Hi. I came across this old commercial for Crystal Meth on YouTube earlier this year and it has really stuck with me. I have a fear that this is another one of those things that everyone else on the planet has already seen but oh well. Better late than never.
It’s debatable just how effective this commercial is, to be honest. Because while I don’t think anyone would say it’s necessarily a good thing to get hooked on meth, that little jingle is so freaking catchy. I have to admit that I recently found myself singing it while I was cleaning the kitchen. Also, and admitedly a lot of this has to do with me being OCD, it’s hard for me to really see the downside of having the cleanest house on the street. So, no, the commercial did not sell me on meth. But it did make me want to go clean the house.
Finally, I can’t end this post without including Sin33’s remix of the Meth Song.
In 1978, just based on what I’ve read, everyone in America was regularly doing huge amounts of cocaine. Whether you were in a disco or at a PTA meeting, you knew that eventually someone would produce a small mirror covered with white powder. President Carter even snorted it during that year’s State of the Union speech. Sure, some people used gold spoons and others had to make do with a one dollar bill but, in the end, cocaine brought all Americans together as a nation and helped the country heal after the trauma of Watergate.
It also contributed to some the year’s best films. Days of Heaven, Superman, The Deer Hunter, Coming Home, Grease, Animal House, Interiors, Halloween, Midnight Express, Convoy, Go Tell The Spartans, and An Unmarried Woman; these were all films fueled by the Peruvian Headache Powder.
However, no discussion of 1978 cocaine-fueled films would be complete with mentioning Sgt. Pepper’s Lonely Hearts Club Band. Featuring songs originally performed by the Beatles and starring the Bee Gees, Peter Frampton, and a whole bunch of other people that my mom liked, Sgt. Pepper’s is a film that, quite honestly, should just be retitled 1978.
Plotwise — oh God, do I really have to try to describe the plot? Seriously, this could take forever. I mean, the film isn’t quite two hours long but a lot of stuff happens and really the only connection between any of it is that these odd cover tunes of classic Beatles songs keep popping up in the weirdest places. Okay, let me try to get this all into one paragraph —
There’s a small town called Heartland that is very small and simple but it’s also the home of the legendary Sgt. Pepper who, throughout history, has maintained world peace by playing his magic instruments. But then Sgt. Pepper dies and apparently turns into a gold weather vane. His magic instruments are given to the mayor of Heartland, Mr. Kite (George Burns, who also narrates the entire movie). The world is in mourning. But then one day, the Henderson Brothers (the Bee Gees) decide to form a new Sgt. Pepper’s Lonely Hearts Club Band and they invite Sgt. Pepper’s grandson, Billy Shears (played by Peter Frampton) to be their lead singer. Heartland rejoices and George Burns has a surprisingly sweet scene where he sings Fixing A Hole.
Anyway, the new band is such a hit that the owner of a record company invites them to come to Los Angeles and record an album. Billy says goodbye to his girlfriend, Strawberry Fields (Sandy Farina) and then joins the Hendersons in a hot air balloon which promptly leaves for California. En route, the balloon collides with an airplane but nobody is seriously injured.
In Los Angeles, they meet the record company owner and it turns out that he’s played by Donald Pleasence. (It’s interesting to think that Pleasence filmed this and Halloween around the same time.) Pleasence proceeds to sing the creepiest version of I Want You ever heard. I’d include a clip of the performance but Pleasence manages to go on for a good ten minutes, repeating “I want you,” in an odd little voice while staring at Peter Frampton.
The boys sign a contract with Pleasence. Billy Shears is led astray by Lucy and her band, the Diamonds. (Guess which song they get to sing.) Somehow, this allows Mean Mr. Mustard to steal Sgt. Pepper’s magic instruments. Mr. Mustard drives around in a yellow van and he’s assisted by two female robots who, at one point, sing She’s Leaving Home in their electronic, robot voices.
