Home (theory of the ego death and rebirth experience)

Encoding/Decoding of Mystic-State Themes in Rock Lyrics


Acid Rock lyrics: remote cueing across verses. 1

The single-meaning fallacy in lyrics interpretation. 2

Lyrics: focus on the theory of interpretation. 2

Politics, religious experience, & acid-mystic encryption. 3

Acid rock everywhere. 4

Drug Songs. 5

Recognizing lyrical allusions to the mystic altered state. 5

Selecting Bands to Analyze.  Entheogen-induced egodeath. 9

Lyrics: sufficient scope of examples. 9

Rain = Reign: Double-hearing as Work within Paradigm.. 10

Song Lyrics: Encoding/Decoding. 12

Sound perception in the altered state. 13


Acid Rock lyrics: remote cueing across verses

Early in this discussion group I posted an analysis of Bohemian Rhapsody -- very heavy ego-death/acid mysticism allusions.  I consider Queen one of the groups that has a full grasp of the entheogen rock religion, but prefers to write isolated songs focusing on that subject. 

Rush, as a philosophy group ought, chooses to allude to the subject more consistently or relentlessly throughout their albums, particularly their classic-era albums Caress of Steel through Grace Under Pressure (mid-1970s to mid-1980s). 

Black Sabbath treated LSD religion as a substantial but not emphasized portion of their drug-alluding Heavy Rock scope -- Ozzy's first two solo albums, however, emphasized LSD, according to my interpretation.  I have heard that LSD was used routinely by many bands as part of lyric writing; I suspect that was a trick of the trade, used for albums such as one by the Cars. 

There is a distribution of acid-mysticism allusions at the level of a band, an album, a song, or a verse -- at any level there may be a high density of allusions.  One technique is to insert a verse dense with allusions into a song that otherwise is innocent of such allusions.  Metallica's For Whom the Bell Tolls, Cheap Trick's Way of the World.  This verse is a key suggesting reading the remaining lyrics in their mystical sense, though the other lyrics are not themselves filled with dense allusions. 

That is like a mundane-state, ordinary song about flying in airplanes, with the middle verse switching to overtly double-coded meaning such as "a trip so high, visions before my eye", which would then switch the meaning of the other lyrics too.  This is the theory or principle of remote cueing.  Suppose only half of the verses in Caress of Steel are, considered in isolation, clearly entheogenic, and the other verses are no more entheogenic than any straight lyrics would randomly happen to be. 

Yet considered as a whole, the entire album and all its lyrics would demand to be interpreted entheogenically, even the average verses, due to the presence in the package of the strongly entheogenic verses.  This formula makes great sense, more so than proposing, say, an entire album with just one verse meant to be heard in its entheogenic sense, because if the listener is in a 12-hour altered-state session, the mind will be in the encoding/decoding state for all of the verses, not just for one song. 

Album-oriented rock started as trip soundtrack rock.  Single-oriented acid rock was impractical, because LSD lasts 12 hours, while a pop-sike single lasts only 3-1/2 minutes.

In addition to double-entendres in lyrical words, and altered-state musical sounds, there are hybrids, such as double-speak mumbling or double-tracked vocals singing two different but similar sounding words together. 

One of the most inventive and brilliant sonic allusions to LSD ever is the uneven heartbeat (heart palpitations) at the end of the space-trip song Cygnus X-1.  This sound is a total givaway communicating the presence of LSD, but only to those who are real veterans who have made a serious and sustained study of the subject.

What about this -- would you call it lyric, or music?  In the song "Flying High Again", Ozzy sings "Never heard a thing I said", then ping-ponged is the pseudo-delayed "said" echoed twice, but it's actually the word "dead": "Never heard a thing I said (dead, dead)."  The song "Chemistry" by Rush uses strategic mumbled words often.

Probably the deservedly most famous sonic allusion to LSD-triggered ego death is the orchestral build-up, twice, at the end of the Beatles' album Sgt. Pepper, in the song A Day in the Life, which perfectly captures the orgasm-like timing of the ego-death realization buildup.

The end of Cygnus X-1 is Rush's exact equivalent to the build-up in Day in the Life, so that we could say Cygnus X-1 is Rush's "A Day in the Life".

The single-meaning fallacy in lyrics interpretation

S.A.T.O. could be expanded as Sailing the Acid Trip Ocean.  These are the initials to his wife, Sharon's, full name.

I need to clarify the single-meaning fallacy.  People say that the Rush song Chemistry is about consciousness and relationships, and "therefore" can't be about LSD.  Red Barchetta is about a car and "therefore" can't be about LSD phenomena and insights.  Such thinkers have flunked Poetry 101.  The fact that S.A.T.O. is Sharon's initials is an important and valuable contribution to studying Ozzy lyrics, but by no means shuts out other additional expansions.

Lyrics: focus on the theory of interpretation

In this particular song (lyrics by Bob Dylan), I don't see clearly allusions to the phenomena of the mystic altered state.  I'd like to see your analysis.


The posting rules of this discussion group *require* that any posting of lyrics be accompanied by indications of how the lyrics deliberately allude to the phenomena of the mystic altered state.  I have only occasionally broken this rule in my own posts.

I believe that All Along the Watchtower, penned by Dylan, *not* Hendrix, has *no* direct, deliberate allusions to the mystic altered state.  I also believe some other songs discussed here have no such allusions -- but the other postings are better because they provide an attempt to justify the interpretation.

This group must not become a dumping ground for "lyrics I like" or "lyrics I find trippy".  It needs to stay focused on interpretation and especially on the theory of interpretation: how specifically can a panel of judges evaluate whether or not a song or verse deliberately alludes to the phenomena of the mystic altered state?  A major factor is to look at the broad context of a verse inside a song inside an album inside a group's work inside the Rock culture of their era and cultural milieu. 

Against the careless unreflective assumptions of many fans, a verse such as in the Rush song Twilight Zone has strong context of the mystic altered state; a case can be made that the album, the surrounding albums by the group, and the group's genre and similar groups within the era of the mid-1970s, is firmly based in the mystic altered state.  As far as I know, Queen has much less of a sure basis in the mystic altered state, and yet, the Queen song Bohemian Rhapsody is certainly a model of dense allusions to the mystic altered state. 

I have not studied Queen lyrics or Freddy Mercury lyrics much, so my view on their overall status is tentative.  Neither have I seriously studied Michael Jackson.  One must dig in and seriously investigate: this need was proven by my research into the Beatles' song "Help!": a careless assessment says it was written too early to have mystic altered state allusions, but a serious investigation reveals that it has perfect timing assuming heavy use of the mystic state after the initiation of John Lennon at Michael Hollingshead's place some months before writing the song -- assuming that Lennon immediately took to heavy use of the mystic altered state.

A principle of esoteric mysticism-religion is the idea that higher knowledge is reflected all throughout the world -- but the whole issue in lyrics interpretation is how to judge whether a song contains deliberate and conscious allusions to higher experiential insight, or only accidental allusions.  Looking for high density of such allusions helps, but if one is hell-bent on seeing high density allusions, literally every word and phrase of every song ever written has either accidental or deliberate allusions to the mystic altered state.  Allusions are everywhere, but the entire problem is how to differentiate between accidental versus deliberate allusions to mystic experiencing.

There is, in principle, no reason why Pop music genre such as Michael Jackson should lack the authentic muse of mystic state experiencing and allusions to it.  There *are* reasons to expect higher incidence of such allusions in Heavy Rock.  Heavy Rock is inherently more mystic-state grounded than Pop music, because in this culture of the late 20th Century, musical heaviness and the intense mystic altered state both are driven by seeking and maximizing intensity. 

A focus on mystic state allusions in popular music should be centered in Heavy Rock, expanding outward from that center.  I use a trilogy of albums to represent the heart and representative ground zero of mystic allusions in Heavy Rock:

o  Diary of a Madman, by the Ozzy Osbourne band, lyrics written by bassist Bob Daisley 


o  Ride the Lightning, by Metallica, including bassist Cliff Burton

o  Caress of Steel, by Rush

Politics, religious experience, & acid-mystic encryption

Acid-encoded mystic lyrics have two basic layers of meaning: the surface layer, and the allusions to acid mystic cognitive phenomena.

This is how a song about the shuttle launch is also about (alludes to) the acid mystic phenomena.  The demonstrable presence of a non-acid surface meaning in no way prevents a song from also containing dense allusions pointing to mystic acid phenomena.  So it's utterly futile and misses the game -- it's literalism -- to insist that "the discovery is of an electric guitar" or "subdivisions is about suburban alienation", as though that's some sort of hidden revelation. 

Of course the track Discovery is "about an electric guitar"; what could be more explicitly stated?  That's the surface meaning and is not a matter of revelation, debate, or contention -- that's the blatantly given starting point.  Jesus deconstructor Robert Price helped his wife write just such a shallow, literal, superficial analysis of all this band's lyrics, utterly missing the entire altered-state layer. 

People assume, without considering any other possibility, that a song must have a single meaning; "it means M, therefore it *can't* be about acid" -- but the point isn't whether the song is about the surface meaning M *or* "about acid"; rather, the question is whether the song that's about meaning M on the surface is worded carefully so that it also contains dense deliberate allusions, phrasing choices in expressing surface meaning M, that are designed to flash and point to mystic state phenomena to that listener who is in a loose cognitive state and is on the alert for such pointers and signals.

Some albums such as Queen's News of the World do have isolated songs about acid phenomena: the song Sheer Heart Attack.  The album Signals might seem that way, if you consider only the song Chemistry to have allusions to the phenomena of the acid mystic state.  However, that album is the opposite: all the songs *except one* (Losing It) have dense allusions to acid mysticism.

