Welcome to our “Psychedelic Lunch” series, “90’s Movie Soundtracks Edition,” where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Like prom dresses and middle-school diaries, soundtrack albums are potent, often awkward reminders of a particular time and place — cultural artifacts that stir myriad memories for those who lived through the era but impossible to understand if you didn’t. The early Nineties were filled with best-selling soundtracks, everything from Dazed and Confused to Pulp Fiction, each of them catering to a specific slice of the listening public. For some fans, the period’s preeminent soundtrack belonged to 1994’s The Crow; like the movie that inspired it, the collection drips with a moody, eyeliner-smeared darkness that’s so of its time, it makes listening to it today comparable to leafing through old graduation photos.

Nine Inch Nails, Dead Souls. Album: The Crow Soundtrack (1994)

“Dead Souls” is a cover of a Joy Division song, frequently played live. It appeared in the 1994 film The Crow and was released on its soundtrack. It was also the tenth track (before “A Warm Place”) on the Japanese version of The Downward Spiral. In 2004, it was included as the fifth track on the second disc of the 10th anniversary The Downward Spiral Deluxe Edition.

The Joy Division original was recorded in 1979 and released on their compilation album Still. In commentary for The Crow with producer and musical supervisor Jeff Most, it is revealed that Nine Inch Nails were originally supposed to perform in the film instead of My Life With The Thrill Kill Kult. While this song appears on The Definitive NIN – The Singles, it was never released as a single or promo.

“Dead Souls” is often considered to be about a schizophrenic man, as evidenced by the lyric “a duel of personalities” and the other lyric “they keep calling me”.

Dead Souls” is a regular in setlists. In the With Teeth: Summer Amphitheater Tour, Peter Murphy joined NIN on stage to sing this song at the live radio show on July 1, 2006, and at the last show of the tour on July 8, 2006. On the Self Destruct Tour, Reznor would sing “The Becoming” lyric, “god damn this noise inside my head,” after the end of this song. It would then transition with the sound of wind into a performance of “Help Me I Am In Hell.”


  Someone take these dreams away
    That point me to another day
    A duel of personalities
    That stretch all true reality
    They keep calling me
    Keep on calling me
    When figures from the past stand tall
    And mocking voices ring the hall
    Imperialistic house of prayer
    Conquistadores who took their share
    They keep calling me
    Keep on calling me
    Calling me

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Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

The Flaming Lips, The Spider Bite Song. Album: The Soft Bulletin (1999)

This song chronicles the experiences the band members had prior to recording The Soft Bulletin. Lead singer Wayne Coyne’s father passed the year before, bassist Michael Ivins was in a very strange car accident. Lastly, drummer/guitarist Steven Drozd came close to having to have his arm amputated due to a spiderbite.

This song is very piano-driven but has an intriguing drum effect all throughout.

It turned out that Drozd’s arm was abscessed as a result of his heroin use rather than because of the spider bite. Wayne Coyne recalled to Uncut magazine June 2008: “Everyone wants to know on ‘Spiderbite Song’ whether I really knew that Steven had a drug problem. All I can say is, not as much as I knew later! Everybody was busy doing their own trip, and being around drug addicts, they’re not much different than they were the previous week. I mean, it happens so slowly that you get used to it. It must be like those guys that have giant tumors on their faces. It grows a little every day. When I think of it now, I’m surprised at how precarious the whole thing was. That probably played into the song and the whole theme of the LP. In a way I probably thought that Steven may not even be here for another year.”

Photo: The Flaming Lips Facebook Page

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Black Sabbath, Shes Gone. Album: Technical Exstacy (1976)

Technical Ecstasy is the seventh studio album by English rock band Black Sabbath, produced by guitarist Tony Iommi and released in September 1976. The album was certified Gold on 19 June 1997 and peaked at number 51 on the Billboard 200 Album chart. “Shes Gone,” has a psychedelic rock sound.

Black Sabbath has been one of my favorite bands all through the seventy’s. This album would rate in my top five. The song She’s Gone is/was one of my favorites.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Moody Blues, Legend Of A Mind. Album: In Search of the Lost Chord (1968)

  • This song is about Timothy Leary, who is mentioned several times in the lyrics, although the title is not. Leary is a counter-culture icon who was a proponent ot the therapeutic effects of LSD. >>
  • The song features a flute solo by Ray Thomas, lasting about two minutes in the middle.
  • Mike Pinder plays the mellotron on the track. It’s been said that The Moody Blues invented “symphonic rock” with their discovery and adoption of the somewhat “cosmic” instrument. “If we hadn’t discovered the mellotron, nobody else would have,” Justin Hayward told Q magazine in 1990. “It was a very temperamental instrument. It was always going wrong. It weighed a ton. We only had one roadie and it would take all of us to carry it into a gig. We used to sleep on it because it was the biggest thing in our transit. There used to be fights to see who would sleep on it.”

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William Frederick Rieflin was an American musician. Rieflin came to prominence in the 1990s for his work mainly as a drummer with many notable groups including Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails.

Rieflin died on March 24, 2020 from cancer at the age of 59.

Rieflin’s passing was confirmed by King Crimson founder Robert Fripp. In a post to social media, the guitarist explained that Rieflin’s wife, Tracy, called him with the news. “Tracy told Toyah (Fripp’s wife) and me that the day was grey, and as Bill flew away the clouds opened, and the skies were blue for about fifteen minutes. Fly well, Brother Bill! My life is immeasurably richer for knowing you.”

