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"Seven Minutes to Midnight" was the second and final single released by Pete Wylie's Wah! Heat incarnation. The band had made major line-up changes and bass guitar player Pete Younger was replaced by Colm Redmond, then Carl Washington who became Wylie's right hand. The recording included keyboard player King Bluff for the first time.
Minutes to Midnight is the band's follow-up album to Meteora (2003), and features a shift in the group's musical direction. For the band, the album marked a beginning of deviation from their signature nu metal sound. Minutes to Midnight takes its title from the Doomsday Clock symbol. [1]
Seven Minutes to Midnight may refer to: Doomsday Clock, a symbolic clock face, representing a countdown to possible global catastrophe "Seven Minutes to Midnight" (Heroes), an episode of the science fiction drama series Heroes "Seven Minutes to Midnight" (song), a song by Pete Wylie's Wah! Heat
It’s not the words, per se; it’s the voice.The bars are, mostly, a grab bag of pop-culture signifiers on loan from everywhere and nowhere. But Lulu Be. — Ethiopian-born, Chicago-raised ...
Seven Minutes to Midnight", a 1980 single by Wah! Heat, refers to that year's change of the Doomsday Clock from nine to seven minutes to midnight. Australian rock band Midnight Oil's 1984 LP Red Sails in the Sunset features a song called "Minutes to Midnight", and the album's cover shows an aerial-view rendering of Sydney after a nuclear strike.
Active from 1979, Wylie and company garnered critical acclaim throughout 1980 for the singles "Better Scream" and "Seven Minutes to Midnight" (both as Wah! Heat), the latter being single of the week in the NME, Sounds and Melody Maker during spring 1980, as well as the 1981 Warner Bros. album Nah = Poo! – The Art of Bluff (as Wah!).
The song was written by band members Peter Garrett and Jim Moginie. The title and lyrics of the song allude to the Doomsday Clock , a symbolic timepiece published by the Bulletin of the Atomic Scientists , which represents the proximity of nuclear war (or more generally "catastrophic destruction"), designated as "midnight".
Still, seven of that song's fourteen chords, including the tonic, are major sevenths or ninths, demonstrating the primacy of that chord type. [6] Pieces which feature prominent major seventh chords include: Tadd Dameron's "Lady Bird", [7] and "This Guy's in Love with You", [8] by Burt Bacharach and Hal David.