Aliens, Music and Me

By Kay Wilson 

I was born in the Deep South and went to school there as well as along the Gulf Coast. I spent many years of my life training to become a musician and eventually attended a university in the Midwest to study music. By the end of my third year I was on my way to mastering my fourth woodwind instrument. Unfortunately, an event occurred to me during that year that would change my life forever.

I took a short break from school and went back home to the Gulf Coast. I was sleeping in my old room one night and I saw a very bright yellow light. It was above my head where the ceiling and the wall connected. I watched it move along the wall, but for some reason it seemed to stay near the area where the ceiling and the wall came together. I didn’t remember anything else, other than being terrified.  

The following day I could not stand the thought of being in my room and I left my house because I didn’t want to be near it. Before I did, however, I looked at my musical instruments and I had an "inner knowing" that I was not supposed to be a musician. My musical ability remained enough for me to complete my degree, but my talent - my gift as a musician - had been taken away from me. It was quite devastating to me and when I wrote about this loss in The Alien Jigsaw in 1993 some 11 years later, it was still difficult to do so without holding back tears.

 I have since had a few of encounters during which a Blonde (or Nordic) male Being will occasionally try to calm my feelings regarding this loss that occurred to me. We will sometimes listen to music and he will say, "They are just notes," or "It’s only music," or "It’s only an instrument," as if it is not important enough for me to fret over any longer. I suppose that when you compare a music career to the mission I am now on, he does have a point. I have been told by the Beings that my mission or my purpose for being here is "…to wake a sleeping world to the aliens’ presence," and that is what I have been trying to do for nearly two decades. (1) 

Alien Musicians 

When I wrote my second book, The Alien Jigsaw Researcher’s Supplement, I had only experienced (or remembered) one encounter during which music was involved. During the encounter, I was with the father of two female Hybrid children, what abduction researchers, including myself, believe are a cross between the Greys and humans. 

The father showed me the meal I was to feed them. It was in a clear, rectangular container with a lid on it and it consisted of a brownish colored liquid that had two blue pills in it that were in the process of dissolving. The father said to me, 

"You must feed them immediately after opening it, and all at once. It cannot be reused or allowed to sit out."

I began to hear music and I turned around to see the two Hybrid girls playing what looked like a piano keyboard, but without the structural part of the piano attached. The girls were playing what sounded to me to be a very complicated composition, but nothing like what I was accustomed to hearing. The closest compositional style I could compare it with would be Igor Stravinsky’s Rite of Spring. 

As the girls played the keyboard I looked closely at their fingers and saw that the young Hybrids had incredibly long and bony fingers. The older girl was playing mostly the black keys of the keyboard and her part was rhythmically complicated. The younger girl was playing mostly the white keys and she was playing the melody. As I listened to the complicated music they were playing, I noticed that their faces appeared to be void of emotion, yet there they were, playing this incredible music for me. (2) 

In my new book, I Forgot What I Wasn’t Supposed To Remember: An Expanded View Of The Alien Abduction Phenomenon, one of the subjects that is sprinkled throughout my story is the aliens’ use of music for various purposes. The theme of 'aliens and music,' while being a small part of my life-story as it relates to this phenomenon, I believe is quite interesting.

Three Coins In The Fountain 

One night, while my husband was away on business, three Hybrid Beings appeared in my home. I was in my office and I conversed with two males who appeared very different from one another. One had small, liquid-like black eyes with thick eyelashes and two bones protruding outward from his neck, which he concealed with a scarf. The other male looked fairly human and had mottled skin. Both males were taller than I and stood about 5-foot seven inches to 6 feet tall. The third Being was a female and was slightly shorter than I, but I could not remember what she looked like. She seemed fairly human-like when she spoke to me so I surmise that she, too, may have been a Hybrid.  

At the end of this encounter, the female spoke to the two males and myself. She said, 

"Look, we are here to help her and it’s time to do that. Kay is one of the most isolated, lonely and despondent ones here. We have to help her…"

She then looked directly at me and said, 

"You are going to die if you do not change your lifestyle." 

