by wolfex September 22, 2003
In A Gadda Da Vida (drunk for "In the Garden of Eden") is an early heavy metal tune that became a classic solely through its sheer, mind-numbing length and incomprehensability. At the time, this was confused for mysticism.
The lyrics are but a few mere lines of sticky sweet romanticism, totally at odds with constipated metal vocals -- the latter of which were appropriate for the time and genre, the former of which would not be appropriate under any circumstances.
A baseline and accompanying rhythm guitar that was probably funky to white boys back in those days starts the tune. For added zip the organist helps the drummer out jazzcat style.
After singing the first repetition of the lyrics, which, it must be noted, are themselves repetitive, the lead singer improvises a little with a flourished "Please take my hand!" followed by a feeling-the-moment exclamation of "guitar!"
This is of course followed by an organ solo.
What evolves from there can only be described these days as a bad horror movie incidental score, punctuated by a one man drum circle and an interperative two-finger organ recital of "We Three Kings of Orient Are."
The song wraps up with a nearly identical iteration of the lyrics. This is an important feature of the song, because, although numerous parodies have spawned over the days, perhaps the funniest thing you can do with it is carefully dub a second copy seamlessly onto the end of the first, and then a third, and so on to the length of the longest recording media you can possibly find.
The end product has the effect of driving aged stoners (the only kind you can persuade to listen to it) stark raving mad. They cannot figure out whether the song is just dragging on like they remembered it from years ago, or whether they are just really, really baked. After about a half hour (which is well under twice the length of the original song) tension levels in the room will start to rise, and you can have fun placing bets on which of them will decide they have had enough first.
The lyrics are but a few mere lines of sticky sweet romanticism, totally at odds with constipated metal vocals -- the latter of which were appropriate for the time and genre, the former of which would not be appropriate under any circumstances.
A baseline and accompanying rhythm guitar that was probably funky to white boys back in those days starts the tune. For added zip the organist helps the drummer out jazzcat style.
After singing the first repetition of the lyrics, which, it must be noted, are themselves repetitive, the lead singer improvises a little with a flourished "Please take my hand!" followed by a feeling-the-moment exclamation of "guitar!"
This is of course followed by an organ solo.
What evolves from there can only be described these days as a bad horror movie incidental score, punctuated by a one man drum circle and an interperative two-finger organ recital of "We Three Kings of Orient Are."
The song wraps up with a nearly identical iteration of the lyrics. This is an important feature of the song, because, although numerous parodies have spawned over the days, perhaps the funniest thing you can do with it is carefully dub a second copy seamlessly onto the end of the first, and then a third, and so on to the length of the longest recording media you can possibly find.
The end product has the effect of driving aged stoners (the only kind you can persuade to listen to it) stark raving mad. They cannot figure out whether the song is just dragging on like they remembered it from years ago, or whether they are just really, really baked. After about a half hour (which is well under twice the length of the original song) tension levels in the room will start to rise, and you can have fun placing bets on which of them will decide they have had enough first.
by skids October 26, 2005
The name of a syndrome taken after the plagerism controversy surrounding British Rock Band Coldplay's award winning hit song Viva la Vida
Can be applied to any situation where something is increadibly well liked and successful to the point of where others will do anything to get a bit of the credit for it.
often exibits the Band Wagon Effect
rediculous accusations of plagerism in order to gain credit, money, or fame
and squabbling.... equatable to children fighting over the sparkley aqaumarine crayon at daycare
Can be applied to any situation where something is increadibly well liked and successful to the point of where others will do anything to get a bit of the credit for it.
often exibits the Band Wagon Effect
rediculous accusations of plagerism in order to gain credit, money, or fame
and squabbling.... equatable to children fighting over the sparkley aqaumarine crayon at daycare
Satch: Viva La Vida's so successful hmmm.......wait, Everyone, I wrote it, its mine!
Cat Stevens: NO! everyone knows I wrote the melody for Viva la Vida
Gunther: No I did!
Creeky Boards: it was our first!
Enanitos Verdes: Satriani lies, our song Frances Limon came out way before If I Could Fly; the melody to Viva la Vida is ours! Satch stole it! and Coldplay too!
Coldplay: fuck off, all of you tossers!
Random Person: oh no! Its Viva la Vida Syndrome!
*world explodes
Cat Stevens: NO! everyone knows I wrote the melody for Viva la Vida
Gunther: No I did!
Creeky Boards: it was our first!
Enanitos Verdes: Satriani lies, our song Frances Limon came out way before If I Could Fly; the melody to Viva la Vida is ours! Satch stole it! and Coldplay too!
Coldplay: fuck off, all of you tossers!
Random Person: oh no! Its Viva la Vida Syndrome!
*world explodes
by Ajaxxx January 28, 2010
Anderson Cooper is really Livin' La Vida Loca
by notraywagner March 19, 2011
It means "i love you with my life" in spanish. Similar to "I love you with all of my heart" in english.
by BabyPrettyVarela13. June 23, 2011
by IDK what pseudonym to use December 12, 2020