The live album Exit Stage Left: the title alludes to ego death -- the suspension of the separate-self/freewill sense, and its permanent logical overthrow.  The back cover shows the slack puppet king, who I call "King Ego", from the cover of the album Farewell to Kings, sitting on a crate stenciled with the large number 43 and the RUSH logo in a trippy 1970s typeface. 

This crate is akin to a cask, alluding to the Cask of '43 mentioned in the song Bacchus Plateau on the album Caress of Steel.  Here are the lines that mention the cask of '43, with my existing analysis:


Another endless day.

Silhouettes of grey.

Another glass of wine. [another LSD session]

Drink with eyes that shine. [dilated eyes, flushed face]

To days

without that chill at morning.

Long nights, [tripping]

time out of mind. [psychotomimetic, out of the egoic mind mode]

Draw another goblet [another LSD dose]

from the cask of '43. [LSD, discovered in 1943]

Crimson, misty mem'ry, [search "crimson", = life blood of ego] [perceptual blurring, acute perception of cognition as present memory re-constructing]

hazy glimpse of me. [ego disappearance. LSD perceptual blurring]


Rock musicians have always valued LSD, because it gives intense experiences to write about and allude to, and provides an insider language, a cult for those in the know, a member's club for the Experienced, adds the transcendent dimension turning mere entertainment into a vehicle of divinity, and through loose cognition, releases the Muse, providing a rush of improvisation and innovation ability. 

These benefits of LSD are well-known to electric guitarists; it's an open trade secret like placing an equalizer effects pedal before preamp distortion rather than after -- but these benefits are much less well-known to drummers.  Drummer/lyricist Neil Peart is the notable exception; he is an acid-inspired drummer: the Jimi Hendrix and the Eddie Van Halen of drums.

It's little use to ask Rush whether they are largely an Acid Rock group.  Due to the conditions of prohibition, they have every reason not to be forthright about this; it would only be a liability.  Why should they rock the boat?  The audience In the Know doesn't need them to confirm what's already obvious, and the audience who is oblivious is doing fine and buying the albums and concert tickets.  Why risk alienating anyone? 

There's also the mystique advantage; mystery religions have always liked the idea of things being hidden and later revealed.  Rush hides, the acid state reveals -- and I explicitly, systematically reveal.  It's a viable arrangement.

This mode of decoding/analysis is common in religious myth, the mystery-religions, heretical thought, and esoteric Christianity.  As long as the upper class of aristocrats, clergy, and drug warriors is intent on controlling and restricting mystic and forbidden knowledge, mystics have had to become encoders and decoders.  Acid Rock lyric encoding is just one more manifestation of the relationship between political power and direct religious experience.

Acid rock everywhere

>hey look its not liek that ....ive used drugs before...and its bs what they say first of all its not soul detration what they do is at this gay webpage is take the last s in timless and say its part of old mkaken it sound like soul and attraction with the echo semi sounds like detraction but even when i sung these jsut me ..it sounded like soul detraction the fact is that you poeple try to find stuff that doesnt exist because u belive u are of a higher class and can read between the lines better then the rest of us i mean come on THAT DUDE JUST FIGURED OUT CARRES OF STEEL MENT THE GILLOTENE IN BASTILLE DAY  *Sorry for my spellin*...these guys arent that smart lol

An enginere wroet me and sadi thta of coures no professionla enginere woudl waset expensiev studoi resourcse on insertign specila effecst in the musci to provied encodde cluse alludign 2 the phenomean of teh mystci alterde staet.  Btu thas't wyh thta so-callde "enginere" ist'n a *greta*, *inspirde* enginere.  WHTA A POSRE!!!!.  Whta cna u sya to suhc innocenst?

There are two paradigms on this subject: either such acid-lyric encoding is rare as ice in hell, or so common that it's standard.  It took me all too long to make the journey from assuming the former, to the latter, so that now I speak of High Classic Rock, which *is* acid rock, which I take in the broad sense to naturally and logically include all other entheogens and altered states too, just as Amanita in the broad sense stands for the entire unofficial tradition including Mary John Magdalene as the Beloved Disciple, entheogens as the true Eucharistic sacrament, esoteric Christianity as the only non-heretical kind of Christianity, mythic-only Christ, real religion as experiential primary religious experiencing, and so on. 

When you recognize and discern the density of acid-mystic double-entendres even in some Cars, Devo, and Cheap Trick albums and songs -- *but not others* -- then you finally come to respect just how deeply acid rock is the authentic mystery-religion of the late 20th Century.

Thank you very much for confirming what I have concluded, that acid-rock double-entendres are *far* more common among the most inspired Rock than the uninitiated could ever imagine.  I'm no longer mainly interested in discovering more confirmation of this, nor of convincing anyone. 

