The human brain with all of its capabilites and control has difficulty
with one thing: time. It can only understand it when it goes in one
single direction. To us it's forward; to other particles in the universe
it's sideways, or tangential, or even crooked. When we are presented
with something where time has been changed more than just slightly -
reversed, for example - it seems nothing but completely foreign and
incomprehensible. Only in the past 50 years has man even been able to
hear sounds in reverse. These new sounds are not based in our
reality, and to the uninitiated, quite scary. It's no wonder reversing
of sound in popular culture has been linked with Satan or other devilish
conduct - that's how most cultures deal with things they can't comprehend.
Here I'd like to dispell the myths and analyze the reversal of sound
and audio for what it really is: mostly a bunch of unintelligible garbage
that makes no sense to our brain unless we look so closely into it we're
not seeing the forest for the trees. The accidents that make up phrases
in reverse are revealing only that our minds can put together anything
if we work hard enough. To quote Jules Renard: "Look for the ridiculous
in everything and you will find it."
Engineered Reversal
Since the beginning of recorded music, musicians have been able to add
features to their music that they weren't able to in the past. Multiple
tracks, multiple takes of one apparently continuous track, acoustic control,
and so on. The physical reversal of sounds also brought a completely different
feature to recorded music, the most 'strange' of which was reversal of
voices or vocal tracks. The ability to 'hide' phrases of spoken words
in the music ('there' but actually not 'there'), became something that
popular artists would take advantage of.
The examples below are actual engineered reversals of vocal tracks, meaning
that they were recorded forwards and then reversed in either the recording
or mixing process with full intention.
Rain
Perhaps the first purposely reversed vocal track came from, not surprisingly,
The Beatles. While recording the song "Rain" in April of 1966, producer
George Martin wanted to do something 'extra' to John Lennon's vocals.
He took a bit of the lead vocal from the four-track onto another tape
machine, reversed it, and recorded it back onto the tape. John was amazed
at the results and kept it that way ever since.
The idea for reversing tracks came from the experiments they were doing
only days earlier recording "Tomorrow Never Knows" by speeding up and
slowing down the tape, as well as reversing tracks, just to hear what
they sounded like.
"When the rain comes they run and hide their heads." []
Darling Nikki
One of the more popular engineered reversed tracks comes from Prince's
1984 masterpiece, "Purple Rain". It opened many an eye to the idea of
reversed vocals, simply because it was not surrounded by music - it
was a multi-tracked complete vocal passage by itself at the end of side
1 of the LP, bare to the naked ear. During live shows, he would use
this track in it's proper direction for incidental music during costume
and set changes.
The message itself has religious overtones, contrasting directly with
the overtly-sexual "Darling Nikki" which precedes it. Was the reversal
meant to invert the message itself, or was it meant to hide an apology?
"Hello. How are you? I'm fine 'cuz I know that the lord is coming soon.
Coming, coming soon."
[]
Empty Spaces
Pink Floyd's masterpiece "The Wall" has been cited among many as a large
influence upon 1970's grandeur arena rock. All in all, it is a very
powerful album, telling the story of an rock star's growing introversion
and impending implosion.
The song "Empty Spaces" contains a heavily-buried engineered reversed
vocal in the beginning minute or so, that is described as a 'secret
message': "Congratulations. You've just discovered the secret message.
Please send your answer to old pink, care of the funny farm..." which
seems to drift off under the music, possibly with the word "Chalfonte"
added, but it sounds like a different voice altogether.
"Congratulations. You've just discovered the secret message..." []
Frank Zappa
Frank Zappa was well-known for his musical experimentation, but few
people know of his work with altered voices, both reversed and pitch
shifted, in some of his songs. There is a web page dedicated to this very
subject.
What is Phonetic Reversal?
Phonemes
Phonemes are a way of describing units of sound in the spoken word. Since
all of the examples of s ound in this paper are in english, the American
English phoneme table is used to describe the vowels and consonants that
combined together will describe any spoken sound in English.
