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.
Showing posts with label Four In One. Show all posts
Showing posts with label Four In One. Show all posts
Friday, September 16, 2011
Tuesday, May 13, 2008
Sensory Deprivation
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!
* (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!
Tuesday, February 12, 2008
Another Kind of Violence
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?"
* "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?"
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