Simurgh Tree
Simurgh Tree
William Blake’s poem about a tiger, isn’t. Although indubitably concerned with the role of a creator, the description of the central figure of a feline predator, native to Eurasia’s Steppe, Indo-China, and Australia, is designed to query the benevolence of God to the extent that ‘The Tyger’ (1794) is a metaphor for the Satanical. A central concept of the Christian Old Testament of the Bible, which is the Torah and Talmud of Judaism, that is, their history and law, is that of the prelapsarian paradise of Eden, where the lion and the lamb, for example, are represented as living in peaceful co-existence, before the expulsion of Eve, the woman, and Adam, the first man created by God, after Satan, the angel turned into a serpent by God for rejecting God’s plan that the human host be greater than the angelic, gave to Eve ‘the fruit of the tree of the knowledge of good and evil’, which it was death to taste, ‘You shall be as gods.’ (Gen: 3. 5) Expelling Eve and Adam from Eden for rejecting the ‘fruit of the tree of life’, which was immortality, God nevertheless promised Eve her ‘seed’ would prevail, ‘You shall crush the head of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) Hermaphrodites are called futanarian, and Adam was hermaphroditic, according to Jewish Midrash, which explains why Eve is depicted as created by God from the side or rib of Adam, that is, she was a birth from self-fertilization, which is a species’ trait of the human ‘foot’ race. After the inauguration of slavery in ephemerality, the role of Satan as a predator was established, as Eve’s, representing the human host womb of women’s seed, its prey:
‘Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?’
Although the concept of women’s seed seems tangential to the poem by Blake, its relevance is fundamental. Most critics have glossed the last line of the first stanza as a whimsical piece of writing designed to draw attention to the difficulties posed to both author and reader in adjusting their vision to the exigencies of rhyme. In simple terms, ‘symmetry’ doesn’t rhyme with ‘eye’, whereas the demands of the rhyming pattern are that it ought to. For the line to fit in, ‘symmetry’ should be read as ‘simmer’ and ‘try’, which is logical in that liquids simmer, if fire is applied, and fire is the theme of the poem; insofar as Blake attributes to the tiger that elemental quality. However, it’s more likely that ‘try’ is an instruction to the reader to understand why it is that ‘simmer’ is associated with what’s symmetrical. Every predator needs its prey, which is the meaning of the allusion to the Simurgh bird. Emblem of Persian Iran’s Sassanian Empire, predecessor to the first Moslem Rashidun (632-61 C.E) Caliphate of Islam, after the death of the Prophet Mohamed, to whom the angels of God dictated their Koran (610-30 C.E.), according to tradition, the Simurgh symbolizes benevolence, which is what Blake is asking the reader of the poem to cogitate:
‘In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?’
Blake’s inquiry is ambivalent in that, although the tiger appears to be the subject, there appears to be a contrasting allegory of an aery creature, which the writer is pursuing, while seemingly doubting God as the creator. Traditionally, the Simurgh bird is big and female. While she can bare the face of a man, she's a peacock, with the head of a dog, and the claws of a lion, that can carry off an elephant or a whale, which gives rise to Blake's allusion to the ocean deep, whereas the following paired lines of the second stanza of the poem refer to a creator’s apparent transgression, or a wooer’s. That Satan is a wooer of God, as well as a rival, seems to be Blake’s theme. However, the question seems posed by the Simurgh herself: is the creator her mate? According to Iranian legend, the Simurgh, like the mythical Phoenix, renewed herself in fire, which suggests that Blake’s poem is the Simurgh’s challenge to the creator. Be her mate in the fire, or be her consumer. That the tiger was a creature of prey, 'after the fall of man', means it's a recreation of Satan's, that is, renewal, or consumption, is what awaits her:
‘And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat.
What dread hand? & what dread feet?’
Although the third stanza of the poem has the appearance of being about the creation of the tiger by God, there’s a reference to what comes later in the poem, ‘the lamb of God’, as the butcher’s ‘shoulder’, that is, the powerful shoulder muscles of the tiger are made symmetrical with those of a ‘shoulder of lamb’, which is a chop. That Jesus ‘Christ’, ‘the chosen’, is a ‘lamb chop’ to Blake sits uneasily with the belief of Christians in the New Testament of the Bible, based on Jesus’ teaching, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) According to the New Testament, which the Christians believe supersedes that of the Old Testament of the Jews, Jesus, born uncontaminated by male semen, from his mother, the Virgin Mary, depicted in Christian iconography as crushing the head of the serpent with her foot, that is, Jesus, as the seed of Eve, was killed after being found with a woman by his disciple, Judas, who gave Jesus to the Jewish Pharisees, the religious police, who presumably had instructions that women’s seed wasn’t to breed, who gave Jesus to the Romans, who sentenced Jesus to be crucified atop the hill of Calvary outside the city of Jerusalem, where he was nailed to a cross of wood and died there, but experienced Resurrection and Ascension to heaven in prefiguration of that of women’s seed.
With God’s promise of immortality proven, the Christian church flourished thereafter, although the nomenclature of priests as ‘shepherds’, wearing ‘dog collars’, and congregations as ‘flocks of sheep’, suggests immortality as a ‘sugar tit’ for being butchered as animals for food, rather than that ‘the foot of God’, which is the hermaphroditic human race, should produce brainpower sufficient to give itself immortality, through medical science, and colonize the planets amongst the stars of heaven, through technological progress, to escape being the food of the ‘meat safe’ guards, who’re associable with the dreaded hands and feet of the meat hammer, that is, the butcher, as much as the padded claws of the tiger stalking its kill. That Jesus’ eponym was ‘the sacred heart’ suggests that Blake is referring to those fearful sinews of the lamb of God, Jesus, slaughtered by the Romans, like an animal, during the reign of the Emperor, Tiberius Caesar Augustus (14-37 C.E.), with the additional ignominy attached to the dread hands and feet of the despiser, Longinus, who thrust his spear into the side of ‘the Second Adam’, saying satirically, ‘Surely, this was the son of God.’ (Matt: 27. 54) Clearly no Eve was to be born from that woman’s seed. From the artistic perspective, the creator was enduring an art attack:
‘What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp.
Dare its deadly terrors clasp?’
The allusion to the butcher’s meat hammer is followed by a reference to the enslavement of the human host’s womb by male semen, which is the serpent’s seed, as Jesus’ disciple, John, saw in his apocalyptic vision of the future, Revelation, ‘The dragon was wroth with the woman and went to wage war on the remnant of her seed.’ (Rev: 12. 17) Although the ‘red dragon’ (Rev: 12. 4) is Satan, according to John’s prescience, men, as distinct from women’s seed, aren’t exempt from blame, as they ‘… cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.’ (Rev: 16. 11) What they’d done was prefer being slavers in butchery, which essentially is a homosexual disease, as they take from behind, like animals with their prey. Blake, as a successor to John, was predicting the ‘blood plague’ (Rev: 11. 6), that is, the ‘incurable killer disease’, AIDS, which was discovered by DR Congo, in the late 20th century, as a mutant variant of simian immune deficiency virus (SIV), transmitted between homosexuals, during sterile mockery of the human act of sexual reproduction, as infected semen in the anus. The human immune deficiency virus, becoming acquired immune deficiency syndrome (AIDS), collapsed the organs of the body before brain death. Blake’s furnace in the brain is the virus of hell. As poets are primarily concerned with the ear, that is, rhyme, Blake’s hammer and anvil analogy refers to the small bones of the ear, which are tripartite, having the stirrups also, which are also called the steppes, while Blake conceives the human as being ridden by a rider, for example, AIDS, as a symptom of what drives the killer, who is unintelligent in that they don’t seem to be able to understand that they shouldn’t chop:
‘When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?’
