Camouflage Video Song Download
Clara Zellinger
"Camouflage" is a song by Stan Ridgway, released as the third single from his 1986 debut solo album The Big Heat. The song was a chart hit in Europe, peaking at No. 2 in Ireland and No. 4 in the United Kingdom, but did not enter the chart in the US.
The song, written in the style of a cowboy ballad, is sung from the viewpoint of a young PFC (Private first class) of the United States Marine Corps during the Vietnam War. On a search and destroy mission ("hunting Charlie down") he becomes separated from his patrol. Alone in the jungle, he feels himself surrounded and begins to fear for his life; just then, a "big marine" introducing himself as "Camouflage" comes to his rescue. The two fight together through the course of a night making their way back to base, during which the PFC notices that Camouflage is unaffected by bullets and is capable of superhuman feats. Camouflage leaves after leading the PFC to the edge of his camp. On his return, the PFC is informed that Camouflage had been on his deathbed for the past week, and died the previous night; just before his death, he said "Semper Fi" and expressed his last wish, "to save a young marine".
In 1983, Heiko Maile, Marcus Meyn, Oliver Kreyssig, and Martin Kähling, four friends from Bietigheim-Bissingen, Germany, formed the band Licensed Technology. It was short lived, as Martin Kähling left in 1984. Soon after, the remaining three members renamed themselves "Camouflage", inspired by a Yellow Magic Orchestra song of the same name. The three young musicians set up their first studio in the basement of Heiko's parents' house, calling it "Boy's Factory". Their first live gigs at local music clubs soon followed. In 1985, Camouflage recorded two demo tapes at their studio, and the following year, the group won a local radio music contest, after a friend of theirs handed one of the demos in. A small Frankfurt music label, "Westside", showed interest in taking Camouflage on. There, the song "The Great Commandment" was recorded to be presented to bigger music companies. After considering offers from several record companies, Camouflage decided to sign a contract with Metronome.
The manager of the band "Die Fantastischen Vier", Andreas "Bär" Läsker, signalled a desire to work with the band and helped them secure a recording contract with BMG (Germany) in 1994 for a fifth album. As the new contract allowed complete freedom of production, Heiko and Marcus revised music they had written for the failed opera project and added experimental and more creative approaches to the new tracks, including writing music inspired by science fiction films. However, the new album Spice Crackers, preceded by the single "Bad News" and chased by the single "X-Ray" was not a commercial success. The duo temporarily went separate ways to collaborate on various musical projects such as 1996's various artist compilation CD Treasury in which Camouflage contributed the song "Winter".
In 2001 Polydor (which had bought the band's former label Metronome) released the compilation best-of album Rewind, for which Camouflage was finally allowed sufficient opportunity for input and song selection ideas. The limited version DVD included all of the video clips from the Metronome and BMG phases of the band's career. That year Polydor also released the single "You Were There" from dance project Resistance D featuring the vocals of Marcus. Its sound was much like that of Camouflage and subsequently caused a significant amount of confusion with fans.
Camouflage had by this time signed a new contract with Virgin Records and was still tentatively working on a sixth album. However, the band determined that in order to justify the release of an album they had to have at least one successful new single to precede it. At the suggestion of Virgin, the band attempted a comeback attempt with the release of a new version of their classic song "The Great Commandment". To avoid rights violations with their previous record company, vocals were also re-recorded. TGC, version 2.0 was produced by the London trio "Toy" with drums by Christian Eigner (who had previously toured with various electronics bands. TGC 2.0 climbed the charts for three weeks, but only reached No. 85. The disappointing result left little hope for a release of a sixth album with Virgin.
