INDICE DE CAPITULOS SOBRE GENESIS DEL BLOG:
CONCIERTOS DE GENESIS CON PETER GABRIEL
Ahora que ya hemos terminado de comentar todos los discos de la era Gabriel, os animo a aquellos que tuvisteis la inmensa suerte de ver a Peter Gabriel con Genesis en algún concierto a que compartais la experiencia en los comentarios. Yo los vi en el concierto que dieron en Madrid (no recuerdo el año exacto, pero sería 1974 o 1975). No lo pude ver entero porque no tenía entradas y solo conseguí colarme en la segunda parte. Fue impresionante, inolvidable. No me enteré de mucho la verdad pues aún no había escuchado el disco (era la gira de The Lamb luis down on Broadway) y mi nivel de inglés no era suficiente entonces para seguir la historia. Pero no importaba, el espectácuilo era alucinante. Cada vez que escucho el disco, si cierro los ojos puedo recordar aquellas imágenes....
GENESIS LIVE
Todavía nos queda hablar de otra grabación de Genesis con Peter Gabriel. Se trata de un album en vivo: Genesis Live, publicado en 1973 justo antes del Selling England by the Pound.
Originalmente, el grupo no tenía planes de lanzar un álbum en vivo en esos tiempos, pero su casa discográfica decidió lanzar Genesis Live con un precio promocional.
El álbum contiene canciones grabadas durante un concierto en De Montfort Hall, Leicester, del 25 de febrero de 1973 (excepto "The Return of the Giant Hogweed", grabada el día anterior en Manchester), durante la gira de su álbum Foxtrot. No se incluyó "Supper's Ready", que hasta ese entonces era el tema predilecto del grupo, por la falta de interés que el grupo tenía en EEUU, no habiendo interés en ese momento por un álbum doble que lo incluyera y se lo lanzó como un álbum simple de bajo costo con la idea de atraer a las masas y aumentar las ventas.
Cabe mencionar en este punto que, a pesar de que muchos le atribuyen carácter de mito, existe una edición en álbum doble que incluye la versión completa de Supper's Ready, la firma característica de los conciertos en vivo de la banda durante ese período.
El álbum tampoco incluye las historias contadas por Gabriel entre canciones; ninguna de ellas fue publicada oficialmente por la banda, y sólo pueden ser encontradas en grabaciones no comerciales. Estas historias servían para que Gabriel explique las canciones a interpretar, dando rienda suelta a sus alocadas y enigmáticas f
antasías. Las historias mas conocidas son las de Henry y Cynthia (The Musical Box), Firth Of Fifth, Britannia (Dancing With The Moonlit Knight), el viejo Michael (Supper's Ready), etc.
A continuación incluimos una de esas historias
HISTORIA DE PETER:
4:30 P.M. El tren se detiene. No hay ninguna estación a la vista. Las miradas ansiosas se precipitan entre los pasajeros mientras se ven entre ellos por primera vez.
Al final del tren, una señorita joven con un pantalón verde se para en el centro del vagón y procede a desabotonarse su camisa, se la saca y la tira al piso sucio de madera. También se saca sus zapatos, sus pantalones, su blusa, su corpiño, sus ligas y sus medias florales, dejándolos todo en una bonita pila. Así, queda completamente desnuda. Luego pasa sus manos por sus muslos y comienza a jugar con ellas entre sus piernas. Eventualmente, agarra algo frío y metálico y muy lentamente, comienza a bajarse el cierre que tiene en su cuerpo; lo hace en una línea recta por arriba del estómago, entre sus pechos, hasta el cuello, pasando por el centro de su cara hasta su frente. Sus dedos escudriñaban hacia arriba y hacia abajo la ranura resultante; finalmente los deja en su ombligo. Ella se detiene por un momento, antes de separar meticulosamente su piel. Desliza su mano por la incisión abierta, presiona hacia arriba a través de su garganta, y corre algo sólido que tiene guardado en la parte superior de su espinazo. Con un tremendo esfuerzo, afloja y saca un delgado cetro dorado. Sus dedos pierden la capacidad de sostenerlo y su cuerpo arrugado, nítidamente rebanado, se escurre por la superficie líquida del cetro hasta el piso. ¡SPLAT!
El cetro permanece suspendido sobre el suelo. Un asta sin bandera. Los otros pasajeros se han quedado totalmente en silencio, pero al retumbar el sonido del cuerpo que cae al piso, una señora de mediana edad, vistiendo un traje rosa y un saco del mismo color se para y grita; “¡DETENGAN ESTO, ES REPUGNANTE!”.El cetro dorado desapareció, el pantalón verde quedo colgado en una percha, con un ticket de limpieza a seco agarrado a la pierna izquierda. En el ticket estaba escrito:-
NOMBRE..................................
DIRECCION...............................
THE LAMB LIES DOWN ON BROADWAY
La historia de THE LAMB LIES DOWN ON BROADWAY
Rael, un inmigrante puertorriqueño, vagabundea por Nueva York al pie de los fastuosos edificios y los flamantes neones de Broadway. Al romper el alba, una nube negra desciende de los cielos sobre Times Square y comienza a absorberlo todo. Rael no puede escapar a su fuerza y acaba por ser tragado por ella.
Al despertar, se encuentra dentro de una especie de cápsula. A pesar de no saber dónde se encuentra, Rael está tranquilo y apacible; se vuelve a dormir despreocupadamente. Al despertar de nuevo, Rael descubre que la cápsula ha desaparecido; ahora, él se encuentra en una gruta donde las estalactitas se forman, se destruyen y se mueven a ojos vista. Rael comienza a caminar pero queda atrapado entre unas estalactitas que se han formado y movido a su alrededor, formando una especie de jaula. Aprisionado por las rocas, observa a alguien en el exterior de la misma: su hermano, John. Rael le pide auxilio pero John le abandona. Finalmente, las rocas se disuelven y Rael cae al suelo desvanecido por el dolor y la emoción.
Cuando se recupera, Rael llega a una especie de galería de una factoría donde observa muñecos con forma humana con números en la frente. Sorprendentemente, encuentra muñecos con el rostro de sus conocidos, e incluso, con el rosto de John y de él mismo. Rael siente miedo y comienza a recordar su pasado en NY: sus días con los chicos de la banda, su paso por el reformatorio de Pontiac, su primer encuentro amoroso, su pérdida de la inocencia (que Rael representa en su mente como una mano que afeita su corazón peludo)... Tras la galería, Rael accede a otra galería cubierta por alfombras y repleta de seres extraños. En un extremo, frente a una gran puerta (por la que se accede a una sala con mesa con un festín de comida y una escalera de caracol) se encuentra un conjunto de personas moviéndose lentamente de rodillas en el suelo. Rael trata de hablar con ellos y razonar por qué no se levantan y acceden a la otra sala; sin embargo, no consigue obtener ninguna respuesta coherente. Rael abandona la galería, atraviesa la sala del festín y sube por la escalera de caracol. Al final de la escalera se encuentra una estancia con forma semiesférica con 32 puertas. La estancia está llena de grupos de personas que hablan en voz bien alta: un sacerdote, un hechicero, un campesino... Todos ellos opinan sobre qué hacer, dónde ir, qué puerta atravesar... pero nadie sabe nada. La única persona que le puede ayudar es una anciana, una lilit ciega, que le puede llevar por las puertas guiada por las brisas.
Rael se adentra en una de las 32 puertas con su guía pero, una vez en la oscuridad de la caverna, ella lo abandona. Rael se queda sentado, asustado. Entonces llega una luz cegadora por un extremo de la gruta y se produce un desprendimiento. Rael queda atrapado inconsciente. En su delirio, cree haber muerto y estar en presencia de la mismísima muerte. Sin embargo, cuando Rael vuelve en sí, descubre que todo era una alucinación y consigue zafarse de lar rocas que le aprisionaban.
El desprendimiento de rocas ha abierto el camino a una estancia bañada por suaves aromas en la que se encuentra una piscina de agua rosácea. Rael se desnuda y se adentra en las aguas. Entonces aparecen en la piscina tres lamia, tres reptiles con pechos y rostro de mujer. Rael es seducido por ellas y deja que muerdan su carne y beban su sangre. Cuando esto ocurre, ellas se convulsionan y mueren. Rael, que había quedado enamorado de ellas, en una muestra de entrega y amor, devora los cadáveres de sus tres amantes y abandona la piscina.
Tras una caminata, Rael llega a un poblado lleno de seres deformes que le dan la bienvenida (entre ellos, descubre, a pesar de la deformidad de su rostro, a su hermano, John). Ellos le cuentan cómo las tres lamia se les aparecieron a todos ellos y cómo todos tuvieron el mismo encuentro amoroso con ellas y cómo cada día se regeneran para atrapar a otro incauto. Tras ello, a Rael no le queda más alternativa que esperar su destino: transformarse en un ser deforme como ellos, dominado por el abandono al placer de los sentidos. Sin embargo, Rael no se resigna y visita junto con su hermano John al "Doktor Dyper". El doctor les dice que la única manera de solucionar su situación es acabar con la fuente del placer y del dominio de los sentidos: extirpar el órgano reproductor. A pesar de ser una medida extrema, Rael y John acceden y tras ello, el doctor les devuelve sus órganos dentro de un tubo de plástico amarillo.
Cuando parece que todo está solucionado, una gran ave negra aparece y arrebata a Rael el tubo. Rael pide ayuda a su hermano para capturar al ave pero John dice que es un mal presagio y que él no le ayudará. Rael va tras el ave pero justo cuando le va a atrapar, el ave tira el tubo a un torrente de agua. Justo en ese momento, Rael ve que aparece en el cielo un vórtice, una especie de ventana por al que puede regresar al mundo real, a Nueva York. Pero entonces ve que su hermano John ha caído al mismo torrente de agua al que el ave había arrojado el tubo amarillo.