From here on out, the best confirmation and convincingness anyway lies in my new main goal of acid-mystic study: *theorizing*; we have now collected enough data and evidence about myth, art, and entheogens to *theorize*, which is required to allow everything, data and insights and various traditions, to fall into place.  The higher paradigm framework forms, and the incoming streams of data fit in with a new configuration, strengthening the framework further.

Drug Songs


Rush: Passage to Bangkok (cannabis)  http://www.egodeath.com/rushlyrics.htm#xtocid22938

Rush: Bacchus Plateau (LSD)  http://www.egodeath.com/rushlyrics.htm#xtocid22923

Rush: Chemistry (LSD)  http://www.egodeath.com/rushlyrics.htm#xtocid22988

Most acid-inspired Heavy Rock songs are actually about drug *experiencing* rather than mentioning the drugs themselves.  The lyrics of such songs allude to and describe drug experiences without explicitly naming the drugs that trigger the experiences. 

The predominant reason that the assumption of the presence of drugs is kept implicit and hidden is that these drugs are illicit, illegal, and taboo.  To fly under the radar of prohibition, the artists and listeners use an encoding/decoding scheme. 

To the uninitiated (those who are not in the know), the lyrics are abstract, whimsical, artistic.  To those in the know, the lyrics serve to characterize and celebrate the drug experiences.

This covert encoding applies much more to lyrical than instrumental music, thus more to Rock than Electronica even though recently Electronica has been more faithful to the true gospel of the Holy Spirit than Rock has been.

Rock lyrics alluding to mystic dissociative phenomena


Recognizing lyrical allusions to the mystic altered state

>I have just been reading your interpretation of Rush lyrics and with respect most are way off mark.

>I simply disagree that any lyrics are alluding to LSD etc...."Witchhunt" which you say is about the "drugs war" is about the evils of racism, xenophobia etc and has absolutely nothing to do with LSD, it's blatantly clear from the lyrics.

>Rush are probably one of the cleanest living bands in rock and always have been,drugs have never been on there agenda.

What is your position regarding the song Passage to Bangkok?  You didn't address that, but should have.  Without addressing it, your message lacks credibility.


Do you have any evidence that Peart and Rush in the 70s were clean, rather than heavy drug users?  I have a lot of lyrical evidence that Peart was intimately familiar with the phenomena that occur in the mystic altered state.  With no evidence, your assertion is a preconception, an empty opinion, carrying no weight and possessing no ability to persuade.

If you are not familiar with the phenomena of the mystic altered state and are not familiar with the mystery religions and Hellenistic thinking, you are in a poor position to evaluate whether the themes and wording in Rush lyrics include allusions to the phenomena that are common in the mystic altered state.

>Granted you may have some good points,but there is some big difference between the heady 70s and the eighties onwards and anyone who has followed Rush for a long time (as I have since I was 12) knows that the guys are wonderful,caring,family minded guys with a great sense of fun.

>Many of their lyrics in recent times have been about issues like personal ambition and life in general and about internationalism. The lyrics of Rush have been inspirational to a great many people who have no truck with LSD or anything else of that ilk. The guys are consummate musicians who have always put the music first and never went for the whole Rock scene and all the associated baggage,this has been recorded many times in biographies and in Fanzines.

>You are way off mark and its very sad that you make such a superb band look like a group of drug addicts when they have NEVER been anything like that.

You have not explained how your points supposedly disprove Rush's repeated use of LSD.  I will spell out your implied reasoning to see how compelling it is.

>Rush are wonderful, caring, family minded guys with a great sense of fun.  Therefore they must not have been LSD enthusiasts or acid mystics, because LSD users are not wonderful, caring, family minded guys, and they do not have a great sense of fun.

>Many of their lyrics in recent times have been about issues like personal ambition and life in general and about internationalism.  Therefore the lyrics do not contain allusions to LSD phenomena or acid mysticism, because lyrics can only contain a single level of meaning.

>The lyrics of Rush have been inspirational to a great many people who have no truck with LSD or anything else of that ilk.  Therefore the lyrics do not contain deliberate allusions to LSD phenomena, because songs cannot be inspirational to non-LSD users while still having elements that are intended for listeners in the altered state.

>The guys are consummate musicians who have always put the music first.  Therefore they have not used LSD repeatedly, because people who put the music first must avoid using LSD.

>As documented in biographies and in Fanzines, they never went for the whole Rock scene and all the associated baggage.  Therefore they have not used LSD, because rejecting the common Rock lifestyle means avoiding taking LSD.

>You make a superb band look like a group of drug addicts when they have never been anything like that.

Your arguments are weak indeed, as well as ignorant, narrow-minded, prejudiced, and jam-packed full of preconceptions.  It's not really thinking, but rather, superficial, unexamined, assumed associations.  So I see what kind of critical thinking is needed to reject the hypothesis I put forward.  You don't know anything at all about LSD, evidently, except pop-culture and propaganda.  I'd be surprised if you knew anything about the Greek mystery-religions and the Hellenistic myths. 