American English Phoneme Table
AE - bat |
UW - boot |
f - fin |
r - ran |
EY - bait |
UH - book |
g - gain |
s - sin |
AO - caught |
UX - bud |
h - hat |
S - shin |
AX - about |
OW - boat |
J - jump |
t - tin |
IY - beet |
AW - bout |
k - kin |
T - thin |
EH - bet |
OY - boy |
l - limb |
v - van |
IH - bit |
b - bin |
m - mat |
w - wet |
AY - bite |
C - chin |
n - nat |
y - yet |
IX - roses |
d - din |
N - tang |
z - zen |
AA - cot |
D - them |
p - pin |
Z - measure |
Reversed phoenemes
When these phonemes are reversed, they can become a totally different
set of sounds. Some of the vowels become what normally are combinations
of vowels, and some consonants simply disappear behind other letters:
AE -> same |
UW -> same |
f -> same |
r -> same |
EY -> 'yeah' or 'YE' |
UH -> same |
g -> glottal stop |
s -> same |
AO -> same |
UX -> same |
h -> same |
S -> same |
AX -> same |
OW -> 'wuh' or 'WO' |
J -> same but short |
t -> 'HT' |
IY -> same |
AW -> 'wah' or 'WA' |
k -> 'HK' |
T -> same |
EH -> same |
OY -> 'yoh' or 'YO' |
l -> same |
v -> same |
IH -> same |
b -> 'HB' |
m -> same |
w -> same |
AY -> 'ya' or 'YA' |
C -> same |
n -> same |
y -> depends on following vowel |
IX -> same |
d -> 'HD' |
N -> same |
z -> same |
AA -> same |
D -> same |
p -> 'HP' |
Z -> same |
The vowels with motion in the mouth have the motion reversed, which
results in vowel sounds that do not exist by themselves in english,
and could be interpreted as multiple vowels.
Most consonants stay the same, but most notable are those that start
suddenly - 'b', 'd', 'k', 'p' and 't'. The air that normally follows
the burst of the sound turns around and sounds like an air valve closing
suddenly, with a different ambience. Sometimes the consonant is so weak
that the air seems to just stop suddenly with no discernable way of
ending, just disappearing. The letter 'y', possible the most variable
of the consonants, acts more like a vowel in this case, depending mostly
on the following (or preceding) vowel sound.
Combining reversed phoenemes
The combination of reversed phonemes in english results in yet more
complication. In most cases the end result cannot be estimated from
the initial sounds, because of many factors.
1. Slang - in most english phrases, words are strung together for ease
of speaking. Certain consonants are lost, vowels shortened, etc. Phonetic
analysis of the word as it is properly spoken usually has very little
in comparison to how it is spoken in real life, and can even depend
upon how the word is used in the phrase itself.
2. Pitch - The english language uses pitch to designate ends of phrases,
emphasized words, etc. When these are reversed, the whole sense of the
phrase is misdirected - the emphasis goes to a certain syllable (or
combination of phonemes) which when reversed adds to it's unusual rhythm.
3. Human experience - the most undefinable of the result of combined
reversed phonemes is how they are combined in the human mind to form
something discernable. Correlations with known slang words, changing
vowels, and numerous other things are added or removed in order to interpret
the vocal sound to something understandable. As we will see, this factor
plays almost the biggest role in 'secret message' finding...
Example: Revolution 9
The simplest of examples (and one of the most popular) comes from The
Beatles' "Revolution 9". Throughout the piece is a spoken phrase repeating
"number nine" in a slight British accent:
nUXmbUXnAOIHnUX - []
Note the removal of the 'r' in number , the deep swell in vowels in
'nine', from 'au' to 'i' sounding more like 'nauighn', and the addition
of the vowel sound at the end. The pitch of the voice is very important
as well - the note stays nearly the same throughout 'number', but rises
quickly in 'nine', and ends on a high pitch for the final vowel sound.
When reversed at the phonetic level, the result is:
UXnIHAOnUXbmUXn - []
The heavy pitch drop at the beginning stretches out the first vowels,
which come across as two words because of the different vowel sounds
from the British accent, and the reversed consonants in 'number' separate
the words as well:
UXn IH AOn UXb mUXn
...which has been loosely translated in the english language to "Turn
me on dead man".