The band is informed that the instruments have been stolen. Outraged, they jump back in their hot air balloon and quickly start a recovery operation. It turns out that Mean Mr. Mustard has given the instruments to three separate villains.
The first villain is Dr. Maxwell Edison who uses his silver hammer to turn old people into boy scouts. This may sound ludicrous and silly but fortunately, Maxwell is played by Steve Martin. His cameo is one of the highlights of the film, if just because he seems to be one of the few people who actually enjoyed himself on set.
The second villain is the Reverend Sun. He brainwashes people or something. I’ve seen this movie a few times and I still can’t quite figure out what Reverend Sun’s deal is. When I first saw this movie, I got excited because I thought that Tom Savini was playing Rev. Sun. Then I forced my sister Erin to watch the movie and she told me I was stupid because Rev. Sun was obviously being played by Frank Zappa. Well, I did some reasearch and discovered that we’re both stupid. That’s neither Savini nor Zappa. It’s Alice Cooper.
The final villains are played by a very young (and very, very hot!) Aerosmith. Here, they are called the Future Villain Band and oh my God, Joe Perry…this film needed a lot more Joe Perry. I mean, it’s understandable that Steve Tyler gets most of the screen time and young Steve actually looks pretty good in a Mick Jagger sort of way but Joe Perry…Oh. My. God. Anyway, Aerosmith does a cover of Come Together and Joe Perry circa 1978 was just so freaking gorgeous, oh my God. Eventually, Frampton and the Bee Gees come along and ruin things by getting into a fight with Steve Tyler which leads to the camera constantly cutting away from Joe Perry who is really, really, really hot and all kinds of sexy in this movie. They should have just called this movie Joe Perry. Oh. My. God.
Uhmm, where was I? Oh yeah — so, anyway, eventually the weather vane comes to life and suddenly, Sgt. Pepper’s a black man who sings Get Back and ends up magically resetting the past and turning Mean Mr. Mustard into an altar boy or something like that. Oh, and the Bee Gee who looks like a New Age healer ends up singing my favorite Beatles song, A Day in the Life.
Finally, it appears that every single person on the planet shows up in the film’s final scene where a huge group of “stars” show up and sing the film’s title tune one last time. In the end credits, these people are listed as being “Our Guests At Heartland.” Doing some research (i.e., looking the thing up in Wikipedia), I’ve discovered that these folks were apparently all pop cultural icons in the 70s. I didn’t recognize a single one of them but I’m sure they probably all snorted a lot of cocaine.
(And, by the way, Joe Perry does not get to return for the finale so bleh on you, movie.)
For some reason, this movie kept showing up on Starz last November and that’s where I first discovered it. The first time I saw it, I came in right at the start of Steve Martin’s cameo and the film itself was so just plain weird that I had to jump on twitter and let the world know what I was watching. (Actually, it doesn’t take much to make me jump on twitter and tell the world what I’m doing.) As a result, I soon discovered that, apparently, I was the only person on the planet who didn’t know about this film.
Sgt. Pepper’s Lonely Hearts Club Band is really a pretty bad movie. The plot tries way too hard, the pacing is terrible with some scenes lasting forever and others ending before they really start, and Frampton and the Bee Gees are all distinguished by an utter lack of charisma. The youngest Bee Gee appears to be cheerfully stoned throughout the entire movie while the other two (and Frampton) are trying way too hard to act.
And yet, the film fascinates me. After I saw it the first time, I forced my sister to watch it with me a second time. I then watched it again on my own. Finally, I went down to the local Fry’s and nearly did a happy little dance when I found it on DVD. I’ve watched it since several times. Whenever I’m depressed, it always cheers me up.
