Lyrics to "Pride (In The Name Of Love)"

One of my favorite U2 songs ever. I never get tired of it. I covered this song on The Marcus Satellite Tribute To U2 in an Electronica style that is very faithful to the original. Imagine an army of 303's as the Edge and Adam Clayton, a 909 as Larry Mullen Jr., and Christian Provensen as Bono. It's on iTunes

"Pride (In The Name Of Love)"
One man come in the name of love
One man come and go
One man come, he to justify
One man to overthrow

In the name of love
What more in the name of love
In the name of love
What more in the name of love

One man caught on a barbed wire fence
One man he resist
One man washed on an empty beach.
One man betrayed with a kiss

In the name of love
What more in the name of love
In the name of love
What more in the name of love

(nobody like you...)

Early morning, April 4
Shot rings out in the Memphis sky
Free at last, they took your life
They could not take your pride

In the name of love
What more in the name of love
In the name of love
What more in the name of love
In the name of love
What more in the name of love...

Lyrics to "Silver and Gold"

My cover of this song was done in a trance/techno style. I matched the live version from "Rattle and Hum" because I liked the tempo, and the Edge's kick-ass guitar solo. I use an army of 303's as Adam's bass and the Edge's guitar. I also do some crazy sample-mangling on the drums...my little electronica shout out to Larry Mullen Jr.'s drums. Christian Provensen simply kicks ass on the vocals--an amazing performance. The Marcus Satellite Tribute To U2 is on iTunes.

"Silver and Gold"
Lyrics by U2

In the shit house a shotgun
Praying hands hold me down
Only the hunter was hunted
In this tin can town
Tin can town

No stars in the black night
Looks like the sky fell down
No sun in the daylight
Looks like it's chained to the ground
Chained to the ground
The warden said
The exit is sold
If you want a way out
Silver and gold

Broken back to the ceiling
Broken nose to the floor
I scream at the silence, it's crawling
It crawls under the door
There's a rope around my neck
And there's a trigger in your gun
Jesus say something
I am someone
I am someone
I am someone

Captain and kings
In the ships hold
They came to collect
Silver and gold
Silver and gold

Seen the coming and going
Seen them captains and the kings
See them navy blue uniforms
See them bright and shiny things
Bright shiny things

The temperature is rising
The fever white hot
Mister, I ain't got nothing
But it's more than you got

Chains no longer bind me
Not the shackles at my feet
Outside are the prisoners
Inside the free
Set them free
Set them free

A prize fighter in a corner is told
Hit where it hurts
Silver and gold
Silver and gold

Music Video and Lyrics for "Little Girl"

This is track 3 of the d/dx album "Way Beyond, Way Above".
Lyrics and vocals by Masha d'Elphenden
Music by Marcus Satellite
Directed by MOE of Wonderland Ave. Films.





INDRA’S NET (LITTLE GIRL)

Little girl look into my eyes
You will find all the unity there
Little girl look around yourself
Beauty and surprise is everywhere

Everywhere
It’s everywhere
Everywhere
Look around yourself

Little girl you’re a part of me
I’m a part of oceans of every star.
Little girl universe is yours
Everything there is you are.



Universe is yours.
You’re a part of me.
I’m a part of stars.
Everything you are.
Look around yourself.

Alan Pollack on "You Can't Do That"