Camouflage's eighth studio album Greyscale was due for release on 12 September 2014, with the single "Shine" due to be released shortly before the album. A tour to promote the album was also to begin in January 2015. "Shine", and another new song "Misery", were debuted during a live performance in 2011.[4] Delays in the production of the album caused the release date to be postponed to 13 February 2015. The tour has also been postponed to March 2015.[5]
Awww, I think those lines about "disappearing" when it pulls out of his garage," etc. are funny/smart, and I don't consider this to be nearly the damaging stereotype of, say, Toby Keith's "Red Solo Cup" (spare us) or anything, anything at all, by Justin Moore. I don't hear any hostile, alcohol-boosted vilification of the city/urban life, or anything celebrating ignorance as a virtue. It's just a funny little song about the "second most patriotic colors" in America. What's the problem?I don't know how many more singles "This Is Country Music" has in it, but if there's one more, let it be "I Do Now." It has all of the seriosity any serious Brad fan could wish for, and I think it's a high point in his heartbroken ballad career. I personally disliked "Remind Me," but I really enjoyed "Old Alabama" and "TICM" and am unsure what the "artistic decline" I keep hearing about is based on. Brad's been funny and serious throughout his career and has never, in my opinion, stooped to the stereotyping swill I described above. If the future of country music is in the hands of the guys whooping up the "all we is is country" (and some of us are pissed at the rest of you), crowd, heaven help the genre. This may not be Brad's finest album, but he's by far more inspired and gifted than those guys.
The Front Bottoms' open-minded and eclectic approach to indie rock has seen them infuse their sound with everything from folksy instrumentation to nostalgic '80s pop melodies over the past decade. Today they round off 2019 and look ahead to the new year by sharing "Camouflage," their first new material in over a year. The song brings together many of the influences singer Brian Sella and drummer Mat Uychich have touched on in the past, creating a celebration of sorts for a band perennially on the fringes of a major breakthrough.
Violets at Camouflage was produced and recorded by Bragg at Print Shop Baby Studios in Nashville (drums recorded by Jordan Perlson at Saw Room Recording in Nashville). The album was mixed by Eric Fritsch at Eastwood Studios in Nashville and mastered by Jim DeMain (assisted by Amy Marie) at Yes Master Studios in Nashville. Additional songwriters include Robyn Collins, Jilian Linklater, Adam James, Jesse Terry, and Lauren Shera. Musical contributions come from a veritable Americana all-star team: Rich Hinman (acoustic, electric, and pedal steel guitar), Jimmy Sullivan (upright and electric bass), Jordan Perlson (drums), Anthony da Costa (acoustic and electric guitar) Kristin Weber (violin), Lydia Luce (viola, and this former orchestra geek is a sucker for a good viola player), Eric Fritsch (electric guitar and organ), Jonathan Schwabe (synth bass), and Kyshona Armstrong and Becky Warren (vocals).
Listen. I'm gonna be straight with you here. I wish I wasn't the kind of person who listened to Selena Gomez's new album Revival and found myself wondering, "Is the song 'Camouflage' about Justin Bieber?", but I am, and I did. And I'm sorry, OK? It's just the way I'm built! I wish I could be a normal adult who didn't still follow both Gomez and Bieber on Instagram for any sign of the other, but their relationship just is, and was, so confusing to me from the outside that I can't help myself. Because, at the end of the day, aside from getting a time machine and becoming a literal fly on the wall in their coupledom, there's no way for me to get information about it.
Aside from mining through the details of Gomez's songs for some insight on what she found attractive about Bieber, that is. And so here we find ourselves. So is'Camouflage' about Justin Bieber? Short answer: yes. At least, I think so anyway. Gomez hasn't confirmed it herself, but, for one thing, the album hasn't been out for that long, and, for another, she might think it's so obvious that she doesn't need to comment on it. Because there are a lot of little hints here that it's about Bieber.
This line in particular really reminds me of the spoken portion before "The Heart Wants What It Wants", when Gomez is like "I know him, though, and I know his heart, and I know what he wouldn't do to hurt me." Maybe this song is her finally coming to terms with the fact that she really doesn't.
Ridgway is not the only one who has written in this genre in popular music. A short time after the release of Camouflage, some music writers claimed that it was ripped off from a track by Tom Waits called Big Joe and Phantom 309. The song tells a very similar story but is not set in the Vietnam War, but interestingly, most of said scribes failed to notice that the relevant part in Waits song is, in part, a cover version. Phantom 309 was written by Tommy Faile and was first recorded by Red Sovine back in 1967. The story is about a hitchhiker making his way home from the west coast of America in the pouring rain when Big Joe, driving a tractor (the Phantom 309), offers him a lift to the nearest truck stop. He then disappears forever and then turns out, also, to be dead. Phantom 309 has a different setting, but tells a similar story, and could well have been an inspiration for Ridgway. There are many, many examples that could have provided the actual jump-off point, though.
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