The most important symbols within The Prodigal Band Trilogy—star systems and constellations symbolizing the battle between good and evil, the Red Crystal of Corion and the Corion Cross—have already been discussed with appropriate trilogy snippets in the previous two posts. This post concerns symbols that the prodigal band uses on album covers and as stage props in concerts that are prevalent within the pop music industry now and for decades. Satanic symbols and patterns, checkered-mosaic-tiled-floors (a Freemasonic highlight, supposedly), drippings from chains suspended between legs (indicating drippings from orgasms), pentagrams and “oozing” vaginas are used on one particular album cover. For concerts, A-shaped or triangular ‘monoliths’ (indicating so-called ‘illuminati’ symbolism) topped with rotating circular shapes such as ‘planet Earth’ and eye-shaped symbols (‘the all-seeing-eye’-like symbols), and, of course, the Corion Cross of which the prodigal band’s logo is based upon.
Album covers for rock bands utilizing ‘satanic’ symbols have been around for years and most prominent rock bands from the 60s into today have used these symbols. One symbol I did not use that is extremely prominent then and now—the ‘one-eye sign’—was not used because I never saw that symbol as significant until the site Vigilant Citizen showed me just how this symbol is everywhere in pop culture. But this symbol was even used back in the days of the Beatles; more than one album cover has a variation of the one-eye sign, including one of their earliest albums. Commonly known ‘satanic’ symbols would include upside-down crosses, symbols of pagan gods such as the ‘eye of Horus’ or Baphomet horns (used, to my dismay, by a loved-one’s fave Japanese rock band, the GazettE, on a poster of theirs) or the ‘as above so below’ arms pointing upward and downward simultaneously used by many rockers in posters and such, ‘666’ and such pointed symbols or upside-down 5-pointed stars, and other pagan god symbols too numerous to mention.
So, I figured, if this prodigal band began its journey to redemption as a tool for the forces of evil, at least one album cover and at least one concert featuring these symbols had to be utilized within the trilogy. Since the first novel in the trilogy, Battle of the Band, is the only novel that mentions an album cover in detail or a concert in detail, all three snippets in this post come from this novel.
The first snippet, the one about an album cover for the band’s seventh product called ‘Dripping Gold,’ comes from Chapter Four. The band Sound Unltd is discussing what should be featured on the cover, which was ‘commissioned’ so-to-speak by guitarist Mick, an occultist that follows Druidic culture, that is about to become the band’s new album producer. But aside from other opinions as to the cover, band leader-guitarist Jack’s word is final.
The opportunity to take over the role of spiritual, if not actual, leader of the sextet presented itself at the recording studio meeting at the end of January to decide, among other issues, the cover for their next completed album, Dripping Gold. The name was inspired by Mick’s seagull experience and by the violent and sexually explicit themes of the album’s songs.
Dripping Gold, though giving Mike D’Arcy producer credit, was actually put together by Pordengreau, soon to be the group’s producer. EpiGram’s Hedgely was loath to release the record, but the thought of a fifth platinum in a row—including a live album recording of the Music Hall gig, called Banned at the Hall—changed Hedgely’s attitude. The days when EpiGram could control Sound Unltd were over. Rumors stampeded around the company that Mick and Atlantix Records, EpiGram’s major distributor, had a secret label deal in the works. That is, Sound Unltd were forming their own label when their EpiGram contract ran out in June, 1990.
One by one, each in the band inspected Mick’s proposed over design. The front cover, dominated by molten gold oozing through the letters S-O-U-N-D-U-N-L-T-D onto the letters D-R-I-P-P-I-N-G-G-O-L-D, also displayed four Satanic or Corionic symbols in the corners. The inside cover showed the six standing on golden pedestals with gold chains around their waists that dripped gold from the chain ends suspended between their legs. The pedestals stood on a mosaic-tiled floor. Interspersed between the credits, the tiles were arranged in satanic patterns, including a large pentagram in the center. The back cover, a gold field on which an outline of a lower torso with spread legs was etched using copper ink, showed copper liquid dripping out of a suggested vagina. Mick’s most outrageous notion of putting a tongue slurping the copper drippings was nixed by the other five.
Jack, with his feet propped up on the mixing console, saw the tongue and laughed. “This is a bit much, eh Mick? I mean, we’re out to promote our own particular brand of outrage. Not to get banned, eh?”
Lubin handed the cover down to Tom sitting on the floor.
“Yeh, Mick,” he said, mentally preparing for an attack by an adversary. “It’s bad enough you put devil symbols on there. I don’t appreciate that, eh?”
Sitting on a stool, Mick sneered, “Does your precious Code forbid it?”
“No!” Erik pounded his foot on Keith’s chair and shot a finger at Mick. “Our desire not to promote Satan forbids it!”
“Yeh,” Keith cut in. “Since when you start hanging out with devil worshipers, eh?”