By loosely I mean that many of the consonants are dropped (which is
usual for this phrase in slang): the starting "t" is dropped, the "r"
is dropped (normal for British accents), the "m" is dropped, the first
"d" in "dead" is dropped (usually combined with the preceding consonant
anyway), the "b" changes to "d" (a very close relation as well), and
the vowel sound for "man" changes from "AE" to the lazy-sounding "UX".
There are many things in place here. It's not just that the words themselves
that, when reversed, translate directly to a phrase in english. The
accents used in speaking the phrase, the pitch of the phrase, the consonants
or vowels that are added or dropped as a result of the slang have to
be taken into account before the speech is actually reversed. After
the reversal, the listener can make many correlations to known words
(a normal thing in human behavior) as a result of missing consonants,
different-sounding vowels, etc. All in all, it's not necessarily a science.
The connections made from the human experience add to the unpredictability
of the results, as you will see in the following analyses.
Phoenetic Reversal in popular music
Another One Bites The Dust
Queen's only dance hit generated a little bit of attention when it was
alleged that the song contained a reversed message: "It's fun to smoke
marijuana".
"Another one bites the dust" -> "It's fun to smoke marijuana"
[Forward | Backward]
This, if it is not already obvious, is a complete accident. The reversed
phrase barely resembles "It's fun to smoke marijuana" distinctly - it
would be better translated to "'s fun-a scout mare-wanna". However,
the important consonants exist to make the correlation between the two
easy to do. The phonetic analysis is somewhat complex - it is left as
an exercise to the reader.
Stairway to Heaven
Led Zeppelin's epic "Stairway To Heaven" creates possibly the most amazing
phoenetic accidents known in popular music. To further the mystery around
the song, a little background is necessary.
Led Zeppelin had it's popularity in the 1970s mostly in the grass-roots
rock and roll community. Influences for the band included J.R.R. Tolkien
books, mystical folks stories, and the like - most of which had paganistic
overtones, easily interpreted by the public as closely satanic. The
growth of Led Zeppelin seemed mystical in itself - though minimal promotion
was done by the group's record company Atlantic Records, the group's
popularity spread by word of mouth, something not usually expected or
calculated.
The song "Stairway To Heaven" became a legendary song in rock and roll
music culture. Stranger than the fact that it was the most-played track
in radio history, stranger than the fact that the song's length was
nearly 8:00 (most radio stations played nothing over 4:00), stranger
than the fact that it is a staple of rock and roll guitar players everywhere,
was the way the lyrics were written. Robert Plant, the lead singer and
lyric writer described it: "I just sat down next to Pagey (Jimmy Page,
guitarist) while he was playing it through. It was done very quickly.
It took a little working out, but it was a very fluid, unnaturally easy
track. It was almost as if - uh-oh - it just had to be gotten out at
that time. There was something pushing it, saying 'you guys are okay,
but if you want to do something timeless, here's a wedding song for
you."
What makes this song truly amazing on another level is that in a stretch
of nearly one minute, you could find 6 different consecutive phonetically
reversed "phrases" seeming to refer to the same subject: Satan. Never
in the history of popular music has this happened before or since.
- "Your stairway lies on the whispering wind" -> "'cause I live
with Satan" []
- "The piper's calling you" -> "the lord turns me off" []
- "And it makes me wonder" -> "there's no escaping it" []
- "There's still time to change the road " -> "here's
to my sweet Satan" []
- "Yes there are two paths"... -> "there is power in Satan" []
- "It's just a sprinkling for the May Queen" -> "he will give you,
give you 666" []
Knowing how difficult it is to get one phrase to phonetically reverse
into something understandable, but to get six phrases, consecutively,
in a passage of lyrics that forward seems almost disturbingly pagan, all
related to a similar subject, in a song that led it's life the way it
did, has truly been unmatched.