The last thing I remember of the encounter was hearing the song Three Coins In The Fountain playing over and over in my mind. (3) 

I was not very familiar with the song until that time, but ever since that encounter, I hear it all the time on the soft music channel I play on my television for my pets to listen to during the day. And, I did, in fact change my lifestyle after this experience. My husband and I relocated to another part of the county. I am eating better and exercising regularly. I’m writing again and I’m a much happier person. So, I guess you could say that these three Hybrid Beings interacted with me in order to help me and they used music to reinforce their message to me.

O-O-H Child 

During a difficult time prior to our move I sought out the tall Greys, who I categorized as "Type Four" Greys in The Alien Jigsaw. These are the specific Greys who I believe are heading the Hybrid Breeding Program, which Budd Hopkins and David Jacobs first brought to the public’s attention many years ago. 

Late one night I found myself inside an enormous gray spiral-shaped object and I was walking around. I felt that I was near my home and that this object was in a large open field that was adjacent to our property. I was walking inside of this thing and I was consciously aware that I was there and that I had been there before. I desperately wanted to find the tall Greys. I finally reached an area where I saw two females standing and waiting for me. One was about five yards from me and the other was about ten yards away. After asking permission to touch one of them, I was given permission to approach the Grey who was closest to me. 

I broke down in tears and the female Grey held me in her arms as if I was her child. I had an intense discussion with her about how distraught I was feeling over the way people treat animals as well as one another. I cried and she continued to hold me, telepathically tuning in to my thoughts. At the end of the experience the Grey placed a song in my mind to give me a comforting message. Some of the lyrics to the song are:

"Oh, oh child, things are gonna get easier…

 "Oh, oh child, things will be brighter…

 "One day child, we’ll walk in the light of a beautiful sun…" (4)

The song gave me great comfort. I sang it to myself many times during difficult days I had prior to our relocation. It was a message of hope from the tall female Grey and it really did help me to cope. And, the thought of us "…walking in the light of a beautiful sun" together brings me great hope that one day we will peacefully coexist.

Alien Music 

Another experience during which music was central involved two brown-skinned female Beings with incredible eyes. One of these Beings used telepathy and an unusual eye/mind scanning process to take images from my past to use in order to relay an important message to me. They used alien music again, but it was so unusual I could not begin to write it out and by the second day after the encounter, I was unable to retain any of the melody.  

Along with the unusual melody was a message. They told me, 

"...Like honey to the bees they will come. You are the honey... They are the bees... You are like honey to the bees.... They are coming."

Just five days later I had an incredible experience involving humans, Hybrids, at least one Blonde Being and an old family friend who I believe is also an abductee. During this encounter a female scientist - another human - said to me, 

"Many people carry the genetic marker we are looking for, but your body can create the actual gene. Your body produces the equivalent of gold for us." (5)

Friends With The Moon 

Another experience with music involved missing time while I was in my home. I didn’t have much memory of what happened to me, but I was cooking a meal and I was waiting for my husband to come to sit down to dinner because I heard him enter the house some time earlier. After a search of the house and the garage, it turned out that whoever I thought was in the house with me was not my husband. He had not returned home from work yet.  

The only memory I have was of feeling as though I moved through the wall in our kitchen to our walk-in closet in our bedroom. I also remembered that when I was in the closet I felt an alien presence and I heard a melody inside my head playing over and over again. I was to find out later, by paying closer attention to the music station on my television set, that the song was an instrumental piece titled Friends With The Moon. (6)

Moonglow 

One final song that I hear and strongly associate with the aliens is Moonglow. I have not remembered this song in association with a particular alien experience, but it always reminds me of them. It’s almost as if I can feel them 'tuning' in to me, or looking in on me as if they are saying, "Hello - we’re just checking in on you," whenever I hear it. 

I never knew the lyrics until I began to constantly hear the song, so I looked up the lyrics in a songbook I inherited from my grandmother. This song will forever remind me of the Beings. The first verse is: 

It must have been Moonglow,
Way up in the blue,
It must have been Moonglow
That led me straight to you;

The refrain is: 

We seemed to float right thru the air,
Heavenly songs seemed to come from everywhere. (7)

Other Musicians 

I have often wondered over the years if certain musical artists have experienced interaction with alien Beings because of the lyrics they have written for their music. The second part of this article focuses on other musicians who "may" be abductees or are very close to someone who is. 

