Re: On The Sea Of Thieves Song
Donald
"Thieves" is a song by American industrial metal band Ministry. It was released as the opening track from the band's fourth studio album, The Mind Is a Terrible Thing to Taste (1989),[4] as well as the B-side from its single, "Burning Inside".[5] The song's lyrics deal mainly with political corruption. The song includes dialogue samples from R. Lee Ermey's drill instructor character in Full Metal Jacket. Ministry's version was featured in the 1992 science fiction film Freejack, also in the 2009 video game Brtal Legend.
The song is based on a harmonic stasis. It features the extensive use of E minor chord. 118 out of 138 measures of the song are based on the same E minor chord, while the rest are F minor chords. Al Jourgensen sings only the G note, while the song "shifts gears rhythmically" through its sections and quadruples its tempo.[6]
American rap rock band Limp Bizkit covered parts of this song during Woodstock 99[8] as well as releasing their cover version of "Thieves" as a single via Twitter on November 1, 2013 for free download.[9][10] Limp Bizkit performed it throughout many of the band's live sets since 1997, but the band did not release a studio version until 2013.[11] Limp Bizkit's version does not include the samples that are on Ministry's version.
To enter the dungeon, Link must interact with the closed door in front of it. He must then complete the lyrics to a "password song" [2], the answers to which can be heard (indirectly) by the people in the town. The song is as follows:
Inside, Link meets a Thief Girl who had been imprisoned when she learned the location of the portrait of Osfala. Much of the dungeon is based on the use of floor switches, on which Link, the Thief Girl, or a statue must stand to activate. Several instances require the activation of two switches simultaneously to allow Link to proceed. Link can activate two switches by having the Thief Girl stand on one and himself stand on the other. This dungeon is the only appearance of Zazak, however, only the blue variety is present. The dungeon also includes crystal switch puzzles that can be solved using Bombs or Bawbs, usually throwing the bombs onto conveyor belts, the direction oftentimes must be changed by pressing the aforementioned crystal switches.
The Compass is in a barred cell in the central room of B2; Link can Wall Merge to get it. The Big Key is at the northern end of the dungeon's entrance. Link and the Thief Girl must press two switches at once to activate a moving wall that Link can merge onto and access the chest.
Musically, the song is pop/new wave perfection. Opening with a quick guitar riff from Tim Farriss and then Jon Farris does a barrage of drum hits and then song immediately kicks in to gear. It is happy, uplifting tempo and sound that gets you moving with a driving beat throughout. The keyboards from Andrew Farriss are used sparingly for added effect and impact. Michael Hutchence on vocals, sings with a charm and swagger that will make the ladies swoon and the guys jealous. The song is an example of a band that was up and coming and finding their voice both literally and figuratively.
I agree! Looking forward to your posts. Favorites being the friday releases lists, album reviews, ranking lists and these Sunday songs. Relistened to lot of stuff I had forgot I have liked in the past. Thanks for those!
With the exception of the one-off album 3614 Jackson Highway, produced at Muscle Shoals Sound Studio, Gypsys, Tramps & Thieves serves as Cher's first real break from Bono's production. It was written to showcase and cultivate her signature contralto, and the title track became her first No. 1 hit on the Billboard Hot 100. It even scored her a Grammy nomination for Best Pop Vocal Performance (albeit losing out to Carole King's Tapestry).
Written specifically for Cher by Bob Stone, the album's title track is a story of classism, sexism and racism ("gypsies" being a derogatory term for the Roma population) told from the point of view of a 16-year-old girl. Although Cher had tackled complex subject matter on past solo records, including the Sonny-penned divorce ode "You Better Sit Down Kids" on With Love, Chr (1967), "Gypsys, Tramps & Thieves" presented a darker, more powerful Cher, whose strength lies in her embodiment of the character. Its opening lyric, "I was born in the wagon of a traveling show / My mama had to dance for the money they'd throw," is mirrored in the song's fourth verse ("She was born in the wagon of the traveling show / Her mama had to dance for the money they'd throw"), as the young narrator has her own child and is shafted into the same life as the generations of women who came before her. Cher's emboldened drawls transformed the song into an urgent, beguiling pop smash. The song's success established a pattern of storytelling reliant on exoticism that would continue throughout Cher's '70s output with Half-Breed and Dark Lady.
