LPDCass

Powder Crowd

2011-09-28T17:51:00.001-04:00

One Main Version:

* (1982) - Apparition (3:04), Traumstadt I (3:04), Traumstadt I CD (0:01 - 3:07)

All mixes start cleanly. All mixes fade out end with the sudden explosion which begins "Strychnine Chaser." On the Traumstadt I CD, the package lists this song at the end of side one, but it actually begins side two.

Instruments: Drum kit, bass guitar, synth organ, second quiet synth organ, single vocal track with delay effect, plinky keyboard with delay, indecipherable vocoder voice during the first song break, quiet electric guitar.

Sounds a Lot Like:

The vocoder voice during the first song break sounds like the one that appears in the 1983 version of "Love Puppets," without the drum machine.

What It's About:

The scathing narrator describes the behaviour of the people in a "Powder Crowd," a party where everybody is flippant, superficial, self-obsessed, and on drugs.

Lyrics:

Did I ever tell you 'bout your eyes?
Big black saucers, dark and angry,
angel's eyes!
Or maybe it's the speed.

Read you like a paper,
wafer-thin but beautiful
as you stretch to catch your image
on the mirror wall!

Powder crowd.
Powder crowd.
And do you--?

Who are all these people?

You don't fool me with your false concern
turn a fraction sideways,
they all fall over!
Fawning in the snow.

Tell a joke and you don't care
'cause somewhere in the distance,
glasses raised, fists are shaking,
someone taking things too far

in the Powder Crowd.
Powder crowd.

Do you think...?

Who are all these people in the Powder Crowd?

? guards in our direction
quickly lose their interest,
wrapped up in themselves...
how typical!

You say you're an actress,
sure you really dress the part
and the party swings around you
and you know it!
Yes you know it!

In the powder crowd.

I'm in the Drill

2011-09-28T15:36:00.000-04:00

One Main Version:

* (1982) - Apparition (3:38), Traumstadt I (3:33), Traumstadt I CD (11:24-15:08)

All mixes start cleanly. All mixes fade out, though on the Traumstadt I CD a brief snippet of "Powder Crowd" is heard after a long pause.

Instruments: Electric guitar, bass guitar, drum kit, string synth with phaser effect, single vocal track with delay, violin.

What It's About:

A man is tormented by a playful voice which endlessly urges him to find its source. Eventually he is put in an institution, but the voices continue.

Lyrics:

A bracing river cries hell to chance applause
like the TV chatters on the other side of the door.
And Mike mumbles in the sand on the cold deserted moors,
whispers nagged and tormented...but what he heard he never saw.

Here boy, near boy, there boy,
you're getting warmer all the time boy,
climb boy, find boy,
scrape around you'll find me in the drill boy,
kneel boy, down boy,
now I'm on the table in your tea boy, see boy,
it's me, boy, it's me.

He rigged up microphones, invited 'round his friends
who agreed they heard the words but couldn't comprehend.
And the fear switched to obsession, he'd sit at home and spend
all his time, would speak it clearly...without end.

Bad boy, mad boy, sad boy,
you'll find me lurking in the drawer boy,
poor boy, store boy,
reams of ribbons crawling 'cross the floor boy,
raw boy, claw boy,
? in the lights boy, bright boy, fights boy.

Keep on looking, keep on looking--
BOY!

Gave him a private ward,
with flowers rich blue red and orange
early in the spring,
and nurse would hum the latest hit tunes.
She busted all the vases,
she bumped in the syringe,
and doctor told him he was lucky,
and how in darker ages
poor old Joan of Arc was singed.
They never heard a word about the matter
of the bedsprings, of the ceiling,
of the lampshade, of the teasmade.

The Blessing

2011-09-28T15:10:00.000-04:00

Two Main Versions:

* "Pulsing Keyboard Version" (1982) - Apparition (3:10), Traumstadt I (3:10), Traumstadt I CD (8:09 - 11:23)

All mixes fade in from "Spontaneous Human Combustion." The first section uses the "pulsing keyboard" sound which is the structure of so many early songs, then fades into a chant, then a very slow and atmospheric "reprise." All mixes cut off suddenly after a brief burst of building delay feedback.

Instruments: Pulsing keyboard for melody and rhythm, synth chords, two vocal tracks (with occasional delay feedback), Latin chant (with vocoded version in other speaker), slow electric guitar (with short delay), windy synth white noise.

* "Pink Box Version" (1991) - Legendary Pink Box (4:00) unavailable elsewhere

Starts abruptly, and not much different from the original in tone. Lyrically, he "craves attention" instead of "shows affection," and you are instructed to "take it proud" instead of "take it loud." The first section is based around the tremolo organ synth, which -- after a reverb-drenched "Smash the wall!" turns into a quiet collage of keyboard tinkles and backwards guitar. The Latin chant is not used.

Instruments: Bass synth, tremolo organ synth for rhythm, single, single vocal track, backwards electric guitar, tinkling keyboard sounds,

What It's About:

The listener is told to enjoy the sexual attentions of a disturbing god/demon creature, and to view it as a form of "blessing."

Lyrics (adapted from the Cloud Zero Archive):

Don't worry dear, he likes you
it's the way he shows affection.
And don't you think those rolling eyes are cute?

He dances well you must admit
the power of those hands!
Touching here. Touching there.
Touching places you don't know yourself.

Lie back, enjoy it!
Its a clean thing, a holy blessing.
A holy blessing!

Feel the spirit burning deep inside
sliding in and out, in and out.
Take it willing, take it loud,
smash the walls of Jericho!

Smash the walls of Jericho!

Smash the wall, smash the wall...

(noctem quietam et finem perfectum concedat nobis dominus omnipotens, Amen...)

Spontaneous Human Combustion

2011-09-27T20:38:00.000-04:00

One Main Version:

* (1982) - Apparition (1:24), Traumstadt I (1:24), Traumstadt I CD (6:41 - 8:10)

All mixes start with more source recordings (this time from a pub maybe), crossfading with an instrumental track, then fading out into "The Blessing."

Instruments: Bass guitar, live drum kit, fast electric guitar.

Pay To Be Alone

2011-09-27T20:30:00.000-04:00

One Main Version:

* (1982) - Apparition (2:28), Traumstadt I (2:25), Traumstadt I CD (4:11 - 6:41)

All mixes fade in from the previous song ("God Speed"), and all mixes end abruptly.

Instruments: High-pitched organ keyboard, rhythmic sequenced synth with filter, two vocal tracks (sometimes with a sped up and slowed down delay), church organ synth in one speaker.

What It's About:

A woman hides from the outside world, but she can't escape the endless tide of bills.

Lyrics:

How many fingers can you see?
Is it just a blur?
Is the sun a dying spark,
a sheet of mist,
a yellow blister?

Never feel its heat these days,
stay in from the cold.
Watch the TV,
you're feeling rather old.

She sold the chairs,
she sold the carpets,
kept the curtains and the chains.

Keep the world outside,
slept with tide of letters with black borders
each one orders her to pay...pay...pay...and pay...pay...

...to be alone.

God Speed

2011-09-24T10:36:00.001-04:00

Two Main Versions:

* "Pinball Version" (1982) - Apparition (4:06), Traumstadt I (4:04), Traumstadt I CD (0:01 - 4:10)

The Apparition and Traumstadt I cassette mixes start abruptly with the sound of a coin dropping into a pinball machine, whereas the Traumstadt I CD mix fades in a few seconds later.

The middle of the song is drowned in white noise and synth bomb-sounds, separating the two more sequenced sections of the song.

Instruments: Source recording of people playing a pinball machine ending with heavy delay feedback, distorted drum machine pattern, farty synth melody, additional noodly synth, two vocal tracks, sequenced white noise, synth bomb-type sounds, television samples.

* "Pink Box Version" (1991) - Legendary Pink Box (4:00) unavailable elsewhere

Fades in. Not much different from the original version in tone or lyrics, though the "noisy bomb" middle section is represented by chaotic distorted bass and the television samples are quieter and drenched in delay. It ends abruptly.

Instruments: Vibrato bass, drum machine, single vocal track, ominous synth pad chords, synth chimes, synth sirens, thin wobbling synth sound, temple block and gong sounds, television samples with heavy delay feedback, distorted bass guitar, high-pitched electric guitar during the second half, white noise synth, thin ascending/descending synth effect from "Close Your Eyes, You Can Be a Space Captain," violin with heavy oscillating filter.

What It's About:

It's a description of a businessman who is dependent on cocaine.

The samples in the middle of the song seem to be related to television viewing...coupled with the simultaneous lyrics about "what's on" (in the "Pinball Version") this might be reflecting a cocaine addict who watches late-night TV because he can't sleep, though that's stretching it a bit.

Lyrics:

Change.

?

(Woman laughs)

Oh no!

Tie on crooked, fingers fumble,
starts to mumble, almost numb.
The crumbs left on the razor blade
are telling tales of deals that left him penniless!

A nest of grudges. Wondering why
he just can't kick the habit.
He tries and tries, it gets him by
at parties in the supermarket.

Makes him whole,
and if he tries to bait him he'll
lash back and smash the windows in the High Street!

Beats the world up when he's buzzing, bursting out.
Lamps are flashing, bells are ringing. Give 'em hell.
Give 'em hell!

Hellzapoppin'! Pillzapoppin'!
EYES.

(Do you have a ? with what you watch on TV?)
(Sure, what channel do you watch on TV?)

What's new?

What's new?

(? what you watch where you want it, with the brightest--)
(Did you try that scene?)
(Yes, ?)

(Do you have a ? with what you watch on TV?)
(Do you have a ? with what you watch on TV?)

Amphetamine eyes. Belladonna blast.
He's fresher than tomorrow night,
he'll fight for his own way and
play Svengali to the ladies.
He's persuasive.

Jabber, jabber, faster, faster.

Feels the tingle in his nose,
white tornado's in his brain.
He 's sane when all the lights are green
and everyone's agreeing.

Turn a deaf ear and he'll scream and scream!
And kick out for attention.
He's important, he's impatient
and he wants to get there fast.

God speed, God speed.
God speed.

(confident, 45, pop and cautious, and not too malaprop. 'Cause that's how our (?) we don't want to confuse the lot and (?) what's this got to do with our channel?)

Atomic Roses (album)

2011-09-23T08:14:00.001-04:00

The Legendary Pink Dots, C30, 1982

Of All the Girls... - also on Traumstadt I
What's Next? - also on Traumstadt I
Playschool - also on Traumstadt I
Sex - also on Traumstadt I
Closet Kings - also on Traumstadt I, Four In One, and Legendary Pink Box
Spiritus - also on Traumstadt I
Hauptbahnhof - "1982 Version" also on Traumstadt I and Legendary Pink Box
The Wrong Impedance - also on Traumstadt I
Passing Thought - also on Traumstadt I
Atomic Roses #1 - "Two-Part Pulsing Keyboard Version" also on Traumstadt I
Ideal Home - "Ka-Spel Version" also on Chemical Playschool 1 and Traumstadt I
Atomic Roses #2 - "Two-Part Pulsing Keyboard Version" also on Traumstadt I

Notes:

Other than "Ideal Home," this consists entirely of new songs (with the obligatory mutilated samples from older songs throughout), though both "Sex" and "The Wrong Impedance" share commonalities with older songs.
Most songs end with sudden bursts of feedback delay, and many feature this effect throughout as well.
All songs were subsequently compiled on Traumstadt I with the "Apparition" tape.

Atomic Roses (song)

2011-09-22T20:32:00.000-04:00

Three main versions:

* "Two-Part Pulsing Keyboard Version" (1982) - Atomic Roses (4:32, 2:50), Traumstadt I (4:32, 2:50), Traumstadt I CD (9:55 - 14:22, 18:10 - 20:53)

Divided into two parts which are separated by "Ideal Home." Part one starts cleanly, ending fades into "Ideal Home."

Part two starts with the "scented parcels" line. It fades in cleanly and is much faster than part one. It fades out into a 1:50 suffix (a slowed-down version of "Fin," followed by the clicky tremolo/choir track that appeared throughout "Hauptbahnhof"), eventually fading out to end the tape (the Traumstadt I CD mix fades out earlier and misses a quiet squeaky sound at the end of the other mixes).

Instruments: Pulsing detuned keyboard playing chords, noodling bass synth, quiet synth playing occasional notes which don't always match, high-pitched jazzy synth comes and goes (at one point with a female voice saying something indecipherable), second pulsing keyboard fades in and out (sometimes with flange), single vocal track.

* "One-Part 1984 Version" (1984) - Laugh China Doll (5:55)

Much more polished than the first version, with a lot of variation. The lyrics haven't changed significantly. Has two basic parts; in this case the "second part" starts with "and a figure cut the wire." The repeated lyrics "Go LIGHTLY!" are added to the end.

Instruments: Drum machine which sometimes changes patterns during choruses, sequenced keyboard melody, woodwind synth chords, sax-like synth chords punctuating the verses, single vocal track. In the second segment: white noise synth, organ chords, keyboard bells, second (and maybe third) vocal track, martial drum machine drenched in reverb, high-pitched synth effects.

* "Two-Part 1995 Version" (1995) - Textures of Illumina CD (11:49, 8:17), Globus and Decibel (11:49, 8:20)

AKA "Atomic Roses 1995 Pt. 1 - After" and "Atomic Roses 1995 Pt. 2 - Before."

Part one is very similar to the One-Part 1984 version, but much slower and with a rhythm track similar to "Memories of Dr. Bliss" (and "A Crack in Melancholy Time"). This time the song is divided into three segments; the quiet second part begins with the "she laughed" line, followed by a brief return to the first part's instrumentation. The third segment begins with a sample of a preacher saying, "a new day is coming," followed by the "scented parcels" line, then a sound collage of vocals and noises which fade into part two.

Part two fades in from part one, and is mainly a collage of sounds. The first segment features spoken narration about a witch and her victim. The track fades out cleanly.

Instruments for Part One: Metallic percussion loop, lush synth chords with resonant filter sometimes applied, lush synth bass, single vocal track with occasional delay effect, low-frequency pulsing noises, sounds of panicking crowds. Second segment: calliope organ, single vocal track with delay effect, quiet synth drip noises. Third segment: Heavily processed vocal track, heavily filtered synth chords, synth "radio tuning" sounds, burbling synth sounds, quacking distorted synth, indecipherable statement by Ka-Spel, tremolo screaming and voice, sustained high-pitched drone, various loops (indecipherable dialog, crunching machinery)

Instruments for Part Two: Rhythmic thumping, vocal drone, modulated oscillators, single vocal track with phaser effect, ethereal synth pad, pulsing synth sound, heavily distorted synth or guitar, grinding synth machinery, brief backwards female telephone voice speaking Dutch, creaking noises,

What It's About:

Presumably the "atomic roses" are an apocalyptic nuclear weapon of some kind, and the song presents them as being worshiped to some extent. As the last resistance disappears, a woman infiltrates the compound and either activates the roses or summons earthly revenge (it's difficult to tell), destroying everything.

The "Pt. 2 - Before" song seems totally unrelated to the "standard" version. It's about a man who gains new perceptions after being blinded by a witch, who subsequently becomes his lover.

Lyrics for Standard Versions (adapted from the Laugh China Doll lyric sheet):

Fingers flexed, an eyelash flickered,
someone's wicked joke.
Could hear him choking on his laughter
as the limbs twitched in the smoke.

But it was just a spasm jive,
'cause the only sign of life
was in the cruel and icy light
of atomic roses.

Atomic roses. Atomic roses.
Glow brightly in the night.

Metal petals of a dozen beacons,
beaming in the dark
to mark the last resistance, the final protest,
didn't leave a spark.

Even pilgrims kept their distance,
vizors clamped, and itching blisters.
Shrank in lead suits from the kiss of
atomic roses.

Atomic roses. Atomic roses.
Glow brightly in the night.

And a figure cut the wire,
padded barefoot through the fields,
kneeled as klaxons barked in anger,
guards appeared at windowsills.

Tore their hair in disbelief
as a young girl danced beneath,
bouquet clutched between her teeth
of atomic roses.

Atomic roses. Atomic roses.
Glow brightly in the night.

She laughed as thorns grew from her fingers,
pollen gathered in her hair.
And when she sang, the bees responded,
perfume lingered in the air.

Sprinkled seeds, summoned thunder,
drank the rain and watched in wonder
as around her sprang a hundred
atomic roses.

Roses.

Scented parcels rode on breezes,
dropped in deserts, dripped on lawns,
lost in cities, laced the rivers,
brought a new light to the dawn.

With it, sickness flowed,
crept insidious and slow,
leaving just the afterglow
of atomic roses.

Atomic roses. Atomic roses.
Glowed brightly in the night.

Lyrics for Atomic Roses 1995 Pt. 2 - Before:

This colourblind witch pulled my eyes out from their sockets, fed them to a sheep, threw me a stick, and locked the room as she left. And now it's been a week, but the colours are returning. Mutating. Colours I've never DREAMED of. And the daily dish pushed through a flap in the door isn't as plain as it first seemed. I've tasted the fruit of Eden. I've sampled spices from far away planets. And when I'm lonely SHE comes and makes me glad to be alive. And we lie together in the evening sun as it dissolves into a million dancing fireflies, on a pool as blue as her eyes. And I could fly away from here, but you see, I LIKE it here. And here I shall stay until the colours themselves are blind.

Passing Thought

2011-09-18T10:27:00.002-04:00

One main version:

* (1982) - Atomic Roses (2:02), Traumstadt I (2:02), Traumstadt I CD (7:54 - 9:56)

This song is between "The Wrong Impedance" and "Atomic Roses #1," but it consists of several different segments. It's possible that "Passing Thought" is actually only the brief Sally Graves spoken-word section at the end, and that the noisy stuff before that is really a suffix for "The Wrong Impedance." I've chosen to lump these sections together as "Passing Thought."

All mixes fade in from "The Wrong Impedance" and fade out cleanly. Included are backwards tracks from the Stoned Obituary version of "Amphitheatre," and from "Onward," an ominous bass synth snippet with drum machine that hasn't appeared elsewhere, extremely sped up vocals which don't seem to come from any other song (and are impossible to decipher).

Instruments: (In the final section) Sally Graves vocals and flute.

Lyrics:

My greatest fear being fear.
Having lost hope, I'm losing respect for life and its offerings,
decaying surroundings that I once loved,
numbness, oblivion, dispassionate.

Void.

Wrong Impedance, The

2011-09-18T09:57:00.001-04:00

One main version:

* (1982) - Atomic Roses (3:35), Traumstadt I (3:35), Traumstadt I CD (4:26 - 8:00)

All mixes fade in from "Hauptbahnhof" (with the first few lyrics cut off as usual) and fade out into a collection of experiments that is probably "Passing Thought."

Instruments: Pulsing organ chords, pulsing high-pitched synth with descending pitch, somewhat random melody played on keyboard, two vocal tracks, occasional heavy delay with distortion

Sounds a Lot Like:

"Louder After Six," because this is the same backing track with new lyrics.

What It's About:

A mismatched husband and wife live unhappily together. Presumably, their circuit has too much resistance.

Lyrics:

...pictures on the TV,
heavy breather on the phone.
Mary screams that it's disgusting,
how she hates it on her own.
So I tell her I'll protect her.
She says she'd rather be alone.

We tolerate each other.
It's hard.

So practical on birthdays,
Mary splashed out on a grill,
said "It's time you fixed the furniture
'cause this bomb site makes me ill."
I just dive beneath the headphones,
see I haven't got the will.

We tolerate each other.
Mary's tidy, I'm not.

Nighttime's just the worst of all,
she wears a full-length sack.
Little hole to push her head through,
and we lie there back to back.
And I dream about a wild affair
but I know I'll never act.

We tolerate each other.
? explosion.
There's one now!

Now I know I'm not a Brando
'cause I don't like margarine.
When I try to be romantic
it just ends up in a scene,
so we live our separate lives but
tell the others we're a team.

We tolerate each other.
It's so hard (but it's hard).
Just not suited.
Tolerate each other.

Hauptbahnhof

2011-09-17T20:40:00.003-04:00

Two main versions:

* "1982 Version" (1982) - Atomic Roses (4:32), Traumstadt I (4:35), Traumstadt I CD (0:01 - 4:26), Legendary Pink Box (4:28)

The mixes on "Atomic Roses" and the "Traumstadt I" cassette both start cleanly at the beginning of the song, whereas the "Legendary Pink Box" mix fades in from the beginning and the "Traumstadt I CD" mix fades in a few seconds later. All mixes crossfade into the clicky tremolo/drum machine ending (which also appears at the end of the "Atomic Roses" tape), but whereas "The Legendary Pink" mix fades out at the beginning of it, the other mixes crossfade into "The Wrong Impedance."

Instruments: Slowly pulsing bass keyboard, slow keyboard arpeggios for melody, bass guitar, lush string machine, single vocal track, a choppy keyboard played during the bridge, tremolo voice during bridge, drum machine during bridge.

* "20:10 Version" (2010) - Seconds Late for the Brighton Line (6:55)

There are few lyric changes to this version. The second and fourth chorus are "People will fly by" (instead of "But the people just fly by"), and the "Bye-Bye world" is omitted in the second chorus. The third chorus adds "And the people just fly by" and removes the "easy pull" words from the original version. It ends with train station noises and looped angelic voices, with a clicky sound in one speaker.

Instruments: Slow piano arpeggios for melody, bass guitar, single vocal track with heavy reverb, electric guitar, odd synth sound effects, tinny synth arpeggios during bridge, string pads during bridge

What It's About:

I think that "Hauptbahnhof" is German for "main train station." A homeless man begs for money in a train station and dreams of mountains. He dies and nobody really notices.

Lyrics (adapted from the Cloud Zero Archive):

Sounds of methylated muttering.
Hand stretched out for a mark.
The mark of death stamped over one eye,
two flies wrestle on his raincoat...

Copulating to the muzak.
But the people just fly by.
Bye-bye, world.

Finds a sanitary sanctuary,
foot stretched beneath the door.
Takes a drag on a fag and it's good 'cos it's menthol.
He throws back his head [and he] dreams of the mountains.

He's inhaling to the muzak.
But the people just fly by.
Bye-bye, world.

As inebriated evening
spat a path for nausea night.
The lights went out with smothered curses.
A young nurse cried...a cop cried with her.

Cops are dating to the muzak.
An easy pull (?)

He got an apathetic epitaph.
There's no name on the headstone.
They buried him on Tuesday, it rained.
No-one came!

Busy listening to the muzak.
And the people just fly by.
Bye-bye, world.

Spiritus

2011-09-17T17:10:00.003-04:00

One main version:

* (1982) - Atomic Roses (?:??), Traumstadt I (6:22), Traumstadt I CD (11:47 - 18:00)

All mixes fade in. All mixes fade out as the tape speeds up, concluding the first side of the original cassette. My copy of the "Atomic Roses" tape cuts off at 4:43.