A pesar de que su hermano le ha abandonado varias veces, Rael salta a salvarle. Mientras tanto, la ventana se desvanece, desapareciendo así sus oportunidades de regresar a casa. Finalmente, Rael rescata a John y lo arrastra hasta la orilla. Pero entonces, Rael descubre con sorpresa que su hermano John no es su hermano... es Rael... tiene su mismo rostro. Entonces una nube púrpura los envuelve y ambos entes se disuelven en un resplandor amarillo.
La portada.
El diseño del álbum fue llevado a cabo por el estudio inglés Hipgnosis, encargado del diseño de álbumes de otros grupos como Led Zeppelin, Black Sabbath, Alan Parsons Project y Pink Floyd.En la portada y contraportada se representan distintas imágenes que muestran la historia de Rael, personaje principal de la historia. En los créditos, el modelo fotografiado aparece simplemente como "Omar".
El disco.
Se trata del último disco de la Era Gabriel de Genesis, poniendo punto final a esa maravillosa etapa del grupo. Es el único album doble de Genesis y fue grabado en 1974.
En aquel tiempo Peter Gabriel tenia un particular corte de cabello, con el frontal afeitado, según el, para contactarse con Rael (personaje central de The Lamb).
La letra fue escrita por Peter Gabriel, inspirada, según el propio Gabriel, en El Topo de Alejandro Jodorowsky.
La parte musical corre a cargo del resto del grupo. Esto causó que éstos últimos no se sintieran demasiado cómodos y hubiera problemas y tensiones en el grupo desde la misma grabación del doble vinilo y especialmente en la gira de presentación del mismo lo que terminaría con el abandono definitivo de Peter Gabriel, aunque él lo atribuye a motivos personales. The Lamb Lies Down on Broadway, muestra un trabajo progresivo complejo y con un deseo de conquistar América de una vez.
La gira.
Cuando la banda comenzó con las representaciones en vivo, el álbum no había sido publicado aún lo que originaba el desconcierto de algunos fans que no eran capaces de seguir la historia (el álbum venía acompañado con un relato escrito por Gabriel para ayudar a comprender mejor las letras de las canciones). Peter Gabriel solucionó esto con pequeñas intervenciones habladas entre algunas canciones.
Aunque Gabriel había decidido abandonar la banda antes de la gira, decidió no hacerlo público hasta acabar la misma. La rapidez con la que fue preparada hizo que se produjeran algunos fallos técnicos (como errores en el uso de los materiales pirotécnicos -que en cierta ocasión llegaron a causar que la banda dejase de tocar-). Por ese motivo, Genesis se negó a que se grabara. Tan solo existen algunas imágenes retransmitidas por la televisión italiana.
Disco 1
1. The Lamb Lies Down on Broadway (El Cordero Se Acuesta en Broadway)
2. Fly on a Windshield (Mosca en el Parabrisas)
3. Broadway Melody of 1974 (Melodía de Broadway de 1974)
4. Cuckoo Cocoon
5. In the Cage (En la Jaula)
6. The Grand Parade of Lifeless Packaging (La Gran Desfile de los Envases sin Vida)
7. Back in NYC (De Regreso a NYC)
8. Hairless Heart (Corazón sin pelo)
9. Counting Out Time (Cuenta Atrás)
10. Carpet Crawlers (Los Que Se Arrastran por la Alfombra)
11. The Chamber of 32 Doors (La Cámara de 32 Puertas)
Disco 2
01. Lilywhite Lilith (Lily blanca Lilith)
02. The Waiting Room (La Sala de Espera)
03. Anyway (De todos modos)
04. The Supernatural Anaesthetist (El Anestesista Sobrenatural)
05. The Lamia (El Lamia)
06. Silent Sorrow in Empty Boats (Lamento Silencioso en Botes Vacíos)
07. The Colony of Slippermen (Arrival - A Visit to the Doktor - Raven) (La Colonia de los Hombres Resbaladizos (Llegada - Una Visita al Doktor - El Cuervo)
08. Ravine (Barranco)
09. The Light Dies Down on Broadway (La Luz Se Apaga en Broadway)
10. Riding the Scree (Cabalgando la Corriente)
11. In the Rapids (En los Rápidos)
12. It (Ello)
Las Letras:
Disco 1
1. The Lamb Lies Down on Broadway
And the lamb lies down on Broadway.
Early morning Manhattan,
Ocean winds blow on the land.
Movie-Palace is now undone,
The all-night watchmen have had their fun.
Sleeping cheaply on the midnight show,
It's the same old ending - time to go.
Get out!
It seems they cannot leave their dream.
There's something moving in the sidewalk steam,
And the lamb lies down on Broadway.
Nightime's flyers feel their pains.
Drugstore take down the chains.
Metal motion comes in bursts,
The gas station can quench that thirst.
Suspension cracked on unmade road
The trucker's eyes read 'Overload'
And out on the subway,
Rael Imperial Aerosol Kid
Exits into daylight, spraygun hid,
And the lamb lies down on Broadway.
The lamb seems right out of place,
Yet the Broadway street scene finds a focus in its face.
Somehow it's lying there,
Brings a stillness to the air.
Though man-made light, at night is very bright,
There's no whitewash victim,
As the neons dim, to the coat of white.
Rael Imperial Aerosol Kid
Wipes his gun - he's forgotten what he did,
And the lamb lies down on Broadway.
Suzanne tired her work all done,
Thinks money - honey - be on - neon.
Cabman's velvet glove sounds the horn
And the sawdust king spits out his scorn.
Wonder women you can draw your blind!
Don't look at me! I'm not your kind.
I'm Rael!
Something inside me has just begun,
Lord knows what I have done,
And the lamb lies down on Broadway.
On Broadway -
They say the lights are always bright on Broadway.
They say there's always magic in the air.
2. Fly on a Windshield
The sky is overcast and as Rael looks back a dark cloud is descending like a balloon into Times Square. It rests on the ground and shapes itself into a hard edged flat surface, which solidifies and extends itself all the way East and West along 47th Street and reaching up to the dark sky. As the wall takes up its tension it becomes a screen showing what had existed in three dimensions, on the other side just a moment before. The image flickers and then cracks like painted clay and the wall silently moves forward, absorbing everything in its path. The unsuspecting New Yorkers are apparently blind to what is going on.
There's something solid forming in the air,
And the wall of death is lowered in Times Square.
No-one seems to care,
They carry on as if nothing was there.
Rael starts to run away towards Columbus Circle. Each time he dares to take a look, the wall has moved another block. At the moment when he thinks he's maintaining his distance from the wall, the wind blows hard and cold slowing down his speed. The wind increases, dries the wet street and picks up the dust off the surface, throwing it into Rael's face. More and more dirt is blown up and it begins to settle on Rael's skin and clothes, making a solid layered coat that brings him gradually to a terrified stillness. A sitting duck.
The wind is blowing harder now,
Blowing dust into my eyes.
The dust settles on my skin,
Making a crust I cannot move in
And I'm hovering like a fly, waiting for the windshield on the freeway.
3. Broadway Melody of 1974
Echoes of The Broadway Everglades
With their mythical madonnas still walking in their shades:
Lenny Bruce delcares a truce and plays his other hand
Marshall McLuhan, casual viewin', head buried in the sand.
Sirens on the rooftops wailing, but there's no ships sailing.
Groucho, with his movies trailing, stands alone with his punchline failing.
Ku Klux Klan serve hot soul foood and the band plays "in The Mood"
The cheerleader waves her cyanide wand,
There's a smell of peach blossom and bitter almond.
Caryl Chessman sniff the air, and leads the parade
He knows, in a scent, you can bottle what you made!
There's Howard Hughes in blue suede shoes
Smiling at the Majorette, smoking Winston cigarettes
And as the song and dance begins, the children play at home
with needles...Needles and pins
4. Cuckoo Cocoon
Wrapped up in some powdered wool
I guess Im losing touch.
Dont tell me Im dying, cos I aint changed that much.
The only sound is water drops, I wonder where the hell I am,
Some kind of jam?
Cuckoo Cocoon have I come to, too soon for you?
Theres nothing I can recognise; this is nowhere that Ive known.
With no sign of life at all, I guess that Im alone,
And I feel so secure that I know this cant be real but I feel good.
Cuckoo cocoon have I come to, too soon for you?
I wonder if Im a prisoner locked up in some Brooklyn jail
Or some sort of Jonah shut up inside the whale.
No Im still Rael and Im stuck in some kind of cave,
What couldve saved me?
Cuckoo cocoon have I come to, too soon for you?
5. In the Cage
I got sunshine in my stomach
Like I just rocked my baby to sleep.
I got sunshine in my stomach
But I can't keep me from creeping sleep,
Sleep, deep in the deep.
Rockface moves to press my skin
White liquid turn sour within
Turn fast - turn sour
Turn sweat - turn sour.
Must tell myself that I'm not here.
I'm drowning in a liquid fear.
Bottled in a strong compression,
My distortion shows obsession
In the cave.
Get me out of this cave!
If I keep my self-control,
I'll be safe in my soul.
And the childhood belief
Brings a moment's relief,
But my cynic soon returns
And the lifeboat burns.
My spirit just never learns.
Stalactites, stalagmites
Shut me in, lock me tight.
Lips are dry, throat is dry.
Feel like burning, stomach churning,
I'm dressed up in a white costume
Padding out leftover room.
Body stretching, feel the wretching
In the cage
Get me out of the cage!
In the glare of a light,
I see a strange kind of sight;
Of cages joined to form a star
Each person can't go very far;
All tied to their things
They're netted by their strings,
Free to flutter in memories of their wasted wings.