What’s the appeal? Some of it is definitely the whole “so-bad-its-good” thing. Actually, that’s probably most of it. Another thing fascinating thing is how literally the filmmakers choose to interpret the Beatles lyrics. Considering the fact that the Beatles themselves were rather open about the fact that a lot of their lyrics were simply nonsense and word games, it’s interesting to try to understand logic behind trying to force them into a coherent storyline. (This is also the appeal of 2007’s Across The Universe, which is technically a better movie than Sgt. Pepper’s but isn’t half as fun to watch.) For instance, Billy Shears isn’t in the film because he’s an interesting character. Instead, he’s just here because — 10 years earlier — either John Lennon or Paul McCartney choose to toss the name into a song. We’re never quite sure what Mean Mr. Mustard’s dastardly motivation is beyond the fact that the filmmakers had the rights to his song. If nothing else, the film is an interesting example of what happens when people try to create a novel out of somebody else’s short story.
However, I think the main appeal of Sgt. Pepper’s is the appeal of 1978. Watching the movie, you feel almost as if you’re literally sitting beside the cast at Studio 54, watching as everyone snorts a line. I think that, for future historians, this film may very well turn out to be a cinematic Rosetta Stone.
Then again, maybe it really is just so bad that it’s good.
Again the power metal lads from Germany, Blind Guardian, appears for the fourth time with one of their newest songs for Song of the Day. The song of which I speak of is the second ballad of two that Blind Guardian composed and produced for their latest album, “War of the Thrones”.
While metal bands have done ballads in the past and will continue to do so, Blind Guardian has shied away from the power ballads of most metal bands and have instead opted for the kind of folksy ballads that troubadours and traveling bards of the Middle Ages and the Age of Renaissance played much in inns and royal courts across the lands. In fact, the band has seen themselves more like traveling bards (but with a power metal kick to their music).
“War of the Thrones” definitely sounds like something a traveling troupe of bards would play at a royal court. Even the subject matter which inspired the song is from a historical fantasy series of novels by fantasy writer George R.R. Martin whose A Song of Fire and Ice many have seen as the American Lord of the Rings. The band never shies away from the fantasy aspects of their songwriting and with this song they embrace this aspect of their band’s sound.
The song’s lyrics has themes and ideas from Martin’s fantasy series. From the raging war for the throne of Westeros which has engulfed the lands south of the Wall to the sinister “Others” beyond the wall whose march will raze the Wall which keeps them from the warring kingdoms in the south. For fans of Martin’s fantasy series the song should be a delight as it brings up imagery from the books. For fans of Blind Guardian it’s a nice addition to their growing folksy ballads which goes hand in hand with their faster and more complex work.
War of the Thrones
Nothing will grow here
Icy fields – blackened sorrow
Legacy of a lost mind
Feed my void
What you’re waiting for
I’m too late
It is more than a game
The river reveals
Now I’m in between these lines
I cannot escape it seems
Sail on, my friend
All I ever feel is
All I ever see is
Walls they fall
When the march of the Others begins
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones shall begin
While I sit there in silence
Come and talk to me
I can’t free my mind
It is all I’m begging for
While I sit there in silence
Will it ever end?
Will I find what I’m longing for?
Will I ever walk out of shadows so grey?
I’m condemned, I am hallowed
Icy fields they won’t hurt anymore
Will you walk with me?
Any further
There at world’s end
It’s me
I sing
I cannot escape it seems
Sadly I sing
All I ever feel is
All I ever see is
Walls they fall
When the march of the Others begins
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones shall begin
Away
Watch the river it flows
(Now and ever)
I cannot believe in more
And now my time will come
Carry on
Will I ever learn from the past?
Will I fade away?
Will I ever stay where the shadows will grow?
There is luck at the gallows
I will free my mind
Soon it will show
Let it rain
There’ll be no spring
My dream is a mirror
It reveals a matter of lies
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones will begin
All I ever feel is
All I ever see is
Rise and fall
When the War of the Thrones has begun
Leave a fee for the tillerman
And the river behind…
I think it’s time to slow things down a bit after several choices of rock and metal for Song of the Day. Thus, my pick for the latest Song of the Day is the song “We Are One” by Kelly Sweet.