“Where you been, Keith?” Tom waxed sarcastic. “If Skinny wasn’t hanging out with Satanists, he’d be starring in his own B-grade porn film. Isn’t that right, Skinny ol’ boy?”
“That’s not your bloody business.” Mick shouted. “I’m not hanging with them anymore. I believe in sex, not Satan. These symbols don’t prove we’re Satanists. All they show is that we’ll do anything for outrage. Including that tongue.”
“Sorry, Mick. Not both the symbols and the tongue,” Jack said. “As for me, I think the tongue fits our image more than the symbols. But many bands use these symbols without a big hassle. So, I choose the symbols.”
“Is that right, Jack?” Holding true to his penchant for arguing, Tom couldn’t let the opportunity pass. “Since when did you start giving a shit about what other bands do? Since when you care about hassles from the suits?”
Jack sighed. “Here we go again, eh Tom? Let me spell it out so even you can understand. You know bloody well Hedgely won’t go with releasing an album cover with a tongue slurping pussy. Especially not when it also has satanic symbols. But Wolfin and John Mocke have both released EpiGram records with those same symbols without a hassle. Now, even you can figure out why we need to use those symbols and ditch the tongue idea.”
“Screw that.” Bryan lay on the floor. “Just do it over, Mick. Make it a bit less obscene. Use biker shots, eh?” He laughed.
But Jack won out.
The next very short snippet is from the beginning of Chapter Seven, and the concert is set at a new stadium in the fictitious coastal California city called Richmont, which is not far from the Bay Area.
Then the stadium went dark. The crowd cheered in anticipation of the world’s greatest rock band ever.
Flash! Went the floodlights shining on two A-framed solid obsidian temple monoliths from which a tower of blended Day-Glo colors formed a blinding white lightning core.
The amassed army of fanatics did everything but kneel in prayer before the temple stones through which they all knew their six rock-gods would enter the stage.
The final snippet from Chapter Eight concerns setting up appropriate props for a concert in tribute to ‘World Unity Day,’ a globalist scenario similar to what the ‘powers-that-be’ in the present are ‘planning’ with their so-called Davos ‘Great Reset.’ The concert will take place in a city known for diversity, San Antonio, Texas (which, unlike other Texas cities, really is diverse with no particular ethnic or racial group dominating it and is near the Hill Country, which is known for mostly European-type cultures and features dances such as clogging, which is thought to be Germanic but is also Scots-Irish and Dutch). In the snippet, the head of the fictitious ‘World Community Artists Foundation,’ actor Neville Banner, convinces the band to attribute the particular gig to ‘World Unity Day,’ but to make changes to the stage props, keyboard-synthist Bry, nicknamed ‘Redbeard,’ would have to approve any changes since he is the boss of the road and stage crew led by ‘Chet’. The conversation occurs aboard the band’s jet. Singer Erik and guitarist Jack, of course, are wearing their red crystals.
Actor Neville Banner had a proposition for Erik and Jack the night before the group performed their final show in San Antonio, Texas. The three stood just inside a sleeping cabin. “You know that your gig tomorrow night coincides with World Unity Day. The World Community Artists Foundation came up with that, eh, along with the World Youth Cultural Council. And it’s really cool that this city is blessed with such a unity of cultures. It would be sooo excellent if you would dedicate the gig to World Unity Day. I mean, you both wrote the Foundation’s new theme song, ‘A Circle of Unity.’ Well, what do you think?”
The singer and guitarist, both wearing their blood-red crystals, answered at the same time, “Absolutely.”
Jack said, “Tom and Mick both brought that up last week, wanting to do something like that.” He turned to Erik. “Should we do the dedication at the beginning or in the middle?”
“The middle, eh? When we normally do that song. The crew would need to rearrange the props otherwise, right? No sense in giving them extra hassles on such short notice. But I have another idea.” Erik’s crystal glowed warm red. “I think we need to superimpose the rotating image of the planet onto our round monolith temple, right above our own insignia. Can it be done?”
“Need to ask Bry. He’d know.”
Jack poked his head out the door into the lounge. “Hey, Bry, could we see you a minute?”
Redbeard was playing snooker. “Right after this shot.”
A minute later, he answered the question. “No problem. But it’ll look like the planet’s spinning on top of the monolith. That’d be a bit cool, eh? Yeh, I like the idea. Fans’ll love it, too. I’ll speak to Chet about it.”
The next post will be posted in the latter part of next week, but it will not have anything to do with symbols. Refer to the menu above to purchase the novels from the bookstore links and to download the FREE PDF novel The Prodigal Band.
The Prodigal Band Trilogy © 2019 by Deborah Lagarde, Battle of the Band © 1996 by Deborah Lagarde, The Prophesied Band © 1998 by Deborah Lagarde and The Prodigal Band © 2018 by Deborah Lagarde. Permission needed to copy any materials off this page.
Photo copyright © 2009 Deborah Lagarde