It begins with snippets from older songs: "Digital," the Full Band Version of "Apocalypse Then" (all instruments muted except for the raw vocal tracks and a keyboard that wasn't used in the final mix), an ominous distorted synth sound that doesn't appear elsewhere, "Apocalypse Then" again (raw vocals mutilated with a delay pedal and a different guitar, as well as some random synth noises),

Instruments: Bass guitar, pulsing wind noise, plinky jazzy keyboard melody, occasional synth adding a screechy sound, backwards vocal track from the Full Band Versions of "Legacy" and "Apocalypse Then" fading in and out, siren synth, feedback near the end.

Why You Should Care:

Previously, when The Dots mixed snippets of previous songs together, they'd use the full mixes. This is the first time they've used original master tapes to strip out vocals and other instruments. Not only does this show a greater mixing sophistication, but it's also interesting to hear isolated tracks that probably no longer exist (and are almost totally forgotten).

Sex

2011-09-17T08:22:00.004-04:00

One main version:

* (1982) - Atomic Roses (3:04), Traumstadt I (3:04), Traumstadt I CD (6:18 - 9:23)

All mixes start relatively cleanly, end with chaotic instrumentation which crossfades into the following song ("Closet Kings").

Instruments: Pulsing resonant bass synth which plays high "plink!" notes during the chorus, indecipherable vocoder voice, indecipherable synth-filtered voice, single vocal track, occasional string synth in one speaker, occasional heavy delay.

Sounds a Lot Like:

"Violence," because it's the same tune. It can't be a coincidence that "Sex and Violence" is a common phrase used to describe the ills of the entertainment industry (often "gratuitous sex and senseless violence").

What It's About:

It's difficult to decipher the second verse because it is quieter and swamped in reverb, but this seems to be two examples of sexual exploitation: a repulsive boss (George) who ineffectually tries to pick up his subordinates, and (maybe) an S&M scene enacted high above by George's boss.

Lyrics:

George smells nicotine,
the women find him quite obscene,
avoid him in the work's canteen on weekdays.

He drinks, picks his spots, salivates with his secretary,
blue eyes, black suspenders, and a photographic memory.
Baby's got a blackbelt and could beat George up,
throw him through the wall.

Never mind, George...your day will come!
Never mind, George.

Never mind! Your day will come.

? floors above it all,
? skips across the wall,
? on with ? pickups.

? he enjoys it as he sucks on his Mint Surprise,
? to avoid it as they ? simply hypnotize,
prostrate on their pillows they'll be licking in a horizontal hole.

Where are those ? manners?

Playschool

2011-09-16T07:41:00.002-04:00

One main version:

* (1982) - Atomic Roses (1:20), Traumstadt I (1:20), Traumstadt I CD (4:54 - 6:18)

An instrumental song with a vocoded news sample about the Second World War (specifically the Battle of the Bulge, I think). All mixes fade in from "What's Next?" overlayed briefly with a sped up instrumental portion. All mixes end with a heavy echo, which mixes with the following song ("Sex").

Instruments: Droning synth chord, vocoded news sample with lots of reverb, backwards keyboard line near the end.

Lyrics:

...they criticized Montgomery's handling of the ? campaign to Churchill, and they wanted him to be removed. And here was Montgomery, by himself, in his ?, in France, he ?, no one to talk to, but suddenly he discovered that this was going on because he heard from Churchill, and he hadn't heard from Eisenhower. And he was just beside himself, because he expected that his commander, who was Eisenhower, if he had ? who was running the campaign, would have come to him, ?

Closet Kings

2011-09-16T07:20:00.001-04:00

One main version:

* (1982) - Atomic Roses (?:??), Four In One (2:27), Traumstadt I (2:25), Traumstadt I CD (9:19 - 11:45), Legendary Pink Box (2:26)

A funky song with a "full band" sound (and trumpet!) in an odd time signature (7/4?). All mixes fade in from the previous song on Atomic Roses ("Sex"), including the compilation appearances on "Four In One" and "Legendary Pink Box." All mixes end with a sudden break and a heavy echo. The "Four In One" mix stops relatively cleanly, but you can hear a bit of "Spiritus" fading in at the end of the "Legendary Pink Box" mix.

My copy of the "Atomic Roses" tape cuts this song off after 36 seconds.

Instruments: Single vocal track, indecipherable vocoder track, acoustic drum kit, bass guitar, occasional echo overwhelms the mix, trumpet during bridge section,

What It's About (Maybe):

The "closet kings" are men who brag about their virility, but whose conquests consist mostly of women in magazines. They avoid real women because they do not want to suffer ridicule.

Lyrics (adapted from the Cloud Zero Archive):

Rolled out from a barrel,
roll erratic down the streets with concrete feet.
Convulsive. Sick but smiling
looking for some meat

you can fall on, roll on, use 'til morning,
yawn, then say 'goodbye'.
Another lie! It makes a story,
you can tell it to your friends.
You're the end, you got their envy
not a bit like one of them.

No king in a closet!

Creeping past the nightclubs.
Fleeting glances at the thighs with furtive eyes.
Uncertain. Fingers seaching,
finds the booby prize.

Eyes his tears and jeers they tear your heart out,
Smarter just to run.
Much more fun where you belong
safe in your home you're left alone
and softly moan on telephones to other
kings in their closets.

No harm.

Leafing through the ladies who
reach out to touch your hand.
There's Mary Ann, curvaceous; kind of lazy...
lays back in the sand,

whispers "take me, rape me, break me slowly,
Show me what you've got!"
It's not a lot but she still smiles
'cos she's a pictue, just a tease
there to please and ease the pain of
kings in their closets.

No harm.

What's Next?

2011-09-15T19:41:00.002-04:00

One main version:

* (1982) - Atomic Roses (2:47), Traumstadt I (2:47), Traumstadt I CD (2:08 - 5:03)

A sedate song. Fades in from "Of All The Girls..." (cutting off the initial lyrics) and out into "Playschool."

Instruments: Bass guitar, synth chords, occasional tinny keyboard melody, single vocal track with occasional heavy reverb, single drum machine pattern, quick burst of keyboard arpeggio right at the end.

What It's About (Maybe):

Several people kill themselves by jumping off something high, which subsequently makes a big sensationalistic news story. The narrator reveals that it was all a dream he had, but he wonders who will be the first to jump in real life.

Lyrics:

...the sky, someone said like a fly,
let's be cracked on the head,
tumbled downwards, scrambled rooftops.

Breakage spread out to the coast,
the ghosts just ambled through the sand.
Looking lost they were kicking rocks.

Shocked relations cried down microphones,
telephones
groaned in quiet corners,
others crawled away to die.

Reporters played with figures
which grew bigger all the time.
Quite a story.
Nice and gory.

Though it happened miles away
it's a scene I can't forget.
As I dreamt it all a week ago
and I'm left to sit and wonder
what comes next?
What comes next?

Will it be you, or will it be me?
What comes next?
What comes next?

Of All the Girls...

2011-09-15T19:27:00.003-04:00

One main version:

* (1982) - Atomic Roses (2:11), Traumstadt I (2:14), Traumstadt I CD (2:08, 0:00-2:08)

An instrumental track with simple synth chords and movie samples. It sounds like a jam session. The "Traumstadt I" CD mix fades in slightly later, cutting off a few seconds of the keyboards, whereas the "Traumstadt I" cassette has an additional few seconds of keyboards that were not in "Atomic Roses." All mixes fade into the following song ("What's Next?")

Instruments: Clumsy synth chords, sometimes on two different tracks; occasional synthesized snare sounds played sporadically; bass guitar; dialog and sound effect samples from "The Big Sleep," "The Maltese Falcon," and "Casablanca"; swampy delay effect sometimes applied, especially at the end.

What It's About:

The title may be related to one of the famous quotes from "Casablanca": "Of all the gin joints in all the towns in all the world, she walks into mine."

Lyrics:

Next time I'll come on stilts wear a white tie and carry a tennis racket.

I doubt if even that will help.

You're not gonna frisk me.

Stand still, shut up.

Take your paws off me.

You would like to be on it?

Why? What's in Lisbon?

The clipper to America. I've often speculated on why you don't return to America. Did you abscond with church funds? Run off with--

The usual one.

I didn't know there was a usual one.

Oh, sure there is. It comes complete with diagrams on Page forty-seven of "How to be a Detective in Ten Easy Lessons", correspondence school textbook, and your father offered me a drink.

You must have read another one on how to be a comedian.

Hear what I said about the drink?

I'm quite serious, Mr. Marlowe. My father is not...

I said your father...

Help yourself!

I don't see what there is to be cagey about, Mr. Marlowe. And I don't like your manners.

Well I'm not crazy about yours. I didn't ask to see you. I don't mind if you don't like my manners.

--lunch out of a bottle. But don't waste your time trying to cross-examine me.

Play it, Sam. Play "As Time Goes By."

Oh I can't remember it, Miss Ilsa. I'm a little rusty on it.

I'll hum it for you. (Humming).

Premonition (Album)

2008-05-17T10:07:00.002-04:00

The Legendary Pink Dots, C60, 1982+

As If... - also on Under Triple Moons
Splash - "LPD Version" also on Under Triple Moons
Submerged - also on Under Triple Moons
Amphitheatre - "Funky Version" also on Under Triple Moons
Voices - "Full Band Version" also on Chemical Playschool 1 and Legendary Pink Box
Odd - also on Ancient Daze
Premonition 1 - also on Under Triple Moons
Digital - also on Under Triple Moons
Dying for the Emperor - also on Chemical Playschool 1 and Under Triple Moons
Oceans of Emotion - also on Under Triple Moons
(Ocean Fin) - unavailable elsewhere
Small Anthem - also on Under Triple Moons
Intruder - also on Under Triple Moons
Premonition 2 - also on Under Triple Moons

Love Puppets - "Original Version" unavailable elsewhere

Notes:

Other than the new version of "Amphitheatre" and the old versions of "Voices" and "Dying for the Emperor" -- neither of which had appeared on a full-blown official release before -- this consists entirely of new songs (though mutilated snippets of older songs appear occasionally throughout).
None of these songs were re-recorded to appear on later releases, except "Splash," which never was part of a proper album, and "Love Puppets" which was not part of the original cassette.
Most of these songs were later compiled on "Under Triple Moons." Since a few of them had previously been included on other compilations - and are therefore not included on "Under Triple Moons" -- the "Under Triple Moons" sequence is slightly different and some of the transitions have been lost.
"Love Puppets" does not appear on the first release, and is an unlisted hidden track on some tape releases.

Love Puppets

2008-05-17T10:03:00.004-04:00

Two main versions:

* "Original Version" (1982) - Premonition Bonus Track (5:02)

Was added to the end of the "Premonition" cassette after the first release; on some releases it is unlisted.

Unavailable elsewhere

Instruments: Sequenced keyboard arpeggios for bassline, oscillating crazily during climaxes; single vocal track; glittery synth sequences;

* "1983 Version" (1983) - Curse (6:57)

Begins with ominous deep breathing, followed by sudden backwards vocals and the song itself. This is a much more sparse and intimate version than the original. Sometimes the tracks go through a reverse echo effect. At 5:00 a snippet from an unreleased track (frantic sequenced keyboard, and a chanting vocoder voice which drifted through "Powder Crowd" on the "Apparition" cassette) appears briefly. The line "my heart of shiny gold" has been added, but otherwise the lyrics are virtually identical to the Original Version.

Ends with a sped-up version of "Fin" (probably its original speed).

Unavailable elsewhere.

Instruments: Deep breathing sounds; sequenced keyboard arpeggios for bassline; second, muted arpeggiated keyboard during middle break; two electric guitar tracks, one backwards, sometimes playing tapping percussion effects; single vocal track; warm synth chords.

What It's About:

A man is growing impatient with the woman he is in love with; she insists on analyzing their personalities and shortcomings, while he simply wants a relationship (because he's "been alone too long.") He is beginning to feel like a "love puppet," his heart and soul on a string held by somebody else, outside of his control.

Lyrics (adapted from the Cloud-Zero archive):

You offered me
a cigarette, I pirouette with
silhouettes of statuettes.
We're ice behind a window.
Would you be my widow,
would you even be my wife?

Life's not long enough for questions
sessions over cakes and coffee.
Therapy, I've had enough of,
want to change things overnight
'cause I've been alone too long.
Too long. Too long.

And you say you understand me
when I hardly know myself.
So much talk so many theories,
it's really such a bore for me.
The story stays the same.
It goes on and on and on and on.

What gives you the right to analyze?
You paralyze me with your probing.
In the end I just agree,
maybe we're just puppets after all.
After all. After all. After all.

Love puppets.
Not glove puppets.
Hearts of gold, souls on string.
My soul's on a string.
Of love puppets. Love puppets.

Why the tricks and why the teasers,
can't I even please you for an hour?
Won't you simply listen? I've got a lot to say about
us and plans and things that we could do.

I need you now. Don't leave me.
Don't leave me.

Premonition 2

2008-05-17T10:02:00.001-04:00

One main version:

* (1982) - Premonition (7:12), Under Triple Moons (7:12)

Crossfades in from "Intruder." After a short bass/synth introduction, becomes a gentle guitar song with news samples, then a quiet organ synth solo (containing a snippet of a song that doesn't appear elsewhere, a jaunty '60s guitar solo with clanging percussion) with occasional street noise samples, ending with a backwards snippet of "Hauptbanhof."

Instruments: Bass guitar; organ chords; electric guitar; news broadcast samples; synth effects; clanging percussion with heavy echo; street crowd noises possibly recorded on a bus; synth bassline; quiet, heavily modulated keyboard melody.

Intruder

2008-05-17T10:00:00.001-04:00

One main version:

* (1982) - Premonition (2:17), Under Triple Moons (2:17)

The song fades in cleanly from silence, and crossfades out into "Premonition 2."

Instruments: Drum machine; electric guitar; organ chords; two vocal tracks; bass guitar; keyboard melody; sped-up laughter snippet.

What It's About:

The narrator is offended by something awful, and he wishes that somebody would remove it from his sight. We never learn what this object actually is.

Lyrics (adapted from the Cloud-Zero archive):

It's incorrect, defected, ejected.
Leave it with the garbage in the garage.
Will you get it out of here?

'Cos it does me in, it's sinful,
it stinks. Inhuman.

Incinerate, exterminate,
take it, hide it.
It offends me with its grin!

That evil grin, it scares me.
Staring, glaring, I swear it's laughing...
...so darkly. It's dirty.
A dud, a dreg, a dreadful mess like that can't be for real.

Unreal, of lots of fitting labels.
Start a crossword with a single clue.

But will you save me the trouble?
Go flush the thing away.
Away. Away. Away. Away...

Small Anthem

2008-05-17T09:59:00.001-04:00

One main version:

* (1982) - Premonition (0:35), Under Triple Moons (0:35)

A short, gentle instrumental song that crossfades into "Intruder." It is not listed on the "Premonition" tape, but is called "Small Anthem" on "Under Triple Moons."

Instruments: Electric guitar; bass guitar.

Oceans of Emotion

2008-05-17T09:55:00.003-04:00

One main version:

* (1982) - Premonition (5:18), Under Triple Moons (3:59)

The song crossfades in from "Dying for the Emperor" and crossfades out into the "Fin" suffix, but Under Triple Moons fades out just as "Fin" is starting.

Instruments: Tinny acoustic drums; bass guitar; vocoder voice; single vocal track; warm organ chords; chugging organ chords.

Suffix "Ocean Fin" (1:20)

Crossfades in from "Oceans of Emotion." On "Under Triple Moons" it fades out just as it's beginning.

This is a snippet of the "Fin" track which appears on "Chemical Playschool 2," and which is so often used in transitions around this period. It is somewhat clumsily flipped from side to side, and fades out slowly.

What It's About:

One of many Dots songs about a distant, fragile sanctuary for two lovers, but in this case the imaginary sanctuary -- a boat floating on the "ocean of emotion" -- is shattered by a somewhat comical suicide. The narrator dreams that his dead lover is still watching him...he'd join her in death if he had the courage to kill himself.

Lyrics (adapted from the Cloud-Zero archive):

Searching in my drawer,
I had to find a photograph of you.
Were you really quite like I remember?
Cold Decembers on the pier,
a can of beer between us.
We were dreaming on the railings

of sailing on our own into the sunset,
an orange one with palm trees,
dolphins bouncing 'round the boat.
We'd live on coconuts, I'd build a hut in wood and grass.
Strong enough to last us through the storm,
keep us warm.

Why did our dream have to die?
Tell me why.

You were out there with me.
You felt the breeze pass through your hair,
held a seashell to your ear,
fearless, flying higher
in a world built just for us.
No visitors, nothing there to hurt us.
So why did you run away?

No explanations, no communication,
not a word.

Just a square inch in the paper said you took your life
what a waste.
Weren't you just a little hasty?
God, what a pitiful waste.
Why did our dream have to die?
I don't know why.

You could have picked a graceful method,
died like Cleopatra, where no scars remain.
A tube train just does nothing for your figure.
My disfigured princess!
Do you watch me through the night?
Are you watching now?

Well, I'd like to join you,
but I haven't got the courage.
But my dream lives on,
will never die. Never die. Never die.
On and on forever.

And my dream's quite eternal
on the ocean of emotion.

Digital

2008-05-17T09:51:00.002-04:00

One main version:

* (1982) - Premonition (2:48), Under Triple Moons (2:45)

The song fades in from silence on both releases, but on "Under Triple Moons" the fade in occurs later, cutting off some of the first lyrics. Near the end of the song, the tracks are put through a pulsing echo and the instruments become more chaotic. The song crossfades into "Dying for the Emperor" at the end.

Instruments: Synth with rotor effect for rhythm; sequenced bass keyboard with odd time signature; single vocal track; barely audible vocal samples near the end.

What It's About:

I won't even try to interpret it, but I'm open to suggestions. The "mind/bend" lyrics are a play on two phrases: to bend somebody's mind (affect a person's thoughts in a generally negative way) and to "mind the bend" (be wary of curves on roads).

Lyrics (adapted from the Cloud-Zero archive):

I digit all the hours that God grants me.
I test myself, I test my friends,
it never ends.

I bend their minds, I mind the bends.
They take it all, don't mind at all.
They're digital. They're digital.

They digit all the hours that God grants them.
They test themselves, they test their friends,
it never ends.

They bend my mind, they mind the bends.
I take it all, don't mind at all.
I'm digital.

Premonition 1

2008-05-17T09:49:00.001-04:00

One main version:

* (1982) - Premonition (7:30), Under Triple Moons (6:57)

The song crossfades in from "Odd," though on "Under Triple Moons," it fades in after the crossfade has finished (since "Odd" isn't on "Under Triple Moons").

AKA "Premonition."

A montage of snippets from previous Dots songs, in different mixes with additional effects applied: "Donna's Blitzed Again," the Full Band Version of "City Ghosts," a previously-unheard instrumental synth/drum machine track with slightly slavic sound, and backwards vocals from "Apocalypse Then." On "Under Triple Moons" the song fades out early, cutting off about 30 seconds of the "Apocalypse Then" vocals.

Additional Instruments: Synths swooping up and down, often slowed down and sped up with tape manipulation.

Why You Should Care:

The first of a long line of "Premonition" songs, which tend to be extended mishmashes of various ideas, often using older sources. I assume that these experimental songs are called "Premonitions" entirely because of the title of this tape.

Odd

2008-05-17T09:41:00.002-04:00

One main version:

* (1982) - Premonition (5:42), Ancient Daze (6:17)

The song crossfades in from the Full Band Version of "Voices" -- obscuring the first line of lyrics -- and crossfades out into "Premonition 1." On "Ancient Daze" the song fades in and out to silence but still contains thirty seconds of those tracks. Near the end of the song the tape is deliberately slowed down, then sped up slightly.

On "Ancient Daze" the sound quality is terrible. It sounds like it was recorded in a room from a stereo speaker playing the song. It appears to be monophonic and has been given a cathedral reverb.

Instruments: Drum machine; gentle electric guitar; bass guitar; single vocal track; occasional comments and laughter by band members; whistling; quiet snippets of sometimes unidentifiable backwards music (including "Film of the Book," "Hanging Gardens," and the chatter from the Full Band Version of "Louder After Six.")

What It's About:

The narrator has been persecuted since childhood for reasons that he doesn't understand, though we get the sense that he's more than a little "odd." He has retreated to a cupboard and found love and affinity with a houseplant.

Lyrics (adapted from the Cloud-Zero archive):

Winston was the [?]
but my Aunt [?]
He'd spit in my face and I'd smile back
so he hit me with a shoe.

And though Aunt Grace would spank him
he'd creep back with a file and try to
slowly saw my legs off!

Mess up my pajamas.
[?] 'bout my comics.
Pull my hair and kick my chair, oh yeah,
you know he really was a charmer.

Never understood the reasons
why he picked on me.
I'm just a guy with funny eyes
who's looking for a little peace.

(He's a fruitcake)

Winston was a loonie,
should have been locked away.
But it's me they think who's crazy,
turn decent people gray.

And my nurse won't stop complaining,
won't stop whining to her friends,
"Why don't they put him in a home?

Give him an infection.
Give him an injection.
Why not put him in an airplane
and press the button marked ejection?"

Really don't know why the lady
saves her knives for me.
But if she tries to jab me now...
I'll kill her with my scream.

AHHHH!

You'll find me in the cupboard,
there's a padlock on the phone.
And the potted plants hum lullabies
while I nibble on a bone.

But we get along like lovers,
can be such a touching scene,
the kind that makes you cry at movies!

[?] towers,
pull my heartstrings, raise my powers,
though he reads beneath my sleeves
the people beckoned and I'll flower.

The plant, it feels the same way
started learning how to meet.
Drops a petal, shakes a stem,
gently blows a kiss.

Drops a petal, shakes a stem.

Why You Should Care:

The chord progression and melody were also used during the "do you think that they'll lock us away" section of the Full Band Version of "Red Castles."

Submerged

2008-05-17T09:40:00.000-04:00

One main version:

* (1982) - Premonition (1:29), Under Triple Moons (1:29)

The song crossfades in from "Splash" and crossfades out into the Funky Version of "Amphitheatre." It's a short instrumental consisting of new material.

Instruments: News report sent through vocoder; sequenced keyboard providing rhythm, modulating throughout; backwards organ and synth chords far in background; brief recording of sports audience.

Splash

2008-05-17T09:35:00.002-04:00

Two main versions:

* "LPD Version" (1982) - Premonition (2:58), Under Triple Moons (2:58)

The song crossfades in from "As If..." and crossfades out into "Submerged."

Instruments: Single-pattern drum machine; organ chords; keyboard bassline; single intimate vocal track; source recording of people walking around.

* "Ka-Spel Version" (1989) - Perhaps We'll Only See a Thin Blue Line (4:23), Needles Three (4:23)

A much more "in-your-face" version of the song which sounds very mid-80s ("Khataclimici China Doll" era), partly due to the over-the-top drum programming and the guitar solos. The friends now "slap" him on the back, and the "grinning/spinning" lyrics are reversed. Ends abruptly with windy echo sound.

