Jane's Addiction vocalist Perry Farrell gives Adam Reader some heartfelt insight into Jane’s Addiction's hard rock manifesto "Mountain Song", which was the second single from their revolutionary album Nothing's Shocking. Mountain song was first recorded in 1986 and appeared on the soundtrack to the film Dudes starring Jon Cryer. The version on Nothing's Shocking was re-recorded in 1988.
"'Mountain Song' was actually about... I hate to say it but... drugs. Climbing this mountain and getting as high as you can, and then coming down that mountain," reveals Farrell. "What it feels to descend from the mountain top... not easy at all. The ascension is tough but exhilarating. Getting down is... it's a real bummer. Drugs is not for everybody obviously. For me, I wanted to experience the heights, and the lows come along with it."
"There's a part - 'Cash in now honey, cash in Miss Smith.' Miss Smith is my Mother; our last name was Smith. Cashing in when she cashed in her life. So... she decided that, to her... at that time, she was desperate. Life wasn't worth it for her, that was her opinion. Some people think, never take your life, and some people find that their life isn't worth living. She was in love with my Dad, and my Dad was not faithful to her, and it broke her heart. She was very desperate and she did something that I know she regrets."
Light tracers follow me farther
Into the depths of unknown
The blackness surrounding the borders of hope
We're alone
We plead for the signs of a second chance
In hopes it will stifle the fear
The dying remains of a world gone insane
We are near the end
A course that will lead us through darkness
Prepared while our leaders insist
We mustn't fall prey to the shadow of
The iron fist
We enter the void with our eyes straight ahead
The force all around us we feel
The twisted contusions of hatred will finally reveal
Enforcer
Master of nations revealed
Enforcer
The beams from his soul you will feel
Slicing and tearing our way to the gate
A towering fortress of blackened steel
Desolate plains holding dying remains
Heed the call of the master we'll soar to
The edges of time
Light tracers follow me farther
Into the depths of unknown
The blackness surrounding the borders of hope
We're alone
We plead for the signs, give us a second chance
In hopes it will stifle the fear
The battered remains of world gone insane
We are near
Once long ago we had to hide
In the shadows of the land
To keep us away from the crawl
Enforcer's taking hold of us
Into the depths of unknown
The blackness surrounding the borders of hope
We're alone
We plead for the signs of a second chance
In hopes it will stifle the fear
The dying remains of a world gone insane
We are near the end
A course that will lead us through darkness
Prepared while our leaders insist
We mustn't fall prey to the shadow of
The iron fist
We enter the void with our eyes straight ahead
The force all around us we feel
The twisted contusions of hatred will finally reveal
Enforcer
Master of nations revealed
Enforcer
The beams from his soul you will feel
Slicing and tearing our way to the gate
A towering fortress of blackened steel
Desolate plains holding dying remains
Heed the call of the master we'll soar to
The edges of time
Light tracers follow me farther
Into the depths of unknown
The blackness surrounding the borders of hope
We're alone
We plead for the signs, give us a second chance
In hopes it will stifle the fear
The battered remains of world gone insane
We are near
Once long ago we had to hide
In the shadows of the land
To keep us away from the crawl
Enforcer's taking hold of us
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Mountain Song
Jane's Addiction
Jane's Addiction
Gentle Hour
Yo La Tengo
Yo La Tengo
This song was originally written by a guy called Peter Gutteridge. He was one of the founders of the "Dunedin Sound" a musical scene in the south of New Zealand in the early 80s. From there it was covered by "The Clean" one of the early bands of that scene (he had originally been a member of in it's early days, writing a couple of their best early songs). The Dunedin sound, and the Clean became popular on american college radio in the mid to late 80s. I guess Yo La Tengo heard that version.
Great version of a great song,
I Can't Go To Sleep
Wu-Tang Clan
Wu-Tang Clan
This song is written as the perspective of the boys in the street, as a whole, and what path they are going to choose as they get older and grow into men. (This is why the music video takes place in an orphanage.) The seen, and unseen collective suffering is imbedded in the boys’ mind, consciously or subconsciously, and is haunting them. Which path will the boys choose? Issac Hayes is the voice of reason, maybe God, the angel on his shoulder, or the voice of his forefathers from beyond the grave who can see the big picture and are pleading with the boys not to continue the violence and pattern of killing their brothers, but to rise above. The most beautiful song and has so many levels. Racism towards African Americans in America would not exist if everyone sat down and listened to this song and understood the history behind the words. The power, fear, pleading in RZA and Ghostface voices are genuine and powerful. Issac Hayes’ strong voice makes the perfect strong father figure, who is possibly from beyond the grave.
Magical
Ed Sheeran
Ed Sheeran
How would you describe the feeling of being in love? For Ed Sheeran, the word is “Magical.” in HIS three-minute album opener, he makes an attempt to capture the beauty and delicacy of true love with words. He describes the magic of it all over a bright Pop song produced by Aaron Dessner.
Blue
Ed Sheeran
Ed Sheeran
“Blue” is a song about a love that is persisting in the discomfort of the person experiencing the emotion. Ed Sheeran reflects on love lost, and although he wishes his former partner find happiness, he cannot but admit his feelings are still very much there. He expresses the realization that he might never find another on this stringed instrumental by Aaron Dessner.
Some consider the gate to the Garden Of Eden to be guarded by Cherub with Flaming Swords. I am going over this album trying to see if its conceptual, I hold that it may be an indication that the writer has knowledge of past,present and future. The belief stems from allegory references throughout this work. References specifically of time and traveling on planes could be relating to astral travel and inter/infra dimensional travel. He points out the My general theory is that somehow we humans gain the ability to separate or conquer time. I feel time is the guardian of the (star-gates)God put in the garden. Or the speed of light could be the barrier necessary for us to unit the duality inherent in the tree in the garden. We seem to be able to return before our fall------ the first part of the song "The dying remains of a world gone insane We are near the end"
It says the world is dying and we are near the end. Further in their journey through the plains
(the origin of the Hebrew עדן, which it translates to "delight", may derive from the Sumerian term EDIN.[4] The Sumerian term means steppe, plain, desert or wilderness,[5] so the connection between the words may be coincidental. This word is known to have been used by the Sumerians to refer to the arid lands west of the Euphrates. Alan Millard has put forward a case for the name deriving from the Semitic stem dn, meaning "abundant, lush".)
"Slicing and tearing our way to the gate A towering fortress of blackened steel Desolate plains holding dying remains Heed the call of the master we'll soar to The edges of time"
"The battered remains of world gone insane We are near"
The world is battered but not in the condition indicated prior as near the end and dying. Also they indicate here that they simply are near. This may point to the reference point backwards to the point we fell.
I continue to research
And w