	Notes on "You Can't Do That" Notes on ... Series #46 (YCDT) by Alan W. Pollack
	Key: G Major Meter: 4/4 Form: Intro | Verse | Verse | Bridge | Verse | | Verse (guitar solo) | Bridge | | Verse | Outro (with complete ending) CD: "A Hard Day's Night", Track 12 (Parlophone CDP7 46437-2) Recorded: 25th February, 22nd May 1964, Abbey Road 2 UK-release: 20th March 1964 (B Single / "Can't Buy Me Love") US-release: 16th March 1964 (B Single / "Can't Buy Me Love")
1	General Points of Interest
	Style and Form
	Generally speaking, "You Can't Do That" foreshadows a heavier, harder-rocking sound for the group that would infiltrate an increasingly large portion of their repertoire over the next couple or three albums. Call it the dawn of the Later Early Period :-)
	It also bears a close comparison to its companion A-side, "Can't Buy Me Love". Both have the same form although the bridge of this one is closer to a "true" bridge than the refrain-like one we saw last time. Both songs also display a split stylistic personality by utilizing relatively straight blues in the verse but not at all in the bridge. The split in "You Can't Do That" runs even deeper to the extent that the verse itself is not the pure twelve-bar blues variety seen in "Can't Buy Me Love", but rather features other elements thrown into the mix.
	Harmony and Melody
	The G Major home key would seem like a clue to the new direction in this area, away from the erstwhile favorite choice of E Major on the first two albums, as evidenced by the four songs in G on the "A Hard Day's Night" album; in addition to this one you have "I Should Have Known Better", "I'll Cry Instead", and of course, the title cut.
	The melody of the song is quite jumpy throughout, both in terms of rhythmic syncopations and intervallic leaps. The bluesy verse uses the flat seventh scale degree (F-natural) with a traditional consistency that makes for some bracingly dissonant collisions with the F-sharp contained in the D-Major chord (as in "I told you before"), but both flavors of the third (scale) degree are used (B-flat and B-natural) and this lends a colorful bi-modal tang.
	The single most dissonant moments in the song come from the clash of F-naturals (the flat seventh degree) in the voice part against C-Major chords in the accompaniment; viz. two places in every verse — on the word "you" in the phrase "and leave you flat", and at the very climax, on the word "Oh!" in the phrase "Oh!, you can't do that."
	The bridge makes an harmonic break with the I, IV, and V blues diet of the verses by introducing additional chords and flirting briefly with a modulation toward the key of the relative minor, e. Unusually, both Major and minor flavors of the B chord appear in this section.
	Arrangement
	An ostinato figure characterized by vacillation between the Major/minor melodic third appears as a unifying device throughout much of the intro, outro, and verses; at least wherever the G-Major chord is sustained for long.
	The intimate direct-address of the lyrics is galvinizingly enhanced by the single-tracking of John's lead vocal, in which, if you listen for it specifically you'll note, he uses an astonishing number of varied shadings of tone.
	By the same token, the backing vocal part for Paul and George, with its subtext of "whatever John says goes double for us!", runs at cross-currents to the direct-address of the lead, even while it reflects and amplifies upon the choppy angularity of the melody and the rhythm track. This is a stylistic trademark that would reappear later in songs like "Help!" and "You're Going To Lose That Girl". At this early date, the contrast of its effect in "You Can't Do That" with the softening-smoothing-over effect in "Can't Buy Me Love" of Paul's being double-tracked with no backing vocal part is instructive.
	A ruthless syncopation on the eighth note which precedes the downbeat provides a rhythmic hook for the song. We characterized this particular choice of syncopation as "swingingly passionate" way back in the note on "I Should Have Known Better" (which by ironic coincidence turns out to have been recorded the same day as "You Can't Do That"), and this rhythmic figure turns out to appear on other tracks of the "A Hard Day's Night" album as well.
	In this song, the syncopations are all the more wrenching because of the way that the drums painstakingly mark the spot where they take place. In the last phrase of each verse, right after the phrase "because I told you before", Ringo beats out in even eighth notes the beats of "and-four-and-one". John sings the syncopated cry of "Oh!" on what I marked as "and" but Ringo's playing out the downbeat (i.e. "one" ) of the next measure helps clarify to your ear what has happened. Contrast this to the raving opening of "When I Get Home", where the downbeat that follows this same "four-and" syncopation (on the word "Woah-Ahh!") is left to the imagination.
	Lewisohn reports the debut appearance on this track of what would become George's familiar twelve-string guitar sound of the period, as well as the inclusion of the unusual choice of cowbell and bongos in the rhythm section. My ears also hear an electric piano (or perhaps organ) doubling the ostinato figure in the opening.
2	Section-by-Section Walkthrough
	Intro
	The intro is for instruments only, providing four measures of just the I chord with the ostinato figure as a constant, and the entry of the bass and percussion delayed until the third measure. Both the suspense-building use of a single chord which happens to continue well into the verse that follows, and the staggered entry of the instruments anticipate the likes of "Ticket To Ride" and "Day Tripper".
	The "four-and" syncopation is pervasive right off the bat. Not only is it inherent in the ostinato figure, but it is also picked up by the way the rest of the ensemble enters in measure 3 with a vacuum cleaner-like zooming into the G chord from the F# below.
	Verse