Never released previously; a treat added to the compilation releases.

Instruments: Drum machine; synth piano chords; single vocal track; keyboard bassline; thunderous surf synths; two tracks of electric guitar; warm synth pads near the end.

What It's About:

The narrator has a serious drinking problem, which he compares to a feeling of drowning. His friends recognize his alcoholism but continue to encourage him to drink, and the narrator doesn't even bother trying to resist...he just keeps drowning.

Lyrics (adapted from the Cloud-Zero archive):

Whisky needs and wine gums, real ones, brandy on my mind,
in my blood, in my liver, like a river. Walking under water,
short of breath. My speech is sort of slurred,
it's a blur. Much too late for turning back now.

I'm drowning. I'm drowning.
Clowning with my friends in the station.

Parties on the patio with patronizing friends who pat me
on the back, say "Have another, you'll recover." Cover up the cracks.
Blacking out, keep on grinning, spinning.
I know I'll never win this fight.

I'm drowning. Drowning.
Clowning with my friends in the station, in the gutter.

Stinking rich and sinking pitchers full of Slivowitz.
It gives me fits and makes me spit in pits of poison.
It annoys them. It destroys them.
But they let me keep on drowning.

Drowning.
Clowning with my friends in the station, in the gutter.

Drowning.

Why You Should Care:

"Prelude for a Splash" appears on "Chyekk China Doll," but it doesn't have any obvious connection to this song.

As If...

2008-05-17T09:32:00.000-04:00

One main version:

* (1982) - Premonition (2:04), Under Triple Moons (1:50)

A montage introduction to the cassette, featuring snippets from other Dots songs in quick succession.

On both releases the song starts with a section from "Hiding" played backwards, but on "Under Triple Moons" the first ten seconds are cut off and slowly faded in, seemingly to remove the backwards vocals by Sally Graves. Also included are bits of the Clicky Version of "Thursday Night Fever," the Funky Version of "Amphitheatre," and "Onward."

The song crossfades into "Splash."

Additional Instruments: Guitar feedback; glitchy sped-up vocals;

Why You Should Care:

This is another step forward for the Dots. Their previous song montages were clumsy strings of song snippets, but this time the snippets are overlaid in an interesting, pleasing, and lush way.

Kleine Krieg

2008-05-15T23:38:00.006-04:00

The Legendary Pink Dots, C90, 1981

Defeated - "1981 Version" also on Chemical Playschool 1 and Legendary Pink Box
Deflated - unavailable elsewhere
Black Highway - "Full Band Version" also on Chemical Playschool 1 and Legendary Pink Box
Soma Bath - "Jolly Version" also on Chemical Playschool 1 and Brighter Now
(Wednesday Night Fever) - unavailable elsewhere
Peace Krime #2 - also on Chemical Playschool 1 and Prayer for Aradia bonus tracks
(Birds ) - unavailable elsewhere
Break Day - "Evil Pulse Version" also on Chemical Playschool 1
(Defeated Palace) - unavailable elsewhere
The Palace Of Love - "Prayer Version" unavailable elsewhere
Stoned Obituary - "Pulsing Keybord Version" unavailable elsewhere
(Obituary Shuffle) - unavailable elsewhere
Stars On Sunday - "Edited Version," Full Version on Chemical Playschool 2
Vigie - unavailable elsewhere
Battlefield - unavailable elsewhere
Legacy - "1981 Version" also on Chemical Playschool 2 and Legacy 25th Anniversary Single
(Erin or Eric) - unavailable elsewhere
One For The Pearl Moon - "1981 Version" also on Chemical Playschool 2 and Under Triple Moons
Doll's House - "1981 Version" also on Chemical Playschool 1 and Ancient Daze
Brill - also on Chemical Playschool 1 and Prayer for Aradia bonus tracks
(Choir) - unavailable elsewhere
Down From The Country - also on Traumstadt 5 and Under Triple Moons
(Squeak) - unavailable elsewhere
Thursday Night Fever - "Clicky Version" also on Stained Glass Soma Fountains
Die With Yer Eyes On - also on Stained Glass Soma Fountains
Opus Dei - "Full Version," Edited Version on Stained Glass Soma Fountains

Notes:

The Mirrordot edition (which I don't have) includes "Closet Kings" at the end.
A track called "Kleine Juliet" is on "Chemical Playschool Volume 10."
Mostly a collection of songs that appeared on Chemical Playschool Volumes 1 and 2, crossfaded together, with some new songs and a number of unlisted experiments in between.
Future compilation albums that feature these songs invariably use a Kleine Krieg tape instead of the other early tapes -- probably due to the better sound quality here -- but this results in the songs being truncated to remove crossfades.
Thus concludes the "first glut" of songs. These first four albums all draw from more-or-less the same group of songs written during 1980-1981, often re-recorded and re-worked, sometimes glued together in different ways. From now on the Dots will be working almost entirely with NEW compositions.

Opus Dei

2008-05-15T23:36:00.000-04:00

Two main versions:

* "Full Version" (1981) - Kleine Krieg (4:29)

* "Edited Version" (1981) - Stained Glass Soma Fountains (1:47)

An unlisted song on the end of the tape. The Full Version fades out and is followed by a man who says "Out of his heart shall flow rivers of living water."

On Stained Glass Soma Fountains it is between 9:36 and 11:26 in the track "Jack-Thursday Night Fever #1-Die With Your Eyes On-Opus Dei." Only the first 1:47 of the track are included.

Instruments: Synth sent through rotor to create rhythm; monk chanting sample with heavy oscillating filter; synth bell noises.

Die With Yer Eyes On

2008-05-15T23:35:00.000-04:00

One main version:

* (1981) - Kleine Krieg (1:29), Stained Glass Soma Fountains (1:27)

AKA "Die With Your Eyes On."

Fades in from the end of "Thursday Night Fever." It is essentially just the final section of the Pulsing Keyboard Version of "Stoned Obituary" played backwards, with some of the keyboards sent through what sounds like a ring modulator.

On Stained Glass Soma Fountains it is between 8:08 and 9:35 in the track "Jack-Thursday Night Fever #1-Die With Your Eyes On-Opus Dei."

Unavailable elsewhere.

Down From the Country

2008-05-15T23:32:00.002-04:00

One main version:

* (1981) - Kleine Krieg (5:36), Traumstadt 5 (5:34), Under Triple Moons (5:29)

The song fades in cleanly on all releases, with Kleine Krieg having the most material and Under Triple Moons the least (only by a few seconds). Likewise the song fades into the "Squeak" suffix on all releases, but Traumstadt 5 and Under Triple Moons fade the suffix out almost as soon as it has begun.

The sped-up, clunky keyboard and vocoder snippets that start appearing halfway through are the same ones used at the end of the Clicky Version of "Thursday Night Fever."

The song is noticeably slowed down on Traumstadt 5 and Under Triple Moons. The Kleine Krieg version has by far the best sound quality, probably because the Traumstadt 5 quality is so low, and Under Triple Moons uses the same version.

Instruments: Single pattern drum machine; keyboard bassline; acoustic guitar; organ chords; synth melody; two vocal tracks.

Suffix "Squeak" (0:26)

High-pitched synth squeaks and backwards vocoder voices. On Kleine Krieg this crossfades into "Thursday Night Fever." On the other releases the suffix fades out almost immediately.

What It's About:

A naive rube from the countryside has big dreams about the city, but he is quickly duped by two men who get him drunk, pay for his entertainment, rob him, then kill him. The "neon gods" show him how to haunt the city as a "city ghost."

Lyrics (adapted from the Cloud-Zero archive):

Down from the country, oh he had such plans
'bout making some money, 'bout living, being a man.

Packed his belongings in a battered old case.
Yes that look of fulfillment, well it stretched across his face.

Thought about his new life, maybe find himself a girl.
Share a flat and a mattress. Sure, they'd build their brave new world.

Take a job in an office, start low but proud.
He could work all the hours - hours the boss would allow.

And he'd reach new horizons, put some money away.
Buy a house in the suburbs, maybe have a son on the way.

Yes, down in the country, schemes and dreams stretch high, no limitations,
they train you right. You take the whole world whole world on and win.

Down in the station with his foot on his case,
well he met some new friends, said they'd show him round the place.

And they bought him a burger, and they showed him the sights,
and he played Space Invaders. Oh he got stoned by the light.

Then down to the nightclubs, bought him all of his drinks
and the sweet-smelling ladies, well, they're looking just at him.

Had a glass too many, had nowhere to go,
and he tripped on a table. They said: "Time we walked you home."

And they each took a shoulder, brought a grin to his face.
Gentle lift through the doorway, gently lifted up his case.

Shortcut through the alley, stopped a while for a rest.
Fingers rifled his pockets...but to no success.

And they spread his belongings in the dirt and the rain,
and of course they found nothing, as he feebly tried to explain.

Now down in the country, sort things out with your fists.
And he never had a prayer as the switchblade cut his wrists,
his chest, his arms.

And the neon gods took him, and they showed him the ropes.
Now he haunts down the alley...a city ghost.

Why You Should Care:

The city ghosts are further elaborated on in the song of the same name.

Battlefield

2008-05-15T23:30:00.002-04:00

One main version:

* (1981) - Kleine Krieg (2:11)

This track isn't listed and it isn't given a name, but it is a totally distinct composition that isn't a "bridge" between songs.

Unavailable elsewhere.

Instruments: Synth effects that sound like bombers and helicopters; recurring instrumental snippet from Clicky Version of "Thursday Night Fever."

Vigie

2008-05-15T23:29:00.001-04:00

One main version:

* (1981) - Kleine Krieg (2:51)

Sounds like a musical/lyrical improvisation.

Unavailable elsewhere.

Instruments: Synth with occasional mistakes; synth noises run through rotor for rhythm; single vocal track with plate reverb; noodly synth melody accents; rhythmic synth noises at the end.

What It's About:

The narrator is sitting home alone, extremely depressed; he feels isolated and he's growing increasingly desperate. He is beginning to believe that the girl of his dreams is only in his imagination.

Lyrics:

Suffering in silence, got the curtains closed.
A candle flickers, makes your shadow tall.
It dances but you're sitting still, time to kill.
You feel that no one loves you, no one ever will.
'Cause no one ever phones.
And if they did, you don't know what you'd say.
Can't communicate, too late to turn back now.

Now now. There there. It's just a passing phase.
It's just a passing phase
that's lasting much too long for comfort.
You've fought battles in your past but none as hard as this.
You're missing out. You're reaching out
for someone's helping hand.

But she's not there.
'Cause she's existing only in your head.
In your head. In your head. In your head.
In your head. In your cranium.

Stoned Obituary

2008-05-15T23:18:00.004-04:00

Three main versions:

* "1980 Version" (1980) - Prayer For Aradia Bonus Tracks (6:36)

Fades in from the "Screaming" prefix at 1:24. It already has a multi-part structure, though the lyrics are spoken in a more "prose" style than they will be subsequently.

Unavailable elsewhere, unreleased until the "Prayer for Aradia" reissue.

Instruments: Piano chords providing the rhythm; keyboard bassline; synth melody; fiery synth effects; single vocal track with plate reverb, with a second vocal joining in during the "last words" section; vocoder vocals during the quiet middle section.

* "Pulsing Keyboard Version" (1981) - Kleine Krieg (9:43)

One of the few Kleine Krieg songs that fades in cleanly, though the first few words are slightly obscured. The song now has different vocal melodies to accent different parts of the song structure. Before the "spikes" section there is an obvious cut in the vocals; that section was probably re-recorded, or it might have been a glitch during the mixing. As the song fades into the soft middle portion you can hear what seems to be the accidental inclusion of a snippet of the earlier section.

The "ankles/sandals" lyrics have been reversed (as they will be from now on), his hair is no longer "curly," everybody "stared in stony silence," and the newsguy (only one now) scribbled "furiously." His final words now end with "You mistrusted me." The "ash for ashes, dust/lust/must for dust" ending lyrics are now in there, along with much more repetition of the final lines, more Latin, and lyrics about "book your place in heaven." The instrumentation becomes more discordant near the end, fading into the "Obituary Shuffle" suffix.

Unavailable elsewhere.

Instruments: Synth keyboard with rotor effect for rhythm; organ chords; single vocal track joined by second track during quiet middle section; second vocal track with heavy plate reverb during accented sections; two synths playing melody accents; windy synth effects; wooden wind-chime percussion; single-pattern drum machine suddenly starts at 4:00.

* "Full Band Version" (1983) - Curse (11:49)

Split across two tracks on the CD. Has now solidified into four distinct sections. Ends with the struck bell echoing stridently, then suddenly cutting off.

Unavailable elsewhere.

Instruments: Two keyboards playing synth chords for the melody; cymbal/kettle drum percussion; sequenced keyboard which speeds up before middle portion; single vocal track; subtle backwards guitar; looped choir sample with slowed-down drum sounds; bass guitar; electric rhythm guitar; electric lead guitar; electronic drum kit; backup vocals by band members singing "I believe" and "die with his eyes on"; tinkly percussion; acoustic drum kit; second vocal track for lyric accents; synth melody; struck bell.

Prefix "Screaming" (1:26):

On Prayer for Aradia. Two sampled orchestral hits, looped but slightly out of sync; distant screams; quiet crying sounds; a snippet of guitar that sounds like it comes from the Full Band Version of "Apocalypse Then," crossfading into the song. None of this sounds like a 1980s Dots composition and it was probably added later.

Suffix "Obituary Shuffle" (0:50):

At the end of the Kleine Krieg version. Sped up frantic keyboard, pitch-shifted martial music, gradually fading out.

What It's About:

The epic story of a prophet who is stoned, then crucified. Much like the tragic events in other Dots songs (eg. "Black Highway") the scene has become one of exploitation and celebration...even the mourners and the angels rely on spectacle. The prophet speaks his final words, insisting that his motives were pure, and hoping that history will look favourably upon him.

Lyrics (adapted from the Cloud-Zero archive):

Lightning cracked a crooked cross
across the sky above the cross
where he'd been hanging for a day.
Stoned again.
The breeze grew, ice threw knives, blew halos.
Hallowed cinders flew together, made a cushion for his feet.

There were spikes in his ankles, spikes in his sandals,
A spike split the wood, syringed his vertebrae.
Spikes in his shins, in his chin, in his fingers,
amused apparitions hummed the Marseillaise.

We had to look away, he seemed so fragile.
Tried to offer him a cigarette but it was futile, futile, no way through.
The guards screamed "Front!", drew guns, splashed acid,
we retreated in the shadows, squatted low and said a prayer.

Cameras clicked out of sight there were fights, there were fanfares,
fireworks flashed across the cenotaph.
Kiddies played in the pits, spitting crisps, licking ice creams.
A spiv threw an auction for his autograph.
Never thought it would finish this way.
No resistance, not a word to say.
Maybe we'll meet in heaven,
talk about the good old days.
I still believe...at least I WANT to.

The angels landed cleared their throats and chorused "Crown him!"
Poured a potion on his curly hair, it nearly drowned him.
And called a minute's silence. Called the clowns in
and a cripple touched his foot and did a cartwheel down the hill

turning once for his wisdom, twice for the pearl moon,
third as the thief cried "It's judgement day."
Rolled his eyes, ripped his shirt, rolled insane in the dirt.
Applause ripped the heavens, blew the clouds away.

Laughter died as schoolgirls passed around the tissues.
Pretty patterns while a message said
"We're gonna miss you. Bless you. Bless your eyes."
A bell rang twice and we fell as his lips moved
staying silent as the news guys scribbled down his final words:

"Made mistakes, been a fool, tried so hard, never thought
what started so well would end in misery.
But my motives were good, thought you all understood,
don't be hard when this day is cloaked in history."

He died with his eyes on.
Died with his eyes on.

Nomini spiritus spiritus sancti.

Why You Should Care:

The Pulsing Keyboard Version is a big step forward for the band when it comes to song structure; even as far back as the 1980 Version there is a sophistication beyond most of the other tracks of the time. This is the first real Dots epic.

There is a "Barbed Obituary" on Chemical Playschool 3, and "Die With Yer Eyes On" also appears as a song on "Kleine Krieg."

The "pearl moon" is also mentioned in "One for the Pearl Moon."

The Palace of Love

2008-05-15T23:15:00.003-04:00

Two main versions which have nothing to do with each other.

* "Prayer Version" (1981) - Kleine Krieg (0:44)

A short track mainly featuring a priest who slowly intones "Oh almighty God, grant [?] that we who here to honour, to the memory of those who have died in the service of their country. They [?] by the strength of their love and fortitude, that forgiving all selfish and unworth motives we may live only to thy glory and to the service of mankind, through Jesus Christ our lord."

Unavailable elsewhere.

Instruments: Low-pitched oscillating synths sometimes going through rotor effect; quacking synth noises; sped-up sequenced keyboard played backwards; sample of priest.

* "1983 Version" (1983) - Curse (2:56)

After a short sample of sped-up cheering and a few snippets of choral singing, the song fades in with the first line of lyrics obscured.

On the CD this is combined with "Dolls' House" on a single track. It begins at 4:54.

Instruments: Slow keyboard line; quiet synth accents; single vocal track; stabbing synth noises during climax.

What It's About:

A woman is totally devoted to her lover. She'll support anything he wishes to do, and will stand by him and wait for him if necessary. In desperation she screams that she belongs to him, body and soul.

Lyrics (adapted from the Cloud-Zero archive):

"Don't mind me..." she whispered. "Go ahead and do just what you
want to do. Go rob a bank or go smash a window.

I'll be waiting here with your slippers and your tea.
If they haul you off to jail, I'll visit every Tuesday.

Keep the chain lock on the door, buy everything mail-order.
Plant those photographs of you on every wall, in every corner.

Have you staring from the ceiling, stay loyal even when I'm dreaming.
I'll see no one else. No one else at all.

You're my universe, my guide, my reason for existence.
I'll do anything you ask me, anything at all!

I belong to you. Belong. You own me, made me, have the power
to destroy me... Go ahead I'm yours! I'm yours!

I'm on all fours, just do the hell what you like!
I'm yours, you have my soul. Sell it if you want to.

I'm yours. I'm yours! I'm yours!
Go ahead, sell my soul.

I'm yours..."

Ambiguity:

I have chosen to believe that the "priest" section on Kleine Krieg is "The Palace of Love," though it could easily be (or include) the preceding "Defeated Palace" suffix of "Break Day." Regardless, there is nothing on Kleine Krieg that sounds remotely like that section of "Curse," so it's anybody's guess why the songs have the same name.

Deflated

2008-05-15T23:11:00.000-04:00

One main version:

* (1981) - Kleine Krieg (2:13)

After the bell noises at the end of the previous song ("Defeated,") low-pitched oscillating synths crossfade into "Deflated." At the end it crossfades with the introduction to the following song ("Black Highway").

Unavailable elsewhere.

Instruments: Low-pitched oscillating synths; fast-paced oscillating synth in right speaker; instrumental tracks of "Defeated" made choppy with heavy rotor effect; sounds of children playing; distant indecipherable vocoder sounds; birds chirping.

Chemical Playschool Volume 2

2008-05-13T19:57:00.002-04:00

The Legendary Pink Dots, C90, 1981

City Ghosts - "Buzzy Version" unavailable elsewhere
Onward - unavailable elsewhere
Legacy - "1981 Version" also on Kleine Krieg and Legacy 25th Anniversary Single
One For The Pearl Moon - "1981 Version" also on Kleine Krieg and Under Triple Moons
Sensory Deprivation - also on Prayer for Aradia Bonus Tracks
Temper Temper - also on Prayer for Aradia Bonus Tracks
Amphitheatre Shuffle - also on Prayer for Aradia Bonus Tracks
Misfortunes - unavailable elsewhere
Red Castles - "Pulsing Keyboard Version" unavailable elsewhere
Hanging Gardens - "1981 Version" unavailable elsewhere
detaefeD - unavailable elsewhere
Before The End - also on Only Dreaming and Prayer For Aradia CD Bonus Tracks
Waiting For The Call / You 'n' Me - "Full Band Version" unavailable elsewhere
Amphitheatre - "Stoned Obituary Version" also on Ancient Daze
Frosty - "Full Band Version" also on Only Dreaming and Under Triple Moons
Another Kind Of Violence - "Lurky Version" also on Only Dreaming and Ancient Daze
The Wedding - "Shoo-bee-do Version" unavailable elsewhere
Stars On Sunday - "Full Version" unavailable elsewhere, "Edited Version" on Kleine Krieg
Caligula - unavailable elsewhere
(Chatter) - unavailable elsewhere
Fin - unavailable elsewhere

The Band

Edward Ka-Spel - vocals/keyboards
April Iliffe - vocals/piano
Phil Knight ("Phil Harmonix") - synthesizer
Roland Calloway? ("Rolls Anotherone") - bass
Mick Marshall? ("Rik Chevrolet") - guitars
Sally Graves? ("May B. Irma Mazed") - keyboards

Notes:

Considered at the time to be a "best of." Different editions had some different titles apparently because "some titles were forgotten and renamed."

Fin

2008-05-13T19:53:00.000-04:00

One main version:

* (1981) - Chemical Playschool 2 (6:19)

One of the first examples of the lush, atmospheric tracks they would create in the future. Ends abruptly.

Unavailable elsewhere.

AKA "Moaners / Passover"

Instruments: Slowed down echoey keyboards; booping ascending synth noises; quiet vocals that cannot be deciphered.

Prefix "Chatter" (0:58):

An echoey recording of the band members speaking, impossible to decipher. Switches suddenly to "Fin."

Why You Should Care:

This track will be used as a transition between many songs on future releases.

The song labeled "Fin" on the Prayer for Aradia Bonus Tracks is actually an edited version of "Break Down."

Caligula

2008-05-13T19:48:00.002-04:00

One main version:

* (1981) - Chemical Playschool 2 (3:37)

A musical and lyrical improvisation full of noise and awkwardness. It ends suddenly.

Unavailable elsewhere, thank goodness.

Instruments: Sequenced keyboards; discordant organ chords; single vocal track; percussive tapping noises; chaotic synth noises halfway through.

What It's About:

An improvised story about Caligula, who orders a lion to eat the people who suck up to him. The lion dies from indigestion and Caligula recommends Alka-Seltzer.

Lyrics (adapted from the Cloud-Zero archive):

I just met Caligula on a peninsula.
He's so very insular.
A nutter.

A nutter from the gutter.
He's got power and he uses it.
He collected all the sea shells.
Poured 'em in his palace.
They all laughed, so he had 'em all put down,
what a clown.

All the sycophants we're laughing,
"Oh! you're such a great geezer, you great Caligula."

He said, "You bunch of crawlers,
set my lions in to maul ya'.
Line up by the wall.
Don't you know I'm emperor,
a really nasty emperor.
You crawl to me, you're up against the wall."

There they were all,
lined up as a lion came out from the doorway.
He was licking his lips at all these...Roman citizens.
As Caligula set up on the balcony, he sniggered.
That Caligula, the sniggerer.

