Situation is … I have always found myself in situations. A few have asked: “Found yourself in? Or looked for?”

I can categorically state that I was not looking, for two reasons. One is that there are blank spots in my brain, might have been a misspent yoof but I think it’s a lack of some sorts of intelligence, whilst being supersharp in others. Genuinely blank, bad memory too.

And loyalty? Yes I am loyal … any patron here knows I care for our tavern dwellers. But there’s so much going on, is there not? Trying to keep up with it is a task. Now, there I was this morning, wanting to just get posting, but the question of my song about myself raised its ugly head and there was another song which came to the fore last night (shall play it below) and I was thinking it may have been the one.

However, this morning, an old fave reappeared (immediately below) and there’s a history behind both. The second was from my days as a radio dj at an alt-station … it was called krautrock back then … it’s a good piece as it builds from slow beginnings, as good prog rock used to. The first though …

Weeellll, it’s from my gym days in Russia, when guys training would bring House, Drum and Bass etc. into the gym … good training music. Paul Oakenfold. This was neither my generation nor music but it was listenable … it was very mid to late Gen X.

Anyway, I started exploring this morning (my Unherdables remit, yours too, is to explore, n’est-ce-pas?) … and I’m going to run these urls below in reverse order, ending further down with the one I began with:

https://en.wikipedia.org/wiki/Amen_(gospel_song)

https://en.wikipedia.org/wiki/Color_Him_Father

https://en.wikipedia.org/wiki/Breakbeat

https://en.wikipedia.org/wiki/Rave

https://en.wikipedia.org/wiki/Acid_house_party

https://en.wikipedia.org/wiki/Layo_%26_Bushwacka!

And who are Layo and Bushwacka? Two London DJs in the 80s, up to the early noughties, from where this song emanated:

Uh huh. Now I do not expect anyone to like it as I do, I have never been to a House party, I have never taken designer drugs of this era, nor would I … yet I knew of the M25 raves or parties and a Morse episode … Cherubim and Seraphim, was a clumsy attempt to address “young culture” of that era.

Remembering that that TV episode takes the same view of “raves” that the Bishop of whatever did about Life of Brian, with the same John Cleese who now supports what Restore stands for, me too, and who likes Rupert … though I’m more Charlie Downes (system of a downes) and the Zoomers … it just shows me that God moves in mysterious ways. For in the middle of a godless, mass hallucination, grating bunch of zombie kids, high on some new drug … is this Amen concept.

In the song, near the middle, also at the end, is very much this Amen idea … it spells it out … satan’s waiting for you all. Now is that to encourage kids to mock what Amen stands for in the western culture or is it actually counter-infiltration by God, in a war on a higher plane? And note the Morse episode name.

Thought crossed my mind … what if I, a believer in the Word, was to use the enemy’s hymn upon itself, the words to be taken literally, to rob satan of his souls for good? Hmmmmm … just a thought.

Now, the other song, from last night, one which I’d forgotten and had not added to the list, was Jane’s Water. From equally occult Fire, Water, Earth and Air.

Background … in my radio DJ days, krautrock, Hawkwind, many others were played … they were minor classics, my Friday specials. But it was psychedelic on the whole, and I was not into that scene myself. In those days, my spirituality was more of the cultural kind … a sort of moral compass boundary most westerners would not cross … thus we had the West as we knew it.

So even though not part of it, I was certainly aware of it out there. And this piece of music below ticked many boxes from my life. From an idyllic time, free as a bird, have bike will travel, it met its first true summer romance when I was 15 and while that became part of my life big time (represented in the music by the synth strings at their most melodic), the harsh guitar kept intruding as the cruel disappointment of reality … all the while, the crescendo building and the bass groove of a sort of strengthening spirituality increased and the more it did, the more frenetic and harsh became the guitar trying to counter that, esp. after my first attempt at marriage (the only lyrics in the song).

Fancifully, you can imagine that the higher and higher intensity is a reference to the West falling apart, there being an ancient war for humanity, from Covid to 2030, many realising that something, anything now has to step in … otherwise we’re gone …

… and in the song … it does step in. The song suddenly stops and returns to the lapping of the waves.

So who stopped the horror, the war? Some sort of hero? Jesus returning to start his thousand year reign?

And a better observation is … it is no longer my song, is it? It’s now a song of the West itself.

Plus one last thing … on the cover of the first song above, do you notice the telegraph pole? Its crossed shape? Interesting, eh? For a godless rave culture. 🤔

Plus one last last thing … at the very end of Deep South, he sings: “Play the sax, man, play the sax.” Now that’s interesting to me alone maybe, as I cast the harsh guitar in Water as the bad force trying to wreck the synth string melody and the fight continues till the End.

Because lately, I’ve been thinking how little I like guitar, going right off rock guitar, wanting music to get back to the sax and other jazz and blues roots … we have jazz again this afternoon by the way.