	Harmonically, the verse is a classic twelve-bar blues frame, but the content and phrasing belies this a tad. The melody is composed straight through with little or no obvious parallelism among the phrases. The one exception here is in the way the first four measures subdivide into a little couplet ("I got something to say that might cause you pain" / "If I catch you talking to that boy again").
	By virtue of the earlier mentioned jumpiness, there is also no overall arch or other clearly directed shape to the tune. Consequently, the climax of this section ("because I told you before ...") is ultimately motivated by rhythm and chord progression, rather than melodic contour.
	The notion of a layered arrangement is carried forward in the very typical way in which the backing vocals first start in the second verse. In an outtake of one of their very early songs, "Do You Want To Know A Secret", the Beatles would make the understandably inexperienced mistake of starting such vocals right in the first verse, but even at that stage, they were smart enough (or else had someone of greater wisdom who could advise them) to alter their strategy for the official release.
	A small change in harmonic floor-plan differentiates the verses which lead to other verses from those which lead to a bridge. The former move to the V chord (D) in their last measure, while the latter sustain the old I chord.
	Bridge
	Just as we saw in "Can't Buy Me Love", the bridge here again breaks the strict mold of the blues. At the very least, the melody in this section eschews all "blue" notes in favor of a strict diet of the Major third (B-natural) and the Major seventh (F-sharp).
	More substantively, we have here an eight-measure section that subdivides into two roughly parallel phrases equal in length, the first of which is harmonically closed off while the second one ends wide open in order to set up the following verse. Additionally, we have an intriguing fake modulation to the key of e minor:
	|B |e |a b |G | e: V i iv flat-III G: ii iii I |B |e |a |b D | e: V i iv G: ii iii V [Figure 46.1]
	Though tentative and short-lived, the move toward e minor is immediate and impetuous. Not only does the section start right off with the B-Major chord, but that syncopated D# in the tune there is just about the longest sustained note in the entire song. Despite this, the music turns tail just as quickly back to the home key by the somewhat awkward, or at best anti-textbook, root progression of ii -» iii -» I; the "book" would prescribe the V (D) in place of the iii.
	This scrambling back to the home key so quickly after such a brief excursion connotes for me the image of someone who in full rant, rambles off onto a tangent ("And while I'm at it, another thing, ...!"), only to catch himself and get back forthwith to the immediate obsession of the moment.
	In the spirit of bridge-ly contrast, the backing voices are also handled different in this section, now used for italic-like emphasis instead of the antiphonal counterpoint heard in the verses. In some spots, it's difficult to tell whether we're hearing John double-tracked here or just him and George or Paul singing together in unison.
	Guitar Solo
	The mood of general agitation, as well as the interjections of the backing vocalists, are continued straight into the solo, where choppy chords and tremolo bent notes prevail over any attempt at an outspun melody. For just an instant, around measure 9 of this section just as the chords change to V (D), it almost sounds as though the fragmentary riffs might be ready to coalesce into some kind of longer line, but alas, it's not meant to be, and the solo closes in the same disjointed mode in which it began.
	A certain amount of screaming at the beginning of a solo section is a Beatles' tradition going all the way back to "I Saw Her Standing There", but John's growling gesture at the beginning of this one goes beyond mere convention, and can likely be felt in the pit of your stomach long after you might expect to have become used to it from repeated listenings.
	Outro
	The outro is both abrupt and brief. It is entered immediately following the end of the last verse with none of the more standard setup via a triple repeat of the last phrase. It consists of only two measures of the familiar ostinato figure scored, in complete symmetry with the song's opening, without drums, although here at the end the bass guitar is included. The lingering on the penultimate F# right at the end is a teasing surprise.
3	Some Final Thoughts
	You'd half expect the less-than-upbeat theme and side-B status of this one to leave it stranded in the backwaters of popularity, but it actually is both a great and favorite song of its period.
	It's tough, tense, and jumping out of its skin with an off-beat attitude and a matching list of colloquial phrases rarely heard if ever, in a pop song of the time; e.g. "cause you pain" [?], "leave you flat" (??), "it's a sin" (???). Our hero, after all, seems rather immaturely preoccupied with what some nameless others ("everybody") must think of his relative prowess in the lovemaking department. Either they're "gree--en" with envy at his success, or else they "laugh in (his) face" when he fails.
	There's no talk admission here of his feeling hurt by the actual loss of the girl's love, no mention of any pre-existing feelings; for all we know, the other guy may truly be just a platonic friend and the whole thing just some over-reaction borne of terrific insecurity. Erich ("The Art of Loving") Fromm would not have been impressed :-)
	But even while it may not be pretty or noble, I think that for anyone who has ever experienced the feelings described here, even if only during a small young lapse into pimply hyperbole, this song rings unnervingly true, and there-in likely lies its popularity. What a shame they cut it from the film!
	Regards,
	Alan (011392#46)
	Copyright © 1992 by Alan W. Pollack. All Rights Reserved. This article may be reproduced, retransmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place.