Yes, I have a soft spot for adult contemporary singers like Kelly Sweet whose sound of modern jazz and classical leanings make for fine easy listening. Life can’t be all rock and metal. Got to have something relaxing and soothing once in awhile. Ms. Sweet is one of the hidden gems of the last couple years whose career is still doing a sow burn, but her debut album, also titled We Are One, has gained her quite a loyal following. The ballad chosen for the song of the day is one of her original songs in the album full of covers. While she does a great job doing both original and cover work, this paticular song is my favorite out of the bunch.
Her classical and jazz training gives her voice an almost ethereal quality during this song. It’s not too catchy and pop like her more successful contemporaries. Her songs are something both the younger and older generations can get into. This song will definitely not be something to inspire the casual booty call, but it is one that is definitely one to light up that slow burn romance that’s harder to create and even harder to keep.
We Are One
Didn’t need to ask
Don’t know the reason
Everything that I believe
Is right here
Not thinkin’ bout tomorrow
Couldn’t catch it if I tried
World is spinning too fast
So I’ll wait ’til it comes to me
I am you
You are me
We are one
Take me in your arms
And flow through me
I’ll flow through you
Steal my breath away
Cause I’m so moved by you
Deeper than I ever thought
Was possible, was possible, it’s everything, oh
Difference between me and you
It’s all in where your heart lies
And every day’s another chance
So let’s get it right
I am you
You are me
We are one
Take me in your arms
And flow through me
I’ll flow through you
Did you lose yourself out there
Did you lose faith and give up
Don’t turn away and hide yourself
Cause there’s a friend to make along the way
We are the heartbeat and our souls speak
And all the beauty I have ever dreamed
Is right here in front of me, oh
Is right here in front of me, oh
I am you
And you are me
We are one
Take me in your arms
And flow through me
I’ll flow through you…
I will hold my incredible taste and not my complete lack of social contacts to “blame” for having never before heard of the supposed pop sensation Justin Bieber. But I remember NSync, the Backstreet Boys, and similar disasters: These unforgivable icons who severed unscrupulously from the first rule of popstar trash ethics. (If you suck horribly as a musician, you must compensate with nice tits.) It would appear however, as recently discovered by ambient artist Shamantis, that this Bieber fellow has had you all fooled. Those vile record producers took his 35 minute Sigur Rós-esque ambient masterpiece U Smile and sped it up into some five minute trashy pop single.
Or maybe the moral of Shamantis’s experiment is that sound is all relative. The worst garbage on the market can speak in tongues. The complete version of U Smile 800% slower can be found and downloaded below. An abbreviated youtube version follows:
This particular amv won Best Action during Anime Expo 2010’s AMV contest. The amv is called “Spinning Infinity” and created by NightHawk.
I have to admit that this particular amv was one of the few I saw at Anime Expo 2010 that became instant favorites of mine. I already posted another amv earlier, “Have You Got It In You?”, which was also a favorite of mine. This amv is definitely more action-oriented and the song chosen by the amv’s creator fits quite well with the anime he used to cobble together to create the video. For those who don’t know the anime is a mecha series which came out a couple years ago called Tengen Toppa Gurren Lagann. While that series wasn’t one that I got into when it first aired I will say that this amv definitely gives me pause to go back and watch it again.
I really like the song chosen, The Pretender by Foo Fighters. The high-octane rock melody and temp of the song goes hand-in-hand with the action scenes the creator picked from the series. The synching of the series’ characters with the lyrics (when the sequence permitted) was also quite good. Again, this is one skill I wished I could learn and hone if just to try my hand at creating my own amv’s. Until then I’ll continue to watch and admire some of the very good works being done year in and year out.
TSL writer necromoonyeti randomly recommended “Naki Kyoku” by Boris to me out of the blue one day and just said, “you’re gonna love this.” No buildup, no explanation—just that confidence. And honestly, it didn’t take long to see why. The track doesn’t hit you all at once; it kind of eases in, like it knows it’s going to win you over eventually.