The facts above lead, not surprisingly, to a mystical conclusion that
had many a music critic pondering and related back to many stories about
popular music: in order to succeed, you had to sell your soul to the
devil. The late great blues guitarist Robert Johnson (a big influence
on Led Zeppelin) had many stories around him about his drifting lifestyle,
amazing guitar playing, notorious seduction of women, and selling his
soul to the devil in order to succeed at them. Did some sort of evil
force play a part in the writing of "Stairway To Heaven"? When reversed,
does it literally translate to "Stairway To Hell" in more ways than
one? As mystical and far from logic as it seems, the conclusion seems
appropriate!
Engineered Phoenetic Reversal
[Sound files & video for excerpts discussed below are available
at the original site.]
As a special effect, artists have recently tried a technique known
as engineered phonetic reversal, which is recording a set of phonemes
will full knowledge of what they will sound like when reversed.
This technique is not easily calculated, and to my knowledge has only
been attempted by a few filmmakers. One was for the comedy series "Airplane!".
The best example, however, goes to David Lynch for his late 1980's television
series, Twin Peaks. In the series, an unknown existence known as the
Black Lodge contains characters, mostly evil, that speak very strangely;
with a sort of accent not known - "...as if they were from Mars..."
- and add to the freakish aura around the scenes.
Twin Peaks featured the Black Lodge only twice in the series - once
in the third episode, and once at the second season closer, which turned
out to be it's last. The engineered phonetic reversal was done differently
each time:
1. Michael Anderson, acting as one of the characters in the Black Lodge,
knew how to speak phoenetically backwards by ear. He taught some of
the other actors/actresses involved in the scene, and they recorded
the scene as he spoke the lines as he interpreted them backwards. Because
the language was hard to understand to those who didn't know the script,
subtitles were added.
- "I've got good news! That gum you like is going to come back in
style"
[]
- "She's my cousin. But doesn't she look almost exactly like Laura
Palmer?"
[]
- "I feel like I know her, but sometimes my arms bend back."
[]
- "She's filled with secrets. Where we're from, the birds sing a pretty
song, and there's always music in the air." []
A video (4.5MB) for the latter two quotes is available for viewing.
2. For the much longer and involved Black Lodge scene in the final
episode, the actors/actresses spoke their lines and studied them in
reverse ahead of time. When it was time to shoot the scenes, they read
their lines in reverse as they had learned them, which made them much
clearer.
- "When you see me again, it won't be me." []
- "This is the waiting room. Would you like some coffee? Some of your
friends are here. Hello, Agent Cooper. I'll see you again in 25 years.
Meanwhile..."
[]
- "Woo-o-o! Hallelujah! Hallelujah! Coffee. Coffee. Coffee. Coffee.
Coffee. Coffee. One and the same."
[]
- "Wow, Bob, Wow! Fire walk with me." []
Note: the first example of a phonetic palindrome!
- "I'm Maddy. Watch out for my cousin." []
Note: the "atch" in "watch" was overdubbed forwards because the reverse
phoneme didn't work.
[]
- "I saw the face (of) the man who killed me. It was my husband. Who's
Annie? It's me. It's me. It's me. You must be mistaken, I'm alive."
[]
- "Dale Cooper. Hahahaha! If you give me your soul, I'll let Annie
live." []
Note the many awkward overdubs during the quick syllables.
- "Hehehe. I did not kill anybody." []
Others to check out:
- Jefferson Starship "A Child Is Coming", Blows Against The Empire
"It's getting better" = "Son of Satan"
- Electric Light Orchestra "Eldorado", Eldorado
"On a voyage of no return to see" = "He is the nasty one/Christ, you're
infernal/It is said we're dead men/Everyone who has the mark will
live"
- The Cars "Shoo Be Doo" Candy-O
"Shoo be doo" = "Satan"
- Black Oak Arkansas "When Electricity Came To AK" Ronch And Roll
"Satan, Satan,... He Is God"
Bibliography
Poundstone, William (1983). Big Secrets. William Morrow & Company, Inc. [Chap
26: Secret Messages On Records] |