What God Wants, Part II

"What God Wants, Part II" is Roger Waters' audacious middle finger to religious hypocrisy. This sonic sledgehammer, part of his "Amused to Death" album, pummels listeners with its eerie atmospherics and spoken-word critique. Waters doesn't just poke the bear; he slaps it silly, exposing the ugly underbelly of faith-based manipulation. The song's repetitive mantra "What God wants, God gets" drips with sardonic venom, challenging us to question the motives behind divine decrees. It's a musical Molotov cocktail that'll have you rethinking your Sunday plans. Stick around, and you might just see the light – or lack thereof.

Religious Power Critique Analysis

Analysis of "What God Wants, Part II" by Roger Waters:

Key themes:

• Corruption of religious dominance
• Insincerity in organized creed
• Manipulation of faith for personal gain

Recurring imagery:

• Deity as a demanding, self-serving entity
• Religious figures as complicit in exploitation
• Devoted followers as victims of manipulation

Metaphors and symbolism:

• Deity's "wants" representing human desires projected onto divinity
• Religious establishments as conduits for control and wealth accumulation
• Faith as a tool for suppressing critical reasoning

Interpretations:

• Critique of how creed is used to justify oppression and violence
• Commentary on the contradiction between religious teachings and actions
• Exploration of how power structures use faith to maintain dominance

Ambiguities:

• The true nature of "Deity's wants" – divine will or human projection?
• The extent of complicity among religious leaders – misguided or deliberately exploitative?
• The role of individual responsibility in perpetuating religious corruption

Open-ended questions:

• What alternatives does the song suggest to organized creed?
• How does the critique apply to different faiths and belief systems?
• What is the relationship between personal faith and institutional religion in this context?

Atmospheric Sound Design Techniques

"What God Wants, Part II" by Roger Waters employs several atmospheric sound design techniques to enhance its thematic content and emotional impact:

Tempo and Rhythm:

• Slow, deliberate pace reflecting the weighty subject matter
• Steady, almost hypnotic drumbeat creating a sense of inevitability
• Occasional rhythmic disruptions mirroring the song's critique of established religious structures

Instrumentation:

• Heavy use of synthesizers for an otherworldly, unsettling atmosphere
• Electric guitar with distortion and effects, adding a harsh, gritty edge
• Layered percussion, including unconventional sounds, to create tension
• Subtle use of sound effects and samples to reinforce lyrical themes

Vocals:

• Waters' distinctive, spoken-word delivery emphasizing the narrative quality
• Multi-tracked vocals for chorus sections, suggesting multiple voices or perspectives
• Use of whispers and hushed tones to convey secrecy or hidden agendas

Musical Interaction with Lyrics:

• Dark, brooding musical backdrop reinforcing the critical nature of the lyrics
• Dynamic shifts in instrumentation aligning with lyrical intensity
• use of space and silence to highlight specific phrases or ideas
• Gradual build-up of musical elements paralleling the escalation of religious corruption described in the lyrics

Overall Mood and Message:

• Somber, foreboding atmosphere supporting the song's critique of religious power
• Musical complexity reflecting the multi-faceted nature of the issues addressed
• Unsettling tonal qualities encouraging listeners to question and reflect
• Cohesive sonic landscape tying together the song's themes of hypocrisy, corruption, and misuse of faith

Amused to Death Album Context

"What God Wants, Part II" is an integral part of Roger Waters' concept album "Amused to Death," released in 1992. The album, as a whole, is a critique of modern society's relationship with mass media and entertainment. It draws inspiration from Neil Postman's book "Amusing Ourselves to Death," which explores the detrimental effects of television on public discourse and culture.

Within the album's narrative, "What God Wants, Part II" continues the themes introduced in "Part I," delving deeper into the misuse of religion for power and control. The song fits into the broader concept of the album by examining how religious institutions and figures can manipulate beliefs for their own gain, much like how media can shape public opinion.

The album marks Waters' third solo studio release following his departure from Pink Floyd. It continues his tradition of creating conceptual works that address social and political issues, a style he developed during his time with Pink Floyd, particularly in albums like "The Wall" and "The Final Cut."

Waters has stated in interviews that the album, including "What God Wants, Part II," was influenced by the First Gulf War and its media coverage. The song's critique of religious manipulation ties into the album's overall theme of how information and beliefs are packaged and presented to the public.

The production of the album, including this track, involved extensive use of Q-Sound technology, a 3D audio processing system that creates an immersive listening experience. This technical aspect adds depth to the song's already complex lyrical content.

While specific details about the creation of "What God Wants, Part II" are limited, it's known that Waters collaborated with several musicians and producers, including Patrick Leonard, who had previously worked with Madonna and other prominent artists. This collaboration likely influenced the song's sound and arrangement.

The song's placement as the second part of a three-part series within the album underscores its importance in developing the album's central themes and narrative arc. It serves as a bridge between the introduction of the concept in Part I and its conclusion in Part III.

Waters' Metaphorical Religious Critique

The song "What God Wants, Part II" by Roger Waters has been interpreted in various ways, primarily focusing on its critique of organized religion and its misuse for personal and political gain. Some interpretations view the song as an indictment of religious hypocrisy, highlighting the disconnect between proclaimed beliefs and actual practices. Others see it as a commentary on how religious institutions manipulate faith for power and control.

The song is also interpreted as a call to question established religious dogmas and challenge the notion of an infallible, all-knowing deity.

My interpretation, based on the lyrics, context, and Waters' known views, is that the song serves as a multi-layered critique of how religion intersects with power structures in society. Waters appears to be using religious imagery and language metaphorically to comment on broader societal issues. The repetition of "What God wants, God gets" could be seen as a sardonic take on how those in power justify their actions through claims of divine will or moral superiority.

The song seems to challenge listeners to critically examine not just religious institutions, but any system that claims absolute authority or unquestionable truth.

The richness and ambiguity of "What God Wants, Part II" lie in its ability to provoke thought and discussion on complex themes. By using religious motifs to address wider societal issues, Waters creates a work that can be interpreted on multiple levels. The song's power comes from its capacity to resonate differently with various listeners, depending on their personal experiences, beliefs, and cultural contexts. This ambiguity allows the song to remain relevant and thought-provoking, inviting ongoing analysis and debate about its meaning and significance.

Conclusion

In a masterful stroke of musical iconoclasm, "What God Wants, Part II" skewers religious hypocrisy with the precision of a theological surgeon. Waters' acerbic wit and biting commentary slice through the pious veneer, exposing the raw nerves of institutional dogma. This sonic sermon, dripping with sardonic wisdom, continues to challenge the faithful and skeptics alike. A chronicle, record, or embodiment of Waters' enduring relevance, the track remains a potent antidote to unquestioning belief in an age of spiritual befuddlement.