Part of what defined that generation was the thirst for freedom and adventure, which led to lives on the road (and some people staying there too long).

Grateful Dead members Jerry Garcia, Phil Lesh and Bob Weir are the credited writers on this track along with their lyricist, Robert Hunter. During recording, Hunter fed Weir one line at a time.

The line, "Busted, down on Bourbon Street" refers to an incident on January 31, 1970 when members of the band were arrested in a drug bust that netted 19 people in New Orleans. The group was in town to play two shows at a club called the Warehouse, and the raid happened the morning after their first show at the French Quarter hotel where they were staying. Lesh, Weir and drummer Bill Kreutzmann were all arrested along with crew members and fans of the band who had joined them at the hotel.

The story made the front page of the New Orleans Times-Picayune the next day, and drew national attention, with Rolling Stone running an article on the incident. text limit

Brass Monkey
No Sleep Till Brooklyn Album: Licensed To Ill (1986)
by the Beastie Boys

Brass Monkey is about an alcoholic beverage. Brass Monkey is rum, vodka, and orange juice mixed over ice. Very popular with college kids trying to get drunk. The Beasties are not limited to just this cocktail, however, as the song explores various alcohol-related activities and beverages, apparently financed by their producer, Rick Rubin ("Double R. foots the bill most definitely"). Also showing up in the song: martinis, Moet champagne, and Chivas Regal whiskey.

In some circles, a Brass Monkey is mixture of malt liquor and orange juice, typically made by adding OJ to a 40-ounce bottle of Olde English. That's not what the Beastie Boys had in mind though. As Mike D confirmed, they were referring to a premixed cocktail served in a can. Made by the Heublein Company, it was sold in the '70s and '80s. The company wasn't specific about the ingredients, claiming it was made from "a secret combination of liquors."

According to Adam "Ad-Rock" Horovitz, he's the one who got turned on to Brass Monkey. Beastie Boys were signed to Rick Rubin's fledgling label, Def Jam, and one night in 1984, Ad-Rock ended up hanging out with a rapper on the label, T La Rock, and a DJ who worked with Rubin named Jazzy Jay. A bottle was passed around, and when he took a sip, it was a revelation: This is delicious!

Jazzy Jay told him it was Brass Monkey, found on the lower shelves of nearby delis near the cheap wine and malt liquor.
According to Mike D of the Beastie Boys, they originally wanted "the Brass Monkey" to be a dance, like The Twist or The Watusi. There are inklings of this intent in the lyric ("Brass, got this dance that's more than real") but the song clearly ended up being about the beverage.

"Brass Monkey" was the fifth single from the group's debut album, Licensed To Ill, following "(You Gotta) Fight for Your Right (to Party)," the song that put them in the national spotlight. Licensed To Ill became the first rap album to go #1 in the US and the best-selling rap album of the '80s.

The term "Brass Monkey" comes from the figure of speech, "cold enough to freeze the balls off a brass monkey." An actual brass monkey was thought to be a naval contraption - here's the story we heard:

Back in the day of naval wars being fought with the old fashioned cannons, they would stack the cannonballs in a pyramid. This conserved space and made it easy to load them. However, they would roll around the deck if there weren't something to hold them in place. To solve this problem, they used a large metal plate with indents in which to place the bottom rows of cannonballs. They found that if they used iron, when it got wet the cannonballs would rust, so they used brass and called it a brass monkey. Brass tends to really expand and contract with the weather, and when it got really cold the indents would get smaller, causing the cannonballs to be dislodged, hence the saying, text limit

Aggression As A Trait Is Constitutional

Back To The Future 322. A short film inspired by my environment..

Runnin' Down A Dream Album: Full Moon Fever (1989)
American Girl Album: Tom Petty and The Heartbreakers (1977)
by Tom Petty and The Heartbreakers

In Runnin' Down A Dream Tom Petty sings about driving into the great wide open, with nothing but glorious possibility in his path.

Petty started running down his dream of being a rocker in 1961 when he met Elvis Presley. Petty, 11 years old, came to the Ocala, Florida, set where Elvis was working on the film Follow That Dream - a title Tom took to heart. In a brief encounter, Petty saw how Elvis captivated onlookers and made the girls go crazy. Petty became fascinated with Elvis and set out to follow his path.

The animated video was inspired by a comic strip called Little Nemo In Slumberland by Winsor McKay. Each strip told the story of one of Nemo's dreams, and at the end, he always woke up.