Lennon and McCartney on "You Can't Do That"

Not sure which interviews these snips came from...

YOU CAN'T DO THAT(Lennon/McCartney)

JOHN 1964: "I'd find it a drag to play rhythm all the time, so I always work myself out something interesting to play. The best example I can think of is like I did on 'You Can't Do That'. There really isn't a lead guitarist and a rhythm guitarist on that, because I feel the rhythm guitarist role sounds too thin for records. Anyway it drove me potty to play chunk-chunk rhythm all the time. I never play anything as lead guitarist that George couldn't do better. But I like playing lead sometimes, so I do it."

JOHN 1980: "That's me doing Wilson Pickett. You know, a cowbell going four-in-the bar, and the chord going 'chatoong!'"

Alan Pollack's view of "Tomorrow Never Knows"

When I was researching covering The Beatles' "Tomorrow Never Knows" I found these most interesting notes by Alan W. Pollack . Many thanks to Mr. Pollack for allowing the reprinting of his review.


Notes on "Tomorrow Never Knows"
Notes on ... Series #103 (TNK)
by Alan W. Pollack

Key: C Mixolydian / C Dorian / C Major
Meter: 4/4
Form: Intro | Verse | Verse | Verse | Instrumental | Verse | Verse | Verse | Verse | Outro (fade-out)
CD: "Revolver", Track 14 (Parlophone CDP7 46441-2)
Recorded: 6th, 7th April 1966, Abbey Road 3;
22nd April 1966, Abbey Road 2
UK-release: 5th August 1966 (LP "Revolver")
US-release: 8th August 1966 (LP "Revolver")

1
General Points of Interest

Style and Form
"Tomorrow Never Knows" is a veritable kitchen-sink mix of just about every trick in the Beatles' book to-date, including: an Indian drone, modal tune, bluesy instrumental, tape loops, ADT, vocals played through revolving speakers, distortedly close-up miking of instruments, and a psychedelically mystical "outlook." One of the amazing aspects of this song is the extent to which this collage not merely hangs together, but pulls into such a powerfully focused, unified effect.
There are some uncanny parallels to be drawn between aspects of this track and gestures or techniques used elsewhere in the avant garde world of so-called "Modern" twentieth century music. I bring this up not to suggest the Beatles were consciously borrowing from, or being influenced by the specific works or composers in question (Heck, I'd be very surprised if they were even aware of them, even if Paul did know how to drop the name of Stockhausen in an interview :-)) Rather, any such parallels for me are all the more uncanny and ironic in the absence of direct knowledge.
The intro here is not so much a fade-in as it is a small variation of the typical staggered/layered intro. Similarly, the ending is not so much a fade-out as it is a musical disintegration. You might find it interesting to compare the ending of "Tomorrow Never Knows" with almost anything written during the sixties by one contemporary American composer, Elliott Carter, who explicitly cultivated an aesthetic in his endings of a universe winding down and flying apart; complete with excerpts from classical poetry in his liner notes to support his point of view.

