The Devil In Me– John Wesley Harding
Moon Over Bourbon Street - Sting.
Possum Kingdom by the Toadies is about a guy wanting to turn a girl into a vampire
I’m the first with “Roland the Headless Thompson Gunner?” I certainly assume that Zevon meant him to be immortal.
There are many supernatural elements and figures in Genesis’ “Supper’s Ready”, but the best fit of course is the Guaranteed Eternal Sanctuary Man.
Just like “Long Black Veil”, Neil Young’s “Powderfinger” is told from the POV of a dead man.
IIRC, the lyrics in Total Eclipse Of The Heart sound poetic but got written for a literal story about vampires: “I’m always in the dark” isn’t a metaphor, it’s someone saying that, see, forever is gonna start tonight — in that, if a shadow really does happen to be on me all of the time, then my lover and I can have fangs and not age and, if you will, keep holding on forever; no, seriously, I mean that.
A surprisingly haunting song from an otherwise cheesy movie. And it points out one (THE?) of the drawbacks of being immortal- everyone else is sort of ephemeral, even if you fall in love with one.
Heather Alexander - Creature of the Woods
*
I’ve been alive since time began,
Not beast, not god, and yet not man
I am the music and the dance,
I am the piper who enchants
So loose all ties to mortal kind,
My pipes shall play within thy mind*
Lord Huron, “The World Ender”
I’ll never bleed and I won’t ever age
I’ll never feel the embrace of the grave
The fair and the brave and the good must die
I seen the other side of living; I know Heaven’s a lie
Tell Laura I Love Her.
The era of that song featured a lot of dead teenager songs. They didn’t necessarily have the person who got dead communicate with the living, though.
It was a period of the macabre in pop music.
~VOW
Rhiannon - Fleetwood Mac
In The Streets of El Paso, a cowboy narrates the story of how he came to be killed by the friends of another cowboy he killed in a dispute over a woman. The sequel, Feleena (from El Paso) tells the story of his lover, who shot herself upon his death. The last verse concludes:
Tonio K
How come I can’t see you in my mirror
"*For instance
how come i can’t see you in my mirror?
how come you never come around here 'cept at night?
how come you won’t say where your family lives
and you always look so pale?
how come you’ve got that crazy look there in your eyes?
Now lately babe, you smell just like a basement
and your wardrobe’s down to strictly black and red
sometimes at night i can see you down on the pavement sneakin’ around
come to think of it, when do you go to bed?*…"
And his ghost may be heard as you pass by that billabong,
you’ll come a-Waltzing Matilda, with me.
Xanadu - Rush
“I Don’t Know a Thing About Love” by Conway Twitty, a conversation with the Man in the Moon, who doesn’t understand women any more than we do.
“Venus” by Frankie Avalon
“God of Thunder” by Kiss
“Stay With Me” by Shakespear’s Sister. “You better hope and pray that you make it okay back in your own world…” The personification of Death with Dave McKean visuals, minus the Neil Gaiman charm.
“Elvis is Everywhere” by Mojo Nixon.
It’s All Been Done, by the Barenaked Ladies: he was around before the fall of Rome, and figures on still being around in the 30th century.
Rather implied, though not explicitly stated…
Chris de Burgh’s
Don’t Pay the Ferryman
…who just might be Charron, the boatman of the river* Styx. :eek:
[Plus the ghosts of former passengers providing the title advice.]
–G!
*This, of course, would imply the river being crossed is probably not the one the narrator was planning to encounter. :smack: