Little darling, it’s been a long cold lonely winter.

“Here Comes The Sun” was released on The Beatles’ final studio, Abbey Road, in the summer of 1969. (Yeah, I know it was actually released before Let It Be, but it was the last one they recorded, so to me at least, it should be considered their last album.)

What is there really left to say about The Beatles’ music? I believe they will maintain their reputation as the greatest musical act of all time until there is no one left to remember them….it’s just light years beyond anyone else has come close to accomplishing.

This is my second video for a track from Abbey Road (also did “Octopus’s Garden”) and it was begun at the same time I started that video. It’s been sitting around forever (mainly because I was also working on a video for Elton’s “Don’t Let The Sun Go Down On Me”…and I couldn’t ever decide which one feature the clip of the birds/sun clip that I really love….whatever, I’ll use it in both!), and I wanted to try and push it out. As always with many of the old unfinished projects, it’s always tempting to just start over (especially when some of the elements are were not the greatest quality)…in this case I still liked some of the original photos I’d selected and some of the stuff I’d already put in (one sequence will be familiar to those who’ve seen my video for George’s “Tired Of Midnight Blue”)….so I just worked up a few new effects to spruce it a bit and resisted the urge to get too wild (saving some ideas for other Abbey Road tracks!).

As usual HUGE THANKS to everyone who’s art made this new art possible….THANK YOU!!!! Special thanks to SeaOtterSoup Channel (https://www.youtube.com/user/seaottersoup)….for his amazing shot of the birds over the sun!)

[Lyrics]
Here comes the sun, here comes the sun
And I say it’s all right

Little darling, it’s been a long cold lonely winter
Little darling, it feels like years since it’s been here

Here comes the sun, here comes the sun
And I say it’s all right

Little darling, the smiles returning to the faces
Little darling, it seems like years since it’s been here

Here comes the sun, here comes the sun
And I say it’s all right

Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes

Little darling, I feel that ice is slowly melting
Little darling, it seems like years since it’s been clear

Here comes the sun, here comes the sun
And I say it’s all right
Here comes the sun, here comes the sun
It’s all right, it’s all right

 

Some alt screen caps:

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And You And I….Classic Yes track from 1972.

From Yes’s progressive rock classic album, Close To The Edge (from the fall of 1972) comes, “And You And I”. This track was the first and longer of the two songs that made up side two. It remains a thing of beauty after all these years…happy to finally get a vid for it. This was a very tough video to finish, mainly because I was working on both this track and the title track at the same time, and kept getting effects crossed up and had a hard time deciding which things to use in which video. The result was a bit of a compromise as I was seriously struggling to keep each video a separate and unique project, with just enough shared effects to tie them together. “Close To The Edge” is well on it’s merry way….but I’m gonna have to spend some time away from it for awhile (or I’ll just rush through chunks without worrying too much about repeating or timing, as I ended up doing with this one….it’s not too bad though, I’m just glad to be finished as it was starting to feel like work! ;-)

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As usual HUGE THANKS to everyone who’s art made this new art possible; especially the clips from “Winged Migration”…this is one extremely beautiful film and the few seconds I used don’t begin to do it justice. Check it out: http://www.sonyclassics.com/wingedmigration/index_flash.html

[Lyrics]
A man conceived a moment’s answer to the dream
Staying the flowers daily sensing all the themes
As a foundation lent to create the spiral aim
A movement regained and regarded both the same
All complete in the sight of seeds of life with you

Changed only for a sight of sound the space agreed
Between the picture of time behind the face of need
Coming quickly to terms of all expression laid
Emotions revealed as the ocean made
All complete in the sight of seeds of life with you

Coins and crosses
Never know their fruitless worth
Cords are broken
Locked inside the mother Earth
They won’t hide they won’t tell you
Watching the world watching all of the world
Watching clouds go by

And you and I climb over the sea to the valley
And you and I reached out for reasons to call

[II Eclipse]

Coming quickly to terms of all expression laid
Emotions revealed as the ocean made
As a movement regained and regarded both the same
All complete in the sight of seeds of life with you

[III The Preacher, The Teacher]

Sad preacher nailed upon the coloured door of time
In the same teacher be there reminded of the rhyme
There’ll be no mutant enemy we shall certify
Political ends as sad remains will die
Reach out as forward tastes begin to enter you

I listened hard but could not see
Life’s tempo change out and inside me
The preacher trained in all to lose his name
The teacher travels asking to be shown the same
In the end we’ll agree we’ll accept we’ll immortalize
That the truth of man maturing in his eyes
All complete in the sight of seeds of life with you

Coming quickly to terms of all expression laid
As a moment regained and regarded both the same
Emotion revealed as the ocean made
A clearer future morning evening nights with you

[IV Apocalypse]

And you and I climb, crossing the shapes of the morning
And you and I reach over the sun for the river
And you and I climb, clearer towards the movement
And you and I called over valleys of endless seas

“Samba Pa Ti”

“Samba Pa Ti” was released in the fall of 1970 on Santana’s second album, Abraxas. Growing up in a very small town in Southwest Texas, this track has always seemed very evocative of the rhythms and culture of that part of the world. It always reminds me of many of the old families that I worked and lived among at that time. Just always thought this was a very beautiful and unusual track and wanted to put a little something behind it. Hope you enjoy the effort.

As always HUGE THANKS to everyone who’s art contributed to this new art….THANK YOU!!!

T. Rex’s “Monolith” from 1971.

“Monolith” was released in the fall on 1971 on T. Rex’s sixth studio album, Electric Warrior. This is a rock n roll masterpiece, one of the greatest rock/glam rock albums of ever. Marc Bolan was a unique artist and, though he may have started getting a little repetitive later in his career (before his untimely death in a car accident in 1977), he produced some great music until the end. And, I’m not sure his influence can be overstated…many artists owe a great debt to him, and this record in particular.

I mentioned in a recent video (Wishbone Ash’s “Sometime World”) how I came to come by this record….and from that first spin until today this album has lost none of it’s magic, beauty and power. It was tough to decide which track to do first (and I had some things leftover from the effort, so I’ll most likely follow up soon with another album track using some of those effects)….I’m happy to finally get around to doing something for a track from it….”Monolith”…maybe, just maybe, my favorite track on the album! (Maybe it’s that heavy stomp, like an old locomotive building up steam? Maybe it’s the spooky, surging, sighing, wailing, moaning of the layered background vocals? Definitely both!….Listen to it loud, preferably through some good headphones. :-) Hope you enjoy the thing….and thanks for watching!

As usual, Special Thanks to everyone who’s art made this new art possible….THANK YOU!!!!

[Lyrics]
The throne of time
Is a kingly thing
From whence you know
We all do begin
And dressed as you are girl
In your fashions of fate
Baby it’s too late

Shallow all the actions
Of the children of men
Fogged was their vision
Since the ages began
And lost like a lion
In the canyons of smoke
Girl it’s no joke.

I dreamed she once loved me….In the land called Trinidad

“Trinidad” was the opening track on Eddie Money’s third studio album, Playing For Keeps, which was released in the summer of 1980. Great to get a video finished for an Eddie Money track. Bought every one of his records back in the day, and while Playing For Keeps wasn’t one of my favorite albums, “Trinidad” did rank with my favorite Eddie Money tracks. It’s a great track….hope you enjoy it as much as I do?!

As usual HUGE THANKS to everyone who’s art contributed to this new art…THANK YOU!!!!

[Lyrics]
There once was a story
From a thousand yesterdays
I read it in this ancient book
When the old man passed away
I drifted through the pages
And it’s magic filled my eyes
I dreamed she once loved me
In the land called Trinidad

I ride the wind
Sail the water
She calls my name
To come on back to her in
Trinidad
Trinidad

The silence on the ocean
Like the silence in my heart
She still sings to me softly
Through the night
And in the dark

I ride the wind
Sail the water
She calls my name
To come on back to her in
Trinidad
Take me back (3X)
Trinidad

She waits by her window
And she shines a light for me
To help me through the harbor
In the land called Trinidad

I ride the wind
Sail the water
She calls my name
To come on back to her in
Trinidad
Trinidad (Trinidad)
Take me back (3X)
(Take me back)
Trinidad (Trinidad)
Come on home to hold me
(Come on home)
Trinidad
Hey hey hey
(Trinidad, Take me back)
(Oh oh oh, oh oh oh)
(Trinidad, Take me back)
(Oh oh oh, oh oh oh)

Some alternate captures for thumbs:

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….oh, like gravy…down to the last drop!