Outside the cage I see my Brother John,
He turns his head so slowly round.
I cry out Help! before he can be gone,
And he looks at me without a sound.
And I shout out 'John please help me!'
But he does not even want to try to speak.
I'm helpless in my violent rage
And a silent tear of blood dribbles down his cheek,
And I watch him turn away and leave the cage.
My little runaway.
(Raindrops keep falling on my head, they keep falling on my...)
In a trap, feel a strap
Holding still. Pinned for kill.
Chances narrow that I'll make it,
In the cushioned straight-jacket.
Just like 22nd Street,
They got me by my neck and feet.
Pressures building, can't take more.
My headaches charge, earaches roar.
In this pain
Get me out of this pain.
If I could change to liquid,
I could fill the cracks up in the rocks.
I know that I am solid
And I am my own bad luck.
Outside John disappears, my cage dissolves,
without any reason my body revolves.
Keep on turning,
Keep on turning,
Turning around,
spinning around.
(round, round, round, round...)
6. The Grand Parade of Lifeless Packaging
When all this revolution is over, he sits down on a highly polished floor while his dizziness fades away. It is an empty modern hallway and the dreamdoll saleslady sits at the reception desk. Without prompting she goes into her rap: "This is the Grand Parade of Lifeless Packaging, those you are about to see are all in for servicing, except for a small quantity of our new product, in the second gallery. It is all the stock required to cover the existing arrangements of the enterprise. Different batches are distributed to area operators, and there are plenty of opportunities for the large investor. They stretch from the costly care-conditioned to the most reasonable mal-nutritioned. We find here that everyone's looks become them. Except for the low market mal-nutritioned, each is provided with a guarantee for a successful birth and trouble free infancy. There is however only a small amount of variable choice potential - not too far from the mean differential. You see, the roof has predetermined the limits of ac
tion of any group of packages, but individuals may move off the path if their diversions are counter-balanced by others."
"It's the last great adventure left to mankind"
- Screams a drooping lady
offering her dreamdolls at less than extortionate prices,
and as the notes and coins are taken out
I'm taken in, to the factory floor.
for the Grand Parade of Lifeless Packaging
- All ready to use
the Grand Parade of Lifeless Packaging
- I just need a fuse.
Got people stocked in every shade,
Must be doing well with trade.
Stamped, addressed, in odd fatality.
That evens out their personality.
With profit potential marked by a sign,
I can recognise some of the production line,
No bite at all in labour bondage,
Just wrinkled wrappers or human bandage.
Grand Parade of Lifeless Packaging
- All ready to use
it's the Grand Parade of Lifeless Packaging
- I just need a fuse.
As he wanders along the line of packages, Rael notices a familiarity in some of their faces. He finally comes upon some of the members of his old gang and worries about his own safety. Running out through the factory floor, he catches sight of his brother John with a number 9 stamped on his forehead.
The hall runs like clockwork
Their hands mark out the time;
Empty in their fullness
Like a frozen pantomime.
Everyone's a sales representative
Wearing slogans in their shrine.
Dishing out failsafe superlative,
Brother John is No. 9.
it's the Grand Parade of Lifeless Packaging
- All ready to use
it's the Grand Parade of Lifeless Packaging
- I just need a fuse.
The decor on the ceiling
has planned out their future day
I see no sign of free will,
so I guess I have to pay,
pay my way,
for the Grand Parade...
it's the Grand Parade of Lifeless Packaging
- All ready to use
it's the Grand Parade of Lifeless Packaging
- I just need a fuse.
tion of any group of packages, but individuals may move off the path if their diversions are counter-balanced by others."
"It's the last great adventure left to mankind"
- Screams a drooping lady
offering her dreamdolls at less than extortionate prices,
and as the notes and coins are taken out
I'm taken in, to the factory floor.
for the Grand Parade of Lifeless Packaging
- All ready to use
the Grand Parade of Lifeless Packaging
- I just need a fuse.
Got people stocked in every shade,
Must be doing well with trade.
Stamped, addressed, in odd fatality.
That evens out their personality.
With profit potential marked by a sign,
I can recognise some of the production line,
No bite at all in labour bondage,
Just wrinkled wrappers or human bandage.
Grand Parade of Lifeless Packaging
- All ready to use
it's the Grand Parade of Lifeless Packaging
- I just need a fuse.
As he wanders along the line of packages, Rael notices a familiarity in some of their faces. He finally comes upon some of the members of his old gang and worries about his own safety. Running out through the factory floor, he catches sight of his brother John with a number 9 stamped on his forehead.
The hall runs like clockwork
Their hands mark out the time;
Empty in their fullness
Like a frozen pantomime.
Everyone's a sales representative
Wearing slogans in their shrine.
Dishing out failsafe superlative,
Brother John is No. 9.
it's the Grand Parade of Lifeless Packaging
- All ready to use
it's the Grand Parade of Lifeless Packaging
- I just need a fuse.
The decor on the ceiling
has planned out their future day
I see no sign of free will,
so I guess I have to pay,
pay my way,
for the Grand Parade...
it's the Grand Parade of Lifeless Packaging
- All ready to use
it's the Grand Parade of Lifeless Packaging
- I just need a fuse.
7. Back in NYC
I see faces and traces of home back in New York City
So you think Im a tough kid? Is that what you heard?
Well I like to see some action and it gets into my blood.
The call me the trail blazer-Rael-electric razor.
Im the pitcher in the chain gang, we dont believe in pain
cos were only as strong, as the weakesst link in the chain.
Let me out of Pontiac when I was just seventeen,
I had to get it out of me, if you know what I mean, what I mean.
You say I must be crazy, cos KI dont care who I hit, who I hit.
But I know its me thats hitting out and Im not full of shit.
I dont care who I hurt, I dont care who I do wrong.
This is your mess Im stuck in, I really dont belong.
When I take out my bottle, filled up high with gasoline,
You can tell by the night fires where Rael has been, has been.
As I cuddled the porcupine
He said I had none to blame, but me.
Held my heart, deep in hair,
Time to shave, shave it off, it off.
No time for romantic escape,
When your fluffy heart is ready for rape. No!
Off we go.
You're sitting in your comfort you dont believe Im real,
You cannot buy protection from the way that I feel.
Your progressive hypocrites hand out their trash,
But it was mine in the first place, so Ill burn it to ash.
And Ive tasted all the strongest meats,
And laid them down in coloured sheets.
Who needs illusion of love and affection
When youre out walking the streets with your mainline connection? connection.
As I cuddle the porcupine
He said I had none to blame, but me.
Held my heart, deep in hair.
Time to shave, shave it off, it off.
No time for romantic escape,
When your fluffy heart is ready for rape. No!
So you think Im a tough kid? Is that what you heard?
Well I like to see some action and it gets into my blood.
The call me the trail blazer-Rael-electric razor.
Im the pitcher in the chain gang, we dont believe in pain
cos were only as strong, as the weakesst link in the chain.
Let me out of Pontiac when I was just seventeen,
I had to get it out of me, if you know what I mean, what I mean.
You say I must be crazy, cos KI dont care who I hit, who I hit.
But I know its me thats hitting out and Im not full of shit.
I dont care who I hurt, I dont care who I do wrong.
This is your mess Im stuck in, I really dont belong.
When I take out my bottle, filled up high with gasoline,
You can tell by the night fires where Rael has been, has been.
As I cuddled the porcupine
He said I had none to blame, but me.
Held my heart, deep in hair,
Time to shave, shave it off, it off.
No time for romantic escape,
When your fluffy heart is ready for rape. No!
Off we go.
You're sitting in your comfort you dont believe Im real,
You cannot buy protection from the way that I feel.
Your progressive hypocrites hand out their trash,
But it was mine in the first place, so Ill burn it to ash.
And Ive tasted all the strongest meats,
And laid them down in coloured sheets.
Who needs illusion of love and affection
When youre out walking the streets with your mainline connection? connection.
As I cuddle the porcupine
He said I had none to blame, but me.
Held my heart, deep in hair.
Time to shave, shave it off, it off.
No time for romantic escape,
When your fluffy heart is ready for rape. No!
8. Hairless Heart (Instrumental)
That night he pictured the removal of his hairy heart and to the
accompaniment of very
romantic music he watched it being shaved smooth by an anonymous
stainless steel razor
accompaniment of very
romantic music he watched it being shaved smooth by an anonymous
stainless steel razor
9. Counting Out Time
The palpitating cherry-red organ was returned to its rightful place and began to beat faster as it led our hero, counting out time, through his first romantic encounter.
I'm counting out time,
Got the whole thing down by numbers.
All those numbers!
Give me guidance!
O Lord I need that now.
The day of judgement's come,
And you can bet that I've been resting,
for this testing,
Digesting every word the experts say.
Erogenous zones I love you.
Without you, what would a poor boy do?
Found a girl I wanted to date,
Thought I'd better get it straight.
Went to buy a book before it's too late.
Don't leave nothing to fate.
I studied every line, every page in the book,
Now, I've got the real thing here, I'm gonna take a look, take a look.
This is Rael! ****This line should be "This is it Rael!"****
I'm counting out time, hoping it goes like I planned it,
'cos I understand it. Look! I've found the hotspots, Figs 1-9.
- still counting out time, got my finger on the button,
"Don't say nuttin - just lie there still
And I'll get you turned on just fine."
Erogenous zones I love you.
Without you, what would a poor boy do?
Touch and go with 1-6.
Bit of trouble in zone No. 7.
Gotta remember all of my tricks.
There's heaven ahead in No. 11!
Getting crucial responses, dilation of the pupils.
"Honey get hip! It's time to unzip, to unzip, zip, zip-a-zip-a-zip.