Full Moon Fever was listed as a Tom Petty solo album even though members of The Heartbreakers played on it. Petty had another band at this time as well: the Traveling Wilburys, which included Jeff Lynne, who co-produced the album and played many of the instruments.
Heartbreakers' guitarist Mike Campbell wrote this with Petty and Jeff Lynne. The three of them worked on the album at Campbell's house.

Petty and Campbell were very impressed with Lynne's production techniques, and learned a lot from the experience. Campbell gave an example of Lynne's style: "We'd put the mics up on the drums, and he'd walk out and take the microphone over the drum and he'd turn it away from the drum facing the corner, and he'd go 'OK, record it like that.' Sure enough, 99% of the time he'd be right. We'd go, 'Yes sir, Mr. Lynne.' We learned so much from him about arrangements and countermelodies and all kinds of stuff."

The line, "Me and Del were singin,' little 'Runaway'" is a reference to the 1961 Del Shannon hit "Runaway." Shannon is credited on the album for "barnyard noises," which can be heard just after this song ends on the album. Under the animal noises, Petty says, "Hello CD listeners. We have come to the point in this album where those listening on cassettes or records will have to stand - up or sit down - and turn over the record or tape. In fairness to those listeners, we will now take a few seconds before we begin Side 2. Thank you, and here is Side 2."

Those noises were made by Shannon and Jeff Lynne; Petty used them as an interlude to mark the middle of the album, because you don't have to flip over a CD. This section was included only on CD versions of Full Moon Fever, but survived the transition when the album was released digitally.

In 2007, the documentary Runnin' Down A Dream was released. Directed by Peter Bogdanovich, the film chronicles the career of Tom Petty and the Heartbreakers.

Tom Petty and the Heartbreakers played Runnin' Down A Dream at the halftime show of the Super Bowl in 2008. Rather than the usual medley of hits, the band played four full songs, the others being "American Girl," text limit

Red House Album: Are You Experienced? (1967)
All Along The Watchtower Album: Electric Ladyland (1968)
by Jimi Hendrix

Running about 13 minutes depending on the rendition, "Red House" is a scorching blues number where Hendrix sings about returning home to see his girl, who lives in a red house. When he gets there, his key won't work, and he realizes she doesn't live there anymore. Instead of wallowing in his misery, he turns back and decides to pay a visit to her sister.

According to the book Hendrix: Setting the Record Straight, Jimi worked up Red House in New York City when he was still a struggling musician. He was staying in a friend's apartment that was decorated almost completely red, which gave him the lyrical inspiration for this song.

There have been lots of rumors about the origin. These are the most pervasive:

1) One of his girlfriends in Seattle lived in a house painted red.

2) It comes from a Hopi legend about a mysterious red city.

Red House is a very intricate song that demonstrates Hendrix' mastery on guitar. It's one that earned him the respect of many musicians, including Billy Gibbons of ZZ Top. Gibbons says he was "completely turned upside down" when he heard it.
Hendrix recorded this in a call-and-response blues style where each line is repeated twice. This style dates back to the field hollers workers would sing to pass time in the American south.

This was not included on the original US release of Are You Experienced?; the omission of Red House tweaked Hendrix, since it was one of his favorites. He often performed the song at his concerts, constantly changing the arrangement.

Hendrix recorded many versions of this song. The first release was on the UK version of his debut album, Are You Experienced? The original studio version of the song is 3 minutes, 49 seconds. Here's the timeline of the studio versions:

Version 1:
Recorded December 13, 1966, includes studio chat by Chas Chandler and Jimi, released on the original UK version of Are You Experienced? and on the 1997 30th Anniversary CD re-issue.

Version 2: This version
The same basic recording as version 1 but with a different vocal take by Jimi recorded March 29, 1967 and a different mix with more guitar echo. The studio chat introduction was mixed out, and the song released on the US version of Smash Hits in 1969, on the 1993 CD re-issue of Are You Experienced? and on The Ultimate Experience CD in 1993.

Version 3:
Recorded October 29, 1968 and introduced by Jimi as played by the Electric Church, it was released on Variations On A Theme: Red House CD in US only in 1989, released on Blues CD in 1994 and retitled "Electric Church Red House."
This song was covered on the 1997 G3 Live In Concert album, where it was performed by Hendrix acolytes Joe Satriani, Steve Vai and Eric Johnson.