But the lion said, "I'm really not too hungry."
So Caligula said to the victims, "Eat the lion!"
The lion said, "I could change my mind!
OK, I haven't had any dinner.
Caligula, I'll make an exception this time."

And the lion, he jumped on the line.
They were screaming "Get off you nasty lion!"
He didn't. The animal.

And afterwards, the lion died of indigestion.
Caligula, he made a suggestion,
"Why not try some Alka-Seltzer?
Makes you healthy, makes you wealthy,
makes you very wise,
like me."

Why You Should Care:

You shouldn't, this is the second most annoying Dots song ever.

Stars on Sunday

2008-05-13T19:46:00.001-04:00

Two main versions:

* "Full Version" (1981) - Chemical Playschool 2 (11:27)

* "Edited Version" (1981) - Kleine Krieg (6:40)

The Edited Version ends abruptly after the "Phallus Dei" section but is otherwise identical to the Full Version.

The Full Version is 6 sections mixed together:

1. 0:00 - 3:48 "Stars on Sunday." Discordant keyboard melody, sequenced squeaky synth, and Ka-Spel howling improvised lyrics in the background (something about dancing with a woman in a church, something about heaven). A segment of this appeared in "Break Down."

2. 3:48 - 3:48 The sped-up Russian chanting from the end of Mpnmep Cptaha crossfades between sections 1 and 3.

3. 3:58 - 6:07 A heavily-distorted drum pattern is played with lots of glitches, with a discordant improvised melody played over top and a buzzing-fly synth sound. More incomprehensible vocals; sections 1 and 3 may in fact be from the same recording session, with section 2 inserted to fill a quiet portion. Cuts off suddenly, and after a second of silence:

4. 6:07 - 6:50 A heavily-distorted section from "Phallus Dei" with lots of tremolo. Suddenly replaced by:

5. 6:50 - 9:20 A likewise distorted section from "Before the End," lyrics replaced by more improvised and impossible-to-hear vocals and an insectoid synth melody. The synth crossfades with...

6. 9:20 - 11:27 The Mpnmep Cptaha chanting, quiet vocals (something about "dancing shoes") that are impossible to hear, keyboard booping, and erratic snatches from "Before the End."

Why You Should Care:

Lyrics about a bride and groom being "stars on Sunday" appear in "The Wedding."

The Wedding

2008-05-13T19:39:00.002-04:00

Two main versions:

* "Shoo-be-doo Version" (1981) - Chemical Playschool 2 (3:41)

Fades in, cutting off the first vocals. A slow, churchy song that perfectly matches the lyrics.

Unavailable elsewhere.

Instruments: Keyboard arpeggio; synth bassline; eerie synth melody; two vocal tracks.

* "Intimate Version" (1982) - Brigher Now (4:07)

With even fewer instruments than the original, a real acoustic piano, and relatively few effects, this is a much more intimate version than the original. The lyrics are almost identical, though the "shoo-be-doo" line is only said by the quiet second voice. The song ends suddenly with a glitch as though the tape were physically stopped.

Instruments: Piano arpeggio; single vocal track, sometimes with second far-off vocal repeating key lyrics; ominous "Ohhhh" voice during the final amen.

What It's About:

A groom, in the middle of his wedding ceremony, thinks flippantly about the occasion, planning future sexual conquests and feeling little more than disdain for his trusting bride. He also reflects on the silliness of the solemn occasion, which he considers "obscene" in its meaninglessness but which others take very seriously. We know this wedding is doomed.

Lyrics (adapted from the Cloud-Zero archive):

You asked for nothing.
That's what I gave you, ash for ashes, dust for dust.
Your trust is touching but misguided.
Bride, I'll be yours for one night.
I wonder, wonder really what you saw in me,
I'm not your type at all

And all the angels hold their breath
as my eyes rest upon the pretty girl who leads the choir.
Cry out their disgust for me.
They're crying for my bride
who smiles in white, does not suspect my next move in the game.

Again! "Will honour you and cherish you."
Again. "I'll share my worldly goods."
Again. "'til death, when we're parted."
Only words, don't mean a thing

Think of ways to run,
the sun paints patterns on the stained-glass windows.
Widows in their Sunday best reflect
about when they too were brides!
Can't hide their feelings, stealing seconds from an age
they'll never see again.

Again. "With this ring I pledge myself."
Again. "I do. I do. Shoo be doo doo wah."

Why do we have to be so humble,
mumble words we never mean?
It's obscene, the ultimate obscenity,
serenity on Sundays,
we're stars on Sundays.
Smiles on straight, maybe one day
the rewards will be there
for us. Just for us in heaven, just for us.

Amen. Amen. Amen as we left the church.

Why You Should Care:

This could be logically followed by "The Divorce."

The line "stars on Sunday" is used as the title for another song that is partially related to marriage.

Amphitheatre

2008-05-13T19:31:00.003-04:00

Two main versions:

* "Stoned Obituary Version" (1981) - Chemical Playschool 2 (5:09), Ancient Daze (4:59), Ancient Daze CD-R (5:00)

On Ancient Daze the song fades in suddenly, almost cutting off the first words (the CD-R version fades in even faster). On both releases there is a tape glitch fifty seconds in, causing the sound to flicker back and forth. Unlike the Funky Version there are no choruses. During the final few seconds the keyboards start playing chaotically.

The chord progression and melody for this song is identical to "Stoned Obituary" (except for the 1980 Version of that song).

AKA "Amphitheatre 1."

Instruments: Sequenced keyboard bassline; rotor effect over synth and audio samples providing the rhythm; organ chords; two vocal tracks, one of which comes and goes throughout; bell-like keyboard melody that sometimes becomes white noise; single-pattern drum machine begins alternating at 1:50; vocoder voice during the middle portion saying "sing while you may"; high-pitched synth melody starting at 3:10.

* "Funky Version" (1982) - Premonition (3:35), Under Triple Moons (3:37)

This version has a more typical song structure than the original. On both releases, the song crossfades in from the end of the previous ("Submerged"), almost cutting off the first words. Frequently the tracks are fed through a sharp digital reverb. The word "nicotine" is added after "not too clean," and the line "and the rain beats down on the amphitheatre" is added as a chorus between every second verse. The "it's really very cute" line has been removed, as have the "much too heavy," "much too large," and "sing while you may" lines.

The verse about flying as been reworked as follows:

But I can fly, I can fly.
If I could just see their faces
as I glide between the planets,
playing I spy from a cloud.

Subsequent lines about rain and freedom have been removed. On Premonition it fades into the following song ("Voices"), but on Under Triple Moons it is abruptly faded out beforehand.

Instruments: Single-pattern drum machine; two keyboard basslines; organ chords; two vocal tracks; flashing synth effects; crowd samples; tinkly synth effects; synth percussion accents;

What It's About:

In a frenzied Roman amphitheatre during the reign of Caesar, Christians are being killed in the arena as the narrator looks upon (and sometimes participates in) various grisly scenes, including a fight over a severed hand. He wonders about the morality of the situation but is most annoyed at the enthusiasm of the crowd. Eventually it's revealed that the narrator was one of the Christian victims, now looking down at the crowd as they get drenched by a sudden rainstorm. Some of his references are anachronistic (car crashes and guns, for example).

Plus, I don't believe Caesar fed Christians to lions.

Lyrics (adapted from the Cloud-Zero archive):

Found a hand in the sand
where they covered up the remnants.
Not enough to show the Joneses
but should look good on our wall.

Not too clean.
Clearly never saw a nail-file.
Still the others tried to claim it
but I just swept past them all.

Hear them sing, feel them swing.
Aren't you trembling with excitement?
Can't stop my pulse from racing
when I'm faced with scenes like this.

Caesar lives. The empire lives.
Must be twenty fires burning.
If the guard would loose the lions,
I'd surely die in bliss.

Do you like my cross, as it
sparkles in the white light?
Cut in solid silver, swinging round my neck,
it's really very cute.

Thousands died on them,
millions died for one.
Impressive as the stake, gun,
the thumbscrew, or the rack.

But you can't sling a stake 'round your neck.
It's much too heavy.
It's much too large.
Sing while you may.

Standing here, sipping beer,
aren't we being rather tasteless?
I'm ravenous with hunger.
Can't we simply sneak back home?

Harmless fools, gaping ghouls.
Have they never seen a car crash?
It's [?] and it's raining.
Not a freaks' night out in Rome.

Gazing down at the ground
where the flies mill round my carcass.
Teach you how to be a martyr
To raise interest from a crowd.

But I don't care.
'Cos I can fly.
Fly, fly through the air.

Play "I spy" from a cloud.
I spy on the crowd.
Down, down in the amphitheatre.

The rain beats down on the amphitheatre.
They're getting very wet, so upset.

The rain beats down on the amphitheatre.
Down, down below me,
but I'm free.

Free from the world.
I love the amphitheatre.
Down, down. Down, down.

Why You Should Care:

"Amphitheatre Shuffle" is sort of a hyperactive extract from the Stoned Obituary Version, without the lyrics.

The words "sing while you may" from the Stoned Obituary Version should be familiar to anybody reading this...

detaefeD

2008-05-13T19:29:00.000-04:00

One main version:

* (1981) - Chemical Playschool 2 (2:05)

Part of the 1981 Version of "Defeated" played backwards with a lot of reverb and echo. It crossfades into church bells and a short section of "Fin."

Unavailable elsewhere.

Hanging Gardens

2008-05-13T19:23:00.003-04:00

Three main versions:

* "1981 Version " (1981) - Chemical Playschool 2 (4:33)

A quiet, pretty song with very little change throughout. The lyrics during the long lead-out are bathed in plate reverb and very difficult to hear.

Unavailable elsewhere.

Instruments: Sequenced keyboard bassline; organ chords; single vocal track; high-pitched synth melody.

* "Lush Version" (1982) - Brigher Now (6:15)

Fades in from the drums at the end of "City Ghosts." In a different key than the 1981 version. Instead of the woman's tears feeding the weeds, the line is now "so much salt and water flowing free," though the weeds are still mentioned during the chorus. At 4:00 the song crossfades into the same song played backwards with a slightly different mix.

Instruments: Sequenced keyboard bassline; single vocal track with additional vocoder treatment on another track; second vocal track repeating key lyrics; gentle synth pads; acoustic guitar; heavy echo effects;

* "Flowmotion Version" (1982) - Stained Glass Soma Fountains (4:16)

Once again, in a different key from the other two versions, and a new recording. Often the tracks are mixed with heavy reverse echo and delay effects. Uses the updated lyrics ("so much salt and water flowing free"). The hanging gardens are described as "no place for little girls" and "the bell is tolling." Ends with samples from the "Ooooh" suffix at the end of the Full Band Version of "Red Castles."

Instruments: Sequenced keyboard bassline; single vocal track; gentle synth pads; acoustic guitar.

What It's About:

A man has been hung in the "hanging gardens," supposedly because he was a thief, but his defense was apparently ignored at his trial. A female admirer comes occasionally to visit, mourn, and leave mementos for him. The gardens are a peaceful place full of gently twisting corpses, and when the admirer faints she feels disgraced. Meanwhile the ghosts of the dead insist upon their innocence.

In this song, the phrase "hanging gardens" means a garden in which people are hung, but it is also a reference to the hanging gardens of Babylon.

Lyrics (adapted from the Cloud-Zero archive):

Twisted east south north with the wind that rippled his hair.
I stared constant, laughing, but the joy had gone.
Snuffed out by the dawn, the rope had torn his flesh and broke his neck,
set him dancing on the air...

in the Hanging Gardens.
Dancing with the dead.
So peaceful there.

Branded as a thief, they stole his name, they stole his face.
Gone without a trace, they killed his dignity, squeezed him dry.
Cried for mercy but to judges with no ears,
no heart, smart in their black caps...

in the Hanging Gardens.
Nice. Nice.

Love notes and carnations fading, slowly dying, lying at his feet.
Sweet aroma lingered on the air. Stood and stared.
Was numb now. Cried so much it had no meaning.
So much salt and water feeds the choking weeds...

in the Hanging Gardens.
Flowing gently. Flowing free.

Dressed in virgin's white she masked her eyes with cold surprise.
Cursed her name, the pain was creeping swiftly.
Twisted her inside, she retched and reached out for a hand,
landed on her face, disgraced, no place for fainting queens...

in the hanging gardens.
No place for us.

[?]

Talk to me.
Talk to you.
[?] the hanging gardens
Can you hear the ghosts screaming their innocence?

Why You Should Care:

"Love Notes and Carnations" is also the title of a Tear Garden song.

Red Castles

2008-05-13T19:16:00.002-04:00

Two main versions:

* "Pulsing Keyboard Version" (1981) - Chemical Playschool 2 (4:53)

Much longer than the Full Band Version, mainly due to its leisurely pace, the frequent choruses, and the long gaps between each verse. The "excels in here" lines are spoken only by the vocoder voice, and the two final verses are not yet in the song.

Unavailable elsewhere.

Instruments: Two pulsing keyboards providing melody, bassline, and rhythm; organ chords; intermittent vocoder saying key lyrics; two vocal tracks

* "Full Band Version" (1982) - Brighter Now (3:28)

Even with the addition of the final two verses, this version moves along much faster and has a more accessible structure. The "excels in here" lines are now part of the lyrics. The song ends suddenly with the "Ooooh" suffix.

Instruments: Acoustic drums; bass guitar; organ chords; pulsing keyboard with changing modulation; single vocal track, with second vocal track during choruses; backup echoey "ooooh" vocals not by Ka-Spel during choruses.

Suffix "Ooooh" (0:25):

On Brighter Now, the song cuts suddenly into a small instrumental suffix featuring overlapping and pitch-bended samples of the "ooooh" vocal with occasional keyboard effects, gradually fading out.

These samples also appear at the end of the Flowmotion Version of "Hanging Gardens."

What It's About:

Everybody -- no matter how noble or how lowly -- is the king of their own personal castle, at least in their own minds. This includes bar hooligans, troubled partiers, pill-poppers, homeless tramps, and kids just having fun at the beach.

Lyrics (adapted from the Cloud-Zero archive):

Maidens in towers and nights on the town
shields up, convinced that the barricade's down.
Fighting in bars. Biting the cars.

They said "we're kings of the castle.
Oh we're kings of the castle."

Two aches in the head, H20 in the wine.
Two hits off the mirror to help you unwind.
Sure, you learned how to drink. Turn now to shrinks.

And he'll say that you're king of the castle.
Oh, you're king of the castle.

Blood on the bypass. You're passing the pills.
They're painted and plastic and make you feel ill.
Make you kick in the night. You're sick in the light.

King of the castle.
Oh, you're of the castle.

A tramp chews a dog-end, a dog chews a tramp,
tears holes in his raincoat and howls 'cause it's damp.
He counts up to nine, he chokes on a coin.

But he's king in his castle.
Dirty king in his castle. His glory, his glory
excels in here.

Pagans in showers and kites on the Downs.
Polka-dot patterns and strings turning brown.
They shut out the sun. Oh, what jolly fun!

But we're kings in our castles.
Yes we're kings in our castles. Our glory, our glory
excels in here.

Why You Should Care:

The song "Black Castles" on The Golden Age has a very similar chord progression.

Misfortunes

2008-05-13T19:13:00.002-04:00

One main version:

* (1981) - Chemical Playschool 2 (2:36)

A simple song with few instruments, but all skillfully played. As usual I'm amazed that some of these songs never appeared on later releases.

Unavailable elsewhere.

Instruments: Well-played organ chords; keyboard bassline; keyboard melody; two vocal tracks.

What It's About:

A sociopath -- who confesses that he doesn't understand feelings of misfortune or tragedy -- has sent Blitz-like rocket bombs anonymously throughout the city, simply to enjoy the power of "playing God." He imagines the final minutes of his victims, most of whom do nothing useful with their lives except buy and consume worthless goods. He supposes that at least they'll die happy.

Lyrics (adapted from the Cloud-Zero archive):

Funny, we laugh at our misfortunes.
Tragedy, I don't know much about.
Older folks, they've all been through it.
I suppose they know how it feels.

I wonder if they're feeling it now.
They've seen those clouds before.
As I sit here in my room...alone.

And I'm playing God with your lives.
Don't you care
that you won't even know who sent those bombs
through the air?

And perhaps you'll write a love note.
Desperation
in those precious last four minutes...
but she's not there.

She's not there.

Always looking out with sweet contentment.
And the answer's been inside us all along.
What's worse is when you know it,
and it seems there's nothing you can do,

except smoke and drink and consume
all the latest records, exotic lady's perfume.
It's a stink, little lady fair, a stink.

We're all gonna sink together...
but happy.

Why You Should Care:

One of many LPD songs in which the protagonists have a limited amount of time to live before an apocalypse.

The words "little lady fair" also appear in "You 'n' Me / Waiting for the Call."

Amphitheatre Shuffle

2008-05-13T19:12:00.002-04:00

One main version:

* (1981) - Chemical Playschool 2 (1:44), Prayer for Aradia Bonus Tracks (1:46)

AKA "Amphitheatre Stomp"

An instrumental track with a comprehensible melody. It doesn't change much during the song, but it's short enough to not become motonous. The slightly longer Prayer for Aradia running time is due to a few seconds of silence at the end.

Instruments: Sequenced keyboard bassline; pulsing keyboard noises and indecipherable vocal samples with occasional feedback; organ chords; high-pitched keyboard melody.

Why You Should Care:

A hyperactive, instrumental interpretation of "Amphitheatre."

Temper Temper

2008-05-13T19:06:00.002-04:00

One main version:

* (1981) - Chemical Playschool 2 (3:56), Prayer for Aradia Bonus Tracks (3:59)

Another wonderful pop song which was not used elsewhere. Unlike most other Dots songs, the tempo is kept by the rhythm guitar instead of by a drum machine or a pulsing keyboard. During the choruses the tracks are usually sent through a heavy, watery reverb.

Instruments: Electric rhythm guitar with heavy rotor effect; erratic tambourine; organ chords; high-pitched keyboard melody; another sharp synth following the melody; odd vocoder saying "Temper Temper"; one vocal track.

What It's About:

A man has got a really awful temper, but he's not as bad as the Greeks or the Mexicans. A playful song with tongue firmly in cheek.

Lyrics (adapted from the Cloud-Zero archive):

I don't know why I shout at you, but I do it all the time.
Something simmers deep inside and I just go out of my mind.
I didn't mean to hurt you. Really not so cruel.
Let's make up, be friends again, forget about it all.

Temper temper. I lose my temper.
Must remember to keep my temper,
temper temper.

You should see me in the night time, when I've had a drink.
Start to trash the furniture, drown spiders in the sink.
I don't know why I do it. It all seems so unreal.
Someone said "Go see a doctor. You really must be ill."

Temper temper. Lose my temper.
Must remember to keep my temper,
temper temper.

Looooose my cool.
So uncool.

Temper!

But I'm not the only one, you should see the Greeks.
Give them cold moussaka, hear them stand and shriek.
Tear up all the tablecloths, smash plates against the wall.
Start to chase the waitresses and end up in a brawl.

Temper temper. They lose their tempers.
Must remember to keep their tempers,
temper temper.

Then you get the Mexicans. God, they can be mean.
Stomp on their sombreros and mash their jumping beans.
Quite a stunning spectacle, it really makes me scared.
Is it just frivolity or something in the air?

Temper temper. They lose their tempers.
Must remember to keep their tempers,
temper temper.

Those Mexicans, they're some people.

Temper temper. Temper temper!

Sensory Deprivation

2008-05-13T19:03:00.003-04:00

One main version:

* (1981) - Chemical Playschool 2 (4:08), Prayer for Aradia Bonus Tracks (4:11), Four In One (4:21)

The mix on "Four In One" contains an additional five seconds of guitar introduction, but fades out faster, missing the "-shun" of "deprivation."

A bit of a shock amidst the rest of the tape, this is a really conventional pop song. It's interesting that they decided NOT to include it on any other albums.

Instruments: Single drum machine pattern; funky electric guitar with lots of wah-wah; warm synth chords; two boopy synth keys, one playing melody and the other occasional accents; two vocal tracks.

What It's About:

Taking the "love is blind" metaphor a step sideways, this song suggests that the blindness in a relationship comes from both directions: she -- the vain and selfish creature -- can't see how much he loves her, and he -- the loyal boyfriend without much to offer -- can't see how much she DOESN'T love him. Apparently the only way he can "keep" her is to forcibly lock her in the cellar. In addition we're told to "boogie on down," probably because the music is so shockingly funky.

Lyrics (adapted from the Cloud-Zero archive):

Can't you see that she's guilty?
Smiles at you, but her eyes betray her.
You should hear the conversations,
the confessions to her friends.
Don't you see? Don't you see? Don't you see?

Love is blind. Love is blind.
Sensory deprivation.

Aren't you just a little worried
when you phone but you get no answer?
Don't you wonder why she never calls?
Don't you see? Don't you see? Don't you see?

Love is blind, needs a stick.
Sensory deprivation.

Get down. Get down.
Boogie on down.

Better face it that you've lost her.
Now she's in it for the ride.
Tries to make you look a sucker.
The thing between you's gone and died.

If you really want to keep her,
buy a chain, a cannonball.
Put a heater in the cellar and a mirror on the wall.
You've got to keep her happy.

Get down. Get down.
Boogie boogie boogie boogie.

Can't you hear that she's laughing?
Sells your soul in a starched white [?]
tells your secrets to her lover.
Spins you round, puts you down.
Don't you see? Don't you see? Don't you see?

Love is blind, it can't see.
Sensory deprivation.

Sure I know you're not a bad guy.
Sure you care, but you're overbearing.
Showed her rust instead of rainbows.
Bought her blindness in the pub.
She can't see.

Love is blind. Love is blind!
Sensory deprivation!

Get down. She's deprived!
Get on down. Sensory deprivation.
Get down. Sensory deprivation!
Down. Get down. Sensory deprivation!
Sensory deprivation!

One for the Pearl Moon

2008-05-13T19:00:00.002-04:00

Two main versions:

* "1981 Version" (1981) - Chemical Playschool 2 (5:42), Kleine Krieg (6:14), Under Triple Moons (5:48)

On Kleine Krieg the song crossfades from the "Erin or Eric" suffix at the end of the previous song ("Legacy.") Under Triple Moons uses the Kleine Krieg mix, fading in slightly later to avoid most of "Erin or Eric." On Chemical Playschool 2, the song cuts off suddenly after the "wasted much too long" line, whereas Kleine Krieg (and Under Triple Moons) continue for a few seconds before crossfading with a descending synth sound...on Kleine Krieg this lasts for 38 seconds before fading into the following song ("Dolls' House"), whereas Under Triple Moons fades out after only a few seconds.

Instruments: Single drum machine pattern; prominent bass guitar; warm synth chords; plinky melody keyboard; rattling jar percussion; sharp synth effects; distant discordant keyboards; single vocal track.

* "Pink Box Version" (1989) - Legendary Pink Box (3:58)

AKA "Pearl Moon"

A much faster, punchier, and "poppier" approach that sounds distinctly late-'80s. Besides small changes in the wording, the lyrics in verses two and three are mixed-and-matched to make a single verse, verse four has been removed, and there is a fun bass/sampler solo before the last verse.