Rieflin’s career began in his hometown of Seattle, where he drummed with a variety of local acts, including punk rock group the Blackouts. The band’s final EP was produced by Ministry’s Al Jourgensen, with whom Rieflin became friendly.

Following the Blackouts’ disbandment, Jourgensen recruited the drummer to join Ministry. Rieflin played on the band’s 1988 album The Land of Rape and Honey, a landmark release in the industrial music genre. He continued as a member of the group through the mid-90s, contributing to five of the band’s LPs.

In a 2011 interview with Modern Drummer, Rieflin recalled his departure from Ministry. “When I started playing with Ministry in ’86 it was all very computer, synthesizer, and noise based. Those records were pretty interesting for that time, and we had a lot of fun doing them,” the drummer explained. “And then Al got more interested in guitar rock music like on [the 1992 album] Psalm 69. I’m just not interested in that metal guitar rock; it bores the crap out of me. I have been known to say, with great pride, that my last act in Ministry was to refuse to play on their version of (Bob) Dylan’s ‘Lay Lady Lay,’ which appeared on [1996’s] Filth Pig. When I left Ministry, I didn’t have a plan per se. My first concern was getting the hell out of there. My second concern was, ‘Well, what now?’”

“What now” turned out to be a run of material with a wide variety of artists, including German industrial group KMFDM, New York experimental band Swans and folk group Angels of Light. Rieflin also played on Nine Inch Nails’ 1999 double album The Fragile.

Also in 1999, Rieflin released his debut solo album, Birth of a Giant. It was during this time that a publicist introduced him to R.E.M.’s Peter Buck.

“When R.E.M. was preparing to begin work on what was to become Around the Sun, I was asked if I wanted to do a few weeks of recording,” Rieflin recalled. “A few weeks became a few more weeks. Eventually I was asked to do the European tour, then the U.S. tour. Then I guess they just got used to me hanging around. Perhaps at that point it was too much trouble to get someone else.”

Though he was excited to be playing with the group, Rieflin admitted he was only mildly familiar with R.E.M.’s music. “I didn’t know their records. I knew pretty much what your average radio-listening, MTV-watching American knew about them. ‘Losing My Religion’ was the first time I stopped to listen; a lot of it had to do with the video.”

The drummer would contribute to R.E.M.’s final three albums — 2004’s Around the Sun, 2008’s Accelerate and 2011’s Collapse Into Now.

Upon the band’s breakup in 2011, Rieflin was asked what he’d miss about working with the group. “Firstly and perhaps most importantly, the R.E.M.’s are a rare breed in my experience: they are all lovely guys — very smart, funny and, significantly, among the most generous and big-hearted people I have ever met,” the drummer explained to NPR, noting that he’d miss “a lot of things” about collaborating with the band.

Fripp, with whom Rieflin had previously collaborated and remained friends, announced that the drummer had joined King Crimson in 2013. Rieflin would tour with the group and appear on five of their ensuing live albums, released between 2015-18. More recently, the drummer had been absent from the group since taking an indefinite sabbatical in 2019.

Rieflin’s official cause of death has not been released, but session drummer Matt Chamberlain tweeted that the drummer passed away from cancer. Nirvana bassist Krist Novoselic was among the rockers to pay tribute to Rieflin via Twitter.

Bill Rieflin, Drummer for Ministry, R.E.M., and King Crimson Dies at 59

Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

The Grateful Dead, Box Of Rain. Album: American Beauty (1970)

This song was written for Phil Lesh’s father who was dying. Lesh wanted a song to sing to his father before he died. He wrote the music and recorded it and gave the tape to Grateful Dead lyricist Robert Hunter. Hunter listened to the music and wrote the lyrics after listening to the tape only a few times.This song was often sung in response to Deadheads chanting “We Want Phil!” It was also the last song the Grateful Dead ever played. On July 9, 1995, they played it as a second encore after “Black Muddy River” during their last show, which took place at Soldier Field in Chicago.

Robert Hunter says in his lyrics anthology, which is named after this song, that “If if a lyric wrote itself, this did-as fast as the pen would pull.”

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Tomorrow, My White Bicycle. Album: Tomorrow (1968)

Tomorrow were a 1960s psychedelic rock, pop and freakbeat band. Despite critical acclaim and support from DJ John Peel who featured them on his “Perfumed Garden” radio show, the band didn’t have much commercial success.

My White Bicycle’, written by Keith Hopkins (the real name of Tomorrow lead singer Keith West) and Ken Burgess, was inspired by the White Bicycle Plan: a community bike–sharing programme that industrial designer–inventor Luud Schimmelpennink of the radical Dutch Provo counterculture movement instigated in Amsterdam during the mid–1960s. After gathering 50 bikes and painting them white, the anarchic Provos parked them unchained all over the city so that they could be used and then left on the streets by anyone who needed them to get around.

The aim was to eliminate all motorised traffic in the city centre and improve public transportation, but the police impounded the bikes because municipal law forbade them to be left unlocked. So, the Provos then retrieved the vehicles, equipped them with combination locks and painted the combinations on the bikes, and even though the White Bicycle Plan still received no support from the local authorites, it served as the model for similar programmes that are today in force in various European cities.

Abbey Road engineer and producer Norman Smith (left) and Mark Wirtz. Photo: Mark Frumento

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