This appears on the City Of Angels movie soundtrack, and was used in a scene in the movie where Meg Ryan, who plays a cardiovascular surgeon, requests a nurse to turn on textlimit

Love My Way Album: Forever Now (1982)
Here Come Cowboys Album: Mirror Moves (1984)
by The Psychedelic Furs

Furs frontman Richard Butler had a specific audience in mind when he penned the lyrics to Love My Way. He explained in an interview with Creem in 1982: "It's basically addressed to people who are f--ked up about their sexuality, and says 'Don't worry about it.' It was originally written for gay people."

To the best of our knowledge, Love My Way is the most popular song featuring a marimba as a lead instrument. The Forever Now album was produced by Todd Rundgren and recorded at his studio, Utopia Sound. It was his idea to use the marimba on this track, and he played it.

The demo of the song had a different instrument for those sections, but Rundgren had a marimba in the studio and thought it would be worth a shot. "It turned out that the little musical theme just sounded perfect with the marimbas, and became a signature element of the song," he said in an interview. "So it just was a question of availability. It's not like I had to go rent some marimbas. I happened to have them."

The lead single to their third album, "Love My Way" was the first Psychedelic Furs song to chart in America, where it reached #44 thanks in large part to exposure on MTV. To that point, most Americans only heard the band on college radio or at listening stations in independent record stores. When the song caught on in the States, the band moved there because they found the audience more receptive and they liked what New York had to offer.

Mark Volman and Howard Kaylan of The Turtles sang backup on this track, but you would never peg the "Happy Together" singers as the backing voices. Producer Todd Rundgren used them essentially as an instrument, creating a wash of vocals under the chorus and at the end of the song.

The dreamy, heavily tinted video, directed by Tim Pope, was the first by the band to get significant airplay on MTV, which launched a year earlier. Like many new wave British bands, Psychedelic Furs had been making music videos from the jump and had refined the form by the time MTV went on the air. Their videos didn't rely on subplot storylines where actors would portray characters in the songs. Instead, they typically showed just the band, offset by some abstract imagery.

The Forever Now album marked a change in direction for the band, which had slimmed down to a quartet after losing saxophone player Duncan Kilburn and guitarist Roger Morris. Their first two albums were produced by Steve Lillywhite, but Todd Rundgren was at the controls for Forever Now.

Richard Butler doesn't write love songs, but he does write songs about love. He told Songfacts that "Love My Way" is a great example.
This song is included on the Valley Girl (1983) soundtrack. It was used in the scene when Nicolas Cage surprises Deborah Foreman in the bathroom at a party. Because of issues with music licensing, this song and others hits from the soundtrack, text limit

Aint Life Grand Album: Aint Life Grand (1994)
Blue Indian Album: Til the Medicine Takes (2001)
by Widespread Panic

Ain't Life Grand is the fourth studio album by the Athens, GA-based band Widespread Panic. It was released by Capricorn Records and Warner Bros. Records on September 6, 1994. It was re-released in 2001 by Zomba Music Group. On July 3, 2014, the band announced that Ain't Life Grand would be reissued on vinyl in August 2014.

The band got minor airplay for their cover of Bloodkin's "Can't Get High," as well as their own "Airplane." They performed the song '"Ain't Life Grand'" at Morehouse College for Good Morning America.

The band began rehearsing for the album by recording pre-recording sessions at John Keane's home studio like their first album, Space Wrangler. They were so pleased with the results that they decided to use the sessions for Ain't Life Grand instead of going into the studio on a future date with their producer Johnny Sandlin.

John Bell – guitar, mandolin, vocals
John Hermann - keyboards, vocals
Michael Houser – guitar, vocals
Todd Nance – drums, vocals
Domingo S. Ortiz – percussion
Dave Schools – bass guitar
Guest performers

David Blackmon – fiddle
Eric Carter – vocals
Adriene Fishe – vocals
John Keane – guitar, pedal steel, vocals
Dwight Manning – oboe

Ain't Life Grand
Widespread Panic

Watchin people roll by
Wonderin where they're goin
Hey, what's your job
What are you knowin

Drivin to the grocery store
Pull my money out
Passin by the liquor store
Throw my money down

Ain't life grand
Ain't life grand

My wife's got the blues
Now I've got them
Gonna bring her a kiss
Make those blues run

Ain't life grand
Ain't life grand

Sun came out the other day
Through those dusty clouds
And in my mind I was a child
And it felt good!