Whipee!"
(Take it away Mr. Guitar)
- Move over Casanova -
I'm counting out time, reaction none to happy,
Please don't slap me,
I'm a red blooded male and the book said I could not fail.
I'm counting out time, I got unexpected distress from my mistress,
I'll get my money back from the bookstore right away.
Erongenous zones I question you -
Without you, what would a poor boy do?
Without you, what would a poor boy do?
Without you, mankind handkinds thru' the blues.
I'm counting out time,
Got the whole thing down by numbers.
All those numbers!
Give me guidance!
O Lord I need that now.
The day of judgement's come,
And you can bet that I've been resting,
for this testing,
Digesting every word the experts say.
Erogenous zones I love you.
Without you, what would a poor boy do?
Found a girl I wanted to date,
Thought I'd better get it straight.
Went to buy a book before it's too late.
Don't leave nothing to fate.
I studied every line, every page in the book,
Now, I've got the real thing here, I'm gonna take a look, take a look.
This is Rael! ****This line should be "This is it Rael!"****
I'm counting out time, hoping it goes like I planned it,
'cos I understand it. Look! I've found the hotspots, Figs 1-9.
- still counting out time, got my finger on the button,
"Don't say nuttin - just lie there still
And I'll get you turned on just fine."
Erogenous zones I love you.
Without you, what would a poor boy do?
Touch and go with 1-6.
Bit of trouble in zone No. 7.
Gotta remember all of my tricks.
There's heaven ahead in No. 11!
Getting crucial responses, dilation of the pupils.
"Honey get hip! It's time to unzip, to unzip, zip, zip-a-zip-a-zip.
Whipee!"
(Take it away Mr. Guitar)
- Move over Casanova -
I'm counting out time, reaction none to happy,
Please don't slap me,
I'm a red blooded male and the book said I could not fail.
I'm counting out time, I got unexpected distress from my mistress,
I'll get my money back from the bookstore right away.
Erongenous zones I question you -
Without you, what would a poor boy do?
Without you, what would a poor boy do?
Without you, mankind handkinds thru' the blues.
10. Carpet Crawlers
He returns from his mixed-up memories to the passage he was previously stuck in. this time he discovers a long carpeted corridor.
There is lambswool under my naked feet.
The wool is soft and warm,
- gives off some kind of heat.
A salamander scurries into flame to be destroyed.
Imaginary creatures are trapped in birth on celluloid.
The fleas cling to the golden fleece,
Hoping they'll find peace.
Each thought and gesture are caught in celluloid.
There's no hiding in my memory.
There's no room to avoid.
The walls are painted in red ocher and are marked by strange insignia, some looking like a bulls-eye, others of birds and boats. further down the corridor, he can see some people; all kneeling.
Broken sighs and murmurs they struggle, in their slow motion to move towards a wooden door at the end. having seen only the inanimate bodies in the grand parade of lifeless packaging, rael rushe
Talk to them.
The crawlers cover the floor in the red ochre corridor.
For my second sight of people, they've more lifeblood than before.
They're moving in time to a heavy wooden door,
Where the needles eye is winking, closing in on the poor.
The carpet crawlers heed their callers:
Weve got to get in to get out
Weve got to get in to get out
Weve got to get in to get out.
What's going on? he cries to a muttering monk, who conceals a yawn and replies it's a long time yet before the dawn. a sphinx-like crawler calls his name saying don
K him, the monk is drunk. each one of us is trying to reach the top of the stairs, a way out will await us there. not asking how he can move freely, our hero goes boldly through the door.
D a table loaded with food, is a spiral staircase going up into the ceiling.
There's only one direction in the faces that I see;
It's upward to the ceiling, where the chambers said to be.
Like the forest fight for sunlight, that takes root in every tree.
They are pulled up by the magnet, believing they're free.
The carpet crawlers heed their callers:
We've got to get in to get out
We've got to get in to get out
We've got to get in to get out.
Mild mannered supermen are held in kryptonite,
And the wise and foolish virgins giggle with their bodies glowing
Bright.
Through a door a harvest feast is lit by candlelight;
It's the bottom of a staircase that spirals out of sight.
The carpet crawlers heed their callers:
We've got to get in to get out
We've got to get in to get out
We've got to get in to get out.
The porcelain manikin with shattered skin fears attack.
The eager pack lift up their pitchers - they carry all they lack.
The liquid has congealed, which has seeped out through the crack,
And the tickler takes his stickleback.
The carpet crawlers heed their callers:
We've got to get in to get out
We've got to get in to get out
We've got to get in to get out.
There is lambswool under my naked feet.
The wool is soft and warm,
- gives off some kind of heat.
A salamander scurries into flame to be destroyed.
Imaginary creatures are trapped in birth on celluloid.
The fleas cling to the golden fleece,
Hoping they'll find peace.
Each thought and gesture are caught in celluloid.
There's no hiding in my memory.
There's no room to avoid.
The walls are painted in red ocher and are marked by strange insignia, some looking like a bulls-eye, others of birds and boats. further down the corridor, he can see some people; all kneeling.
Broken sighs and murmurs they struggle, in their slow motion to move towards a wooden door at the end. having seen only the inanimate bodies in the grand parade of lifeless packaging, rael rushe
Talk to them.
The crawlers cover the floor in the red ochre corridor.
For my second sight of people, they've more lifeblood than before.
They're moving in time to a heavy wooden door,
Where the needles eye is winking, closing in on the poor.
The carpet crawlers heed their callers:
Weve got to get in to get out
Weve got to get in to get out
Weve got to get in to get out.
What's going on? he cries to a muttering monk, who conceals a yawn and replies it's a long time yet before the dawn. a sphinx-like crawler calls his name saying don
K him, the monk is drunk. each one of us is trying to reach the top of the stairs, a way out will await us there. not asking how he can move freely, our hero goes boldly through the door.
D a table loaded with food, is a spiral staircase going up into the ceiling.
There's only one direction in the faces that I see;
It's upward to the ceiling, where the chambers said to be.
Like the forest fight for sunlight, that takes root in every tree.
They are pulled up by the magnet, believing they're free.
The carpet crawlers heed their callers:
We've got to get in to get out
We've got to get in to get out
We've got to get in to get out.
Mild mannered supermen are held in kryptonite,
And the wise and foolish virgins giggle with their bodies glowing
Bright.
Through a door a harvest feast is lit by candlelight;
It's the bottom of a staircase that spirals out of sight.
The carpet crawlers heed their callers:
We've got to get in to get out
We've got to get in to get out
We've got to get in to get out.
The porcelain manikin with shattered skin fears attack.
The eager pack lift up their pitchers - they carry all they lack.
The liquid has congealed, which has seeped out through the crack,
And the tickler takes his stickleback.
The carpet crawlers heed their callers:
We've got to get in to get out
We've got to get in to get out
We've got to get in to get out.
11. The Chamber of 32 Doors
At the top of the stairs he finds a chamber. It is almost a hemisphere with a great many doors all the way round its circumference. There is a large crowd, huddled in various groups. From the shouting, Rael learns that there are 32 doors, but only one that leads out. Their voices get louder and louder until Rael screams "Shut up!" There is a momentary silence and then Rael finds himself the focus as they direct their advice and commands to their new found recruit. Bred on trash, fed on ash the jigsaw master has got to move faster. Rael sees a quiet corner and rushes to it.
At the top of the stairs, there's hundreds of people,
running around to all the doors.
They try to find, find themselves an audience;
their deductions need applause.
The rich man stands in front of me,
The poor man behind my back.
They believe they can control the game,
but the juggler holds another pack.
I need someone to believe in, someone to trust.
I need someone to believe in, someone to trust.
I'd rather trust a countryman than a townman,
You can judge by his eyes, take a look if you can,
He'll smile through his guard,
Survival trains hard.
I'd rather trust a man who works with his hands,
He looks at you once, you know he understands,
Don't need any shield,
When you're out in the field.
But down here,
I'm so alone with my fear,
With everything that I hear.
And every single door, that I've walked through
Brings me back, back here again,
I've got to find my own way.
The priest and the magician,
Singing all the chants that they have ever heard;
and they're all calling out my name,
Even academics, searching printed word.
My father to the left of me,
My mother to the right,
Like everyone else they're pointing
But nowhere feels quite right.
And I need someone to believe in, someone to trust.
I need someone to believe in, someone to trust.
I'd rather trust a man who doesn't shout what he's found,
There's no need to sell if you're homeward bound.
If I choose a side,
He won't take me for a ride.
Back inside
This chamber of so many doors;
I've nowhere, nowhere to hide.
I'd give you all of my dreams, if you'd help me,
Find a door
That doesn't lead me back again
- take me away.
At the top of the stairs, there's hundreds of people,
running around to all the doors.
They try to find, find themselves an audience;
their deductions need applause.
The rich man stands in front of me,
The poor man behind my back.
They believe they can control the game,
but the juggler holds another pack.
I need someone to believe in, someone to trust.
I need someone to believe in, someone to trust.
I'd rather trust a countryman than a townman,
You can judge by his eyes, take a look if you can,
He'll smile through his guard,
Survival trains hard.
I'd rather trust a man who works with his hands,
He looks at you once, you know he understands,
Don't need any shield,
When you're out in the field.
But down here,
I'm so alone with my fear,
With everything that I hear.
And every single door, that I've walked through
Brings me back, back here again,
I've got to find my own way.
The priest and the magician,
Singing all the chants that they have ever heard;
and they're all calling out my name,
Even academics, searching printed word.
My father to the left of me,
My mother to the right,
Like everyone else they're pointing
But nowhere feels quite right.
And I need someone to believe in, someone to trust.
I need someone to believe in, someone to trust.