The first person to approach this subject was Sean Casteel, whom I like to refer to as "America’s First UFO Journalist." Sean has a degree in journalism and has been writing about UFOs, abductions and related phenomena for over 20 years. He has published an article on his Web site titled Bob Dylan And A Possible UFO Connection. Quoting Sean, 

"There have been innumerable attempts to see past the artistic guise of Bob Dylan’s lyrics and poetry to what underlies his genius - what the actual creative process is that results in Dylan’s lyrical outpouring and what the bedrock of inspiration is that he seems to have drawn on so effortlessly for more than 30 years. I am here to suggest an explanation that has, to my knowledge, never been previously offered - UFO contact. I base this on a fairly rigorous study of UFO interaction with humans and a listener’s fascination with Bob Dylan that I began as a 12-year-old in 1970." (8)

            Most abduction researchers and abductees will agree that it is the eyes that are the most remembered physical characteristic of alien Beings, especially the Greys and the Blondes or Nordics. They are often described as "large and liquid black" and "beautiful, piercing blue," respectively. I personally believe that both eye types, while being very different from one another, are quite beautiful. 

One song that drew my attention early on is by Kate Bush and is titled The Man With The Child In His Eyes. (9) When I first heard this song in the late 1980s, my first impression was that she was either singing about a Blonde/Nordic or a Hybrid Being.  

The music has a haunting feel to it and the lyrics to the song begin with, "He’s here! He’s here!" and follow with,  

"I hear him, before I go to sleep…I realize he’s there when I turn the light off and turn over." 

"Nobody knows about my man…and suddenly I find myself listening to a man I’ve never known before."

And, 

"He’s very understanding, and he’s so aware of all my situations. And when I stay up late, he’s always waiting, but I feel him hesitate." 

These lyrics describe a man she knows and is familiar with, but at the same time she doesn’t understand how she knows him, and yet, he is always waiting for her late at night. The next verse is:

 "Ooh, he’s here again…the man with the child in his eyes…"

Here, it is as if he was there, then he disappeared and then reappeared in her room. This is suggestive of a partial mental block being used, as is often the case with abductees in order to calm or not to impose their (the aliens’) presence on the abductee too suddenly or intensely. This song is beautiful and complicated at the same time, and I believe it could have been influenced by Kate Bush’s possible interaction with alien Beings. 

            Another well-known artist who has written lyrics that are highly suggestive of some sort of interaction with these Beings is Stevie Nicks. In 1987, one year after Kate Bush’s album was released, Tango In The Night by Fleetwood Mac became a huge success. (10) There are two songs on this album suggestive of alien interaction and both the music and the lyrics were written by Stevie Nicks. 

The first song, Welcome To The Room…Sara is quite interesting. Most people would just assume she is singing about Scarlett’s southern estate in the State of Georgia named Tara from the novel Gone With The Wind, but these lyrics are anything but.  

She has arrived to a place that she is familiar with, but at the same time it is a place she is unsure of. She then wonders if she has been there before.  

"It’s not home, and it’s not Tara. In fact, do I know you? Have I been here before? This is a dream, right? Déjà vu. Did I come here on my own?" 

"Oh - I see… Welcome to the room, Sara"

This is very reminiscent of the way abductees feel when they are onboard the aliens’ craft. They have a sense that they have been there before, but at the same time they are asking themselves, "This is a dream, right?" because it just can’t be real. Then there is familiarity and the realization that it is real, "Oh – I see," followed by the aliens’ welcoming her to the room (or craft). 

"Oooh Missionary. Well, I will be different when I get back. And you can take all of the credit." 

A missionary can be interpreted as a "teacher" or a "messenger" and that is exactly what the aliens have told many abductees we are. We tell others about our experiences, we write books and articles, and we use the Internet to spread the word about the alien presence on our planet. Some of us have even been told that we are emissaries between the human race and the aliens. And, as the lyrics say, we are very different "when [we] get back." Experiences with extraterrestrial Beings changes the life of the abductee forever.  