“She’s My Baby” was released in the early spring of 1976, on Paul McCartney & Wings’ fifth studio album, Wings At The Speed Of Sound. I bought every solo Beatle record when they were released, and I used to love to think about each of the songs as it might have sounded if it had been recorded by The Beatles…where the synergy and dynamic of those four forces combined…..this little track (It’s Paul in a kinda “When I’m 64″, kinda “Your Mother Should Know”, kinda “Maxwell’s Silver Hammer” mode) was another of my favorites from Wings At The Speed Of Sound. It’s the third track I’ve done for one of the lesser known diamonds on that record, along with “Warm And Beautiful”, and “San Ferry Anne”. Paul must truly dream melody like no one else!

After a series of concerts in Australia in November 1975, Wings took a break from the tour to spend the holidays with their families and in January 1976 booked time at Abbey Road Studios in London to record Wings at the Speed of Sound. It was the first time McCartney had recorded an album in England since Red Rose Speedway. Due to the tour commitments, Wings were not afforded the opportunity to record in another locale. By the end of February, the album was complete, and Wings went back on the road.

Around the time of the studio sessions for Wings at the Speed of Sound, McCartney was facing criticism for Wings simply being a vehicle for himself. He encouraged each of the band members to contribute a song during the sessions, though this would become one of the reasons for the criticism of the album. McCartney had previously attempted to create a democratic album in Red Rose Speedway, though it would be rejected by his record label.

Engineer Peter Henderson later commented, “I remember one of my first engineering jobs, working with Paul McCartney on Wings at the Speed of Sound — he’d do two vocal takes and ask, ‘Which is the better one?’ And when he played guitar, he’d really lean into it and give it everything he got.” Two tracks (“The Note You Never Wrote” and “Warm and Beautiful”) were arranged by Fiachra Trench.

Wings at the Speed of Sound was released in late March 1976 and received somewhat lukewarm critical reviews. Rolling Stone’s reviewer saw this record as something of a concept album, describing it as “A Day with the McCartneys”. The introduction, “Let ‘Em In”, is sometimes perceived as an invitation for the listener to join the McCartneys on this fantasy day, with explanation of their philosophy (“Silly Love Songs”), a lunch break (“Cook of the House”), and a chance to get to know McCartney’s friends (Denny Laine in “The Note You Never Wrote”, Jimmy McCulloch in “Wino Junko”, etc.).[6]

The album went to number 2 in the United Kingdom (and was the 4th best-selling album of 1976). It became McCartney’s most successful American chart album, spending seven unconsecutive weeks at number 1 throughout the summer (and blocking The Beatles’ then-new compilation Rock ‘n’ Roll Music, which reached number 2).

Much of the album’s success can be attributed to its two smash singles. “Silly Love Songs”, a response to his critics and one of McCartney’s biggest hits, followed the album in April, and became one of 1976′s biggest-selling singles. This was followed in July with “Let ‘Em In”, which also scaled the singles charts. Amid all this, Wings finally went to North America for the Wings Over America Tour, playing McCartney’s first shows there for ten years (after The Beatles’ last tour in 1966) to euphoric reaction; a few selections from Speed of Sound were included.

Wings band member Denny Laine covered “Time to Hide” and “The Note You Never Wrote” in 2007 on his album Performs the Hits of Wings.

As usual, HUGE THANKS to everyone who’s art made this new art possible (especially Russell Patterson for his classic “Where there’s smoke there’s fire” art-deco illustration!)..THANK YOU!

[Lyrics]
My baby, she comes out at night,
she’s takin’ me by surprise,
She’s my baby.
Like gravy, down to the last drop,
I keep mopping her up
Oh yeah, she’s my baby.

She’s my baby in the morning time,
when the sleep is in her eyes,
and the world is waking up,
she has a rhythm,
oh believe me, I ain’t lyin’;
She’s a woman.

She’s a lady in the evening time,
when the stars are in the sky,
that’s the time she changes back into a kitten,
oh believe me, I ain’t lyin’.

She’s my baby.
She’s my baby in the morning time,
when the sleep is in her eyes,
and the world is waking up,
she has a rhythm,
oh believe me, I ain’t lyin’;
She’s a woman.