I'd rather trust a man who doesn't shout what he's found,
There's no need to sell if you're homeward bound.
If I choose a side,
He won't take me for a ride.
Back inside
This chamber of so many doors;
I've nowhere, nowhere to hide.
I'd give you all of my dreams, if you'd help me,
Find a door
That doesn't lead me back again
- take me away.
Disco 2
01. Lilywhite Lilith
The chamber was in confusion - all the voices shouting loud.
I could only just hear, a voice quite near say, "Please help me
through the crowd"
'Said if I helped her thru' she could help me too, but I could
see that she was wholly blind.
But from her pale face and her pale skin, a moonlight shined.
Lilywhite Lilith,
She gonna take you thru' the tunnel of night
Lilywhite Lilith,
She gonna lead you right.
When I'd led her through the people, the angry noise began to grow.
She said "Let me feel the way the breezes blow, and I'll show
you where to go."
So I followed her into a big round cave, she said "They're
coming for you, now don't be afraid."
Then she sat me down on a cold stone throne, carved in jade.
Lilywhite Lilith,
She gonna take you thru' the tunnel of night.
Lilywhite Lilith,
She gonna lead you right.
She leaves me in my darkness,
I have to face, face my fear,
And the darkness closes in on me,
I can hear a whirring sound growing near.
I can see the corner of the tunnel,
Lit up by whatever's coming here.
Two golden globes float into the room
And a blaze of white light fills the air.
I could only just hear, a voice quite near say, "Please help me
through the crowd"
'Said if I helped her thru' she could help me too, but I could
see that she was wholly blind.
But from her pale face and her pale skin, a moonlight shined.
Lilywhite Lilith,
She gonna take you thru' the tunnel of night
Lilywhite Lilith,
She gonna lead you right.
When I'd led her through the people, the angry noise began to grow.
She said "Let me feel the way the breezes blow, and I'll show
you where to go."
So I followed her into a big round cave, she said "They're
coming for you, now don't be afraid."
Then she sat me down on a cold stone throne, carved in jade.
Lilywhite Lilith,
She gonna take you thru' the tunnel of night.
Lilywhite Lilith,
She gonna lead you right.
She leaves me in my darkness,
I have to face, face my fear,
And the darkness closes in on me,
I can hear a whirring sound growing near.
I can see the corner of the tunnel,
Lit up by whatever's coming here.
Two golden globes float into the room
And a blaze of white light fills the air.
02. The Waiting Room (Instrumental)
03. Anyway
He panics, feels around for a stone and hurls it at the brightest point. The sound of breaking glass echoes around the cave. As his vision is restored he catches sight of two golden gloves about one foot in diameter hovering away down the tunnel. When they disappear a resounding crack sears across the roof, and it collapses all around him. Our hero is trapped once again.
"This is it" he thinks, failing to move any of the fallen rocks.
All the pumping's nearly over for my sweet heart,
This is the one for me,
Time to meet the chef,
O boy! running man is out of death.
Feel cold and old, it's getting hard to catch my breath.
's back to ash, 'now, you've had your flash boy'
The rocks, in time, compress
your blood to oil,
your flesh to coal,
enrich the soil,
not everybody's goal.
Anyway, they say she comes on a pale horse,
But I'm sure I hear a train.
O boy! I don't even feel no pain -
I guess I must be driving myself insane.
Damn it all! does earth plug a hole in heaven,
Or heaven plug a hole in earth - 'how wonderful to be so profound,
when everything you are is dying underground.'
There's not much spectacle for an underground creole as he walks through the gates of Sheol. "I would have preferred to have been jettisoned into a thousand pieces in space, or filled with helium and floated above a mausoleum. This is no way to pay my last subterranean homesick dues. Anyway I'm out of the hands of any pervert embalmer doing his interpretation of what I should look like, stuffing his cotton wool in my cheeks."
I feel the pull on the rope, let me off at the rainbow.
I could have been exploding in space
Different orbits for my bones
Not me, just quietly buried in stones,
Keep the deadline open with my maker!
See me stretch; for God's elastic acre
The doorbell rings and its
"Good morning Rael
So sorry you had to wait.
It won't be long, yeh!
She's very rarely late."
"This is it" he thinks, failing to move any of the fallen rocks.
All the pumping's nearly over for my sweet heart,
This is the one for me,
Time to meet the chef,
O boy! running man is out of death.
Feel cold and old, it's getting hard to catch my breath.
's back to ash, 'now, you've had your flash boy'
The rocks, in time, compress
your blood to oil,
your flesh to coal,
enrich the soil,
not everybody's goal.
Anyway, they say she comes on a pale horse,
But I'm sure I hear a train.
O boy! I don't even feel no pain -
I guess I must be driving myself insane.
Damn it all! does earth plug a hole in heaven,
Or heaven plug a hole in earth - 'how wonderful to be so profound,
when everything you are is dying underground.'
There's not much spectacle for an underground creole as he walks through the gates of Sheol. "I would have preferred to have been jettisoned into a thousand pieces in space, or filled with helium and floated above a mausoleum. This is no way to pay my last subterranean homesick dues. Anyway I'm out of the hands of any pervert embalmer doing his interpretation of what I should look like, stuffing his cotton wool in my cheeks."
I feel the pull on the rope, let me off at the rainbow.
I could have been exploding in space
Different orbits for my bones
Not me, just quietly buried in stones,
Keep the deadline open with my maker!
See me stretch; for God's elastic acre
The doorbell rings and its
"Good morning Rael
So sorry you had to wait.
It won't be long, yeh!
She's very rarely late."
04. Here Comes The Supernatural Anaesthetist
Exhausted by all this conjecture, our hero gets the chance in a lifetime to meet his hero: Death. Death is wearing a light disguise, he made the outfit himself. He calls it the "Supernatural Anaesthetist." Death likes meeting people and wants to travel. Death approaches Rael with his special cannister, releases a puff, and appears to walk away content into the wall. Here comes the supernatural anaesthetist.
If he wants you to snuff it,
All he has to do is puff it
- he's such a fine dancer.
05. The Lamia
Rael touches his face to confirm that he is still alive. He writes Death off as an illusion, but notices a thick musky scent hanging in the air. He moves to the corner where the scent is stronger, discovering a crack in the rubble through which it is entering. He tries to shift the stones and eventually clears a hole large enough to crawl out of. The perfume is even stronger on the other side and he sets off to find its source, with a new-found energy. The scent grows richer, he knows he must be near,
He finds a long passageway lit by chandelier.
Each step he takes, the perfumes change
From familiar fragrance to flavours strange.
A magnificent chamber meets his eye.
He finally reaches a very ornate pink-water pool. It is lavishly decorated with gold fittings. The walls around the pool are covered with a maroon velvet up which honeysuckle is growing. From out of the mist on the water comes a series of ripples.
Inside, a long rose-water pool is shrouded by fine mist.
Stepping in the moist silence, with a warm breeze he's gently kissed.
Thinking he is quite alone,
He enters the room, as if it were his own
But ripples on the sweet pink water
Reveal some company unthought of -
Three snakelike creatures are swimming towards Rael. Each reptilian creature has the diminutive head and breasts of a beautiful woman. His horror gives way to infatuation as their soft green eyes show their welcome. The Lamia invite him to taste the sweet water and he is quick to enter the pool. As soon as he swallows some liquid, a pale blue luminescence drips off from his skin. The Lamia lick the liquid; very gently as they begin, with each new touch, he feels the need to give more and more.
Rael stands astonished doubting his sight,
Struck by beauty, gripped in fright;
Three vermilion snakes of female face
The smallest motion, filled with grace.
Muted melodies fill the echoing hall,
But there is no sign of warning in the siren's call:
"Rael welcome, we are the Lamia of the pool.
We have been waiting for our waters to bring you cool."
Putting fear beside him, he trusts in beauty blind,
He slips into the nectar, leaving his shredded clothes behind.
"With their tongues, they test, taste and judge all that is mine.
They move in a series of caresses
That glide up and down my spine.
They knead his flesh until his bones appear to melt, and at a point at which he feels he cannot go beyond, they nibble at his body. Taking in the first drops of his blood, their eyes blacken and their bodies are shaken. Distraught with helpless passion he watches as his lovers die. In a desperate attempt to bring what is left of them into his being, he takes and eats their bodies, and struggles to leave his lovers' nest.
As they nibble the fruit of my flesh, I feel no pain,
Only a magic that a name would stain.
With the first drop of my blood in their veins
Their faces are convulsed in mortal pains.
The fairest cries, 'We all have loved you Rael'."
Each empty snakelike body floats,
Silent sorrow in empty boats.
A sickly sourness fills the room,
The bitter harvest of a dying bloom.
Looking for motion I know I will not find,
I stroke the curls now turning pale, in which I'd lain entwined
"O Lamia, your flesh that remains I will take as my food"
It is the scent of garlic that lingers on my chocolate fingers.
Looking behind me, the water turns icy blue,
The lights are dimmed and once again the stage is set for you.
06. Silent Sorrow in Empty Boats (Instrumental)
07. The Colony of Slippermen
The ArrivalLeaving by the same door from which he had come in, he finds some sort of freaks ghetto on the other side. When they catch sight of him, the entire street of distorted figures burst into laughter. One of the colony approaches him.
Rael:
I wandered lonely as a cloud,
Till I came upon this dirty street.
I've never seen a stranger crowd;
Slubberdegullions on squeaky feet,
Continually pacing,
With nonchalant embracing,
Each orifice disgracing
And one facing me moves to say "hellay".
He is grotesque in every feature, a mixture of ugly lumps and stumps. His lips slip across his chin as he smiles in welcome and offers his slippery handshake.
His skin's all covered in slimy lumps.