Again, from Welcome to the room…Sara: 

"You say everything is fine, baby, but sometimes at night, where the first cut is the deepest one of all…and the second one, well, it’s a worthless thing…"

I believe this represents the aliens’ taking blood, DNA and other genetic sampling from abductees. The procedures leave behind scoop mark scars, straight-line scars and other anomalous scars. It is curious, but for me, this was something the aliens did occasionally during the 1980s and during my childhood, but it has not occurred to me in many years. Speaking from experience, it’s true, "…the first cut is the deepest one of all…and the second one, well, it’s a worthless thing…" 

The first scoop mark scar I noticed was on my arm and it bothered me so greatly that I was embarrassed for any of my classmates to see it. For years I would cover it up with clothing or I would cross my arms if someone were near me so they wouldn’t see it. After my awakening to the fact that I had been interacting with these Beings, it didn’t bother me any longer. And the scars I received after that were curiosities, but they didn’t bother me any longer. 

            In the last verse the lyrics state that she goes upstairs, "where the stars laugh and shine" and also writes, "Ooh, oh, well, I thought that you were mine."  

When I hear this part of the song, it makes me think about the baby presentations and the abductees often experiencing a longing-for sensation for their children, that of course we are not allowed to bring back with us. We are told they are our children, but if they are ours, why can’t we have them? Or, "I thought that you were mine."  

The second song Stevie Nicks wrote that raised my curiosity is titled, When I See You Again. This song strongly indicates to me that she has seen the Greys. Some of the lyrics are:

 "When I see you again, will it be the same? When I see you again, will it be over? When I see you again, will your great eyes still say…"

 "What’s the matter baby? What’s the matter baby? What’s the matter baby?"

I can almost see her looking into the eyes of a Grey and wondering the same thing I have wondered. She doesn’t ask "will" I see you again, but "when" I see you again. She knows that it is not a matter of "if" but "when." I have wondered at times, "When will this be over?" Their "great eyes" peer back at me with a look of care and concern for me, as if they are asking me, "What is wrong?" or "What’s the matter baby?"  

It has taken me many years to reach this place or 'space' I am in today. For several years I have felt mainly neutral feelings for most of these Beings, but after a lifetime of experiences with certain Greys, a bond has formed between us. There are certain Greys that I see again and again and they seem to care for me the way a parent cares for and loves their child. 

MILABS 

            My life-story as it relates to this phenomenon does not only involve alien Beings and Hybrids; it also involves experiences that are called MILABS, which is an acronym for military abductions. Dr. Helmut Lammer coined the term in his articles of the same name and in his book titled MILABS: Military Mind Control and Alien Abductions. (11) 

MILABS involve some abductees seeing other humans who are described as military looking due to their uniforms, haircuts and demeanor. That, coupled with the fact that they are seen in terrestrial looking places including military bases, as well as the fact that they inject us with drugs, leads some of us to suspect we are also being abducted by specific military and/or intelligence personnel. It would make sense that they would want to know what abductees know and they would use their own (terrestrial) methods to get that information. 

This is a controversial hypothesis that is a subset of the alien abduction phenomenon and has met some resistance in the UFO community, but not nearly as much as from military personnel who are not in the loop. Most absolutely refute the idea that members of our military are perpetrating MILABS and I do, in fact, believe that they are probably not members of the military that we are generally aware of. I believe these are military personnel working with a secret branch of the Pentagon or a secretive agency, who have a specific psychological makeup, skill-set and ultra secret clearance. 

When I heard the lyrics to two of Kate Bush’s songs, they reminded me of the MIB phenomenon or "men in black," and the possibility of MILABS. I again wondered what her involvement in this phenomenon might be. One of her songs is titled Cloudbursting and it begins with her having a dream of "Organon" (or as I hear it, an "old gnome") and waking up crying. She then uses her toy yo-yo as a euphemism or metaphor. (12) 

"You’re like my yo-yo that glowed in the dark. What made it special, made it dangerous. So, I bury it, and forget." 

The yo-yo glowed and that is why it was special, but this glowing also made it dangerous, so dangerous that she had to bury it. Is she referencing a toy or does the yo-yo refer to a UFO, or a memory - something she has seen that she has to "bury" or forget about? 

