Music evokes 13 key emotions. Scientists have mapped them

“Journey of the Sorcerer” was used as the theme music for Douglas Adams’ The Hitchhiker’s Guide to the Galaxy radio series produced by the BBC in 1978 and 1979. Adams said he had wanted something that sounded “sci-fi” while at the same time suggestive of a traveller, so this banjo-based instrumental struck him as ideal. “Journey of the Sorcerer” was used subsequently for the television series in 1981 (albeit re-recorded), the sequel radio series produced by Above the Title Productions for the BBC in 2003 and 2004, and (re-recorded once again) for the film produced by Disney/Touchstone in 2005. The original version from One of These Nights was used for all original transmissions of all five radio series. The TV adaptation of the series, and also an additional version released on LP record, used an arrangement by Tim Souster. The CD releases of radio series transmitted in 2004 and 2005 used another version arranged by Philip Pope, and recorded by a tribute band The Illegal Eagles, and the 2005 film used a version by Joby Talbot.

https://en.wikipedia.org/wiki/One_of_These_Nights#%22Journey_of_the_Sorcerer%22-

…know ye, all who dwell in the light of professed righteousness, that others who know the keys and the angles have opened the gate, and for turning back there is no time. Thou hast been given the key, but thy minds are small and grasp not the word. Therefore, list to the sounds, o ye out there, the great bell sounds of the baying of the Hounds. They are gaunt and unquenched, and through the great blazing  Trapezoid they come, their eyes aglow with the fires of Hell…

-THE LAW OF THE TRAPEZOID (Anton Szandor LaVey, The Satanic Rituals)

https://www.youtube.com/watch?v=uUvOJgWDacs

Maria Grazia Morgana Messina (June 4, 1930 – March 22, 2018), known as Morgana King, was an American jazz singer and actress.

-https://en.wikipedia.org/wiki/Morgana_King-

In vocal jazz, scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. In scat singing, the singer improvises melodies and rhythms using the voice as an instrument rather than a speaking medium.

-https://en.wikipedia.org/wiki/Scat_singing-

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

With Satan’s hog no pig at all
And the weather’s getting dry
We’ll head south from Altamont
In a cold-blood traveled trance
So clear the road, my bully boys
And let some thunder pass
We’re pain, we’re steel, a plot of knives
We’re Transmaniacon–MC
Behind the pantry, behind the tree
The ghouls adopt that child
Whose name resound forever
Whose name resounds in terror
And I’m no fool to call that hog
‘Cause, man, I remember
Those who did resign their souls
To Transmaniacon–MC
And surely we did offer up
Behind that stage at dawn
Beers and barracuda
Reds and monocaine, yeah
Pure nectar of antipathy
Behind that stage at dawn
To those who would resign their souls
To Transmaniacon–MC
Cry the cable, cry the word
Unknown terror’s here
And won’t you try this tasty snack
Behind the scene or but the back
Which was the stage at Altamont
My humble boys of listless power
We’re pain, we’re steel, a plot of knives
We’re Transmaniacon

Look, all right! You can feel it!

DON HENLEY (about One of These Nights): We like to call it our “satanic country-rock period”.

-https://en.wikipedia.org/wiki/The_Very_Best_Of_(Eagles_album)-

Robin Maconie finds that, “Compared to the work of his contemporaries, Stockhausen’s music has a depth and rational integrity that is quite outstanding… His researches, initially guided by Meyer-Eppler, have a coherence unlike any other composer then or since” (Maconie 1989, 177–78). Maconie also compares Stockhausen to Beethoven: “If a genius is someone whose ideas survive all attempts at explanation, then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts” (Maconie 1988), and “As Stravinsky said, one never thinks of Beethoven as a superb orchestrator because the quality of invention transcends mere craftsmanship. It is the same with Stockhausen: the intensity of imagination gives rise to musical impressions of an elemental and seemingly unfathomable beauty, arising from necessity rather than conscious design” (Maconie 1989, 178).

-https://en.wikipedia.org/wiki/Karlheinz_Stockhausen#Criticism-

Stockhausen regarded Kreuzspiel as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies (Stockhausen 1989, 34, 55). According to the composer, it was influenced by Olivier Messiaen’s “Mode de valeurs et d’intensités” (1949) and Karel Goeyvaerts’s Sonata for Two Pianos (1950), and is one of the earliest examples of “point” music. Kreuzspiel was premièred at the Darmstädter Internationale Ferienkurse in the summer of 1952, conducted by the composer. According to Stockhausen, the performance “ended in a scandal” (Stockhausen 1964, 11)

-https://en.wikipedia.org/wiki/Kreuzspiel-

The album cover features a photomontage by Robert Lockart. It includes an image of a line of prostitutes, standing in a red light area from Rouen, Normandy (France) waiting for clients, chosen because of its relevance to the album title. The title of the album is taken in reference to the opening line of the Bob Dylan song “It Takes a Lot to Laugh, It Takes a Train to Cry”. Walter Becker and Donald Fagen themselves commented on the album art in their liner notes to the reissued The Royal Scam, saying that that album possessed “the most hideous album cover of the seventies, bar none (excepting perhaps Can’t Buy a Thrill).” The cover was banned in Francisco Franco’s Spain and was replaced with a photograph of the band playing in concert.

-https://en.wikipedia.org/wiki/Can%27t_Buy_a_Thrill-