See The Beast. stereo mix (3:56), recorded Oct 1979 at Konk Studios, Hornsey, London See the beast, Got such a hold on you, Every way you turn, But don't hang around now, It's too late for politics to save you. It's funny can't you see the dream, Just hold it tenderly in your hand. Chorus For you, For you to see you through the night. For you, For you to light your weary path. Don't let him, No, no, no, Tell you that everything is wrong. Don't let him, No, no, no, It's just his way to keep you lost. See the beast, Suddenly I noticed we were going nowhere. But hold on though there is cold around you brother, It won't last. It's funny can't you see the dream, Just hold it tenderly your hand and let it go. Don't let him break your heart, He'll tear your soul apart, Believe. Chorus For you, For you to see through the night. For you, For you to see the wrong from the right. See the beast, Got such a hold on you, Every way you turn, But don't hang around now. It's too late for politics to save you. Chorus Don't let him, No, no, no, Tell you that everything is wrong. Don't let him, No, no, no, It's just his way to keep you lost. Written by: Dave Davies Published by: DABE Music Limited, London, 1980 This is an interesting lyric in many ways... whether Dave is singing to the idea of the Devil, or something he sees in society as representing something along those lines, I don't know, but thematically that's the angle he seems to be taking here. Anyway, there is this "beast" ... whether satan, drugs, big business, or whatever Dave's point of perspective is here, and Dave believes it has a hold on you, in every way. It's too late for politics... your perspectives/opinions/ideology? ... to save you. Can't you see the dream .... Seems to be looking at the idea of some form of nirvana/utopia .... some idealist version of society to grasp onto... but hold it tenderly in your hand. Don't clutch it too tightly, because it is too fragile a concept for that to work. The chorus leans towards a guiding light of some distinction. Something to guide you through the night of the world. Something to light your path. but beware because this beast is going to whisper lies into your ear, to keep your distracted, and to leave you lost. Trying to lead you astray, remove your confidence, and lead you in the wrong direction. The second verse seems to be leaning towards the idea that, ok, life will be tough, cold, or whatever at times, but don't let that leave you prey to this beast that will use that misfortune/inconvenience as a trigger to take you in the wrong direction. The only way out is through. That is about all we have lyrically. In many ways it is a deep subject, although handled in a typically unusual Dave way. To be honest, following this theme, if it was a little more focused, one would think Dave was singing a lyric of Christian warning. Don't let the trials of life lead you to the dark side. Endure them with confidence in the truth.... that kind of thing ... but Dave is so unusual in the way he seems to think and how he seems to lyrically express himself, that it is generally pretty difficult to grasp exactly what he is trying to say. Again musically Dave does a good job here. We get a guitar arpeggio arrangement to get us into the song, and it is pushed up into the main body of the song with the drums accenting a beat up into the body of the song. We power in at that point with a short burst of power chords and some lead guitar. Then the intensity eases back a little, and Dave uses a technique of the lead guitar playing the vocal melody along with the lead vocal of the first verse. The bass also seems to follow this pattern. Then we get some faux-reggae/ska strumming that leads us into another section where Dave uses harmonised lead lines as chords, with a bit of rock lead, used as an accent. It is actually a really well arranged section. We've had this debate about the part the guitar plays on this album, and I suppose from my perspective the reason I don't really hear the guitar as particularly wanky, or however we want to describe it, is the fact that the majority of the guitar I'm hearing has nothing to do with being flashy lead breaks or anything, but actually organised written parts that are part of, or substituting for chordal sections. It's actually a form of writing that I enjoy and has more roots in prog arrangements than shredder music. Anyway, that is what it seems like to me. Dave certainly has layers of guitar in these songs, but it is more of a primitive Brian May style of writing that is using the various techniques of the guitar as a textural device that is creating chords and countermelodies in its structure..... rather than just some wild lead break that rips up the fretboard. Again Dave creates some good melodies and we again get some nice chord progressions that give the song some nice melodic movement , particularly in that pre-chorus section (the reggae/ska section) Dave repeats these section a couple of times and then the third time we get a break down that gives us a highlighted power chord section, and underneath we have some actual lead break style guitar. This leads into another chorus. Then we get a melodic lead guitar, with a really nice tone mimicking the chorus vocal and then rising to a crescendo, and we move to a nice rhythmic chordal thing to close out the song. The more I listen to these songs, the more musical sense they make. The tones and textures of the era lend the sound to leave the first impression that this is not a very diverse selection of songs, but when you actually get underneath the skin of these songs, they are musically quite diverse, but structurally they follow similar sets of rules or guidelines, and that leaves the illusion that we are in one zone. Anyway, another track that I like ... it is different and unusual, but melodic and well put together.