With lips that slide across each chin.
His twisted limbs like rubber stumps
Are waved in welcome say 'Please join in.'
My grip must be flipping,
Cos his handshake keeps slipping,
My hopes keep on dipping
And his lips keep on smiling all the time.
Rael is a little disillusioned, when the Slipperman reveals that the entire colony have one-by-one been through the same glorious romantic tragedy with the same three Lamia, who regenerate themselves every time, and that now Rael shares their physical appearance and shadowy fate.
Slipperman:
"We, like you, have tasted love.
Don't be alarmed at what you see,
You yourself are just the same
As what you see in me."
Rael:
Me, like you? like that!
Slipperman:
"You better watch it son, your sentence has only just begun
You better run and join your brother John."
Amongst the contorted faces of the Slippermen, Rael recognises what is left of his brother John. They hug each other.
A Visit To The Doktor
John bitterly explains that the entire life of the Slipperman is devoted to satisfying the never-ending hunger of the senses, which has been inherited from the Lamia. There is only one escape route; a dreaded visit to the notorious Doktor Dyper who will remove the source of the problems, or to put it less politely, castrate.
They discuss the deceptively-named escape for a long time and decide to go together to visit the Doktor.
Slipperman:
"You're in the colony of slippermen.
There's no who? why? what? or when?
You get out if you've got the gripe
To see, Doktor Dyper, reformed sniper - he'll whip off your
windscreenwiper"
Rael:
John and I are able
To face the Doktor and his marble table.
The Doktor:
Understand Rael, that's the end of your tail.
Rael:
"Don't delay, dock the dick!"
I watch his countdown timer tick....
The Raven
They survive the ordeal and are presented with the offensive weapons in sterile yellow plastic tubes, with gold chains. "People usually wear them around their necks," said the Doktor handing them over. "The operation does not necessarily exclude use of the facility again, for short periods, but of course when you want it you must provide us with considerable advance warning."
He places the number into a tube,
It's a yellow plastic "shoobedoobe".
It says: "Though your fingers may tickle
You'll be safe in our pickle."
As the brothers talk themselves through their new predicament, a big black raven flies into the cave, swoops down, grabs Rael's tube right out of his hands and carries it up into the air in his beak.
Suddenly, black cloud come down from the sky.
It's a supersized black bird that sure can fly...
The raven brings on darkness and night
He flies right down, gives me one hell of a fright.
He take the tube right out of my hands
Man, I've got to find out where that black bird lands.
Rael calls for John to go with him.
And he replies "I will not chase a black raven. Down here you must read and obey the omens. There's disaster where the raven flies."
"Look here John, I've got to run
I need you now, you going to come?"
He says to me:
John:
"Now can't you see
Where the raven flies there's jeopardy.
We've been cured on the couch
Now you're sick with your grouch.
I'll not risk my honey pouch
Which my slouch will wear slung very low."
So once more John deserts his brother.
Rael:
He walks away and leaves me once again.
Even though I never learn,
I'd hoped he'd show just some concern.
The bird leads Rael down a narrow tunnel, he seems to be allowing him to keep at a closed distance. But as Rael thinks he might almost catch hold of the bird, the tunnel opens and finishes at an enormous subterranean ravine. Casually, the raven drops his precious load into the rushing waters at the bottom. It's enough to drive a poor boy ravin' mad.
Seeing the dangers of the steep cliff, our courageous hero stands impotent and glowers.
I'm in the agony of Slipperpain
I pray my undercarriage will sustain.
The chase is on, the pace is hot
But I'm running so very hard with everything that I've got.
He leads me down an underpass
Though it narrows, he still flies very fast,
When the tunnel stops
Catch sight of the tube, just as it drops.
I'm on top of a bank too steep to climb
I see it hit the water just in time
to watch it float away...
08. Ravine (Instrumental)
09. The Light Dies Down on Broadway
As he walks along the gorges edge,He meets a sense of yesteryear.
A window in the bank above his head
Reveals his home amidst the streets.
Subway sounds, the sounds of complaint
The smell of acid on his gun of paint.
As it carves out anger in a blood-red band,
Destroyed tomorrow by an unknown hand;
My home.
Is this the way out from this endless scene?
Or just an entrance to another dream?
And the light dies down on Broadway.
But as the skylight beckons him to leave,
He hears a scream fro far below.
Within the raging water, writhes the form
Of brother John, he cries for help.
The gate is fading now, but open wide,
But John is drowning, I must decide
Between the freedom I had in the rat-race,
Or to stay forever in this forsaken place;
Hey John!
He makes for the river and the gate is gone,
Back to the void where it came from.
And the light dies down on Broadway
10. Riding the Scree
He rushes to the cliff and scrambles down the rocks. It takes him a long time to get down to the water, trying to keep up with the current at the same time. As he nears the water's edge he sees John losing strength. Struggling down the slope,
There's not much hope.
I begin to try to ride the scree
but the rocks are tumbling all around me.
If I want John alive,
I've got to ditch my fear - take a dive
While I've still got my drive to survive.
Evel Knievel you got nothing on me.
Here I go!
11. In the Rapids
He dives down into the cold water. At first he is thrown onto the rocks, and pulled under the water by a fast moving channel, which takes him right past John, down river. Moving down the water
John is drifting out of sight,
Its only at the turning point
That you find out how you fight.
In the cold, feel the cold
all around
And the rush of crashing water
Surrounds me with its sound.
Rael manages to grab a rock, pull himself to the surface and catch his breath. As John is carried past, Rael throws himself in again and catches hold of his arm. He knocks John unconscious and then locking themselves together, he rides the rapids into the slow running water, where he can swim to safety.
Striking out to reach you
I can't get through to the other side,
When you're racing in the rapids
There's only one way, thats to ride.
Taken down, taken down
by the undertow
I'm spiralled down the river bed,
My fire is burning low.
Catching hold of a rock that's firm,
I'm waiting for John to be carried past.
We hold together, hold together and shoot the rapids fast.
But as he hauls his brother's limp body onto the bank he lies him out and looks hopefully into his eyes for a sign of life. He staggers back in recoil, for staring at him with eyes wide open is not John's face - but his own.
And when the waters slow down
The dark and the deep
have no-one, no-one, no-one, no-one
no-one left to keep.
Hang on John! We're out of this at last.
Somethings changed, that's not your face.
It's mine - it's mine!
12. It
Rael cannot look away from those eyes, mesmerized by his own image. In a quick movement, his consciousness darts from one face to the other, then back again, until his presence is no longer solidly contained in one or the other. In this fluid state he observes both bodies outlined in yellow and the surrounding scenery melting into a purple haze. With a sudden rush of energy up both spinal columns, their bodies, as well, finally dissolve into the haze. All this takes place without a single sunset, without a single bell ringing and without a single blossom falling from the sky. Yet it fills everything with its mysterious intoxicating presence. It's over to you.
When its cold, it come slow
it is warm, just watch it grow
- all around me
it is here. it is now.
Just a little bit of it can bring you up or down.
Like the supper it is cooking in your hometown.
it is chicken, it is eggs,
it is in between your legs.
it is walking on the moon,
leaving your cocoon.
it is the jigsaw. it is purple haze.
it never stays in one place, but it's not a passing phase,
it is in the singles bar, in the distance of the face
it is in between the cages, it is always in a space
it is here. it is now.
Any rock can be made to roll
If you've enough of it to pay the toll
it has no home in words or goal
Not even in your favourite hole
it is the hope for the dope
Who rides the horse without a hoof
it is shaken not stirred;
Cocktails on the roof.
When you eat right through it you see everything alive
it is inside spirit, with enough grit to survive
If you think that its pretentious, you've been taken for a ride.
Look across the mirror sonny, before you choose decide
it is here. it is now
it is Real. it is Rael
'cos it's only knock and knowall, but I like it...
*****
Letras traducidas al español en el siguiente blog:
The lamb lies down on Broadway (thanks Manny!)
Traducción de la historia (tal y como venía en el interior del album)
Mantén tus dedos fuera de mi ojo. Mientras escribo, me gusta mirar las mariposas de vidrio que hay alrededor de todas las paredes. La gente en mi memoria están prendidos con alfileres a eventos que no recuerdo muy bien, pero estoy escribiendo uno para verlo desmenuzarse, descomponerse y alimentar otra clase de vida. El evento en cuestión es material completamente biodegradable y categorizado como 'Rael'. Rael me odia, a mí me gusta Rael, -sí, aún las avestruces tienen sentimientos, pero nuestra relación es algo con lo que ambos estamos aprendiendo a vivir. A Rael le gusta un buen rato, a mi me gusta una buena rima, pero no me verán directamente más -él odia que yo esté en los alrededores. Así que, si esta historia no se entiende, yo podría echar una mano, (¿ustedes entienden?) (eso es que la rima es planeada, tontos).
La flameante aguja salta hacia lo rojo. New York sale arrastrado de su cama. Los invitados cansados son convidados a abandonar el calor del teatro de toda la noche, habiendo dormido sobre películas que otros sólo sueñe;an. Los extras que no han sido pagados perturban el Dormido Broadway. CAMINE a la izquierda NO CAMINE a la derecha: en Broadway las direcciones no se ven tan brillantes. Autofantasmas mantienen el paso para la carrera de móviles de los taxistas tempraneros.
Suficiente de esto -nuestro héroe sube por las escaleras del metro hacia la luz del día. Detrás de su chaqueta de cuero tiene una pistola spray que ha dejado el mensaje R-A-E-L en letras grandes sobre la pared de bajada. Puede no significar mucho para tí pero para Rael es parte del proceso que lleva a 'hacer un nombre por tí mismo'. Cuando tu no eres ni un Puertorriqueñe;o de raza pura la vida se vuelve difícil, y sale a relucir lo más fuerte de tí.