Instruments: Bass guitar; sharp keyboard accents; drum machine with multiple patterns; looped samples of glass breaking and percussive sounds; fuzzy electric rhythm guitar; sharp electric lead guitar during breaks; single vocal track which heavy swirling echo; second vocal track during final line of song.

What It's About:

An ancient moon-god lies largely neglected, confined to a single location as time passes, ignoring the pleas of those who call to him for help. Finally, stirred by the bloody rituals of his few remaining followers, he returns and promises that he will mercilessly destroy the cities of those who forgot him. He has waited a long time, but now he's back, a vengeful creature.

Lyrics (adapted from the Cloud-Zero archive):

I stood here when this city was a cave,
face contorted, angry eyes aflame!
Spitting vows I couldn't keep
I'm one...for the pearl moon,
one for the pearly moon in the sky.

Put-ta-put-ta-put-ta-put-ta-pearl moon.
Put-ta-put-ta-put-ta-put-ta-pearl moon.

I knelt here, caged and weeping in the wind,
cried aloud for those who died for me.
Whispered prayers for those who lived,
one for the pearl moon.
Prayers for the pearl moon!

Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.

I slept here as the grass grew 'round my head,
undisturbed though pilgrims called my name.
Unimpressed by children's cries
they cried for the pearl moon.
Cry in the pearly moon in the sky!

Pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.

I rose here, stirred by vigils in the night,
stars and circles scratched out in the dust.
Mumbled lights and cups of blood
there's blood in the pearl moon.

Ove-ay-ove-ay-ove-ay-ove-ay...

I will lead here, waste your cities, smash your walls,
got no mercy though you beg me to stop!
'Cause I've wasted much too long.

Legacy

2008-05-13T18:51:00.002-04:00

Three main versions:

* "1981 Version" (1981) - Chemical Playschool 2 (4:02), Kleine Krieg (5:14), Legacy 25th Anniversary Single (?:??)

On Chemical Playschool 2 and the 25th Anniversary Single, the track begins with an odd keyboard sting and two bars of introductory drums, whereas on Kleine Krieg it fades in after the introduction. On Kleine Krieg the song ends with a crossfade into a suffix, which in turn crossfades into the following song ("One for the Pearl Moon").

Instruments: Drum machine with multiple patterns; warm synth chords; high-pitched synth melody which starts arpeggiating after the second verse; bass guitar; acoustic guitar; single vocal track.

* "Full Band Version" (1982) - Brigher Now (3:18)

This version is faster and more cheerful. It basically uses the same instruments and arrangement as the 1981 Version but the bass guitar and acoustic guitar are more aggressive. A sequenced keyboard arpeggio appears during the second chorus and leads into a suffix.

Instruments: Drum machine with multiple patterns; warm synth chords, with a second keyboard after the first chorus; bass guitar; acoustic guitar with heavy reverb; single vocal track.

* "2006 Version" (2006) - Legacy 25th Anniversary Single (?:??)

I don't have this, but based on the available MP3 sample it starts with a brief snippet of the Full Band Version of "Legacy," followed by the crashing door and music box/church bell segment that ends the Full Band Version of "Apocalypse Then." This crossfades into a barking dog and an ominous keyboard line, and then presumably the actual song.

Suffix "Erin or Eric" (1:25):

On Kleine Krieg the song crossfades with an instrumental suffix with heavily echoed abrasive synth noises, a dim synth siren, and what sounds like a phone interview from a radio program (see below for a transcription). It then crossfades into the following track ("One for the Pearl Moon").

Suffix "Percussion" (0:38):

On Brighter Now, a sequenced keyboard arpeggio leads into an instrumental suffix with gently tapped cymbals and kettle drum, which slowly fades out.

What It's About:

The narrator comes home to his apartment and discovers that his lover has left, taking all her possessions and leaving only a sympathetic note. He sinks into depression, brooding about the things he should and shouldn't have done during the relationship, but his thoughts are generally accusatory instead of self-reflective.

The "you left me" lines are stated so as to switch between two meanings: the leaving of a legacy, and the statement that "you left me."

Lyrics (adapted from the Cloud-Zero archive):

The flat was empty, wondered where you'd gone
and all the time the answer was in front of me.
Took your clothes, left a...little note.
All it offered was your sympathy.

Should have seen those tell-tale signs. Seems so obvious now.
The way I felt about you, it blinded me.
And all those fights we had seem so childish now.
Just wish I could turn the clock back, anyhow, any way.

All I've got is a...legacy of regrets.
Forgetting how to smile.

Watch a lot of TV these days, living on borrowed time.
Too many tablets, and too much wine.
Nothing left to dream about, I've got no aspirations.
Thought about a hobby but I...I've got no patience.

Some fine legacy. You left me.
Some fine legacy! You left me.
You always hurt the one you love.
You always hurt the one you love.

Some fine legacy!

Some fine legacy!

Suffix "Erin or Eric" transcription from "Kleine Krieg":

...all the time he'd been with us. And we were [?] didn't seem to understand that. And the governor of [?], and denied that. And so the PC picked him up again. But I know for a fact he was with us for a day and a half, and I think that's uncanny.

Uhhh, were, he...was there anything unusual about the boy himself.

Apart from the fact that he was domineering, no. I mean, we, I was about sixteen, the, the boy I was with was probably about thirteen, and, you know, we were trusting one another because we had nothing else to...trust. And the other boy was about eighteen and obviously more older and more domineering. But, uh, and he had money. Um, I mean in those days you could get a meal for two bob.

You're looking very confused Eric.

Erin or Eric?

Eric. (Laughter)

Uh, unless I missed a point, which is quite possible...um, I wasn't quite sure of what unn--, of what was unusual [?]

Well, what was unusual [?]...
Why You Should Care:

This song was chosen out of many other possible songs to represent the band's 25th anniversary.

Onward

2008-05-13T18:50:00.000-04:00

One main version:

* (1981) - Chemical Playschool 2 (3:26)

A clumsy instrumental experiment similar to many other early LPD tracks: a rudimentary keyboard sequence with almost random chords played over top. At the 2:30 point the tone changes slightly, becoming slightly more structured.

Unavailable elsewhere.

Instruments: Sequenced keyboard modulating differently throughout; organ chords, often played incorrectly; beeping keyboard notes played repetitively over the top; descending synth notes in the background starting halfway through.

City Ghosts

2008-05-13T18:43:00.003-04:00

Two main versions, and also appears live on Terminal Kaleidoscope.

* "Buzzy Version" (1981) - Chemical Playschool 2 (4:20)

Fades in, almost cutting off the first vocals. Lots of screaming after the first bridge and before the song ends. Cuts off suddenly after Ka-Spel's ending screams.

Unavailable elsewhere.

Instruments: Single drum machine pattern; keyboard bassline; acoustic guitar, with a second guitar during the middle portion; high-pitched buzzy synth keys playing melody; vocal track, sometimes accented with second vocal track.

* "Full Band Version" (1982) - Brigher Now (5:43)

Starts with just the bassline, a much quieter and slightly slower approach to the song. There is a nice silent bridge in the middle, before the song resumes with enhanced percussion. The single scream during the percussive breakdown is either female or a sped-up sample of a Ka-Spel scream from the Buzzy Version. Ends with the bass and percussion crossfading into "Hanging Gardens."

Instruments: Bass guitar; acoustic drums with heavy reverb and echo; vocal track; acoustic guitar; warm synth chords; quick arpeggiated synth during the middle portion; additional percussion after the silent break; single high-pitched scream.

What It's About:

A mix of fairytale paganism combining druids, insanity, love, and "Alice in Wonderland" in worship to the old gods -- city ghosts and neon gladiators -- which still hold sway over modern cities. Their worshipers include a pair of idyllic lovers and a mysterious tramp-murdering character. The narrator frequently wonders if he should forsake the city ghosts (associated with insanity by those who don't believe) and instead join the "real world."

Lyrics (adapted from the Cloud-Zero archive):

There was a time, a time for secrets.
We'd walk together in the forest, hand in hand.
We'd look uneasy, cold and pallid.
Then we'd find some magic mushrooms and we'd skip across the clouds.

We danced for the old gods, danced for the new gods,
danced for the ones we'd never heard about.
Danced for the old days, danced for the new ways,
Danced for the phase that no-one talks about.

Tonight I feel nostalgic, feeling happy.
And the powder in my pocket's crying "Eat me! Eat me! Eat me!''
Could be my age, I could be going crazy.
But I know you feel the same way, I can see it in your eyes.

I've got my crown and I've got my scepter.
Letters on my passport spell "Napoleon."
I'll give you money, give you power,
I'll give you a palace in the Amazon.

Do you think that they'll lock us away?
Padded cells, packet soup on alternate days?
Maybe we should behave in a normal way?
Face facts...face the real world.

A shadow rests, suggests no entry.
A tramp complains, collapses, weeping gently.
A figure smiles and shines a blade discretely.
And the drains ad-libbed a soundtrack as he picked his victim out.

He sang in the rain, he danced in the thunder,
bowed as we bellowed from the balcony.
Stepped on a hand, set fire to a handbag,
slipped as the sparks skipped across his knees.

The songs decayed in suits of amber.
Coughing as they burned like glowing embers.
A priest held up his hands and said "It's over.''
We nodded wisely, scooped the ash, and cast it to the wind.

We played in the neon, bade out the paeons,
slobbering in tongues to the subway gods.
Just like the old times, rituals and red wine.
Hair all tangled and covered in blood.

Do you think that they'll lock us away?

Why You Should Care:

The backing tracks for the Full Band Version, slowed down drastically, are the basis for "Close Your Eyes, You Can Be a Space Captain."

City ghosts are also mentioned in "Down From the Country," and it could be argued that the characters from "Neon Gladiators" are also related.

Chemical Playschool Volume 1

2008-05-10T17:50:00.004-04:00

The Legendary Pink Dots, C90, 1981

Defeated - "1981 Version" also on Kleine Krieg and Legendary Pink Box.
Voices - "Full Band Version" also on Premonition and Legendary Pink Box.
Ideal Home - "Ka-Spel Version" also on Traumstadt 1.
Black Highway - "Full Band Version" also on Kleine Krieg and Legendary Pink Box.
Soma Bath - "Jolly Version" also on Kleine Krieg and Brighter Now.
Dolls' House - "1981 Version" also on Kleine Krieg and Ancient Daze.
Louder After Six - "Throbbing Keyboard Version" also on Ancient Daze.
(Throbbing Chorus) - unavailable elsewhere.
Phallus Dei - also on Only Dreaming and Ancient Daze.
Stand Firm, Damien - unavailable elsewhere.
Dying For The Emperor - also on Premonition and Under Triple Moons.
Peace Krime #1 - unavailable elsewhere.
Brighter Now - "Chaotic Version" unavailable elsewhere.
Peace Krime #2 - also on Kleine Krieg and Prayer for Aradia bonus tracks.
Mpnmep Cptaha - unavailable elsewhere.
Apocalypse Then - "Martial Version" unavailable elsewhere.
(Boopy Keyboards) - unavailable elsewhere.
Professional - also on Prayer For Aradia Bonus Tracks.
Donna's Blitzed Again - unavailable elsewhere.
Brill - also on Kleine Krieg and Player for Aradia bonus tracks.
Witch Hunt - unavailable elsewhere.
Break Day - "Evil Pulse Version" also on Kleine Krieg.
Break Down - "Full Version" unavailable elsewhere, "Edited Version" on Prayer for Aradia Bonus Tracks.

The Band:

Edward Ka-Spel - vocals/keyboards
April Iliffe - vocals/piano
Phil Knight ("Phil Harmonix") - synthesizer
Roland Calloway? ("Rolls Anotherone") - bass
Mick Marshall? ("Rik Chevrolet") - guitars
Sally Graves? ("May B. Irma Mazed") - keyboards

Notes:

Considered at the time to be a "best of." Different editions had some different titles apparently because "some titles were forgotten and renamed."
The first half contains more-or-less traditional songs -- most used liberally elsewhere -- whereas the second half is mostly made up of odd experiments -- most of which have never appeared outside of this album.
It seems strange that "Dying For the Emperor" would not get a real release until the "Premontion" tape, even though it's much more accessible than some of the songs they put on other releases previously.

Break Down

2008-05-10T17:48:00.001-04:00

Two Main Versions

* "Full Version" (1981) - Chemical Playschool 1 (9:11)

* "Edited Version" (1981) - Prayer for Aradia Bonus Tracks (1:43)

The Edited Version starts in the same way, then fades out slowly. It is incorrectly referred to as "Fin" on the Prayer for Aradia CD.

AKA "Shit, It's Raining." Really two instrumental songs, both similar but with a distinct division between the two.

Unavailable elsewhere.

Instruments: Discordant sequenced keyboard playing repetative pattern. Three sequenced keyboards, one taking the lead and modulating in various ways, another quacking in a way that Ka-Spel uses during "Inferno/Illusion," a third playing a primitive four-note bassline; snatches of indecipherable sped-up vocals; backwards snippets from "Before the End"; the backwards guitar solo from the beginning of the Throbbing Keyboard version of "Thursday Night Fever; snippet from the beginning of "Stars on Sunday."

Why You Should Care:

Seems a bit like a prototypical "Premonition" song, being a long, listenable experiment that stays more-or-less within a single theme and uses elements from previous songs.

Witch Hunt

2008-05-10T17:47:00.001-04:00

One Main Version

* (1981) - Chemical Playschool 1 (0:45)

Also known as "War Krime." Fades in and out with little change ocurring the middle, sounding like an improvisation (similar to "Brill").

Unavailable elsewhere.

Instruments: Sequenced two-note keyboard; organ chords; disconnected keyboard melody; fiery synth sound effects; single vocal track.

What It's About:

A witch is being burned for her crimes, and gosh it hurts.

Lyrics:

Burning! Burning!
Higher, higher, don't you feel the pain?
Words cannot explain your feelings right now.
Paying for your crimes. Paying for your crimes,
it's the time for your crime.

Why You Should Care:

You shouldn't. This is the third most annoying Legendary Pink Dots song ever.

Brill

2008-05-10T17:42:00.002-04:00

One main version:

* (1981) - Chemical Playschool 1 (5:53), Kleine Krieg (6:06), Prayer for Aradia Bonus Tracks (5:55)

The song fades in, contains samples from several other LPD songs in the middle, and then fades out at the end. Totally random and discordant. On Kleine Krieg it cross-fades at the end with a small suffix.

Instruments: Choppy keyboard melody; single drum machine pattern that is not followed by the other instruments; two vocal tracks; brief sped-up backwards chanting; snippets from other songs from Chemical Playschool 1 (see below for a list); sequenced keyboard melody fades in and out; sequenced keyboard with wildly oscillating pitch; occasional vocoder interjections with heavy distortion near the end.

Suffix "Choir" (0:22):

On Kleine Krieg the end of the song crossfades with a recording of what sounds like a cathedral choir, with organ synths and effects in the background. It cuts off abruptly.

What It's About:

My guess is that the lyrics are largely improvised. They're mostly patronizing statements about a "clever boy's" intelligence. Apparently this clever boy won a prize but he'd better run quick if he wants to escape with it.

Lyrics (adapted from the Cloud-Zero archive):

You won the star prize, surprise surprise.
Clever boy, lucky boy. Take the money and run.
Run, run before we change our minds.
Us widows are fickle. Run, run, run, run.

[The Christ of Jesus was ?]

Run, run, run. Run, run.
Run. Run. Run. Run.

[Snippets from the Full Band version of "Waiting for the Call / You 'n Me", "Phallus Dei," "Before the End," "Guess the Politician," and the Boopy Keyboards suffix from "Apocalypse Then"]

Oh you're such a clever boy,
Get out 'for the going's good, I told you.
Such a clever boy, your cranium's so wide, your forehead is so high.
You clever boy.
[?]
What a man, a born winner!
A winner!
And you've got such a good job in an office or a [?].
Yes sir, no sir, three bags full sir, more bags, five bags, eighty bags alike!
[?]
Clever boy. Clever boy! [?]
[?] sonny [?]
Mom's little lad's a clever boy!

[The Christ of Jesus was ?]

Why You Should Care:

You shouldn't. This is the most annoying Legendary Pink Dots song ever...and yet they must have liked it because they also put it on "Kleine Kreig."

Donna's Blitzed Again

2008-05-10T17:41:00.001-04:00

One Main Version

* (1981) - Chemical Playschool 1 (2:59)

Instrumental track with a rough, sparse melody and various chaotic elements throughout. Fades in and out with no real difference or evolution.

Unavailable elsewhere.

Instruments: Sequenced keyboard which modulates differently throughout; second sequenced keyboard playing single repeated note; organ chords; keyboard melody; indecipherable vocoder voices.

Professional

2008-05-10T17:39:00.001-04:00

One Main Version

* (1981) - Chemical Playschool 1 (3:32), Prayer for Aradia Bonus Tracks (3:30)

Both appearances use exactly the same mix. A brief sped-up snippet of another song appears in the middle. There are noticeable tape glitches during the fade out.

Instruments: Single drum machine pattern; synth bassline; organ keyboard melody; discordant plinking melody in the background that cascades up and down during the middle break; single vocal track; another keyboard melody that appears during the last minute.

What It's About:

The lyrics aren't exactly polished or direct, but they seem to be drawing a parallel between professional soldiers and prostitutes, selling themselves into war even though they don't particularly want to...it's just a job for them.

Lyrics (adapted from the Cloud-Zero archive):

Got luxury lungs, they're cheap to run, they're lined with darkest velvet.
I breathe in deep, my face turns green, light flashes on my helmet.
Hell, it's not my choice. I'm shy, like to hide away in corners
and saunter down the street so carefree. They don't allow it.

Professional.

Start to prostitute myself, sell my body to the snipers
who lean on distant windowsills, silhouettes behind their rifles.
Sure I'm scared, but I carry on, is it one day, maybe more?
There's wars to fight, there's claws to bite. Some things you have to stifle.

It's just a job.
A profession

Apocalypse Then

2008-05-10T17:29:00.003-04:00

Two main versions:

* "Martial Version" (1981) - Chemical Playschool 1 (4:07)

The song fades into the drum sequence and melody. During the middle portion the tracks begin to feed back and get sharper. Fades out into the "Boopy Keyboards" suffix.

Unavailable elsewhere.

The lyrics do not yet have the "so it came to pass" introduction, simply starting with "I clutched at your sleeve..." And there are no shouts of "LIE DOWN!"

Instruments: Drum machine with single "marching" pattern; keyboard bassline; warm keyboard melody which becomes sharper in the second half; two vocal tracks; synth siren sound briefly at 2:20; bits of the "Boopy Keyboards" suffix appear in the middle portion.

* "Full Band Version" (1982) - Brighter Now (7:24)

Fades in with distorted martial music. Many of the tracks have a subtle echo with changing pitch and duration. The "crime is crime is crime" sample appears again during the bridge. Fades out with recorded "sieg hiel" chanting, interrupted by a slamming door, followed by a music box and the sound of church bells. Unavailable elsewhere.

The lyrics now contain the "so it came to pass" introduction, but the "I spit on you Britannia" lines have been removed. The song structure is much more complicated than the somewhat monotonous Martial Version.

Instruments: Drum machine; bass guitar; warm synth chords, joined by a second keyboard during the climax; occasional synth effects; gentle acoustic guitar; single lead vocal track; backup vocals by somebody else (Keith Thompson?);

Suffix "Boopy Keyboards" (0:44):

Instrumental that only appears on Chemical Playschool 1. Sequenced bass keyboard; three plinky keyboards playing largely unrelated melodies. It fades in and out briefly during the actual song as well.

What It's About:

One of the first of many Dots songs which compare British imperialism -- particularly under Margaret Thatcher -- with fascism. The implication is that a fascist state arrives first with cheerful propaganda and proud nationalism, which must be fought before it turns into an apocalypse (secret police, thugs in the street, everybody fearfully looking after themselves).

The disintegration of British society is illustrated by the literal disintegration of a dancing lover, in whose ashes are written the 13th psalm.

Lyrics (adapted from the Cloud-Zero archive):

So it came to pass that a flag flew from every window
and widows handed poppies out in the squares.
And squares were bashed and majors barked
and marching music laughed from the airwaves.

The waves were there to rule again.
We had the ambition. We had the ammunition. A mission...
In the name of God.
In the name of "democracy." Demo-crazy.

Lie down.
Lie down. Forfeited your right to survive.

I clutched at your sleeve. We danced in the fire.
Just a pair of spastic swingers on a melting plastic floor.
But you crumbled in my hands as I fumbled in your blouse,
slipping through my fingers to my feet.

It felt like mustard.
Hot, like custard.

And in the dust that was once an arm, a crazy wrote the 13th Psalm.
A final gesture.
He did it with calm precision, a dot on every "i."
A lullaby for lovers on the last day...

Paying last respects with cups of poison.
Pointed passive at the blood sky.
Lying lifeless at their doors.
Clawing craters in the shelters.

Helter-skelter in the lift shafts, blasting brains out in the dark.
LIE DOWN!! LIE DOWN!

(...crime is crime is crime.)

A dog defaced a baby, gnawed a rattle, smashed a pram.
Yelping wildly in a vacuum. No one really gave a damn.
Thinking only of themselves, yes, they searched for a release.
Hid in cupboards, under tables, cabled Jesus, called the police.

And the radio screamed out, "We're winning!"
About how the loss was minimal and how the gallant sacrifice
will live on through memorials, how we'll build respect again.
No playground anymore.
No, you can't keep this country down for long, 'cause we win so many fucking wars.

I spit on you Britannia, I spit on you Britannia, I spit on you Britannia, I spit on you Britannia, I spit on you Britannia.

Why You Should Care:

The first of three "Apocalypse" songs..."Apocalypse Soon" and "Apocalypse Gone" will both appear on Chemical Playschool 4. I assume that the title is a play on "Apocalypse Now."

In addition, the word "Apocalypse" is sometimes used to describe alternate versions of LPD songs (and of course there's the "Crushed Velvet Apocalypse" album).

The Martial Version is one of the more explicit of Ka-Spel's anti-imperialist statements.

The "crime is crime is crime" sample also appeared in both versions of "Peace Krime."

The phrase "dots on the eyes" first appears here (in the Chemical Playschool 1 version only).

Mpnmep Ctpaha

2008-05-10T17:27:00.002-04:00

One main version:

* (1981) - Chemical Playschool 1 (2:38)

The song fades into the drum sequence and melody, and fades out with an odd sped-up vocals repeating a Russian phrase.

Unavailable elsewhere.

Instruments: Drum machine with single pattern; barely-audible synth bassline; synth piano keys; high-pitched synth melody with Russian tinge; single vocal track; windy synth noises.

What It's About:

This one is short and ambiguous, but it might be about somebody looking at a painting by a Russian artist. The painting depicts a happy family, but the viewer detects an ominous possessiveness in the smile of the mother.