What really hooked me is how the song balances this heavy, almost suffocating atmosphere with something strangely delicate underneath. The guitars feel thick and immersive, but they’re not trying to overwhelm you—they just kind of surround you. There’s this hazy, dreamlike quality to it, like you’re drifting through something emotional you can’t quite put into words, but you definitely feel it.
If you’re expecting Boris to go full-on loud or abrasive, this track flips that expectation. It’s way more restrained, but somehow just as intense. Instead of chaos, it leans into mood and slow-building weight. It feels introspective, almost like the song is asking you to sit with it rather than react to it, and that makes it stick in a different way than their heavier stuff.
Honestly, it’s one of those songs you don’t fully get on a casual listen—you kind of have to give it space. Throw it on late at night with headphones and just let it play out. It’s subtle, but once it clicks, it really lingers. That recommendation ended up being dead-on.
When the infamous epic Caligula was first released back in 1979, a disco version of Caligula’s love theme — We Are One — was also released as a promotional gimmick. If you’ve sat through the behind-the-scenes footage on the Caligula Imperial Edition DVD, this song has probably been forever branded on your brain.
And that’s not necessarily a bad thing.
This song is so over-the-top, so blatantly exploitive, so insidiously catchy, and so totally inappropriate for the film it was written for that it simply cannot be ignored. To me, this song represents everything that makes the Grindhouse great.
(As well, I hope whoever was playing bass got paid extra…)
While we’re on the subject, I’m also going to include the opening credits of Caligula because I’ve always liked the use of Profokiev’s Romeo and Juliet.
(I also love the fact that the screenplay is credited as being adapted from a script by Gore Vidal yet no one is given credit for doing the adapting, the editing is credited to “the production,” and director Tinto Brass is credited with “principal photography.”)
Yes, for my latest pick for song of the day I shall dial things back from all the J-pop, metal, hard rock and film scores. My pick for song of the day is Frédéric Chopin’s Nocturne, Op. 27 (No. 1 in C-sharp minor and No. 2in D-flat major).
A nocturne is a musical composition which takes it’s inspiration from the night itself or, at the very least, evocative of the night and darkness. It’s an easy enough description for a type of music which were typically arranged for piano solos. The nocturne was first originated by 18th-century classical composer, John Field but it would find it’s popularity at the hands of Polish composer Frédéric Chopin. Chopin wrote 21 nocturnes and it is Op. 27 (two solos) that I’ve chosen. This particular piece is widely considered by many as one of the greatest pieces of music Chopin ever wrote and I, for one, agree wholeheartedly.
This particular version is played by one of the greatest pianist of the 20th-century and one whose playing style goes hand-in-hand with Chopin’s free-flowing style. When one hears the name Arthur Rubinstein (he himself a fellow Polish musician just like Chopin) one automatically thinks of Chopin and, specifically, his 21 Nocturnes.
I am not one to adequately break down, deconstruct and examine just what makes Nocturne, Op. 27 such a great piece of music, but personally I’ve found it to be evocative of not just night, but one which brings with the night breeze a sense of mystery, the magical feel of the night and the accompanying darkness. For one such as myself whose personality and character make-up has been steeped in the darker nature of things this piece of music (calling it a song is so inadequate a term) definitely speaks to my inner self.
The latest pick for Song of the Day is one that is, quite literally, worshipped by some people I know. For them, this is the greatest song ever committed to record — or, if not the absolute pinnacle, something so close to it that the distinction barely matters. Today’s selection is Blind Guardian’s “And Then There Was Silence,” and if you’ve never heard it, you are about to understand what the word “epic” actually means.