Arrangement, Melody and Harmony
"Tomorrow Never Knows" is one of those unusual cases where the musical material per-se is rather inseparable from a consideration of its arrangement. In spite of the thickly overdubbed texture, the fabric consists of discrete musical elements, each with a distinct timbre as well as some unique configuration of melodic pitches or rhythm:


* The rhythmic backing of drums, bass, and tambourine remains steady and consistent throughout, with a hard syncopation on "three-and".
* John's vocal is equal parts triadic bugle call and Mixolydian/bluesy lick with an emphasis on the flat seventh.
* The harmony is virtually a single C Major pedal point throughout, suggesting an extremely novel application of the Indianesque drone. The only harmonic movement at all in the song is the implied vacillation toward flat-VII in the second half of virtually every verse, colored in each case by what sounds like synthesized brass instruments; either French horns or trombones.
* Two of the tape loops provide jagged ostinati figures based on on diatonic C Major scale material; one motif recurs over and over again: C -» (down a seventh) D -» E -» F -» E -» (up a sixth) C. In some instances, this figure appears rapid, clear and high pitched. On other cases, it appears slower, in mid-range, and as though polyphonically overdubbed with itself.
* Both halves of the instrumental feature bluesy emphasis on the melodic, flat seventh. The first includes Mixolydian-like emphasis on the melodic Major third, while the lead-guitar-sounding second halve includes the really bluesy/Dorian emphasis on the bent/minor melodic third.
* And, of course, the "seagull" tape loop has no determinate pitch content to speak of, though its contour is predominated by saw-tooth descent, after reaching high.

Lewisohn's description of the sessions for this song emphasizes the free-wheeling creativity and real-time mixing of it. Yet, if you bother to map it out, you discover how carefully orchestrated it is after all in terms of which discrete elements appear in which sections, and in which sequence.
2
Section-by-Section Walkthrough

Intro
The intro is six measures long, built out of two measures each of:


* a fading-in, pulsating tamboura drone on the pitch, C;
* the hard-rock rhythm track;
* and the first appearance of the "seagull" tape loop.

On one level, it's nothing more than yet another layered Beatles' intro, but the pace at which the elements are introduced, and the unexpected nature of two out of the three of them makes it extraordinarily disorienting.

Verse
The verse is a straightforward eight measures long and is repeated, mantra-like, over and over and over, a total of seven times, exclusive of the intro, outro, and solo sections:


|C |- |- |- |
C: I

|B-flat |- |C |- |
flat-VII I

[Figure 103.1]

The melody is a rather a simplistic bugle call through its first half; providing yet another archetypal demonstration of the principle of keeping at least one compositional factor simple when you decide to complicate other factors to the extreme. Also, notice the Lennon-cum-Holly-esque slow triplets in the opening phrase ("turn off your mind ..").

Instrumental
The instrumental break fills sixteen measures, though its two halves are of unequal lengths; i.e. 6 + 10 measures, instead of the 8 + 8 you'd expect.
The first eight-bar frame of the break does not have the flat-VII horns in measure 5 and 6, but the second eight-bar frame does. You have to work hard at noticing this though because the 6 + 10 form of the solo parts throws off entirely your sense of where the eight-bar dividing lines fall.