Blake’s question isn’t about the tiger, it’s about men, the butcher. 15th century French seer, Michel Nostradamus, foresaw a ‘last king of the Mongols’, who were a horde of horsemen that, sweeping the steppe regions of Eurasia, pillaging the peoples that lived there, were a metaphor for the demon in the stirrups of the ear, that is, the Steppes, driving the human host to kill, which chopping displaces shopping in the psychopathic mind. The tiger is Blake’s metaphor for the butcher, while the Simurgh bird, symbol of the Sassanid Empire, is his metaphor for ‘fearful’ benevolence, as it’s desirable to rulers that the butchered be peaceful, ‘The dragon stood before the woman, who was about to give birth, so that it might devour her child the moment it was born.’ (Rev: 12. 4) According to Jesus’ disciple, John, the child is Jesus, in his ‘Second Coming’ to the Earth, as ‘he who will rule the nations with an iron scepter’, to prevent women’s seed from being butchered, as he was, ‘Leave her alone.’ (Mk: 14. 6) According to Jesus’ disciple, John’s apocalypse, the stars were thrown down as spears by the dragon, Satan, ‘His tail swept a third of the stars out of the sky and flung them to the Earth.’ (Rev: 12. 4) Eve wasn’t the first woman, who was Lilith, according to Jewish Midrash, who rejected Adam, as she didn’t want to lie beneath him, so begat a horde of demons with the angel, Samael (poison of God). Moreover, as God drowned the first creation, which contained Eve and Adam, in a flood, before allowing the patriarch, Noah, to save his family and animals in a floating Ark, the stars thrown down by Satan were Lilith and Samael’s children, who’d colonized the planets there, which would be the reason for the Jews’ depicting Lilith and Samael (the boy son of God) as breeding a race of demons, as they weren’t misogyny.
‘See the sunlight, we ain't stopping
Keep on dancin' 'til the world ends
If you feel it, let it happen
Keep on dancin' 'til the world ends.’2
United States of America’s pop music star Britney Spears’ lyrics to her song, ‘Till The World Ends’ (2011), from the album, Femme Fatale, indicate that the light of the sun won’t stop her dance, which will go on until the world ends. Traditionally, it’s vampires that fear the sunlight, which suggests Britney’s challenge to the dragon is that the Spears of this Earth will go on dancing, as amongst the North American Plains Indians, during the period of the colonization by Europeans, wars were declared by the breaking of spears. That the mass media Empire of the United States is centered upon the district of Hollywood, city of Los Angeles, West coast state of California, is called ‘Babylon’, after Jesus’ disciple John’s vision, suggests that stars throwing down Spears is archetypal, ‘Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.’ (Rev: 17. 5) Babylon (c. 4000 B.C.), as the capital city of the Persian Empire of Darius I, was at war with Greece (499-49 B.C.), which institutionalized homosexuality in pederasty for that purpose, whereas Hollywood ‘Babylon’ implemented the Hays code (1930-67), which effectively prevented women’s penis from ever being seen, that is, the human foot race, ‘... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).`3 The limitation on Britney Spears’ dancing is that she can’t show anyone her foot, as the stars threw down their Spears.
Although it wasn’t a challenge from Hollywood’s point of view, for women’s seed it was, that is, mainstream media appearances were essential, or the human futanarian species of God would never be. Instead, men and women would continue to be manufactured, as a single male creature wearing each other’s clothes, as a transvestite TV, sundered from its true hermaphroditic nature, hurling its spears at itself, as the slavers in homosexuality and pederasty for war provided self-extinction. An anti-Christian ‘black mass’ entertainment for worshipers of Satan to enjoy, ‘The second beast was given power to give breath to the image of the first beast, so that the image could speak and cause all who refused to worship the image to be killed.’ (Rev: 13. 15) It’s the coffin of the Simurgh curse (smokers), where benevolence from, or towards, the female, is cursed by misogyny with extinction, as the penis of the human species is smoked down to its butt by the homosexual slaver, who wants it.
If the ‘second beast’ is Covid, that is, severe acute respiratory syndrome (SARS), AIDS is the first, which scientists believe weakened the human system to the point that it became susceptible to the SARS virus that, emerging from the land of the dragon, red (communist) China, at a Wuhan city hospital, in December 2019, killed upwards of 6,000,000 people globally, before a vaccine was available, for example, Russia’s Sputnik V, developed by Moscow’s Gamaleya Research Institute of Epidemiology and Microbiology. Symptoms of Covid were brain damage and flatulence, which helped explain President of the Russian Federation Vladimir Putin’s deployment of the TOS 1 and 2 heavy flamethrower system, as the communist Red Army’s main field weapon, after the 24th February, 2022, invasion of the Ukraine. The first stage launched missile spread a flammable gas, while the second stage fierily ignited it, causing lung collapse, like Covid did virally, that is, the coffin of cremation was the ‘vid’ being made, after the initial launch of homosexuality’s ‘biological weapon’, AIDS.