She’s a lady in the evening tiem,
when the stars are in the sky,
that’s the time she changes back into a kitten,
oh believe me, I ain’t lyin’.

Ooh, like gravy,
sown to the last drop,
I keep moppin’ it up,
moppin’ it up, yeah,

Ain’t it funny how the night moves

“Night Moves” was the title track from Bob Seger’s ninth studio album (and his first with the Sliver Bullet Band) released in the fall of 1976. This record was another huge favorite of mine while I was in high school….one of those that I listened to countless times on headphones late at night after everyone else was asleep…..i can still see that red strobe light shining on the platter dots at the side of the turntable in the darkness of my room as I drifted of sleep. Thinking now of that Technics turntable that I had for so many years that faithfully spun literally thousands of albums, and gave me equal thousands of hours of enjoyment and amazement…I wonder where it is now? Long forgotten and rusting for decades under the ground….I remember you, old friend! ….and thus endeth my lamentation for my old turntable! ;-)

I had planned on (and actually finished) a video for another track from Night Moves, but it’s not available for play. Since I knew the title track, strangely enough (usually all tracks from an album are treated equally as far as being allowed to play) would play, and I did plan on eventually getting around to it….I jumped right into it and pushed it out. Some things worked better than others, but it was a relatively pleasant experience to try and actualize the video that always played in my head when I heard this tune. (The “60 Chevy” always appeared to me as a truck…I’m sure many others who grew up in small rural towns can relate….of course realizing now that there wasn’t a “backseat”…I wish I’d used a car instead as it would better reflect the lyrics. Of course trucks did have a even better “backseat”! LOL!

From Wiki:
The album was well received by critics and gave Bob Seger nation-wide success. Three singles were released from the album, with two of them making the top 40 on the Billboard Hot 100. The album became Seger’s second to become certified gold by the Recording Industry Association of America and was his first to be certified platinum by the same association. It later achieved a certification of sextuple platinum.

Popular music critic Robert Christgau feels that the riffs on Night Moves are classic rock and roll riffs, like those performed by Chuck Berry or the Rolling Stones, and feels that the album is about rock and roll for those who are no longer in their teens, like the song “Rock and Roll Never Forgets”. The Rolling Stone review of the album by Kit Rachlis stated that the album is one of the best to come out of 1976-77, that Seger sounds like Rod Stewart and writes lyrics like Bruce Springsteen, and that album is classic rock and roll. The only problem that Rachlis had with the album was the production not being strong enough. A later review of the album by Stephen Thomas Erlewine for Allmusic says that the album was very similar to Beautiful Loser, but Night Moves is harder than Beautiful Loser. Erlewine also feels that the album has a wide range of styles and has not lost any of its influence years later.
End Wiki.

As always HUGE THANKS to everyone who’s art made this new art possible….THANK YOU!!!!!

[Lyrics]
was a little too tall
Could’ve used a few pounds
Tight pants points hardly reknown
She was a black-haired beauty with big dark eyes
And points all her own sitting way up high
Way up firm and high

Out past the cornfields where the woods got heavy
Out in the back seat of my ’60 Chevy
Workin’ on mysteries without any clues
Workin’ on our night moves
Tryin’ to make some front page drive-in news
Workin’ on our night moves
In the summertime
In the sweet summertime

We weren’t in love, oh no, far from it
We weren’t searchin’ for some pie in the sky summit
We were just young and restless and bored
Livin’ by the sword
And we’d steal away every chance we could
To the backroom, to the alley or the trusty woods
I used her, she used me
But neither one cared
We were gettin’ our share
Workin’ on our night moves
Tryin’ to lose the awkward teenage blues
Workin’ on our night moves
And it was summertime

And oh the wonder
We felt the lightning
And we waited on the thunder
Waited on the thunder

I awoke last night to the sound of thunder
How far off I sat and wondered
Started humming a song from 1962
Ain’t it funny how the night moves
When you just don’t seem to have as much to lose
Strange how the night moves

With autumn closing in

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Goodbye, goodbye, goodbye

“Goodbye” was released in the summer of 1997 on Catherine Wheel’s fourth album, Adam And Eve. One of my top 10 albums of all time….every song on this record, including this incredible track, is a masterpiece. This is my 5th video for a Catherine Wheel song, and my second from Adam And Eve (see “Phantom of the American Mother” here: http://youtu.be/9QkY4trnStg ).