The Second Half
The principle of saving a little something in the way of a surprise for the second half is demonstrated here by:


* The "beep" tone in the midst of the first line of the verse which follows the break; reminiscent of the phone company or radio station's hourly time check. I'm fairly well convinced that this is placed here exactly at the mid-point of the track (1:28), in a Dada-esque gesture similar to Schönberg's "Mondfleck" number from "Pierrot Lunaire", in which he writes an atonal fugue whose second half is the exact mirror image of it's first half; keep in mind, Schönberg did this in 1913!!
* On a more subtle level, the lead vocal is processed through revolving "Leslie speakers" starting in the second verse following the break. Like the splice in "Strawberry Fields Forever" you could listen to this track for many years and never notice this detail; yet read it once in Lewisohn, and you can never hear it any other way again.


Outro
The outro is an extension of the final verse with five iterations of last phrase.
The trailing seconds of the track paint an image of the world winding down and pulling apart, as it were, by centrifugal force; or, if you will, like pinwheel slowing down sufficiently so that you can see beyond its blurred spinning image to the individual frames of which that image is made.
As the smoke clears, a number of musical elements emerge that you'd never guess had been there all along; most notably, a furiously flailing tack piano. I wonder, though — were these newly emerging elements really there all along, or is it a matter of a deftly handled aural illusion? And, by the way — to the extent that the illusion works so well, you might say it doesn't really matter if the piano was really there all along or not!
3
Some Final Thoughts
This track bears the ironic fate of being the first one recorded back in April 1966 for the new-album-in-progress, while in more ways than one, it was destined from early on to be last track of the album.
On a rather immediate level, I've always enjoyed the way that the preceding song, "Got To Get You Into My Life" being in G with an extended outro vamping on that chord, sets up "Tomorrow Never Knows"'s being in C as though the two songs together create a decisive V -» I ending for the album. But there are issues that run much deeper.
For one thing, having this one already in the can before the stylistic breadth and running order of "Revolver" had much yet crystallized gave them the strategically compositional advantage of knowing in advance the exact placement of the vanishing perspective point for the entire album. Consider how the sequencing of the entire album works toward this song.
For another thing, there is so much inherent in this track which forces it to be in the final position. I'm reminded, in this connection, of a wonderful essay embedded by Thomas Mann within his novel, "Dr. Faustus," in which he explains why Beethoven intentionally cast his final piano sonata, Op. 111, in the unusual form of only two movements, the second of which is a slow movement in theme and variations. Commenting on the relationship of Op. 111 to the entirety of the piano sonata as a genre, Mann says that, "as a species, as traditional art-form; it itself was here at an end, brought to its end, it had fulfilled its destiny, reached its goal, beyond which there was no going, it canceled and resolved itself, it took leave ..." [**] While it is an exaggeration to say that the Rock Song genre was in any sense "finished off" by a single song like our "Tomorrow Never Knows", it is worth pondering the extent to which a single track can be said to have raised the stakes, and taken the genre to some kind of crossroads from which it would be a challenge to all, the Beatles themselves not excepted, to figure out where to proceed next.
[** the quote is on page 55, but I recommend to anyone interested in the intersection between literature and music criticism read from the beginning of Chapter 8, on page 49.]
Granted, I doubt that I can muster any objective proof that the Beatles entertained any kind of conscious, pre-meditated thoughts along these lines, but do also grant me the poetic justice of our reacting to it thusly. And if that doesn't work for you, imagine the absurdity of hearing of "Tomorrow Never Knows" anywhere else in the track order; try, especially listening to it as either the first or last track on side A and then listening to any other track afterwards. Or better yet, relax and enjoy it in place, just the way it is.

Regards,
Alan

Copyright © 1995 by Alan W. Pollack. All Rights Reserved. This article may be reproduced, retransmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place.

Lyrics To "White Bat"

From the album "From On High"
Lyrics by K Blu.
Music by Marcus Satellite


This is one of my favorite pieces of music from this album. K Blu's lyrics and vocals are deep and lovely. I use a scale known as a "Lambdoma" and do a wicked tamboura solo with it.

"White Bat"
I know you
Even if you choose
Not to see
It's in your eyes
Familiarity
It's no surprise
You're running from me

I know you
Your life is confused with
Polarity
Your spirit is calling
Set me free
The White Bat is following you

I know you
The love that we share is
Unworldly
The visions you're having
Are not fantasy
And so my love
You're running from me