That Covid emerged in communism, that is, from Russia through China, with the red dragon as the leitmotif of an ideology promulgated by German economics philosopher Karl Marx, in Das Kapital (1868), always associated with the color red, doesn’t seem coincidental, as AIDS was uncovered by DR Congo, a ‘satellite’ nation of ‘soviet’ Russian Communism, in 1983, where soviet refers to the concept of decentralized government. After the defeat of Germany in World War Two (1939-45), following upon the similar defeat of Kaiser Wilhelm II’s ambitions to enslave the Earth in World War One (1914-18), with the Red Army capturing the capital city, Berlin, Russia became the decentralized government of Eastern European nations ‘liberated’ by the Red Army, a form of relationship with the Union of Soviet Socialist Russia (USSR), known as the Soviet Empire, adopted by many countries outside Europe, including DR Congo.
The October 1917 Russian Revolution, led by Vladimir Ilyich ‘Lenin’, to overthrow Tsar Nicholas II’s oligarchy, resulted in the establishment of Marxism, ‘from each according to his abilities to each according to his needs’. However, even before the WWII dictatorship of Josef Stalin, it was evidently a ‘slogan’ used as a euphemism for slavery, similar to the fascist ideology of WWII German Reichsführer, Adolf Hitler, whose ‘slave labor’, konzentrationslager camps, were virtually identical with Stalin’s gulag, ‘labor camps’. As a former colonel with the Committee for State Security, that is, the KGB, elected in 1999, after the restitution of independence to countries formerly dependent, represented in the West as the dissolution of the USSR (CCCP), Putin’s benefiting from communism’s research into biological weapons enabled the twofold deployment in bio-chemical warfare of the AIDS/SARS TOS 1 and 2 virus of hell.
In Central, East, and South East Europe, regions were often administered as draco voivode, that is, by ‘war dragons’, a euphemism for military governorship, for example, 15th century Prince of Wallachia (later modern Romania), Vlad Dracul III, model for Irish writer Bram Stoker’s 1897 vampire novel, Dracula, was a draco voivode, infamous for impaling his defeated rivals on stakes of wood, like the sharp faggots of homosexuality’s AIDS’ virus, ‘A great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. She was pregnant and cried out in pain as she was about to give birth. Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads.’ (Rev: 12. 1-2) In geopolitical terms, the European Union, with its blue flag, corresponded to the twelve stars, while the ‘red dragon’ was the communist Russian Federation, with its seven regions; Far Eastern, Siberian, Ural, Volga, North Western, Southern, and Central, with Vladimir Putin there, as its President, in the capital city of Moscow’s Kremlin, elected in 1999, posing a threat to the growth of the European Union (EU), in ordering the invasion of the Ukraine, by the Red Army on February 24th, 2022, to prevent that nation’s membership.
The ‘woman clothed with the sun and with the moon at her feet’ is an AIDS symbol, as the moon is only a bright jewel to children, whereas adults know it as a symbol of sterility, for example, Isis is the sun goddess of ancient Egypt, popularly conceived as having the power of sexual resurrection by English novelist D. H. Lawrence in The Man Who Died (1929), while the symbol of the Independent State of Iraq and Syria, that is, ISIS, which came to prominence, after the deposing of Iraq’s President Saddam Hussein by the US’ army in 2003, with the declaration by the resistance leader of occupied Iraq, Abu Bakr Al-Baghdadi, of himself as the Caliph of Islam, is the sterile moon. That the sun and the moon of Jesus’ disciple John’s vision is of Islam is difficult for Christians. Where Islam differs from Judeo-Christianity primarily is the permission the Koran gives to Moslem families having four wives, which derives from the second son of Abraham, Ishmael, being the child of Hajer, a concubine, who illegitimates Islam for Christianity, whereas polygamous Islam affords futanarian women’s seed the opportunity to reproduce within a tradition that normatively expects women to remain hidden beneath a one-piece coverall, the black burka, publicly.