In the fourth and fifth verse she writes about her father: 

"On top of the world, looking over the edge. You could see them coming. You looked too small, in their big black car. To be a threat to the men in power."

"I hid my yo-yo, in the garden. I can’t hide you, from the government. Oh, God Daddy – I won’t forget."

The "men in black" are represented in this verse and it makes me wonder if her father worked for the government on black or secret projects and that perhaps a conflict ensued that she could not save him from. 

            Another song Kate Bush wrote that grabbed my attention is titled Experiment IV. It is a song about using sound to kill from a distance. It reminded me of certain mind control technology, HAARP or High-frequency Active Auroral Research Program and other similar projects. (13) Some of the lyrics from Experiment IV are: 

"We were working secretly, for the military. Our experiment in sound is nearly ready to begin…we only know in theory what we are doing: Music made for pleasure, music made to thrill. It was music we were making here until…"

"What they told us, all they wanted, was a sound that could kill someone, from a distance. So we go ahead, and the meters are over in the red. It’s a mistake, in the making."

Another verse says,  

"From the painful cry of mothers, to the terrifying screams, We recorded it and put it into our machine."

The lyrics are indeed chilling and today it is common knowledge that we know how to kill using sound waves and microwaves. (14) Still, for an artist to sing about this in 1986 or earlier seems unusual. I really do wonder what her or her father’s involvement might be involving this aspect of the phenomenon. 

I end my discussion with Neil Young’s After The Gold Rush. (15) This song was popular in the 1970s and has been sung and re-recorded by various other artists including Emmylou Harris, Linda Ronstadt and Dolly Parton on their Trio II CD. Most people probably think of this song as an environmental song and I do see aspects of that in the lyrics, mainly when he wrote,

"Look at Mother Nature on the run in the Twentieth Century." [Originally written as "…in the Nineteen Seventies."]

Neil Young’s verses hinting at dreaming of the past, present and future are similar to what abductees experience when they have visionary dreams of what many believe will be a dramatic transitional event for our planet in the future, probably during our lifetimes. This is a subject I write about in my new book (I Forgot...) therefore, it is foremost on my mind. 

The most obvious verse in the song caused me to experience a 'eureka' moment when I heard it for the first time in the mid-1990s. I had heard the song when I was a young teenager, but I never consciously heard or recalled the verse below. After I wrote my second book, I heard this song on the radio again and for the first time I actually heard the lyrics. I was driving in my car and I had to pull my car into a turn lane because I was so shocked that I began to cry. The lyrics are:

"I dreamed I saw the silver spaceships flying in the yellow haze of the sun. There were children crying and colors flying all around the chosen ones."

"All in a dream, all in a dream. The loading had begun. Flying Mother Nature’s silver seed to a new home in the sun."  

In my opinion, this is a direct reference to a mass landing of alien craft; the colors of the lights on their craft and the possible fear or chaos that will ensue with the "children crying." Abductees may be the "chosen ones" and "Mother Nature’s silver seed" may represent the Hybrids. 

Decades of abduction research have shown us that it is the Hybrid Breeding Program that the Greys have been working on for so long now. I agree with abduction researcher David Jacobs when he says that, "…this process has a beginning, a middle and an end," and like Dr. Jacobs, I believe we are reaching the end of the Hybrid Breeding Program. (16) 

My experiences with these Beings over the past 12 years have led me to believe that a major worldwide transition is going to occur to our planet. Will the Greys and the Hybrid Race they have been creating from abductees choose to stay here on Earth or will they instead leave, never explaining to us why they did this to us and where our Hybrid children are going to be taken? Will they save us from a contaminated planet or a planet doomed for destruction, perhaps by an asteroid? And will they - like Neil Young saw in his dream - take the "chosen ones" with them? 

The musicians I have referenced in this article may or may not be abductees and it is possible that I am simply hearing their music and lyrics through my own 'abductee filter' if you will. However, one has to wonder if Neil Young has had the same 'dreams,' visions and experiences that many abductees have. Alien abductions and silver spaceships were not a central theme in the 1970s and it was not until the late 1980s when this subject really got into the public domain. Was Neil Young - over 30 years ago - trying to tell us about extraterrestrial Beings and this upcoming transition? I think it is quite possible.

