Kleine Krieg

The Legendary Pink Dots, C90, 1981

1. Defeated - "1981 Version" also on Chemical Playschool 1 and Legendary Pink Box
2. Deflated - unavailable elsewhere
3. Black Highway - "Full Band Version" also on Chemical Playschool 1 and Legendary Pink Box
4. Soma Bath - "Jolly Version" also on Chemical Playschool 1 and Brighter Now
5. (Wednesday Night Fever) - unavailable elsewhere
6. Peace Krime #2 - also on Chemical Playschool 1 and Prayer for Aradia bonus tracks
7. (Birds ) - unavailable elsewhere
8. Break Day - "Evil Pulse Version" also on Chemical Playschool 1
9. (Defeated Palace) - unavailable elsewhere
10. The Palace Of Love - "Prayer Version" unavailable elsewhere
11. Stoned Obituary - "Pulsing Keybord Version" unavailable elsewhere
12. (Obituary Shuffle) - unavailable elsewhere
13. Stars On Sunday - "Edited Version," Full Version on Chemical Playschool 2
14. Vigie - unavailable elsewhere
15. Battlefield - unavailable elsewhere
16. Legacy - "1981 Version" also on Chemical Playschool 2 and Legacy 25th Anniversary Single
17. (Erin or Eric) - unavailable elsewhere
18. One For The Pearl Moon - "1981 Version" also on Chemical Playschool 2 and Under Triple Moons
19. Doll's House - "1981 Version" also on Chemical Playschool 1 and Ancient Daze
20. Brill - also on Chemical Playschool 1 and Prayer for Aradia bonus tracks
21. (Choir) - unavailable elsewhere
22. Down From The Country - also on Traumstadt 5 and Under Triple Moons
23. (Squeak) - unavailable elsewhere
24. Thursday Night Fever - "Clicky Version" also on Stained Glass Soma Fountains
25. Die With Yer Eyes On - also on Stained Glass Soma Fountains
26. 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

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

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

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

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

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

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

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

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.

Stars on Sunday

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."

One for the Pearl Moon

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

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.

Brill

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."

Peace Krime #2

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).

Dolls' House

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!

Break Day

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.

Thursday Night Fever

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...

Defeated

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.

Black Highway

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!

Soma Bath

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.