What can I say to the ignorant children, except, I'm glad that I can introduce them to the world of higher thought for the first time.

I receive dismissals and concurring emails.  Neither the 'for' nor 'against' emails have any real intellectual content, and they contain no evidence that either party has ever read any books on philosophy, mystic/religious experiencing, or entheogens. 

I should upload the arguments and organize them, then request further replies that take the arguments into account.  This way, the responsibility falls on me as organizer of information.

I should also write a list of recommended books and links for people who are unfamiliar with the research in such areas.  These do not prove my position, but provide more adequate grounds on which to debate my thesis.

o  Mystery-religion studies, Greek mythology webpages

o  Books about theory of mystic experiencing

o  Books about altered-state phenomena

o  Books about the entheogenic theory of the origin of religion.

o  Books about Rush, acid rock, and progressive rock (I've already uploaded the start of one prog rock book that says loud and clear on page 1, psychedelic rock begat prog rock).

If you read these kinds of materials and *then* still disagreed with me, we'd be prepared for a meaningful, informed debate.  The Peart interviews I've seen have not supported my thesis, and I would like to collect Rush articles and interviews to search them for evidence to support my thesis.  If I heard from someone who was well-read and also experienced with altered states, I would consider that to be a significant challenge to my thesis, rather than a dismissal by someone who is unqualified to compare altered-state experiences to these lyrics and judge the thesis. 

I have never received a 'for' or 'against' email from anyone who was well-read *and* experienced with the altered state.  However, I have spoken with someone in the entheogen community who was a spiritual adult in close contact with youth culture during the 1970s, who assured me that Rush are indeed acid-mysticism artists, as is rather obvious when examining the Caress of Steel vinyl-album cover including the lyrics and photos. 

It strains credibility to hold up this vinyl-album cover and deny that the album is acid mysticism.  The full-size, fold-out album cover all but screams out "acid ego-death" in large, undulating letters, if you know anything about entheogens, psychedelics, and religious experiencing.  Side 2, an integrated "concept" album-side, is the greatest example of philosophy meeting entheogens in Rock lyrics.  It covers ego-death and rebirth, the astonishing experience of loss of control in mystic experiencing, and existential issues following the ego-death experience.  A true work of art.


Neil wrote:

>My next drumming appearance was at the Lakeport High School variety show. With Don Brunt on piano and Don Tees on sax, we were the Eternal Triangle, and we practiced nights at the school. (Don Brunt would drive us home in his Dad's '65 Pontiac, usually with a detour out to Middle Road, where he could get it up to a hundred). For the variety show we played a couple of songs, including one original which was titled LSD Forever (as if we had any idea -- the only drug we knew anything about was Export A!). My first public drum solo was a success, and I will never forget how I glowed with the praise from the other kids in the show (including, I've always remembered, Paul Kennedy, who has done well for himself on CBC Radio).


>>Rush, in their early days, did perform a song called "Bad Boy" which stated:

"You flipped your dog on acid, and now he's flippin' on his bed."

>... it was written by Larry Williams, not Neil.



'Hemispheres' was released in October 1978, and by the time December rolled round it had already gone gold in the States.

'Hemispheres' was probably Rush's most ambitious album to date. It was originally inspired by a book called 'Powers Of Mind' written by Adam Smith. Neil Peart explained that Smith was a researcher who studied the occult and various other kinds of philosophies, tried LSD, transcendental meditation and so on.

Smith devotes one chapter in his book to the division of the brain into hemispheres - Apollo being the right hand side of the brain and Dionysius the left.

Side one of 'Hemispheres' is devoted to the further adventures of Cygnus, the character who was last seen in 'A Fare well To Kings', plummeting through a Black Hole in his spaceship Rocinante.

Says Peart who, of course, wrote the Iyrics for the album: "The world he Ieaves is being ruled over by two gods who represent opposing forces - Apollo and Dionysius. Apollo champions the force of reason and rationale and Dionysius champions the force of instinct and intuition.


Neil wrote:

>Personal experience in China and Africa has proven that the most vivid and bizarre dreams are created under these conditions, far beyond the wildest hallucinations of any "mind-expanding" drug. My advice to those substance-abusers who seek cheap thrills and momentary elevation by way of addictive and messy chemical concoctions, "Stop wasting your time and money -- try dysentery instead."

Neil betrays himself by speaking with such authority in comparing a certain dreaming state to "any 'mind-expanding' drug". He makes the comparison based on "personal experience". He takes the stance of one who is in a position to offer advice to chemical users. His put-downs of the chemicals sound insincere -- he puts them down as a person who has experience with those things he is presumably rejecting.