From Wiki:

The album peaked at number 11 on the Billboard Top Heatseekers and number 178 on the Billboard 200. The album featured more adventurous instrumentation than any prior Catherine Wheel LP, and still somewhat featured the heavy sound of their previous studio album, Happy Days.

The Big Takeover magazine named Adam and Eve its album of the year for 1997, with Radiohead’s OK Computer at #2.

An alternative cover design was released in some European countries, featuring primarily a green cover with only a few of the nude models in boxes in the center. Another alternative cover design was released to Wal-Mart stores which featured a zoom-in of a piece of the original US artwork (without any nudity). In both cases, the album content was unchanged.

Although critical response was positive, notably, Rolling Stone Magazine originally planned to rate the album 4.5 stars out of 5, only to later drop it down to 3.

Some of concerts promoting this album featured actual nude models positioned in boxes onstage behind the band members.

As always HUGE THANKS to everyone who’s art contributed to this new art….THANK YOU!!!!

[Lyrics]
Someone said it’s easy
And as I sit here with my cup
Staring at it as if I’m some crazy poet
When I’m not (I’m just a rock n’ roll joe with tales of woe)
And tears and fears
It’s only love that stops you from walking out the door
Tears fly somewhere close to remorse
And sometimes it’s easy
To all my friends I love
I still don’t find it easy
To all my friends I love

Goodbye, goodbye, goodbye
I’ve arrived

Sally likes its sideways
Sally, oh, Sally don’t ever change
And please don’t think me scary
‘Cause I’m not, I’m just a rock n’ roll joe with tales of woe
And tears and fears
It’s only love that stops you from walking out the door
And tears fly somewhere close to remorse
But sometimes it’s easy
To all my friends I love
Now I find this easy
To all my friends I love, I love, I love

Goodbye, goodbye, goodbye
I finally arrived
And somewhere close to here
Goodbye, goodbye

Goodbye, goodbye, goodbye
I finally arrived
Goodbye, goodbye

 

 

Ticket To The Moon

“Ticket To The Moon” was released in the summer of 1981 on Electric Light Orchestra’s ninth studio album, Time. As a huge ELO fan, I always thought this record was one of their greatest and most underrated. Although it was very successful when released, I remember it receiving pretty crappy reviews at the time (it currently rates only 2 stars at Allmusic…c’mon!). This might be my favorite track…..and I think with this video behind it, the song makes an even stronger impression.

Always wanted to see Georges Méliès’”A Trip To The Moon” behind ELO’s “Ticket To The Moon”, and I started the project almost 2 years ago. At that time I didn’t have any HD footage to work with so I had incorporated more masks and effects behind the film clips to try and spruce them up…it was interesting, but I’m so glad I waited until I was able to include footage from the stunning color restoration that was recently released. I basically lost all my early edits and set the track to a much more linear version of the film…made a few minor adjustments to improve video for wide-aspect…mainly very minor noise reduction.

“Ticket To The Moon” is only a quarter of the length of “A Trip To The Moon”…you don’t see even a forth of the film and it really needs to be seen in it’s entirety to be fully appreciated. The New York Times film critic, A. O. Scott called the restoration “surely a cinematic highlight of the year, maybe the century.”….I couldn’t agree more. The restoration of this film is one of the most extraordinary things I’ve even seen.

The material for A TRIP TO THE MOON was sourced from a restored color version that had been considered lost for several decades. It is presented here with an original soundtrack by Air. In 2010, three experts in worldwide film restoration (Lobster Films along with two non-profit entities, Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage) launched the most complex and ambitious restoration in the history of cinema. The process took over twelve years using advanced digital technologies to reassemble and restore the fragments of the 13,375 frames. The restoration print premiered at the Cannes Film Festival in 2011 and made a worldwide tour of international festivals including Telluride, Pordenone, Rotterdam and the MoMA Festival of Film Preservation. Now, one of the most technically sophisticated and expensive restorations in film history, A TRIP TO THE MOON can be seen in its original 1902 colors.