Con ojeadas casuales hacia los lados a lo largo de la calle, él chequea el movimiento en el vapor buscando obstrucción potencial. Sin ver ninguna, cruza a grandes trancos la acera, pasa la droguería siendo removida la santamaría para revelar la sonrisa de la muchacha de la pasta de dientes, pasa las damas de la noche y pasa el patrullero Frank Leonovich (48, casado, dos hijos) quien está parado en la entrada de la tienda de pelucas. El patrullero Leonovich mira a Rael de la misma forma que otros patrulleros lo miran, y Rael sólo esconde que está escondiendo algo. Mientras tanto desde fuera del vapor un cordero yace. Este cordero no tiene nada que ver con Rael, o con ningún otro cordero -sólo yace en Broadway.
El cielo está cubierto y mientras Rael mira hacia atrás una nube oscura está decendiendo como un globo en Times Square. Se posa en el suelo y toma la forma de una superficie lisa de bordes duros, la cual se solidifica y extiende hacia el Este y Oeste a lo largo de la Calle 47 y llegando hasta el cielo oscuro. Mientras la pared levanta su tensión se vuelve una pantalla que muestra en tres dimensiones lo que había existido al otro lado tan sólo un momento antes. La imagen flamea y entonces se resquebraja como arcilla pintada y la pared se mueve hacia adelante silenciosamente, absorbiendo todo a su paso. Los confiados Neoyorquinos están aparentemente ciegos ante lo que está sucediendo.
Rael empieza a correr hacia Columbus Circle. Cada vez que se atreve a echar un vistazo, la pared se ha movido otra cuadra. En el momento en que piensa que está manteniendo su distancia de la pared, el viento sopla fuerte y frío disminuyendo su velocidad. El viento aumenta, seca la mojada calle y recoge el polvo de la superficie, arrojándolo a la cara de Rael. Más y más polvo es levantado por el viento y comienza a sedimentarse sobre la piel y la ropa de Rael, haciendo una capa sólida que lo lleva gradualmente a una inmovilidad espantosa. Un pato sentado.
El momento del impacto irrumpe en el silencio y en rugido de sonido, el segundo final es prolongado en un mundo de ecos como si el concreto y la arcilla de Broadway mismo estuviera reviviendo sus memorias. La última gran marcha pasa. El hombre de las noticias se halla débil como un lloriqueo mientras audiencia y evento son atados como uno solo. Bing Crosby (canta) "Tú no tienes que sentir dolor para cantar el blues, no tienes que (holla) -no tienes que sentir nada en tu collar de dólares." Martin Luther King grita "¡Todos canten!" y tañe;e la gran y vieja campana de la libertad. Leary, cansado de su celda de prisión, camina en el cielo, habla en el infierno. J.F.K. da el Okey para dispararnos, sorbiendo Naranja Julius y Limón Brutus. El vaquero con el pecho descubierto (adorna) doblemente al triple campeón. ¿Quién necesita Medicare y la tarifa de 35¢ cuando Fred Astaire y Ginger Rogers están bailando a través del aire? Desde los estereotipos de Broadway Melody la banda regresa a 'Stars and Stripes' trayendo una lágrima al que hace brillar la luna, quien ha estado derramando su espíritu desde el silencio ilegal. El corredor de empeñe;os limpia el ruidoso cajón para guardar dinero y agarra su afortunado billete de un dólar. Entonces el desmayo.
Rael recupera el conocimiento en alguna media luz almizclera. El está tibiamente envuelto en alguna clase de capuyo. El único sonido que puede oir es agua goteando, la cual parece ser el origen de la flameante luz pálida. El piensa que debe estar en alguna clase de cueva -o tumba lunática, o catacumba, o cáscara de huevo esperando caer desde el hueso de las entrañe;as. Cualquier cosa que sea, se siente sereno, muy limpio y contento como un muñe;eco bien cuidado con agua caliente en su panza, entonces ¿por qué preocuparse por saber qué significa? Resignándose a lo desconocido es arrastrado hacia el sueñe;o.
Se levanta con un sudor frío y un fuerte apremio por vomitar. No hay señe;ales del capuyo y no puede ver más de la cueva alrededor suyo. Hay mucha más del agua brillante goteando del techo y estalactitas y estalagmitas están formándose y descomponiéndose a una velocidad increible a todo su alrededor. A medida que el miedo y el sobresalto se registran, él se asegura a sí mismo que el autocontrol le proporcionará algo de seguridad, pero su pensamiento es abandonado a medida que las estalactitas y estalagmitas se entrelazan en una posición fija, formando una jaula cuyas barras están moviéndose hacia él. En un momento hay un destello de luz y él ve una red infinita de jaulas todas amarradas por un material parecido a una cuerda. Mientras las barras rocosas presionan el cuerpo de Rael, él ve a su hemano John fuera, mirando hacia adentro. La cara de John está inmóvil a pesar de los gritos de ayuda, pero en su expresión vacía una gota de sangre se forma y corre por su mejilla. Entonces él se va calmadamente dejando a Rael enfrentarse a los dolores que empiezan a cubrir su cuerpo. Sin embargo, justo mientras John se pierde de vista la jaula de disuelve y Rael queda dando vueltas como un trompo.
Cuando toda esta revolución llega a su fin, se sienta en un piso sumamente pulido, mientras su vértigo se desvanece. Es un vacío pasillo moderno y la vendedora de muñe;ecas de sueñe;os está sentada en la mesa de recepción. Sin preguntar comienza con su discurso: "Esta es la Gran Marcha de Empaquetamiento sin vida, aquellos a quienes usted está a punto de ver están todos metidos en servicio, excepto por una pequeñe;a cantidad de nuestro nuevo producto, en la segunda galería. Es toda la provisión requerida para cubrir los arreglos existentes de la empresa. Diferentes tandas son distribuidas a los operadores de área, y hay abundantes oportunidades para el gran inversionista. Ellas se extienden desde el costoso acondicionado a cuidados hasta el más razonable desnutrido. Nosotros encontramos aquí que a las miradas de todos les convienen ellos. Excepto por el bajo mercado de desnutridos, cada uno viene con una garantía de nacimiento exitoso e infancia sin problemas. Hay, sin embargo, sólo una pequeñe;a cantidad de potencial de selección variable -no muy lejos del diferencial de la media. Usted ve, el techo ha predeterminado los límites de acción de cualquier grupo de paquetes, pero los indivíduos pueden salirse del camino si sus diversiones son contrabalanceadas por otros."
Mientras merodea a lo largo de la línea de paquetes, Rael nota una familiaridad en algunas de sus caras. El finalmente se encuentra con algunos miembros de su antigua pandilla y se preocupa por su propia seguridad. Corriendo fuera del piso de la fábrica, alcanza a ver a su hermano John con un número 9 estampado en la parte posterior de su cabeza.
Nadie parece emprender la persecusión, y con las caras familiares frescas en su mente procede a reconstruir su antigua vida, encima de la tierra -Demasiado tiempo era una cosa que no necesitaba, así que solía recortarlo con un poco de velocidad. Estaba en mejores circunstancias muerto que lento en la cabeza. Su mamá y papá habían dado un paseo montados en su espalda, así que se fue muy rápido para unirse a La Cuadrilla. Sólo después de un embrujo en el reformatorio de Pontiac le fue dado respeto en la pandilla. Ahora, caminando de regreso a casa después de una redada, él estaba acariciando un puercoespín durmiente. Esa noche él imaginó la remoción de su peludo corazón y con el acompañe;amiento de música muy romántica lo veía siendo afeitado por una hojilla de acero inoxidable hasta quedar liso. El palpitante órgano rojo cereza fue devuelto a su lugar legítimo y empezó a latir más fuertemente a medida que guiaba a nuestro héroe, descontado tiempo, a través de su primer encuentro romántico.
El regresa de sus memorias confundidas al pasaje donde estaba previamente atorado. Esta vez dscubre un largo corredor alfombrado. Las paredes están pintadas de rojo ocre y están marcadas por insignias extrañe;as, algunas que se ven como una diana, otras de pájaros y botes. Más abajo en el corredor, puede ver alguna gente; todos arrodillándose. Con suspiros quebrados y murmullos ellos luchan, en su cámara lenta para moverse hacia una puerta de madera al final. Habiendo visto sólo los cuerpos inanimados en la Gran Marcha de Empaquetamiento sin vida, Rael se apresura para hablar con ellos.
"¿Qué sucede?" el grita a un monje refunfuñe;ón, quien disimula un bostezo y responde "Falta mucho tiempo para el alba." Un reptil con forma de esfinge lo llama por su nombre diciendo "No le preguntes, el monje esta borracho. Cada uno de nosotros está tratando de alcanzar la parte de arriba de las escaleras, una salida nos esperará allá." Sin preguntar cómo puede moverse libremente, nuestro héroe atraviesa audazmente la puerta. Detrás de una mesa llena de comida, está una escalera espiral que sube al techo.
En la parte superior de las escaleras encuentra una habitación. Es casi un hemisferio con muchísimas puertas a lo largo de toda su circunferencia. Hay una gran multitud, amontonados en varios grupos. De la gritería, Rael se entera de que hay 32 puertas, pero sólo una lleva afuera. Sus voces se vuelven más fuertes y más fuertes hasta que Rael grita "¡Cállense!" Hay un silencio momentáneo y entonces se encuentra como el foco ya que ellos dirigen su consejo y órdenes a su recién encontrado recluta. Criado en la basura, alimentado de ceniza el maestro del rompecabezas tiene que moverse más rápido. Rael observa un rincón callado y se apresura hacia él. Se para cerca de una mujer de mediana edad con piel muy pálida quien está calladamente hablando sí. El descubre que ella es ciega y está pidiendo un guía "¿De qué sirve un guía si no tiene a dónde ir?" pregunta Rael. "Tengo un lugar a dónde ir," ella responde "si me llevas a través del ruido, te enseñe;aré. Soy una criatura de las cavernas y sigo la dirección en que soplan las brisas."