My main concern is not whether Peart frequently combined LSD and drumming. The issue is whether he deliberately intended many lyrical turns of phrase to allude to the phenomena of the mystic altered state.

I have never asserted that LSD is the only way to bring about the mystic state. Your position is weak, if you have to resort to refuting assertions I didn't make, instead of trying to refute my actual position. My interpretation of Rush lyrics remains fully viable.

First let us agree on reasonable things.

o Passage to Bangkok is undeniably a celebration of THD. So don't waste our time with any blind, knee-jerk assumptions about Rush being morally clean and drug-free. If you take five seconds to investigate, if you have any investigative ability at all, you have to admit this before even entering the LSD debate. If you assert that Rush was drug-free, you are in frank denial and there is no sense in trying to debate with you -- you've disqualified yourself as a man of reason.

o Rush likely has experience with LSD. The two master drugs of the 60s and 70s were cannabis and LSD. Rush loved the first (cannabis), and Peart loved philosophy, art, and spirituality, and was aware of LSD to the point of playing a song named "LSD Forever". If early Rush played "Bad Boy" written by Larry Williams, about "flipping on acid", we have at least pop-culture LSD influences entering the band from multiple angles. Rush was a major heavy-rock band of the 70s. It would be more difficult to believe that they did *not* have some amount of LSD experience.

So, we know Rush loved cannabis and we are justified in assuming they were familiar with LSD to some degree.

Two questions remain:

o Just how much did Peart do LSD? I suggest that he sometimes used it weekly, in the mid-1970s, based on its half-week tolerance cycle, and the mention of "I commit my weekly crime", "on Sundays I elude the Eyes".

o Even if we find that Peart used LSD weekly, how can we assert that he intended the lyrics to refer to the phenomena of the LSD state of cognition? The scientific and intuitive evidence is in the lyrics, for those who have truly studied the perceptual and experiential phenomena of the mystic altered state.

Allusions to LSD phenomena in this song include "vanished time", and "I fire up the willing engine", "wind in my hair/head, shifting and drifting", "adrenaline surge", "sunlight on chrome, blur of the landscape, every nerve aware" (compare "every nerve is torn apart" in Cygnus X-1), "I spin around... shrieking", "Straining the limits of machine and man" (compare Body Electric's "guidance systems breakdown").

Don't believe what Peart says, whether he says he did or didn't do lots of LSD, or did or did not intend the lyrics to allude to LSD perceptions and experiences. The proof is in your own comparison of your own knowledge of LSD perceptions and experiences to your own careful reading of the phrases in the lyrics.

Stereotyped pop-culture assumptions about psychedelics won't do us any good when investigating how Rush alludes to LSD phenomena. They are not an ordinary band and they do not reference LSD phenomena in the ordinary way of other bands.

When we list the distinctive LSD phenomena and search for matching phrases in Rush lyrics, there are more matches per album than with any other band, especially in Fly by Night through Grace Under Pressure, with Caress of Steel being the most thoroughly acid-devoted album and a complete and sufficient expression of acid-mystic philosophy.

The issue is not whether Rush is superficially psychedelic-style music. The issue is, is there an intensely high frequency of the lyrical phrases matching with the distinctive common altered-state phenomena, so that reason forces us to conclude that it has been reasonably proven that the lyrics are intended to allude to the phenomena of acid mysticism.

Very little is understood today about the mystic altered state. Acid rock is the authentic mystery religion of our time.


>I remember seeing a mid 70's concert video where Alex stuck out his tongue to the camera and he had a hit of blotter on it.

Was this a bootleg video, or an official video?

Selecting Bands to Analyze.  Entheogen-induced egodeath

Lots of bands have lots of acid-inspired lyrics.  It's the norm for Classic Rock in general.  I've focused on the surprising bands, not the obvious ones.

Lyrics: sufficient scope of examples

>One request when considering another rock album to discuss. My all-time profound musical anchor and navigation tool is Jimi Hendrix's "Electric Ladyland". Other honorable mentions include Ten Years After's "Cricklewood Green" , Led Zeppelin 1, and Miles Davis "Bitches Brew".

It is unclear how much more time I should spend highlighting the double-entendres that allude to the mystic altered-state phenomena in High Classic Rock lyrics.  I have provided more than enough material to begin a more or less exhaustive research project.

I am waiting for the lyrics of yesterday's new Rush album, Vapor Trails, to appear online.  The few lyrics I've seen so far contain altered-state double-entendres at a high density.  For example:

Like the rat in a maze who says

"Watch me choose my own direction"

Are you under the illusion

The path is winding your way?

The Rush newsgroup is surprised to see the song Freewill supposedly contradicted, and is surprised to see Satanic Occult devil-worship -- that is, a Tarot card of the hanged man.  The amazing thing is, everyone's wondering the meaning of showing "the Tarot" on the album, but no one is discussing the picture in front of their blind faces: what is the meaning of the hanged man in particular, rather than the Tarot overall? 