The song runs a staggering fourteen minutes long and comes from this German power metal band’s 2001 album, A Night at the Opera. The lyrical foundation draws from two of the greatest works in the Western literary canon: Homer’s The Iliad and Virgil’s Aeneid. Let that sink in for a moment. A heavy metal song rooted in ancient Greek and Roman epic poetry. Specifically, “And Then There Was Silence” chronicles the final days of Troy — the fall of a city, the collapse of a civilization, and the human cost of a decade-long war — all rendered in the language of power metal. The ambition alone is enough to demand respect.
There is a persistent and deeply unfair misconception about metal as a genre — the idea that it is nothing more than formless noise, guttural bellowing, and musicians who wouldn’t recognize a melody if it knocked them flat. “And Then There Was Silence” will dismantle that notion within its first minute. Blind Guardian frontman Hansi Kürsch doesn’t merely carry a tune; he commands the music with a vocal range and precision that rivals the most accomplished operatic tenors and sopranos working today. His voice soars through passages of genuine beauty, then plunges into something more urgent and desperate, perfectly mirroring the emotional arc of the story being told. This is singing in the most demanding and traditional sense of the word.
This is also the song that finally pulled me headlong into the world of power metal — a subgenre I have affectionately and unapologetically taken to calling “nerd metal.” The label is meant as the highest of compliments. Power metal draws its lyrical DNA from fantasy novels, mythology, folklore, medieval history, science fiction, and the great legends of human civilization. It is music made by and for people who stayed up past midnight reading Tolkien, who know the difference between the Trojan War and the Peloponnesian War, and who see no contradiction between loving heavy guitars and loving great literature. Blind Guardian, in particular, have built an entire career on this premise, and “And Then There Was Silence” represents the form at its absolute peak.
What makes the song especially remarkable is its narrative perspective. Rather than presenting the fall of Troy from a broad, panoramic viewpoint, Blind Guardian tells the story through the eyes of Cassandra — the Trojan princess cursed by Apollo to speak true prophecies that no one would ever believe. She saw every catastrophe coming and was powerless to prevent any of it. It is one of the most haunting figures in all of classical literature, and the choice to center the song on her experience gives the music a quality of grief and inevitability that the straightforward historical account could never achieve.
The structure of the song itself echoes that of an ancient epic poem. It builds, recedes, transforms, and builds again. I have compared its finale to the ending of Peter Jackson’s The Return of the King — the one famously criticized for having too many endings. Just when you feel certain the song has reached its emotional peak and is preparing to close, another movement begins, and rather than feeling excessive, each new section deepens and enriches everything that came before it. The song earns every one of its fourteen minutes.
Here is the honest truth: even people who are entirely indifferent to metal — who would not voluntarily put on a heavy guitar record under any ordinary circumstances — tend to find something in this song that reaches them. Something in the melody, the storytelling, the sheer scale of it connects across the usual genre boundaries. It asks only fourteen minutes of your time and, in exchange, offers something genuinely unlike almost anything else in popular music. That seems like a reasonable trade.
And Then There Was Silence
Turn your head and see the fields of flames
He carries along
From a distant place
He’s on his way
He’ll bring decay
(don’t move along cause things they will go wrong
the end is getting closer day by day)
in shades of grey
We’re doomed to face the night
Light’s out of sight
Since we’ve reached the point of no return
We pray for starlight
We wait for the moon
The sky is empty
Alone in the unknown
We’re getting nowhere
We have been betrayed
By the wind and the rain
The sacred halls empty and cold
The sacrifice made should not be done in vain
Revenge will be taken by Rome
We live a lie
Under the dying moon
Pale faced laughs doom
Indulges in delight
It’s getting out of hand
The final curtain will fall
Hear my voice
There is no choice
There’s no way out
You’ll find out
We don’t regret it
So many man have failed
But now he’s gone
Go out and get it
The madman’s head it shall be thine
We don’t regret it
That someone else dies hidden in disguise
Go out and get it
Orion’s hound shines bright
Don’t you think it’s time to stop the chase
Around the ring
Just stop running, running
Round the ring
Don’t you know that fate has been decided
By the gods
Feel the distance, distance
Out of reach
Welcome to the end…
Watch your step, Cassandra
You may fall
As I’ve stumbled on the field
Sister mine
Death’s a certain thing
Find myself in darkest places
Find myself drifting away
And the otherworld
The otherworld appears
Find myself, she dies in vain
I cannot be freed
I’m falling down
As time runs faster
Moves towards disaster
The ferryman will wait for you
My dear
And then there was silence
Just a voice from the otherworld
Like a leaf in an icy world
Memories will fade
Misty tales and poems lost
All the bliss and beauty will be gone
May my weary soul find release for a while
At the moment of death I will smile
It’s the triumph of shame and disease
In the end
Iliad
Raise my hands and praise the day
Brake the spell, show me the way
In decay
The flame of Troy will shine bright
The newborn child would carry ruin to the hall
The newborn’s death will be a blessing to us all
Good choice?
