The Rise of Modern Pop Music Amidst Dark Spells

by Tony Colton, April 30, 2015

Georgi Stankov

Dear Tony,

I have just read your three emails on dark music and have to navigate myself through the facts. Although I am familiar with most musicians you mention and have heard their music as I was a fan myself of pop music in the 60s as a teenager, I do not know most of the background you report about. I will insert the whole information you have given me and will add some links for further information as I did last time.

My working title will be: “The Rise of Modern Pop Music Amidst Dark Spells“. I hope you agree with it as what you describe contains light and darkness at the same time and modern pop was very stimulating in awakening humanity after the postwar dark age, notwithstanding all the dark spells that had to come to suppress this for the cabal very dangerous massive movement of the light.

I can confirm on my part that these dark spells and attacks could be very powerful and block any success of the light in the past. Now they have lost all their power. Only recently I eliminated very easily one very dark entity in my vicinity which was a pitiful remnant of this dark past and has done a lot of harm to other people. Such dark entities did use dark spells and magic rituals deliberately to destroy other people’s lives, for pleasure or avarice, most of the time driven by both ulterior motifs.

When I discovered the Universal Law and wrote my first book on it, I had a huge success at the beginning. But then the dark archons realized what a danger I am to their empire on this earth and after that they started attacking me on a daily basis and blocked any conceivable success whatsoever, no matter what I tried.

And I tried hard at the beginning before my soul approached me directly – through a channeling – and told me to transcend this battle onto a higher level and stop promoting the new theory of the Universal Law. I retreated from the scene and dedicated to my family, while writing one book after the other on Human Gnosis and the role of the Universal Law, where I delivered much heavier blows on the dark side than just attacking them at the human level, which as we all know is very weak and not the level where creation occurs.

Only recently a psychic who did not know me personally confirmed to Carla that I was blocked very effectively in the late 90s to promote the new Theory of the Universal Law and that due to the darkness and density at that time, the HR could not help me and left me on my own, so to say, as a single fighter behind the enemy lines without any guarantee of survival. Mission Impossible.

It is still a miracle how I survived these years, given the fact that up to the very last moment, before I came to Canada to join Carla, I was an object of dark attacks and spells that almost ruined my health. I could also tell a lot of stories on this topic and they will relate to yours, but since we have got rid of all archons and other dark entities now, we are well advised to forget this nightmare once and for all and to look forward in optimism.

I know this may sound as an empty slogan to you in your current situation, but believe me, we have never been so much supported and able to gestalt our destiny as now.

With love and light


Hi George,

Back in the early sixties, if you were any kind of guitar player at all you found your way to Lew Davis’s guitar shop on the Charring Cross Rd in the heart of London’s West End.

Ray Smith was the manager there at the time and he and I had just started writing songs together, and I would go into town and use the shop as HQ as I went about pitching songs and getting Gigs for my band.

Eric Clapton, Mick Taylor, Kieth Richard, John McGlaughlin, Paul Kossof, Steve Howe, David Bowie were frequent visitors and towards the end of the day Jeff Beck would come in from the building site trailing brick dust and pull a guitar off the wall.

Dick James’ Music was just upstairs in the offices and The Beatles were in and out all the time.

Jimmy Page was a regular and the first time I met him he had an Alesteir Crowley book under his arm.

Wherever two or more guitar players were gathered it wasn’t long before Albert Lee‘s name came up, as great as they all were in their own particular styles, Albert was in a league of his own, and they knew it.

One quiet afternoon Page came in and gave Ray Smith a blank cassette tape, he knew Ray was a good friend, and a big fan of Albert and he asked him to tape Albert’s guitar solo’s at the Flamingo Allnighter that weekend. Albert at the time was playing in Chris Farlowe‘s band, “The Thunderbirds“: “I’m not interested in Farlowe, or the songs, just get me the solo’s” were Page’s instructions to Ray. He wanted to study and learn them to incorporate them into his technique. Ray recorded Albert, that weekend (without his knowledge) and gave the tape to Page.

A few years later, when Led Zeppelin were already world stars, and I was on my way up in my own band, “Heads, Hands and Feet” (Albert was the guitar player in the band), I was doing a BBC radio show on which I related the story of Ray Smith taping Albert’s solos for Page, who was apparently listening at that time to the show.

It must be said that Page swore Ray Smith to secrecy over this taping of Albert’s solos because his ego was too big to admit he was doing this, even though it was common practice for aspiring artistes in order to learn, but Albert was in many ways a great rival for Page and he was a little too close to home.

Fast forward a few years and I’m standing in the wreckage of my beautiful dream, knocking back five star brandy from the neck of the bottle, my band had hit the wall in full flight. On the brink of world stardom, it all came apart in no time at all it seems. The dream of my life was dead and I fell off the wagon and went underneath the wheels. Life stayed that way for a while and the only time I worked was in desperation when the money ran out.

Chris Farlowe called one day, he had had a number one hit with Mick Jagger‘s  “Out Of Time” a few years before. He wanted to record one of my Head Hands and Feet songs, and he wanted me to produce it for him. He also wanted me to get Page to play on it.

Page had recently bought Richard Harris‘s gothic “Tower House” in Kensington and I still had the telephone numbers for the house, having been working with Richard not long before on the title song for his movie, “Ballad Of A Man Called Horse”, which I had co-written and produced.

Richard and I had become good friends and I had spent much time at the house which was haunted by a ghost that would lock the Tower room upstairs from the inside. I’m sure this appealed greatly to Page.

I called the number and a Swedish sounding girl answered the phone, I asked if Jimmy was there and I heard Page ask who it was.

“Jimmy wants to know what you want?”, she said. It had become a three way conversation with Page prompting her from the wings.

I told her.

“Tell him I’ll play on the record when he’s made the fucking movie”, was his reply, which is a polite way of saying “Fuck Off.” “And tell him I’ve put a spell on him that will last for seven years“.

The phone went dead.

I never thought about it then, it never occurred to me until much later after I had demolished my reputation, and lost all hope, that I could trace those seven years exactly from the time of the radio broadcast to the day I walked into AA. It never occurred to me until way after that, that he had also brought about the death of my band.

He had apparently done the same thing to David Bowie at some point. It is also well documented, and well known that Jimmy Page had used Dark Witchcraft to power Led Zeppelins rise to stardom.

Page’s fascination with the Alistair Crowley material is well documented, he had bought Boleskine House, on the banks of Loch Ness in Scotland that had at one time belonged to Crowley. It had apparently once been a church where an entire congregation had burned to death in a fire and was incredibly haunted.

While Page owned it, a young boy was found dead inside a Pentagram described into the floor. No charges were ever filed.

It was exactly the place that Crowley had been looking for in which to perform “The Sacred Magic Of Abramelin The Mage” that was a spell designed to invoke the presence of Satan himself. He never brought it off.

By the time Crowley sold the house, it was a denizen of dramatic and horrifying apparitions, and one of them, a headless ghost, scared Page so much that he contacted one of Crowley’s most ardent students, Kenneth Anger, who was now the most powerful Witch in England, and possibly the world, at the time, and asked him to exorcise it.
Anger agreed, and in exchange asked Page to write the score for his new movie, “Lucifer Rising“. His previous work had been “Hollywood Babylon“.

Anger exorcised the ghost and Page wrote the score, which Anger immediately rejected, much to the indignation of Page who considered himself by now above criticism and reproach. Page never re-wrote it and Anger then turned his dark powers on Page himself.

Down the road Page lost his band and spiraled into heavy Heroin addiction. Well, I never did Jimmy boy, what goes around comes around.

Rock and Roll George!!!!

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