Lyrics (adapted from the Cloud-Zero archive):

The artist was good. He caught the mood, he caught the colours.
Caught the warm, embracing smile, a kindly aunt, a loving brother.
But the smile belongs to mother.
Says "I'll clothe you when you're cold, I'll feed you when you're hungry.
You'll never want to leave me.
Never. Never. Never ever ever ever nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet! Nyet!"

(Russian lyrics?)

Peace Krime #2

2008-05-10T17:24:00.002-04:00

One main version:

* (1981) - Chemical Playschool 1 (2:41), Kleine Krieg (3:38), Prayer for Aradia Bonus Tracks (2:41)

AKA Peace Crime 2.

On Kleine Krieg the song fades in from an untitled prefix and fades out through an untitled suffix, accounting for the longer running time. On other releases the song fades in and out cleanly.

Essentially two songs: a discordant vocoder/organ experiment with a quiet, melodic portion in the middle.

Instruments: Vocoder voice; organ chords; windy synth noise; football chanting samples; news program samples; sequenced keyboard bassline; plinky keyboard melody;

Prefix "Wednesday Night Fever" (0:44):

Sound collage that only appears on Kleine Krieg.

Instruments: Vocoder voice; windy synth noise; crowd noises; lots of echo; backwards, sped-up keyboard sequence; snippet of keyboards from the Clicky Version of "Thursday Night Fever," which appears later on the tape.

Suffix "Birds" (0:27):

Sound collage that only appears on Kleine Krieg.

Instruments: Chirping birds; echoing, oscillating keyboard sound that gradually becomes more distorted; piano synth chords.

Lyrics:

(...something but they never stir, they've never seen a lady that's howling and they keep complaining but they take no notice, they just take no notice, they sit up [?] when they get bored of the sodding, fucking radio)

...with someone who is serving a sentence for crime. Crime is crime is crime.
...with someone who is serving a sentence for crime. Crime is crime is crime.
...for crime. Crime is crime is crime.
...for crime. Crime is crime is crime.
...with someone who is serving a sentence for crime. Crime is crime is crime.
...serving a sentence for crime. Crime is crime is crime.
...question of granting political status. I just hope that anyone who is on hunger strike for his own sake will see fit to come off hunger strike, but that is a matter for him.
...I just hope that anyone who is on hunger strike for his own sake will see fit to come off hunger strike, but that is a matter for him.

([?])

Why you should care:

The "crime is crime" samples -- supposedly of Margaret Thatcher -- are also used in "Peace Krime #1" and the "Full Band Version" of "Apocalypse Then" (among other places).

Brighter Now

2008-05-10T17:19:00.002-04:00

Two main versions:

* "Chaotic Version" (1981) - Chemical Playschool 1 (5:13)

A somewhat traditional song structure overlayed with chaotic elements which gradually gain prominence. It fades out on what sounds to be the backwards keyboard sequence from "Breakday."

Unavailable elsewhere.

Instruments: Drum machine with single pattern; two plinky keyboards playing somewhat disconnected melodies; simple piano keyboard chords; two vocal tracks; two tracks of unrelated synth noises; fast-paced sequence blips during the second half are possibly the instrumental parts of "Breakday" played backwards; indecipherable sample at 4:30.

* "Warm Version" (2002) - All the King's Men (6:00)

Very similar to the approach of the original version: a traditional song overlayed by increasing chaos. This one is much "warmer sounding" than the other, though, and begins with a sound collage similar to "Oasis Malade."

The lyrics are slightly different: "sun caress the sea" is now "sun dance on the ocean," the first "it" is now "they," one of the vocal tracks says "dance" instead of "skip" (a noticeable mistake that was for some reason kept in), the guns can't "hear" (as opposed to "touch"), and "nearest star" becomes "stars above."

Unavailable elsewhere.

Instruments: Quiet drum machine with single pattern that occasionally distorts; lush piano keyboard; buzzy synth bassline; two vocal tracks; distorted synth melody; crunchy sampled noises and voices from radio with heavy echo feedback bouncing between the speakers; sharp backwards sampled noises intermittently audible; discordant keyboard plinks coming in halfway through; warm synth pads gradually audible; quick arpeggiated keyboard bouncing around during final quarter;

What It's About:

On a beach, intense love shelters two people during wartime, protecting them from all negative outside influences. The narrator plaintively implores his lover not to "turn against him," apparently recognizing the fragility (and ultimately short-lived) nature of their "moment."

Lyrics (adapted from the Cloud-Zero archive):

Sitting on the beach, we watch the sun caress the sea.
Turns the waves to liquid fire, but we know that it can't hurt us.

Hear a scream from far away, planes skip across the horizon.
Guns are barking out a symphony; we know that they can't touch us.

For our love's higher than the mountain, brighter than the nearest star.
I bought the book, I read the label, wrote the script down in my cradle.

Waited all my life for this moment.
Make it real for now.
Make it for eternity! Eternity!
Don't turn against me.

Eternity. Don't turn against me.
Eternity!
Don't turn against me.
Eternity! Don't turn against me. Don't turn against me!
Eternity!
Eternity. Don't turn against me.

[?]

Peace Krime #1

2008-05-10T17:11:00.004-04:00

One main version:

* (1981) - Chemical Playschool 1 (3:43)

A track with prominent samples taken from news broadcasts regarding British current events -- state of the royalty, Prince Charles' suitability for the throne, financial issues, somebody's hunger strike, and the death of two children -- as well as what sounds like football chanting.

The people being interviewed keep suggesting that Prince Charles should get married, so maybe the recording was made previous to his engagement in February 1981.

Unavailable elsewhere.

Instruments: Sequenced keyboard bassline; organ synth chords; heavily modulated swoopy synth noises; indecipherable vocoder voice; samples from news broadcasts with echo in the left speaker.

Lyrics:

(Watch the famous on the box)

...most people are very happy with the queen?

I think there are good...it's good for England to still, to have a queen. It's one of the few places in the world where they still have royalty and I think it's a very worthwhile thing to still have royalty. I used to live in Australia and people there think so much of the royal family. I think that it's done a good job and I don't see any reason to [?]

Well, I [?] two or three years yet meself, you know, I don't think he's quite ready for it yet. He's a bit too, it's a bit too soon for him yet, he's not quite...try getting married, settle down for a little while.

Can I get your opinion of the royal family?

Yes, I think they're very good, I think we need them, they do a lot for trade, and I think, um, I think she should retire, actually, I think she should let Charles come to the throne.

You think he has the qualities to make a good king?

Yes, sure.

What do you think those qualities are.

Well, I think he's quite serious-minded, I think he knows what's going on in the world, he's seen a lot of it, he meets people all the time, and...yeah, I think he's a [?] maybe get married and settled down, then he might [?] yes, let somebody else...

[?] go down, falls very quickly. The pound--

...well...

...the corporate spending world today, [?] straight to the pound, which of course was [?] and if so [?]. Because [?] has got a lot of slack, uhhh [?]

([?] Armageddon...[?] really look like he'd be at home there?)

[?] have not a great deal to begin with.

[?] 27 days [?]

[?] ...and the latest in their department and legislature [?]

...with someone who is serving a sentence for crime. Crime is crime is crime. It is not political, it is crime. And can be no question of granting political status. I just hope that anyone who is on hunger strike for his own sake will see fit to come off hunger strike, but that is a matter for him.

(Like Gabriel, like Gabriel...)

[?] police have managed an inquiry after two young children were found dead at their home. The children's mother has said [?] child had been taken to hospital [?] suffering some bruises.

Why You Should Care:

This doesn't appear anywhere else, but Peace Krime #2 appears on many different releases and it uses the "crime is crime is crime" sample (probably Margaret Thatcher) repeatedly, as well as the football chanting. This sample also appears in the "Full Band Version" of "Apocalypse Then" and at the beginning and ending of "A Bargain at Twice the Price (from All the King's Horses).

This is also the first time that they've really played with samples, though they've obviously done them with tape manipulation as opposed to with a sampler.

Dying For the Emperor

2008-05-10T17:04:00.003-04:00

One main version:

* (1981) - Chemical Playschool 1 (6:59), Premonition (6:22), Under Triple Moons (6:14)

On both Premonition and Under Triple Moons the fade-in is mixed with the previous song ("Digital"). At 3:40 the keyboard sequences gradually slow down and become distorted, becoming an improvisational dirge. On Premonition and Under Triple Moons the song leads into "Oceans of Emotion" after a brief sing-song portion, but on Chemical Playschool 1 the song continues on for a while, fades out, and ends with a sudden explosive synth sound.

Instruments: Quick sequenced bass keyboard; quick sequenced keyboard playing melody; two vocal tracks, one whispered; two vocoder tracks repeating lines from the song; percussive accents (tambourine) quietly halfway through; quiet whistling sounds leading into the slower "dirge" portion; rattling wooden percussion during the dirge.

What It's About:

A man (Damien?) is obsessed with a Space Invaders type game, and he plays it long past exhaustion in a never-ending quest to "destroy the aliens." He refuses to give up the fight but eventually he dies despite the efforts of others to keep him alive. Since the game never ends, he can't destroy ALL the aliens...but he sure tried!

Lyrics (adapted from the Cloud-Zero archive):

Finger on the button, perspiration on the forehead,
splashing puddles on the keyboard,
jerking sideways, upwards, downwards,
sister's spied us [?].

You can't destroy the aliens, can't destroy the aliens.
It's painful and you're doing well, but we keep coming back.

But still he tries as missiles fly. His lady keeps complaining
'bout the lack of conversation, session's lasted for a day now
but he won't give up the fight.

He's gotta destroy those aliens, gotta destroy the aliens.
It's painful but he's doing well, but they keep coming back.

And patiently they brought him food and forced it down his throat
'til he was choking, dribbled gravy, swiveled crazy,
spacey glimmer in his eyes.

Tries to spatter all the aliens, splattered all the aliens.
It's painful and he's doing well but still they creep on back.
Creeping back for more.
Creeping back for more.

But still he won't give up, those actors slap him on the back
and snap him with their Instamatic, automatic, Jap-o-matic,
he' s fanatical but ice-cool

as he cannons down these aliens, gotta destroy the aliens.
It's painful but he's doing well, but they keep on coming back.

His score's just topped a million, he's killing them, a winner,
though he's getting so much thinner and beginning to see stars.
Starts to mutter, eyelids flutter on the point of passing out.

Gotta destroy these aliens, gotta destroy the aliens.
It's painful but he's doing well, but they keep on coming back.

A nation sighed, his mother cried, he just expired,
Still firing, firing, howling why he tried to beat them to the end.

Tried to beat the aliens, tried to beat the aliens.
He failed to fail-ians.
The fail-ians.
The fail-ians.

Ambiguity:

This may actually be two songs: "Stand Firm, Damien" followed by the "Dying for the Emperor" dirge. The words "dying for the emperor" do not appear until the last section, and the "gotta kill the aliens" lyrics would suggest more a man who is "standing firm" as opposed to "dying for an emperor."

But on Premonition and Under Triple Moons this is just presented as a single song ("Dying for the Emperor"), and on Chemical Playschool 1 -- which lists "Stand Firm, Damien" immediately before it -- the "Stand Firm" song might be the short instrumental track preceding it.

Stand Firm, Damien

2008-05-10T17:02:00.001-04:00

One main version:

* (1981) - Chemical Playschool 1 (1:47)

Quiet instrumental track that fades in after a "tape glitch" sound, and cuts off suddenly at the end.

Unavailable elsewhere.

Instruments: Low keyboard drone; low keyboard plinks; intermittent high-pitched beeps that fade in and out at different speeds; quiet indecipherable voice at the end.

Why you should care:

A song called "Damien" appeared on the 1995 album "From Here You'll Watch the World Go By," though they may not be related.

Louder After 6

2008-05-10T16:57:00.005-04:00

Two main versions:

* "Throbbing Keyboard Version" (1981) - Chemical Playschool 1 (4:42), Ancient Daze (4:21), Ancient Daze CD-R (4:26)

Called "Louder after Six #1" on some versions of Chemical Playschool.

All mixes start with a recording of somebody dialing a telephone, followed by a dial tone. The song begins suddenly. In the middle of the song you can barely hear a recording of the "at the sound of the tone, the time is..." operator, as well as a dial tone, and then somebody attacking their telephone. The Ancient Daze mixes fade out, whereas the Chemical Playschool mix stops suddenly with the sound of a receiver hanging up.

Instruments: Choppy organ chords in a rhythm; obnoxious rhythmic synth which modulates strangely; two vocal tracks.

* "Jolly Version" (1982) - Brighter Now (5:07)

At 2:33 the drums are played backwards for a bar.

Instruments: Single drum machine pattern that occasionally switches to a breakdown; occasional synth effects; another organ providing accents during the middle portion; bass guitar; organ chords and melody; electric guitar; single vocal track that sounds like it's coming through a telephone during one verse; two sped-up vocal tracks near the end.

Sounds a Lot Like:

"The Wrong Impedance," which uses new lyrics with nearly identical backing tracks.

Lyrics (adapted from the Cloud-Zero archive):

A click says you're connected and a buzz says that you're heard.
Fingers slide across a panel. They're recording every word.
Try to talk about the weather, don't say anything absurd
'Cause their tapping the phone again... insane!

Invitations from the Kremlin, interference on the line.
Dial a friend to find some comfort; stroke her nicely and she'll tell the time.
And a voice checks in the distance "Christ, it's nearly half past nine!"
Tapping the phone again - what a pain!

Give away a little secret and it ends up in the file
numbered EK5320. In the archives for a while.
They're taking notes, flicking switches, feeding programs, reading dials.
They're tapping the phone again - nice!

And the bill lands on the doormat, calls to Moscow, calls to Mars.
You'd call the cavalry to save you, but you can't afford the charge.
Cut the wires! Axe the pylons! Such fun to sabotage.
Attack your phone again.

Take a cleaver to your receiver. Attack your phone.
Take the pliers to the wires. Attack your phone.
Attack attack attack attack attack

Why you should care:

The "can't afford the charge" line is a terrific pun.

Dolls' House

2008-05-10T16:48:00.004-04:00

Two Main Versions

* "1981 Version" (1981) - Chemical Playschool 1 (7:00), Kleine Krieg (8:13), Ancient Daze (6:57), Ancient Daze CD-R (7:00)

All mixes fade in, but the Ancient Daze CD mix cuts off five seconds, and on Kleine Krieg it is mixed with an untitled prefix. The Ancient Daze CD-R mix is almost complete.

Instruments: Single drum machine pattern; monophonic keyboard following the melody; choppy organ chords and steady chords in a lower octave; random string keyboard rising and falling, occasionally making explosive noises; single vocal track with reverb; second "mommy!" heavy-echo vocal track which sounds like Ka-Spel; bass guitar, slapping percussion.

* "1983 Version" (1983) - Curse (4:50)

Starts with a gentle music box, then the beat and bass begin to play. After a match strikes, the song begins. The "frying tonight" chorus is not repeated in this version, and it fades out earlier than the original (after the "nor's daddy" line). No "fireworks" lyrics this time. The song fades into a snippet from "Film of the Book," then into strange childlike cheering, and finally into following song ("The Palace of Love.")

Instruments: Single drum machine pattern; bass guitar; knocking, clicking, bells, triangle, plinking piano string, and crashing percussion; surf-like electric guitar; choppy synth that sometimes plays chords, changes to fiery static, or picks out the melody during verses; single vocal track; occasional backing vocal; female "mummy!" vocals; music box with winding noises.

Prefix:

On Kleine Krieg the song is preceeded by an unlisted seventy-second instrumental track consisting of low synth noises. The song mixes with opening section of "Dolls' House."

What It's About:

A young girl has decided that she's too old for her toys, so she sets her dolls' house on fire. This is the cheerful story of the inanimate inhabitants burning up along with their furniture. It's a joyeous celebration but it probably shouldn't be.

Lyrics (adapted from the Cloud-Zero archive):

The kitchen smells of paraffin, the stairway's turning black
and teddy's looking tired 'cos he's lying on his back.
Crackling curtains dance in ribbons, flames are waltzing 'cross the hall.
A beetle turns a somersault in a matchbox by a wall.
Getting restless with his lettuce.

Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Crackle crackle.

Golly's leaning out of the window. He gives a little wave.
Grins as only gollies can but he can't come out to play.
Sparks leap up his trouser legs, but he doesn't care
'cos he's busy watching mummy comb her curly hair.
Very pretty on the settee.

Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Fizzle fizzle.

La la la...

Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Flash flash.

Up on the second floor little Wendy takes a bath.
Her skin is melting slowly but she manages to laugh.
She knows a dozen words or more, she's always so polite.
Pull her string out slowly, she'll sing on through the night.
Sing forever! Really clever!

Frying tonight in the dolls' house, but mommy's getting bored.
Tore up all her comics, not a kiddie anymore.
Nor is daddy. Nor is daddy.

Fireworks flashing 'cross the sky.
Bonfire night in the dolls' house.
See all the flames, see all the sparklers.
Fizzle fizzle. Flash flash.

La la la...
La la.
Laaaaaah.

Crackle crackle! Crackle crackle! Crackle crackle! Crackle crackle!

Ideal Home

2008-05-10T16:37:00.006-04:00

Two main versions:

* "Ka-Spel Version" (1981) - Chemical Playschool 1 (4:01), Atomic Roses (3:40), Traumstadt I (3:40)

On the Traumstadt I CD, Ideal Home spans 14:22 - 18:00 and is not any different from the cassette version.

The Atomic Roses and Traumstadt I mixes fade in from the previous song ("Atomic Roses #1"), whereas the Chemical Playschool mix fades in. On Atomic Roses and Traumstadt I the song ends abruptly with a strong echo that fades out. The Chemical Playschool mix continues for another 22 seconds with vague scat vocals, slowly fading out.

The only decipherable parts of the vocoder interjections are: "acid bath...garden...whirlpool..."

Instruments: Single drum machine pattern; bass guitar; electric guitar; one main vocal track; constant vocoder interjections modulated by the guitar, with the original vocal source barely audible underneath.

* "Thompson Version" (1981) - Basilisk Bonus Tracks (3:54)

This version is sung by Keith Thompson, with whispered vocal accents by April Iliffe. It is an oddly loung-ey treatment performed over crowd noises.

Instruments: Acoustic guitar; bass guitar; bongos; shaker percussion; vocal track with phaser effect; occasional backup vocal accents.

What It's About:

Angeline and her lover just want to be alone in their ideal country home. Whenever anybody intrudes on their happiness, they lure them into the garden and submerge them in an acid bath. They have done this to many of their neighbours and would happily do it to any intruding gods if necessary. Strangely, though, the lover's skin is "slowly peeling." Did he end up in the acid bath as well? Maybe Angeline isn't as loyal as he'd thought.

Lyrics (adapted from the Cloud-Zero archive):

Angeline, Angeline, do you think this bliss is going to last?
Gazing in your oval eyes, sipping sunbeam sodas from a flask.
And should someone call in on us, to share in our enjoyment,
stay to tea...
show him round the garden and push him in the acid bath,
like the Smythes, like the Hydes, like the Jekylls.

Syracuse, Syracuse, I believe that I saw heaven this very day.
And as you lick my fingertips I'm floating over Devon, far away.
And should someone burst in on me and spoil my meditation,
God forbid,
we'll lead them round the garden, push them in the acid bath,
like the Travers. Never see them round these days.

Angeline, Angeline, your perfume has me reeling like your eyes. Nice.
And as the sun beats down on me, my skin is slowly peeling. Wonder why?
And should Cupid himself drop by, to fire his silver arrows
at our hearts,
we can take him round the garden and push him in the acid bath,
like Apollo, like Adonis, just like Zeus.

La la la la la, la la la.
Doo.
Buh bah bah, bah bah...

Why You Should Care:

The "voice modulated by guitar" vocoder effect is a nifty idea and sounds quite alien, but it illustrates why people don't use guitars with vocoders very often.

The "Keith Thompson" version shows a very different possible direction for the Dots, much more accessible and commercial.

FAQ (Frequently Anticipated Questions) #1

2008-02-15T11:05:00.003-05:00

Who are the Legendary Pink Dots?

Go immediately to Wikipedia for a nice capsule answer, and then visit Brainwashed's LPD Online Centraal for more details. Check out the Live Archive for terrific live shows, and search for them on YouTube if you want to see them from the comfort of your armchair.

Why a Special Site Devoted to Cassettes?

Because, during the '80s, the band released a large number of albums on cassette only. They have included many of those songs on later compilation CDs, but usually in a slightly edited form. And some songs just aren't available at all anymore.

What's more, every time a song resurfaces on these albums, it may be mixed in with other songs, played as only a snippet during another song, integrated with an unnamed song that lies between the tracks, or may be in a completely different version altogether.

I created this site to help untangle all the different versions and mixes.

In addition, there is total mystery surrounding how these early albums were recorded...in which studios? On what sort of medium? How were they mixed, and by who? By taking a careful look at some of the early-album quirks I hope to get a feel for what they were up to.

I'm just curious.

What Are Your Sources?

A wonderful guy named Mark Sherman loaned me all of his rare Pink Dots-related vinyl and cassettes, and I duplicated them way back in 1994. My cassettes are of relatively poor quality -- being nth generation dupes -- and many of the cassettes were released multiple times, potentially in different formats. So I can't say I have the perfect copies or that other people's cassettes will be the same.

I certainly can't say that my timing estimates are correct; everybody's tape machine runs at a different speed, and on some of the cassettes the song divisions are anybody's guess.

How Are You Comparing the Songs?

I've digitized all the tapes and placed them on my iPod, along with the "official" albums themselves. I use iTunes to find all versions of each song, and then I compare them by repeatedly going back and forth to listen to crucial parts.

In addition, I love these cassettes and I've listened to them a lot, so I have pretty good overview of the material.

Are You Relying on Other People to Help You?

Not yet, though I am using the Cloud-Zero archive as a springboard for all the lyrics.

The sort of help I COULD use would be for somebody to do an even MORE meticulous examination of each mix, particularly somebody with a good knowledge of song structure and musical notation (which I lack).

In addition, if somebody posts an insightful comment that I agree with I will certainly add it to the relevant posts.

I Disagree With Your Interpretations!

I'm not surprised! Tell me what you disagree with. If you can convince me of something then I'll gladly add it to the blog. Otherwise, keep in mind that these songs do not come with a guide of interpretations...we need to decide for ourselves and we're bound to disagree.

This Should Be A Wiki, Not A Blog!

Of COURSE it should! But I don't know how to create a Wiki. Sigh.

Who ARE You?

I'm Muffy St. Bernard. I've been a fan since 1990. I work as a technical writer, record my own music, do drag performance, and often become obsessed with projects such as this one.

If you want to know more please visit my personal blog.