The album's release also coincided with the television premiere of The Sonny and Cher Comedy Hour, and helped usher in Cher's reign as a red carpet trailblazer. She ditched the hippie garb and began her fashion relationship with Bob Mackie, solidifying her status as the poster child of '70s glam. Her sequined, feathered, skin-bearing numbers proved her ability to exude pop-rock attitude not just through her music, but through dress, too.
Last fall, an interview with Cher from a decade ago went viral. In it, she recounts a time when her mother told her to settle down and marry a rich man. Cher's response? "I am a rich man." It's this independent, play-by-your-own-rules persona that makes Cher worthy of a spot in our canon.
"The Pine Tree" state still maintains its influence. Originally from Switzerland, Earley emigrated with his family to rural Maine at the age of 13, where he recently settled into a home with Peters, who hails from the suburbs of Boston. Mauch, originally from the farmlands of Red Hook, New York, found sanctuary further south in Portland.
The first chapter of what eventually became The Ballroom Thieves began at Stonehill College in Easton, Massachusetts where Earley met Mauch, a prospective fine arts major. After college, the two began performing acoustic folk music under Martin Earley and Devin Mauch before eventually settling on the band name.
Joined by cellist Rachel Gawell, Earley and Mauch recorded their debut EP The Devil & The Deep after relocating to Boston. Released in January of 2012, the debut EP set a tone that remains wholly resonate in their music today: neo-folk music with a roots rock affectation.
"Now a year has passed and it's apparent that the patience we once championed is wholly wasted on an egomaniacal president who cares for nothing but his own enrichment. As such, the meaning behind this song has shifted with the times and it now stands as a letter for you, to him, from us. Patience has become a virtue of yesterday, and time's up."
On Paper Crown, The Ballroom Thieves teamed up with Ryan Hadlock, a veteran producer having worked with alt-indie giants The Lumineers and Vance Joy. Working remotely with Hadlock at Bear Creek studios in Washington, The Ballroom Thieves aimed to discover a more vulnerable approach to their sound.
As the trio progressed into the later half of the decade, they made a conscious decision to ease up on the road dog lifestyle, keeping in mind their physical and mental health. Perpetual touring since the early 2010s had began to take its toll.
Revisiting the rule of three, the trio, through a unique language and democracy, willfully persists. Boasting an infectiously kinetic live show, The Ballroom Thieves will round out the remainder of summer with a one-of a kind performance at WGBH on August 28th, and festival slots including the Oyster Ridge and Moon River music festivals, located in Wyoming and Tennessee respectively.
"Hoist the Colours", also written as "Hoist the Colors", was a haunting sea shanty known by all pirates across the Seven Seas. The song was related to the action of hoisting of a pirate's flag, though it was mainly used as a call to arms for the members of the Brethren Court.
The song Hoist the Colours told the tale of the binding of Calypso by the Pirate King and the First Brethren Court. It was also used as the method of summoning the Court to stand together in the pirates' most dire need. It was sent forth by Hector Barbossa, who intended to unite the Pirate Lords and release Calypso from her form of flesh.[1]
The song was sung by assembled men and women prisoners sentenced for execution by the East India Trading Company at Fort Charles in Port Royal, after a cabin boy, facing the gallows, began singing the song while holding a piece of eight. The entire assembly soon took up the cue. The song was connected to the nine pieces of eight. Once the crowd had sung, the nine coins begin resonating. Sao Feng heard the resonance in a coin given to him by Hector Barbossa in Singapore, and the entire members of the Fourth Brethren Court united at Shipwreck Cove because of it.[2][3]
The Thieves Hideout is one of seven dungeons that can be completed after entering Lorule. This dungeon relies less on enemies and more on puzzles and escorts. It is also the one dungeon necessary to complete before attempting the Desert Palace, as the Sage here has the Sand Rod on him. The Thieves Hideout is located in Thieves Town, left of the blacksmith shop.
To enter the Thieves Hideout, you'll need to know the password to get in. It just so happens that the password comes in the form of a song, and the lyrics are hidden in the conversations of citizens across Thieves Town. Talk to the Bag Guy in the merchant shop in the top left, and remember the line "Sometimes it hurts too much t'care. Ya think knowledge is power, but it's really despair..." Inside the Lorule version of the Milk Bar, the bard recites another line "A smart thief fears the boss's wrath! I'd rather be on a cliff walkin' a narrow path!" In the center of town, enter the house with the Veteran Thief to hear the line "Every time I say I'm a-leavin', this accursed life sets me right back to thievin'!" With these lines memorized, repeat them back to the man at the door to be let into the dungeon.