their 1997 album When I Was Born for the 7th Time. The album, which fused Indian music with rock, funk, hip hop and country music, featured the UK number 1 single "Brimful of Asha" (itself a tribute to Indian singer Asha Bhosle) and a cover of the Beatles' "Norwegian Wood" sung entirely in Punjabi. In 1996, the British rock group Kula Shaker had top 10 raga rock hits with "Tattva" and "Govinda", both of which included Sanskrit lyrics. The band continued to introduce raga rock material into their repertoire, including "Song of Love/Narayana", which lead singer Crispian Mills had also sung on the Prodigy's 1997 album The Fat of the Land. The Brian Jonestown Massacre released the albums Their Satanic Majesties' Second Request in 1996 and Give It Back! in 1997, both of which contained Indian and psychedelic rock influences. Recently, a revival of sorts has been heralded by Western bands such as the Black Angels and the Brian Jonestown Massacre and Indian bands such as the Raghu Dixit Project, Agam and Swarathma, with an increasing blend of Western instruments with the traditional Indian ones – the flute and the sitar. Lyrical themes and Orientalism Some scholars approach raga rock and other uses of non-Western musical materials in Western popular music from sociological perspectives, especially as a manifestation of Orientalism. Common lyrical themes include drug use, sexual exploration, and spirituality. "Eight Miles High" was the subject of radio bans in the United States due to its interpretation as an LSD song in which "high" referred to drug-induced euphoria. "Love You To" reflected countercultural ideology and, according to music critic Kenneth Womack, advocated hedonistic and carnal pursuits, while Lennon's lyrics in "Tomorrow Never Knows" were taken from the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert and Ralph Metzner. Partly under Shankar's guidance, Harrison channelled the teachings of the Hindu Vedas into his lyrics for "Within You Without You", providing a message that also served as the ethos behind the 1967 Summer of Love. Bellman writes that "the Kinks' use of eastern musical influences to allude to personal and sexual matters is directly in keeping with historical uses of exoticism as signifier for forbidden sexuality." Bellman and other scholars suggest that, through raga rock, the Orient once again becomes a Western fantasy land, mediated to mass culture audiences of the