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Mystic-State Allusions in Pop Sike Lyrics
Contents
Kenny & The Kasuals:
"Journey to Tyme"
Warm Sounds: "Night Is a'
Comin'" - Selfhood fading fast
Dennis Dahlquist/Del-Vetts:
"Last Time Around"
Rare Psych Compilation MP3 CDR
This is some source material for scholarly research of the authentic mystery-religion verses of our time. Note the themes of fate, entrapment, dread, elevation, unmet wish for descending, mix of disaster and sublime elevation, exploration and searching within the mind.
Artist: The Society
Title: High & Mighty
August 1967, Waco, Texas
You elevate yourself girl
You're burning your house down [? unintelligible]
When time has left you
You're on your own
You try but you can't come down
You keep real cool, yeah you know what's good [? unintelligible]
You feel a new sensation
You cry inside, you get high inside
You've reached your elevation
This time it's shown, yeah, your mind is blown
You're captured by your fear
You can't escape, yeah you've sealed your fate
Reality can't be near
You'll get your kicks, and now you are fixed
Your whole world is sublime
Your explanation, your new sensation
You've reached your elevation
Yeah, you wanna know
What goes on
What goes on, in your mind
You wanna know
But you can't find it
You can't find
What you're searching for
You can't return, no
Yes, you wanna know
What goes on
What goes on, in your mind
Artist:
Kenny & The Kasuals
Song:
Journey To Tyme
Date:
October 1966
Location:
Dallas, Texas
Today
All
meaning faded away
Tonight
A
journey to tyme
Nobody
cares if I ever return
It'll be
a quick trip that never end
It's
been such a sad sad day
I
I'm on
my way
Down
Collideoscope
path
Said a
trip
I won't
turn back
I won't
turn back
I'll
never come down
Yeah
I'm on
my way
Now
I've
reached my destiny
To be
Trapped
in the walls of time
Held a
captive
I can't
turn back
I won't
turn back
I can't
turn back
Yeah now
I
I've
reached my sad destiny
Come on
Ahh ha
ha ha!
Oh
Journey
to tyme
Journey
to tyme
Excerpts
from the song Night Is a' Comin' - by Warm Sounds (track 110 on my Pop Sike
Comp Mix CDR). In the common
schizophrenic light, happy, trippy, heavy, freaky style.
Ha-lleluja,
Ha-lleluja, Halleluja, Halleluja, Ha-l-le-lu...
Somewhere
high an elusive fire keeps you burning like a million stars
In my head
the grateful dead are peering through the bog
The
rainbow trees in a garden thoughts are making ripples on a lake of glass
The person
you, suspect is who, is disappearing fast
...
Well the
giant comes down from the rooftop shouting
Doesn't
anybody know my name
Yes we do,
your name's guru, and everything remains the same
When it's
light and you've got no sight
And inner
nothingness is like a knot
Can I be
so bold as to ask you what you're growing in your flower pot
...
(guitar
freakout)
...
[backwards
vocals, fading out on runaway echo-feedback]"
Last Time
Around
by Dennis
Dahlquist recorded by Chicago garage-punk by the Del-Vetts
Well - I'm
sittin' here sinking on deeper down
My head
is a-spinning around and 'round
I can't
seem to shake this feelin'
Oh - my
body is a-rockin' and reelin'
Oh -
it's such a funny feelin'
Well - I
know this is the last time around for me - oh yeah
Oh/Well
I'm sinking - oh - I'm sinking on deeper down
My eyes
are blurred and I can't hear a sound
Fight it
- help me fight it
'Cause I
know this is the last time around for me - oh yeah
Oh -
it's taken me over and swallowed me up
I'm
caught in a landslide - I can't run or duck
I've run
out of time and I've run out of luck
I know
this is the last time around
Oh -
yeah
Last
time around
Well - I
know this is the last time around for me
Analysis:
Well - I'm
sittin' here sinking on deeper down
My head is
a-spinning around and 'round [spinning is a common vision with LSD]
I can't
seem to shake this feelin' [strange feelings]
Oh - my
body is a-rockin' and reelin' [cognitive
distortion, wavering body sense]
Oh - it's
such a funny feelin'
Well - I
know this is the last time around for me - oh yeah [egodeath panic typically
causes vows to abstain, swearing that if one survives, they'll never do that
foolishness again]
Oh/Well
I'm sinking - oh - I'm sinking on deeper down
My eyes
are blurred and I can't hear a sound [blurred vision]
Fight it -
help me fight it [fighting to hang onto
egoic control, against egodeath's control-cancellation]
'Cause I
know this is the last time around for me - oh yeah
Oh - it's
taken me over and swallowed me up [Ground experienced as puppetmaster over
one's will and thoughts]
I'm caught
in a landslide - I can't run or duck [Ground of being undermines and trumps
egoic control efforts, being the cause and parent of them and true owner of
them]
I've run
out of time and I've run out of luck [timeless block-universe eternity] [luck
is often grouped with Necessity, Fate, heimarmene]
I know
this is the last time around
Oh - yeah
Last time
around
Well - I know
this is the last time around for me [ego dies; egoic worldmodel dies forever,
continuing on only as a ghost in the underworld of Hades]
After much
effort and upgrading, I created a high-fidelity MP3 CDR disc packed with a
couple hundred good rare psychedelic songs, with a high-resolution adhesive
label. I like to play it on Random --
never know what insanity will come up next.