That Blake’s poem is about the Simurgh of benevolence is a reflection upon geopolitical realities. The pre-Islamic people of Iran were Eurasian migrants, whose population, 75% decimated by the Mongol horde of Eurasia’s Genghis Khan, from 1219-21, had been Iranians since the second millennium B.C., that is, the Simurgh bird was that Iran’s Summer, which is the role of civilization for the invader, whereas Autumn, for example, corresponds to the Ottoman Empire of the Moslem Turks (1299-1922), before the Winter of MS Windows, where women’s dowries, that is, business wealth, shared through marriage, became the determinant factor in geopolitics. As Russia’s ruler was a Tsar, so Iran had a Shahnshah, that is, Tsar of Tsars, with the national symbol of the sun, and the lion, holding a scimitar, which is a sword, curved like the moon, while a star and moon are also the international symbol of the nations of Islam. That the hammer and the sickle are communism’s, as AIDS is characterized by sick red cells, Islam’s scimitar and sickle moon similarly represent a human race dying through men’s preferring enslavement and/or invasion to their own local artisanry or that of another people’s. The perspective of the invading Mongol horde of Genghis Khan was that pillaging was what Iran was for, while Putin’s invasion of the Ukraine, after that nation was given independence, along with other nations of the former communist bloc, in 1991, that is, Armenia, Azerbaijan, Belarus, Estonia, Georgia, Kazakhstan, Kyrgyzstan, Latvia, Lithuania, Moldova, Tajikistan, Turkmenistan, and Uzbekistan, suggests the same. That the bones of the ear are called hammer and anvil, with the stirrups, called the steppes, suggests that Putin’s war, like others, were driven by ears listening to plague aims, ‘Authority was given to them over a fourth of the Earth, to kill by sword and by famine and by plague and by the wild beasts of the Earth.’ (Rev: 6. 8) The four horsemen of John’s apocalypse are war, famine, plague and death, which is what’s in the stirrups of the Steppes, as homosexuality’s in the region of being a sterilizer’s religion, ridden by demons:
‘Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?
Although false teeth are put in a jar for sterilization, the fearful symmetry of the vampire are the hollow incisors it sinks into the neck of the victim to drink its blood to have immortality, which is what the parasite has been doing with the human race since Eden, according to God’s serpent symbol, Satan, who grew wings, according to John’s vision, and breathes fire, according to legend and Putin’s TOS. Stoker’s Dracula was set in the Hungarian province of Transylvania, later modern Romania, although Magyar is the name that the Hungarians give to themselves, as ‘tooth fairy’ has the same meaning as actor Ralph Fiennes in the role Patrick Dollarhyde in the movie made from Thomas Harris’ 1981 novel, Red Dragon (2002), who kills women, while actor Ted Levine as ‘Buffalo Bill’, the character Jame Gumb in Harris’ The Silence of The Lambs (1988), made into a 1991 film, killed women, skinned them, and wore them as ‘women suits’, which suggests that the vampires that grow into their stirrups in the Steppes are from a jar, that is, they’re homunculi, as the ancient alchemists described them, after the theory of each individual sperm containing a ‘little man’, sometimes conflated with succubi, phantasms about women, who grow through sexual congress with the sleeping, and male incubi, similarly, corresponding to the Moslem alaqah, according to the Al-Mu‘Minun, ‘The Believers’ chapter of the Koran, ‘We created man … a drop …. an alaqah … leech … a mudghah (chewed substance) …’ (23: 12-14) The teeth from a jar would possess the human host as a parasite, which might be the reason for Satan’s being depicted as a dragon, throwing down the stars amongst the planets putatively colonized by Lilith and Samael.