HUGE THANKS to:
Lobster Films
Groupama Gan Foundation for Cinema
Technicolor Foundation for Cinema Heritage for their work restoring “A Trip To The Moon” and especially Georges Méliès for creating it!

[Lyrics]
Remember the good old 1980s?
When things were so uncomplicated?
I wish I could go back there again
And everything could be the same.

I’ve got a ticket to the moon
I’ll be leaving here any day soon
Yeah, I’ve got a ticket to the moon
But I’d rather see the sunrise in your eyes.

Got a ticket to the moon
I’ll be rising high above the earth so soon
And the tears I cry might turn into the rain
That gently falls upon your window
You’ll never know.

CHORUS:
Ticket to the moon (ticket to the moon)
Ticket to the moon (ticket to the moon)
Ticket to the moon (ticket to the moon).

Fly, fly through a troubled sky
Up to a new world shining bright, oh, oh.

Flying high above
Soaring madly through the mysteries that come
Wondering sadly if the ways that led me here
Could turn around and I would see you there
Standing there (and I would see you there, waiting…)

Ticket to the moon
Flight leaves here today from Satellite Two
As the minutes go by, what should I do?
I paid the fare, what more can I say?
It’s just one way (only one way)…

REPEAT CHORUS:

REPEAT CHORUS:

A few alternate screen caps for thumbs:

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Sir Paul. Band On The Run. Let Me Roll It, glow-in-the-dark bouncy balls…..what more do you want?

“Let Me Roll It” was released in the winter of 1973 on the Band On The Run album, which was the fifth Paul McCartney album since The Beatles, and his third with his band Wings.

So yeah, this video is a fine example of what happens when you are working on two videos at a time and wires get crossed and you end up working effects to the wrong album art. It’s happened to me numerous times before and I’ve been able to undo the knot before the video was too far along…my recent video for Queen’s “I’m In Love With My Car” started out a video for “Drowse” and I realized I was using the wrong cover
after a couple of effects were finished. I was able to plug in the correct album art in After Effects and luckily it worked nicely with both covers….you’ll see the other art in the eventual video for “Drowse”. In this case I was working with a couple of McCartney tracks from two different albums in the same project. I had the balls, circles, rolling concept for “Let Me Roll It” and ended up building sequences using the album art from Venus And Mars (the other song I was working on was “Love In Song”). These sequences worked nicely with that album art since it was better suited for masks and effects…the art from the front cover and back cover included balls, circles, etc. I just merrily focused on layering more and more effects into the “Let Me Roll It”
video using the Venus And Mars art. Unfortunately in this case (mainly because for some strange reason I always associate “Let Me Roll It” with Venus And Mars…it just
sounds like it should sit between “Letting Go” and “Call Me Back Again” ;-) I never even realized my error until I had the finished video about halfway uploaded and started to write the description…and as I was typing “Venus And Mars” for the album it hit me! I immediately stopped the upload and corrected the title information. I thought briefly about a redo eliminating the Venus And Mars art and replacing it with Band On The Run art, (or converting this video to “Love In Song” but Lennon wouldn’t work there) but I was in way too deep with this one and the effects really wouldn’t work with the other art anyway so I’d basically have to start over….not gonna happen…and anyway, I really liked the way this vid looked already. I did take about 15 minutes and substituted some art from Band On The Run in a few places (the original stuff looked more consistent and I preferred it and the BOTR stuff sticks out like a sore thumb) but hey, at least there is some tie into the Band On The Run album now?! Stay tuned for
“Love In Song”…featuring of course, Band On The Run album
art! LOL! Joking of course….maybe?! ;-) Enjoy.

[Lyrics]
You Gave Me Something, I Understand,
You Gave Me Loving In The Palm Of My Hand
I Can’t Tell You How I Feel
My Heart Is Like A Wheel
Let Me Roll It
Let Me Roll It To You
Let Me Roll It
Let Me Toll It To You

I Want To Tell You
And Now’s The Time
I Want To Tell You That
You’re Going To Be Mine

I Can’t Tell You How I Feel
My Heart Is Like A Wheel.
Let Me Roll It
Let Me Roll It To You
Let Me Roll It
Let Me Roll It To You

I Can’t Tell You How I Feel
My Heart Is Like A Wheel
Let Me Roll It
Let Me Roll It To You
Let Me Roll It
Let Me Toll It To You