I am
driven like a lemming toward such time-consuming projects -- this one is really
the holy grail: a library of good rare psych tracks on a single attractive
CD. Another CDR I created, for example,
has high-fi MP3s of some seven albums by the creative rock group Pavement.
This music
involvement very often pushes its way in front of philosophy research, which I
consider far more important. This
super-rich, colorful rock music is electric atmospheric -- it's easy to see the
allure of rock for creating an audio synesthesia mood environment.
On
synesthesia and music:
http://psyche.cs.monash.edu.au/v3/psyche-3-06-vancampen.html -- "By
the mid-nineteenth century synesthesia had intrigued an art movement that
sought sensory fusion, according to Cytowic (1995, section 3.7; 1993, pp. 54
ff). The union of the senses appeared more and more frequently in the writings
of musicians and visual artists. Multimodal concerts of music and light became
popular. Cytowic argues that "such deliberate contrivances are
qualitatively different from the involuntary experiences that I am calling
synesthesia in this review" (Cytowic, 1995, section 3.7). He defines
synesthesia as the involuntary physical experience of a cross-modal
association. That is, the stimulation of one sensory modality reliably causes a
perception in one or more different senses. He sharply distinguishes its
phenomenology from "metaphor, literary tropes, sound symbolism, and
deliberate artistic contrivances that sometimes employ the term 'synesthesia'
to describe their multisensory joinings" (Cytowic, 1995, abstract). ...
Cytowic sketches a nineteenth-century art movement that sought sensory
fusion. As one takes a closer look at that, one can see that it was mainly a
movement of inventors of color-organs (Peacock, 1988; Gage, 1993). The most
elaborate experiments with sensory fusion of color and music were carried out
by inventors, not by artists. One of the reasons was that the art of
color-music required the use of specific instruments. After the first designs
of the "clavecin oculaire" by the eighteenth century French Jesuit
Castel, the nineteenth century showed a large number of attempts to develop a
device that could produce music and color simultaneously on the basis of
tone-color correspondence schemes. Inventors like Jameson, Kastner, Bainbridge
Bishop and Rimington sought such devices. Rimington patented the name
"color-organ" in 1893, and had considerable success in concert halls
with his color- music performances of compositions of Wagner, Chopin, Bach and
Dvorak (Peacock, 1988).""
It's good
to say why a posting is relevant to a discussion group. I have often wondered why I am so drawn
toward electric, rock music, and whether this really is inherently relevant to
egodeath theorizing and experience. My
gut feeling says yes, rock music is even more relevant to entheogenic
experiencing and insights than non-electric music. My intellect is skeptical of any especial, innate relevance of
electric music to the realm of the mystic altered state. Computers, electric and electronic music,
and entheogens are very commonly related in the hi-tech world, including major
corporate marketing of technology.
"Buy our computers and you will trip out." Our natural desire for entheogenic
experience leads us to pay money for a substitute instead in the form of a
computer -- computers are sold as a stand-in substitute for entheogens.
Psychedelic
Rock marks the start of modern popular awareness of entheogens. In Western history, psychedelic music and
entheogenic direct religious experiencing thus arose in conjunction. I am against reading all entheogens strictly
in terms of the psychedelic 60s -- a mistake made even by such greats as Ram
Dass, who overemphasized the "new" class of drugs as an
"alternate" way of attaining some "limited glimpse" of
"authentic" religious experiencing.
We live both in the psychedelic recent era, and after studying history,
we can also mentally live in Terrance McKenna's ancient world of plant gnosis
as well. Like many, I cherish the
psychedelic 60s but, given the drug-war culture, I am also wary of associating
modern psychedelics with ancient entheogens.
A deeper
investigation must lie somewhere in Trip zine -- http://www.tripzine.com -- and
in Erik Davis' book TechGnosis ( http://www.net22.com/dreamtime/index.shtml
,
http://www.firstthings.com/ftissues/ft9905/reviews/reilly.html ).
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