They are unable to see "an upside-down hanged man" because the only thing their rutted and un-mythic, uninitiated thinking is able to perceive is "a Tarot card".  Explaining this particular instance of God-forsaken Satanic occult paganism is a a trivial exercise for the reader in the egodeath discussion group who have read my treatment of the upside down pentagram as a symbol of no-self-will (no goatish, willful freewillist thinking), equivalent to crucifixion on a double-inverted cross.

The upside-down pentagram on the cover of 2112: (http://www.amazon.com/exec/obidos/ASIN/B000001ESF

and on the cover of All The World's a Stage: http://www.amazon.com/exec/obidos/ASIN/B000001ESH.

Ozzy's crucifixion on his double-inverted cross on the back of the Diary of a Madman cover: the back of http://www.amazon.com/exec/obidos/ASIN/B000063DIR.

Comparable to my focus on Christianity despite my study of all religions, there are good reasons to focus on Rush despite my study of all mystic altered state Rock lyric writers.  As a theorist, it is an efficient approach: focus on an exemplary particular, in conjunction with a sweeping study of the genre.  Actually it's more like a pyramid defined by 3 levels of scope:

1. Christianity (main focus)

2. Hellenistic mystery-cults, Judaism, Zoroastrianism

3. All religions & all myth

1. Rush lyrics (focusing on most songs from 5 or 6 particular albums)

2. Mainstream acid-oriented Heavy Rock albums or hit songs (High Classic Rock; Diary of a Madman, Ride the Lightning, Somewhere in Time, Bohemian Rhapsody)

3. Entheogen-oriented double-entendres in 20th-century music (Beatles, Cars, Devo, Talking Heads)

Note about spoken words from the album 2112:

Before initiation: We have assumed control

After initiation: And the meek shall inherit the Earth.

Interesting acid-rock group name and album title: Blind Faith.

Rain = Reign: Double-hearing as Work within Paradigm

>A rainbow is commonly associated with visionary plants

Q: When are white clouds green and pink?

The theory I've systematized is not difficult, and I have trouble understanding when discussion group members and moderators say my writing is unclear.  I must respect their reports of their experience, that they experience my writing as unclear -- but it must be that the perceived unclarity is due to paradigm difference.  How much clearer can one be, than what is in my .sig, for example?  Religion is purely metaphorical, being allusion to visionary-plant states, inducing awareness of no-free-will -- please explain what phrase is so unclear. 

I just don't see where the unclarity is.  Truth is not that hard to grasp, and not that hard to systematize.  I think people are just being dense, poor readers, and past a certain point, *no one* could write clearly enough for such poor readers.  I write in plain and simple language all the time, but some people are just too dense, too lazy, too something to comprehend my perfectly clear and direct writing.

I am glad to see multiple people proving that they have actually *read* the words I post, and understand them, and can do further work within the paradigm the systematization of which I have discovered and labored to demonstrate.

I don't know offhand whether I previously recognized or wrote about the 'rain'/'reign' connection, double-hearing or allusion.  One thing that needs to be mentioned in addition to Merker's above points is the visual distortion tie-in, as in "looking through a waterfall" or being "underwater".  There's a relatively full treatment of this visual distortion as 'water' theme in Robert Thorne's Marihuana: The Burning Bush of Moses, which is one of the most mystical-scholarship informed books on entheogens.

One reason the snake is considered wise is that it undulates -- wriggles -- like visual distortion.

Is the mystic climax the experience of determinism, or of prayer for miraculous rescue from it, from outside the system of cosmic determinism?  I suppose this is arbitrary, but certainly magic, miracle, and compassionate deities are popular enough in advanced mysticism to defend the latter position.  And any beginning mystic can have a climactic experience of overwhelming determinism (stealing away personal control stability and agency) long before the need is encountered for truly transcendent rescue from outside the system. 

This is an area for research and discussion among a community who are all operating within the entheogen-determinism paradigm.

>-----Original Message-----

>From: stemmer02

>ALWAYS you hear "rain" in a rock song substitute "reign".

>It can be also cleverly combined like in:

>"rain falls on every one  "  [The Smashing Pumpkins]

>"the same old rain"

>In the mystic altered state threre is easily conceived an image of Reign falling *just like* phsical Rain [on every one!!] If you stand directly beneath Father Sky (without (psychic/physical) Protection) you are bound to have "rain/Reign falling on you". Note clever double meaning: REIGNS falls on every one {mystic meaning): Everybody is subject to fate and is utterly dependent on it. Thus Reign="Your Divinly Given Will" falls (=metaphorically image) on everyone ("Comes To You As To Us All"). Also "the same old rain" indicates the timeless dimension of experiencing determinism and all of life being recognized as coming from the same timeless source /dimension.