El la guía a través de la habitación y abandonan la multitud, quienes despiden su partida con seguridad de que va a fracazar. Cuando atraviesan la puerta, la mujer lleva a Rael bajando por el tunel. La luz de la habitación pronto se desvanece y a pesar del paso confiado de ella Rael a menudo tropieza en la oscuridad.
Después de una larga caminata llagan a lo que Rael considera una gran cueva redonda, y ella habla por segunda vez pidiéndole que se siente. Se siente como un frío trono de piedra.
"Rael, siéntate aquí. Ellos vendrán pronto por tí. No tengas miedo." Y sin explicar nada más se disipa. El enfrenta su miedo de nuevo.
Un tunel es iluminado a su izquierda, y él comienza a sacudirse. A medida que se vuelve más brillante, oye un zumbido no metálico. La luz se está volviendo dolorosamente brillante, reflejándose como blanco en las paredes hasta que su visión se pierde en una especie de ceguera de la nieve. Siente pánico, tantea a su alrededor buscando una piedra y la lanza al punto más brillante. El sonido de vidrio rompiéndose hace eco por todos lados de la cueva.
A medida que su visión es restituida alcanza a ver dos globos dorados de aproximadamente un pie de diámetro alejandose revoloteando por el tunel. Cuando desaparecen, un resonante crujido se seca () a través del techo, y éste cae a todo su alrededor. Nuestro héroe está atrapado una vez más.
"Esta es" él piensa, fallando al intentar mover alguna de las rocas caídas. No hay mucho espectáculo para un creole (criollo) subterráneo a medida que camina a través de las puertas de Sheol. "Yo hubiera preferido haber sido expelido en mil pedazos en el espacio, o llenado con helio y flotado sobre un mausoleo. Esta no es manera de pagar mis últimas deudas nostálgicas. De cualquier forma estoy fuera de las manos de ningún embalsamador pervertido haciendo su interpretación de cómo debo lucir, rellenando mis mejillas con su algodón."
Exhausto por toda esta conjetura, nuestro héroe consigue la oportunidad de su vida de conocer a su héroe: La Muerte. La Muerte tiene puesto un disfraz ligero, lo hizo ella misma. Lo llama el "Anestesista Sobrenatural." A La Muerte le gusta conocer gente y quiere viajar. La Muerte se acerca a Rael con su frasco de tabaco, echa una boconada, y parece alejarse contenta a la pared.
Rael se toca su cara para confirmar que aún está vivo. Descarta a La Muerte como una ilusión, pero nota una esencia almizclera flotando en el aire. Se mueve al rincón donde la esencia es más fuerte, descubriendo una grieta en la piedra a través de la cual está entrando. El trata de mover las piedras y finalmente abre un hueco suficientemente grande para ser atravesado a gatas. El perfume es aún más fuerte del otro lado y se dispone a encontrar su origen, con una energía recién encontrada.
Finalmente llega hasta una muy ornamentada piscina de agua rosada. Está profusamente decorada con incrustaciones en oro. Las paredes alrededor de la piscina están cubiertas con terciopelo color castañe;o del cual está creciendo madreselva. De la bruma sobre el agua vienen una serie de rizos. Tres criaturas como serpientes están nadando hacia Rael. Cada criatura reptiliana tiene la diminuta cabeza y pechos de una preciosa mujer. Su horror se vuelve apasionamiento a medida que sus suave ojos verdes muestran su bienvenida. Las Lamia lo invitan a saborear el agua dulce y el entra rápidamente a la piscina. Tan pronto como él traga un poco de líquido, una pálida luminiscencia azul gotea de su piel. Las Lamia lamen el líquido; muy delicadas a medida que comienza, con cada nuevo contacto él siente la necesidad de dar más y más. Ellas soban su carne hasta que sus huesos parecen derretirse, y cuando siente que no puede ir más allá, mordisquean su cuerpo. Tomando la primera gota de su sangre, sus ojos se ennegrecen y sus cuerpos son sacudidos. Aturdido por la pasión desvalida él observa mientras sus amantes mueren. En un intento desesperado por meter lo que queda de ellas en su cuerpo, él las toma y come sus cuerpos, y lucha por abandonar el nido de sus amantes.
Saliendo por la misma puerta desde donde había entrado, encuentra una especie de ghetto de monstruos al otro lado. Cuando alcanzan a verlo toda calle de figuras distorcionadas rompe a reir. Uno de la colonia se le acerca. Es grotesco en todo sentido, una mezcla de feos bultos y muñe;ones. Sus labios se deslizan a lo largo de su mentón mientras sonríe en señe;al de bienvenida y ofrece un resbaloso apretón de manos. Rael está un poco desilusionado, cuando el Slipperman revela que toda la colonia ha atravesado uno por uno la misma gloriosa y romántica tragedia con las mismas tres Lamia, quienes se regeneran a si mismas cada vez, y que ahora Rael comparte su apariencia física y sombrío destino.
Entre las caras retorcidas de los hombres Slipperman, Rael reconoce lo que queda de su hermano John. Se abrazan el uno al otro, John explica amargamente que la vida entera del Slipperman está dedicada a satisfacer la interminable hambre de los sentidos, la cual ha sido heredada de las Lamia. Sólo hay una ruta de escape; un temida visita al notable Doktor Dyper quien removerá el origen de los problemas, o para ponerlo menos cortesmente, castrará.
Ellos discuten el engañe;osamente llamado escape durante largo rato y deciden ir juntos a visitar el Doktor. Sobreviven la prueba y les son entregadas sus armas ofensivas en tubos de plástico amarillos, con cadenas de oro. "La gente usualmente los lleva puestos alrededor de sus cuellos", dijo el Doktor entregándoselos. "La corta operación no necesariamente excluye el uso de la facilidad nuevamente, por períodos cortos, pero por supuesto cuando ustedes lo quieran, deben avisarnos con suficiente tiempo." Mientras los hermanos hablaban de su nueva situación, un gran cuervo negro entra volando a la cueva, se precipita sobre ellos, agarra el tubo de Rael de sus manos y lo lleva volando en su pico. Rael le pide a John que lo acompañe;e.
Y él responde "No voy a perseguir un cuervo negro. Aquí abajo tú debes leer y obedecer los presagios. Hay desastre a dónde vuela el cuervo." Entonces una vez más John abandona su hermano.
El pájaro lleva a Rael bajando por un túnel, él parece permitirle mantener una distancia cerrada. Pero mientras Rael piensa que casi podría alcanzar al pájaro, el túnel se abre y termina en una hondonada subterránea. Casualmente, el cuervo suelta su preciosa carga en las aguas torrenciales de abajo. Es suficiente para volver un pobre muchacho loco de remate.
Viendo los peligros del empinado acantilado, nuestro valiente héroe se halla impotente y mira con ira. Sigue un pequeñe;o camino que corre a lo largo de la cima, y ve el tubo subir y bajar en el agua a medida que la rápida corriente se lo lleva. Sin embargo, mientras pasa por una esquina Rael ve una luz del cielo sobre él, aparentemente formada en el banco. A través de ella puede ver la grama verde de casa, bueno no exactamente; puede ver Broadway. Su corazón, ahora un poco erizado, es sacudido por una oleaje de alegría y empieza a correr, con los brazos abiertos, hacia la salida. Justo en ese instante de tiempo sus oídos recogen una voz pidiendo ayuda a gritos. Alguien está luchando en los rápidos abajo. Es John. Se detiene por un momento recordando cómo su hermano lo había abandonado. Entonces la ventana empieza a desvanecerse -es hora de actuar.
Se apresura hacia el acantilado y baja las rocas gateando. Le toma mucho tiempo alcanzar el agua, tratando de ir a la par con la corriente al mismo tiempo. A medida que se acerca al borde del agua ve a John perdiendo fuerza. Se zambulle en el agua fría. Al principio es arrojado hacia las rocas, y halado hacia abajo por un canal que se mueve rápido, el cual lo lleva río abajo delante de John. Rael se las arregla para agarrar una roca, subir a la superficie y agarrar aire. Cuando John pasa, Rael se lanza de nuevo y agarra su brazo. Golpea a John para hacerle perder el conocimiento y entonces abrazándose juntos, se deja llevar por los rápidos hasta el agua lenta, donde puede nadar hacia la seguridad.
Pero mientras arrastra el débil cuerpo de su hermano al banco lo acuesta y mira esperanzadamente sus ojos buscando señe;ales de vida. Se tambalea de temor, porque mirándolo con los ojos bien abiertos no está la cara de John -sino la suya. Rael no puede dejar de mirar esos ojos, hipnotizado por su propia imagen. En un movimiento rápido, su estado de conciencia se precipita de una cara a la otra, entonces de regreso una vez más, hasta que su presencia no está ya sólidamente contenida en uno u otro.
En esta estado fluído él observa a ambos cuerpos delineados en amarillo y el paisaje que los rodea fundiendose en una bruma púrpura. Con un torrente repentino de energía que sube por ambas columnas vertebrales, sus cuerpos, de igual forma, finalmente se disuelve en la bruma.
Todo esto tiene lugar sin ninguna puesta de sol, sin ninguna campana sonando y sin ninguna flor cayendo del cielo. Aún así llena todo con su misteriosa presencia intoxicante. Está terminado para tí.
(Trad. de manny hernandez de la letra de Peter Gabriel)
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