Only Dreaming (Album)

2008-02-14T13:24:00.003-05:00

The Legendary Pink Dots, C60, 1981

Soma Bath - "Sloppy Guitar Version" unavailable elsewhere.
Before the End - also on Chemical Playschool 2 and Prayer for Aradia CD Bonus Tracks.
It Rots Your Liver - also on Ancient Daze.
Black Highway - "Pulsing Keyboard Version" also on Ancient Daze.
Phallus Dei - also on Chemical Playschool 1 and Ancient Daze.
Waiting for the Call / You 'n' Me - "Epic Version" unavailable elsewhere.
Defeated - "1980 Version" also on Stained Glass Soma Fountains.
Game - also on Ancient Daze.
Guess the Politician - also on Ancient Daze.
Another Kind of Violence - "Lurky Version" also on Chemical Playschool 2 and Ancient Daze.
Thursday Night Fever - "Throbbing Keyboard Version" also on Ancient Daze.
O(ri)ffice - also on Ancient Daze.
The Chemical Playschool - also on Ancient Daze.
Voices - "Electronic Version" also on Ancient Daze.
(Backwards drum suffix)
Frosty - "Full Band Version" also on Chemical Playschool 2 and Under Triple Moons.
Break Day (aka "Breakday") - "Jolly Pulse Version" also on Ancient Daze.
Only Dreaming - also on Ancient Daze.

"Only dreaming" is a lyric from "You 'n' Me."
Most of the songs are available on "Ancient Daze," often in the same order, though the "Ancient Daze" mixes almost always cut out a few seconds from the beginning or end.
Few songs mix together, and there is only one unnamed track between songs. Future cassettes would go for more of an unbroken track listing.
Judging by the dates given the few songs on "Stained Glass Soma Fountains," these songs were recorded in late 1980.
Strangely, one song has live drums ("Frosty.")

Only Dreaming (Song)

2008-02-14T13:23:00.001-05:00

One main version:

* (1981) Only Dreaming (1:25), Ancient Daze (1:17), Ancient Daze CD-R (1:25)

Instrumental. All mixes fade in, though Ancient Daze CD cuts off about ten seconds. There are two sections: a noisy windy opening, then a more melodic keyboard ending. At the transition you can hear a brief snippet from "You 'n' Me." Both mixes fade out with the keyboard.

Instruments: Two distorted sequenced keyboards, one which makes explosion sounds; snippet from "You 'n' Me"; unrelated keyboard chords.

Break Day

2008-02-14T13:17:00.006-05:00

Three main versions:

* "Jolly Pulse Version" (1981) - Only Dreaming (3:04), Ancient Daze (3:02), Ancient Daze CD-R (3:09)

Both mixes fade in, but Ancient Daze (CD) cuts off the first few seconds of music. Both mixes fade out at the same time, ending with synth boops. The Ancient Daze (CD-R) mix has more of the fade in, and contains a few seconds of blank space at the end of the track. The "spilt the milk" line is different in this version but I don't understand it.

Called "Breakday" on Only Dreaming

Instruments: Pulsing synth chords for beat and melody; plinky melody played on keyboard occasionally degenerating into heavy chorus effect or white noise; erratic bassline occasionally providing siren effects or white noise; two vocal tracks

* "Evil Pulse Version" (1981) - Chemical Playschool 1 (3:37), Kleine Krieg (3:30)

Both mixes fade in with windy synth noises, but on Kleine Krieg this is mixed with the previous song ("Peace Krime #2"). In both mixes the song fades down into church/choral noises, but on Chemical Playschool this fades out cleanly whereas on Kleine Krieg this gradually mixes with a suffix ("Defeated Palace").

Instruments: Pulsing synth chords for beat and melody; organ chords quietly pulsing in double time; two keyboards play alternating plinky melodies and discordant effects; two vocal tracks.

* "Tower Version" (1984) - The Tower (3:35)

Starts abruptly, fades out with "alarm keyboard" at the end.

Instruments: Single drum machine pattern; funky keyboard bass line that goes into double-time during chorus; organ synth chords; two synths provide plinky/bell accents; two tracks of chunky electric guitar during chorus; two vocal tracks; sequenced alarm keyboard near the end.

Suffix "Defeated Palace" (1:28)

Only on Kleine Krieg, crossfades with choral noises. Backwards snippet of "Defeated" which gradually mixes with horn noises, deep synth groans, and percussion.

What It's About:

As fascism began to slowly overtake a country, the citizens ignored the growing police state until it was too late: "break day" had arrived. Unstoppable soldiers commit indiscriminate acts and the future looks bleak, as the people realize they should have stopped the process -- or at least escaped -- before break day truly arrived.

Lyrics (adapted from the Cloud-Zero archive):

(All versions differ slightly in the exact lyrics)

Slogans turned to secrets. The symbols turned to stains.
The face of an enemy was imprinted on our brains.
Made us spectres at the shutters,
faces covered, taking aim.
Faking blame.
Break day.

Break day!
The brakes failed. Break day.
We all broke down together.

Drains were painted scarlet. Scars were opened wide.
Kids saluted in the basements, whistled hymns and homicide.
And though we wanted to change things,
the fact remains, we never tried.

Break day!
The brakes failed, break day.
We all broke down together.

But you had a chance.
You had the brains, you had the money,
could have bought an airplane and skipped this hole for somewhere sunny.
You recognized the symptoms, smelt the hatred in the air.
But you stayed. You better pray.
Aren't you just a little scared?

'Cos it's break day!
The brakes have failed. Break day.
Breaking down together, en masse.

A nurse hid and shivered as an army axed her door.
Linking arms, drinking orders, urinating on the floor
Spilt the milk, split a hymen,
take 'em wicked, make 'em sore...

Let 'em know it's break day.

Frosty

2008-02-14T13:10:00.003-05:00

Two main versions:

* "1980 Version" (September 1980) - Stained Glass Soma Fountains (4:43)

Fades in with drum pattern and somebody (Knight?) counting down: "one, two, a-one two three four." There's a brief tape glitch three minutes in. Ka-Spel sings all the lyrics alone. Ends with a sustained chord and then some studio chatter, possibly between Knight and Iliffe:

"Let's stop! That's great. Oooh."
"Mmmm."
"Oooh."
"I just thought we'd want to, uh..."

Instruments: Single drum pattern; piano melody; warm synth chords with bassline barely audible underneath, sometimes all pitched up suddenly, lots of chorus added halfway through; one vocal track without any effects.

* "Full Band Version" (1981) - Only Dreaming (4:38), Chemical Playschool 2 (4:40), Under Triple Moons (4:24)

The Only Dreaming mix and Chemical Playschool mixes both start abruptly, though Chemical Playschool cuts off a bit (and sounds like the tape was started in the middle of a note). The Under Triple Moons mix fades in. On all mixes you can hear somebody laughing before the lyrics start, though this is only really identifiable on Only Dreaming. April Iliffe provides accent lyrics in the second half. All mixes have a long fade-out, with Only Dreaming being the longest and Under Triple Moons being the shortest.

All mixes run at slightly different speeds.

Instruments: Live drums; organ melody; warm synth bassline; acoustic guitar; two vocal tracks; tambourine; quiet high-pitched synth chords pitched up and down; Iliffe "sha-la-la" vocals during the second half, with a second track of vocals for the "ahh-ahh" part; synth bell sounds.

Sounds a lot like:

This seems like a strange subject for a song, but it's oddly similar to 1979's "Frozen Fred" by the Dutch band Nits.

What It's About:

A freakish person, constantly derided, retreats to the comfort of a little hideway (a "fridge"). He occasionally emerges to try to gain respect or to inspire awe, but he is always thwarted and sent back into hiding, despite the best intentions and actions of the narrator's friends. Since "Frosty" is hiding when Armageddon arrives, he becomes the only survivor left on Earth.

Lyrics (adapted from the Cloud-Zero archive):

He always looked behind him, scared somebody would jump him.
Put him on the ground so he'd come around to the sound of people laughing.
'Cos the whole world loved to mock him. Sun and moon both pointed at him.
Kids would twist their necks to get a better view.

Well, it really did his mind in, and we wanted to protect him,
so we placed his face in a smash-proof case and placed it...
in the fridge.

They giggled in the corners, whispered lies across the borders.
They derided him and chided him 'til he carried out their orders.
But he dashed into the limelight, played at Hamlet for a fortnight.
Waved his arms and screamed demands for some respect.

But they just could not excuse him, it was really too amusing.
So he packed his sack and scrambled back to safety...
in the fridge.

And I swear I saw his spirit in the sky with nothing near it.
High on armour-plated roller skates, white-feathered train to steer it.
Scared somebody would look up, gesticulate and throw up.
Send him flitting, fleeting, scarred behind a cloud.

But for him, there's no escaping, no hole big enough to hide in.
Best just to stay nicely out the way in safety...
in the fridge.

In the village bells were tolling, in the town the dogs were howling.
It was Armageddon, tanks crashed head-on, planet Earth was drowning.
Then the Devil sent a shower, Europe died in half an hour.
Then a demon wind just finished off the rest.

But our friend, he took a teabreak, idly munching on a fish-cake.
Quite oblivious in ignorance but cosy...
in the fridge

It's so cold there, in the fridge.
It's so icy, frosty.
It's so cold in the fridge.

Voices

2008-02-13T19:15:00.004-05:00

Two main versions:

* "Full Band Version" (1980) - Chemical Playschool 1 (4:30), Premonition (4:42), Legendary Pink Box (4:34)

On Premonition the beginning fades in from the previous song ("Amphitheatre"). The other mixes start cleanly, though the Legendary Pink Box mix fades in. All mixes end with a final echoing synth blip, but on Premonition this is mixed with a 15-second backwards snippet from "Red Castles," which then fades into the following track ("Odd").

This version does not have the "murder him" section at the end.

Instruments: Live drums; bass guitar; bass keyboard drone; electric guitar; piano arpeggios; warm synth chords in descending pattern during chorus, at other times provides accents; single vocal track

* "Electronic Version" (1981) - Only Dreaming (3:30), Ancient Daze (3:30), Ancient Daze CD-R (3:32)

Both mixes fade slowly into the song, and both slowly fade out at the end.

This version has an odd section near the end in which a man gives a speech about heresy, the crowd calls for murder, and the heretic is choked. This sounds like the band itself and is of poor audio quality. The names mentioned are inaudible but suggest they may have been reading from a witch trial record of some kind.

Instruments: Single drum machine pattern; bass guitar; piano arpeggios; single vocal track; electric guitar; bass keyboard drone with matching high-pitched tone during chorus; sharp synth chords that also do the descending pattern during chorus; pulsing high-pitched synth near the end; speech about heresy recorded with cheap microphone near end;

Suffix:

On Only Dreaming, the song is followed by a ten-second snippet of backwards music that is unidentifiable.

What it's about:

This seems to be a song about a man who sold his soul with a group of other people, at least one of whom -- Christine -- has died. Now he, a heretic, stands on a corpse-strewn battlefield and hears voices in his head, accusing him of his heresy.

Lyrics (adapted from the Cloud-Zero archive):

In the wind, in the sea,
whispering hate, heresy; quietly accusing me.
Voices. Voices. Those voices, all I hear are voices.

In the marsh, in the sky,
firing curses in my eyes, cutting me with razor lies.
Voices.

The sun steps down to dance on the armour,
now rusted and brittle like September leaves.
Through the odor of decaying man-piles,
I know someone's listening, waiting for me.
Christine, you haunt me - you cling like a limpet.
The ghost of your pulse hammers nails in my head.
We all sold our souls for a handful of ashes.
We gambled together, the blame should be shared...

In the wind, in the sea,
whispering hate, heresy; quietly accusing me.
Voices. Voices. Voices. Those voices.
Voices. Voices.

[?] has been found guilty of heresy. Five witnesses both [?] and [?} tesify that [?] has [?] filled with spirits and has openly mocked the Christus. There is but one penalty. Murder him! Murder him! [?] (choking sound)

Voices. Voices. Voices. Voices. Voices...

Why you should care:

It appears in a lot of different places so the band obviously liked it. The amateur theatrics near the end of the "Electronic Version" are surprisingly candid and fun to listen to.

Chemical Playschool, The

2008-02-13T19:12:00.002-05:00

One main version:

* (1981) - Only Dreaming (2:56), Ancient Daze (2:58), Ancient Daze CD-R (3:00)

All mixes fade in and fade out virtually identically, though Only Dreaming has about a second of extra booping audible at the end. The song is instrumental except for snippets of backwards vocals from "Phallus Dei."

Instruments: Pulsing bass keyboard; sequenced boopy keyboard occasionally switched to white noise; disconnected organ keyboard chords that come and go; occasional backwards vocals and music from "Phallus Dei."

O(ri)ffice

2008-02-13T19:01:00.004-05:00

One main version:

* (1981) - Only Dreaming (2:34), Ancient Daze (2:36), Ancient Daze CD-R (2:36)

Called "O(ri)fice" on Ancient Daze.

Starts immediately. Both versions fade out quickly at the end, though both Ancient Daze mixes cut off the last second (in which the synth dips down suddenly).

Instruments: Single drum machine pattern; piano-style keyboard melody with nice solo; bass keyboard for bassline; synth accents; two vocal tracks with plate reverb; quiet electric guitar;

What it's about:

Another character sketch, this time about the depressing people who work in an office (punned as an "orifice" in the title). One person aspires to riches, Sarah wants to be a glamorous kept woman, Marlon sees himself as a "super-stud," and the narrator wants to start a crusade which will free everybody from the office. But he, like everybody else, is "just pretending." They're having feeble dreams, though it IS nice to pretend once in a while.

Lyrics (adapted from the Cloud-Zero archive):

Old is the antique wooden desk that I carve my plans on,
stirring his coffee with a cigarette, swearing at the phone.
Do you still have hopes of what you can achieve,
an army of servants to make your tea?
Parties. Banquets.
Or are you just pretending?

Sarah shuffles through the typing pool. Wednesday she plays Garbo.
Ladders her stocking on a nail in the wall, wants to be alone.
Do you still have dreams of that billionaire
who will carry you away to his fur-lined lair?
A penthouse with diamonds.
Or are you just pretending?

Marlon mutters that his names are lost. Sets the teaboy trembling.
Barks a remark about Bonita's bust, sniggers at the slut.
On the hot trail home he's super-stud,
there's a bowl of rubbers in the mud.
They leap as he drops them,
but Marlon's just pretending.

Me, I'm going to get out of this place, I'll smash these chains to pieces.
I'll free the den from the dark disgrace, I'll lead a great crusade.
See the tower guns crack, see the mines cave in;
they'll burn effigies of me but I won't feel a thing.
I'll sing as I sizzle,
or am I still pretending?

Pretending.
It's so nice to get away for a day or two.
Let's pretend, let's pretend that we're fishes in the sea.
Making love beneath the coral reef.
Let's pretend.

Why you should care:

There's the "wish I were a fish" theme again. And it's an awfully pretty song, especially the keyboard solo.

Thursday Night Fever

2008-02-13T18:52:00.007-05:00

Three main versions:

* "Clicky Version" (1981) - Kleine Krieg (6:08), Stained Glass Soma Fountains (6:00)

Called "Thursday Night Fever #1" on "Stained Glass Soma Fountains."

On Kleine Krieg it fades in from the squeaky noises at the end of "Down from the Country." The mix on Stained Glass Soma Fountains fades in from the end of "Jack" (2:00) but also includes the "Down from the Country" squeaky noises.

On both mixes the music fades out, replaced by vocoder speech, synth sirens, and unrelated melody lines, and soon the music fades back in. Over all this the vocal tracks continue ("I own you...you're my girl.") Suddenly a series of monumental chords are played on a keyboard; when they end the next track ("Die With Yer Eyes On") fades in.

Instruments: Unsteady single drum machine pattern; regular sequenced synth pattern that sometimes becomes white noise; quiet synth melody that isn't much related to the actual song; two vocal tracks which are slightly different.

* "Throbbing Keyboard Version" (1981) - Only Dreaming (5:22), Ancient Daze (4:47), Ancient Daze CD-R (5:21)

A sweet, backwards guitar solo -- unrelated to the "Thursday Night Fever" song at all -- begins the song on both mixes, though on Only Dreaming and Ancient Daze CD-R the solo plays for 53 seconds, ends abruptly, and "Thursday Night Fever" begins, whereas on Ancient Daze CD only twenty seconds of the solo is played, and it is mixed into the beginning of the song.

All mixes end the same way: as more of the backwards "Soma Bath" is played, the music repeats and fades out.

This version does not even attempt a melody.

Instruments: Repeating keyboard sequence; another repeating sequence that swoops down occasionally; snippets of backwards tracks including Soma Bath; two vocal tracks with flange and plate reverb;

* "Pink Box Version" (1988) - Legendary Pink Box (6:15)

The only version with a real melody, this is the only one to really reflect the evil of the lyrics. Starts suddenly. Gradually degenerates until, by 4:30, it has become a gentle backwards track (keyboards, vocals) which fades into a brief snippet of a backwards drum machine.

Two groups of lyrics have been removed in this version: the "And you'll comfort me...make me king again" section and "You're coming home with me...just a game." In addition, all references to "boogieing" have been wisely removed.

Instruments: Bass guitar; single vocal track; repeated keyboard line with hint of percussion; occasional drum machine accents; electric guitar that begins an extended solo in the middle; distorted sample of descending notes; climactic, choppy keyboard chords played before the song begins to degenerate; synthesized vocal chorus during guitar solo; cascading keyboard sound.

What It's About:

An obsessive, jealous boy warns a woman -- perhaps his girlfriend -- that she must be permanently, totally, 100% loyal to him. She must have no friends or outside interests and must always be there to make him feel like "a king again," especially when his workmates make him feel insecure. His demands are laughably childish but his violent threats -- against her and her "new friend" -- are serious.

Lyrics (adapted from the Cloud-Zero archive):

(All versions differ very slightly in their exact lyrics)

If looks could kill, if a touch caused a seizure,
you'd be dead as a rock, no room in the freezer.
Tease you with my fingers, squeeze you,
'til you rattle like an engine that's collapsing,
gasping out for oil.

You nervous? Well you should be.
'Cos you know how jealous I get.

As for your new friend, he'll end his days down an alley.
Shall he call the law? I doubt it.
Curtains closing faster, faster. Turns young lovers to statistics.
Nervous? Well, he should be.
He can see how jealous I am.
Just a jealous boy.

Want you safe at home, alone,
ignore the phone, except when you're convinced it's me
inquiring about your welfare.
I care about your paintings and your poems,
love's like that: caring, sharing, on our own forever.

And you'll be there when I'm back from work,
the jerks who bark their orders, smolder, leer, and patronize.
It's insincere. But you'll be there, to comfort me.
Comfort me, and make my tea, and make me king again.

The pain will go away and we'll make plans about our cottage, miles away,
no interruptions, us together, never seeing anyone.
And if you want to dance, we'll fit the lounge up with a disco,
play the stereo, boogie on our own.
Alone. The way it's meant to be.
So boogie down. Boogie down. Boogie down.

You're coming home with me tonight. Leave him.
You're coming home with me tonight, leave him.
'Cos I need you more than he does,
to him you're just a game. Just a game.

You're my girl, I own you. I own you...

Another Kind of Violence

2008-02-12T18:41:00.003-05:00

Two main versions:

* "Pulsing Keyboard Version" (1981) - Traumstadt II (3:56), Four in One (4:02)

Called "Violence."

After a quick vocoder count-down ("one...two...one, two, three") the song begins. Everything degenerates during the last minute, slowly fading out.

It actually starts with the second verse ("Well-respected in the shed"), possibly an early demo version before the additional lyrics were written.

Instruments: Pulsing bass synth; pulsing white-noise synth; two incomprehensible vocoder voice tracks panned around, sometimes laughing; single vocal track.

* "Lurky Version" (1981) - Only Dreaming (6:19), Chemical Playschool 2 (6:06), Ancient Daze (6:04), Ancient Daze CD-R (6:18)

Contains the full lyrics, and is in a different key.

All mixes start with a backwards segment of "Amphitheatre," into which the drum pattern gradually fades up, though both Chemical Playschool and Ancient Daze (CD) mixes cut out fifteen seconds of it. The effect on the evil drone switches suddenly after about five minutes. All versions end with a sudden synth chord, followed by a brief fadeout of the drums and melody keyboard, though the Only Dreaming fadeout is about ten seconds longer

Instruments: Evil keyboard drone with varying modulation; high-pitched keyboard melody which sometimes becomes wind/crash/beep effects; single drum machine pattern; single vocal track; backwards vocal/keyboard source that comes and goes.

Sounds a Lot Like:

"Waiting for the Call" and "Sex," because it's the same tune. It can't be a coincidence that "Sex and Violence" is a common phrase used to describe the ills of the entertainment industry (often "gratuitous sex and senseless violence").

What It's About:

A study of three characters involved in various forms of violence: a bored guy who has decided to visit his girlfriend for a night of sex; a sadistic religious hypocrite; and the victim of some sort of attack. No moral statement seems to be made, it's just a series of evocative, gritty scenes.

Lyrics (adapted from the Cloud-Zero archive):

Ahhhh, I'm feeling low, that pansy's on the radio,
should be at work, but sod 'em 'til tomorrow.

Think I'll nip round to the bird's house 'cos I've heard that her mum's away.
I'll raid the neighbour's garden, present her with a nice bouquet.
She'll be so pleased, we'll go upstairs and up and down on the eiderdown.

'Til six. 'Til the night time. The right time.
Night time's the best time.

Well-respected in the shed, got "B.M." tattooed on his head.
They call him Flash, his real name's Fred, he's listening.

But the girls, they desire him as he rips at their barricades;
and boys, they admire him as he skips with his razor blade.
Carves the bible on your eyeball, takes your money, leaves you crumpled on the floor.

It's his hobby. He's having fun.
His hobby, having fun. Fun fun fun.
'Til daddy takes the T-Bird away.

In a place where no one goes, a sparkling crimson channel flows.
A victim lies with all his clothes disheveled.

Tries to rest on an elbow, grits his teeth as he feels the pain.
Reflection in a puddle winces "cheese!" from its inner drain.
And shadows gather round him, feel his pulse, give him blankets for the night.

He'll be alright. Through the night.
Sleep with the shadows. Shadows.

Trivia:

There are many possible organizations that "B.M." could stand for, among them "Baader-meinhof" and "boatswain's mate." I'd hate to cast a vote, myself.

Why You Should Care:

Maybe those shadows in the last verse are the "City Ghosts?"

Guess the Politician

2008-02-12T18:31:00.001-05:00

One main version:

* (1981) Only Dreaming (3:27), Ancient Daze (3:10), Ancient Daze CD-R (3:20)

The seven-second instrumental lead-in is cut off in the "Ancient Daze" CD mix, and so is seven seconds of the fade out. The "Ancient Daze" CD-R mix is almost complete.

Instruments: Single drum machine pattern; three melodic keyboard melody tracks; keyboard bassline; single vocal track with varying reverb.

What It's About:

A sketch of British politicians who treat people terribly and are outright fascists. Basically a big, angry, but sad howl about Great Britain in the early '80s, though what the girl has to do with it I don't know.