>[Hammer To Fall, Queen]

Rich or poor or famous

For your truth it's all the same (oh no oh no)

Lock your door the rain is pouring

Through your window pane (oh no)

Baby now your struggle's all in vain

>Here another example for Rain = Reign. In the mystic state one struggles for control = Reign over one's self. The problem arises that the Reign is perceived as laying outside oneself. The Reign is *seen* as coming *through* your window pane (=eyes=windows of perception) *from outside*. The "Lock you door" refers to the struggle that's "all in vain": the egoic-logic can't escape its inbuilt deadly insight of its own ill-logic and must destroy and reformat.

>There are heaps of similar occurences in dozens of rock songs. I hereby claim to be the first discoverer of this hidden meaning of rock mysticism who openly publishes about it. The rain=reign theme is one of not *too many* key themes which have to be grasped to understand what "Rock'n'RoLl" is about: insight into hidden determinism brought up by visionary plants. Rock'n'Roll itself refers to the wiggling and wriggling one acts out when being in high transcendent cogntivi modus. Also it describes the tides of perception when mystified: Insight into Cosmic Determinism (the "Rock") alternates with phases of conventional-ego-pereception. These tides become more and more aggressive/shorter like sexual climax with the peak being the overwhelming orgasmic experience of Cosmic Determinism.

>-It comes to you as to us all

>--We're just waiting

>---For the hammer to fall

>(C) Merker

Merker wrote (paraphrased):

>>Always when you hear "rain" in a Rock song, substitute "reign".  It can be also cleverly combined like in "rain falls on every one", "the same old rain".  In the mystic altered state there is easily conceived an image of Reign falling *just like* physical Rain: on everyone.  If you stand directly beneath Father Sky (without (psychic/physical) Protection) you are bound to have "rain/Reign falling on you".

>>Note the clever double meaning: reign falls on every one; mystic meaning: everybody is subject to fate and is utterly dependent on it. Thus Reign = "Your Divinly Given Will" falls (=metaphorical image) on everyone ("Comes To You As To Us All").

I doubt I thought of or wrote about that rain = reign in acid-rock lyrics: rain, and reign, but not rain=reign.



"There's no swimming in the heavy water

No singing in the acid rain"

Song Lyrics: Encoding/Decoding

>All these songs are all saying the same thing, aren't they?

I agree that those songs have a high density of strong candidates for allusions to entheogenic mystic-state cognition.  A year ago, people's suggestions were almost always off the mark -- lacking a high occurrence of the standard key metaphors.  Once you know the code, it's an easy breakthrough. 

Follow the command in the song The Body Electric: "change the mode -- crack the code".  It really didn't take me any time at all.  When was the very first time I discovered the deliberate encoding of loosecog allusions?  Probably around 1994 with the Rush album Caress of Steel.  Everyone knows that 60s Rock was "about psychedelics".

But to find just how extensive was the use of systematic code of double-entendres and allusions, I had to actually survey many lyrics looking not for direct words about psychedelics, but rather, *indirect*, *coded* words.  The Byrds' Eight Miles High -- they were forced to claim it was about flying and not psychoactives.  And Lucy in the Sky with Diamonds was explained as an arbitrary whimsical picture by a child. 

How much were the alchemists *forced* to innovate and create a coding scheme?  How much were Catholic mystics *forced* to use obscure and emotional sounding language?  How much are Christ-myth scholars forced to write obvious nonsense like "people must have had different constitutions in late antiquity such that mere wine produced intense psychoactive effects"?

>It's just that one ineffable verse (uni-verse) in it's myriad manifestations. We should do an experiment with a Britney Spears song and try to find the hidden god's signature in the lyrics. The blueprint. The pattern.

Britney Spears' lyrics contain too few candidates per inch, for lyrical allusions to the mystic cognitive state.  However, she does run the site http://britneyspears.ac/lasers.htm -- Britney's Guide to Semiconductor Physics.  It's possible she could investigate the debate between Copenhagenists and hidden variables theorists, then have insights into how adopting a deterministic model is the clearest, simplest, most sensible spacetime model, though it kills the power of the ego.

The Beatles' 1965 album _Rubber Soul_ was a nice transitional point where the songs were supposedly pop relationship songs, but used phrasings that were chosen to allude to the altered state, as first done in the song Help! written in early 1965, shortly after John Lennon's first visit with Michael Hollingshead.

Lennon's his first experiences almost immediately resulted in a song with full, complete, and strong use of the altered-state lyric encoding technique -- because nothing could be more natural than to, as Spacemen 3 put it, "take drugs to make music to take drugs to".  It's a no-brainer of an idea to  write lyrics that reflect the overloaded meaning dynamics that occur, and expect these lyrics to sound innocent or arbitrary to the listener in the default state of cognition, but to be recognized when that same listener is in the matching loosecog state.

Sound perception in the altered state

White noise is interesting -- much is happening in it.  White noise becomes a string of objects floating in spacetime


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