Whereas Lilith was the first woman, according to Jewish Midrash, misogynistic interpretations assume Eve to be a succubi, that is, women’s seed are the equivalent of Iran to the Mongol horde of Genghis Khan, which is the reason for Blake’s tiger being associated in the popular mind with that of Rudyard Kipling’s anthropomorphic tales in the Jungle Book (1894), made by animators, Walt Disney Productions, as a 1967 movie, where the fearsome tiger’s Shere Khan, stalking the ‘man cub’, Mowgli, through a jungle of the subcontinent of India, as an Indo-Iranian symbol of the period of the Veda scriptures (c. 1500-500 B.C.), with its belief in listening, śruti, in order to see the pictures, which aren’t the occluding video that the aparuseya, superhumans, have them living in, and sharing aspects of the ancient Mazdayasna religion, founded by Iran’s Prophet Zoroaster, where the creator, winged Ahura Mazda, personifies an omniscient, but not omnipotent, good, influencing the creation through physical, spiritual, and mental emanations, corresponding to what developmental psychologist, Carl Gustav Jung (1875-1961), called archetypes.
As the extermination of evil species is a duty imposed upon Mazis, ‘ethnic cleansing’, that is, the elimination of non-devotees of the Mazi religion, equivalent to animal sacrifice, which along with drug abuse was rife when Zoroaster was born, is obligatory. However, as Dror Ben Ami explained in a 2015 issue of The Jerusalem Post, ‘… the blood sacrifice of Jesus was a more effective way to remove sins [than animals, which are still sacrificed for their efficacy in Judaism] ...'4 As Jesus was a lay preacher, during the Empire of Rome’s occupation, it was also a useful way of suppressing minority opinion. Although in Judaism the butchered meat of animal sacrifice is made available for public consumption, as with homosexual communities preoccupied with ‘outing’, that is, exposing enemies, Mazis built ‘Towers of Silence’, where exposed bodies were devoured, ostensibly by carrion birds, while Jesus’ death by crucifixion, that is, upon a cross of wood, resembling the structure of an airplane, prefigures ‘birds’ of the modern type of the 21st century, dispensing bums, laying sterilizing ‘eggs’ from B1, ‘Bone’, and B2, ‘Spirit’ bombers, as the homosexuals have an outing together, resulting in the butt-smoking extermination of the Simurgh ring of dissent to slavery by QR (queer) code amongst the perforce quiescent ‘remnant’ of women’s penis’ seed.
As US’ rock group, The Eagles, presciently prophesied in their lyric to ‘Hotel California’ (1976), from the album of the same name, ‘We are all just prisoners here of our own device.’5 It was the Greek god, Prometheus, who had his liver eaten daily by an eagle, after its immortal tissue renewed itself each night, like ‘phone batteries, ‘They stab it with their steely knives, but they just can't kill the beast.’ As Jesus’ disciple John wrote, ‘The number of a man is the number of a beast and his number is six hundred three score and six.’ (Rev: 13. 8) Without women’s seed, the human population is held at 66.6%, and what remains of human brainpower’s a ‘phone battery farmer’s, ‘We are programmed to receive. You can check out any time you like, but you can never leave.’ Just as stabbing at the ‘phone doesn’t bring release, giving fire to humanity was the reason for the father god Zeus’ punishing Prometheus, as they turned their farters into flamethrowers. Bright out of the brain, eyes burning in the furnace.
1 Blake, William ‘The Tyger’, Songs of Experience, 1794.
2 Gottwald, Lukasz, Alexander Kronlund, Max Martin, Kesha Sebert, ‘Till The World Ends’, Femme Fatale, Jive, 2011.
3 TV Tropes, https://tvtropes.org/pmwiki/pmwiki.php/Main/FootPopping/ .
4 Ami, Dror Ben ‘Metaphors in the Torah: The Roles of Blood and the Liver in Removing Sin’, The Jerusalem Post, February 10th, 2015, 18:57 pm, https://www.jpost.com/Blogs/Torah-Commentaries/Metaphors-in-the-Torah-The-Role-of-the-Blood-and-the-Liver-in-Removing-Sin-390469 .
5 Felder, Don, Glenn Frey, and Don Henley ‘Hotel California’, Hotel California, Asylum Records, 1976.