NOTES 

(1) The Alien Jigsaw Researcher’s Supplement and also a recurring theme in I Forgot What I Wasn’t Supposed To Remember: An Expanded View Of The Alien Abduction Phenomenon. Available through and published (respectively) at www.alienjigsaw.com 

(2) The Alien Jigsaw Researcher’s Supplement, pp. 108-109.  

(3) The Greatest Legal Fake Book Of All Time, Warner Bros. Publications, Inc. 1985. Three Coins In The Fountain, © 1954 by Robbins Music Corporation © Renewed and Assigned to Cahn Music Company and Producers Music Publishing Company, Inc. Words by Sammy Cahn. Music by Jule Styne. 

(4) O-O-H Child was a hit single of 1970 and sung by The Five Stairsteps. They are referred to as The First Family of Soul and were an American Chicago soul group made up five of Betty and Clarence Burke Sr.’s six children. I was not given the lyrics in the correct order, but these are some of the lyrics to the song. 

(5) I Forgot What I Wasn’t Supposed To Remember: An Expanded View Of The Alien Abduction Phenomenon. www.alienjigsaw.com I classified this experience as a MILAB experience. 

(6) Friends With The Moon by Jim Chapell. CD: Nightsongs and Lullabies. Label: Real Music.  

(7) The Greatest Legal Fake Book Of All Time, Warner Bros. Publications, Inc. 1985. Moonglow © 1934 by Mills Music, Inc.

(8) UFO Journalist, Sean Casteel’s Web site: http://seancasteel.phantombookshop.com/

and http://www.seancasteel.com/ 

(9) Kate Bush, The Man With The Child In His Eyes, from the album/CD The Whole Story, EMI-USA, Capitol Records, Inc., Hollywood, CA., 1986.

(10) Stevie Nicks, Welcome To The Room…Sara and When I See You Again from the album/CD Tango In The Night, (Produced by Lindsey Buckingham and Richard Dashut), Warner Brothers Records, Inc. for the U.S., 1987. 

(11) Lammer, Helmut and Marion. MILABS: Military Mind Control and Alien Abduction. IllumiNet Press: Lilburn, Georgia, 1999. See also, Project Open Mind, which can be read for free on this Web site.

(12) Kate Bush, Cloudbursting, from the album/CD The Whole Story, EMI-USA, Capitol Records, Inc., Hollywood, CA., 1986.

"Organon" is set of logical requirements for scientific demonstration or a set of principles for use in scientific or philosophical investigation. I actually hear these lyrics as "I dream of old gnome," with the word being pronounced, old "ga-nome." If my interpretation is correct, she is dreaming of dwarf-like creatures, which could represent the aliens. This might make more sense than dreaming of a set of scientific principles, unless the scientific principles, "Organon," represent her father as a scientist.

Update: In the Fall of 2009, noted ufologist Dr. Bruce Maccabee wrote to me regarding this article.

"I saw your reference to 'Organon' in your writing about Kate Bush's song 'Cloudbursting'. (I read the music section because I have composed piano music 'inspired' by the reality of UFO/ETs.) I suspect that Ms. Bush was aware of, if not a follower of, Wilhelm Reich who invented 'cloudbusting' and who named his house Organon (near Rangeley, Maine)."

After refreshing my memory about Wilhelm Reich and learning a great deal more about him, I believe Dr. Maccabee is indeed correct. For more information about this remarkable scientist see: http://en.wikipedia.org/wiki/Wilhelm_Reich 

(13) Angels Don’t Play This HAARP: Advances in Tesla Technology, by Dr. Nick Begich and Jeane Manning http://www.haarp.net/ 

(14) Wilson, Kay. Project Open Mind: Are some Alien Abductions Government Mind Control Experiments? Puzzle Publishing, 1996.  

Ibid. Begich and Manning.  

(15) Neil Young, After The Gold Rush from the album After The Gold Rush, Reprise, Produced by Neil Young and David Briggs, 1971.  

(16) David Jacobs, Ph.D., "A Picture We May Not Wish To Gaze Upon," Journal of Abduction Research, online journal located at www.wri27.com/ufodocs/JAR_issue_1.pdf

By Kay Wilson, © 2007