Songs
- "B-52" is a prelude to the band's use of dynamics, of playing the silences, building to a climax, then bringing the listener back to reality.
- "Sale of a Deathman".
- "What Shall We Do Till Norris Comes". A single sustained note on the keyboard through the Leslie hovers in the air, when the dissonant sound of a Chromatic Tuner swoops down on it like an eagle. This may be the only song of any kind to use a Chromatic Tuner as a regular instrument. The lyrics are surreal and the guitar gives the impression of a lone figure, constantly looking over his shoulder for things that creep and go bump in the night. The bass conjures up impression of an ominous shadow moving between the bushes in a moonlit garden. The vibraphone gives the dream state effect.
- "Water".
- "Star Goddess".
- "Circus Farm". A circus can be a wild array and noisy disorder. Such is the history of the seemingly peaceful valley where the band spent the summer of 1968. Settled in 1725 by British colonial hunters and traders, it saw the French and Indian War, the American Revolution and the American Civil War.
- This Town". A girl in New York said "take me with you when you leave". But it was impossible. The vision of a smiling angel in the ghetto with bright flowers in her hair is the subject of the song.
- "Reach Out" is a cover song originally recorded by the Four Tops.
- "Asphalt Mother" is achingly sexy, a mating call, of an exuberant, youthful quest for sex, riches and fame, with no apologies.
Read more about this topic: Mind Garage Early Years
Famous quotes containing the word songs:
“So do not be foolish, but understand what the will of the Lord is. Do not get drunk with wine, for that is debauchery; but be filled with the Spirit, as you sing psalms and hymns and spiritual songs among yourselves, singing and making melody to the Lord in your hearts, giving thanks to God the Father at all times and for everything in the name of our Lord Jesus Christ.”
—Bible: New Testament, Ephesians 5:17-20.
“Music is so much a part of their daily lives that if an Indian visits another reservation one of the first questions asked on his return is: “What new songs did you learn?””
—Federal Writers’ Project Of The Wor, U.S. public relief program (1935-1943)
“When we were at school we were taught to sing the songs of the Europeans. How many of us were taught the songs of the Wanyamwezi or of the Wahehe? Many of us have learnt to dance the rumba, or the cha cha, to rock and roll and to twist and even to dance the waltz and foxtrot. But how many of us can dance, or have even heard of the gombe sugu, the mangala, nyang’umumi, kiduo, or lele mama?”
—Julius K. Nyerere (b. 1922)