Bad choice?
Out of three
You’ve choosen misery
Power and wisdom
You deny
Bad choice
War is the only answer
When love will conquer fear
So the judgment’s been made
To the fairest
The graceful says
Badly he fails
Warning
Fear the heat of passion, father king
Don’t let him in
Don’t let her in
Desire, lust, obssession
Death they’ll bring
We can’t get out
Once they are in
She’s like the sunrise
Outshines the moon at night
Precious like starlight
She’ll bring in a murderous price
In darkness grows the seed of man’s defeat
Jealousy
I can clearly see the end now
I can clearly see the end now
I can clearly see the end now
The thread of life in spun
The coin’s been placed below my tongue
Never give up
Never give in
Be on our side
So we can win
Never give up
Never give in
Be on our side
Old moon’s time is soon to come
Nowhere to run
Nowhere to hide
Nothing to lose
Like one we’ll stand
We’ll face the storm
Created by man
Troy, Troy, Troy, Troy
And as the lion
Slaughters man
I am the wolf
And you’re the lamb
Hallowed Troy shall fall
Round the walls
Faith is shattered, bodies fall
Nowhere to run
Nowhere to hide
Nothing to lose
Like one we’ll stand
It’s all for one and one for all
All we live for will be wiped out
I feel that something’s wrong
Surprise, surprise they’re gone
Full moon your time goes by
And new moon’s still kept out of sight
We live
We die
Misty tales and poems lost
All the bliss and beauty will be gone
May my weary soul find release for a while
At the moment of death I will smile
It’s the triumph of shame and disease
In the end
Iliad
Raise my hands and praise the day
Brake the spell, show me the way
In decay
The flame of Troy will shine bright
Roam in darkness
Spread the vision
We will be lost if you truly believe
Troy in darkness
There’s a cold emptiness in our hearts
That they’ve gone away
And won’t come back
They’ll tear down the wall to bring it in
They’ll truly believe in the lie
With blossoms they’ll welcome the old foe
The vision’s so clear
When day and dream unite
The end is near
You’d better be prepared
The nightmare shall be over now
There’s nothing more to fear
Come join in our singing
And dance with us now
The nightmare shall be over now
There’s nothing more to fear
The war it is over, forevermore
No hope
The blind leads the blind
Carry on
Though future’s denied
Mare or stallion
There’s far more inside
We are in at the kill
We’ll cheerfully die
Misty tales and poems lost
All the bliss and beauty will be gone
May my weary soul find release for a while
At the moment of death I will smile
It’s the triumph of shame and disease
In the end
Iliad
Raise my hands and praise the day
Brake the spell, show me the way
In decay
The flame of Troy will shine bright
Its holy light shines on
So the judgement’s been made
We’re condemned though the trial’s far ahead
The crack of doom
Father
Your handsome son is heading home
Heading home
Still the wind blows
Calm and silent
Carries news from a distant shore
Out of mind
Can’t get it
Can’t get it out of my head