Ain't life grand (x4)

Blue Indian
Widespread Panic
Oh, Pappy left a chair like he's still sittin' there
Once I almost saw him make his move
Brave Indian who never changes his mood
In a painting on the wall right there

Oh, how long 'til the morning wakes
Oh, how long 'til the medicine takes

Oh, Sally buffalo in the apartment just below
Just a bein' without a care
Oh, children from my brood they come and bring me food
Maybe open up a window for air

Oh, just now I smell the cornbread bake
Oh, now, now, now I feel the medicine take

Just like home
Where the stray dogs go through it all
Still right here, still just here,
Brave little friend

Well, we got a party goin' on many spirits strong
Ain't preacher just a happy to meet ya
Half a bottle 'neath the bed keep our spirits fed
My hat's off to you, to you and you

And now our brave friends, too, dancing circles through the room
And a broom and a radio and a twistin out a dos-e-do
Brand new day, the whole world's goin'
Whole room's goin' so

Just now, don't hesitate (hesitate)
Oh, taste the morning break (morning break)
Sweet, sweet, young honeycomb (honeycomb)
On, now, now, now just like home (just like home)

Oh, just like, just like home
Wher

“The divine in human nature disappears and interest, greed and selfishness takes it place.
When a Republic begins to plunder its neighbors the words of doom are already written upon its walls.”
Albert Pike , Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

Black Sun Album: The Cult (1994)
American Gothic Album: Beyond Good and Evil (2001)
by The Cult

The Black Sun symbol. The Black Sun (German: Schwarze Sonne) is a type of sun wheel

Black Sun Lyrics

Don't you hit that defenseless child
What gives you that empty right?
Carry that for the rest of your life
Carry that for the rest of time

Did they hold you down?
Oh yeah
Did they push you around?
Oh yeah-yeah

Burning in the black sun
Like a jackle on the run, well
Burning in the black sun

Burning up in the black sun, whoa yeah
Rotten apples every one, ay
Look at them
Look at them run
Guilty now for what they have done

Did they hold you down?
Whoa yeah-yeah
Did they push you around?
Whoa yeah-yeah

Burning in the black sun
Like a dog on the run
Burning in the black sun
Well, the time has finally come, whoa yeah
Black sun
It's like a jackel on the run, whoa yeah
Burning in the black, the black sun

Caught their vein, you've gone insane
You've lost your mind, you're not my kind
I hate your soul, you kill my fun
You did no good, you better run

Gonna get you down, gonna put you down
Gonna stick you in the ground
Gonna stick you in the ground
Gonna make you
Oh, gonna make you, whoa

Burning in the black sun, black sun
Burning in the black sun, black sun, black sun

Don't you hit that defenseless child
What gives you that empty right?

Burning in the black sun, black sun, black sun, black sun, black sun
Like a dog on the run

Burning in the sun
Burning in the black sun

Black, black sun
Black, black, black, black sun

Yeah, you were a bully
The universal bullies
Ha ha ha
Who's laughing at you now?
Who's laughing at you now?
You ain't got no hold on me
You ain't got no piece of me
You are lost in your own mind
Yes you are you're declining in

Oh yeah-yeah, black sun

Burning in the black sun, black sun, black sun, whoo
Yeah-yeah, black sun
The black sun

Burning in a black sun, black sun, black sun, yeah

american gothic
The Cult
I look inside your black heaven
I see your naked altar there, yeah, yeah-yeah
They rip you down and criticize you
Too strong to bend, too strong to care, oh-oh, oh

Black star, white light
Black star, white light
Eating the cancer cells from the death machine

Black star, white light
Black star, white light
Eating the cancer cells from the death machine

American gothic raven boy
Child monster with insect hair, yeah, heh-heh
You destroy this moral prison
You free the slaves, you free the slaves
You free the slaves, you free the

Black star, white light
Black star, white light
Eating the cancer cells from the, the death machine

Black star, white light
Black star, white light
Eating the cancer cells from the, the death machine

Black star, white light
A black star, white light
A black star, white light
A black star, white light

American gothic, your black heaven
American gothic, your black heaven, yeah, your black heaven
American gothic, your black heaven, yeah, your black heaven
American gothic, it's your black heaven, your black heaven

Black star, white light
Black star, white light
Eating the cancer cells from the, the death machine

Black star, white light
Black star, white light
Eating the cancer cells from the, the death machine

American gothic
American gothic
American dream
Your black heaven
Your black heaven
Your black heaven