Lyrics (adapted from the Cloud-Zero archive):

When the fireworks start where will they be?
They'll be warm in their bunkers watching TV.
Stemming tears for the smoke that was once you and me.
Such a shame, such a waste. Solves a few problems.

Like unemployment.
Like immigration. This screwed-up nation.
Think I'll go back to cleaning floors.

And a-looky over there by the perfume stand,
there's a made up girl with a messed-up hand.
Thought she'd look distressed, she looks just grand.
Kind of chic, what a chick. It's a (sicken?) and they got her.

It's so appalling
to touch, a mauling, a crazy morning.
Only pleased he was so prepared.

Did those feet in future time walk upon this land of mine?
Land mine will get him!

See the queer with a leer. Got his chin on a lead,
knew him back in the past, knew him intimately.
Got a house up in Hull, a mole on his knee.
Really liked me for a while 'til I shot his spaniel.

This indecision
here in Late Britain, I hate Britain!
Kind of wish I'd been born a fish!

Just annoy him now and he'll shriek "Sieg heil!"
See him quaking on the floor, see him quiver and how.
Took a blue, made a plan, joined the Ku Klux Klan,
bought a bag full of boot boys waiting for his orders.

It's quite intriguing
to hear them squeaking while flames leap in.
He's a tiger when he's aroused.

Rule Britannia.
Brittania rules the waves.
Britain never, never, never, never will be slaves.
Alles zusammen now.
Never, never.

Trivia:

"Alles zusammen" is German for "all together." In the final lines the fascist politician is rousing us all to sing "Rule Brittania."

Why you should care:

One of many songs about Ka-Spel's dislike of England. Shades of the future song "Evolution" in the line about being born a fish.

Game

2008-02-12T18:29:00.001-05:00

One main version:

* (1981) Only Dreaming (0:53), Ancient Daze (0:49), Ancient Daze CD-R (0:52)

A bit of the beginning is cut off during the "Ancient Daze" CD fade-in. All mixes fade out cleanly at the same time. The "Ancient Daze" CD-R mix is almost complete.

Instruments: Keyboard drone; synth burbling; sequenced beeps; heavily distorted vocals, probably improvised.

What It's About:

The thing behind the wall wants you to stop hiding so he can do...something. Whatever he wants to do is probably unpleasant, but he views it as a sort of "hide and seek" game.

Lyrics:

...wherever you are.
Come out, come out wherever you are.
I know where you are, there's no use hiding.

He'll creep behind the wall and try to give you a [?]
There's no use complaining.

Defeated

2008-02-12T18:21:00.000-05:00

Two main versions:

* "1980 Version" (September 1980) - Only Dreaming (2:06), Stained Glass Soma Fountains (2:04)

Both mixes seem identical: short fade in of all the keyboard noises, vocals in the middle, then short fade out of keyboards at the end.

Instruments: Choppy keyboard chord melody, with tremolo that stops at the end; sequenced keyboard playing repeated blips; two vocal tracks with lots of echo; quiet synth white noise that gradually builds.

* "1981 Version" (1981) - Chemical Playschool Volume 1 (2:34), Kleine Krieg (2:37), Legendary Pink Box (2:30).

All mixes fade in with a swelling keyboard chord and a few bell sounds before the vocals start. This version is in a different key. All mixes fade into a thirty-second sound collage of crowd noises and bell sounds that eventually fade out.

Called "(Still) Defeated" on the Legendary Pink Box.

Instruments: Choppy keyboard chord melody with tremolo; keyboard accents with occasional sample-and-hold and changing filters; single vocal track with occasional swelling echo; second vocal track that sometimes switches with the first; sequenced keyboard blips near the end.

What It's About:

Carrie reads a letter from her boyfriend and she's unhappy about what it says. Feeling trapped and defeated, she tries to poison herself at a cafe but manages to survive after getting her stomach pumped. A happy ending? No, because she's still just as "defeated" as she was before.

Lyrics (adapted from the Cloud-Zero archive):

Crazy Carrie pulled the blinds, and fed the lions, and read the lines
that skipped across the page and sends her dizzy, dozy,
does she care? Does he?

The answer's "no," it's always "no," There's no escape, no secret doors.
There's nowhere you can hide. No way. You're finished, fated,
just defeated. Defeated...

She stumbled through the cafe doors down on all fours to loud applause
ordered a meat and mandrax and a belladonna squash to quash the pain.

There's a difference at Madonna's that will carry you away.
And carried her away, it made her day, they pumped her dry, they wiped her eyes.
She just survived, and she can prove it with her bracelet.
At least the money wasn't wasted. Not wasted.

She's defeated, still defeated. Nowhere to hide.
Still defeated

Why you should care:

Because THEY did! Along with "Voices," this song keeps on popping up everywhere. They must really love it.

Waiting for the Call / You 'n' Me

2008-02-12T18:04:00.001-05:00

Three main versions:

* "Laughter Version" (September 1980) - Stained Glass Soma Fountains (6:01)

The sound of a woman laughing preceeds a "1-2-3-4" countdown before the song actually begins. Like all versions it features sound effects, though there are some goofy vocal interjections by other band members. The "constipation" noise cracks Ka-Spel up. The whole band sings during the "you 'n' me" section, and they all sing "we keep in line!" at the end. Everybody goes discordant during the fadeout.

This is the slowest version. Instead of the lyric "It suits me, does it suit you?" that appears in subsequent versions, he sings "It suits me down to the ground."

Instruments: Single drum machine pattern; choppy piano chords; organ keyboard chords; two monophonic bass keyboards; single vocal track with no effects; synthesizer effects; occasional vocal interjections; high-pitched synth line during some of the "you 'n' me" section; handclaps.

* "Epic Version" (1981) - Only Dreaming (5:51)

Gradual fade-in to a more "wall of sound" approach, more organic but without the informal goofiness of the "Laughter Version." Many of the synth lines fade out for the "you 'n' me" section, making for a comparatively quiet middle portion. Ka-Spel sings the entire song himself, though you can hear a bit of the "local laughing policeman." The discordant musicianship at the end is more accomplished and is gradually covered by a warm synth, which fades out.

Instead of the line "us in leather, in lovely weather," he sings "depressed in leather, shiny leather."

Instruments: Single drum machine pattern; two vocal tracks with lots of echo; choppy organ chords; guitar; bass guitar; monophonic synth line for the melody; monophonic bass keyboard with occasional modulation;

* "Full Band Version" (1981) - Chemical Playschool Volume 2 (5:06)

Gradual fade-in to a version striking for its Beatles-y, live drum sound. Iliffe sings the "you 'n' me section" on two vocal tracks. Other band members occasionally make quiet vocal interjections in the middle, everybody sings "dressed in leather, ahh!" After "we keep in line," everybody stops and the song ends with a quiet machine-gun synth sound.

Instruments: Live drums; monophonic synth for melody; choppy organ chords; quiet warm synth chords; occasional synth sound effects; barely-audible guitar; two vocal tracks without effects; two vocal female tracks for "you 'n' me" section.

Sounds a Lot Like:

"Another Kind of Violence," because it's the same tune.

What It's About:

While "Before the End" showed us small-town archetypes, "Waiting for the Call" exposes the underdogs and predators of the big city. The city-dwelling narrator goes into a "You 'n' Me" reverie while riding the subway, dreaming of an escape from the troubles of city life, but his dream turns into a nightmare about persecution that ends up as a leather-fetish fantasy. Meanwhile, back in the city, the police are brutalizing and extorting the citizens who are obediently learning to "keep in line."

Lyrics (adapted from the Cloud-Zero archive):

Shuffling through the ciggy packs, the broken bottles, plastic bags,
sprinkling crumbs in corners for the vermin.
There's a feast in the old rat-hole tonight. Little lady fair
and rats for miles around will come to fight for the rat's full share.
It's a pity that the party will be ruined by a guest armed with a spray.

Spraying murder. Playing plagues.

It's early, I should be in bed. They're bombing Brixton in my head.
But still I slink in silence to the station.
A busker in the subway hums a tune apathetically,
while showing me the windows in his shoes for some sympathy.
The sun turned to a nova as he stroked his beard, swiveled dim blue eyes.

I gave him nothing. He sold me knives.

You and me alone together, you in suede, me in leather.
Laughing on our island blowing bubbles at the world.
Free from business complications, sleeping pills, bitching nations,
hemorrhoids, constipation. What a thrill!

Heaven indeed, sad I'm only dreaming.
It's time that I accepted things
the way they really are.

You, me, me, you supporting cast of thousands,
squash into a chute, we're sending maydays out for air.
If you smash the other cheek I wouldn't feel it, feel it, feel it.
Stand on me, stamp on me, stamp out my existence,
I've got this dread disease, you'd better throw me out of town,
don't you recognize the eyes of a loser, loser, loser?

String me up, cut me down, bury me in concrete.
Don't waste a slab of marble on an alien like me.
It might make it that much harder to forget me, get me, get me.
You and me, alone together, us in leather, lovely leather.
The whole world, dressed in leather, haah,
lovely leather. In lovely weather.
What a dream. It suits me, does it suit you?

Old man tried to make a dash. He's blind, he just ran out of cash.
Inspector smirked and smashed him in the ribcage.
Told him "Wait, you're not going anywhere. You're in custody.
I'm bored, got a headache, couldn't care about your poverty.
How old you are, how poor you are - don't matter, everybody's gotta pay."

Pay the money. Pay the man.

Deities in uniform spout up from unseen barriers.
Fingers tapping "Chopsticks" on their holsters.
It's your time or your money, perhaps your shirt, little lady fair.
Slip a hand inside your coat, you're a cert for intensive care.
For your local laughing policeman's only happy when you're writhing in a heap.

We learned our lesson. We keep in line!

Trivia:

Around the time this song was written, Brixton was notorious for its clashes between police officers and local black youths, partly due to the restrictive policies of the police. The 1981 Brixton riot may have inspired this song, though the tensions were widely known throughout Britain before the riot actually occurred.

There actually WAS a Brixton bombing...but not until 1995.

Why you should care:

The idea of two people being alone and "blowing bubbles" at the world is followed by several solo Ka-Spel songs called "Blowing Bubbles."

Phallus Dei

2008-02-11T18:59:00.001-05:00

One main version:

* (1981): Only Dreaming (3:27), Chemical Playschool Volume 1 (5:01), Ancient Daze CD (3:15), Ancient Daze CD-R (3:18)

A solid song that alternates between chugging verses and quiet choruses. It sounds like there may have been a slight feedback problem on April's mic.

The "Only Dreaming" mix contains the longest intro lead-in, while the "Ancient Daze" mix cuts out the first two bars entirely (the CD mix cuts in abruptly, what the CD-R mix fades in quickly). All mixes contain a tape glitch during the "rancid rotting hands" section, though the glitch is much worse in "Ancient Daze," lasting several seconds. Have the masters deteriorated that much?

Instruments: Keyboard plays a jaunty bassline; single pattern on a drum machine; choppy organ chords that turn into a music box melody during the choruses; Ka-spel vocals with plate reverb, alternating with quiet April White choruses; subtle extended keyboard chords modulated periodically; soulful noodling guitar.

Suffix:

On "Chemical Playschool" this is followed by 1:43 of a nameless, totally distinct track consisting of a low-pitched drone and occasional high-pitched swooping pulses. There's a quiet snippet of backward vocals at the end.

What It's About:

The strangely alliterative (and often nonsensical) story of a woman -- perhaps a nun -- being raped. She distracts herself with thoughts of happier times. In the end, Biblical figures show their disapproval of the situation.

Lyrics (adapted from the Cloud-Zero archive):

Pulses pounding, lungs collapse
in sheets of sewer breath.
Firing sweat stains steam saliva,
seeds of sudden death.
Seeping through the ventilator,
up the fire escape.
In a line, spirits whisper,
"Season's right for rape."

(I will think of England,
of trees in summertime.
Of leafy lanes, of daisy chains,
of Grandad's rhubarb wine.)

Run Christina, hide Christina,
sneak inside this shoe.
A pair of rancid rotten hands
are wringing just for you.
But android armies armed with H-bombs
couldn't save you now.
Best to just lie back and wait,
and contemplate your vow.

(I will think of England,
preparing for this trial.
I'll raise my veil, I'll bite my nails,
I'll grimace when he smiles.)

Shrivel, shimmer, sliding, shooting,
sinking to the ground.
Seedy 3D Polaroids
can twist it round and round.
It twined, entwined in twilight tango
turning in the fire.
Pressing, pushing past the limit,
expand and then expire.

(I will think of England,
of trees in summertime.
Of leafy lanes, of daisy chains,
of Grandad's rhubarb wine.)

Peter puked, tore a curtain,
dipped his eyes and cried.
Pilate pondered on his pipe,
politely turned aside.
And at the door stood John the Baptist,
head beneath one arm,
spitting oaths, splitting fingers,
sounding the alarm.

Why you should care:

One of the few songs in which Edward shares the vocal duties.

Black Highway

2008-02-11T18:49:00.001-05:00

Two main versions:

* "Pulsing Keyboard Version" (1981) - Only Dreaming (4:47), Ancient Daze CD (4:34), Ancient Daze CD-R (4:42).

"Ancient Daze" CD mix fades in about seven seconds late, and fades out before you can hear the sound of somebody unplugging their audio cables. The "Ancient Daze" CD-R mix is more complete, but still missing a few seconds of the opening keyboard.

Instruments: Keyboard alternating between high and low bass; rhythmic pulsing keyboard; beeping keyboard that turns into low, swelling bass buzz before verses and sometimes becomes windy static; two tracks of vocals, one of which is sometimes distorted.

* "Full Band Version" (1981) - Chemical Playschool Volume 1 (4:56), Kleine Krieg (4:52), The Legendary Pink Box CD (5:02)

A keyboard plays a few gentle chords over gentle car sounds, then the bass guitar brings us to the song proper: a rich, organic, complex, almost "wall-of-sound" recording. The "bridge" portion after "we're having a ball" has been removed.

The "Legendary Pink Box" mix fades in near the end of the introduction, skipping most of it; in the "Kleine Krieg" mix the introduction is mixed with the end of "Deflated...maybe the mix on "Pink Box" originally came from "Kleine Krieg," and they wanted to remove those bits of "Deflated?" All mixes fade out with the ending car sounds

Instruments: Bass guitar; one vocal track; choppy guitar chords which become plucky strings during slow parts; keyboard alternating between high and low bass; sophisticated beeping keyboard with chunky, chugging bass sound underneath and lots of other neat effects; occasionally what sounds like wood-tapping percussion; recurring car sound effect.

What It's About:

A crazy man with questionable grooming habits (and an obsession with novelty rock and roll) uses his car as a lethal weapon. Policemen, commuters, and journalists congregate after the accidents, getting joy and rewards out of the tragedies; one man even acquires the hair of a pre-teen victim (though what he does with it is anybody's guess).

Lyrics (adapted from the Cloud-Zero archive):

There's space in my car, speed you to heaven,
maybe scorch the Black Highway part the waters of the Styx.
Mix my mescaline with hairspray, well past caring
but I'll show you some excitement, better clutch your crucifix!

Goodness gracious, great balls of fire
glow in the city's stainless streets.
Policemen waves as a crowd admires,
as a mess is covered with a sheet,
dancing in the street.

A truck overtakes; the truck overturning,
twisting cartwheels on the concrete, dancing over a ledge.
Shall I make it a duo? Tiny heart a-flutter, pitter-patter!
As I slide out from the gutters, send him sliding through a hedge.

Goodness gracious, a wop-bop-a-loo-bop, a-wop-bam-boom,
crash crash!
Policeman waves as the crowd perspires,
as a mess is covered with a sheet,
dancing on the sheets.

Madness in my family since the sixteenth century,
and it seeps though my fingers when I'm poised behind the wheel.
Tonight I'm feeling nasty. Some bastard's gonna suffer,
be crying for his mother 'cos my dial is locked on kill!

Oh goodness gracious!
A hot old time in the old town tonight
as a mess is covered with a sheet.

The siren shouts murder, splinters the sunrise.
A fireman weeps as he picks up a doll.
Still they arrive in their cars and their campers,
pitching tents, picking hampers,
searching quietly for holes.

Oh goodness gracious,
good golly Miss Molly, we're having a ball!

Lens dipped and focused on the girl with an ice cream.
Dressed her up in celluloid and sold her to the world.
Made the morning editions, the face of exhibitions.
Propositioned an uncle to cut off her curls.

Oh goodness gracious,
good golly Miss Molly, you sure look bald!
A policeman waves as a crowd admires,
as a mess is covered with a sheet,
dancing in the sheet.

Drive 'er, boy!

It Rots Your Liver

2008-02-11T18:46:00.001-05:00

One main version:

* (1981) - Only Dreaming (3:25), Ancient Daze CD (3:08), Ancient Daze CD-R (3:21)

A noisy, mostly-instrumental track with little structure. Short fade-in, no real variation throughout song, long fade-out to silence.

The "Ancient Daze" CD mix is slightly shorter, cutting off a bit during the fade in and fade out. The CD-R mix is almost complete.

Instruments: A repeating sequenced keyboard; whooshing keyboard noises with feedback; disconnected organ keyboard chords; shouted, distorted vocals with lots of echo.

What it's about:

Only they know.

Lyrics:

I can’t understand a single word.

Before the End

2008-02-11T18:36:00.000-05:00

One main version:

* (1981) - Only Dreaming (4:06), Chemical Playschool Volume 2 (3:42), Prayer for Aradia CD Bonus Track (3:48).

Quick fade in. Near the end the effects and playing get chaotic, turning into static and feedback.

The "Only Dreaming" mix is different from the others (it's slowed down and the chaotic ending stops abruptly, like the master tape itself was stopped). The other mixes are identical except that the song fades out during the ending static on "Prayer for Aradia."

Instruments: Flanged bass guitar; vocals; occasional backup vocals, sometimes with heavy chorus ("Normal!"); organ chords possibly chopped up with tremolo and sometimes interspersed with chirpy keyboard; occasional quiet "fairytale" keyboard.

What it's about:

Through an increasingly unpleasant series of small-town archetypes, the narrator looks nostalgically back at life "before the end." We never find out what "the end" was, but when it came it brought mass panic and caused people to "all fall down" (a plague?) The real point of the song seems to be the flexible definition of "normal," which in this case includes shoplifting, suicide, and the behaviour of a "dial-a-prophet."

Lyrics (adapted from the Cloud-Zero archive):

Before the end the town was calm,
no cold panic, no alarm.
The pubs rang out with "Auld Lang Syne"
as a politician tossed a coin.
It was normal (normal).
Normal.

Before the end the children played
while old men watched them from the shade.
Bemoaned the heat, the price of tea,
discussed perverse psychology.
Normal (normal).
A-OK.

Before the end, in a darkened room
Tom waited for his best girl June.
Fingers crossed, he quietly prayed.
"Lie down," he whispered. She obeyed.
It was normal. Normal.

Ring a ring of roses, a pocket full of poseys.
A-tish-oo, a-tish-oo, all fall down.
'Cos we're normal. Normal (normal).

Before the end, in a crowded store,
Miss Demeanor broke the law.
Shifty eyes and sleight of hand,
slipped up a sleeve a sardine can.
Naughty -- tsk tsk -- but normal.

Before the end, in a cramped bedsit,
George slid a razor 'cross his wrist.
Bloody jeans, tearful eyes.
Unhooked the phone. Fed the mice.
Nasty.

Before the end, in a cushioned pod
Mr. Dial-a-Prophet looked for God.
Flaming throne to slice the sky
for mankind's last united cry:
"We're normal! We're normal!" (normal)
Can't happen to us. We're normal.
Normal. We're normal.

Why you should care:

It's one of many early-dots "chugging tremolo keyboard" songs, but the clever lyrics make up for it. It is all so deceptively cheerful.

Soma Bath

2008-02-11T18:24:00.000-05:00

Two main versions:

* "Sloppy Guitar Version" (1981) - Only Dreaming (2:34)

Begins with a short, odd drum pattern and a siren, then goes into the song itself. It fades out completely after the "not what we do" lines. The "drown in your soma bath" section is not there.

Instruments: Drum machine (single pattern); two tracks of vocals; oddly inept, detuned, plinky guitar in the right speaker; capable bass guitar; rhythmic organ chords; monophonic squeaky keyboard melody.

* "Jolly Version" (1981) - Chemical Playschool Volume 1 (3:39), Kleine Kreig (3:35), Brighter Now (3:48)

Starts immediately and is in a different key. Contains the final "Drown in your soma bath" section. The "Chemical Playschool" mix ends sharply on the last note, the "Brighter Now" mix fades down almost to silence for the last note, and the "Kleine Krieg" version gradually merges with a windy prelude to "Peace Krime #2."

All three are noticeably different mixes. The "Brighter Now" mix is slightly slowed down (hence the additional ten seconds and the lower pitch).

Instruments: Drum machine; single track of vocals with plate reverb, heavy reverb near the end; more aggressive bass guitar; rhythmic organ chords; monophonic squeaky keyboard melody joined by a second identical keyboard during the bridge; guitar is still strangely jangly and out-of-tune but it is more buried in the mix. Burbly keyboard noises during part of the final section.

What it's about:

A drug-addicted, oversexed religious zealot suffers a much-deserved decline in popularity when he has a non-fatal overdose in his bathroom. At his nightmarish trial he is apparently sentenced to die by enforced overdose, though that part of the story is a little hazy. Judge for yourself.

Lyrics (adapted from the Cloud-Zero archive):

Powdered heaven dressed in plastic
pulled the shades down on his eyes.
Pinprick pupils soaring skywards
offer him no alibis.
Then, who needs them, he's quite perfect,
perfect body, perfect teeth.
The flash sublime and blind the kids who
spread their legs for their belief.

Cross themselves at the drop of a parable,
shriek they're saved when they've touched his jeans.
Swear his wisdom's just infallible,
beg for mercy in his dreams.

Another day, another sermon,
broken bread, forgotten lines.
A line for comfort keeps him human.
The needle trembles, band on tight.
Another little perforation
ventilates him, paints him white.
A wordless song, a prayer to no-one
helps him whistle through the night.

They found him on his throne of porcelain,
rusty chain draped 'round his head.
Incapable and incoherent,
eyes switched off but a king no less.

Jury all wore black chewed razors,
witnesses looked D.O.A!
O.D'd, amoral, senses skewered,
dribbling lies and tooth decay.
Declared his guilt, defense said nothing,
sobbing as the judge turned blue,
washed their hands said "Lord forgive us,
for we know not what we do..."
Know not what we do,
not what we do.

"Drown in your soma bath!"
They said, "Drown in your soma bath.
What are we gonna do with you?
Let the punishment fit the crime!
We have the technology. We've got the instruments.
Down! Down in your soma bath!"

Why you should care:

It's the first song off the first album, which has to mean something. They also liked it enough to put it into their first LP (Brighter Now), though it doesn't exactly fit with the rest of the songs on there.

Trivia:

You may already know that "soma" was a ritual Vedic drink, though it is more widely remembered as the drug from Brave New World.